A New Adventures and Illuminations Production Matthew Bourne’s Dance Film - 49th HKAF by Hong Kong Arts Festival

新冒險舞蹈團及 Illuminations 製作馬修．伯恩舞蹈電影 A New Adventures and Illuminations Production Matthew Bourne’s Dance Film

Swan Lake 天鵝湖

Cinderella 仙履奇緣

Romeo and Juliet

羅密歐與茱麗葉

行政長官的話

MESSAGE FROM THE CHIEF EXECUTIVE

大部分節目，當中許多節目更開放予世界各地愛好藝術的觀眾。

衷心祝賀香港藝術節今年踏入第 49 屆。這一年一度的藝術盛事在新冠肺炎疫情的挑戰下，仍然辦得有聲有色，精采可期。

今年藝術節帶來一連串繽紛多彩的網上及現場節目，涵蓋音樂、歌劇、戲劇、舞蹈、電影等多個藝術範疇。總體來說，藝術節會在「遠在咫尺」的主題下，呈獻合共約三百場節目、活動及表演。藝術節的亮點，包括捷克布爾諾國家歌劇院及其兩年一度「布爾諾楊納傑克節」的多場精選數碼版歌劇及音樂會。同樣引人注目的，還有兩部取材自英國劇作家尼爾．巴奈特改編劇作《鼠疫》的發人深省作品，一部為英語版，另一部為粵語版。粵語版為香港本地製作，英語版則由身處六個地區的六名演員作網上實時演出。來自蘇格蘭鄉村的魔術師史葛．蕭凡亦會在網上實時演出，他的互動作品《心靈旅程》每場只限三十位觀眾參與。此外，亦有十六部慶祝香港賽馬會當代舞蹈平台十周年的製作，包括與中國內地及英國藝術家合力創作的作品。在藝術節開幕演出中，香港中樂團會進行兩首曲目的世界首演，而廣獲讚譽的莫斯科莫伊謝耶夫舞團，則會為這國際藝壇盛會作閉幕演出。我很高興市民可於登記後免費觀賞

藝術節一如以往，在學校推廣藝術教育，並透過幕後花絮影片、藝術家對談、演前及演後講座等「加料節目」，讓觀眾與藝術家互動交流。

衷心感謝香港藝術節團隊努力不懈，悉心籌辦以上各項節目及活動。我亦感謝贊助商和捐款者大力支持藝術文化，與藝術文化界共渡時艱。謹祝香港藝術節圓滿成功，為大家帶來一趟精采難忘的藝術之旅。

It gives me great pleasure to congratulate the Hong Kong Arts Festival on the staging of its 49th annual celebration of the arts, and doing so in splendid fashion despite the daunting challenges of the COVID-19 pandemic. This year’s Festival features a cheering range of online and in-venue programmes showcasing music, opera, theatre, dance, film and more. In all, the Festival presents some 300 events, activities and performances under the theme “Separate Together”. Festival highlights include a dazzling digital selection of operas and concerts from the Czech Republic’s National Theatre Brno and its biennial Janá ek Brno Festival. Equally notable are two piercing productions of British playwright Neil Bartlett’s adaptation of The Plague, one in English, the other in Cantonese. The Cantonese version is produced in Hong Kong, while the English version is a live

香港特別行政區行政長官

林鄭月娥

online performance starring six actors in six time zones. Illusionist Scott Silven also performs online and live, from rural Scotland. His interactive production, The Journey, is limited to 30 participants per show. The Hong Kong Jockey Club Contemporary Dance Series celebrates its 10th anniversary with 16 productions, including collaborations with artists from the Chinese mainland and the United Kingdom. The Festival opens with the Hong Kong Chinese Orchestra performing two world premieres and concludes its international slate with the acclaimed Igor Moiseyev Ballet from Moscow. I find it particularly gratifying to note that the vast majority of events are available free of charge, upon registration, with many of them open to arts lovers from all over the world. The Arts Festival’s promotion of arts education in schools continues. And PLUS programmes bring together audiences and artists through behindthe-scenes videos, artist dialogues and pre- and post-performance talks. For all that, and much more, I am grateful to the inspired diligence and dedication of the Hong Kong Arts Festival team. My thanks, too, to the sponsors and donors for their generous support to arts and culture, particularly in this trying time. I wish you all an enjoyable and memorable Hong Kong Arts Festival.

Mrs Carrie Lam

Chief Executive Hong Kong Special Administrative Region

主席的話

MESSAGE FROM THE CHAIRMAN

第 49 屆香港藝術節思考「距離」及「聯繫」的意義，我亦希望藉此機會感謝一眾促成今天表演的支持者，這場表演為我們提供難得的機會，探索與他人聯繫的方法。我衷心感謝香港特別行政區政府透

過康樂及文化事務署提供年度撥款，以及香港賽馬會慈善信託基金持續並堅定地支持我們，也感謝眾多企業贊助商、慈善基金會以至個人捐助者，在這前所未有的挑戰中給予我們莫大的幫助，與我們並肩同行。亦要感謝一眾富有才華的藝術家傾力演出，令今天的表演生色不少。同時也感謝觀眾的參與，令演出能圓滿成功。希望你會在今天的演出中找到屬於自己的聯繫，並像我一樣珍視這些連結。

As we reflect on distance and connection in the 49th Hong Kong Arts Festival, I would like to thank everyone who has made this performance possible, giving us an invaluable opportunity to explore ways of connecting with others. I am grateful to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention; and to The Hong Kong Jockey Club Charities Trust for its staunch and ongoing support. Thanks are also due to our corporate sponsors, charitable foundations and individual donors, who continue to stand by us in these unprecedented circumstances. Sincere thanks also go to all of the participating artists, whose talent and dedication have gone into today’s performance; and to you, the audience, without whom the show would not be complete. I hope you will find your own connection to today’s performance and will treasure it as much as I do.

香港藝術節主席

查懋成

Victor Cha

Chairman Hong Kong Arts Festival

行政總監的話

MESSAGE FROM THE EXECUTIVE DIRECTOR

我連同藝術節團隊，很高興歡迎閣下觀賞第 49 屆香港藝術節的演出。

過去一年，香港以至世界情勢面臨前所未有的變化，使我們都體會到分離和孤獨的滋味。「遠在咫尺」所指的，正是我們這種共同經歷的感

With all my colleagues, I am thrilled to welcome you to this performance in the 49th Hong Kong Arts Festival.

Over the past year, we have shared the isolation resulting from unprecedented circumstances both in Hong Kong and around the world. 受。今屆藝術節的不少節目亦與之 “Separate Together” acknowledges 呼應，身處各地的藝術家及觀眾， what we have all been going through, 因為藝術節的演出及活動而拉近彼 and is referenced in a number 此距離。另一方面，「遠在咫尺」亦 of productions this year. It also 點出所有優秀藝術作品擁有的奇妙 alludes to all the separate artists 力量：既能喚起最獨特、深刻的個 and audiences brought together for 人感受和回應，但同時又能讓觀者 performances and events. At the 一同分享種種奧妙、感動、啟迪 same time, “Separate Together” 和鼓舞。今屆藝術節將呈獻眾多演 describes one of the most magical 出，我衷心希望我們會一起體會藝 aspects of great art: its capacity to elicit uniquely and deeply personal 術的奇妙力量。 responses while paradoxically giving 此外，敬請留意一連串「加料節目」 us a shared moment of wonder, to be 活動，為你在演出以外打開新的觀 moved, inspired and uplifted. I hope 賞角度，令觀賞體驗更豐富。請盡 very much that we will experience this together in many performances in the 情投入！ course of the Festival. Please also look out for ancillary PLUS programmes and events, which are curated to provide additional dimensions to the work presented, and enrich your Festival experience. Enjoy!

香港藝術節行政總監

何嘉坤

香港藝術節資助來自： The Hong Kong Arts Festival is made possible with the funding support of:

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 festival in, of and for Hong Kong

「藝術的創作與演出給世界帶來美麗，給人類引起鼓舞，給生命充實活力，給社會增添光輝……這是舉辦香港藝術節的崇高意義。」

“Creative and representational arts have a common mission. They bring beauty to the world, courage to mankind, vigour to life, and brilliance to society… Therein lies the noble significance of the Festival.” 香港藝術節協會永遠名譽會長邵逸夫爵士 (1907–2014) Sir Run Run Shaw, CBE, HKAF Honourary Life President (1907–2014)

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，致力豐富香港的文化生活。藝術節的節目精采多元，涉獵音樂、歌劇、戲曲、實驗劇場、芭蕾舞以至街舞等林林總總的類型。過往曾獲邀在藝術節舞台表演的國際演藝名家及團體包括一流的國家歌劇院、劇團、管弦樂團，以及眾多具代表性的表演者等。我們亦經常與傑出的國際藝術家及團體攜手製作演出。

我們亦積極與本地演藝人才合作，並致力為新進藝術家提供展示才華的平台。藝術節至今委約及製作逾 200 套本地全新創作，包括戲劇、室內歌劇、音樂和舞蹈作品，不少更已在香港及海外多次重演。

為使香港的文化生活更豐富，我們每年於藝術節前及期間主辦一系列多元化並深入社區的「加料節目」，例如電影放映、大師班、展覽、藝人談、後台參觀及文化導賞團等，鼓勵觀眾與藝術家互動接觸。

我們亦銳意將共融藝術理念拓展到社區每一角落。由藝術節與香港賽馬會慈善信託基金聯合呈獻的「無限亮」計劃於 2019 年正式開展，透過一系列的演出及多元的教育及社區外展節目，「無限亮」致力創造共融空間，讓不同能力人士均可以一同欣賞、參與及擁抱藝術。

The Hong Kong Arts Festival (HKAF) 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 in February and March each year. Since its launch in 1973, HKAF has presented top international artists and ensembles across multiple genres—from music, opera, Chinese opera and ballet to break dance and experimental theatre. International guests have included major state operas, established theatres, top orchestras and stars of the day. We also frequently partner with renowned international artists and institutions to produce exceptional new works. We have also collaborated with Hong Kong’s own creative talent to produce work which is now part of the local canon and to showcase emerging local artists. Over the years, the HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance—many with successful subsequent performances in Hong Kong and overseas. As part of our enduring commitment to enriching the cultural life of the city, we organise a diverse range of Festival PLUS activities for the community before and during the Festival to enhance engagement between artists and audiences. These include film screenings, masterclasses, exhibitions,

為了培養未來的藝術家和觀眾，我們大力投資下一代的藝術教育。「青少年之友」成立 29 年來，已為逾 782,000 位本地中學生及大專生提供藝術體驗活動。會員可參加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等。通過「學生票捐助計劃」，藝術節每年亦提供約 10,000 張半價學生票。

香港藝術節是一所非牟利機構，其主要收入除了政府的恆常資助及票房外，極大一部分來自各大企業、熱心人士和慈善基金會的贊助和捐款，以及政府針對捐款和贊助收入而提供的配對資助。

*2021 年 1 月更新 Updated January 2021

過往節目一覽

Visit our programme archive

meet-the-artist sessions and guided backstage and cultural tours. Beyond the main Festival, the HKAF also promotes inclusivity and understanding through the arts. Its “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, strives to create an inclusive space for people with different abilities to share the joy of the arts together. To nurture the next generation of artists and audiences, the HKAF also invests heavily in yearround arts education for young people. Over the past 29 years, our “Young Friends” scheme has reached over 782,000 local secondary and tertiary school students; members can enjoy showcases, pre-performance talks, open rehearsals, Festival performances and in-school workshops led by international and local artists. Donations to the Student Ticket Scheme also make approximately 10,000 half-price student tickets available each year. HKAF is a non-profit organisation. Its principal income sources are: recurrent funding from the government, box office revenues, and sponsorship and donations made by corporations, individuals and charitable foundations which form a significant portion of total income and also enables HKAF to receive support from the Government’s matching scheme that matches income generated through private sector sponsorship and donations.

馬修．伯恩版天鵝湖 Matthew Bourne's Swan Lake

新冒險舞蹈團及 Illuminations 製作馬修．伯恩舞蹈電影

A New Adventures and Illuminations Production Matthew Bourne’s Dance Film 馬修．伯恩版 Matthew Bourne' s

天鵝湖 SWAN LAKE 5–8.03.2021 演出長約 2 小時

分場 Scenes

訪問 Interview

馬修．伯恩

11 12

with Matthew Bourne 馬修．伯恩版仙履奇緣 Matthew Bourne's Cinderella

分場 Scenes

訪問 Interview

馬修．伯恩

19 20

with Matthew Bourne

Approx 2 hours

馬修．伯恩版 Matthew Bourne' s

仙履奇緣 CINDERELLA 12–15.03.2021 演出長約 1 小時 50 分鐘

Approx 1 hour and 50 minutes

馬修．伯恩版 Matthew Bourne' s

羅密歐與茱麗葉

ROMEO AND JULIET 19–22.03.2021 演出長約 1 小時 30 分鐘

Approx 1 hour and 30 minutes

網上放映

Online Screening

封面照片及劇照 Cover and Production Photographs © Johan Persson

馬修．伯恩版羅密歐與茱麗葉 Matthew Bourne's Romeo and Juliet

分場 Scenes

藝術總監的話

Artistic Director’s Note 《羅密歐與茱麗葉》的背後

29 30 34

Behind Romeo and Juliet

編舞及導演 Choreographer and Director

藝團簡介 About New Adventures

馬修．伯恩 Matthew Bourne

藝術節加料節目

歡迎觀賞舞劇的幕後花絮片段，瀏覽連結請參閱加料節目網頁 Have a look at the behind-the-scenes videos for more backstage stories. Please visit the PLUS webpage for viewing link.

請勿在網上演出途中錄影、錄音、攝影或轉播 Photography, streaming or recording of any kind is strictly prohibited 通訊、流量狀況及其他外部因素可能影響影片畫質及音質，敬請見諒 Picture stability and quality are subject to home internet speeds and bandwidth, and other external factors

馬修．伯恩版天鵝湖

Matthew Bourne's Swan Lake

導演及編舞 Director and Choreographer

馬修．伯恩 Matthew Bourne

音樂 Music

柴可夫斯基 Pyotr llyich Tchaikovsky

佈景及服裝設計 Set and Costume Designer

雷斯．布萊斯特頓 Lez Brotherston

燈光設計 Lighting Designer

保妮．康斯達保 Paule Constable

音效設計 Sound Designer

肯．漢普頓 Ken Hampton

影像設計 Video Designer

鄧肯．麥連 Duncan McLean

副藝術總監 Associate Artistic Director

艾塔．馬菲特 Etta Murfitt

配器 Orchestration

羅蘭德．李 Rowland Lee

電影版導演 Directed for the screen by

羅斯．麥吉伯恩 Ross MacGibbon

Illuminations 執行製作 Executive Producer for Illuminations

約翰．偉佛 John Wyver

製作 Producer

露西．康拉德 Lucie Conrad

演員及角色 Cast and Characters

威爾．博澤爾 Will Bozier

飾 – 天鵝及陌生賓客 as The Swan and The Stranger

利亞姆．莫維爾 Liam Mower 飾 – 王子 as The Prince

妮歌．卡貝拉 Nicole Kabera 飾 – 王后 as The Queen

卡特里娜．林登 Katrina Lyndon

凱拉．歌莉摩亞 Kayla Collymore

飾 – 意大利公主 as The Italian Princess

喬納森．盧克．貝克

Jonathon Luke Baker

飾 – 公主隨從 as Her Escort

梅根．卡梅倫 Megan Cameron 飾 – 匈牙利公主 as The Hungarian Princess

飾 – 女朋友 as The Girlfriend

安德魯．艾斯頓 Andrew Ashton

飾 – 私人秘書 as The Private Secretary

弗蕾雅．菲爾德 Freya Field

格倫．嘉咸 Glenn Graham 歌劇院 At the Opera House

飾 – 公主隨從 as Her Escort

飾 – 德國公主 as The German Princess

凱莉．威利斯 Carrie Willis

雅莎莉—喬丹．伯克 Ashley-Jordon Packer

阿利斯泰爾．比蒂 Alistair Beattie

澤娜．科尼利斯 Zanna Cornelis

飾 – 天鵝僕人 as Moth Maiden 飾 – 貴族 as Nobleman

基南．費萊查 Keenan Fletcher 飾 – 邪惡的樹妖 as Evil Tree Troll

皇家舞會的賓客 Guests at the Royal Ball

凱莉．威利斯 Carrie Willis

飾 – 法國公主 as The French Princess

史丹．韋斯特 Stan West

飾 – 公主隨從 as Her Escort

布賴尼．哈里森 Bryony Harrison

飾 – 西班牙公主 as The Spanish Princess

基南．費萊查 Keenan Fletcher 飾 – 公主隨從 as Her Escort

伊藤梢子 Shoko Ito

飾 – 羅馬尼亞公主 as The Romanian Princess

森．薩爾特爾 Sam Salter 飾 – 公主隨從 as Her Escort

飾 – 公主隨從 as Her Escort 飾 – 摩洛哥公主 as The Monaco Princess

哈利．翁德拉克—萊特 Harry Ondrak-Wright

飾 – 公主隨從 as Her Escort 天鵝群舞成員 The Swans

安德魯．艾斯頓 Andrew Ashton 喬納森．盧克．貝克

Jonathon Luke Baker 阿利斯泰爾．比蒂 Alistair Beattie 朱昂．卡羅里諾 João Castro 基南．費萊查 Keenan Fletcher 尼古拉斯．基岡 Nicholas Keegan 詹姆士．洛弗爾 James Lovell 哈利．翁德拉克—萊特 Harry Ondrak-Wright 雅莎莉—喬丹．伯克 Ashley-Jordon Packer 傑克．威廉．帕里 Jack William Parry 巴納比．跨倫登 Barnaby Quarendon 森．薩爾特爾 Sam Salter 史丹．韋斯特 Stan West

馬修．伯恩版《天鵝湖》電影版由新冒險舞蹈團及 Illuminations 製作，2019 年於沙德勒之井劇院拍攝 The filmed version of Matthew Bourne’s Swan Lake is a New Adventures and Illuminations production, recorded live at Sadler’s Wells Theatre in 2019

分場

SCENES

Scenes

序幕 Prologue

第一幕 Act One 第一場王子的睡房

Scene 1 The Prince’s Bedroom

第二場宮殿

Scene 2 The Royal Palace

第三場歌劇院

Scene 3 An Opera House

第四場王子的私人宮室

Scene 4 The Prince’s Private Quarters

第五場街上

Scene 5 The Street

第六場蘇豪夜店

Scene 6 A Soho Night Club

第七場街上

Scene 7 The Street

第二幕 Act Two 市鎮公園

A City Park

第三幕 Act Three 第一場宮殿大門

Scene 1 The Palace Gates

第二場皇家舞會

Scene 2 A Royal Ball

第四幕 Act Four 王子的睡房

The Prince’s Bedroom

馬修．伯恩版《天鵝湖》1995 年於倫敦沙德勒之井劇院首演 Matthew Bourne’s Swan Lake premiered at Sadler’s Wells Theatre, London in 1995

與馬修．伯恩暢談《天鵝湖》 A CHAT WITH MATTHEW BOURNE ABOUT SWAN LAKE 1995 年，你創作了新版《天鵝湖》，你還記得以男舞者擔演天鵝這個意念始於何時嗎？我不太肯定，但我記得在創辦藝團的幾年前，我欣賞了皇家芭蕾舞團的《天鵝湖》，當時便天馬行空地想：如果角色轉換了性別，故事會變成怎樣。一直以來，令我印象最為深刻的，是王子拒絕接受新娘這情節，我認為當中定必隱含着甚麼。可是，創作新版《天鵝湖》對當時的我而言，比遙不可及更遙遠，而這部製作誕生的契機，是我的另一部作品《胡桃夾子！》，1992 年由北方歌劇團上演，意料之外好評如潮。那時，我的腦海再次浮現男天鵝形象，他強大、 12

Your Swan Lake was created in 1995, but do you remember the first time that you had the idea of a dancing male swan? I’m not totally sure, but I seem to remember day-dreaming several years before I had even formed my own company, while watching The Royal Ballet’s production, and wondering what that gender change would do to the story. It always struck me that there was a hidden message around the Prince’s reluctance to take a bride! However, at that time, creating a new production of Swan Lake was not something that I ever felt was even a remote possibility for me. When that production did become a reality, following the unexpected

訪問

狂野及危險，我便開始覺得這意念是可行的。男天鵝是創作新版《天鵝湖》的關鍵，他或許可以抹去舞蹈愛好者及大眾心目中深入民心的芭蕾女伶天鵝形象。你還記得創作時排練室的氛圍嗎？我只記得當時我們感覺正在推進一個「好」的意念成形，並深信它是可行的。雖然如此，我們對於這項艱鉅任務還是會感到焦慮和緊張。事實上，在排練室外，外界對於新版《天鵝湖》的擔憂甚至更大。當我們正式對外公佈時，一些舞評人及芭蕾舞迷對於我們顛覆經典的創新意念感到震驚，有人更揚言將會是一場災難，暗指我沒有資格處理這部芭蕾史上的經典舞作；有人則輕拍我一下，說他們已急不及待去欣賞我的《天鵝湖》，期待看到胡鬧或娘娘腔的諷刺式演出，說：「台下定必尖叫不斷！」關於這個製作，我有種聖經故

事「大衛與歌利亞」的感覺。這個小小的倫敦東區舞團古靈精怪，又沒有傳統芭蕾舞根基，竟敢改編這部被奉為經典的芭蕾舞作。

1995 年 11 月 9 日，新版《天鵝湖》在沙德勒之井劇院首演，自此寫進舞蹈歷史。可否分享你對於這個重要時刻的個人回憶？當時有消息傳出，我正在構思以男舞者為天鵝的新版《天鵝湖》，儘管現在難以想像，但觀眾還是無法想像男舞者飾演天鵝到底是怎樣。傳統芭蕾女伶天鵝形象已深深烙印在大眾心中 —— 穿芭蕾舞裙、足尖鞋及羽毛頭飾，很多人都會想像男舞者身穿一模一樣的服裝，基本上是男扮女裝﹗明顯地，大家都不曾想過有「男天鵝」這回事。因此，當亞當．庫柏在首演當晚首次以天鵝造型亮相，緊隨其後的是一群狂野、威猛及具男性氣慨的天鵝時，觀眾的驚訝之情都寫在臉上。

Interview

success of my Nutcracker! for Opera North in 1992, the idea of the male swan—powerful, wild and dangerous—returned and started to make a lot of sense to me. It was the key to making a new Swan Lake, one that could possibly wipe away those powerful images of the ballerina swan that were so embedded in the psyche of dance lovers and even the wider public. What do you remember of the atmosphere in the rehearsal room when you were creating the production? I just remember that we all felt we were working with a “good” idea and we all believed in it and that it could work. That doesn’t mean that we were not at times overawed and nervous about the mammoth task we had taken on. Indeed, the word outside the rehearsal room was more worrying. When it was announced, some dance writers and balletomanes were horrified at the thought of the carnage

威爾．博澤爾飾演天鵝 Will Bozier as The Swan

而當亞當身穿雷斯．布萊斯特頓設計的皮褲，並以陌生賓客一角現身第三幕的舞會時，觀眾反應更為震驚。在我而言，這一幕在排練室時並沒有演活，但卻突然在首演當晚變得魅力非凡，使觀眾看得熱血沸騰。另一令我驚喜之處，是這部作品對於觀眾而言是多麼的感動，他們完全接納故事中王子的悲劇命運，首演當晚的王子由久未露面的史葛．安布勒演繹，非常精采。我記得著名製作人卡梅倫．麥金塔於中場休息時把我推到牆角，並跟我說一定要於倫敦西區演出此劇。當晚感覺就像是一個傳奇的誕生。

2018 年重演的《天鵝湖》是一套全新製作，包括設計、燈光，以及修改了些編舞。為甚麼你和原設計師雷斯．布萊斯特頓覺得當時是一個適當時機去重新改造《天鵝湖》？ 2000 年《天鵝湖》於自治領劇院重演，宣傳海報上寫着「最後一次在倫敦演出」，這令大家很驚訝，但並非宣傳噱頭， 14

that lay ahead. Some took pains to point out to me that it was a great “tragedy” with a profound message, implying that I hardly had the credentials to tackle such a masterpiece of ballet history. Others nudged me and said that they couldn’t wait for my Swan Lake; “It’s going to be such a scream!” they said, expecting a riotous parody or camp send-up. There was a “David and Goliath” feel about this project. This small, quirky company, run by an East End upstart with no traditional classical ballet credentials taking on this hallowed classic. The opening night at Sadler’s Wells on 9 November 1995 has now gone down in dance history. What are your personal memories of that momentous occasion? Word had got out that I was imagining the piece with male dancers as the swans and, though it’s hard to figure now, audiences could just not imagine what a dancing “male” swan might look like. So strong was the image of the female ballerina

in tutu, pointe shoes and a feathery head-dress that many visualised the male dancers in the same costume, essentially in drag! It didn’t seem to cross anybody’s mind that there was such a thing as a “male” swan. So, when Adam Cooper made his first entrance as the Swan, followed by a flock of wild, menacing, highly masculine swans, the surprise, even shock, in that first-night audience was palpable. This was only increased by Adam’s appearance as the Stranger (clad in Lez Brotherston’s leather trousers), in the ball scene in Act Three. A scene that, to me, had not really come alive in the rehearsal room was suddenly electric on opening night and the audience went wild. Another surprise was just how moving the piece was to audiences who seemed to completely accept and embrace the sad fate of our Prince, brilliantly portrayed that night by the much-missed Scott Ambler. I remember the great producer Sir Cameron Mackintosh pinning me against the wall in the interval and telling me that we had to do this in the West End!

訪問

而是我們真心相信那是最後一次。我們自此發現，一個製作愈常重演，把它帶給更多新一代觀眾欣賞的話，它就愈受歡迎，所以我們現在非常重視並希望傳承這部製作。我和雷斯希望藉此機會重新審視我們二十年前創作的點滴，並為整個製作帶來煥然一新的感覺；同時善用嶄新的劇場科技，為未來的世代重新創作這個演出。全新的燈光設計出自新冒險舞蹈團的駐場藝術家保妮．康斯達保之手，經過大量修改的編舞亦令製作儼如全新作品。對於那些擔心上述改變的人，我可以說：「不要怕﹗」因為新製作的不同之處主要在於細節上，整體的故事元素維持不變，劇作在觀眾心中依然別樹一格。我相信，這隻天鵝未來將會繼續高飛，為觀眾帶來更多啟迪和喜悅。

原文刊登於新冒險舞蹈團網站，獲許可轉載。

Interview

威爾．博澤爾飾演陌生賓客 Will Bozier as The Stranger

It certainly felt like a legend was born that night. The 2018 revival is a new production with new designs, lighting and some revised choreography. Why did you and original designer, Lez Brotherston, feel that the time was right for a fresh look? It’s surprising to see the poster for our 2000 revival of the show at the Dominion Theatre which proclaimed, “LAST TIME EVER IN LONDON”. This was not a publicity stunt, but something we genuinely believed. We have since learned that productions actually become more popular the more you bring them back and give them to new generations to enjoy. We are now

very conscious of this legacy. Lez and I wanted to have the opportunity to question a little what we had done over 20 years ago and bring a fresh eye to the whole production; to make the most of new theatrical technology and to reinvent the show for the decades to come. New lighting design from our New Adventures associate artist Paule Constable and much-revised choreography will also make this revival something closer in fact to a new production. For those of you that are worried to hear this: fear not! The differences are mainly in the detail and it retains all the elements that make this show so special to so many people. I trust that this swan will continue to fly, inspire and lift up audiences for many years to come.

Original version published on New Adventures website. Republished with permission.

馬修．伯恩版仙履奇緣

Matthew Bourne's Cinderella

導演及編舞 Director and Choreographer

馬修．伯恩 Matthew Bourne

音樂 Music

普羅科菲耶夫 Sergei Prokofiev

佈景及服裝設計 Set and Costume Designer

雷斯．布萊斯特頓

Lez Brotherston

燈光設計 Lighting Designer

鄧肯．麥連 Duncan McLean

音效設計 Sound Designer

保羅．告魯夫斯

Paul Groothuis

影像設計 Video Designer

鄧肯．麥連 Duncan McLean

副藝術總監 Associate Artistic Director

艾塔．馬菲特 Etta Murfitt

駐團導演 Resident Director

尼爾．威斯特摩蘭

Neil Westmoreland

電影版導演 Directed for the screen by

羅斯．麥吉伯恩

Ross MacGibbon

Illuminations 執行製作 Executive Producer for Illuminations

約翰．偉佛 John Wyver

製作 Producer

露西．康拉德 Lucie Conrad

演員及角色 Cast and Characters

雅莎莉．蕭 Ashley Shaw 飾 – 灰姑娘 as Cinderella

安德魯．蒙納簡

Andrew Monaghan 飾 – 飛行員哈里 as Harry The Pilot

米凱拉．梅亞莎

Michela Meazza 飾 – 繼母 as The Stepmother

利亞姆．莫維爾 Liam Mower 飾 – 天使 as The Angel

史蒂芬妮．比爾斯

Stephanie Billers 妮歌．卡貝拉 Nicole Kabera 飾 – 繼姊妹 as The Stepsisters

傑克遜．費雪 Jackson Fisch

史蒂芬．穆雷 Stephen Murray 丹尼爾．萊特 Daniel Wright 飾 – 繼兄弟 as The Stepbrothers

群舞成員 The Company

里斯．考斯頓 Reece Causton

朱昂．卡羅里諾 João Carolino 格倫．嘉咸 Glenn Graham

蘇菲雅．赫德利 Sophia Hurdley 傑克．瓊斯 Jack Jones

凱特．里昂 Kate Lyons

傑米．麥當勞 Jamie McDonald

多米尼克．諾斯 Dominic North 丹尼．萊本斯 Danny Reubens 凱蒂．韋布 Katie Webb

艾倫．文森 Alan Vincent 飾 – 父親 as The Father

指揮 Conductor

布朗．莫里斯 Brett Morris

馬修．伯恩版《仙履奇緣》電影版由新冒險舞蹈團及 Illuminations 製作，2017 年於沙德勒之井劇院拍攝 The filmed version of Matthew Bourne’s Cinderella is a New Adventures and Illuminations production, recorded live at Sadler’s Wells Theatre in 2017

Performances of Cinderella are given by permission of Boosey & Hawkes Music Publishers

分場

SCENES

Scenes

故事發生於第二次世界大戰時期的倫敦

The action takes place in London during World War Two 序幕 Prologue 電影院

A Cinema

第一幕 Act One 第一場家族大宅

Scene 1 The Family House

第二場停電

Scene 2 The Blackout

第二幕 Act Two 第一場舞廳 ——巴黎咖啡廳

Scene 1 The Café de Paris – a dance hall

第二場飛行員的宿舍

Scene 2 The Pilot’s Lodgings

第三幕 Act Three 第一場倫敦街頭

Scene 1 The Streets of London

第二場倫敦地鐵

Scene 2 The London Underground

第三場泰晤士河河堤

Scene 3 The Thames Embankment

第四場休養處所

Scene 4 A Convalescent Home

第五場柏靈頓車站

Scene 5 Paddington Station

馬修．伯恩版《仙履奇緣》1997 年於倫敦皮卡迪利劇院首演 Matthew Bourne’s Cinderella premiered at Piccadilly Theatre, London in 1997

與馬修．伯恩暢談《仙履奇缘》 A CHAT WITH MATTHEW BOURNE ABOUT CINDERELLA

新版《仙履奇缘》最矚目之處在於故事的背景設定。為甚麼你會選擇將這套舉世知名的童話故事設定於 1940 年的「倫敦大轟炸」？

The most striking aspect of this re-telling of the Cinderella story is the setting. Why did you choose to set the world’s most famous fairy tale during the London Blitz in 1940?

我欣賞過弗德烈．艾斯頓為皇家芭蕾舞團編的《仙履奇缘》後，便愛上普羅科菲耶夫的音樂。雖然《仙履奇缘》是一個童話故事，並跟從《睡美人》等柴可夫斯基經典舞作的風格，但仍然煥發着普羅科菲耶夫的音樂個性，帶有獨特的

I first fell in love with Prokofiev’s score through watching Frederick Ashton’s version for the Royal Ballet. Although composed as a fairy tale piece, in the style of the great Tchaikovsky ballets, such as The Sleeping Beauty, it has Prokofiev’s particular 20th century musical personality

訪問

二十世紀氣息。無疑，它呈現出柴可夫斯基著名芭蕾舞作的特色，配備華麗的大圓舞曲、仙女變奏曲、馬祖卡舞及民族舞，但與此同時，潛藏在童話故事的魔法下，是更黑暗的故事核心，盛載着真實情感及戲劇化的慾望。這就是普羅科菲耶夫的音樂特色，每次聆聽其音樂，總讓人欲罷不能，縈繞心頭。1946 年，普羅科菲耶夫的《仙履奇缘》於莫斯科大劇院首演；1948 年，艾斯頓的版本上演，是經常被搬演的版本。不過，令我感興趣的，是普羅科菲耶夫原來是在二戰期間為《仙履奇缘》譜曲的，這不禁讓我思考：這個音樂作品，是否或多或少記錄了我們這段黑暗歷史？我覺得是，而且當我愈深入了解灰姑娘的故事，便愈發覺故事非常適合設定於戰時。故事的調子帶黑色浪漫風格，在戰亂時期，時機就是一切，愛情會突然來臨，又突然離去。世界縱情舞動，猶如末日一樣。

Interview

stamped all over it. True, it has grand waltzes, fairy variations, mazurkas and “national” dances, in the manner of Tchaikovsky’s most famous ballet works, but lurking beneath the fairy tale magic, there beats a darker heart with real emotions and dramatic longing. These are the features of Prokofiev’s music that keep you coming back for more and which insinuate their way inside you with every listening. Prokofiev’s Cinderella was premiered at the Bolshoi in 1946 and Ashton’s much-performed version followed in 1948, but I was intrigued to hear that Prokofiev had actually written the score during the Second World War, and this got me thinking. Was this dark period in our history, somehow captured in the music? I felt that it was, and the more I delved into the Cinderella story, it seemed to work so well in the wartime setting. Darkly romantic in tone, it speaks of a period when time was everything, love was found and lost suddenly and the world danced as if there was no tomorrow.

Your love of classic films is well known. Were there any particular movies that inspired this re-telling of the story? My guiding light with this production has always been the incredible Powell and Pressburger classic, A Matter of Life and Death (1946), starring David Niven and Kim Hunter. Niven’s character, Peter Carter, an RAF pilot, miraculously survives almost certain death when his plane crashes into the sea. It soon becomes clear that he has cheated death and the heavenly agents and angels have made a mistake. He hovers between life and death but, guided by a male guardian angel and the woman he loves, he is given a second chance. In essence, he is saved by the power of love. My Cinderella does not tell this exact story, by any means, but it’s fanciful, and a particularly English whimsy and romance is, I hope, captured in our story of wartime love and conflict. Our “Angel” is also male, rather than the usual “Fairy Godmother”,

米凱拉．梅亞莎（左）飾演灰姑娘繼母西比；雅莎莉．蕭（右）飾演灰姑娘 Michaela Meazza (left) as Sybil, Cinderella’s stepmother and Ashley Shaw (right) as Cinderella

眾所周知，你非常喜歡經典電影。有沒有一套電影啟發你重新製作《仙履奇缘》？鮑華及保格的經典電影《平步青雲》（ 1946 年）一直都是我創作《仙履奇缘》的靈感來源，電影由大衛．尼文及金．杭特主演。尼文飾演一名英國皇家空軍機師彼得．卡特，他的飛機失事墜海，卻奇蹟生還，後來真相逐漸浮現，原來是天庭使者出錯，他才倖免於難。他雖徘徊於生死之間，但一位男性守護天使及卡特深愛的女主角一直指引着他，因而讓他獲得第二人生。從故事的本質來看，他是被愛的力量拯救。我創作的《仙履奇缘》沒有搬字過紙演繹這個故事，卻是一個天馬行空、格外有英倫氣息的浪漫奇想，希望藉此捕捉戰爭期間的愛情與衝突。《仙履奇缘》的「天使」是男性，而非一般的「神仙教母」，男天使的形象主要參考英國演員卡萊．葛倫（ 1947 年

擔演電影《主教之妻》）及佛烈．雅士提，後者曾在幾部電影中飾演會跳舞的天使。

除此之外，劇中還出現不少經典電影的場面，例如劇終在鐵路站的一幕，是來自 1945 年的《相見恨晚》（絲莉亞．約翰遜及特雷弗．霍華德主演），而在倫敦地鐵那幾場戲的妓女，則參考了 1940 年的《魂斷藍橋》（慧雲李及羅伯特．泰勒主演）。同時，我亦不得不藉這部作品向其中一位我很喜歡的四十年代女演員鍾．歌羅馥致敬，她啟發了我和雷斯．布萊斯特頓創作劇中優雅的繼母西比。在「倫敦大轟炸」背景下的《仙履奇缘》故事，有多少是忠於歷史？劇中有沒有一些真實事件是發生於當時的倫敦？我們盡可能忠於歷史。布萊斯特、舞團和我花了很長時間

but he is based more on Cary Grant (The Bishop’s Wife, 1947) and Fred Astaire, who played a dancing angel on several occasions. Look out also for glimpses of other classic movies in the production, such as Celia Johnson and Trevor Howard from Brief Encounter (1945) in our final railway station scene, and the prostitutes from the Vivien Leigh and Robert Taylor classic Waterloo Bridge (1940) in our London Underground sequence. I must also pay tribute to one of my favourite 1940s actresses, Joan Crawford, who inspired Lez Brotherston and me to create Sybil, our glamorous Stepmother. How historically accurate is your “Blitz” Cinderella. Does it refer to any actual incidents that took place in London at the time? We have tried to be as accurate

安德魯．蒙納簡（左）飾演飛行員哈里；雅莎莉．蕭（右）飾演灰姑娘 Andrew Monaghan (left) as Harry The Pilot and Ashley Shaw (right) as Cinderella

訪問

利亞姆．莫維爾（左）飾演灰姑娘的天使教父；雅莎莉．蕭（右）飾演灰姑娘 Liam Mower (left) as The Angel, Cinderella’s Godfather and Ashley Shaw (right) as Cinderella

研究舊電影、紀錄片及政府宣傳片，研讀那段歷史和人物角色。

不過，我在此承認故事中至少有一處與歷史有所出入，那就是劇中有一名美國陸軍角色巴斯特，為了讓劇情更富層次，我不得不將他加進故事之中。而事實上，美國直至 1941 年末才參戰。

劇中最關鍵的事件是 1941 年 3 月 8日倫敦著名的巴黎咖啡廳受空襲。在這晚，咖啡館遭受重創，死傷人數接近一百人，包括舞者、卡巴萊歌舞表演者及職員，當中包括二十六歲樂隊領隊「蛇臀」肯．約翰遜。劇中第二幕舞廳被轟炸，場景充滿魔幻色彩，有幾對鬼魅的舞者，在普羅科菲耶夫陰森的圓舞曲下跳舞，這都是在呼應那悲劇的一夜。這是灰姑娘的美夢，同時也是她的夢魘。

原文刊登於新冒險舞蹈團網站，獲許可轉載。

Interview

as possible and Lez Brotherston, the company and I spent many hours researching the period and characters through old movies, documentaries and public information films.

ghostly dancing couples and the haunting waltzes of Prokofiev, owes much to this tragic night. It represents Cinderella’s dream, as well as her nightmare.

I will admit here to at least one historical inaccuracy, though. We have an American GI soldier character called Buster, who I couldn’t resist putting in, for the sake of variety. The Americans, however, did not enter the war until the end of 1941. The crucial incident for us is the bombing of the legendary Café de Paris on 8 March 1941. On this particular night, the club received a direct hit, killing or seriously injuring nearly 100 dancing couples, cabaret artistes and staff, including the 26-yearold bandleader, Ken “Snakehips” Johnson. Our magical Act Two bombed ballroom, with its

Original version published on New Adventures’ website. Republished with permission.

馬修．伯恩版羅密歐與茱麗葉

Matthew Bourne’s Romeo and Juliet

導演及編舞 Director and Choreographer

電影版導演 Directed for the screen by

雪兒．麥康西 Sharol Mackenzie

音樂 Music

Illuminations 執行製作 Executive Producer for Illuminations

克里斯多福．湯馬斯 Christopher Thomas

馬修．伯恩 Matthew Bourne

普羅科菲耶夫 Sergei Prokofiev

佈景及服裝設計 Set and Costume Designer

雷斯．布萊斯特頓 Lez Brotherston

燈光設計 Lighting Designer

保妮．康斯達保 Paule Constable

音效設計 Sound Designer

保羅．告魯夫斯 Paul Groothuis

配器 Orchestration

泰利．戴維斯 Terry Davies

副藝術總監 Associate Artistic Director

艾塔．馬菲特 Etta Murfitt

音樂總監及首席指揮 Music Director and Principal Conductor

布朗．莫里斯 Brett Morris

青年駐團編舞 Young Associate Choreographer

阿蕊爾．史密夫 Arielle Smith

青年駐團佈景及服裝設計 Young Associate Set and Costume Designer

艾琳．斯蒂爾 Elin Steele

青年駐團燈光設計 Young Associate Lighting Designer

阿里．亨特 Ali Hunter

青年駐團音效設計 Young Associate Sound Designer

瑞秋．戈伯 Rachel Goldberg

青年駐團配器師 Young Associate Orchestrator

阿歷山大．玲 Alexander Ling

青年駐團指揮 Young Associate Conductor

艾莉．斯洛拉克 Ellie Slorach

羅斯．麥吉伯恩 Ross MacGibbon

約翰．偉佛 John Wyver

製作 Producer

露西．康拉德 Lucie Conrad

演員及角色 Cast and Characters

帕瑞斯．菲茲柏德烈 Paris Fitzpatrick 飾 – 羅密歐 as Romeo

科迪莉亞．布雷斯韋特

飾 – 摩根 as Morgan

飾 – 埃蒙德 as Edmund

阿歷山大．法大里羅 Alexander Fadayiro 飾 – 雷諾士 as Lennox

卡琳．鮑曼 Callum Bowman 飾 – 塞巴斯汀 as Sebastian

卡梅倫．費林 Cameron Flynn 飾 – 法比安 as Fabian

Cordelia Braithwaite

馬克．莎曼拉斯 Mark Samaras

丹．萊特 Dan Wright 飾 – 提伯爾特 as Tybalt

黛絲．梅．坎普 Daisy May Kemp 麥特．佩蒂 Matt Petty

飾 – 莫枯修 as Mercutio

莫妮克．喬納斯 Monique Jonas

飾 – 茱麗葉 as Juliet

班．布朗 Ben Brown 傑克遜．費雪 Jackson Fisch 飾 – 鮑爾薩澤 as Balthazar

哈里森．道威斯爾 Harrison Dowzell 飾 – 班福里歐 as Benvolio

麥特．佩蒂 Matt Petty 黛絲．梅．坎普 Daisy May Kemp 飾 – 參議員及蒙泰基太太 as Senator and Mrs Montague

黛絲．梅．坎普 Daisy May Kemp 飾 – 伯納蒂特．勞倫斯牧師 as Rev. Bernadette Laurence

漢娜．梅森 Hannah Mason 飾 – 弗蘭奇 as Frenchie

布賴尼．哈里森 Bryony Harrison 飾 – 多卡斯 as Dorcas

莫妮克．喬納斯 Monique Jonas 飾 – 馬格德琳 as Magdalen

鲁瓦森．韋倫 Roisin Whelan 飾 – 拉維妮亞 as Lavinia

飾 – 葛芬 as Griffin

飾 – 護士、守衛及醫院職員 as Nurses, Guard and Orderly 飾 – 管治者埃斯卡勒斯 as Governor Escalus

班．布朗 Ben Brown 飾 – 精神科醫生 as Psychiatrist

英國本地演員 UK Local Cast

塔妮莎．阿迪科特 Tanisha Addicott 飾 – 費絲 as Faith

艾蜜莉．高爾文 Emily Galvin 飾 – 瑪莎 as Martha

漢娜．克雷瑪 Hannah Kremer 飾 – 布莉琪 as Bridget

楊納傑克．伍德 Janacek Wood 飾 – 拉菲 as Rafe

艾斯頓．霍爾 Ashton Hall 飾 – 安布羅斯 as Ambrose

凱特．里昂 Kate Lyons 馬克．莎曼拉斯 Mark Samaras 飾 – 史詠斯 as Swings

馬修．伯恩版《羅密歐與茱麗葉》電影版由新冒險舞蹈團及 Illuminations 製作，2019 年於沙德勒之井劇院拍攝 The filmed version of Matthew Bourne’s Romeo + Juliet is a New Adventures and Illuminations production, recorded live at Sadler’s Wells Theatre in 2019

分場

Scenes

分場

SCENES

第一幕在不遠的將來，維洛那青年所

Act One

The Verona Institute in the not-toodistant future

第二幕兩星期後

Act Two

第三幕一星期後

Act Three One week later

Two weeks later

馬修．伯恩版《羅密歐與茱麗葉》2019 年於萊斯特曲線劇院首演 Matthew Bourne’s Romeo and Juliet premiered at Curve Theatre, Leicester in 2019

藝術總監的話

ARTISTIC DIRECTOR’S NOTE

藝術總監的話

Artistic Director’s Note

致各位好友：

歡迎欣賞我們的新作《羅密歐與茱麗葉》。這部電影以莎士比亞經典劇作為藍本，由曾合作過的舞蹈電影大師羅斯．麥吉伯恩再次為我執導。他完美

捕捉了劇中緊湊而殘酷的劇情，成功營造一種不寒而慄的氣氛，讓人猶如置身現場觀賞一樣。我們的巡演有不少年輕的舞者參與，但今晚你們將會欣賞到新冒險舞蹈團的兩位明日之星，分別是帕瑞斯．菲茲柏德烈及科迪莉亞．布雷斯韋特，為大家帶來震懾人心的演出。除此之外，還有其他舞

者同台演出，包括丹．萊特（飾提伯爾特）、班．布朗（飾莫枯修）、黛絲．

梅．坎普（飾多角）、傑克遜．費雪（飾鮑爾薩澤），以及哈里森．道威斯

爾（飾班福里歐）。

新冒險舞蹈團的《羅密歐與茱麗葉》絕非一套渲染浪漫的芭蕾舞作，反而觸及不少暗黑題材，（小心劇透！）兩位年輕主角的結局亦以悲劇收場，我

猜這點毫無驚喜可言吧﹗儘管如此，也許亦正因為結局無甚驚喜，劇作的迴響反而是我們意料之外，2019 年上演時感動人心，取得空前成功，而我

很高興現在各位有機會一同觀賞這部作品。下文附上首演時由我撰寫的介紹，簡述劇作的創作背景。希望大家享受今晚的演出。

Dear Friends, Welcome to this digital version of our latest hit production of Romeo and Juliet. This film was once again directed by the master of live dance on film, Ross MacGibbon, who has captured wonderfully the urgency and brutal drama of our very free version of Shakespeare’s tale and the visceral thrill of a live performance. Our tour featured several young casts but tonight you will see two of New Adventures’ most talented rising stars, Paris Fitzpatrick and Cordelia Braithwaite, give heart-breaking performances in the title roles. They are ably supported by Dan Wright as Tybalt, Ben Brown as Mercutio, Daisy May Kemp (in multiple roles), Jackson Fisch as Balthazar, and Harrison Dowzell as Benvolio. New Adventures’ Romeo and Juliet is very far from a prettified ballet romance; it touches on some dark themes and (spoiler alert!) it does not end well for our young lovers! No surprises there, I guess? Despite this, or maybe because of it, the success of the show and its power to move audiences took us all by surprise in 2019 and I’m thrilled that you now have the chance to share in the experience with us. I have included below, my introduction to the original show to give you the background to how this unique production was conceived… Please enjoy. 31

「

我們的《羅密歐與茱麗葉》不論在台上台下都是一部歌頌青春活力、才華和創意的舞作。舞團踏入四十週年之際，我們更致力於英國尋找及培育新生代舞者和創意人才。

我對《羅密歐與茱麗葉》的興趣由來已久，但坊間除了舞蹈外，還有其他形式的版本，所以我希望創作一套與別不同又扣人心弦的版本。《蠅王》大受歡迎後，鼓勵了許多參與其中的人發展舞蹈及表演藝術界事業，更啟發了我從英國年輕、有才華及新進舞者中為《羅密歐與茱麗葉》選角。這個經典故事講述不被許可的愛情、壓抑的情感及青少年的自我探索，由年輕人演繹就最適合不過。莎士比亞這部悲劇聚焦於衝突及少年之愛，這群年輕舞者和藝術家為原著帶來不一樣的感覺和啟發，令我耳目一新。

《羅密歐與茱麗葉》有一百位年輕舞者及藝術家與我們首次演出。有些是作為他們第三年課程的訓練；有些則是舞團過往活動及演出的參加者，例如天鵝學校、夏季歷奇訓練及《蠅王》。另外，新冒險舞蹈 32

團有一個獨特的選角模式，每到一個巡演地點，都會邀請六位年齡介乎十六至十九歲的當地年輕舞者參演，他們都已經與我們合作了超過一年，並將會繼續參與舞團的演出。這亦是舞團首次邀請六位年輕駐團藝術家與我們的創作團隊緊密合作，範疇包括編舞、佈景及服裝設計、燈光、音效、配器及指揮。

品，並感謝你們一直以來的支持。

我謹代表新冒險舞蹈團所有成員，祝你們有一個愉快的晚上。

」

新冒險舞蹈團藝術總監馬修．伯恩爵士

除了這群年輕人才，我很慶幸還有十九位現役團員參與這次製作，他們為團隊帶來豐富的知識和經驗；此外，也慶幸有這群創作團隊參與其中，分別有副藝術總監艾塔．馬菲特、設計師雷斯．布萊斯特頓、燈光設計師保妮．康斯達保、配器師泰利．戴維斯、音效設計師保羅．告魯夫斯，以及音樂總監和指揮布朗．莫里斯，他們都非常投入於整個創作過程，並全心全意地指導及支持一眾年輕藝術家。如果這是你首次欣賞新冒險舞蹈團的演出，希望這次演出能讓你對我們感興趣，進一步了解我們在台前幕後的工作；若然你是我們的忠實支持者，很高興你們再次欣賞我們的作

原文刊登於新冒險舞蹈團網站，獲許可轉載。

藝術總監的話

Adventures’ Romeo and “ New Juliet is a celebration of youthful energy, talent and creativity, both on and off stage. As we enter our fourth decade as a company, we are even more committed to finding and nurturing the next generation of dance and creative talent from across the UK. I’ve been drawn to Romeo and Juliet for a long time but as there are so many versions of it around, not only in dance, but in other mediums, and I wanted to find a way to make it different and exciting. Following the success of Lord of the Flies, which encouraged so many of those involved to pursue careers in dance and performance, I was inspired to cast Romeo and Juliet from the very best of the UK’s young and emerging dance talent. This timeless story of forbidden love, repressed emotions and teenage discovery is no better told than by the young, and I have been refreshed and inspired by what this team of young dancers and artists have brought to Shakespeare’s classic tale of tragic conflict and young love. Our new company of Romeo and Juliet features 100 young dancers and artists making their debuts with us. Some are joining us as

part of their third year of training; others have come through our company initiatives such as Swan School, A Summer Adventure and our production of Lord of the Flies. And, in a model that is unique to New Adventures, we are joined at each venue on this tour by six young local dancers aged between 16 and 19, who have been working with us for over a year and will perform alongside the New Adventures company. For the first time in a New Adventures production, we have welcomed six young associate artists who are working closely with the creative team in choreography, set and costume design, lighting, sound, orchestration and conducting.

Artistic Director’s Note

this creative process and have mentored and supported their young associates so brilliantly. If this is your first experience of a New Adventures show, we hope this inspires you to find out more about us and what we do both on and off stage. And if you’re one of our most loyal supporters, then welcome back and thank you for your continued support. On behalf of everyone at New Adventures, I hope you have a wonderful evening.

”

Sir Matthew Bourne Artistic Director, New Adventures

Alongside this wealth of young talent, I am fortunate to have created this brand-new production with 19 existing members of my company who have brought with them a breadth of knowledge and experience, as well as my entire team of artistic associates: associate artistic director Etta Murfitt, designer Lez Brotherston, lighting designer Paule Constable, orchestrator Terry Davies, sound designer Paul Groothuis, and musical director and conductor Brett Morris, who have all embraced

Original version published on New Adventures’ website. Republished with permission.

《羅密歐與茱麗葉》的背後 BEHIND ROMEO AND JULIET

馬修．伯恩的編舞及音樂運用技巧精湛，以當代手法重塑

莎士比亞經典愛情故事《羅密歐與茱麗葉》，講述這對年輕情侶挑戰規條，發展戀人關係而負上沉重代價。這經典主題依舊是新版故事的核心，但除此之外，新版本還將時代背景設於未來，在反烏托邦的框架下探討不同議題。

Matthew Bourne reimagines Shakespeare’s classic love story Romeo and Juliet in a contemporary fashion through his ingenious use of choreography and music. The celebrated theme of two young people whose forbidden love causes them to pay the ultimate sacrifice remains central to the story, but this new production taps into several others with its dystopian futuristic context.

《羅密歐與茱麗葉》的背後

戀愛自由

UNFORBIDDEN LOVE

權力

POWER

原著中，羅密歐和茱麗葉的愛情不被接納，緣於他們來自兩個世仇的家庭。但在伯恩的版本中，他們被囚禁於維洛那青年所，內裏實行性別隔離政策，禁止發展愛情，甚至連情緒和感受亦被監管。伯恩還以其他方式探討不被許可的愛情，例如故事中殘暴的守衛提伯爾特毆打莫枯修及其男朋友鮑爾薩澤，反映恐懼同性戀的特質。在新版的《羅密歐與茱麗葉》中，愛情被刻畫成搗亂、煽動悲情的力量，被當權者認定為必須嚴加控制。

維洛那青年所在馬修．伯恩的《羅密歐與茱麗葉》中是權威的標誌。它有着嚴密的金屬結構、強光熾烈、重門深鎖，是一個充滿約束及監控之處。這個地方極為嚴肅，劃分了男性及女性作息的區域，他們長期被冷漠的護士、守衛和職員監管，所有人都必須服從於貪婪的管治者埃斯卡勒斯，他與青年所的職員對年輕男女行使絕對的權力。

Behind Rome and Juliet

In the original story, Romeo and Juliet’s love is forbidden because they come from two different families entrenched in a longstanding feud. But in Bourne’s production, their love is off-limits because of gender segregation at the Verona Institute of which they are both inmates. Emotions and feelings are discouraged in the Institute. Bourne also explores the realms of forbidden love in other ways, such as the homophobic assaults doled out by the brutal guard Tybalt against Mercutio and his boyfriend Balthazar. In this version, love is portrayed as a chaosinducing, grief-inciting force that the authorities deem must be controlled.

The Verona Institute is the most powerful presence in Matthew Bourne’s version. This is a place of restriction and control through the use of austere metal structures, bright lights and barred doors. A stark humourless regime separates male and female inmates. They are kept in check by unfeeling nurses, guards and orderlies; all overseen by the avaricious governor Escalus, all of whom exercise absolute power over the young internees.

性慾

SEXUAL LONGING

莎士比亞原著及伯恩的新版《羅密歐與茱麗葉》均有著墨於性慾。劇中主角稚嫩，因而對慾望和親密有所渴求，亦正是這種青澀讓我們更理解羅密歐和茱麗葉對彼此的迷戀。事實上，在伯恩的版本中，這也適用於莫枯修及鮑爾薩澤的感情之上。這群年輕人首次體會慾望及肉慾的滋味，當中更是滿載情緒和感性交流。正是這些性慾引發了青年所內當權者的強烈不安，導致他們要用盡一切方法阻止這些愛慾行為。

Shakespeare’s original story and Matthew’s brand-new version are each characterised by sexual longing. The focus on longing and intimacy is rooted in the immaturity of the main characters. It is this youthfulness that helps us to appreciate Romeo and Juliet’s mutual intoxication. And indeed, in Bourne’s version this is also true for Mercutio and Balthazar. These are young people experiencing lust and carnal desire for the first time and are brimming with emotions and sensations. It is these libidinal impulses that the adults in the institution are deeply uncomfortable with and they do everything they can to snuff them out.

《羅密歐與茱麗葉》的背後

壓迫

OPPRESSION

壓迫是新版《羅密歐與茱麗葉》的核心主題。成年人緊握大權，一步步削弱年輕人的意志，並剝奪他們的基本自由。年輕人的行為全由管治者控制，他們亦不能表達自我或擁有自由意志。在種種壓迫下，憎恨、憤怒及沮喪進而醞釀成暗湧，情況極為危險，最終物極必反，觸發報復行為。

原文刊登於新冒險舞蹈團網站，獲許可轉載。

Behind Rome and Juliet

Oppression is at the heart of Bourne’s Romeo and Juliet. The adults wield authority by gradually withering the young people’s spirits and removing their essential freedoms. What the youngsters can and cannot do is dictated by those who rule over them and they are afforded no opportunity for selfexpression or volition. This gives rise to a dangerous undercurrent of resentment, anger and frustration, which in turn boils over in retaliation.

Original version published on New Adventures website. Republished with permission.

馬修．伯恩 MATTHEW BOURNE

導演及編舞

Director and Choreographer

馬修．伯恩無疑是英國最成功且最受歡迎的編舞家和導演。他除了創作出世界最長壽的芭蕾舞作品，還破紀錄八次獲得奧利花獎，更是唯一一位同時獲得東尼獎最佳編舞和最佳音樂劇導演的英國導演。

伯恩二十二歲才正式接受舞蹈訓練，時間較一般舞者晚，但在他十四年的職業舞蹈生涯中演繹了不少角色。他擔任其首個藝團「動態影像歷險舞團」（ 1987 至 2002 年）的藝術總監時，創作了許多得獎作品。 2002 年，他成立新冒險舞蹈團，繼續為觀眾帶來更多廣受歡迎的製作，並成為英國演出最頻繁、最成功的舞團之一，同時也致力將英國舞蹈帶到世界各地。

伯恩所編的作品亦於倫敦西區和百老匯上演。他與製作人卡梅倫．麥金塔合作二十五年，創作了多部世界知名的音樂劇，包括《歡樂滿人間》、《窈窕淑女》及《孤雛淚》。他擁有七個榮譽博士學位，其中一個於 2018 年由英國牛津大學頒發；他同時也是利物浦表演藝術學院的榮譽藝術家，以及多間院校的贊助人，包括特林公園表演藝術學校、倫敦藝術教育學院及萊恩戲劇藝術學院。

2015 年，伯恩獲英國戲劇獎頒發英國戲劇傑出貢獻獎，成為首位獲得這項殊榮的舞蹈家。 2001 年，他獲頒大英帝國官佐勳章；2016 年，在英女王元旦獲授以爵位，同年獲頒英女王加冕獎，以表揚他對舞蹈的貢獻。2019 年，伯恩榮獲奧利花特別獎，讓他與茱迪．丹芝女

編舞及導演 – 馬修．伯恩

Choreographer and Director – Matthew Bourne

further hit productions after the launch of New Adventures in 2002; it became one of the UK’s busiest and most successful dance companies and the major exporter of British dance across the world.

In 2015, he became the first dance figure to be given the Stage Award for Outstanding Contribution to British Theatre, presented by the UK Theatre Awards. He received an OBE in 2001 and was knighted in the Queen’s New Year honours in 2016; the same year, he was awarded the Queen Elizabeth II Coronation Award in recognition of his outstanding services to dance. In 2019, Bourne was presented with the Olivier Special Award, making him the joint holder of the most-ever Olivier Awards, alongside Dame Judi Dench.

爵士齊名，同為獲得最多奧利花獎的得獎者。

Matthew Bourne is firmly established as the UK’s most popular and successful choreographer and director. He is the creator of the world’s longest-running ballet production, a record-breaking eight-time Olivier Award winner, and the only British director to have won the Tony Award for both Best Choreographer and Best Director of a Musical. Bourne started his dance training at the relatively late age of 22 and danced professionally for 14 years, creating many roles in his own work. As artistic director of his first company, Adventures in Motion Pictures (1987-2002), Bourne created many awardwinning works. There were

Bourne is also a West End and Broadway choreographer; a 25year relationship with producer Cameron Mackintosh has resulted in the globally successful musicals Mary Poppins, My Fair Lady and Oliver!. He has seven honorary doctorates, including one conferred in 2018 by the University of Oxford. He is also a companion of the Liverpool Institute of Performing Arts and a patron of many organisations, including Tring Park School of the Performing Arts, Arts Educational Schools London and Laine Theatre Arts.

新冒險舞蹈團

NEW ADVENTURES 新冒險舞蹈團是一個別具特色又勇於突破的英國舞團，常運用獨特的戲劇敘事手法而為人熟悉，作品劇情發展往往讓人出其不意。三十多年來，馬修．伯恩和舞團為來自不同年齡及背景人士如觀眾、藝術家及新生代帶來歡樂、啟發和養分。舞團世界級的作品及引人入勝的項目，每年都吸引來自世界各地成千上萬的觀眾欣賞。

New Adventures is an iconic and ground-breaking British dance theatre company, famous for telling stories with a unique theatrical twist. For over 30 years, Matthew Bourne and New Adventures have delighted, inspired and nurtured people of all ages and backgrounds: audiences, artists and the next generation. It creates worldclass productions and engaging projects, reaching thousands worldwide every year.

新冒險舞蹈團擅以另類手法重新演繹經典作品，例如為新版《天鵝湖》加入野性兇猛的

Under Matthew Bourne’s inspired leadership, the company has won the Manchester Evening News Dance Award four times and been given a Special Theatre Managers Association award for its commitment to national touring and audience development. In 2015, the company won the Stef Stefanou Outstanding Company Award at the National Dance Awards. In 2017, New Adventures won The Stage International Award in recognition of taking Sleeping

在馬修．伯恩出色的帶領下，舞團四次獲得曼徹斯特新聞晚報舞蹈獎，更獲頒特別劇場管理聯盟獎，以表揚舞團致力於全國巡演和觀眾拓展。舞團於 2015 年獲得英國國家舞蹈獎頒發年度傑出舞團；2017 年憑《睡美人》於 2016 年的亞洲巡迴演出獲得英國戲劇獎之國際舞台獎。

新冒險舞蹈團簡介

雄性天鵝群舞，作品已成為舞團代表作。其他作品包括《胡桃夾子！》、《睡美人》、《仙履奇緣》、《汽車人》和《仙凡之戀——搖滾激情篇》。舞團曾於世界知名的場地演出，包括悉尼歌劇院、紐約市政中心、甘迺迪表演藝術中心，以及各個大型藝術節如愛丁堡、拉維納及契訶夫國際藝術節，亦會定期到亞洲及美國巡迴演出。

新冒險舞蹈團是運用電影媒介的先鋒，藉此將舞蹈分享給更多觀眾。舞團大部分演出均拍攝成電視節目或電影。由 Sky Arts 3D 錄影製作的《天鵝湖》是首部以 3D 技術拍攝、並於電影院放映及推出 DVD 的芭蕾舞劇。此外，他們還開展了不同教育計劃，當中包括為期兩個星期的「天鵝學院」，專門為將要面對各種甄選的舞蹈學院畢業生提供課程。舞團亦一直與大學和藝術學院合作，支持新生代表演藝術家。舞團的 Overture 計劃則為英格蘭的舞蹈工作者提供寶貴的專業發展機會。新冒險舞蹈團得以發展至今，承蒙主要贊助機構英格蘭藝術委員會，以及來自英國、巡演地區以至世界各地的慷概支持。

Beauty to audiences across Asia in 2016. Perhaps best known for its now legendary Swan Lake with its corps de ballet of menacing male swans, New Adventures has also put intriguing twists on the ballet classics Nutcracker!, Sleeping Beauty, Cinderella, The Car Man and Highland Fling. New Adventures has toured to iconic international venues including the Sydney Opera House, New York City Center, the Kennedy Center and prestigious festivals such as the Edinburgh, Ravenna and Chekhov International Festivals. It regularly tours to Asia and the USA.

About New Adventures

an exceptional professional development opportunity for dance practitioners working in communities across England. The work of New Adventures would not be possible without the generous support of the principal funder Arts Council England and supporters from the UK and in regions the company visits and around the world.

New Adventures is a pioneer in taking dance to wider audiences through film, and most of its productions have been filmed for television or cinema. The recording of Swan Lake by Sky Arts 3D became the first ballet to be shot in 3D for cinema and DVD release. The company has delivered various initiatives, including Swan School, intensive two-week courses to prepare graduatelevel dancers for the audition process. New Adventures continues to work with universities and conservatoires to support the next generation of artists. It also runs Overture,

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 Member 嘉里控股有限公司 Kerry Holdings Limited

黃金會員 Gold Member 怡和集團

The Jardine Matheson Group

純銀會員 Silver Member 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 Group

上海商業銀行有限公司

Shanghai Commercial Bank Limited

實物支持機構 In-kind Supporters

嘉頓有限公司 The Garden Company Limited

學生票捐助計劃 Student Ticket Scheme

鉑金捐款者

PLATINUM DONORS

HK$140,000 或以上 AND ABOVE

無名氏 Anonymous Burger Collection

鑽石捐款者

DIAMOND DONORS HK$70,000 – HK$139,999

Rusy and Purviz Shroff Charitable Foundation

田家炳基金會 Tin Ka Ping Foundation

芝蘭基金會 Zhilan Foundation 黃金捐款者

GOLD DONORS HK$12,000 – HK$29,999

Dr Chung See Yuen Peter and Nancy Thompson Mr William To

Initial Fashion

純銀捐款者

SILVER DONORS

青銅捐款者

HK$6,000 – HK$11,999

HK$3,000 – HK$5,999

Mr Iain Bruce

馮兆林先生夫人 Mr & Mrs Fung Shiu Lam Dr Mak Lai Wo

黃乃正及陳穎儀

Ms Wong Pie Yue Cleresa

BRONZE DONORS

無名氏 (3) Anonymous (3) Ms Chan Wan Tung Mr D Chang Ms Savita Leung Mrs A.M. Peyer Ms Janice Ritchie Mr Alex So Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao

網上藝術教育捐助計劃 Digital Arts Education Scheme

鑽石捐款者

DIAMOND DONORS

純銀捐款者

SILVER DONORS

青銅捐款者

HK$70,000 – HK$139,999

HK$6,000 – HK$11,999

HK$3,000 – HK$5,999

Lincoln & Yu-San Leong Sino Group

Mrs Germaine Tso Ms Wu Tseng Helen

Mr Lee King Fung Mrs A.M. Peyer Mr Alex So Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao

純銀捐款者 SILVER DONORS

青銅捐款者

藝術節捐助計劃 Festival Donation Scheme

翡翠捐款者 JADE DONOR HK$30,000 – HK$69,999

Shun Hing Group

黃金捐款者 GOLD DONORS HK$12,000 – HK$29,999

Mr & Mrs Jeffrey & Helen Chan Mr SHN Cheng

Ms Jenny Hodgson Mr Stephen Tan Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao Samuel & Amy Wang Mr Andric Yew

新作捐助計劃 New Works Scheme

黃金捐款者 GOLD DONOR HK$12,000 – HK$29,999

劉仰澤先生 Mr Lau Yeung Chak

BRONZE DONORS

無名氏 (4) Anonymous (4) Star B Chan & MDB

HK$6,000 – HK$11,999

無名氏 (3) Anonymous (3) Mr & Mrs David S L Lin Dr Ronald Paul Ng Mrs A.M. Peyer Leland & Helen Sun Mr Wong Yick Kam Ms Isabel Yiu

青銅捐款者 BRONZE DONORS HK$3,000 – HK$5,999

無名氏 Anonymous Ms Grace Chiang Mrs A.M. Peyer

BRONZE DONORS HK$3,000 – HK$5,999

無名氏 (3) Anonymous (3) Ms Grace Chiang Dr Alfred Lau Ms Khoo Li Lian Flavia & Gary Ma Mr & Mrs Gary Ma Dr Jason Yeung

支持及協助 SUPPORT AND COOPERATION Acorn Design

• 文學院 Faculty of Arts

Hong Kong Tourism Board 香港小交響樂團

Alfie Leung Design

教育局藝術教育組

香港演藝學院

Hong Kong Sinfonietta

Arts Education Section, Education Bureau 香港展能藝術會

The Hong Kong Academy for Performing Arts

宜必思香港中上環

• 戲曲學院 School of Chinese Opera

ibis Hong Kong Central and Sheung Wan

Arts with the Disabled Association Hong Kong 香港愉景灣酒店

Auberge Discovery Bay Hong Kong 奧地利駐香港總領事館

• 戲劇學院 School of Drama

工銀亞洲 ICBC (Asia)

香港以外地區經濟事務辦事處新聞及公共關係組

Austrian Consulate General Hong Kong

Information and Public Relations Units in Offices Outside Hong Kong

Avanny Advertising Co Ltd

• 音樂學院 School of Music

中環石板街酒店

The Pottinger Hong Kong

港島太平洋酒店

Island Pacific Hotel Hong Kong

港青 - 香港基督教青年會 The Salisbury – YMCA of Hong Kong

BRICK LANE

JellyBin Limited

Théâtre de la Feuille

British Consulate General Hong Kong

Ko Shan Theatre

樺利廣告有限公司

英國駐香港總領事館

綠葉劇團

高山劇場

THEDO

通利琴行

Broadway Cinema

光華新聞文化中心

CAMPSITE

中央人民政府駐香港特別行政區聯絡辦公室

百老匯院線 Broadway Circuit 牛棚藝術村

Liaison Office of the Central People's Government in the HKSAR 馬哥孛羅香港酒店

Cattle Depot Artist Village

周生生集團國際有限公司

Maxibit HK/China

CITIC Telecom International CPC Limited

Ministry of Culture and Tourism, PRC

中信國際電訊（信息技術）有限公司城市當代舞蹈團

City Contemporary Dance Company City Garden Hotel

加拿大駐香港總領事館

Consulate General of Canada in Hong Kong and Macau 捷克共和國駐香港領事館

Consulate General of the Czech Republic in Hong Kong 俄羅斯駐香港總領事館

中華人民共和國文化和旅遊部

香港城市大學中文及歷史學系

Department of Chinese and History, The City University of Hong Kong 香港教育大學文化與創意藝術學系

Mission Production Company Ltd MOViE MOViE 太古城中心 MOViE MOViE Cityplaza MOViE MOViE 太古廣場 MOViE MOViE Pacific Place 李鏡輝先生

Mr Alpha Li

前進進戲劇工作坊 On & On Theatre Workshop 柏斯琴行

Wealthy Step Printing Co. 西九文化區管理局

West Kowloon Cultural District Authority 粵海華美灣際酒店

Wharney Hotel wine etc

元朗劇院

Yuen Long Theatre 赤豚事務所

Zhu Graphizs

PCCW

Pixellent

Primasia Corporate Services Limited Royal Pacific Hotel

Fringe Club 六國酒店

Gloucester Luk Kwok Hong Kong 香港藝術行政人員協會

Hong Kong Arts Administrators Association

香港浸會大學

Hong Kong Baptist University

• 音樂系 Department of Music

• 拉闊文化 Cultural Literacy Programme

沙田大會堂

Sha Tin Town Hall 上環文娛中心

Sheung Wan Civic Centre 信興電器貿易有限公司

Shun Hing Electronic Trading Co., Ltd. Southgate Design

事必達推廣有限公司

Speedy Promotion Limited 台灣蘇富比國際房地產

Taiwan Sotheby's International Realty

Hong Kong Chinese Orchestra

道風山基督教叢林

Hong Kong City Hall

The Artland Co Ltd

香港中樂團

香港大會堂

香港文化中心

Hong Kong Cultural Centre 香港黃金海岸酒店

Hong Kong Gold Coast Hotel Hong Kong Philharmonic Orchestra 香港旅遊發展局

進富印刷公司

皇家太平洋酒店

藝穗會

香港管弦樂團

WeDraman Black Box Theatre

電訊盈科

犇華企業服務有限公司

Hong Kong Arts Centre

同流黑盒劇場

Patsville Company Ltd

Department of Cultural Studies, Lingnan University

香港藝術中心

Tuen Mun Town Hall

卓滙達有限公司

Piano Arts Service Limited

Die Konzertisten

屯門大會堂

Parsons Music Limited

Department of Cultural and Creative Arts, Education University of Hong Kong 嶺南大學文化研究系

Trinity Theatre

URBTIX

One Minden Tapas Kitchen

Consulate General of the Russian Federation in Hong Kong SAR, PRC

三角關係

城市售票網

Marco Polo Hongkong Hotel

Chow Sang Sang Jewellery Co. Ltd

城巿花園酒店

Tom Lee Music Company Ltd

Kwang Hwa Information & Culture Center

Tao Fong Shan Christian Centre 藝林文具印刷有限公司香港八和會館

The Chinese Artists Association of Hong Kong 香港中文大學

The Chinese University of Hong Kong

• 文化及宗教研究系 Department of Cultural and Religious Studies • 音樂系 Department of Music

按英文名稱首字母排列 In alphabetical order

節目一覽 FESTIVAL PROGRAMME 荀伯格合唱團

Arnold Schoenberg Choir 《節目構想》 Curating the Programme

《後浪漫主義時期的歐洲合唱音樂傳統》 The European Choral Tradition of the Late Romantic Period

粵劇《挪亞方舟》

Cantonese Opera Noah’s Ark

幕後花絮 Behind-the-scenes

《當彩瓷遇上戲曲》 Telling Images of Xiqu on Porcelain

查爾斯．理察－哈梅林音樂會 Charles Richard-Hamelin

Concerts

《面對鋼琴大賽的焦慮》 Conquering Performance Anxiety in Piano Competition

多瑪倉庫劇院《盲流感》

Donmar Warehouse Blindness

香港中樂團 — 樂旅中國

Hong Kong Chinese Orchestra Music About China 俄羅斯莫伊謝耶夫舞團「特備節目」

Igor Moiseyev State Academic Ensemble of Popular Dance Igor Moiseyev Ballet Special

《繼續演出》─ 伊蓮娜．莎巴科娃從藝五十年 Without Intermission – 50 Years of Artistic Life of Elena Shcherbakova

香港小交響樂團英雄 · 貝多芬

Inspired by Beethoven – Hong Kong Sinfonietta•Eroica

賽馬會本地菁英創作系列《後話西遊》/《兩個女子》

Jockey Club Local Creative Talent Series Journey to the West Rewind / Women Like Us

《〈兩個女子〉：追求漫長幸福路的艱辛》 Women Like Us On the Arduous Path to Happiness 《〈後話西遊〉：如何在新常態下繼續取經》 The New Normal of Journey to the West Rewind

賽馬會本地菁英創作系列音樂劇《日新》（暫名）工作坊展演

Jockey Club Local Creative Talent Series Yat-sen (tentative title) Work-inProgress Preview 《〈日新〉創作團隊訪問》 Creative team sharing on Musical Yat-sen

馬修 · 伯恩芭蕾電影系列《仙履奇緣》

Matthew Bourne’s Ballet Film Series Cinderella

幕後花絮 Behind-the-scenes

馬修 · 伯恩芭蕾電影系列《羅密歐與茱麗葉》

Matthew Bourne’s Ballet Film Series Romeo & Juliet

幕後花絮 Behind-the-scenes

馬修 · 伯恩芭蕾電影系列《天鵝湖》

Matthew Bourne’s Ballet Film Series Swan Lake

幕後花絮 Behind-the-scenes

馬修 · 伯恩新冒險舞蹈團芭蕾電影《紅舞鞋》

A Matthew Bourne’s New Adventures production Ballet Film: The Red Shoes 捷克布爾諾國家歌劇院《耶奴法》

National Theatre Brno Jen fa

幕後花絮 Behind-the-scenes

《追尋楊納傑克的足跡》 In the Footsteps of Leoš Janá ek 《樂遊捷地》 Into the Czech Lands

捷克布爾諾國家歌劇院《狡猾的小狐狸》

National Theatre Brno The Cunning Little Vixen

幕後花絮 Behind-the-scenes

捷克布爾諾國家歌劇院《失蹤者的日記》

National Theatre Brno The Diary of One Who Disappeared 《演繹楊納傑克》 Performing Janá ek

《楊納傑克的戀戀情思》 Janá ek's Unrequited Love

巴維．哈斯四重奏

Pavel Haas Quartet

《楊納傑克與馬天奈弦樂四重奏：親暱與著迷》 Janá ek and Martin : Intimacy and Obsessions in String Quartets 《追尋楊納傑克》 Finding Your Own Janá ek

揚．巴托斯鋼琴獨奏會

Piano Recital by Jan Bartoš

《楊納傑克鋼琴作品分析》 Revealing Janá ek and His Piano Works

史葛 · 蕭凡《心靈旅程》

Scott Silven’s The Journey

演後藝人談 Meet-the-Artist

快刀劇場《無晴情天氣報告》

The Chop Pathetic Fallacy

香港賽馬會當代舞蹈平台《當代十年》

The Hong Kong Jockey Club Contemporary Dance Series Dance On and Off

《疫情下舞蹈家如何發展身體潛能》 Dancers at Home 《在不明確的世界中尋找眾聲起舞的意義》 Voice Out Mokita in An Uncertain World

香港賽馬會當代舞蹈平台《沒有大象》/《得體》

《鼠疫》（粵語版） The Plague (Cantonese version) 《為鼠疫作證》 The Witnesses of The Plague

《鼠疫》（英語版） The Plague (English version)

《此時此刻，重讀卡繆〈瘟疫〉》 Seeing your own plague in Albert Camus’s The Plague

維也納交響樂團音樂會

Wiener Symphoniker’s Concerts 導賞講座 Guided Talk

葉氏兒童合唱團兒童歌劇《愛麗絲夢遊仙境》

Yip’s Children’s Choir Children’s Opera Alice in Wonderland

音樂 Music

舞蹈 Dance

戲劇 Theatre

歌劇 / 戲曲 Opera/Chinese Opera

加料節目

藝術家分享 Artist Sharing

幕後花絮 Behind-the-scenes

紀錄片放映 Documentary Screening 講座 Talks

網上展覽 Online Exhibition 請瀏覽香港藝術節網站，查看最新節目資訊 Please visit the HKAF website for latest programme information

www.hk.artsfestival.org

The Hong Kong Jockey Club Contemporary Dance Series Elephant in the Room / Dirty

香港賽馬會當代舞蹈平台《在不明確的世界中尋找意義》

The Hong Kong Jockey Club Contemporary Dance Series Finding Meaning in an Uncertain World

香港賽馬會當代舞蹈平台《 Mokita 》/《眾聲起舞》

The Hong Kong Jockey Club Contemporary Dance Series Mokita / Voice Out

香港賽馬會當代舞蹈平台《火滅》/《煉金》

The Hong Kong Jockey Club Contemporary Dance Series Put Out the Flame / Hermetic Diode

電話 Tel 傳真 Fax 電郵 Email 節目查詢

Programme Enquiry

2824 3555 2824 3798 / 2824 3722 afgen@hkaf.org 2824 2430

香港灣仔港灣道 2 號 12 樓 1205 室

Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong

贊助人

林鄭月娥女士

PATRON

The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS

永遠名譽會長

邵逸夫爵士

HONORARY LIFE PRESIDENT

Sir Run Run Shaw, CBE (1907-2014)

執行委員會

EXECUTIVE COMMITTEE

主席

查懋成先生

義務司庫

李錦榮先生

副主席委員

節目委員會主席委員

盧景文教授鄭維新先生鄭惠貞女士梁靳羽珊女士梁卓偉教授文肇偉先生孫大倫博士姚潔莉女士楊光先生

委員

盧景文教授

白諾信教授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

發展委員會主席

副主席委員

顧問

名譽法律顧問核數師

Mr Victor Cha

Vice Chairman

Prof Lo King-man, MBE, JP, SBS

Honorary Treasurer

Mr William Li

Members

Mr Edward Cheng, GBS JP Ms Margaret Cheng Mrs Yu-san Leong Prof Gabriel Leung, GBS JP Mr Sebastian Shiu-wai Man Dr Dennis T L Sun, BBS JP Ms Miriam Yao Mr Sunny Yeung

PROGRAMME COMMITTEE

財務委員會主席

Chairman

梁靳羽珊女士雍景欣女士

鄭阮培恩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陳祖澤博士陳達文博士霍璽先生李業廣先生梁紹榮夫人李國寶博士

甘乃迪女士（孖士打）羅兵咸永道會計師事務所

* 榮譽節目顧問 Honorary Programme Advisor 46

Chairman

Prof Lo King-man, MBE, JP, SBS

Members

Prof 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

FINANCE COMMITTEE Chairman

Mr William Li

Members

Ms Margaret Cheng Mr Nelson Leong

DEVELOPMENT COMMITTEE Chairman

Mrs Yu-san Leong

Vice Chairman

Ms Jane Yong

Members

Mrs Betty Yuen Cheng Mr Paulo Kin-yee Pong Mrs Helen Lin Sun Mr Andrew Yao

ADVISORS

The Hon Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE JP Dr John C C Chan, GBS CBE LVO JP Dr Darwin Chen, SBS ISO Mr Angus H Forsyth The Hon Charles Y K Lee, GBM GBS OBE JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon Sir David K P Li, GBM GBS OBE JP

HONORARY SOLICITOR

Ms Gabriela Kennedy, Mayer Brown

AUDITOR PricewaterhouseCoopers

職員

STAFF

行政總監行政總監助理

何嘉坤 ** 何丹蓉

助理節目經理節目統籌物流及接待經理

梁掌瑋 ** 蘇國雲游慧姿 * 葉健鈴余瑞婷 * 譚小敏 * 黃傲軒 * 袁潔敏 * 金學忠 *

節目節目總監副節目總監節目經理

行政節目經理 ( 行政 ) 節目主任 ( 行政 ) 技術製作經理助理製作經理出版編輯助理編輯

外展高級外展經理副外展經理助理外展經理外展主任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藝術行政見習員

票務市場經理 ( 票務 ) 票務主任

發展發展總監發展經理

助理發展經理發展主任藝術行政見習員會計財務主管會計經理會計主任

人力資源及行政行政經理接待員 / 初級秘書助理

無限亮項目主管項目統籌節目及外展經理助理節目及外展經理助理市場經理外展統籌助理技術及製作經理高級會計主任

蘇雪凌程鶩誼 * 梁雅芝 * 莫賦斌 * 廖健邦 * 鄭豐榮 * 黎家欣 * 李冠輝 ** 鄧冠恆 * 林嘉敏 * 張翠騫 * 李玨熙 * 李萬祺 * 鄭尚榮 ** 胡銘堯 ** 陳志雄 * 周怡楊璞 * 郭駿成 * 陳閏霖 * 張予心 * 梁彩雲陳偲穎 * 鍾卓祐 * 余潔儀 ** 張慧芝 * 麥紫琴 * 譚樂瑤蘇寶蓮 * 雲希朗 * 吳樂怡 * 鄺敬婷 ** 杜詩麗 * 蘇永恆 * 譚智盈 * 李美娟黃國愛鍾雅妍 * 陸凱盈 * 林淦鈞 * 陳慧晶 * 朱穎欣 * 汪盈 * 馮顯峰 * 陳梓衡 * 彭健欣 *

* 合約職員 Contract Staff ** 無限亮指導委員會成員 No Limits Steering Committee Members

Executive Director Assistant to Executive Director PROGRAMME Programme Director Associate Programme Director Programme Managers Assistant Programme Managers Programme Coordinator Logistics Manager

Tisa Ho** Connie Ho Grace Lang** So Kwok-wan Janet Yau* Susanna Yu* Tracy Tam* Loui Yuen* Elvis King*

ADMINISTRATION Programme Manager (Administration) Programme Officer (Administration)

Shirley So Spaky Ching*

TECHNICAL Production Manager Assistant Production Manager

Shirley Leung* Benny Mok*

PUBLICATIONS Editor Assistant Editors

James Liu* Rain Cheng*

OUTREACH Senior Outreach Manager Deputy Outreach Manager Assistant Outreach Manager Outreach Officers MARKETING Marketing Director Associate Marketing Director Marketing Managers Deputy Marketing Manager Assistant Marketing Manager Digital Marketing Specialist Arts Administrator Trainee TICKETING Marketing Manager (Ticketing) Ticketing Officers DEVELOPMENT Development Director Development Managers

Kenneth Lee** Joe Tang* Carman Lam* Tracy Cheung* Kelvin Li*

Linda Yip Joseph Wong*

Melody Lai*

Michael Lee*

Katy Cheng** Dennis Wu** Dennis Chan* Alexia Chow Michelle Yeung* Joel Kwok* Ben Chan* Stephanie Cheung* Eppie Leung Stephanie Chan*

Assistant Development Manager Development Officer Arts Administrator Trainee

Flora Yu** Anna Cheung* Lorna Tam Conny Souw* Alana Wan* Lois Ng*

ACCOUNTS Head of Finance Accounting Manager Accounting Officer

Teresa Kwong** Connie To* Peter So*

HR & ADMINISTRATION Office Manager Receptionist/Junior Secretary General Assistant

Judy Tam* Virginia Li Bonia Wong

NO LIMITS Project Administrator Project Coordinator Programme and Outreach Manager Assistant Programme and Outreach Manager Assistant Marketing Managers Outreach Coordinator Assistant Technical and Production Manager Senior Accounting Officer

Fiona Chung* Helen Luk* Lam Kam-kwan* Ainslee Chan* Wendy Chu* Wilson Fung* Jacob Chan* Janice Pang*

Chung Cheuk-yau*

Mak Tsz Kam*

Tiffany Wong*

按英文姓氏首字母排列 In alphabetical order

2021 年 2 月更新 Updated February 2021