衷心祝賀香港藝術節今年邁向第4 7屆。今屆藝 術節陣容鼎盛，共有超過1700名來自香港和世 界各地的藝術家傾力演出，為觀眾帶來近1 7 0 場精彩表演。 今年藝術節的節目多姿多彩，當代及古典音 樂、舞蹈、戲劇等不同形式的藝術表演共冶一 爐。每個節目從幕後製作到台前演出，均盡顯 精湛的藝術造詣和超凡的想像力。 我很高興知道最近完成活化的中區警署建築 群，即現在的大館古蹟及藝術館，會在兩個周 末呈獻約5 0場舞蹈表演，供公眾免費入場觀 賞。大家更有機會一起參與在大館的檢閱廣 場、監獄操場，甚至是監獄囚室進行的表演節 目。牛棚藝術村亦會打造為藝術共生創造社， 首度成為藝術節發展作品的平台，場內設有不 同創意領域的工作坊，觀眾並可以欣賞一些創 作中的作品，感受藝術家的多元創意。 除了精彩表演，藝術節亦一如以往，悉心籌備 各項教育和外展活動，致力培育本地藝術人 才。「香港藝術節青少年之友」計劃讓本地學 生有機會觀賞世界級的表演和參與各式各樣的 藝術活動。此外，藝術節亦透過後台參觀和大 師班等「加料節目」，讓觀眾與國際頂尖藝術 家互動接觸，了解節目的幕後製作過程。 衷心感謝香港藝術節團隊一直致力推動本港的 藝術發展，成績斐然。我亦感謝贊助商和捐款 者的大力支持，令每年的藝術節圓滿成功，大 獲好評。 謹祝二零一九年香港藝術節所有觀眾、參加者 和表演者可以盡情享受這次藝術之旅，留下愉 快難忘的回憶。
林鄭月娥 香港特別行政區行政長官
I am pleased to congratulate the Hong Kong Arts Festival, which turns 47 this year in grand fashion, with nearly 170 performances featuring more than 1,700 artists from Hong Kong and all over the world. This year, the Festival showcases a dazzling range of classic and contemporary music, dance, theatre and more, each produced, staged and performed with consummate artistry and imagination. I am also delighted to note that our newly revitalised Central Police Station Compound, now Tai Kwun, Centre for Heritage and Arts, is the venue for some 50 free dance performances over the course of two weekends. I am told that audiences will also have the opportunity to participate in the performances taking place at Tai Kwun’s Parade Ground, Prison Yard and even its prison cell blocks. For the first time, the Arts Festival will turn Cattle Depot Artist Village into a Creative Hub for showcasing workshops and works in progress from a variety of creative disciplines. Beyond its captivating performances, the Festival remains committed to its educational activities, outreach and development of local artists. The Young Friends of the Hong Kong Arts Festival enables local students to enjoy world-class performances and participate in a range of arts activities, while PLUS programmes bring audiences behind the scenes with some of the world’s greatest artists through backstage tours, masterclasses and more. I am grateful to the Hong Kong Arts Festival team for its continuing commitment and manifold contributions to the development of the arts in Hong Kong. I am grateful, too, to the many sponsors and donors who, each year, help make the Festival a resounding success. I wish audiences, participants and performers alike a delightful and memorable 2019 Hong Kong Arts Festival experience.
Mrs Carrie Lam Chief Executive, Hong Kong Special Administrative Region
歡迎閣下蒞臨欣賞第4 7屆香港藝術節的這場 演出。感謝您與我們一起歌頌表演藝術在舞 台上的不同季節和階段。 我們要感謝香港特別行政區政府透過康樂及 文化事務署的年度恆常撥款。這項資助對香 港藝術節每年得以成功舉辦，至關重要。多 謝香港賽馬會慈善信託基金持續的支持，為 我們致力豐富城中文化生活，打下根基。另 外要感謝眾多企業贊助商、慈善基金會以至 個人捐助者。他們的慷慨捐助，讓我們能夠 呈獻世界各地的優秀藝術家、發展新作、培 育年青觀眾，並在國際舞台上引薦本地人 才。 最重要的是感謝您前來欣賞今天的表演。香 港藝術節的成功，正是有賴觀眾的熱情和參 與。謹祝您享受藝術節今天這場演出，渡過 難忘的時光。
查懋成 香港藝術節主席
I am delighted to welcome you to this performance at the 47th Hong Kong Arts Festival. Thank you for joining in our celebration of the seasons and stages of the performing arts. I would like to extend my gratitude to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention, which is vital to the continued success of the Festival. I am also grateful to the Hong Kong Jockey Club Charities Trust, whose ongoing support is a cornerstone in our efforts to enrich the cultural calendar of the city. Thanks are also due to our many corporate sponsors, charitable foundations and individual donors, whose generous support enables us to host some of the world’s leading artists, develop new works, cultivate young audiences, and promote local talent on a world stage. Above all, I offer my warm thanks to you for joining today’s performance. The enthusiasm and engagement of our audiences is the foundation of the Hong Kong Arts Festival’s success. I sincerely hope that you will find your time spent at the Festival today memorable and enjoyable.
Victor Cha Chairman, Hong Kong Arts Festival
衷心感謝閣下蒞臨欣賞第47屆香港藝術節的演 出。 今屆藝術節以「一步一舞台」為主題。舞台， 不僅是我們呈獻新穎及經典表演的地方，更是 藝術轉化向前的關鍵。頂尖藝術家及明日之星 於舞台相遇，各展姿彩；透過忠實致敬及大膽 改編，經典劇目得以重現觀眾眼前；嶄新作品 以原創設計、技術及敍事方法，挑戰傳統舞台 的極限。 無論於哪個舞台表演，我們會繼續想像藝術世 界的無限可能，亦期望今屆表演能為閣下帶來 啟發和歡愉。另外，誠邀您參加「加料節目」 的各項活動，深入了解重點表演，令藝術節體 驗更全面。 謹代表藝術節團隊，感謝您參與香港藝術節， 支持我們的使命，為香港締造一個世界級藝術 節。
It is a pleasure and a privilege to welcome you to this performance at the 47th Hong Kong Arts Festival. This year, we celebrate artists and artworks “At Every Stage”. Not only do we spotlight exhilarating programmes at stages old and new across Hong Kong, but also reflect on the stage as a process of transformation. Leading artists at the peak of their careers perform alongside the next generation of rising stars. Classic repertoire is reinvented through brave homages and boldly experimental retellings, and the original designs, technologies and storytelling modes of new works crash through the boundaries of the traditional stage. I hope that this and many other performances at the 47th HKAF will provoke, inspire and delight you, and that in the course of viewing works at every stage, we may continue to envision the myriad possibilities of the arts. As part of your Festival experience, I would also recommend you join the many PLUS performances, workshops and events that have been designed to bring insight into our core programmes. Together with the entire team, I would like to thank you for your support of the Hong Kong Arts Festival, which sustains us in our mission to bring a world-class arts festival to Hong Kong.
何嘉坤 香港藝術節行政總監
Tisa Ho Executive Director, Hong Kong Arts Festival
香港藝術節
Hong Kong Arts Festival
扎根香港的國際藝壇盛事
A Major International Arts FestivaI ln, Of and For Hong Kong
香港藝術節於 1973 年正式揭幕，是國際藝壇中重要的 文化盛事，於每年 2、3 月期間呈獻眾多優秀本地及國 際藝術家的演出，以及舉辦多元化的「加料」和教育 活動，致力豐富香港的文化生活。 香港藝術節是一所非牟利機構，2019 年第 47 屆藝術節 的年度預算約港幣一億三千六百萬，當中香港特區政 府的基本撥款佔總收入的近 13%，接近 6% 來自政府 新增加的五年限期額外撥款，另外約 28% 需來自票房 收入，逾 33% 則需依賴來自各大企業、熱心人士和慈 善基金會的贊助和捐款。預計餘下的大約 20% 則來自 其他收入，包括政府針對捐款和贊助收入而提供的配 對資助。 香港藝術節每年呈獻眾多國際演藝名家精采多元的演 出，例如 *： •歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫斯 科大劇院、聖彼得堡馬林斯基劇院 •中國戲曲：中國國家京劇院、河北梆子劇院、上海 張軍崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百 花越劇團 •古典音樂：塞西莉亞．芭托莉、列卡杜．沙爾、趙 成珍、古斯塔沃．杜達美、菲力普．格拉斯、馬友友、 丹尼斯．馬祖耶夫、安娜．涅翠柯、詹安德列亞． 諾斯達、小澤征爾、甘拿迪．羅傑斯特汶斯基、克 里斯蒂安．泰利曼、倫敦交響樂團、NHK 交響樂團、 皇家阿姆斯特丹音樂廳樂團、柏林廣播電台合唱團、 萊比錫聖多馬合唱團、維也納愛樂樂團 •爵士樂及世界音樂：波比．麥非年、尤蘇．恩多爾、 艾斯佩蘭薩．斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼 •舞蹈：米高．巴里殊尼哥夫、蕭菲．紀蓮、艾甘．漢、 美國芭蕾舞劇院、雲門舞集、漢堡芭蕾舞團 – 約翰． 紐邁亞、紐約市芭蕾舞團、巴黎歌劇院芭蕾舞團、翩 娜．包殊烏珀塔爾舞蹈劇場
2019 年藝術節預計收入來源 （約港幣一億三千六百萬） Estimated Income Sources for the 2019 HKAF (Approximately HK$136 Million)
贊助和捐款 Sponsorship & Donations
over 逾
•戲劇：彼得．布祿克、蜷川幸雄、羅柏特．威爾遜、 柏林劇團、中國國家話劇院、皇家莎士比亞劇團 •大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝 坊 •戶外節目：《聲光園》、《幻光動感池》、《聲光頌》 香港藝術節積極與本地演藝人才合作，並致力為新晉 藝術家提供展示才華的平台。藝術節至今委約及製作 逾 2 0 0 套本地全新創作，包括戲劇、室內歌劇、音樂 和舞蹈作品，近年開始同步出版新作劇本，不少製作 更已在香港及海外多度重演。近年的藝術節新製作包 括粵劇《百花亭贈劍》、《香港家族》三部曲、《世紀． 香港》音樂會、《論語》、《炫舞場》、《大同》、《金 蘭姊妹》、《爆蛹》、《野豬》、《聖荷西謀殺案》等。 香港藝術節多年來與知名海外藝術家及團體聯合製作 不少優秀作品，當中包括由香港藝術節、香港歌德學 院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗 人》、由倫敦老域劇院、布魯克林音樂學院與尼爾街 製作公司製作、香港藝術節為聯合委約機構之一的「橫 貫計劃」之《暴風雨》及《李察三世》、由香港藝術 節及上海國際藝術節聯合委約的《青蛇》、三藩市歌 劇院與香港藝術節聯合製作的《紅樓夢》等。 香港藝術節大力投資下一代的藝術教育。「青少年之 友」成立 27 年來，已為逾 750,000 位本地中學生及大 專生提供藝術體驗活動。藝術節近年亦開展多項針對 大、中、小學生的藝術教育活動，包括由國際及本地 藝術家主持的示範講座及工作坊、學生展演、演前講 座、公開彩排、以及欣賞藝術節演出。同時，通過「學 生票捐助計劃」，藝術節每年提供約 1 0 , 0 0 0 張半價學 生票。 香港藝術節每年主辦一系列多元化並深入社區的「加 料節目」，例如電影放映、示範講座、大師班、工作坊、 座談會、後台參觀、展覽、藝人談、文化導賞團等， 鼓勵觀眾與藝術家互動接觸。
33% around 約
20% nearly 近 6% nearly 近 13%
around 約
28%
票房收入 Box Office （2019 年 1 月更新 Updated January 2019）
其他收入（包括按捐款和贊助 收入可望獲得的政府配對資助 ) Other Income (Including Possible Government Matching Grant for Sponsorship and Donation Income) 政府五年限期額外撥款 Government's Time-limited Addition Funding (for 5 years)
政府的基本撥款 Government Baseline Funding
HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year. HKAF is a non-profit organisation. Secured government baseline funding represents about 13% of the 2019 Festival’s HK$136 million budget, with another nearly 6% specially provided by the Government as time-limited additional funding for five years. Around 28% of the Festival’s income needs to come from the box office, and over 33% from sponsorship and donations made by corporations, individuals, and charitable foundations. It is anticipated that the remaining 20% will come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations. HKAF has presented top international artists and ensembles across multiple genres, such as*: • Western Opera: Bavarian State Opera, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre • Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe • Classical music: Cecilia Bartoli, Riccardo Chailly, SeongJin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Gennady Rozhdestvensky, Christian Thielemann, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra • Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini • Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet–John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch • Theatre: Peter Brook, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company
• Large-scale special events: World of WearableArt, Zingaro • Outdoor events: Power Plant, Super Pool, Chorus HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include the Cantonese Opera - Pavilion of a Hundred Flowers, A Floating Family–A Trilogy, Hong Kong Odyssey, Chinese Lesson, Danz Up, Datong–The Chinese Utopia, The Amahs, Blast, Wild Boar and Murder in San Jose, to name a few. HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake cocommissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera. HKAF invests heavily in arts education for young people. Over the past 27 years, our “Young Friends” scheme has reached over 750,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year. HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.
誠邀贊助或捐助第 47 屆香港藝術節；詳情請與藝術節發展部聯絡。 To find out more about sponsorship opportunities and donation details for the 47th Hong Kong Arts Festival, please contact the HKAF Development Department. 電郵 Email: 直綫 Direct Lines: 網頁 Website:
dev@hkaf.org (852) 2828 4910/11/12 www.hk.artsfestival.org/en/support-us
* 有關香港藝術節的過往節目，可參考以下網頁 Details of past HKAF programmes can be found at www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2018.html
Presents
《百花亭贈劍》(更新版) 毛俊輝導演作品
Pavilion of a Hundred Flowers (Reboot) Directed by Fredric Mao
1-2 3 月 MAR
沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall 演出長約 2 小時 30 分鐘，包括一節中場休息 Approximately 2 hours and 30 minutes including one interval 粵語演出，附中、英文字幕 Performed in Cantonese with Chinese and English surtitles
封面及製作劇照 Cover and production photographs: ©Keith Hiro
敬請關掉所有響鬧及發光裝置。 Please switch off all sound-making and light-emitting devices. 網上追蹤香港藝術節 Follow the HKArtsFestival on
請勿擅自攝影、錄音或錄影。 Unauthorised photography or recording of any kind is strictly prohibited.
HKartsfestival
本場刊採用環保紙張印刷。This programme is printed on environmentally friendly paper.
www.hk.artsfestival.org
《百花亭贈劍》
Pavilion of a Hundred Flowers 監製 Producer 香港藝術節 Hong Kong Arts Festival 原著劇本 唐滌生
Original text by Tong Tik-sang
藝術總監、導演及改編 毛俊輝
Artistic Director, Director and Adaptor Fredric Mao
聯合改編 Co-Adaptor 江駿傑 * Kong Chun-kit* 音樂總監及頭架 李章明
Music Director and Lead Musician Li Cheung-ming
戲曲表演指導 洪海 *
Chinese Opera Performance Advisor Hong Hai*
文學顧問 Dramaturg 陳守仁 Chan Sau-yan 舞台設計 陳志權 *
Set Designer Ricky Chan*
服裝及造型設計 譚嘉儀
Costume Designer and Stylist Mandy Tam
燈光設計 陳焯華
Lighting Designer Billy Chan
原音響設計 袁卓華 *
Original Sound Designer Yuen Cheuk-wa*
音響設計 郭宇傑
Sound Designer Jaycee Kwok
執行監製 李宛虹
Deputy Producer Lei Yuen-hung
角色及演出 Cast* 江六雲 王志良
Jiang Liuyun* Wang Zhiliang*
百花公主 林穎施
Princess Baihua* Lin Yingshi*
鄒化龍 洪海 *
Zou Hualong* Hong Hai*
八臘內侍 符樹旺 #
Bala the Court Master* Fu Shuwang #
江花右 林芯菱 #
Jiang Huayou* Shirley Lin #
安西王 朱兆壹
Prince Anxi* Chu Siu-yat*
田翠雲 陳鎧汶 *
Tian Cuiyun* Chan Hoi-man*
龍彪 鄺紫煌
Long Biao* Kwong Tsz-wong*
虎豹 盧銘章
Fu Pao* Lo Ming-cheung*
太監及士兵 梁振文 *
Eunuchs and Soldiers* Liang Zhenwen* Leung Kwai-yin* Wong Ho-yau*
梁鈞賢 * 黃可柔 宮女及士兵 何希雯 *
Palace Maids and Soldiers* Ho Hei-man* Ng Man-ting* Vina Ng Wing-lam* Woo Man-ka*
吳敏婷 * 吳穎霖 * 胡敏嘉 *
《百花亭贈劍》首演於第 46 屆香港藝術節，2018 年 3 月 2 至 4 日，香港演藝學院歌劇院，為「賽 馬會本地菁英創作系列」作品
Pavilion of a Hundred Flowers premiered at Lyric Theatre, Hong Kong Academy for Performing Arts from 2-4 March 2018 as part of the Jockey Club Local Creative Talents Series at the 46th HKAF.
12
13
樂師 Musicians
製作團隊
掌板 Zhangban 戴日輝 Dai Ruhui
製作經理 陳寶愉
Production Manager Chan Bo-yu
揚琴 Yangqin 賴紅梅 * Lai Hongmei*
舞台監督 麥凱欣
Stage Manager Mak Hoi-yan
南胡 Nanhu 毛奕俊 * Mao Yijun* 二胡及中胡 阮強
Erhu and Zhonghu Yuen Ching-kung
中胡 Zhonghu 雷彩萍 Lei Caiping 中胡及南胡 巫文傑
Zhonghu and Nanhu Mo Man-kit
琵琶 Pipa 蕭穎芝 Pamela Siu Wing-chi 大笛、喉管、短筒 宋益民、吳泳霖
Dadi, Houguan and Duantung Song Yimin, Vanessa Ng Wing-lam
古箏 Guzheng 何綺雯 Yimene He Qiwen
執行舞台監督 梁思穎
Deputy Stage Manager Leung Sze-wing
助理舞台監督 駱麗而
Assistant Stage Manager Lok Lai-yi
演員統籌 李祐宗
化妝設計 陳明朗 *
* 承蒙香港演藝學院允准參與是次演出 By kind permission of The Hong Kong Academy for Performing Arts # 承蒙演藝青年粵劇團允准參與是次演出 By kind permission of the Young Academy Cantonese Opera Troupe
鳴謝 Acknowledgments 香港演藝學院戲曲學院、演藝青年粵劇團、亞洲演藝研究、香港文化博物館、港澳非物質文化遺產發展研究 會、高山劇場、王德明、梅卓燕、李均豪、劉志浩、麥艷堃、魯氏美術製作有限公司、J-reamy Sound Design and Rental、盛邦興業有限公司、蘇州久業戲劇服飾有限公司 The Hong Kong Academy for Performing Arts School of Chinese Opera, The Young Academy Cantonese Opera Troupe, Performing Arts Asia, Hong Kong Heritage Museum, Hong Kong & Macau Intangible Cultural Heritage Research Centre, Trinity Space, Ko Shan Theatre, Wang Daming, Mui Cheuk-yin, Lee Kwan-ho, Lau Chi-ho, Mak Yim-kwan, L's Fine Arts Production Limited, J-reamy Sound Design and Rental, C'est Bon Projects Corporation Limited 聯合製作：深圳一帶一路國際音樂季 Co-production: 2019 Shenzhen Belt and Road International Music Festival
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Wardrobe Supervisor Lam Hiu-yin
服裝助理 Dresser 黃曉欣 Wong Hiu-yan
低音大提琴 文潤儀
鑼鼓下手 Luogu 陳燕鋒、廖植球、張驥 Chen Yanfeng, Liu Chi-kau, Cheung Kei
Assistant to Director and Surtitles Operation Chui Chi-lun
服裝主管 林曉燕
梳頭及衣箱 黃佐祥、張慶云、廖玉燕 林携雙、何梓銘
薩克斯管 Saxophone 楊贊庭 Yeung Tsan-ting
Artist Coordinator Jones Lee
導演助理及字幕控制 徐智麟
大提琴 Cello 洪柏根 Hong Baigen
Double Bass Jacky Man
Production Team
Wardrobe Assistants Wong Chor-cheung, Cheung Hing-wan, Liu Yuk-yin Lin Xieshuang, Ho Tsz-ming Makeup Designer Chan Ming-long*
總舞台技師 陳耀輝
Stage Chief Chan Yiu-fai
舞台技師 張沛量、李國威、 孫國華、黃俊龍
Stage Crew Cheung Pui-leong, Lee Kwok-wai, Suen Kwok-wah, Wong Chun-lung
燈光編程及控制 謝達誼
Lighting Programmer and Operator Hsien Tat-yi
電機師 李嘉雯
Production Electrician Lee Ka-man
燈光工作人員 陳煒燁、馮晞彤、蔡旻佑
Lighting Crew Chan Wai-wah, Fung Hei-tung, Choi Man-yau
現場混音 李善思
Live Mixing Sincere Li
音響工作人員 溫新康、吳凱鈴 英文字幕 余攸英
Sound Crew Wan Sun-hong, Ng Hoi-ling
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English Surtitles Grace S.Y. Yee
分場大綱
第二場
Scene 2
Scene Synopsis
贈劍
Gifting the Sword
八臘專權，欲借刀殺人。江六雲醉進百花 亭，遇見公主，一場騙局，瞬間轉危為 機。
Bala, the manipulative master of the court, has murderous plans, but does not want to get blood on his hands. An intoxicated Jiang Liuyun enters the forbidden Baihua (Hundred Flowers) Pavilion, as a trap turns from crisis into opportunity.
第三場
Scene 3
過營
Visiting the Enemy's Camp
江六雲入贅王宮，招為駙馬，這夜，他暗 訪衡山，尋求和解之道。鄒化龍與江花右 夫妻重聚……
Jiang Liuyun marries into Prince Anxi’s court as fuma (royal son-in-law). On the same night, he secretly goes to Hengshan to negotiate peace. Zou Hualong reunites with his wife Jiang Huayou.
—中場休息 Interval—
© Keith Hiro
序幕
Prologue
元朝年間，安西王欲造反。元帝派遣鄒化 龍兵駐衡山，江六雲潛入王宮探察軍情。
During the Yuan Dynasty, Prince Anxi is conspiring to lead a revolt against the Emperor. The Emperor sends Zou Hualong to Hengshan with an army, while he recruits Jiang Liuyun as an undercover agent to keep watch on the prince.
第四場
Scene 4
盤夫
Interrogating the Husband
北風肅殺，梅花飄落，江六雲返回百花 宮，向公主交心，估不到掀起了一場血色 風暴……
The fearsome north wind blows, and the plum blossoms fall. Jiang Liuyun returns to Baihua Pavilion, unaware of the bloody episode that is soon to unfold.
第五場
Scene 5
決戰（上）
The Battle (I) Zou’s attack without prior permission has angered the royal court; Jiang Liuyun has a decision to make: to live or die, to stay or go? The situation takes a drastic turn.
第一場
Scene 1
鄒化龍私自出兵，觸怒朝廷，是生是殺， 是留是放？恐懼當前，盡顯人性的醜陋。
闖宮（上）
Into the Palace (I)
決戰 （下）
百花公主指望為父安西王一報去國之仇。 寒梅冷艷，不求花開，耐得人間霜雪。
Princess Baihua wants to avenge her father, the Prince Anxi, whose kingdom has been usurped from him. She is like a plum blossom that seeks not to bloom in winter, but only to withstand the frosty world.
鄒化龍逼使江六雲出戰，勸公主撤走綠林 軍。覆巢下，只有恩怨情仇四字。
闖宮（下） 江六雲智闖王宮，竟然受到重用，王城內 種種陰謀，看誰先偵破。
Into the Palace (II) Jiang Liuyun enters Prince Anxi’s court in disguise. Traps and conspiracies abound, and Jiang must watch his steps carefully.
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The Battle (II) Zou Hualong forces Jiang Liuyun to persuade the Princess to retreat. In these chaotic times, gratitude and regret, love and enmity all become entangled.
尾聲
Epilogue
天涯海角，梅花盛開，衝破桎梏，逆風策 馬奔馳，誰在聲聲呼喚？
At the edge of the world, the plum blossoms bloom, and bonds are broken. The young ride against the wind, but who is calling from afar?
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導演的話
Director’s Note 去年演出《百》劇之時，我曾說： 「今次我創作的重點是放在一個較為全面的版圖上， 有意通過排演《百花亭贈劍》去審視整個粵劇的創作 過程。從劇本的改編，到表演的手法、音樂的處理、 製作的設計等等，以至排練的方式和機制都嘗試作一 番探討的過程。看看現代劇場的創作模式是否有值得 借鏡的地方，對傳統粵劇能否提供些啟發？ 故此，今次的演出肯定不是單純傳統粵劇的演繹， 而更多是尋找戲曲與現代劇場的結合。我和青年編 劇江駿傑一開始已有共識，根據原劇的故事編排， 提供較為開放、但具邏輯性的調度，突顯出全劇 『尋求解放』的主題。表演方面，通過與這群有潛 力的年青演員的合作，在尊重傳統表演的基礎上， 深化對角色的認知和『創造力』。至於音樂，在李 章明老師的指導下，亦同樣讓新舊結合起來，有意 探討戲曲的新面貌。」 在2019年《百》劇重演之際，我想說： 去年《百花亭贈劍》的演出得到熱烈的迴響，許多 從來不看粵劇的朋友，不但樂於接受還表示會因 此繼續觀賞粵劇，這樣的反應實在太令人興奮，導 致藝術節罕有地於翌年立即重演同一個劇目，並且 計劃推至內地巡演。這決定對於整個創作團隊是莫 大的鼓勵，眾人努力精益求精，使這個繼續打造的 「更新版」有機會再上一層樓。 個人方面，我深切體會到演繹中國傳統戲曲作品的 價值，我們需要有人在承傳方面繼續下功夫，亦需 要有人接受挑戰、推動創新。作為真正愛護粵劇的 力行者，既要作出大膽的嘗試，亦要吸取觀眾直接
Before the performance of Pavilion of a Hundred Flowers last year, I wrote:
Amidst this reboot of Pavilion of a Hundred Flowers in 2019, I want to say:
“This time […] I placed my focus on a more comprehensive overview, with the aim of using the process of rehearsing Pavilion of a Hundred Flowers to closely study the entire creative process of Cantonese opera. I attempted to analyse every aspect of the production process, including script editing, performance methods, the handling of the music, the planning, and the methods and mechanisms of rehearsals. The aim was to see if modern theatrical production methods could contribute anything towards sparking new developments in traditional opera.
The performance of Pavilion of a Hundred Flowers last year met with a warm reception. Friends who had never before seen a Cantonese opera not only found this story acceptable, they also vowed to continue their interest in Cantonese operas. Their responses were so enthusiastic that the HKAF was inspired to host a rare reboot of the same repertoire and plan a mainland tour. This decision has been a huge motivation for the creative team; everyone is working towards excellence, taking this ‘renewed version’ to the next level.
Personally, this has brought me a profound understanding of the value of performing Chinese traditional operas. We need to work on the preservation and inheritance of the arts, but we also need someone willing to accept the challenge of innovation. As someone who is passionate about Cantonese opera, I believe we need to be willing to experiment boldly and observe the audiences’ direct reactions. Through staging Pavilion in different regions, I believe we are even more capable of gauging its effect on different audiences. Once again, I thank the HKAF for giving Pavilion this creative opportunity, and its full support for developing a new look for Hong Kong Cantonese opera. Fredric Mao
“As such, this opera will not just be an interpretation of a traditional performance, but rather will seek to unite traditional opera and contemporary theatre. Right from the start, the young playwright Kong Chun-kit and I stood on common ground; beginning with the opera’s original arrangement, we made some new and logical adjustments which conspicuously highlighted the opera’s theme of ‘seeking liberation’. On the performance side, with the cooperation of these promising young actors, we were able to deepen our understanding of the roles and enhance our awareness of creativity, while respecting the foundation of traditional performance techniques. Under the conductorship of maestro Li Cheung-ming, the music was similarly a union between old and new, with the aim of giving a new face to traditional opera.”
的反應，相信《百》透過在不同地域的演出，更能 體驗到與不同觀眾交流的效應。在這裏我再一次感 謝香港藝術節給予《百》的創作機會，全力支持展 現香港粵劇的新面貌。 毛俊輝
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© Keith Hiro
舞台二字，廣闊無邊
The Boundless Stage 當粵劇被置入現代劇場，應該「城市化」還是
贈劍》過程中，編、導、演、棚面一氣創作，
保留「鄉土味」？近兩代的粵劇發展，始終沒
從程式的更新與再出發，在虛實之間為表演生
有清晰定位。目今科技進步，文藝範疇更廣
命建立一套行動圖譜。
闊，會否仍有「人到中年，生活節奏慢下來， 自然會看戲曲」之說？當生活慢下來，則必然 看戲曲嗎？今日香港粵劇蓬勃，夜夜笙歌，台 上年輕化，台下卻赤裸面對老化問題，無論生 活氣息、美學經驗、文化重量，台上台下距離 甚大。一代有一代粵劇，有一代觀眾，要讓年 輕人接觸粵劇，先從劇本開始。 香港粵劇一般演舊戲，容易讓年輕人感到「與 今天無關」甚至「與我無關」。我也是年輕 人，對傳統的「植入式思維」比較抗拒，要在 戲曲回應今人今事，除了要有批判思維，還要 有自由意志，同時也要有膽量，程式二字是藝 術語言，也是生活經驗的延伸想像，每個劇本
唐先生編寫《百花亭贈劍》至今逾半世紀，劇 中對愛情與權力的看法，與今天有同有異，感 謝毛老師信任，帶領參與創作，同為《百》下 個當代註腳，在原著故事的基調上，重塑當代 美學價值：從「形式美」走到「真情實感」的 美。 第五場至尾聲是重新編寫的，是在劇本確立主 題後，為每個人物增設面對抉擇的「兩難處 境」，以多面向思考人性碰撞與內心變化，探 討能否擺脫一個世俗公認的基本面。過程中， 省去大量功能化表演的框架，將百花公主與江 六雲的愛恨情仇突顯出來。
都應有不同，每一代都須要重塑，但今天我們
至於尾聲，是創作的重點，也是呼喚當代主題
似乎沒理解過它為何會出現，謹守了不知多少
的關鍵。探討當代年青人面對各種權力的綑綁
年，導致一種梗式的語境尷尬。排練《百花亭
時，該如何抉擇：死亡是唯一出路嗎？這裏， 彷彿聽到一種呼喚，是最純真、最真摯、最赤 裸的回歸：愛情。一曲〈漢宮秋月〉寄意自我 解放心靈，呼應第二場主題曲，也向唐先生回 一份敬意。 首演成功吸引大量年輕觀眾入場，確立了新一 代戲曲路線。今次更新版，將首演經驗結合起 來，將第五場尾聲的戲劇張力再推高：當權力 與制度都失衡時，最後的防線─「親情」會否 失陷？ 再次感謝毛老師、香港藝術節，希望這團隊與 製作，繼續走遠，帶到下一代，廣闊無邊。 江駿傑
© Keith Hiro
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When Cantonese opera is transplanted onto the modern theatre stage, should it be “urbanised” or retain a certain “local flavour”? Despite its development throughout the past two generations, Cantonese opera still has not found its proper place in modern theatre. As technologies become more advanced and the arts sphere more broad, the saying “when life slows down, middle-aged folk will naturally watch Chinese opera” no longer inevitably applies. As Cantonese opera flourishes in Hong Kong, the faces onstage have become younger, but the audience offstage is facing a stark aging problem. Whether it be in terms of a sense of vitality, aesthetic experiences, or an understanding of cultural significance, there is now a yawning gap between those onstage and those offstage. Each Cantonese opera belongs to a certain generation, with an audience from that generation. If we want young people to engage with Cantonese opera, then we should start with returning to the script itself. Hong Kong’s Cantonese opera troupes often perform old works, making it easy for young people to feel that they are “not relevant to the present” or even “not relevant to me”. If Cantonese operas are to respond to the present moment, it will require critical thinking and free will. To achieve this, boldness is also required. A formula is both an artistic language and an extension of the imagination borne of life’s experiences. Every play should be different; every generation needs to remodel its formula. Yet we do not seem to have attempted to understand the ever-persistent formulaic standard; we have blindly adhered to it for who knows how many years, creating a predicament that is, frankly, embarrassing. But the playwrights, director, actors and musicians of Pavilion of a Hundred Flowers have worked together throughout rehearsals to renew this formula, thus charting a course for a life of performance within the space between theory and practice. More than half a century has passed since Mr Tong Tik-sang wrote Pavilion of a Hundred Flowers; some of his views on love and power depicted in the opera resonate to this day, while others embody values from the past. I am grateful to Mr
Frederic Mao for his trust in inviting me to join him in adapting Pavilion of a Hundred Flowers for the contemporary stage. This contemporary footnote draws from the essence of the original story and sets out to redefine a contemporary aesthetic value: a shift from “the beauty of form” to the beauty of “genuine feelings”. Scene Five and the Epilogue were re-written especially for this adaptation. After establishing the theme of the script, we envisaged and portrayed in these two acts the “dilemma” that each character faces. They examine conflicts in human nature and inner transformations, as well as explore whether it is possible to break free from the façade of conventionality. In penning these two scenes, we removed the more straightforward drama of the original version, so as to highlight the love–hate entanglement between Princess Baihua and Jiang Liuyun. The Epilogue is the heart of this artistic and c re a t i ve e n d e avo u r, a s i t i l l u m i n a t e s t h e contemporary theme of the work. It explores the choices faced by young people today when confronted with the shackles of power: is death the only way out? Here, one can almost hear the purest, most genuine, most naked reply possible: love. The song The Palace of the August Moon evokes a soul that liberates itself; it echoes the musical theme of Act Two and pays tribute to Mr Tong. The premiere of Pavilion of a Hundred Flowers in 2018 successfully attracted a number of young audience members into the theatre, paving the way for a new generation of Cantonese operagoers. Building on our experiences from Pavilion’s first run, this re-boot further heightens the tension of Scene Five and the Epilogue: when power and the system have fallen out of balance, will the final line of defence—“family”—collapse as well? I would once more like to thank Mr Mao and the Hong Kong Arts Festival. I hope that the creative team and production itself can carry on further on its journey towards the next generation, without any boundaries or restraints.
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Kong Chun-kit
重演．前行 Rerun．Moving Forward 毛俊輝執導的《百花亭贈劍》去年首演，今 年旋即重演，除了因為反應熱烈外，毛俊輝 與聯合編劇江駿傑也認為上次改編仍有改進 空間。這次除了重新設計佈景，二人決定重 寫第五場的一幕高潮—江六雲與百花公主 決定遠走高飛；安排安西王與鄒化龍奸詐共 謀，寫江花右唱出鼓勵之詞，引爆角色之間 的化學作用，令一對年輕情侶對自由的追 求，更合情合理。毛俊輝將這些改動歸功於 花在排練的功夫，「圍讀完了，劇本自然會 告訴你，哪些地方未夠力度。」 為了是次重演，排練準備早於一月初已開 始，有了去年經驗作基礎，一眾演員、編導
After its premiere in 2018, Pavilion of a Hundred Flowers has received a re-boot in this year's Festival. This revival is in part thanks to the enthusiastic following of its first run and in part due to director Fredric Mao and coadaptor Kong Chun-kit's feeling that there was room for further development in the adaptation. This time, in addition to giving the set a face-lift, the two creators decided to rewrite the climax of Scene Five—Jiang Liuyun and Princess Baihua decide to flee, a conspiracy is arranged between Prince Anxi and Zou Hualong, and a song of encouragement is sung by Jiang Huayou. Mao credits these changes, which ignite the chemistry between characters and make sense of the young couple’s pursuit of freedom, to the efforts made during rehearsals: “After the table-readings, the script naturally tells you which areas lack power.”
人員已有默契，毛俊輝拿着劇本，與演員 逐句細讀，研究如何唸得更好：「百花公主 你呢幕入亭，由正經到發惡，跟住又好奇， 仲談埋情，有好多心理轉變……掌板，呢段 對白要少啲鑼鼓點，配合內容感覺會現代 啲……鄒化龍同江六雲嘅口白要接得緊啲， 畀觀眾感覺到張力……」 由首演到重演，他都堅持演員要掌握角色當 刻的心理狀態、轉變，及轉變的原因，避免 出現倒模的表演。「例如要笑，傳統一定是 『哈哈，哈哈哈—』的演繹方法，但為何 要笑呢？很多人沒想過，這從現代的角度看
For this re-boot, rehearsals began in early January. Building on their experiences from last year, the actors, writers and directors already have a tacit understanding of collaboration. At a January rehearsal session, Mao, carefully reading the script line-by-line with the actors, explores the best modes or articulation: “Princess Baihua enters the scene here. Her mood changes from composure to anger, and then to curiosity; she even speaks about love. There are psychological transitions here…Lead percussionists, this part of the dialogue requires less luogu; in combination with this content, it would feel too old-fashioned…Zou Hualong and Jiang Liuyun’s spoken parts need to be closer together, to make the audience feel the tension…”
是有問題的。所以我非常堅持要排練，把台 詞重複雕琢，找出每個人的戲來，直至成為 自己的東西。其實這就是戲曲的現代化，其 他人一聽到，便以為你是弄些新形式，其實 不是，是屬於內涵上的。」 二十多場排練，每場三數小時，每個角色就 是在這些反覆的洗練中活過來，走出排練 室，踏上舞台，唸打唱造，入形入格，也讓
From the premiere to the reboot, Mao has insisted that actors must grasp their characters’ mental states, transformations and motives to avoid cookie-cutter performances. “For example, if one needs to laugh, conventionally it would be performed as ‘Haha, hahaha—’. But why does he need to laugh? A lot of people haven’t considered that, from the contemporary perspective, this sort of response might be problematic. This is why I insist on rehearsing continuously to shape
觀眾入了戲。
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毛俊輝今年繼續既編且導，串連演員及佈 景、燈光、音響、服裝等幕後團隊，以現代 劇場一套完整的編制來處理製作，是次重演 更確立了這制度。這與主流由大老倌、主角 領導製作的模式有很大分別。 對演員來說，《百》劇重演也是難得的磨練 機會。劇中大部分演員年紀不過三十出頭， 是粵劇界年輕的一群，像演安西王的朱兆壹 更是剛從戲曲學院畢業。本地經驗較淺的演 員，以往大多演折子戲，少有機會參與一套 完整戲碼的製作，花時間揣摩角色、甚至是 一套劇的發展。「傳統表演是靠從小到大的 訓練，但今日的年輕演員，基本功是有限 的。我在青年粵劇團認識這群演員，知道他 們的能力，也知道怎樣令他們突破自己。」 不斷的排和演，就是突破的最好方法。 《百》劇今年重演後，三月底會到深圳演 出，之後是上海的香港文化週，巡演城市陸 續有來。毛俊輝多次強調，去年吸引了對粵 劇感陌生的年輕觀眾入場，「從不看到看， 是一件很大的事。」那麼從香港走到世界， 自然也是件大事。「過去香港製作很少有機 會巡演，經費是很大問題，相比戲劇或舞 蹈，一台戲有整隊現場樂師，更昂貴。但如 果沒機會闖出去，是很大的損失。接觸外面 的觀眾可以提升自己，對演員的成長很重 要。」他又說，「我是帶着一份使命感製作 這部劇的。」 離唐滌生編下《百花亭贈劍》一劇已過六十 年，劇本以至編導演皆演化幾回，但每一場 新演出，皆是推動粵劇發展的一小步。 廖健邦
and reshape the dialogues. We try to discover the drama behind each person, until it becomes one’s own. The modernisation of Cantonese opera is not about inventing new forms, as many might believe; it is about developing the inner qualities of the actors and the artform. Twenty rehearsals later—each at more than three-hours long—and the characters have become alive through the distillation of repetition. Once the actors leave the rehearsal room to step on stage, everything falls into place with each song, line and movement, allowing the audience members to immerse themselves into the performance. For this year’s production, Mao continues to take on the role of co-playwright and director. He applies the practices of contemporary theatre to managing the production, connecting actors with the backstage set, lighting, sound and costumes design crews, thereby reaffirming the value of this process. This is distinctively different from the mainstream practice of the main cast setting the pace during productions.
The best way to break through, says Mao, is through continuous rehearsals and performances. After the 2019 HKAF reboot, Pavilion will head to Shenzhen in March, then to "Hong Kong Week" in Shanghai, and on to more tours in the future. Mao emphasises that having attracted a large number of young audiences previously unfamiliar with Cantonese opera to view the show last year was a big deal. In that sense, it is also a big deal to progress from performing in Hong Kong to touring around the world. “In the past, there had been a lack of opportunities for Hong Kong productions to tour. Funding is a huge problem. Compared with
theatre or dance productions, a Cantonese opera has a whole group of live musicians, which makes it even more expensive. But if we didn’t have an opportunity to get out of Hong Kong, it would be a huge loss. We can improve ourselves when we engage with audiences from elsewhere. This is very important for the actors’ growth,” says Mao. “I carry a sense of mission in producing this opera.”. It has been over 60 years since Tong Tik-sang penned Pavilion of a Hundred Flowers. The script and direction may have evolved over time, but each performance is a step forward for the development of Cantonese opera. James Liu
For the actors, this re-boot of Pavilion is an invaluable opportunity to hone their skills. Most of the actors in the production have not yet passed their early thirties, making them one of the youngest casts in the Cantonese opera industry. Chu Siu-yat, performing the role of Prince Anxi, for example, only recently graduated from Chinese opera school. In the past, actors with less experience tended to perform in excerpt performances only, and seldom received opportunities to participate in a production with a complete cast and crew, to master a character or see through the development of an entire opera. “The traditional performance mode relies on training from an early age, but today’s young performers may have limited foundational skills. I met this group of actors through the Hong Kong Young Academy Cantonese Opera Troupe. I know their abilities, and therefore I know how to help them break through,” says Mao. © Keith Hiro
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Tong Tik-sang wrote in the opening-night programme that he was destined to write this opera. He had always loved ancient operas, and would collect and treasure any fragments of Song, Yuan, Ming and Qing dynasty opera libretto books that he came across. He wrote, “A year ago, while browsing in a book store on Hollywood Road, I came across two hand-written volumes of Pavilion of a Hundred Flowers, which eventually became the acts ‘The Scheme’ and ‘Gifting the Sword’ in my version of the opera. The two volumes were badly damaged by insects and rodents, and I spent a month filling in missing words and phrases to make it as complete as possible. This formed the blue-print for my version of Pavilion of a Hundred Flowers. Although the staging and arrangement are different, my adaptation is inspired by this important source.” Tong continues, “I dedicated almost three months to completing my adaption of Pavilion of a Hundred Flowers. Apart from preserving the beauty of this traditional art form, I added to the dramatic tension and intensified the main themes.”
《百花亭贈劍》與唐滌生精神
Pavilion of a Hundred Flowers and the Spirit of Tong Tik-sang © Keith Hiro
1958 年，香港著名編劇家唐滌生（1917-1959） 為吳君麗（生於 1930 年）、何非凡（1919-1980） 等紅伶領導的「麗聲劇團」編寫《百花亭贈劍》， 並於 1 0 月 2 0 日在九龍「新舞台戲院」首演。 當時參與「開山」的主要演員，除了吳君麗、 何非凡分別扮演百花公主、江六雲外，還有「丑 生王」梁醒波（1908 - 1981）飾演宦官八臘、麥 炳榮（1915 - 1984）飾演征西元帥鄒化龍、鳳凰 女（1925 - 1992）飾演六雲的失散姐姐江花右， 和「武生王」靚次伯（1905 - 1992）飾演蓄志謀 反的安西王。 據唐滌生在首演特刊中說，他編寫此劇，多少 是因緣巧合。一向鍾情古典戲曲的他，把任何 宋、元、明、清曲目的曲本，常常視為瑰寶， 即使是斷簡殘篇，亦必緊密收藏。他說：「一
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In 1958, the well-known Hong Kong librettist Tong Tik-sang (1917–1959) wrote the opera Pavilion of a Hundred Flowers for the Lai Sing Opera Troupe, led by opera stars Ng Kwan-lai (b. 1930) and Ho Fei-fan (1919–1980). The opera premiered on 20 October at the Apollo Theatre in Kowloon. The stars who took part in this ground-breaking performance included not only Ng Kwan-lai and Ho Fei-fan—who played the roles of Princess Baihua and Jiang Liuyun, respectively—but also “the king of the comic role” Leung Sing-por (1908–1981), who played the role of eunuch Bala; Mak Bingwing (1915–1984), who played the role of marshal Zou Hualong; Fung Wong-nui (1925–1992), who played the role of Liuyun’s long lost sister Jiang Huayou; and “the king of the young martial role” Lan Chi-pat (1905–1992), who played the role of the ambitious rebel Prince Anxi.
年前偶過荷李活道書肆之中，得見《百花亭》 手抄二本，即為今日錄下之《設計》、《贈劍》 兩折，但已毀於蟲鼠，失卻本來面目，費一月 之時間，補句填字，強能完整，並用以為改編 《百花亭贈劍》之藍本，雖橋段與佈局不同， 此孤本實為啟發我改編是劇之主要素材」；又說： 「我曾費了近三個月的時光把《百花亭贈劍》 的故事編成完整，除了保持了固有優美的傳統 藝術以外，還加重了劇中的矛盾力，和誇耀了 這戲的主題力量。」 唐氏努力的成果，是一齣「美麗動人」的《百花 亭贈劍》。據現存於香港文化博物館的「麗聲 劇團」開山本，原劇以安西王招兵買馬、蓄志 謀反，朝廷派遣元帥鄒化龍統領江六雲等「十二 路御史」加以監視為背景，全劇分為五場。頭
The fruit of Tong’s labour is the beautiful and moving opera, Pavilion of a Hundred Flowers. In the original script written for the Lai Sing Opera Troupe, now kept in the Hong Kong Heritage Museum, the opera uses the rebellious ambitions of Prince Anxi and the plan to infiltrate his plot as its backdrop, told in five acts. The first scene, apart from introducing the main characters in Prince Anxi’s palace, also tells how Jiang Liuyun assumes the name “Haijun” and gains access to Prince Anxi’s residence. In the second scene, we see how Jiang’s misfortune turns to good luck when he marries Princess Baihua. In the third scene, Jiang steals back to Zou Hualong’s camp to implore him to spare Princess Baihua’s life. The Princess discovers Jiang’s true identity in the fourth scene, and misconstrues his feelings for her as just a ploy to trick her. Jiang tries to explain but to no avail. Zou breaks into Prince Anxi’s palace, and the Princess hides her identity and manages to escape. In the final scene, the Princess leads a band of righteous followers to
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場除介紹安西王宮內的主要人物外，敘述江六 雲化名「海俊」，成功混進王府。第二場敘述 江六雲因禍得福，與百花公主結成夫婦。第三 場述江六雲偷偷回到鄒化龍的軍營，懇請鄒化 龍放公主一條生路。在第四場，公主識破「海 俊」的真正身份，並誤會他騙婚騙情，六雲百 辭莫辯；鄒化龍攻進王宮，幸公主化身脫險。 在尾場，公主率領江湖義士擬救父王，終棄劍 投降；鄒化龍突然請安西王上座，並坦言只要 安西王放棄謀反，兩方便可媾和。 今天回顧此劇，發覺故事曲折緊張媲美荷李活 電影、生旦浪漫癡情不減「任白戲」、唱段動 聽彰顯「凡腔」的「靈性」、女主角能文能武 突顯傳統戲曲對演員的嚴謹要求，但結尾草草， 似乎當年有「趕工起貨」之嫌。
save her father, but ends up surrendering her sword and capitulating. Zou unexpectedly invites Prince Anxi to take a seat of honour, and tells him that if he is willing to give up his rebellious plans, they can make peace.
縱觀唐滌生的劇作一向重視創新、突破、隨演
In watching this performance again today, we find that its plot twists are comparable to any Hollywood movie, the romance between the leads is no less alluring than the classic chemistry between Yam Kim-fai and Pak Suet-sin, the singing is imbued with the spirit of Ho Fei-fan’s style, and the young female role’s display of grace and elegance on one hand, and martial skills on the other, speaks of the demands traditional opera puts on its performers. One criticism at the time, possibly due to time constraints, was the hasty ending.
一些個人對傳統劇本承傳的看法，總算是藉研
隨改、精益求精，大家看到的江駿傑和毛俊輝 全新的《百花亭贈劍》改編版本，企圖注入新 時代的新氣息，可以說是唐滌生精神的承傳。 本人有幸在因緣巧合下獲邀參與此中，提出了 究回饋了創作。研究服務於創作，但若停滯不 前，總會有過時的一天；只有具突破性的改編 和創作才是萬古常新的。期盼是次《百花亭贈 劍》的製作既能鼓動更多突破性的改編，亦能 啟發更多緊扣時代的粵劇創作。 陳守仁 原文刊登於 2018 年度香港藝術節 《百花亭贈劍》場刊，獲作者授權重印
In Tong Tik-sang’s tradition of breaking new ground and looking towards innovation, flexibility and the pursuit of excellence, Kong Chun-kit and Fredric Mao present here tonight their new adaptation of Pavilion of a Hundred Flowers. In a continuation of Tong Tik-sang’s spirit, this production aims to bring a new flavour to the story for our new times. It is my fate that I am fortunate enough to have been invited to contribute my views on the legacy of traditional opera scripts, with my research being fed back into the creation of this new work. If research in the service of creation were to cease, there would come a time when traditional opera would become passé. Only with ground-breaking adaptations and creative innovation can ancient arts remain fresh and relevant. It is my hope that this presentation of Pavilion of a Hundred Flowers can encourage more ground-breaking adaptations and inspire the creation of more Cantonese operas with a contemporary flavour. Chan Sau-yan Article originally published in 2018 HKAF’s Pavilion of a Hundred Flowers house programme. Reproduced with permission from the author.
© Keith Hiro
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唐滌生（1917-1959） Tong Tik-sang 唐滌生，原名唐康年，廣東中山人，1917 年生於黑龍江。1937 年，日軍轟炸上海， 旅居上海的唐氏父母先後辭世，唐滌生被迫 輟 學， 南 下 廣 州， 翌 年 流 徙 香 港。 在 港 期 間，唐滌生加入名伶薛覺先領導的「覺先聲 劇團」，負責抄曲，之後轉為編劇，深得薛 覺先和著名編劇家馮志芬賞識，二人更積極 鼓勵他從事編劇工作。 五十年代的唐滌生，已成為炙手可熱的編劇 家，幾乎所有粵劇紅伶均有演出他所編撰的 劇本，其中包括薛覺先、馬師曾、紅線女、 鄧碧雲、何非凡、麥炳榮、吳君麗、羅艷卿 等。1956 年，任劍輝和白雪仙羅致著名「武 生王」靚次伯及「丑生王」梁醒波等人，成 立「仙鳳鳴劇團」，聘用唐滌生為駐團編劇， 演出改編元、明、清三代的劇本。他所撰名 劇諸如《牡丹亭驚夢》、《蝶影記》、《帝 女花》、《紫釵記》、《紅樓夢》、《再世 紅梅記》等，成為香港粵劇的經典瑰寶。
1959 年 9 月 14 日，唐滌生在利舞台欣賞新 劇《再世紅梅記》時，不幸突發腦溢血，延 至翌日凌晨不治，享年四十二歲。
( Fri 五 )
Tong Tik-sang was born in Heilongjiang province in 1917, but his family hailed from Guangdong province. His parents died during the Japanese bombardment of Shanghai in 1937, and Tong Tik-sang was forced to go first to Guangzhou and then to Hong Kong in 1938. In Hong Kong, Tong joined the Kok Sin Sing Opera Troupe, led by Sit Kok-sin. He started as a transcriber, and later, at the encouragement of the troupe’s leader and noted librettist Fung Chi-fun, took up writing libretti as a career. By the 1950s, Tong Tik-sang was already known for his popular operas. Most of the top Cantonese Opera stars, including Sit Kok-sin, Ma See-tsang, Hung Sin-nui, Tang Bik-wan, Ho Fei-fan, Mak Bing-wing, Ng Kwan-lai and Law Yim-hing appeared in his works. In 1956, Yam Kim-fai and Bak Suet-sin established the Sin Fung Ming Opera Troupe with Lan Chi-pat and Leung Sing-por. They engaged Tong as their resident librettist to rewrite the operas of the Yuan, Ming and Qing dynasties. His operas, such as Dream of Peony Pavilion, ButterflyShadowed Red Pear Chronicle, Princess Changping, Legend of the Purple Hairpin, Dream of the Red Chamber and Reincarnation of Lady Plum Blossom have been regarded as part of the canon of Hong Kong Cantonese opera, winning him fans throughout the years. During the premiere of Reincarnation of Lady Plum Blossom on 14 September 1959, Tong Tik-sang suffered a brain haemorrhage. He died the following day aged 42.
門票 尚餘少量 k e ts ic T d L im it e
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毛俊輝
Fredric Mao 藝術總監、導演及改編
Artistic Director, Director and Adaptor
毛俊輝是資深戲劇藝術家及著名舞台導演， 早年赴美進修戲劇並長期在當地從事專業 演與導工作，回港後出任香港演藝學院戲劇 學院表演系主任，為本地演藝界培育眾多出 色的接班人。他 2 0 0 1年至 2 0 0 8年擔任公司 化後的香港話劇團首任藝術總監，卸任時 獲頒「桂冠導演」名銜。多年來執導不少具 香港文化色彩，均叫好叫座的劇目，其中 包括《酸酸甜甜香港地》、《還魂香 / 梨花 夢》、《新傾城之戀》、《情話紫釵》、 《杜老誌》等等。曾為中國國家京劇院執導 改編自《德齡與慈禧》的京劇《曙色紫禁 城》，又為康文署主辦的中國戲曲節導演粵 劇《李後主》新繹本。 2 0 1 4年至 2 0 1 6年被 邀出任香港演藝學院戲曲學院創院院長。
Renowned theatre practitioner and stage director Fredric Mao studied theatre and practiced professionally in the US, later returning to Hong Kong as the Head of Acting at the School of Drama of the Hong Kong Academy for Performing Arts (HKAPA), where he developed generations of local young talent. He became the first Artistic Director of the incorporated Hong Kong Repertory Theatre (HKRT) in 2001 and was bestowed the honourific title of HKRT’s “Director Laureate” upon his departure in 2008. Mao has directed many distinguished stage productions with a Hong Kong cultural flair, such as Sweet & Sour Hong Kong, Secret of Resurrection, Love in a Fallen City, The Liaisons and Tonnochy. Mao directed Forbidden City at Dawn, an adaptation of De Ling and Empress Dowager Cixi, for the China National Peking Opera Company, and adapted and directed a new Cantonese opera production of The Last Emperor of Tang at the Leisure and Cultural Services Department’s Chinese Opera Festival. At the invitation of the HKAPA, Mao became the Founding Chair of its newly established School of Chinese Opera from 2014 to 2016.
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江駿傑
洪海
聯合改編
戲曲表演指導
Kong Chun-kit
Hong Hai
Co-adaptor
Chinese Opera Performance Advisor
江駿傑是新進劇作家和專欄作者，從事音樂創作及編曲。九歲開始接受傳統戲曲訓 練，曾習武生。他是首屆中國戲劇家協會「全國青年音樂家研修班」A 班學員、中國 戲曲音樂學會會員及獲頒發香港藝術發展局 2012 年藝術新秀獎 ( 戲曲 )。
洪海生於廣州，畢業於廣東粵劇學校及香港演藝學院戲曲學院。他曾為紅豆粵劇團主 要演員，主攻文武小生，師承粵劇表演藝術家羅品超，深得劉洵、許堅信、鄺宏基、 胡芝風、麥惠文等名師指導，其代表劇目有《三打白骨精》、《拜將台》、《馬上良 緣》、《五郎救弟》、《武松》等。作為演員及戲曲指導，洪海曾多次參與香港話劇 團、演藝青年粵劇團、桃花源粵劇工作舍等團體的大型製作，演出足跡遍佈美加、韓 國及歐洲等地。2017 年創辦碧海粵劇團，致力保存與宏揚中國傳統文化。
畢業於八和粵劇學院及香港演藝學院，師承劇作家杜國威先生，編劇作品包括《英雄 罪》、《十二道金牌》、《搬家》、《生死判》。 Kong Chun-kit is an emerging scriptwriter and columnist, who has been working in composing and arranging music. He began receiving traditional Chinese opera training at the age of nine, and has sung as a wusheng. He is a student of the first Chinese Theatre Association National Youth Opera Musicians Programme (Class A) and a member of the Chinese Theatre Music Society. He was also the recipient of the HKADC Award for Young Artist (Chinese Opera) in 2012. He graduated from the Cantonese Opera Academy of Hong Kong and the Hong Kong Academy for Performing Arts. He is also a student of the scriptwriter Raymond To. His works include: The Sin of Hero, Without Reason, To Make a Move and The Gate of Hell.
Hong Hai was born in Guangzhou and graduated from the Guangdong Cantonese Opera School and the Hong Kong Academy for Performing Arts School of Chinese Opera. Hong was a leading actor in the Guangzhou Hongdou Cantonese Opera Troupe, and mainly plays wenwusheng (male civil and military) and xiaosheng (young leading male) roles. He studied under Cantonese opera performer Lo Pan-chiu, and was mentored by veterans such as Liu Xun, Hui Kin-shun, Kuang Hongji, Hu Zhifeng and Mak Wai-man. His notable repertoire includes The Monkey King Thrice Beats the Bony Ghost, Arena and Warriors’ Romance. As an actor and Chinese opera acting coach, Hong has collaborated with the Hong Kong Repertory Theatre, Young Academy Cantonese Opera Troupe and Utopia Cantonese Opera Workshop on major productions. Hong has performed overseas in the US, Canada, Korea and Europe. He founded the Azure Seas Cantonese Traditional Theatre in 2017 with a vision to preserve and promote traditional Chinese culture.
李章明 音樂總監及頭架
陳守仁
Li Cheung-ming
文學顧問
Music Director and Lead Musician 李章明是深圳市粵劇團始創人之一，並是該團音樂首席、編曲和指揮，也是香港作曲 家及作詞家協會會員。他曾在香港多個專業劇團和戲曲演唱會擔任音樂總監並參與編 曲和音樂配器。在 2010 年代表香港參加中國上海世博會演出，負責由毛俊輝導演的 舞台劇《情話紫釵》之粵樂設計和統籌。現在是恆青曲藝社社長。 Li Cheung-ming co-founded the Shenzhen Cantonese Opera Troupe, where he now serves as troupe master, arranger and conductor. Li is also member of the Composers and Authors Society of Hong Kong. He has directed and arranged music for various professional theatre and Chinese opera productions in Hong Kong. In 2010, Li was music designer and coordinator for Fredric Mao’s The Liaisons, a production featured on the HKSAR programme for the Shanghai World Expo 2010. He chairs the Evergreen Chinese Opera Musical Club.
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Chan Sau-yan Dramaturg 陳守仁早年在香港中文大學及美國匹茲堡大學分別取得音樂學士及博士學位，1987 年至 2007 年在香港中文大學音樂系任教，講授粵劇及香港音樂等課程。他 2008 年初 移居英國威爾斯，2015 年回香港定居；現從事粵劇劇本研究和劇本整理的工作。 Chan Sau-yan read music at the Chinese University of Hong Kong (CUHK) before he attained his doctorate at University of Pittsburgh, USA. He taught in CUHK’s Department of Music from 1987 to 2007. After spending seven years in Wales (UK), he returned to Hong Kong in 2015. He is now a researcher, writer and volunteer. His publications include over 20 books on Cantonese opera. Currently, he is studying the popular repertory of contemporary Cantonese opera.
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王志良
林穎施
江六雲
百花公主
Wang Zhiliang
Lin Yingshi
Jiang Liuyun
Princess Baihua
王志良畢業於廣東粵劇學校及以滙豐銀行獎學金修畢香港演藝學院課程，2 0 1 1 年加 入香港演藝青年粵劇團，由創團起開始擔綱文武生至 2 0 1 8 年。在職期間，他擔任演 藝學院粵劇應用學習課程導師。王氏唱做俱佳，尤以腰腿功及長靠戲見長。2 0 1 4 年 榮獲西九戲曲中心粵劇新星展演「優秀表演獎」；2 0 1 6 年獲香港電台第五台戲曲天 地梨園之最頒發梨園新輝，同年代表演藝學院參加台灣 「香港週」演出。
林穎施獲廣州振興粵劇基金會全資獎學金畢業於廣東粵劇學校，2007 年獲演藝學院 友誼舍全資獎學金入讀香港演藝學院，曾於香港演藝青年粵劇團擔綱花旦，亦擔任演 藝學院戲曲學院應用學習課程粵劇導師，及網上粵劇課程「粵劇：從後台到前台」的 主講導師。她師從著名粵劇表演藝術家鄭培英及倪惠英，曾榮獲全國群星獎、全國明 日之星稱號、省港澳四洲杯粵曲大賽冠軍、廣東省曲協杯金獎、廣州市少兒粵劇大賽 冠軍、南方電視台「敢拼才會影」歌影視大賽冠軍等多個獎項，並榮獲獎學金到北京 中國戲曲學院深造。她曾於 2012 年以話劇《打轉教室》代表香港參加愛丁堡國際藝 穗節。
Wang Zhiliang graduated from the Guangdong Cantonese Opera School and the Hong Kong Academy for Performing Arts (HKAPA) on an HSBC Scholarship. He joined the Hong Kong Young Academy Cantonese Opera Troupe in 2011, and has played a wenwusheng role since the troupe’s foundation in 2018. He has been an instructor for HKAPA’s Applied Learning Courses for Cantonese Opera. Wang excels in singing and acting, and specializes in yaotuigong (waist and leg technique) and changkaoxi (high-ranking military male operas). In 2014, he won the Outstanding Performance Award at the Rising Stars in Cantonese Opera Showcase organised by the West Kowloon Cultural District. In 2016, he won the RTHK 5 Best of Chinese Opera’s Rising Star Award and represented HKAPA to participate in the “Hong Kong Week” performance in Taiwan.
符樹旺 八臘內侍
Lin Yingshi graduated from the Guangdong Cantonese Opera School and Hong Kong Academy for Performing Arts (HKAPA) with full scholarships from the Guangzhou Zhenxing Cantonese Opera Foundation and the Society of the Academy for Performing Arts, respectively. She was formerly the headline huadan (young female role) at the Hong Kong Young Academy Cantonese Opera Troupe, and teaches the HKAPA School of Chinese Opera Applied Learning Course and online Cantonese Opera course "From Backstage to the Stage". Lin studied with renowned Cantonese opera performers Cheng Pui-ying and Ni Huiying. Lin’s numerous awards include the National Qunxing Award, National Future Star title, champion of Guangdong–Hong Kong–Macao Four Seas Cup Cantonese Opera Contest, the Guangdong Provincial Musicians’ Association Cup Gold Prize, the Guangzhou City Young Performers’ Cantonese Opera Competition First Prize and the TVS Music–Television–Film Competition First Prize. She also attended the National Academy of Chinese Theatre Arts on scholarship. In 2012, She participated in Edinburgh Festival Fringe with the drama Detention Hong Kong.
Fu Shuwang Bala the Court Master 符樹旺九歲起學藝，1990 年考入湛江市小孔雀粵劇團跟隨孔雀屏學藝，三年後任職 丑生。2001 年加入江門市粵劇團任職小生，獲廣東省青年粵劇大賽銅獎。2 0 1 3 年入 讀香港演藝學院，畢業後加入香港演藝青年團。現主攻文武丑生及鬚生，曾演出劇目 《擋馬》、《十五貫》、《三岔口》及 2018 年香港藝術節的《百花亭贈劍》等。
林芯菱
Fu Shuwang began learning Cantonese opera arts at age nine. He was admitted into the Zhanjiang Little Peacock Cantonese Opera Troupe to learn under Hung Zheuk-ping in 1990, and became a specialist in the chousheng (male comic) role three years later. He joined the Jiangmen Cantonese Opera Troupe as a xiaosheng (young male role) and received the Bronze Award from the Guangdong Province Youth Cantonese Opera Contest. He furthered his training at the HKAPA in 2013 and joined the Hong Kong Young Academy Cantonese Opera Troupe after his graduation. Fu specialises in the wenwuchousheng (civil and military comic male) and susheng (bearded male) roles. Fu’s repertoire includes Stop the Horse, Fifteen Strings of Cash, At the Crossroads and the 2018 HKAF’s Pavilion of a Hundred Flowers, among others.
Jiang Huayou
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江花右
Shirley Lin 林芯菱 2003 年畢業於湛江藝術學校，主攻花旦、刀馬旦，曾效力佛山粵劇院。2011 年於香港演藝學院戲曲課程繼續深造，其間跟隨胡芝風、吳聿光、黃德正、黃綺雯、 葉安怡、邢金沙等老師學藝。現任香港演藝青年粵劇團花旦，獲邀到美國、加拿大、 澳洲、新加坡、台灣等地演出，大獲好評。 Shirley Lin graduated from the Zhanjiang Art School in 2003, specialising in the roles of huadan (young female) and daomadan (warrior female). She has previously worked at the Foshan Cantonese Opera House. Lin continued her study in the HKAPA Chinese Opera programme, where she learned from teachers Hu Zhifeng, Ng Lut-kwong, Wong Tak-ching, Wong Yee-man, Ye Anyi and Ying Kam-sha. She currently plays huadan roles in the Hong Kong Young Academy Cantonese Opera Troupe. Lin has been invited to perform in the US, Canada, Australia, Singapore and Taiwan.
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洪海
其他演員 Ensemble Cast
鄒化龍
Hong Hai Zou Hualong 個人簡歷請見第 37 頁 Please see p.37 for biography 陳鎧汶 飾 田翠雲 Chan Hoi-man as Tian Cuiyun
盧銘章 飾 虎豹 Lo Ming-cheung as Fu Pao
鄺紫煌 飾 龍彪 Kwong Tsz-wong as Long Biao
何希雯 Ho Hei-man
梁鈞賢 Leung Kwan-yin
梁桭文 Liang Zhenwen
吳穎霖 Vina Ng Wing-lam
吳敏婷 Ng Man-ting
黃可柔 Wong Ho-yau
朱兆壹 安西王
Chu Siu-yat Prince Anxi 朱兆壹六歲起接觸粵劇，於香港演藝學院戲曲藝術學士學位畢業，攻生行，修讀期間 曾到廣州、澳門、台灣、韓國、日本和加拿大與當地藝術團體交流演出。在校代表演 出劇目包括《脫穽救裴》、《西河會妻》及《泗水關》等。2016 及 2017 年，他參與 了西九文化區戲曲中心粵劇新星展，亦曾拍攝廉政公署以粵劇為主題的反貪污短片。 他於 2018 年香港藝術節《百花亭贈劍》飾演安西王。 Chu Siu-yat started learning Cantonese opera at age six. He graduated from the Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts in Chinese Opera, specialising in sheng (male) roles. He has worked with local art companies in Guangzhou, Macau, Taiwan, Korea, Japan, and Canada throughout his studies. His acting credits for on-campus productions include: Rescuing Pei from a Trap, Meeting Wife in Xihe and Gate at Si River, among others. He appeared in West Kowloon Cultural District’s Rising Stars of Cantonese Opera in 2016 and 2017, and participated in shooting ICAC’s Cantonsese opera-themed anti-corruption videos. He performed as Prince Anxi in 2018 HKAF’s Pavilion of a Hundred Flowers.
胡敏嘉 Woo Man-ka
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陳志權
陳焯華
舞台設計
燈光設計
Ricky Chan
Billy Chan
Set Designer
Lighting Designer
陳志權畢業於香港演藝學院，主修佈景及服裝設計，現為香港演藝學院舞台設計系主任，於 2008 至 2012 年擔任 香港舞台技術及設計人員協會主席。2009 年獲香港中文大學文化研究課程文學碩士學位。至今設計逾百齣舞台 製作，2011 年憑香港話劇團《浮士德》第三次獲得香港舞台劇獎最佳佈景設計。
陳焯華 1996 年畢業於香港演藝學院科藝學院，主修劇場燈光設計。重要設計作品有宇烈作品《硬銷》、《萬世 歌王》及《賈寶玉》等。從 1997 年《愛的教育》起與非常林奕華長期合作，作品包括《聊齋》、《華麗上班族 之生活與生存》及《紅樓夢》等。2008 年憑《梨花夢》獲得第十七屆香港舞台劇獎最佳燈光設計。2017 年憑《紅 樓夢》獲上海戲劇谷 2017 壹戲劇大賞年度最佳舞台美術類（燈光設計）。2007、2011 及 2015 年分別憑《逐色》、 《萬千師奶賀台慶》及《三國》代表香港參加布拉格劇場設計四年展。近期作品包括香港芭蕾舞團《大亨小傳》、 毛俊輝導演作品《奪命証人》及第 45 屆香港藝術節《世紀． 香港》音樂會等。
Ricky Chan graduated from the Hong Kong Academy for Performing Arts (HKAPA) with an honours degree in Set and Costume Design. He is currently Head of the Theatre Design Department of the HKAPA. He was the Chairman of the Hong Kong Association of Theatre Technicians and Scenographers from 2008 to 2012. Chan also obtained a Master of Arts in Intercultural Studies at the Chinese University of Hong Kong in 2009. He has done design work for over 100 productions with critical acclaim. His designs for Hong Kong Repertory Theatre's Dr Faustus won him his third Best Set Design award at the Hong Kong Drama Awards in 2011.
譚嘉儀 服裝及造型設計
Mandy Tam Costume Designer and Stylist 譚嘉儀為香港演藝學院學士及香港中文大學文化研究碩士。曾參與各地舞台及電視製作之服裝設計，涉獵範圍包 括歌劇、中國戲曲、音樂劇、話劇和形體劇場。她於 2004 及 2015 年獲香港戲劇協會頒發最佳服裝設計，2008 年獲亞洲文化協會頒發利希慎獎助學金到紐約探索服裝文化及保育。現為自由身舞台工作者及大專院校兼職講 師。 Mandy Tam holds a Master of Arts degree from the Hong Kong Academy for Performing Arts and a Master of Philosophy in Intercultural Studies from the Chinese University of Hong Kong. She designs costumes for stage and television productions in various locations. Her experience in costume design encompasses Chinese and Western operas, musicals, plays and physical theatre. She won the Best Costume Award from the Hong Kong Federation of Drama Societies in 2004 and 2015. In 2008, she went on a one-year study trip to New York funded by a scholarship from the Lee Hysan Foundation Fellowship of the Asian Cultural Council. She currently works freelance and teaches in tertiary institutions.
陳寶愉 製作經理
Chan Bo-yu
Billy Chan graduated from the Hong Kong Academy for Performing Arts in 1996, majoring in theatre lighting design. His major designs include Yuri Ng’s Love On Sale, L’ emperor du Chant, and Awakening, among others. He has worked with Edward Lam Dance Theatre since 1997; recent collaborations include Why We Chat, Design for Living, and What is Sex? (Best Stage Art Lighting Design at Shanghai Modern Drama Valley One Drama Awards, 2017), among others. Secret of Resurrection won Best Lighting Design at the Hong Kong Drama Awards in 2008. Chan represented Hong Kong in 2007, 2011 and 2015 at the Prague Quadrennial of Performance Design and Space with his designs for Colour Fugue, My Life as A TV and What Is Success?. Recent works include the Hong Kong Ballet’s The Great Gatsby, Fredric Mao’s Witness for the Prosecution and the 45th HKAF’s Hong Kong Odyssey concert, among others.
郭宇傑 音響設計
Jaycee Kwok Sound Designer 郭宇傑畢業於香港演藝學院舞台及製作藝術學院，主修音響設計／技術及音樂錄音。近年的音響設計作品有： 1 0 0 毛毛台劇《我殺死了尊貴客戶》；英皇娛樂《奪命証人》；一路青空《擦擦奇俠》及《魔法豆腐花》( 勇氣 重演 ) 等；香港話劇團《奇幻聖誕夜》、《紅梅再世》、《埋藏的秘密》。聲域設計作品則有 orleanlaiproject《親 密 Claustrophobia》。 Jaycee Kwok graduated from the Hong Kong Academy for Performing Arts, majoring in sound design and music recording. His recent sound design productions include: 100Most’s drama I Killed a Valued Customer; Emperor Entertainment Group’s Witness for the Prosecution; the Radiant Theatre’s Rubber Man and Magic Tofu Flower; and Hong Kong Repertory Theatre’s SCROOGE: The Musical, Reincarnation of Plum Blossom and Buried Child, among others. Kwok has also done soundscape design work on orleanlaiproject’s Claustrophobia.
麥凱欣
Production Manager
舞台監督
陳寶愉 1996 年畢業於香港演藝學院，主修舞台及技術管理。為不同劇團和文化藝術機構的舞台演出擔任製作經 理、技術及舞台監督等職務。近年為多個本地作品的亞洲巡演劇目出任製作總監，包括《賈寶玉》、《恨嫁家族》、 《梁祝的繼承者們》、《情話紫釵》、《狂揪夫妻》等。多年來為香港藝術節的演出節目擔任技術統籌，2 0 1 7 年參與香港藝術節之《紅樓夢》歌劇。 Chan Bo-yu graduated from the Hong Kong Academy for Performing Arts in 1996 majoring in stage and technical management. She has been a production manager and technical and stage director for various companies and arts organisations. She was also the production director of several local productions’ Asia tours, including Awakening, I Hate Therefore I Marry, Art School Musical, The Liaisons and Le Dieu du carnage. Chan has worked as a technical coordinator for Hong Kong Arts Festival for many years, most recently as production manager in the 2017 opera Dream of the Red Chamber.
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Mak Hoi-yan Stage Manager 麥凱欣畢業於香港演藝學院藝術、項目及舞台管理系學士學位，曾參與製作英皇娛樂《杜老誌》、《奪命証人》； 非常林奕華《賈寶玉》、《恨嫁家族》、《梁祝的繼承者們》、《紅樓夢》及《心之偵探》等；神戲劇場《狂揪 夫妻》及《仲夏夜之夢》等劇作。 Mak Hoi-yan graduated from the Hong Kong Academy for Performing Arts with a Bachelor's Degree in Arts, Events & Stage Management. She has worked on Emperor Entertainment Group’s Tonnochy and Witness for the Prosecution; Edward Lam Dance Theatre’s Awakening, I Hate Therefore I Marry, Art School Musical, What is Sex? and This is not a Pipe and I am not Sherlock Holmes; and Dionysus Contemporary Theatre’s Le Dieu du carnage and A Midsummer Night’s Dream, among others.
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梁思穎 執行舞台監督
Leung Sze-wing Deputy Stage Manager 梁思穎畢業於香港演藝學院舞台及製作藝術學院，主修藝術、項目及舞台管理；現為自由身舞台工作者。她在校 內曾參與多部作品，包括《三姊妹》、《魔零》、《元宵》；舞蹈作品《舞．動》、《跳出傳統》等等；在學時 曾獲「舞台及製作藝術學院教師嘉許獎」、「香港迪士尼獎學金」及「演藝學院友誼社獎學金」。 Leung Sze-wing graduated from the School of Theatre and Entertainment Arts at the Hong Kong Academy for Performing Arts, majoring in arts, events and stage management. She is currently a freelance stage practitioner. Leung has worked in a number of productions at school, including Three Sisters, Morning, Twelfth Night, and dance productions Tabula, Rasa and Out of Tradition. She won the School of Theatre and Entertainment Arts Faculty Prize, the Hong Kong Disneyland Scholarship, and the Society of the Academy for Performing Arts Scholarship.
駱麗而 助理舞台監督
Lok Lai-yi Assistant Stage Manager 駱麗而是香港演藝學院藝術（榮譽）學士應屆畢業生，主修藝術、項目及舞台管理。除校內演出，亦曾於不同製 作公司、顧問公司及主題樂園實習。熱衷參與各種媒介的藝術創作，現為自由身舞台工作者。 Lok Lai-yi graduated from Hong Kong Academy for Performing Arts, majoring in arts, event and stage management. Lok now works as a freelancer in theatre and is devoted to several arts creations. Beside the performances at school, she has been an intern in different production houses, consultancy companies and theme parks.
李祐宗 演員統籌
Jones Lee Artist Coordinator 李祐宗畢業於香港演藝學院藝術學士（榮譽）學位課程，主修藝術、項目及舞台管理，及在香港教育大學修讀藝 術管理及文化企業行政人員文學碩士學位課程。畢業後他主力從事中國戲曲及傳統表演藝術的製作及推廣工作。 現為製作人、碧海粵劇團聯合創辦人、青年廣場項目顧問及香港舞台技術及設計人員協會董事局成員。 Jones Lee Yau-chung graduated from the Hong Kong Academy for Performing Arts with a Bachelor’s Degree (Honours) in Arts, Event and Stage Management, and received a Master of Arts in Arts Management and Entrepreneurship from the Education University of Hong Kong. Lee is a producer, co-founder of Azure Seas Cantonese Traditional Theatre, project consultant at Youth Square and board member of Hong Kong Association of Theatre Technicians and Scenographers.
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鳴謝 Acknowledgements 香港藝術節衷心感謝下列機構及人士的慷慨支持： The Hong Kong Arts Festival would like to thank the following for their generous support:
贊助舍計劃會員 Patron’s Club Members 鉑金會員 Platinum Members
嘉里控股有限公司 Kerry Holdings Limited 新鴻基有限公司 Sun Hung Kai & Co. Limited
黃金會員 Gold Member
怡和集團 The Jardine Matheson Group
純銀會員 Silver Members
銅鑼閣有限公司 Causeway Corner Limited 太古集團慈善信託基金 The Swire Group Charitable Trust
青銅會員 Bronze Members
鷹君集團有限公司 Great Eagle Holdings Limited 上海商業銀行 Shanghai Commercial Bank Limited
其他支持機構 Other Supporters •Agency for Cultural Affairs, Government of Japan •ANA Holdings Inc. •British Columbia Arts Council
•British Council •Canada Council for the Arts •HEED
實物支持機構 In-kind Supporters •帝盛酒店集團 Dorsett Hospitality International •嘉頓有限公司 The Garden Company Limited •鷹君集團有限公司 Great Eagle Holdings Limited •In Technical Productions Limited •香港德迅貨運代理有限公司 Kuehne & Nagel Limited
•香港國際機場 Hong Kong International Airport •奧海城 Olympian City •信和集團 Sino Group •崇光 ( 香港 ) 百貨 SOGO Hong Kong •屯門市廣場 TMT Plaza
藝術節捐助計劃 Festival Donation Scheme 鉑金捐款者 PlATINuM DONORS HK$140,000 或以上 AND ABOVE •Mrs Miriam Hwa •Lincoln & Yu-San Leong •Nine Queens Investment Limited •Yip Foundation Ltd 鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 •林護紀念基金有限公司 Lam Woo Foundation Limited •Martin Rogers & Janet Cheng •Mr & Mrs Stephen Suen 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •無名氏 Anonymous •Jeffrey & Helen Chan •Mrs K L Chan •陳求德醫生 Dr Chan Kow Tak •Mrs Mona Leong •Ms Leung Wai Yee Candice •林聖竤 Chris Lin •Ms Sun Tien Chen •Mr & Mrs David S Y Wong 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 (3) Anonymous (3) •Mr & Mrs S Cheng •Mr Edwin Choy •Consigliere Limited •Alex & Hanne Fung •Mr & Mrs Kenneth H C Fung •Richard & Ruth Herbst •Ms Jenny Hodgson •Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •Mrs A M Peyer
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•Ms Lim Geck Chin Mavis •Gary & Flavia Ma •So Ching
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•無名氏 (12) Anonymous (12) •Antonhill Company Limited •Biz Office Limited •Carthy Limited •Cynthia Cheng & Aaron Chan •Dr Chan Chun Yin •Dr Cindy Chan •Dr Chan Wan Tung •D Chang •Ms Cheung Kit Fung •張宏毅律師及江淑慧夫人 Mr & Mrs Joseph W N Cheung •Ms Grace Chiang •Mr & Mrs Norman Chui •Community Partner Foundation Limited •Mr & Mrs Kenneth H C Fung •giliproduction •HUI Silvia •Betty Hung •Dr Alfred Lau •Joanna Lau •Dr Nancy Leung •Savita Leung •Ms Janice Ritchie •Susan Lim & Neil Roberts •Mr Siddique Salleh •Mr So Kin Man •William Stork & Jasmine Wong •Dr Tam Oi Wo Joyce •Ms Wong Siu Yee Amy •殷和順劉善萍伉儷 •Ms Yim Chui Chu •Mr Desmond Yu •野豬先生 •皮皮
新作捐助計劃 New Works Scheme 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •Ms Sun Tien Chen 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 Anonymous •劉仰澤先生 Mr Lau Yeung Chak •林聖竤 Chris Lin •孫永輝施熙德伉儷 Edith Shih & Stephen Sun 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •Ms Winnie W Ho
•Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •無名氏 (3) Anonymous (3) •Star B Chan & MDB •Dr Xina Lo •Mrs A M Peyer •黃逸思先生夫人 Mr & Mrs Y S Wong
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•香港藝術行政人員協會 Hong Kong Arts Administrators Association •香港藝術中心 Hong Kong Arts Centre •香港藝術發展局 Hong Kong Arts Development Council •香港浸會大學 Hong Kong Baptist University 電影學院 Academy of Film 音樂系 Department of Music 拉闊文化 Cultural Literacy Programme 政治及國際關係學系 Department of Government and International Studies •美國管風琴家協會香港分會 Hong Kong Chapter of the American Guild of Organists •香港大會堂 Hong Kong City Hall •香港文化中心 Hong Kong Cultural Centre •香港經濟貿易辦事處 Hong Kong Economic and Trade Office •香港黃金海岸酒店 Hong Kong Gold Coast Hotel •香港文化博物館 Hong Kong Heritage Museum •香港管弦樂團 Hong Kong Philharmonic Orchestra •香港公共圖書館 Hong Kong Public Libraries •香港唱片 Hong Kong Records •香港樹仁大學 Hong Kong Shue Yan University 圖書館 Library •香港旅遊發展局 Hong Kong Tourism Board •香港童聲合唱團 Hong Kong Treble Choir •宜必思香港中上環 ibis Hong Kong Central and Sheung Wan •工銀亞洲 ICBC (Asia) •富薈馬頭圍酒店 iclub Ma Tau Wai Hotel •海景嘉福洲際酒店 InterContinental Grand Stanford Hong Kong •香港洲際酒店 InterContinental Hong Kong •益普索香港 Ipsos Hong Kong •港島太平洋酒店 Island Pacific Hotel Hong Kong •賽馬會創意藝術中心 Jockey Club Creative Arts Centre •賽馬會官立中學 Jockey Club Government Secondary School •高山劇場 Ko Shan Theatre •九龍木球會 Kowloon Cricket Club •Kubrick •葵青劇院 Kwai Tsing Theatre •光華新聞文化中心 Kwang Hwa Information & Culture Center •中央人民政府駐香港特別行政區聯絡辦公室 Liaison office of the Central People's Government in the HKSAR •嶺南大學 Lingnan University 文學院 Faculty of Arts 黃炳禮音樂及演藝部 Wong Bing Lai Music and Performing Arts Unit 學生服務中心 Student Service Centre •香港逸蘭精品酒店 Lanson Place Hotel, Hong Kong •La Rotisserie •馬哥孛羅香港酒店 Marco Polo Hongkong Hotel •Maxibit HK/China •中華人民共和國文化和旅遊部 Ministry of Culture and Tourism, PRC •Mission Production Company Ltd •音樂事務處 Music Office •One Minden Tapas Kitchen •PALACE ifc •柏斯琴行 Parsons Music Limited •卓滙達有限公司 Patsville Company Ltd •Pause Rewind n FastForward •電訊盈科 PCCW •犇華企業服務有限公司 Primasia Corporate Services Limited •香港太子酒店 Prince Hotel, Hong Kong •香港帝景酒店 Royal View Hotel •沙田大會堂 Sha Tin Town Hall •聖公會鄧肇堅中學 Sheng Kung Hui Tang Shiu Kin Secondary School •信興電器貿易有限公司 Shun Hing Electronic Trading Co., Ltd. •先鋒廣告製作有限公司 Sin Fung Advertising Production Co., Ltd. •Southgate Design •香港西班牙商會 Spanish Chamber of Commerce in Hong Kong
•事必達推廣有限公司 Speedy Promotion Limited •聖雅各福群會 St. James' Settlement •辰衝圖書有限公司 Swindon Book Co. Ltd. •大館 Tai Kwun •台灣蘇富比國際房地產 Taiwan Sotheby's International Realty •藝林文具印刷有限公司 The Artland Co Ltd •香港八和會館 The Chinese Artists Association of Hong Kong •香港中文大學 The Chinese University of Hong Kong 戲曲資料中心 Chinese Opera Information Centre 音樂系 Department of Music 文學院 Faculty of Arts 和聲書院 Lee Woo Sing College 聯合書院 United College •香港城市大學 The City University of Hong Kong 中文系 Department of Chinese and History 英文系 Department of English 城大創意媒體學院 School of Creative Media •城景國際 The Cityview •香港教育大學 The Education University of Hong Kong 文化與創意藝術學系 Department of Cultural and Creative Arts 圖書館 Library •梅夫人婦女會 The Helena May •香港演藝學院 The Hong Kong Academy for Performing Arts 中國戲曲學院 School of Chinese Opera 戲劇學院 School of Drama 音樂學院 School of Music •香港兒童合唱團 The Hong Kong Children’s Choir •香港理工大學 The Hong Kong Polytechnic University 圖書館 Library •香港科技大學 The Hong Kong University of Science and Technology 藝術中心 Center for the Arts 人文學部 Division of Humanities 學生住宿及舍堂生活事務處 Student Housing and Residential Life Office HKUST Music Alive! •中環石板街酒店 The Pottinger Hong Kong •皇家太平洋酒店 The Royal Pacific Hotel and Towers •香港大學 The University of Hong Kong Cultural Management Office 音樂系 Department of Music 通識教育部 General Education Unit 國際事務處 International Affairs Office 圖書館 Library 現代語言及文化學院 School of Modern Languages and Cultures 香港大學博物館學會 The University of Hong Kong Museum Society 香港大學美術博物館 University Museum and Art Gallery •香港華美粵海酒店 The Wharney Guang Dong Hotel Hong Kong •通利琴行 Tom Lee Music Company Ltd •三角關係 Trinity Theatre •屯門大會堂 Tuen Mun Town Hall •UA CINEHUB •城市售票網 URBTIX •美國駐港澳總領事館 U.S. Consulate General in Hong Kong & Macau •進富印刷公司 Wealthy Step Printing Co. •wine etc •油麻地戲院 Yau Ma Tei Theatre •葉氏兒童合唱團 Yip's Children's Choir •香港基督教青年會（港青） YMCA of Hong Kong •青年學院 Youth College •青年廣場 Youth Square •元朗劇院 Yuen Long Theatre •赤豚事務所 Zhu Graphizs
節目時間表 Programme Calendar
粵劇《百花亭贈劍》 毛俊輝導演作品（更新版）
1/3 2/3
7pm 6pm
Madame White Snake by Zhou Long and Cerise Lim Jacobs
APAL
8-9/3
7:30pm
Cantonese Opera - Pavilion of a Hundred Flowers Directed by Fredric Mao (Reboot)
STTHAUD
1-2/3
8pm
粵劇越洋半世紀 -《紅了櫻桃碎了心》 - 白玉堂折子戲 -《胡不歸》 - 名伶花旦展演話當年
Cantonese Opera - Global Traces, Local Stages YMTT - Red Cherries and a Broken Heart - Vignettes of Pak Yuk-tong’s “Three Big Trials” - Why Don’t You Return? - A Long Passion – Talk, Demonstration and Performance
香港小交響樂團 小號巨星納卡里亞科夫
Hong Kong Sinfonietta Sergei Nakariakov • The Art of the Trumpet
瑪琳．艾爾梭與聖保羅交響樂團
9/3 10/3 11/3 15-17/3
7:30pm 2:30pm 7:30pm 7:30pm
CHCH
16/2
8pm
Marin Alsop with the São Paulo Symphony Orchestra
CCCH
21-22/2
8pm
Hong Kong Chinese Orchestra Meeting Across Nine Millennia of Time
CHCH
22/2
8pm
鮮于睿權鋼琴獨奏會
Yekwon Sunwoo Piano Recital
CHCH
23/2
8pm
帕佛．約菲與 NHK 交響樂團
Paavo Järvi with the NHK Symphony Orchestra, Tokyo
CCCH
28/2
8pm
法國世紀樂團：白遼士 150 指揮：麥森．帕斯高
Les Siècles: BERLIOZ 150 Conductor: Maxime Pascal
CCCH
2/3 3/3
8pm 4:30pm
萊比錫歌劇院合唱團 《歌劇合唱盛會》
Chor der Oper Leipzig Opera Chorus Concert
CCCH
3/3
8:15pm
馬祖耶夫鋼琴獨奏會
Denis Matsuev Piano Recital
CHCH
7/3
8pm
馬祖耶夫與得獎新晉鋼琴家匯演
Matsuev and Young Laureates Piano Gala
CHCH
8/3
8pm
Quondam Spanish Renaissance Choral Masterpieces
CHCH
9/3 10/3
8pm 4pm
Li Biao Percussion Group - From Baroque to Tango
CCCH
15/3
P is for PERCUSSION! Family Concert by Li Biao Percussion Group
CCCH
洪儷僖管風琴獨奏會
Riyehee Hong Organ Recital
克雷莫納弦樂四重奏
Quartetto di Cremona
爵士新潮 - 馬可．梅斯基達三重奏《拉威爾的夢》
Nouveau Jazz Weekend - Marco Mezquida Trio - Ravel's Dreams
APAD
李飈打擊樂團《巴羅克．探戈》 《好！擊！動！》親子音樂會 李飈打擊樂團
爵士樂 世 / 界音樂 JAzz / WOrLD MUSIC
- 馬可．梅斯基達鋼琴獨奏會 - 佐治．達洛查低音大提琴獨奏獨唱會
-《雙篇雙人舞》 -「兩地書」-《沒有大象》
The Hong Kong Jockey Club Contemporary Dance Series - Dance Off
CCST
- Double Bubble
CCST
- Dance Exchange - Elephant in the Room Asia Pacific Dance Platform - From starting to cut the wood - HUANG YI & KUKA
CCST
28/2, 1/3 2/3 15/3 16/3 20-21/3
8:15pm 3pm 8:15pm 2:45pm 8:15pm
KTT-BBT APA-DT
12-13/3 1-2/3
8pm 8:15pm
DANCE
舞蹈
漢堡芭蕾舞團 – 約翰．紐邁亞 《胡桃夾子》
The Hamburg Ballet - John Neumeier The Nutcracker
CCGT
13-15/3
7:30pm
漢堡芭蕾舞團 – 約翰．紐邁亞 《貝多芬計劃》
The Hamburg Ballet - John Neumeier Beethoven Project
CCGT
19-20/3
7:30pm
漢堡芭蕾舞團 – 約翰．紐邁亞 《約翰．紐邁亞的世界》
The Hamburg Ballet - John Neumeier The World of John Neumeier
CCGT
23/3 24/3
7:30pm 2:30pm
重新劇團 《追憶消逝的人生》
Theatre Re The Nature of Forgetting
CCST
21-24/2 23-24/2
8:30pm 4:30pm
瑞士默劇團 《百變樂園》
Mummenschanz Reloaded
APAL YLT-AUD
21-22/2 24/2 24/2
7:30pm 1pm 5pm
倫敦燃料劇團、布里斯托爾老域劇團、 愛丁堡皇家蘭心劇院與北安普敦皇家及 德蓋特劇院聯合製作 《攀越冰峰》
A Fuel, Bristol Old Vic, Royal Lyceum Theatre Edinburgh, and Royal & Derngate Northampton co-production Touching the Void
CHT
21-24, 8pm 26-28/2, 1-2/3 23-24/2, 2/3 3pm
機器神製作 羅伯特．利柏殊創作及演出 《887》
Ex Machina Created and performed by Robert Lepage 887
APAL
27-28/2, 1-2/3 8pm 2/3 3pm
8pm
賽馬會本地菁英創作系列 《陪着你走》
Jockey Club Local Creative Talents Series Always by Your Side
KTT-AUD
2,6-9/3 3,9-10/3
8pm 3pm
16/3
8pm
4-5/3
8:15pm
18/3
8pm
Dead Centre Hamnet
CCST
CCCH
正點劇團 《哈姆尼特─莎士比亞之子》
CHCH
21-22/3
8pm
正點劇團 《契訶夫處女作》
Dead Centre Chekhov's First Play
CCST
8-9/3 9-10/3
8:15pm 3pm
北京李六乙戲劇工作室 《哈姆雷特》
Beijing LiLiuyi Theatre Studio The Tragedy of Hamlet, Prince of Denmark
CCGT
7-8/3 9/3
7:30pm 2:30pm
《九江》
Gangsters of Hong Kong
CHTH
8-9,13-16, 20-23/3 10, 17, 24/3
8pm
Ontroerend Goed 《金錢世界》( 英語版 )
Ontroerend Goed - £¥€$ (LIES) (English Version)
TK-F Hall
《金錢世界》( 粵語版 )
- £¥€$ (LIES) (Cantonese Version)
12-17/3 12-15/3 16-17/3 20-24/3 20-22/3 23-24/3
6pm 9pm 3pm 6pm 9pm 3pm
離奇作業劇團 《蛙人》
curious directive Frogman
CDAV
12-15/3 12-15/3 16-17/3 16-17/3
7pm 9pm 3pm 5pm
傑夫．索貝爾 《家》
Geoff Sobelle Home
APAL
14-16/3 16/3
8pm 3pm
22/2 23/2 23/2 23/2
- Marco Mezquida Piano Solo - Jorge da Rocha Solo
世界音樂週末營 - Criatures 二人組及 Belda & Sanjosex - 易莎．拉娜三重奏《路》 - 佐治．達洛查三重奏《放下．放開》
World Music Weekend - Criatures and Belda & Sanjosex - Yexza Lara - Camino - Jorge da Rocha - To Drop and Let Go
HKAC-ST
馬祖耶夫爵士樂隊
Matsuev and Friends Play Jazz
湯瑪士．夸斯托夫四重奏 《Nice 'N' Easy》
Thomas Quasthoff Quartet Nice 'N' Easy
希薇雅．佩瑞茲．克露絲 《夜妝》
8pm 7:30pm 4pm 9:30pm
戲劇
時光之音 《西班牙文藝復興合唱代表作》
香港賽馬會當代舞蹈平台 -《舞鬥》
亞太舞蹈平台 -《由削木開始》 -《黃翊與庫卡》
THEATrE
香港中樂團 《九千年的邂逅》
舞蹈
《白蛇傳》 作曲：周龍 | 編劇：林曉英
CCGT
Oper Leipzig Wagner’s Tannhäuser
DANCE
歌劇 戲 音樂 /曲 OPERA / CHINESE OPERA MUSIC
萊比錫歌劇院 華格納《唐懷瑟》
3pm
2-3/3 2/3 3/3
4:30pm 8pm 8pm
CCCH
9/3
8pm
CCCH
14/3
8pm
Sílvia Pérez Cruz Dressed by the Night (Vestida de Nit)
CCCH
22/3
8pm
香港藝術節 @ 大館
HKartsFestival@TaiKwun
TK
2-3/3 9-10/3
雲門舞集 45 週年 林懷民舞作精選
Cloud Gate Dance Theatre of Taiwan The 45th Anniversary Gala Programme Retrospectives of Lin Hwai-min's Works
CCGT
21-23/2 24/2
8:15pm 2pm
皮普．德爾邦諾劇團 《快樂大本營》
Compagnia Pippo Delbono La Gioia (Joy)
APAL
22-23/3
8pm
APAD
26-27/2
8:15pm
馬里安諾．潘恩索廸及瑪利亞劇團 《三個女人搞革命》
Mariano Pensotti / Grupo Marea Burning Bright in the Forest of the Night
CCST
Euripides Laskaridis / Osmosis TITANS
23/3 24/3
8:15pm 5pm
歐里庇德斯．拉斯卡里迪斯及遊離表演工作坊 《泰坦 – 諸神之舞》
資料截至 Information as of: Jan 2019
CCGT CCCH CCST CHCH
香港文化中心大劇院 Grand Theatre, HK Cultural Centre 香港文化中心音樂廳 Concert Hall, HK Cultural Centre 香港文化中心劇場 Studio Theatre, HK Cultural Centre 香港大會堂音樂廳 Concert Hall, HK City Hall
CHT APAL APADT HKAC-ST
香港大會堂劇院 Theatre, HK City Hall 香港演藝學院歌劇院 Lyric Theatre, HKAPA 香港演藝學院戲劇院 Drama Theatre, HKAPA 香港藝術中心壽臣劇院 Shouson Theatre, Hong Kong Arts Centre
KTT-BBT KTT-AUD YLT-AUD STTH-AUD
葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre 葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre 元朗劇院演藝廳 Auditorium, Yuen Long Theatre 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall
YMTT TK CDAV
油麻地戲院 Yau Ma Tei Theatre 大館 Tai Kwun 牛棚藝術村 Cattle Depot Artist Village
藝術節加料節目 節目詳情及網上報名 For more details and online registration: www.hk.artsfestivalplus.org 音樂 MUSic
特備節目 SpecialS 樂與畫音樂會：《哥雅之畫》- 葛拉納多斯的音樂意境 Music and Art Concert: Goya’s World through Granados’s Goyescas
藝術絕不止於劇場或舞台，而是能延伸至生活的每個小節。無論您是藝術節的忠實擁躉、藝術 愛好者或年輕藝術家，PLUS誠邀您透過一系列老少咸宜的節目與特備活動，一起探索與體驗 香港藝術節「演出之外，更多精采！」
25/1/2019
PLUS extends your festival experience to more than what you see on stage. Experienced festivalgoers, newcomers, budding artists, and the young and old alike will be delighted that there are "More than Great Performances" at the Hong Kong Arts Festival!
20/2/2019
聖保羅交響樂團四重奏 SPSO String Quartet
22/2/2019
香港藝術節傑出文化領袖講座系列 講者︰葉 芠芠（雲門文化藝術基金會執行總監） HKAF Distinguished Cultural Leader Series (VI) Speaker: Yeh Wen-wen (Executive Director of Cloud Gate Cultural and Arts Foundation)
《好！擊！動！》同樂日 P is for Percussion! Family Day 互動敲擊展覽
��動啦� 大堂音樂會
Interactive Percussion Exhibition
Feel the Pulse NOW!!! Foyer Performance
14/3 - 15/3 四至五 Thu to Fri 12:00nn - 8:00pm 展覽 Exhibition
⯝顥 F R E E
16/3 六 Sat 2:00 - 6:00pm 互動環節 Interactive Session
16/3 六 Sat 4:30 - 5:30pm
香港文化中心大堂 Foyer, HK Cultural Centre
香港文化中心大堂 Foyer, HK Cultural Centre
⯝顥 F R E E
拇指琴工作坊
� ��樂�工作坊
Thumbiano Workshop
Musical Bottle Workshop
16/3 六 Sat 11:00am - 1:00pm 香港文化中心平台工作室 Podium Workshop, HK Cultural Centre
報名及更多加料節目詳情請瀏覽 To learn more about PLUS events, please visit: www.hkartsfestivalplus.org
16/3 六 Sat 2:00 - 3:00pm 4:00 - 5:00pm 香港文化中心平台工作室 Podium Workshop, HK Cultural Centre
26/1/2019
《風琴遊蹤》導賞遊與風琴獨奏會 Pipe Organ Walk & Organ Recital
20/2/2019
公開彩排︰瑪琳．艾爾梭、聖保羅交響樂團 與本地學生樂團 Open Rehearsal: Marin Alsop, São Paulo Symphony Orchestra and Local Student Orchestras
22/2/2019
聖保羅交響樂團演前導賞講座 : 瑪琳．艾爾梭 細說伯恩斯坦與她的指揮生涯 Sao Paulo Symphony Orchestra Pre-performance Talk: Marin Alsop on Bernstein and Her Conducting Career
22/2/2019
馬可．梅斯基達爵士樂工作坊 Marco Mezquida Jazz Improvisation Workshop
28/2/2019
NHK 交響樂團演前導賞講座︰細聽二十世紀改革之風 NHK Symphony Orchestra Pre-performance Talk: Listen to the Winds of Changes PLUS 兒童合唱團大堂音樂會 Festival PLUS Children's Choir Foyer Performance
22/2/2019 24/2/2019
《舞城遊蹤》 Choreography Walk
26/2/2019 3/3/2019
《家常便飯》 Family Dinner
2/3/2019
2/3/2019
《歌劇探秘同樂日》Opera Adventure Day
2/3/2019
28/2 - 3/3/ 2019
「萊比錫樂韻之路」展覽 Leipzig Music Trail (Leipziger Notenspur) Exhibition
《萊比錫樂韻之路》室樂音樂會 Leipzig Music Trail Chamber Concert
2/3/2019
《一齊玩》戲劇工作坊 We PLAY Theatre Workshop
16/3/2019
《好！擊！動！》同樂日 P is for Percussion! Family Day
2/3/2019
法國世紀樂團演前導賞講座︰幻想交響曲 Les Siècles Pre-performance Talk: Symphonie Fantastique
3/3/2019
萊比錫布業大廳樂團雙簧管、圓號、長號大師班 Oboe, Horn & Trombone Masterclass by Gewandhausorchester Leipzig
3/3/2019
法國世紀樂團演前導賞講座︰白遼士的一生 Les Siècles Pre-performance Talk: The Life of Berlioz
3/3/2019
萊比錫歌劇院演前導賞講座︰《歌劇合唱盛會》 Oper Leipzig Pre-performance Talk: Opera Chorus Concert
21/3/2019
藝術家沙龍︰約翰．紐邁亞 Artist Salon: John Neumeier
舞蹈 DaNce 19, 23/2/2019
雲門舞集工作坊 Cloud Gate Dance Theatre of Taiwan Workshop
1/3/2019
公開彩排︰香港賽馬會當代舞蹈平台《雙篇雙人舞》 Open Rehearsal: The Hong Kong Jockey Club Contemporary Dance Series Double Bubble
11/3/2019
藝術家對談︰從工藝到舞蹈 Arts Chat: From Crafting to Dancing
13/3/2019
漢堡芭蕾舞團演前導賞講座 : 交流網絡的藝術 The Hamburg Ballet Pre-Performance Talk: The Art of Networking
15/3/2019
漢堡芭蕾舞團早課參觀 Observing Company Class
15/3/2019
《胡桃夾子》後台參觀 Backstage at The Nutcracker
4/3/2019
《白蛇傳》歌劇創作講座 Madame White Snake Reimagined
9, 11/3/2019
時光之音合唱指揮工作坊 Choral Conducting and Choral Singing Workshop with Rupert Damerell
9/3/2019
馬祖耶夫爵士樂隊演前導賞講座︰ 古典音樂與爵士音樂的交匯 Matsuev and Friends Play Jazz Pre-performance Talk: Harmony between Classical and Jazz
16, 24/3/2019
漢堡芭蕾舞團大師班 Hamburg Ballet Masterclass
17/3/2019
漢堡芭蕾舞團《胡桃夾子》兒童工作坊 Hamburg Ballet The Nutcracker Ballet Introductory Class for Kids
13/3/2019
湯瑪士．夸斯托夫聲樂大師班 Thomas Quasthoff Vocal Masterclass
19/3/2019
漢堡芭蕾舞團《貝多芬計劃》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: Beethoven Project
14/3/2019
23/3/2019
漢堡芭蕾舞團《約翰．紐邁亞的世界》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: The World of John Neumeier
湯瑪士．夸斯托夫四重奏演前導賞講座 : 古典音樂與爵士音樂的交匯（二） Thomas Quasthoff Quartet Pre-Performance Talk: Harmony between Classical and Jazz II
13, 14/3/2019
李飈打擊樂團敲擊樂大師班 Percussion Ensemble Masterclass by Li Biao Percussion Group
15/3/2019
李飈打擊樂團演前導賞講座︰《巴羅克．探戈》 Li Biao Percussion Group Pre-Performance Talk : From Baroque to Tango
16, 17/3/2019
洪儷僖管風琴大師班 Riyeehee Hong Organ Masterclass
歌劇／戲曲 OpeRa 1, 2/3/2019
萊比錫歌劇院演前導賞講座︰《唐懷瑟》 Oper Leipzig Pre-performance Talk: Tannhäuser
2/3/2019
萊比錫歌劇院《唐懷瑟》後台參觀 Oper Leipzig's Tannhäuser Backstage Tour
12/3/2019
蔡艷香粵劇南派工作坊 Southern School of Cantonese Opera Workshop with Choy Him-heong
戲劇 THeaTRe
16/3/2019
《好！擊！動！》互動敲擊展覽 P is for Percussion Interactive Percussion Exhibition
16/3/2019
拇指琴 及「升」樂樽工作坊 Thumbiano and Musical Bottle Workshop 《律！動！啦！》大堂音樂會 Feel the Pulse NOW!!! Foyer Performance
28/2/2019
藝術家對談︰與劇場大師羅伯特．利柏殊對話 Arts Chat: In Conversation with Robert Lepage
16/3/2019
9/3/2019
藝術家對談︰導演李六乙的莎士比亞 Arts Chat: Director Li Liuyi's Interpretation of Shakespeare
20/3/2019
克雷莫納弦樂四重奏示範講座 Quartetto di Cremona Lecture Demonstration
22/3/2019
希薇雅．佩瑞茲．克露絲 演前導賞講座︰皆有可能 Sílvia Pérez Cruz Pre-Performance Talk: Everything Possible
電影 FilM 27/2/2019 2, 24, 30/3/ 2019
《攀越冰峰》電影放映與影後分享會 Touching the Void: Screening and Post-screening Talk 漢堡芭蕾舞團 - 舞蹈電影系列 Hamburg Ballet at the Cinema
贊助人
林鄭月娥女士
PATrON
永遠名譽會長 執行委員會 主席 副主席 義務司庫 委員
邵逸夫爵士
HONOrArY LIFE PrESIDENT EXECUTIVE COMMITTEE Chairman Vice Chairman Honorary Treasurer Members
節目委員會 主席 委員
財務委員會 主席 委員 發展委員會 主席 副主席 委員
顧問
名譽法律顧問 核數師
查懋成先生 盧景文教授 李錦榮先生 鄭維新先生 鄭惠貞女士 劉鎮漢先生 梁靳羽珊女士 梁卓偉教授 姚潔莉女士 楊 光先生 盧景文教授 白諾信先生 紀大衛教授 羅志力先生 毛俊輝先生 李 義法官 約瑟．施力先生 + 譚榮邦先生 姚 珏女士 李錦榮先生 鄭惠貞女士 梁國輝先生 梁靳羽珊女士 雍景欣女士 鄭阮培恩女士 邱詠筠女士 龐建貽先生 孫林宣雅女士 姚祖輝先生 夏佳理先生 鮑 磊先生 李業廣先生 梁紹榮夫人 李國寶博士 孖士打律師行 羅兵咸永道 會計師事務所
香港藝術節基金會 主席 霍 璽先生 管理人 陳祖澤博士 陳達文先生 梁紹榮夫人 +
PrOGrAMME COMMITTEE Chairman Members
FINANCE COMMITTEE Chairman Members
HONOrArY SOLICITOr AUDITOr
Mr Victor Cha Prof. Lo King-man, MBE, JP, SBS Mr William Li Mr Edward Cheng, SBS JP Ms Margaret Cheng Mr Anthony Lau Mrs Yu-san Leong Prof. Gabriel Leung, GBS JP Ms Miriam Yao Mr Sunny Yeung Prof. Lo King-man, MBE, JP, SBS Mr Giorgio Biancorosso Prof. David Gwilt, MBE Mr Peter C L Lo Mr Fredric Mao, BBS The Hon Mr Justice Ribeiro Mr Joseph Seelig + Mr Wing-pong Tam, SBS JP Ms Jue Yao, JP Mr William Li Ms Margaret Cheng Mr Nelson Leong
DEVELOPMENT COMMITTEE Chairman Vice Chairman Members
ADVISOrS
The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS Sir Run Run Shaw, CBE (1907-2014)
Mrs Yu-san Leong Ms Jane Yong Mrs Betty Yuen Cheng Ms Winnie Chiu Mr Paulo Kin-yee Pong Mrs Helen Lin Sun Mr Andrew Yao The Hon Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE JP Mr Charles Y K Lee, GBM GBS JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon David K P Li, GBM GBS JP Mayer Brown PricewaterhouseCoopers
HONG KONG ArTS FESTIVAL TrUST Chairman Mr Angus H Forsyth Trustees Dr John C C Chan, GBS JP Mr Darwin Chen, SBS ISO Mrs Mona Leong, SBS BBS MBE JP
榮譽節目顧問 Honorary Programme Advisor
地址 : 香港灣仔港灣道 2 號 12 樓 1205 室 電話 : 2824 3555 傳真 : 2824 3798, 2824 3722 節目查詢熱線 : 2824 2430
電子郵箱 : afgen@hkaf.org
Address: Room 1205, 12th Floor, 2 Harbour Road,Wanchai, Hong Kong Tel: 2824 3555 Fax: 2824 3798, 2824 3722 Email: afgen@hkaf.org Programme Enquiry Hotline: 2824 2430
職員 行政總監 行政總監助理 節目 節目總監 副節目總監 節目經理 節目經理（行政） 助理節目經理 節目統籌 節目主任（行政） 物流及接待經理 •技術 製作經理 助理製作經理 •出版 英文編輯 中文編輯 助理編輯 •外展 高級外展經理 助理外展經理 外展統籌 外展助理 藝術行政見習員 市場推廣 市場總監 副市場總監 市場經理 副市場經理 助理市場經理 數碼營銷專員 市場主任 藝術行政見習員 市場經理（票務） 客戶服務主任 發展 發展總監 發展經理 副發展經理 助理發展經理 發展統籌 發展助理 會計 會計主管 助理會計經理 會計主任 人力資源及行政 人力資源及行政經理 人力資源及行政主任 接待員 / 初級秘書 助理 無限亮 高級項目經理 助理節目及製作經理 助理外展經理 助理技術經理 市場統籌 高級會計主任 項目主任 香港藝術節 @ 大館 製作人 技術統籌
STAFF Executive Director Assistant to Executive Director Programme Programme Director Associate Programme Director Programme Managers
何嘉坤 何丹蓉 梁掌瑋 蘇國雲 葉健鈴 余瑞婷 * 蘇雪凌 黃傲軒 * 譚小敏 * 張翠騫 * 金學忠 *
陳韻妍 林淦鈞 * 胡鎮華 *
梁雅芝 * 莫賦斌 * 林秋美 * 廖健邦 * 林惠賢 * 李冠輝 張鼎丞 * 譚曉峯 * 李玨熙 * 李萬祺 * 鄭尚榮 胡銘堯 周 怡 楊 璞* 許慧儀 * 陳閏霖 * 鄭佩欣 * 鄭鈞澤 * 梁彩雲 黃煒城 * 余潔儀 張慧芝 * 譚樂瑤 蘇寶蓮 * 莫穎哲 * 袁愷晴 *
黎家欣 *
林嘉敏 *
鍾玉如 *
張嘉麟 *
楊恆怡 *
麥紫琴 *
鄺敬婷 杜詩麗 * 蘇永恆 * 馮紹昌 簡凱彤 * 李美娟 黃國愛 楊文秀 * 陳慧晶 * 鄧冠恒 * 鄺嘉欣 * 蔡珮珊 * 彭健欣 * 雲希朗 * 羅雪芬 * 梁嘉倩 * 李菁菁 * 周 怡 *
陳穎業 *
Tisa Ho Connie Ho
Grace Lang So Kwok-wan Linda Yip Vanessa Chan Susanna Yu* Lam Kam-kwan* Programme Manager (Administration) Shirley So Assistant Programme Manager Joseph Wong* Programme Coordinators Tracy Tam* Angus Wu* Programme Officer (Administration) Tracy Cheung* Logistic Manager Elvis King* • Technical Production Manager Shirley Leung* Assistant Production Manager Benny Mok* • Publications English Editor Gloria Furness* Chinese Editor James Liu* Assistant Editors Grace Lam* Melody Lai* • Outreach Senior Outreach Manager Kenneth Lee Assistant Outreach Manager Bell Cheung* Outreach Coordinators Mitch Tam* Carmen Lam* Joey Chung* Outreach Assistant Michael Lee* Arts Administrator Trainee Kelvin Li* MArKETING Marketing Director Katy Cheng Associate Marketing Director Dennis Wu Marketing Managers Alexia Chow Louis Cheung* Deputy Marketing Manager Michelle Yeung* Assistant Marketing Manager Surina Hui* Digital Marketing Specialist Ben Chan* Marketing Officer Bonnie Cheng* Arts Administrator Trainee Jeff Cheng* Marketing Manager (Ticketing) Eppie Leung Customer Service Officers Benny Wong* Hayley Yeung* DEVELOPMENT Development Director Flora Yu Development Managers Anna Cheung* Mak Tsz-kam* Deputy Development Manager Lorna Tam Assistant Development Manager Conny Souw* Development Coordinator Esther Mok* Development Assistant Antonia Yuen* ACCOUNTS Head of Accounts Department Teresa Kwong Assistant Accounting Manager Connie To* Accounting Officer Peter So* Hr & ADMINISTrATION HR & Administration Manager Calvin Fung HR & Administration Officer Vivian Kan* Receptionist/Junior Secretary Virginia Li General Assistant Bonia Wong NO LIMITS Senior Project Manager Camelia Yeung* Assistant Programme Ainslee Chan* and Production Manager Assistant Outreach Manager Joe Tang* Assistant Technical Manager Karen Kwong* Marketing Coordinator Silvia Choy* Senior Accounting Officer Janice Pang* Project Officer Alana Wan* HKAF@TAIKWUN Producers Georgina Lo* Leung Ka Sin* Chan Wing Yip* Cheryl Li* Eva Chau* Technicial Coordinators
技術統籌 * Technical Coordinators*
歐慧瑜 Rachel Au、陳佩儀 Claudia Chan、陳詠杰 Chan Wing Kit、陳家彤 Doris Chen、范文恩 Fan Man Yan、 許肇麟 Boolu Hui 、黎智勇 Martin Lai、李浩賢 Lawrence Lee、羅瑞麟 Wheel Lo、蕭健邦 Leo Siu
藝術家統籌 * Artist Coordinators*
鄭瑋菁 Virginia Cheng 、竺諺民 Edwin Chuk、張素真 Susan Hayden、向怡君 Cassandra Heung 、 何嘉露 Carrol Ho、洪飛鳴 Fei Hung、李仲文 Conan Lee、李海盈 Jane Li、彭慧雯 Jan Pang、 樊明媚 Tess Pham、潘頴詩 Renee Poon、譚善渝 Sally Tam * 合約職員 Contract Staff