Cantonese Opera - Noah's Ark - 49th Hong Kong Arts Festival by Hong Kong Arts Festival

粵劇《挪亞方舟》 Cantonese Opera Noah’s Ark

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 of the arts and culture, particularly in these trying times. 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, the 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. The 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 the HKAF to receive support from the Government’s matching scheme that matches income generated through private sector sponsorship and donations.

本事

專題文章

關於道風山基督教叢林與設計靈感

製作歷程

Synopsis

粵劇《挪亞方舟》 CANTONESE OPERA NOAH’S ARK 18–21.03.2021

Feature Article

About Tao Fong Shan Christian Centre and its Inspiration

The Steps to Revitalise the Ark

18–19.03.2021 香港文化中心大劇院

藝術總監、編劇、撰曲及劇本整編

Artistic Director, Playwright and Script Revision

20–21.03.2021 元朗劇院演藝廳

藝術總監 Artistic Director

演出長約 3 小時，包括一節中場休息

編創人員及演員簡介

Grand Theatre, Hong Kong Cultural Centre

Auditorium, Yuen Long Theatre Approx 3 hrs including one interval

文千歲 Man Chin-sui

梁少芯 Leung Siu-sum

Creative and Cast Profiles

粵語演出，附中、英文字幕

Performed in Cantonese with Chinese and English surtitles

藝術節加料節目

封面照片 Cover Photograph 部分設計素材由道風山基督教叢林提供 Elements provided through the courtesy of Tao Fong Shan Christian Centre

敬請關掉所有響鬧及發光裝置 Please switch off all sound-making and light-emitting devices.

本場刊採用環保紙張印刷 This programme is printed on environmentally friendly paper.

歡迎觀賞幕後花絮短片及探索戲曲與彩瓷淵源的紀錄短片《當彩瓷遇上戲曲》。瀏覽連結請參閱加料節目網頁 Have a look at the behind-the-scenes video and the documentary short about xiqu and porcelain, Telling Images of Xiqu on Percelain. Please visit the PLUS webpage for viewing link.

請勿擅自攝影、錄音或錄影 Unauthorised photography or recording of any kind is strictly prohibited. 如不欲保留本場刊，請於完場後放入場地的回收箱 If you don't wish to keep this booklet, please return it to the admission point.

挪亞方舟

Noah’s Ark

監製 Producer

香港藝術節

Hong Kong Arts Festival 執行製作 Executive Producer

吾識大戲 Canto Op

藝術總監 Artistic Directors

文千歲 Man Chin-sui 梁少芯 Leung Siu-sum

編劇、撰曲及劇本整編 Playwright and Script Revision

文千歲 Man Chin-sui

統籌、劇本整編及導演 Coordinator, Script Revision and Director

黎耀威 Lai Yiu-wai

導演、燈光設計及舞台監督 Director, Lighting Designer and Stage Manager

梁煒康 Leung Wai-hong

擊樂領導 Percussion Leader

高潤權 Ko Yun-kuen

音樂領導 Music Leader

佘嘉樂 Share Ka-lok

音樂設計 Musical Arrangement

黃寶萱 Janet Wong

佈景設計 Set Designer

張正和 Cheung Ching-wo

服裝設計 Costume Designer

蕭燕凌 Cathy Siu

執行服裝設計 Executive Costume Designer

古志欣 Miko Ku

服裝設計助理 Assistant to Costume Designer

黃小婷 Shedy Huang

動物頭飾製作 Animal Headdress Maker

梁家怡 Kylie Leung

執行舞台監督 Executive Stage Managers

高文謙 Ko Man-him 陳愛蓮 Chan Oi-lin

武術指導 Martial Arts Instructor

韓燕明 Hon Yin-ming

經理 Manager

袁善婷 Yuen Sin-ting

角色及演員 Cast

新劍郎 Sun Kim-long 飾 – 挪亞 as Noah

鄧美玲 Tang Mi-ling

飾 – 挪亞妻 as Noah’s wife

陳鴻進 Chan Hung-chun 飾 – 塞魯 as Cyrus

藍天佑 Lam Tin-yau 飾 – 閃 as Shem

鄭雅琪 Cheng Nga-ki

飾 – 大媳婦 as Shem’s wife

千珊 Mitche Choi 飾 – 含 as Ham

芯融 Sum Yung

飾 – 二媳婦 as Ham’s wife

吳立熙 Ng Lap-hei 飾 – 雅弗 as Japheth

梁心怡 Angel Leung Sum-yee 飾 – 三媳婦 as Japheth’s wife

佈景 Set

廣興舞台佈景製作公司

Kwong Hing Stage Scene Production Company 服裝 Costume

金儀戲劇服裝有限公司

Kam Yee Costumes Company

英文字幕翻譯 English Surtitles Translator

楊為信 Harold Yeo

《挪亞方舟》由香港藝術節復排及重新製作 This production is revived and produced by the Hong Kong Arts Festival

Acknowledgements 鳴謝福音繪瓷圖片由道風山基督教叢林提供 Images of gospel porcelain provided through the courtesy of Tao Fong Shan Christian Centre 11

本事

SYNOPSIS

耶和華眼見世人充滿敗壞與邪惡，決意用洪水毀滅天下。神與義人挪亞立約，吩咐他建造方舟，讓他一家以及一公一母的飛鳥牲畜，登上方舟保全生命。世人愚昧，不知大

限將至，神終使四十晝夜的大雨毁滅大地。挪亞一家身處方舟，歷盡驚濤駭浪，對上帝的承諾令重回大地的期盼更加堅定。洪水退卻，方舟停靠在亞拉臘山上，挪亞一家與

牲畜重臨大地。從此血肉之物再不被水滅絕，神把虹放在雲彩之中，作為永約的記號。

When the Lord beheld the corruption of humanity, He solemnly decided to destroy the world by submerging mankind and all life in a flood. Noah found favour with God for his righteousness and followed the Lord’s instructions to build an ark that could accommodate Noah’s family during the flood as well as two of every animal, from birds to livestock. The rest ignored Noah’s warning and was not aware that the Great Flood was imminent. Rain fell on the earth for 40 days and 40 nights, with raging waters engulfing every mountain. Facing the perilous seas on the ark, Noah’s family kept their promise to God and united in a staunch will of returning to the land. The ark landed on Mount Ararat as the flood finally subsided. Noah’s family returned to dry land along with the animals. God vowed to never again curse the Earth for humanity’s evil or destroy living beings. He then traced a rainbow across the sky as a mark of his promise.

故事大綱、角色及分場

分場

SCENES

Synopsis, Characters and Scenes

序場〈罪惡人間〉

Prologue The Evil World

第一場〈勸世人〉

Scene 1 Counselling the World

第二場〈挪亞試妻〉

Scene 2 Noah Tests His Wife

第三場〈方舟起航〉

Scene 3 The Ark Sets Sail

第四場〈洪水滅世〉

Scene 4 The Extinction Flood 中場休息 Interval

第五場〈驚濤駭浪〉

Scene 5 Perilous Seas

第六場〈方舟練武〉

Scene 6 Practising Martial Arts on the Ark

第七場〈方舟禱告〉

Scene 7 Prayer in the Ark

第八場〈彩虹立約〉

Scene 8 The Rainbow Covenant

藝術總監的話 ARTISTIC DIRECTOR'S NOTE

藝術總監的話

Artistic Director's Note

今次《挪亞方舟》能夠在 2021 年香港藝術節重演，我感到非常高興！特別是梁少芯（芯姐）為今次演出提供很多寶貴的意見。

It is my great pleasure and honour to have Noah’s Ark grace the Hong Kong Arts Festival’s stage once again in 2021. This time, my wife Leung Siu-sum has provided precious insight.

記得我夫婦信主之後，在芯姐多番鼓勵之下，我執筆撰寫福音粵曲及福音長篇粵劇《挪亞方舟》，在 2010 年於香港文化中心首演。今次重演由我弟子黎耀威，在我指導下執筆改編，豐富內容，更臻完美。更高興是由幾位當今老倌，聯同年青有為的演員演出，使得各位在《挪亞方舟》一劇中盡情發揮，定必令各位觀眾倍感滿意。

我十分感恩《挪亞方舟》十年後再次搬上舞台！我在此衷心恭祝各位演出成功，大獲好評。希望各位觀眾支持一眾年青演員，多謝！文千歲

After we converted to Christianity, I was encouraged by her to begin penning a contemporary gospel Cantonese opera about Noah and his ark from the Book of Genesis. And as a result, my biblical Cantonese opera Noah’s Ark was born, premiering at the Hong Kong Cultural Centre in 2010. This new iteration of my work, unveiling at the 49th Hong Kong Arts Festival, will be adapted by my apprentice Lai Yiu-wai under my direction. Not only will the piece be rich in content and closer to perfection than ever, it will also feature veterans and rising young stars alike. With such a star-studded cast and the combination of various talents, we are confident that our audience will be blown away by the spectacle. I am immensely grateful for the opportunity to revive and revitalise Noah’s Ark for a new audience on the stage. I sincerely wish everyone involved in this production a very successful second run; may you all receive nothing but praise and critical acclaim! Please do continue to root for the future of Cantonese opera—the young stars of this adaptation! Man Chin- sui

2010 年的版本由文千歲及梁少芯擔綱主演 Man Chin-sui and Leung Siu-sum performed as lead roles in the 2010 production

統籌的話

COORDINATOR’S NOTE

2010 年在香港文化中心上演的粵劇《挪亞方舟》，是我師父文千歲及師母梁少芯退休前最後一套代表作。今年香港藝術節重新製作這套以聖經事蹟為題材的名伶經典，可謂別出心裁，誠意有目共睹。重新整編《挪亞方舟》是一項艱難的工作。既要依據聖經的描述，亦要顧及整個製作的規模，協調演員、音樂、服裝及佈景，統一呈現出當代粵劇的風格。幸賴師父及師母指導我整編的工作，才得以重新塑造此次的《挪亞方舟》。今次舞美及服裝的設計靈感來自集中西文化一體的道風山福音繪瓷文化，參考廣彩瓷的風格及中國剪紙藝術；全新的音樂、燈光設計及武術編排，亦為今次演出帶來一次跨界別的本土藝術合作！挪亞方舟經歷風高浪急，最終安然靠岸，寄語諸君路縱艱難，信念長存！

The 2010 gospel Cantonese opera Noah’s Ark, which premiered in the Hong Kong Cultural Centre, was the chant du cygne of my masters Man Chin-sui and Leung Siu-sum before their retirement. That the HKAF is revamping this biblical classic for all to see is refreshing, exciting and extraordinarily gracious. The rearrangement and rejuvenation of Noah’s Ark was no small feat and remarkably difficult. Perhaps the most challenging aspect was ensuring the story’s adherence to the Bible’s original narrative vision while taking into account

Coordinator's Note

the production scale and simultaneously coordinating everything from the actors and music to costumes and background through a contemporary Cantonese operatic lens. Fortunately, my masters have been guiding me throughout the whole project, overseeing the renewal of Noah’s Ark. The inspiration for the costume design and stage aesthetics came from the Tao Fong Shan Christian Centre’s “gospel” porcelain, influenced by Western culture with references to the guangcai porcelain style and elements of Chinese papercutting craft also incorporated. Pairing these vibrant and elaborate visuals with brand new music, stage lighting, and martial arts choreography, we’re using our production to bring the audience a cross-cultural experience that transcends all geographical and cultural boundaries. The odyssey of Noah’s ark was turbulent and tempestuous but ultimately arrived at a peaceful denouement. This classic biblical narrative imparts the vital piece of wisdom that despite the journey of life’s trials and tribulations, the power of faith knows no bounds. 黎耀威 Lai Yiu- wai

導演的話

DIRECTOR’S NOTE

作為香港粵劇幕後工作者的一員，我參與過的香港藝術節粵劇節目，自己也數不清。記憶中，第一次參與香港藝術節粵劇節目製作，是 2002 年《文武雙全陳好逑》，屈指一算，至今已十九個年頭。承蒙第 49 屆香港藝術節邀請，吾識大戲今屆有幸為粵劇《挪亞方舟》擔任執行製作。記得 2010 年此劇開山時，我也有幸參與其中。轉眼十一年，今次因疫情關係，我姑丈文千歲及姑姐梁少芯未能回港領導這次演出，我和黎耀威便肩負起大旗手的重任，希望盡我們最大的努力，呈獻一齣好作品給廣大觀眾。

粵劇是一門很獨特的藝術，尤其是在香港。從我學戲開始至今三十多年，不少前輩都說，粵劇是不需要導演的，而是靠演員身上的「武藝子」把戲演好、演活。而多年來主張粵劇需要導演制的，當數先父梁漢威這位「革命先鋒」。三十多年累積下來，我學到、體驗到、感受到的，是粵劇這門表演藝術風格的多元化，既有其表演形式的「規矩」，與地方戲曲種類甚至其他表演藝術形式亦有很大的借鑒和融合空間，歷史亦已告訴我們，香港粵劇的確吸收了很多不同的養份。記得家父曾說：「粵劇好睇，係睇佢點樣講故事」，聽來簡單的一句說話，當中的含意，當比洪水還深。

Director’s Note

演得好，是演員的榮耀；至於整部劇作呈現的風格，有導演的協調、優化，當能錦上添花。總括來說，能夠牽動人心，就是好戲。

世界本是多元，舞台表演亦然。今次排演《挪亞方舟》，我們希望以當代粵劇的風貌，說一個感動人心的西方宗教故事。在這風雨飄搖的世代，能夠集合一眾台前幕後、同心同德的舞台工作者，成就一次無愧於心的演出，夫復何求？感恩！

梁煒康

As a regular behind-the-scenes crew member of Cantonese opera productions in Hong Kong and a participant of many previous Hong Kong Arts Festival Cantonese opera stages, there have been too many shows I’ve worked on to recall. However, I do remember the first time I had a part in an HKAF’s Cantonese opera production. It was The Virtuosity of Chan Ho-Kau, which premiered 19 years ago, in 2002. Thanks to the 49th Hong Kong Arts Festival’s invitation, Canto Op is honoured to be acting as executive producer of the Cantonese opera Noah’s Ark this year. I remember when the production first premiered in 2010, when I also had the privilege to be part of it. A decade has passed in the blink of an eye. As my uncle Man Chin-sui and his wife Leung Siusum are absent because of the pandemic, the responsibility has fallen upon Lai Yiu-wai’s shoulders and mine to rekindle the production. We hope that with our greatest efforts, we can present a sensational theatrical experience for audiences. Cantonese opera is a unique art form, especially in Hong Kong. I’ve been in the industry for about 30 years now. From day one, many veteran practitioners in the industry have told me that Cantonese operas do not need directors. The performance, they say, depends on the actors’ skill and mastery of the art form, and only the actor can make the stage come alive. However, for as many years as there were naysayers, one revolutionary pioneer argued the opposite: my late father, Leung Hon-wai.

Over the past three decades, I’ve learned, experienced, and felt that this performance art we know and love as Cantonese opera is wonderfully versatile and multifaceted. While there are specific “rules” to its performance, the art form simultaneously offers a lot of room for reference, inspiration, and integration with other branches of xiqu and even other genres of the performing arts. Throughout Cantonese opera’s extensive history, we can see that Cantonese in Hong Kong has likewise absorbed and assimilated a motley range of external influences.

For us to be able to gather together in these turbulent days, working on and behind the stage united in our will to accomplish one last show-stopping reprise, what more could I ask for? I am blessed and endlessly thankful for it all! Leung Wai-hong

I remember my father once saying: “How a Cantonese opera tells its story is how you tell the opera’s quality.” Although it sounds simple and even obvious, I found it incredibly profound. A good performance is attributed to the actor’s magnificence. However, for the opera’s soul and essence to shine through, only the director’s coordination and refinement can be the crowning stroke. That is to say: for a Cantonese opera to be deemed of good quality, all it needs to do is genuinely pull at its audience’s heartstrings. The world is intricate and complex, and so is the stage. For this iteration of Noah’s Ark, we amalgamated elements of Western storytelling with the style of Cantonese opera in the hope of being able to effectively recount a powerful, touching religious story through the lens of Cantonese opera. 19

重建《挪亞方舟》 RECONSTRUCTING

NOAH’S ARK 2010 年，大老倌文千歲及梁少芯以《挪亞方舟》一劇告別香港戲迷，其後移居美國。《挪亞方舟》是文千歲自編自演的作品，以聖

經裏挪亞建造方舟渡過大洪水的故事為藍本，對於大多取材自中國

歷史及民間故事的粵劇而言，無疑是破格之舉。闊別十年，香港藝術節推動復排及重新製作這部粵劇，正好藉此機會再思考《挪亞方舟》為粵劇開拓的可能性。

In 2010, just before they emigrated to the United States, Cantonese opera stars Man Chin-sui and Leung Siu-sum bade farewell to their Hong Kong fans with a production of Noah’s Ark. As both playwright and performer, Man drew from the biblical tale of the patriarch Noah and his construction of an ark to survive the great flood. In the world of Cantonese opera, where source materials are primarily drawn from Chinese history and traditional folktales, this production was undoubtedly an exception to the rule. Now, ten years after its first performance, the HKAF takes the initiative in reviving and reproducing this Cantonese opera. This will be an opportunity to consider how a biblical story like Noah’s Ark can open up new possibilities for Cantonese opera.

專題文章

Feature Article

福音瓷碟《耶穌平靜風浪》為是次復排製作的舞台設計提供了靈感。圖片由道風山基督教叢林提供 Jesus Calms the Storm, gospel hand-painted porcelain plate which has become a source of inspiration for the revived production’s scenography. Image courtesy of Tao Fong Shan Christian Centre

《挪亞方舟》當年首演時，除了由文千歲及梁少芯飾演挪亞及挪亞太太外，其他班底皆為紅豆粵劇團人馬。十年後，製作這項挑戰落到文千歲的徒弟黎耀威身上。黎雖不會親身登台，但會身兼統籌及導演一職，夥拍資深粵劇演員梁煒康（曾為十年前的製作任舞台監督），負責重新編排劇本、組班、排練等大小事項，兩人可算是這艘「方舟」的幕後工匠。「好欣賞藝術節提出重新搬演呢個作品，幾大膽，因為做一套經典戲寶一定會更安全。」黎耀威說。《挪亞方舟》在各種傳統戲碼中或許是個小眾題材，但這個故事其實為粵劇的一貫美學觀念提供了很大的發揮空間。黎形容，初看這部劇時，第一個感覺是――豐富。他看出作品在情節、情感或舞台效果等方面，都有豐富潛質，突顯粵劇的多面向及可能性。例如他對劇中洪水滅世場面的印象便尤其深刻：「台上一滴水都沒有，但透過舞水旗、演員的身

Aside from the lead roles of Noah and his wife—performed by Man Chin-sui and Leung Siu-sum, respectively—all cast members of the original version of Noah's Ark came from the Guangzhou Hongdou Cantonese Opera Troupe. Ten years on, the challenge of producing has fallen to Man’s apprentice, Lai Yiuwai. Although Lai himself will not appear onstage, he will team up with the veteran actor Leung Wai-hong, who participated in the original version as stage manager, and take up the work of coordinating the entire production—from smaller tasks like organising rehearsals to larger challenges like rewriting the script and assembling a cast. The duo might be considered the behind-the-scenes craftsmen of this “ark”. “I’m very impressed by the Hong Kong Arts Festival’s proposal to restage this work. It’s quite courageous, as it certainly would have been much safer to produce a classic opera,” Lai says. The story of Noah’s Ark in any theatre programme would be

a niche topic, but it creates great opportunity for experimentation with Cantonese opera’s aesthetic traditions. Lai recalls that when he first saw the production, his initial sense was of richness. In terms of plot, emotional range and stage effects, he noticed how the work was teeming with potential and clearly demonstrated the many possible faces of Cantonese opera. His impression of the production’s portrayal of the cataclysmic, earth-encompassing flood was especially deep: “There wasn’t a single drop of water onstage, but through the use of water flags and the performers’ gestures and movements, the audience could really believe that flood waters were rushing forth. This moment brought out the virtual nature of Cantonese opera.” Cantonese opera’s quintessential skills of singing, acting, delivery of spoken lines and martial arts were also fully demonstrated in the original work. On the subject of singing, Lai thinks his mentor showed outstanding expertise in 21

是次復排重新製作方舟上各種動物的服裝，顏色及手工皆更見豐富精細 This revived production has devised new costumes for animal performers with more precision in details and vibrancy in colours

段功架，令觀眾真的相信洪水要湧來了，這點就帶出了粵劇的虛擬性。」

粵劇一向重視的唱、做、唸、打元素，在原製作中亦得到充分展現。唱段方面，黎認為其師傅在編曲選曲上非常出色：「師傅特別提過下半場的重頭生旦戲選了小曲《潯陽江上月》，藉此表達挪亞夫妻在方舟上的憂心及徬徨，那兩段唱段非常優美工整，是很花心思的安排。整部劇在曲風上用了小曲、梆黃、說唱等不同粵曲種類，有很多機會讓演員大顯唱功。」

劇本擁有這些先天優勢，故這次重新編排，他特別着重其他方面，主力發掘角色的人性特質，加強描寫情感狀態，希望令觀眾更易找到共鳴。「聖經其實沒提及在方舟裏發生了甚麼事，好處是反而有空間構思。」他着手提升幾對夫婦的對唱以及動物練武場面，例如為挪亞大兒子和媳婦（今次將由夫婦檔藍天佑及鄭雅琪飾演）加添生旦對唱戲。「兩人在方舟上擔心糧食快盡，不知何時可 22

arranging and selecting songs: “For the reprisal of the sheng and dan scene in the second half, my master chose the siukuk (small tune) “Waxing Moon on the Xunyang River” to express the anxiety and restlessness felt by Noah and his wife on the ark. Those two arias are both graceful and finely composed; it’s clear that a lot of mental effort went into the planning. Throughout the show, different singing styles—such as bongwong (melodies with fixed rhythmic structures involving the use of wooden clappers and reed instruments) and syutcheung (speaking and singing)— provide the actors with many opportunities to show off their singing prowess.” With these innate strengths already in the script, Lai is turning his attention elsewhere for this restaging. He is particularly interested in uncovering the characters’ personality traits and strengthening the portrayal of their emotional states, in the hope that it will help the audience more easily identify with the story. “The Bible actually

never says what happens on the ark, but the advantage of that is we have room to imagine,” says Lai. He set about elevating the quality of the animals’ martial arts performances as well as the couples’ duets on the ark, such as adding a sheng and dan duet for Noah’s eldest son and daughter-in-law (performed in this staging by real-life husband and wife Lam Tin-yau and Cheng Nga-ki). “They are worried that the ark will soon be running out of food, there’s no land in sight and they’re in the heart of a storm. They think they’re on the verge of death, and their duet fully expresses that frailty, terror and helplessness; it’s an interesting contrast with the duet sung by Noah and his wife earlier in the opera.” Lai trusts that even regular, non-religious Cantonese opera audiences will have a gratifying experience, while the novelty of the source material may even attract those who have never seen a Cantonese opera performance before. As part of the younger generation of local Cantonese opera performers,

專題文章

Feature Article

梁煒康（右）於彩排室指導藍天佑（左）及鄭雅琪（後） Leung Wai-hong (right) directs Lam Tin-yau (left) and Cheng Nga-ki (back) in rehearsals

上岸，又遇到風浪，以為快要死了，對唱盡訴那種懦弱、恐慌、無力感，與挪亞夫婦早前的對唱會形成有趣的對比。」

黎相信，即使沒宗教信仰的一般粵劇觀眾都會有滿意的體驗，而取材上的新鮮感，也可吸引未看過粵劇的新觀眾入場。作為本地粵劇界年輕的一代，他一直思考如何讓粵劇更能回應當代社會及觀眾，過去他曾將莎士比亞劇改編為粵劇，嘗試走出一條新路線。他坦承，重新搬演十年前的製作，有道現實的問題一定要直面：對今時今日的觀眾來說，以往的呈現方式會否顯得老套？故此他多番強調作品的整體風格要統一，不惜工本重新設計及製作服裝、佈景，以呈現當代品味。

he has always reflected on how Cantonese opera can better respond to contemporary society and audiences—in the past, he has attempted to walk a new path by adapting Shakespeare for the Cantonese opera stage. But he admits that in restaging a ten-year-old work, there is a very practical question that needs answering: for audiences today, will the original presentation format seem old-fashioned? For this reason, he has emphasised multiple times that the overall style of the work must be unified and no effort should be spared in redesigning and producing new costumes and set designs, so that everything reflects contemporary tastes.

For Lai, restaging Noah’s Ark is “a great opportunity to reflect the nature of the present moment in Cantonese opera”. He hopes that what he’s building will become a work that can withstand the test of time and establish itself within the repertoire of contemporary Cantonese opera productions.

如黎耀威所言，重新搬演《挪亞方舟》「是很好的機會去反映粵劇的時代特質」。希望他建造的，也是一部能經歷考驗、立足於當代粵劇舞台的製作。

原文刊登於香港藝術節 2021 年之《閱藝》雜誌

Originally published in the HKAF’s FestMag 2021

關於道風山基督教叢林與設計靈感

ABOUT TAO FONG SHAN CHRISTIAN CENTRE AND ITS INSPIRATION

是次復排及重新製作《挪亞方舟》，設計團隊參考了道風山基督教叢林的獨特嶺南藝術文化 —— 廣彩手繪瓷，為粵劇舞台設計及服裝造型帶來新衝擊。沙田道風山基督教叢林一群經驗豐富的畫師，包括周以鴻、謝中吾、徐淼、鍾立昆等人，多年來以廣彩繪瓷技法，在各種裝飾日用品上勾勒出形神兼備的花鳥蟲魚圖案，更特別的是以聖經事蹟入畫，製作出別具特色的裝飾瓷碟。《挪亞方舟》的設計團隊仔細研究這些福音瓷碟，從中提煉出適合元素，豐富製作設計美學。例如其中一幅《耶穌平靜風浪》，描繪耶穌於眾門徒面前平定洶湧翻騰的海浪，線條靈動，構圖極具氣勢，正好與劇中講述上帝以洪水滅世的場面不謀而合，設計師於是將海浪圖案簡化，取其精粹成為舞台設計的一部分。服裝設計方 26

面亦有新靈感，瓷碟上的耶穌與門徒皆穿傳統漢服，造型仔細，五官神色在小小一塊瓷碟上依然傳神，啟發設計師以更細緻的手法處理劇中角色的頭飾和服裝，增添更多色彩以至繡花裝飾，讓角色整體造型更顯當代品味。

The revival and production of Noah’s Ark has tapped into the idiosyncratic Lingnan art produced at Tao Fong Shan Christian Centre—hand-painted guangcai—which injects new life into the art form of Cantonese opera in terms of set and costume. Up on the hill in Sha Tin, the veteran painters at Tao Fong Shan’s Christian Centre, whose names include Chou Yi-hung, Tse Chung-ng, Chui Miu and Chung Lap-kwan, have for decades been using traditional guangcai techniques to embellish decorative porcelain houseware.

關於道風山基督教叢林與設計靈感

About Tao Fong Shan Christian Centre and its Inspiration

舞台設計師抽取瓷碟上的海浪圖案，設計洪水滅世的場景 Drawing upon the wave form from the porcelain plate, the set designer enriched the scenography of the Great Flood scene

Predominant subjects are flora and fauna, but the painters also illustrate biblical scenes with meticulous care. The creative team of Noah’s Ark has closely examined these gospel porcelain plates, from which they extracted suitable elements to build upon the aesthetics of the production. One of the porcelain plates, Jesus Calms the Storm, has been of special importance, where Jesus performs the miracle of stilling the stormy sea for his disciples. The swift strokes and in composition render resemblance with the Noah’s Ark scene where God floods the world with water. Inspired by the plate design, the set designer adapted and simplified the wave form as part of the scenography. The costume design is also based on the porcelain plates, where Jesus and his disciples, in traditional Han garments, are depicted in refined details. Their looks and facial expression are still clearly

shown, even on what may seem the small canvas of the plate. The clarity and vividness inspired the costume designer to craft the headdress and costumes with extra colour and embroidery, which shine with contemporary beauty on stage. 《彼得認耶穌為主》Peter’s Confessions

《登山寶訓》The Sermon on the Mount

道風山基督教叢林出產多款與《聖經》事蹟相關的福音瓷碟，為是次製作提供設計靈感。圖片由道風山基督教叢林提供 The gospel hand-painted porcelain plates by Tao Fong Shan Christian Centre served as an inspiration to various design aspects of the production. Images courtesy of Tao Fong Shan Christian Centre

製作歷程

香港藝術節於 2018 年年底初會文千歲及梁

THE STEPS TO REVITALISE THE ARK

少芯，提議復排及重新製作《挪亞方舟》。其後由黎耀威與身處美國的師父師母隔空修

訂劇本，並一步步敲定製作及演出團隊。藝術節同時亦借用道風山基督教叢林的手繪彩瓷藝術形式，引進新的舞台及服裝設計元

素。新製作匠心獨運、兼容並蓄，展現香港粤劇創作的開放和多元一面。這艘方舟歷經疫情，集眾人之力，從籌劃到登上舞台歷時超過兩年。

藝術節與創作團隊到訪道風山基督教叢林

The Festival and the creative team visit Tao Fong Shan Christian Centre

團隊到訪劇團倉庫，檢視舊製作保留的服裝及道具。圖為第七場帶着橄欖葉回方舟的白鴿

The team visits the warehouse and examines the costumes and props used in the 2010 production. Pictured here is the dove which in Scene 7 flies back to the ark with an olive branch

服裝設計師以更精細的顏色及手工製作戲服及各種動物服裝

Costumes for characters and animals are redesigned and are now more sophisticated and vibrant

製作歷程

The Steps to Revitalise the Ark

In late 2018, the HKAF team met with Man Chin-shui and Leung Siu-sum and proposed a revival of Noah’s Ark. The revamped production was then led by Man’s apprentice Lai Yiu-wai, who took up script revision in consultation with his mentors, now based in the USA. Additionally, the HKAF took the opportunity to introduce hand-painted guangcai elements from the Tao Fong Shan Christian Centre to enrich the set and costume designs of the production. Eclectic and virtuosic, the 2021 version demonstrates the openness and diversity of Cantonese opera productions crafted in Hong Kong. From the initial idea to the performance itself, the “ark” has been taken on a journey of more than two years, navigating the pandemic thanks to the combined will and efforts of all involved.

舞台設計逐漸成形，着重以燈光調度製造不同燈區，豐富舞台效果

The set design gradually takes shape. The new production puts special focus on using lighting effects to enhance scenography

團隊與導演之一及燈光設計梁煒康（左）及舞台設計張正和（右）召開製作會議，討論舞台安排

Director and lighting designer Leung Wai-hong (left), set designer Cheung Chingwo (right) and team discuss stage arrangements during a production meeting

台前幕後團隊進行圍讀及彩排。圖中黃衣演員為飾演挪亞三子雅弗的吳立熙，正排練擊退獵人的場口

Script reading and rehearsal with performers and crew members. Ng Lap-hei (centre in yellow costume) who plays Japheth in the production, rehearses the scene where he repels the poachers

藝術總監、編劇、撰曲及劇本整編 – 文千歲

以及《西施》等，以及折子戲《李陵困谷》、《秦瓊賣馬》、《驛館憐香》、《山東響馬》等。他亦曾灌錄粵曲唱片盒帶超過一百八十多款。

文千歲 Man Chin- sui

藝術總監、編劇、撰曲及劇本整編 Artistic Director,

Playwright and Script Revision

文千歲是香港著名粵劇表演藝術家，九歲開始拜北派老師竇庭志為師；十三歲轉學粵劇登台演戲，藝名若游龍，師從音樂家黃滔及劉兆榮，學習古腔粵曲、擴排子及小調，後來又得到著名小武蕭甫雲和小生何湘子教授古老排場，以及「江湖十八本」之劇種基本藝術，更得到陳錦棠、梁醒波及陳鐵英三位著名藝術家言傳身教。

文千歲其後拜京劇老師王雪崑、李少鵬及粉菊花三位門下學習長相、短打表演身段及水袖、扇子、翎子功等。少年時曾改藝名小千歲往南洋各地登台，後得到撰曲人吳一嘯先生改名文千歲。在香港各大劇團當了十七年副軍，他其後受聘於班政家何少保先生，擔任黃金粵劇團的正印文武生，亦曾與梁少芯組成千歲粵劇團赴美加演出。

文千歲曾演出多套作品，包括《胡不歸》、《大鬧青竹寺》、《三戲周瑜》、《呂布與貂蟬》 30

A famous veteran of Hong Kong’s Cantonese opera industry, Man Chin-sui began his discipleship under a master of the Northern School of Peking opera at the age of nine. At 13, he started learning Cantonese opera, performing under the tutelage of musicians Wong To and Lau Siu-wing. He studied singing Cantonese operatic songs in an ancient style featuring Cantonese opera’s original language, learned paizi melodies and small tunes and was eventually cast in multiple title roles. He studied historic formulaic plays and basics to the “Eighteen Classical Plays of Cantonese Opera” under the instruction of Siu Po-wan and Hoh Seung-Ji. Three of the most famous Cantonese opera masters, Chan Kam-tong, Leung Sing-por, and Chan Tit-ying, also took him under the wing. Man Chin-sui later followed in the footsteps of three Peking opera teachers, including Fan Kuk-fa, learning expressions, the movements and postures of hand-to-hand combat, as well as the art of controlling and perfecting the various aspects of Cantonese opera costume, such as the sleeves, the fan, and the pheasant feathers on the actors’ helmets. In his youth, he once changed his stage name

Artistic Director, Playwright and Script Revision – Man Chin-sui

to Little Chin-sui and graced the stage of multiple venues in Southeast Asia, but was later convinced by a composer to rebrand with his name Man Chin-sui. After 17 years working as a supporting actor with various troupes in Hong Kong, Man was hired by the troupe manager Ho Siu-po and became the leading wenwusheng (civilian and military) for the Golden Cantonese Opera Troupe. As his career flourished, Man Chin-sui’s oeuvre grew with a wide range of opera performances, including Why Don’t You Return, Havoc at Bamboo Monastery, Lu Bu and Diao Chan, and many more. He released more than 180 types of cassettes featuring Cantonese opera tunes throughout his eventful professional life, and formed the Chin-sui Cantonese Opera Troupe with Leung Siu-sum with tours in North America.

藝術總監 – 梁少芯

梁少芯主演過無數名劇，其中包括《孟麗君》、《王寶釧》、《六月雪》、《紅了櫻桃碎了心》、《雙仙拜月亭》及《光緒皇夜祭珍妃》等。

梁少芯 Leung Siu- sum

藝術總監

Artistic Director

梁少芯是香港著名粵劇花旦，藝術根基啟蒙自粵劇界前輩鄧肖蘭芳、譚珊珊和甄俊豪，而北派技藝則師承任大勳、許君漢和祁彩芬等。梁少芯唱腔悅耳，扮相甜美，擅長演青衣與閨門旦行當，習南北藝術於一身。曾拜京劇四小名旦之一陳永玲先生為師。梁少芯的舞台演出經驗非常豐富，十多歲開始已在各大劇團擔任副車，當中包括五王劇團，與之同台演出的有梁醒波、靚次伯、新馬師曾、陳錦堂、譚蘭卿、鄧碧雲、鳳凰女和南紅等多位名伶；十九歲便擔任正印花旦，前往美加各地巡迴演出。梁少芯於 1974 年與兄長梁漢威組團往越南演出；1975 年與羅家英、李寶瑩、新海泉等在美加巡迴演出。自 1976 年與文千歲組成千歲粵劇團後，更經常前往美加、澳洲及東南亞各地演出。劇團也曾聯同內地劇團在廣東及廣西省演出達三年半之久。

Leung Siu-sum, a renowned huadan (young leading female role) in Hong Kong’s Cantonese opera industry, made her beginnings in the art under famed superiors such as Tang Chiu Lan-fong, Tam Shan-shan and masters of the Northern School of Peking opera techniques such as Yam Tai-fan, Hui Kwan-hon, and many more. Leung Siu-sum’s mellifluous vocal colour coupled with her sweet appearance meant she was suited to all roles, from the qinyi (leading female role in Peking opera) to the virtuous, maidenly guimendan (young female role in Peking opera). She was also previously under the tutelage of Chen Yongling, a wellliked Peking opera dan (female) role actor. Leung Siu-sum has been rooted in her art since a very young age, with decades of performance experience under her belt. From her teenage years, she had already been supporting cast member in multiple large opera troupes, including the Five Big Opera Troupes, working with respected names such as Leung Sing-por, Lan Chi-pat, Sun Ma Sze-tsang, Tang Bik-wan, Fung Wong-nui, Nam-hung, among others. At 19, she became the titular huadan and began touring

Artistic Director – Leung Siu-sum

the US and Canada with the same troupes. Her travels continued throughout her career: her accompaniment of Cantonese opera senior, and also her elder brother, Leung Hon-wai and his troupe to Vietnam in 1974; her collaboration with Law Kar-ying and Lee Po-ying and more in performances across the US and Canada in 1975; and her frequent tours in the US, Australia and Southeast Asia with Man Chinsui after they formed the Chinsui Opera Troupe in 1976, which also cooperated with mainland Chinese troupes for performances in Guangdong and Guangxi that ran for up to three and a half years. Of Leung Siu-sum’s long history of performances, her most memorable roles are in Mang Lai-kwun, Wang Baochuan, Snow in June, Red Cherries and a Broken Heart, Praying to the Moon and Emperor Kwong Sui's Nocturnal Sacrifice to Concubine Zhen.

導演、燈光設計及舞台監督 – 梁煒康

西九文化區管理局諮詢委員會委員。

梁煒康 Leung Wai- hong

導演、燈光設計及舞台監督

Director, Lighting Designer and Stage Manager

梁煒康少年時於父親梁漢威之漢風粵劇研究院學藝；蒙郭錦華老師教授基本功、賈君祥老師教授淨角身段，及拜高潤權師父門下學習鑼鼓，更隨阮兆輝學習粵劇傳統排場精髓，近年則專注向丑生行當發展。

2011 年，他與黎耀威、龍玉聲及劉芷恩成立「吾識大戲」，執導及與黎耀威創作《三姑六婆賀新春》、《飯冰冰舞會佩夫人》及《鮮味飄香處處聞》等喜劇，及製作《王子復仇記》、《忽必烈大帝》及《程大嫂》等正劇。

他曾參與多屆香港藝術節及中國戲曲節的幕前演出及幕後工作。曾參演作品包括龍劍笙《紫釵記》全劇（ 2015 ）、《牡丹亭驚夢》（ 2017 ）、《蝶影紅梨記》（ 2018 ）及《帝女花》（ 2019 ）。幕後工作則涵蓋舞台監督、燈光設計、佈景設計、音樂設計及導演等各範疇。梁煒康曾於香港演藝學院戲曲課程擔任客席講師，也是現任 32

Since his youth, Leung Waihong was a student at his father Leung Hon-wai’s Hong Fung Cantonese Opera Institute. Under the tutelage of Guo Jinhua for the basics, Jia Junxiang for the movements and postures of jing roles (a role known for painted faces such as heroes, generals, villains, gods, or demons), Ko Yun-kun for learning the gongs and drums and Yuen Siu-fai for grasping the essence of traditional formulaic plays, Leung Wai-hong has proven himself a force to be reckoned with. He now extends his talents by specialising in chousheng (comic male) roles. In 2011, Leung Wai-hong, Lai Yiuwai, Thomas Law and Lau Tszyan established Canto Op. This troupe focuses on revitalising the Cantonese opera scene with younger, fresher faces. Canto Op has put on and performed a significant number of shows, including comical Cantonese operas Lunar New Year’s Chatty Women, Madame Pui at the Ball, and The Taste of Delight, as well as Cantonese operas The Arrant Revenge, Kublai the Great, Sister Cheng and many more. Leung has taken part in numerous Hong Kong Arts Festivals and Chinese Opera Festivals as both an actor and a creative team member. Performances he has been involved in include The Purple

Director, Lighting Designer and Stage Manager – Leung Wai-hong

Hairpin (2015), Dream of Peony Pavilion (2017), The Butterfly and the Red Pear Blossoms (2018), and Princess Changping (2019). He has also worked as a stage manager, lighting designer, set designer, music designer and director. Leung Wai-hong has been a guest lecturer for the Hong Kong Academy for Performing Arts and is now a member of the West Kowloon Cultural District Authority’s Consultation Panel.

統籌、劇本整編及導演 – 黎耀威

劇《漢武東方》，同年為中國戲曲節撰寫《奪王記》；2019 年憑《文廣探谷》奪得「北京新文藝團體優秀戲劇展演（最佳演員）」。

黎耀威 Lai Yiu- wai

統籌、劇本整編及導演

Coordinator, Script Revision and Director

黎耀威畢業於香港城市大學中文系，是名伶文千歲及音樂名家潘細倫的入室弟子。他曾跟隨文禮鳳及韓燕明習藝，並於香港各大粵劇團演出。

2010 年，他奪得由香港八和會館與香港電台第五台合辦的「粵劇青年演員飛躍進步獎金獎（生角）」；2011 年獲香港藝術發展局頒發「藝術新秀獎（戲曲界別）」，並於同年創立「吾識大戲」，以新鮮形象推廣粵劇。

他近年從事粵劇編作，作品包括《瀛台泣血》、《山海危城》、《岳飛八千里路雲和月》，亦有將莎士比亞名著《仲夏夜之夢》及《哈姆雷特》分別改編成《一夢南柯》及《王子復仇記》。2016 年與西九文化區戲曲中心合作，創作小劇場粵劇《霸王別姬》（新編），並於亞洲多地巡迴演出，更憑此奪得「北京 2017 年度最佳小劇場戲曲獎」。2017 年為第 45 屆香港藝術節編寫粵

黎耀威是現任香港八和會館理事及粵劇發展諮詢委員會委員。

Lai Yiu-wai is a graduate of City University of Hong Kong, majoring in Chinese. He is the apprentice of Cantonese opera master Man Chinsui and celebrated musician Poon Sai-lun. He learned under the tutelage of Man Laifong and Hon Yin-ming and has performed many different roles with some of the greatest Cantonese opera companies. In 2010, he was awarded the Most Promising Actor Golden Award for a young male opera role by the Chinese Artists Association of Hong Kong and Radio Television Hong Kong Radio 5. In 2011, he received the Young Artist Award (Chinese opera) from the Hong Kong Arts Development Council. In the same year, he established Canto Op, promoting the genre with fresh takes on classic productions.

Coordinator, Script Revision and Director – Lai Yiu-wai

Night’s Dream and Hamlet as the Cantonese operas A Dream in Fantasia and The Arrant Revenge. In 2016, he collaborated with the Xiqu Centre and created the experimental Cantonese opera Farewell My Concubine (New Adaptation), which has toured in several Asian countries and was awarded the Best Experimental Xiqu Award at the China (Beijing) Performing Arts Expo in 2017. That same year, he worked as a playwright for Emperor Wu of Han and His Jester Strategist for Hong Kong Arts Festival and Battle of the Throne for the Chinese Opera Festival. The production of Wenguang Explores the Valley was awarded the Best Actor at the 2019 Beijing New Arts and Culture Outstanding Theatre Showcase series. Lai is a committee member of the Chinese Artists Association of Hong Kong and Cantonese Opera Advisory Committee.

Lai has also been engaged in writing Cantonese operas in recent years, his works include Son of Heaven, Breeze Pavilion and Battle of the Throne. He has also adapted Shakespeare classics like A Midsummer 33

擊樂領導 – 高潤權

高潤權 Ko Yun- kuen

擊樂領導

Percussion Leader

高潤權乃已故著名粵劇撃樂領導高根先生之子。他七歲入行，十四歲已正式擔任由麥炳榮、鳳凰女擔綱的大龍鳳劇團之撃樂領導，及後追隨譚桂華在各大小劇團裏實習，現今是多個劇團的擊樂領導，亦為大型粵劇節目擔任撃樂領導。

他門生眾多，香港粵劇界現任多名職業樂師都出自其門下。他自 2012 年起，於香港八和會館油麻地戲院粵劇新秀演出計劃中任擊樂統籌，培訓了不少年青擊樂人才，亦積極指導新秀演員，推動粵劇藝術承傳。

2016 年，他獲香港電台頒發戲曲天地梨園之最——擊樂領導獎；2017 年，他獲香港藝術發展局年度藝術家年獎（戲曲）。

Percussion Leader – Ko Yun-kuen

Son of the famous late Cantonese opera percussion leader Ko Gun, Ko Yun-kuen has been in the industry since the age of seven. By 14, he was already leading the percussion section to the Tai Lung Fung Opera Troupe led by Mak Bing-wing and Fung Wongnui. He practised his craft in both big and small opera troupes under Tam Kwai-wa and now leads a myriad of opera troupes’ percussion sections. He has also headed the percussion section of many major Cantonese opera programmes. He has amassed a sizable number of pupils, and many professional musicians in the Cantonese opera industry in Hong Kong have been under his tutelage. Since 2012, he has been the Cantonese Opera Young Talent Showcase’s percussion coordinator and has trained a lot of new talent. To this day, he actively continues to coach newcomers, passing down Cantonese opera traditions. In 2016, RTHK’s Opera World awarded him a prize celebrating his achievements as a long-time leader of many opera troupes’ percussion section. In 2017, he was awarded Artist of the Year Award (Xiqu) by Hong Kong Arts Development Council.

音樂領導 – 佘嘉樂

佘嘉樂 Share Ka- lok

音樂領導

Music Leader

佘嘉樂自七歲開始跟隨曾志偉和邵琳學習二胡，其後在香港演藝學院修讀中國戲曲課程，師隨吳聿光、余其偉、歐陽婷、駱慶兒及周仕深，並隨宋向民和戴日輝學習鑼鼓。2013 年在吳聿光老師的指導下參與了《西遊記之三打白骨精》的音樂設計，並以音樂領導的身分，在香港、澳門、內地及加拿大演出。2014 年以學生身分獲聘為演藝青年粵劇團特約樂師，參與學院各大演出。

2017 年，他以一級榮譽畢業於香港演藝學院，同年獲聘為演藝青年粵劇團的音樂領導，並為全港各大劇團擔任音樂設計和音樂領導。 2020 年成立樂孜聲工作室，寓意為孜孜不倦地傳承粵劇藝術。

Music Leader – Share Ka-lok

Share Ka-lok began learning erhu at the age of seven under Eric Tsang Chi-wai and Shao Lin’s instruction. He later studied for a Bachelor of Fine Arts in Cantonese Opera in the Hong Kong Academy for Performing Arts as a student of Ng Lutkwong, Yu Kei-wai, Au Yeungting, Luo Qinger and Boaz Chow, later taking up gongs and drums under Sung Heungman and Dai Rihui. In 2013, under Ng Lut-kwong, Share Kalok participated in the music arrangement of “The Monkey King Thrice Beats the Bony Ghost” from Journey to the West as a music designer, performing in Hong Kong, Macau, Mainland China, and Canada. In 2014, he was recruited to serve as a guest musician for the Young Academy Cantonese Opera Troupe and has since performed in many of their events. In 2017, he obtained a first-class honours bachelor’s degree in the HKAPA and became the music leader for the Young Academy Cantonese Opera Troupe and the leading musical arranger and music leader for major Cantonese opera troupes in Hong Kong. In celebration and preservation of the Cantonese opera, he established the Diligent Voices Workshop in 2020.

黃寶萱 Janet Wong

音樂設計 Musical Arrangement

黃寶萱畢業於香港演藝學院中國戲曲深造證書（粵劇）課程，習旦角。她幼承家學，父親為著名粵劇演員黃金堂，師承吳聿光，曾隨梁谷音、胡芝風及李鳳等名師學習。2011 年成立藝術團體「粵劇場」，作品包括《覆水難收》及《清風亭》；2014 年獲選為西九戲曲中心粵劇新星，並獲頒優秀表演獎；2015 年獲香港藝術發展局頒發藝術新秀獎（戲曲）。

2016 年，她與西九文化區合作，創作小劇場粵劇《霸王別姬》（新編）及《文廣探谷》，並於亞洲多地巡迴演出。黃寶萱於 2018 年加入西九文化區戲曲中心茶館新星劇團，擔任音樂設計。

Having graduated with an Advanced Diploma in Cantonese Opera from the Hong Kong Academy for Performing Arts, Janet Wong specialises in dan roles with plenty of accolades and experience. Home-schooled from a young age with the famous Cantonese operatic actor Wong Kam-tong for a father, Janet grew up with an affinity for Cantonese music. She became a disciple of Ng Lut-kwong and studied under Leung Guk-yum, Wu Zi-fung, and Lee Fung. She established “Cantonese Opera Theatre” in 2011, producing works such as Irrevocable Loss and Qingfeng Pavilion. She was selected as the rising star and crowned the winner of talent show by the West Kowloon Xiqu Centre in 2014, and received the Award for Young Artist (Xiqu) from the Hong Kong Arts Development Council in 2015. In 2016, Janet collaborated with the West Kowloon Cultural District to put on experimental Cantonese opera performances such as Farewell My Concubine (New Adaptation) and Wen Guang Explores the Valley, with which she toured various places throughout Asia. Janet Wong joined the West Kowloon Xiqu Centre’s Tea House Rising Stars Troupe in 2018 as a musical arranger.

張正和 Cheung Ching- wo

佈景設計 Set Designer

張正和畢業於香港演藝學院，獲藝術學士學位，主修舞台及服裝設計。

舞台作品包括香港話劇團《大狀王》、《五月的梅子》；香港中樂團 x 香港話劇團《封神外傳》；香港舞蹈團 x 結界達人聯合演出《粵語流行歌舞劇 Electric Girl 》（重演）；香港芭蕾舞團 x 香港演藝學院《芭蕾；香港演藝學院《藍．進化論》房間》、《蝦碌戲班》、《記憶之書 1.0 》；澳門舞蹈學院《海上花》及 A2《火鳳燎原》等。

編創人員

Cheung Ching-wo graduated from the Hong Kong Academy for Performing Arts, majoring in Theatre Design (Set and Costume). His recent design works include Hong Kong Repertory Theatre’s The Great Pretender, May; Hong Kong Chinese Orchestra and Hong Kong Repertory Theatre’s Fantastic Gods and Spirits of China; Hong Kong Dance Company and The Autistic Genius’s Electric Girl (re-run); Hong Kong Ballet and HKAPA’s The Evolution of Ballet; the HKAPA’s The Blue Room, Noises Off, Mnemonic 1.0; The Macau School of Dance’s Flor da Mar; Actors’ Square The Ravages of Time, among others.

蕭燕凌 Cathy Siu

服裝設計 Costume Designer

蕭燕凌 2001 年畢業於香港演藝術學院，獲藝術學士學位，主修舞台及服裝設計。2008 年畢業於香港中文大學，獲文化管理碩士學位。在學期間曾獲多項獎學金，赴美國格思里劇團實習交流，其間參與該團演出，及於《安東尼與克利奧帕特拉》擔任助理服裝設計。

她於 2009 年成立舞台服裝製作公司「聯合作業」，並擔任執行長及設計總監。她至今已為超過五百個不同類型的製作擔任舞台及服裝設計，類型涵蓋歌劇、舞台劇、舞蹈、時裝表演、大型巡遊及宣傳廣告等。

Creative Profiles

Cathy Siu graduated from the Hong Kong Academy for Performing Arts in 2001 with a Bachelor of Fine Arts in stage and costume design. In 2008, she graduated from the Chinese University of Hong Kong with a Master of Arts in cultural management. Throughout her time in school, Siu received multiple scholarships, went to the US for an internship exchange at the Guthrie Theatre in Minneapolis, during which time she took part in the theatre’s performances, and was assistant costume designer for the production Antony and Cleopatra. In 2009, Cathy Siu established Unique Design Teamwork, a company specialising in theatrical costume production, and is currently its CEO and design director. She has taken part in over 500 projects as a stage and costume designer, ranging from operas, theatre and dance performances to fashion shows, large-scale parades and advertising.

新劍郎 Sun Kim- long

飾 – 挪亞 as Noah

藍天佑 Lam Tin- yau

飾 – 閃 as Shem

芯融 Sum Yung

飾 – 二媳婦 as Ham’s wife

鄧美玲 Tang Mi- ling

飾 – 挪亞妻 as Noah’s wife

鄭雅琪 Cheng Nga- ki

陳鴻進 Chan Hung- chun

飾 – 塞魯 as Cyrus

千珊 Mitche Choi (Chin Shan)

飾 – 大媳婦 as Shem’s wife

飾 – 含 as Ham

吳立熙 Ng Lap- hei

梁心怡

飾 – 雅弗 as Japheth

Angel Leung Sum- yee

飾 – 三媳婦 as Japheth’s wife

新劍郎 Sun Kim- long

飾 – 挪亞 as Noah

新劍郎是香港資深粤劇演員、製作人及編劇，舞台經驗豐富。除演出外，亦參與幕後製作，包括《七賢眷》、《元世祖忽必烈》、《蝴蝶夫人》、《妻嬌妾更嬌》及《十八羅漢伏金鵬》等。2001 年他初次編寫粤劇劇本《荷池影美》；2004 年編寫《碧玉簪》，近期作品有《搜證雪冤》、《情夢蘇堤》、《媚香留情》等。新劍郎現擔任香港八和會館副主席及油麻地戲院場地夥伴計劃之「粤劇新秀演出系列」的藝術總監，指導粵劇新秀演員。他於 2018 年獲香港藝術發展局藝術家年獎（戲曲）、2019 年獲香港特別行政區政府頒授榮譽勳章。

Sun Kim-long is a veteran Cantonese opera performer, producer and playwright dedicated to the acting, promotion and stage production of the art form. He has contributed to works including Seven Filial Kin, The Emperor of Yuen, Kublai Khan, Madame Butterfly, The Wife and The Concubine and Eighteen Arhats Taming the Golden Condor. He wrote his first play, Reflection of Beauties in Lotus Pond, in 2001, followed by many more in subsequent years, including Jade Hairpin in 2004. His recent works include Investigation to Redress a Wrong, Romantic Dreams of Sudi and A Love Poem Stained with Blood. Sun currently serves as the ViceChairman of the Chinese Artists Association of Hong Kong and

演員簡介

Cast Profiles

the Artistic Director for the Association’s Cantonese Opera Young Talent Showcase held by Yau Ma Tei Theatre. In 2018, he was awarded Artist of the Year Award (Xiqu) by the Hong Kong Arts Development Council, and in 2019, he received the Medal of Honour from the HKSAR Government.

tutored and coached by many Cantonese operatic celebrities, including Wong Yuet-sang. Since entering the realm of Cantonese opera, she has been a disciple to Chen Yongling, Hu Zhifeng, Liang Guying Wang Zhiquan, Liu Xiurong, Ying Kam-sha, and other famous Peking opera and Kunqu veterans.

鄧美玲 Tang Mi- ling

飾 – 挪亞妻 as Noah’s wife

鄧美玲生於粵劇世家，自幼受家中長輩梁漢威、梁少芯及文千歲薰陶。她受訓於香港八和粵劇學院與漢風粵劇研究院，獲王粵生等多位粵劇名宿悉心教導。其後亦曾追隨陳永玲、胡芝風、梁谷音、王芝泉、劉秀榮和邢金沙等京崑著名表演藝術家學藝。

唱功方面，她師從著名子喉唱家陳慧玲；2016 年，獲資深粵劇表演藝術家陳笑風收為入室弟子。近年，她致力製作新編粵劇，包括《還魂記夢》、《劍膽琴心巾幗情》、《翰墨丹青繫赤繩》及《李清照》等，並舉辦多次個人粵曲演唱會。此外，她亦灌錄不少新唱片，包括最新推出與文千歲合唱之《綵樓配》之〈別窰〉及〈回窰〉等。

Born in a family rooted in the Cantonese opera industry, Tang Mi-ling grew up under the influence of her family’s seniors, such as Leung Hon-wai, Leung Siu-sum, and Man Chin-sui. She underwent training in both The Cantonese Opera Academy of Hong Kong and the Hon Fung Cantonese Opera Institute,

In terms of vocal prowess, she has absorbed the techniques of her teacher—eminent zihou (woman's vocal) singer Chan Wai-ling. In 2016, senior Cantonese opera artist Chan Siufung took her under his wing as a live-in apprentice. Recently, Tang Mi-ling has committed to producing new Cantonese operas, including Rebirth, The Strong Hero with a Romantic Heart, Li Qingzhao, and more, and has even organised numerous solo Cantonese operatic concerts. Beyond these accomplishments, she has also recorded quite a few albums, including her most recent duets with Man Chin-sui in “Farewell at the Cavern” and “Return to Cavern”. 陳鴻進 Chan Hung- chun

飾 – 塞魯 Cyrus

陳鴻進為香港粵劇資深演員。畢業後即加入漢風粵劇研究院學藝，為梁漢威之入室弟子，專工丑生及武生，並獲郭錦華、劉洵、許堅信及韓燕明等名師前輩悉心指導，打下基木功。他九十年代在各大劇團擔正印丑生之職，與各大劇團及紅伶前輩演出。2005 年，他自組鴻嘉寶粵劇團，專演丑生劇碼，深受觀眾歡迎。 39

Chan Hung-chun is a veteran Cantonese opera performer who specialises in the roles of chousheng (clown male) and wusheng (military male). He entered the Hon Fung Cantonese Opera Institute after graduation and became the apprentice of Leung Hon-wai. He has also studied under masters such as Kwok Kam-wah, Liu Xun, Hui Kin-shun and Hon Yin-ming. In the 1990s he was the lead role of chousheng in different Cantonese opera troupes and has performed with numerous veteran troupes and performers. In 2005, he formed the Hung Ka Po Cantonese Opera Troupe and specialised in the chousheng role in acclaimed repertoires. 藍天佑 Lam Tin- yau

飾 – 閃 as Shem

藍天佑畢業於廣東粵劇學校及香港演藝學院。九歲學藝，打下穩健基礎。近年更有幸得粵劇名伶林家聲博士教導，研究林派藝術。2011 年與鄭雅琪成立藍天藝術工作室，先後組建頌先聲粵劇團、天藝宏粵劇團、喜天成粵劇團，製作了多齣大型新編粵劇，如《女兒國．無明愛》、《暗箭記》及《血海迷航》等劇目，廣受觀眾的喜愛。他曾於 2014 年第 42 屆香港藝術節中演出《武松》和《穿金寶扇》。

Lam Tin-yau graduated from the Guangdong Yueju School and Hong Kong Academy for Performing Arts. He began his study of Cantonese opera at the age of nine and has since established a solid foundation. In recent years, he has been 40

under the tutelage of famous Cantonese opera artist Lam Karsing to learn and pick up the celebrity’s eponymous “Lam School” of Cantonese opera. In 2011, Lam Tin-yau established the Blue Sky Art Workshop with partner Cheng Nga-ki and later formed the Chung Sin Sing Cantonese Opera Troupe along with several other Cantonese opera companies, subsequently getting involved in a multitude of major new Cantonese opera productions that is well-loved by its audience, including The Women's Kingdom and the Delusive Love, A Hidden Arrow and Surfing the Sea of Blood. In 2014, Lam Tin-yau also performed in the 42nd Hong Kong Arts Festival’s Wu Song the Tiger Killer and The Gilded Fan.

Since the age of 14, Cheng Nga-ki has followed artist and national treasure Pei Yanling as a protégé learning the ropes of the dan. Graduating from the Hong Kong Academy for Performing Arts in 2008 with a Bachelor of Fine Arts in Cantonese Opera, Cheng Nga-ki studied under Liu Xun, Guan Shizhen, Hon Yin-ming, and many other celebrities of the industry. In the 2013 and 2014 Hong Kong Arts Festivals, she starred in various productions featuring senior Yuen Siu-fai (in Praying to the Moon) and Lam Tin-yau (in The Gilded Fan). Perhaps most importantly, she starred with Loong Kin-sang, whom she continued to feature alongside in The Purple Hairpin (2015), Dream of Peony Pavilion (2017), and The Butterfly and the Red Pear Blossoms (2018).

鄭雅琪 Cheng Nga- ki

In 2011, she established the Blue Sky Art Workshop with Lam Tin-yau, and they later formed the Chung Sin Sing Cantonese Opera Troupe and other troupes.

飾 – 大媳婦 as Shem’s wife

鄭雅琪習旦角，十四歲跟隨國寶級藝術家裴艷玲老師學藝。 2008 年畢業於香港演藝學院中國戲曲粵劇課程，曾隨劉洵、千珊 Mitche Choi ( Chin Shan) 關世振、韓燕明等名師習藝。飾 – 含 as Ham 於 2013 年及 2014 年香港藝術節千珊專工生角，為粵劇名伶文中，她分別夥拍前輩阮兆輝演千歲及梁少芯的入室弟子，出《雙仙拜月亭》及與藍天佑十二歲起學習粵劇，自此經常合演《穿金寶扇》；後於 2014 在香港以及新加坡、中國、加年夥拍粵劇前輩龍劍笙，演出拿大及美國演出。2013 年畢《任藝笙輝念濃情》，此後多業於倫敦大學學院，獲語言學次與她同台合演，包括《紫釵記》（ 2015 年）、《牡丹亭驚夢》（榮譽）文學士；2017 年畢業（ 2017 年）以及《蝶影紅梨記》於香港演藝學院，為首屆戲曲（粵劇表演）藝術學士畢業生，（ 2018 年）。並獲得戲曲學院的「最佳學生 2011 年與藍天佑成立藍天藝術獎」及「校長獎——學生優秀大工作室，並先後組建頌先聲粵獎」。2020 年，她在中央聖馬劇團、喜天成粵劇團及天藝宏丁學院完成藝術及文化企業文粵劇團。學碩士學位。

演員簡介

Cast Profiles

畢業後，她曾經是演藝青年粵劇團成員（ 2017 至 2020 年）。 2011 年成立千珊粵劇工作坊，創作個人粵劇作品。

劇《紅樓夢》之林黛玉一角，並灌錄多首福音粵曲。近年參與姨母鄧美玲創辦之玲瓏粵劇團及粵曲演唱會演出。

2016 年獲香港電台戲曲天地頒發梨園新輝獎；2020 年獲第 14 屆香港藝術發展獎藝術新秀獎（戲曲）。

Specialised in the sheng role, Cantonese opera performer Mitche Choi is the apprentice of renowned Cantonese opera performers Man Chin-sui and Leung Siu-sum. Mitche was first exposed to Cantonese opera at the age of 12, and has since participated in Cantonese opera performances in Hong Kong, Singapore, China, Canada and the United States. In 2013, Mitche graduated from University College London with a BA (Hons) in Linguistics, and then from the Hong Kong Academy for Performing Arts in 2017 with a BFA (Hons) in Chinese opera. In 2020, Mitche completed her master degree at Central Saint Martins in Arts and Cultural Enterprise.

Originally named Yu Pui-yung, Sum Yung was born and raised in a family with a long history in the Cantonese opera industry. She began her studies of the arts at the age of ten in the Chinsui Opera Institute, following in the footsteps of celebrity relatives Man Chin-sui and Leung Siu-sum. She starred in historic formulaic plays such as Fan Lihua Punishing Her Son, Ping Guai Bids Farewell, A Fairy Returns Her Son to the Mortal Father and Dream of the Red Chamber, where she performed Lin Daiyu, and she currently boasts a lengthy list of features in gospel Cantonese operatic tracks. She has recently been involved in the Ling Lung Cantonese Opera Troupe established by her aunt Tang Mi-ling and has also made appearances in Cantonese operatic concerts.

Ng Lap-hei was recognised for his talent in the Cantonese Opera Young Talent Showcase held by the Yau Ma Tei Theatre, having graduated from the Cantonese Opera Academy of Hong Kong’s four-year Cantonese opera youth training programme. He learned operatic singing from Wong Yee-man from an early age and learned movements and postures of Peking opera and Kunqu. He also picked up historic formulaic plays from teachers such as Yeung Ming, Zhou Zhenbang, Ho Ka-yiu and Tsai Chi-wei. Eventually, he became an apprentice to Peking opera wusheng (military male role) Guan Shizhen. His repertoires include The Siege of Li Ling, Three Angers of Chow Yu, and Chasing After Han Xin.

Winner of the Academy’s Director’s Award and Excellent student award, Mitche landed a position at the Young Academy Cantonese Opera Troupe, performing and advancing her training from 2017 to 2020. Currently, Mitche is curating her own Cantonese opera performances with Shan Opera, which she founded in 2011. 芯融 Sum Yung

飾 – 二媳婦 as Ham’s wife

芯融本名余佩融，出身粵劇世家，十歲開始加入千歲粵劇研究院，跟隨姨公粵劇名伶文千歲及姨婆梁少芯學習粵劇，演出古老排場戲《梨花罪子》、《平貴別窯》、《天姬送子》及長

吳立熙 Ng Lap- hei

飾 – 雅弗 as Japheth

吳立熙為油麻地戲院粵劇新秀演出系列之演員，畢業於八和粵劇學院青少年粵劇演員訓練課程。他自小隨黃綺雯習唱粵曲，先後跟隨楊明、周鎮邦、何家耀及蔡之崴老師學習京崑身段和古老粵劇排場，以及拜京劇武生關世振為師。他的常演劇目有《困谷》、《三氣周瑜》、《月下追賢》等。他曾於 2011 年獲林百欣杯粵劇折子戲組比賽冠軍，同年獲全港青年學藝粵曲比賽冠軍；

Ng Lap-hei has a number of awards under his belt: having won first place in two Cantonese opera competitions in 2011, received a newcomer’s award from RTHK’s Opera World in 2016, and the Award for Young Artist (Xiqu) in the 14th Hong Kong Arts Development Awards in 2020. 梁心怡 Angel Leung Sum- yee

飾 – 三媳婦 as Japheth’s wife

梁心怡 2003 年加入香港朗暉兒童粵劇團，隨啟蒙老師張寶華學習粵劇。2005 年開始隨名伶林錦堂習唱。2009 年加入香港八和粵劇學院青少年班，接受為期四年之課餘訓練，其間得 41

名伶尹飛燕於 2011 年納為入室弟子。她近年參與不少大型粵劇演出。梁心怡現為油麻地戲院場地夥伴計劃新秀演出系列成員及現屆香港八和會館理事會成員。

Angel Leung Sum-yee joined the Love and Faith Cantonese Opera Laboratory in 2003. Her first experience with Cantonese opera was under the mentorship of Cheung Bo-wah. Since 2005, she has been studying opera singing under master Lam Kam-tong. In 2009, she joined the Cantonese Opera Academy of Hong Kong‘s four-year Cantonese opera youth training programme, during which she met renowned actress Wan Fei-yin, to whom she officially became an apprentice in 2011. Recently, she has taken part in several large-scale Cantonese opera performances. She is currently a member of the Cantonese Opera Young Talent Showcase under the Chinese Artists Association of Hong Kong Yau Ma Tei Theatre Venue Partnership Scheme and a committee member of the Chinese Artists Association of Hong Kong.

演員簡介

Cast Profiles

鳴謝 ACKNOWLEDGEMENTS

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香港小交響樂團

Hong Kong Sinfonietta 宜必思香港中上環

ibis Hong Kong Central and Sheung Wan 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

Information and Public Relations Units in Offices Outside Hong Kong 港島太平洋酒店

Island Pacific Hotel Hong Kong JellyBin Limited

• 文學院 Faculty of Arts

香港演藝學院

The Hong Kong Academy for Performing Arts

• 戲曲學院 School of Chinese Opera • 戲劇學院 School of Drama

• 音樂學院 School of Music

中環石板街酒店

The Pottinger Hong Kong

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

BRICK LANE

高山劇場

光華新聞文化中心

THEDO

British Consulate General Hong Kong

中央人民政府駐香港特別行政區聯絡辦公室

Tom Lee Music Company Ltd

英國駐香港總領事館

Ko Shan Theatre

Théâtre de la Feuille

Broadway Cinema

Kwang Hwa Information & Culture Center

通利琴行

CAMPSITE

Liaison Office of the Central People's Government in the HKSAR

Trinity Theatre

Cattle Depot Artist Village

Marco Polo Hongkong Hotel

百老匯院線 Broadway Circuit

三角關係

馬哥孛羅香港酒店

屯門大會堂

周生生集團國際有限公司

Maxibit HK/China

URBTIX

中信國際電訊（信息技術）有限公司

Ministry of Culture and Tourism, PRC

牛棚藝術村

Chow Sang Sang Jewellery Co. Ltd

CITIC Telecom International CPC Limited 城市當代舞蹈團

City Contemporary Dance Company 城巿花園酒店

中華人民共和國文化和旅遊部

Mission Production Company Ltd MOViE MOViE 太古城中心 MOViE MOViE Cityplaza

City Garden Hotel

MOViE MOViE 太古廣場 MOViE MOViE Pacific Place

Consulate General of Canada in Hong Kong and Macau

Mr Alpha Li

加拿大駐香港總領事館

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

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

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

李鏡輝先生

前進進戲劇工作坊 On & On Theatre Workshop

One Minden Tapas Kitchen 柏斯琴行

Parsons Music Limited

沙田大會堂

Sha Tin Town Hall

Hong Kong Arts Administrators Association

上環文娛中心

Sheung Wan Civic Centre

Hong Kong Arts Centre

Shun Hing Electronic Trading Co., Ltd.

Hong Kong Baptist University

•音樂系 Department of Music

•拉闊文化 Cultural Literacy Programme

香港中樂團

元朗劇院

Yuen Long Theatre 赤豚事務所

Zhu Graphizs

Speedy Promotion Limited 台灣蘇富比國際房地產

Taiwan Sotheby's International Realty

Hong Kong Cultural Centre

香港八和會館

Hong Kong Gold Coast Hotel

香港中文大學

Tao Fong Shan Christian Centre The Artland Co Ltd

The Chinese Artists Association of Hong Kong The Chinese University of Hong Kong

Hong Kong Philharmonic Orchestra

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

Hong Kong Tourism Board

• 音樂系 Department of Music

香港旅遊發展局

wine etc

事必達推廣有限公司

藝林文具印刷有限公司

香港管弦樂團

Wharney Hotel

Southgate Design

Hong Kong City Hall 香港黃金海岸酒店

粵海華美灣際酒店

信興電器貿易有限公司

道風山基督教叢林

香港文化中心

West Kowloon Cultural District Authority

Primasia Corporate Services Limited

Hong Kong Chinese Orchestra 香港大會堂

西九文化區管理局

Pixellent

Gloucester Luk Kwok Hong Kong

香港浸會大學

Wealthy Step Printing Co.

Piano Arts Service Limited

Royal Pacific Hotel

香港藝術中心

進富印刷公司

PCCW

皇家太平洋酒店

香港藝術行政人員協會

WeDraman Black Box Theatre

電訊盈科

Fringe Club 六國酒店

同流黑盒劇場

Patsville Company Ltd

犇華企業服務有限公司

藝穗會

城市售票網

卓滙達有限公司

Die Konzertisten

Department of Cultural Studies, Lingnan University

Tuen Mun Town Hall

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 48

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藝術行政見習員物流及接待經理

梁掌瑋 ** 蘇國雲游慧姿 * 葉健鈴余瑞婷 * 譚小敏 * 黃傲軒 * 袁潔敏 * 郭笑 * 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英文編輯助理編輯

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市場主任藝術行政見習員

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 * Oliver Farry* 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 * 劉萍 * 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 * 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 Arts Administrator Trainee Logistics Manager

Tisa Ho** Connie Ho Grace Lang** So Kwok-wan Janet Yau* Susanna Yu* Tracy Tam* Loui Yuen* Stephanie Kuo* 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 English Editor Assistant Editors

James Liu* Oliver Farry* 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 Marketing Officer 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* Erica Lau* Stephanie Cheung* Eppie Leung Stephanie Chan*

Assistant Development Manager Arts Administrator Trainee

Flora Yu** Anna Cheung* Lorna Tam Conny Souw* 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

49 2021 年 3 月更新 Updated March 2021