行政長官的話 MESSAGE FROM THE CHIEF EXECUTIVE 第 48 屆 香 港 藝 術 節 原 定 於 今 年 呈 獻超過 120 場表演,並有近 1,800 位 才華出眾的專業表演者參與演出, 涵蓋音樂、歌劇、戲劇、舞蹈及電 影 等 各 個 藝 術 範 疇。 雖 然 受 新 冠 肺炎疫情影響,藝術節早前取消了 二月至三月期間的所有演出及活 動,但我很高興有部分節目能夠改 期舉行,讓大家可以欣賞到這些精 采演出。 原計劃在大館古蹟及藝術館舉行的 免費文化活動,已率先在十月中移 師到網上舉行。觀眾亦將會欣賞到 藝術節首度安排在新落成的西九文 化區戲曲中心上演的粵劇節目。 藝術節未來亦會一如以往,致力透 過「青少年之友」計劃,加強青少 年藝術教育,並以各項深入社區的 「加料節目」藝術活動,讓藝術家與 觀眾互動交流。 衷心感謝藝術節團隊一直致力推動 香港的藝術及文化發展。我亦感謝 一眾贊助商及各界的鼎力支持,令 每一屆藝術節都辦得有聲有色。 謹祝今天的演出圓滿成功,讓各位 觀眾和表演者留下難忘回憶。
The 48th Hong Kong Arts Festival originally planned to bring more than 120 performances and nearly 1,800 supremely talented professionals in every artistic facet — from music, opera and theatre to dance and film — to Hong Kong this year. Although its February and March events were cancelled due to the outbreak of COVID-19, I am delighted to see that some of the programmes have been successfully rescheduled. It began with the online staging of the Festival’s free cultural events at Tai Kwun Centre for Heritage and Arts in mid-October. Now, we look forward to the Festival’s Cantonese opera programmes, some of which, for the first time, will be held at the new Xiqu Centre in West Kowloon Cultural District. No less important, the Festival remains committed to enhancing arts education for young people through its Young Friends Scheme and to bringing artists and audiences together through various community arts activities under its PLUS programme. My thanks to the Festival team for its enduring commitment to arts and cultural development in Hong Kong. I am also grateful to the many sponsors and supporters who, each year, help make the Festival a remarkable success. I wish audiences and performers alike an unforgettable experience at today’s performance.
林鄭月娥
香港特別行政區行政長官
Mrs Carrie Lam Chief Executive Hong Kong Special Administrative Region
主席的話 MESSAGE FROM THE CHAIRMAN 第 48 屆香港藝術節思索藝術如何與 世界產生共鳴,我也希望藉此感謝 一眾促成藝術節的支持者,讓觀眾 可以共同透過表演藝術反思自身、 開展對話及探索新思維。 我衷心感謝香港特別行政區透過康 樂及文化事務署提供的年度撥款, 以及香港賽馬會慈善信託基金提供 至關重要的支持,也感謝眾多企業 贊助商、慈善基金會以至個人捐助 者,在這艱難時刻中給予我們莫大 的支持。我亦要向早前於第 48 屆藝 術節退票期間願意將款項捐給藝術 節的觀眾致謝,您們的慷慨支持為 我們帶來很大的鼓舞。 最重要的是感謝一眾參與今天演出 的本地藝術家,令我們可將部分節 目延後上演,同時也有賴作為觀眾 的您在不同處境下仍然對表演藝 術 抱 有 熱 情, 並 前 來 欣 賞。 祝 您 從這場演出中找到共鳴,並有段難 忘時光。
As we reflect on the ways the arts resonate with our world at the rescheduled events of the 48th Hong Kong Arts Festival, I would like to thank all those who continue to make it possible to open up vital community spaces for self-reflection, dialogue and innovation through the performing arts. 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 farreaching support. Thanks are also due to the many corporate sponsors, charitable foundations and individual donors who have continued to stand by us in these difficult times, as well as to the patrons who donated a portion of their 48th HKAF ticket refunds to further our work—your ardent support has given us great encouragement. Most importantly, I would like to thank all of the local artists who made the rescheduling of today’s performance possible and you, the audience, for your enthusiasm for the performing arts, no matter the circumstances. I hope you have a memorable experience and find your own resonance in this performance.
查懋成
香港藝術節主席
Victor Cha Chairman Hong Kong Arts Festival
行政總監的話 MESSAGE FROM THE EXECUTIVE DIRECTOR 第 48 屆 香 港 藝 術 節 所 頌 揚 的「共 鳴」,對於歷經疫情的表演藝術界以 至觀眾,似乎更具深意。共鳴,關 乎藝術與世界如何回應彼此。優秀 的作品可以超越時間,為後世帶來 深遠影響⸺ 您即將欣賞到的節目正 是如斯瑰寶。 藝術節策劃「四大南戲」系列節目 時, 期 望 能 透 過 四 部 經 典 南 戲 劇 目,與觀眾一窺這項源自宋元時期 的文化遺產。由於種種因素,我們 暫時未能重新安排上演浙江永嘉崑 劇團的兩部製作,但很高興現在有 機會呈獻另外兩部粵劇製作⸺ 葉紹 德改編的《荊釵記》,以及唐滌生改 編的《雙仙拜月亭》足本版。在此 感謝藝術節團隊的努力,以及一眾 本地藝術家的參與,令我們可以一 同細味這項雋永傳統。 隨着香港各項文藝活動逐漸恢復, 我期望觀眾也能藉此機會再次發掘 表演藝術的樂趣。希望您會喜歡今 天的節目,也會繼續支持藝術節未 來於不同媒介的演出。
何嘉坤
香港藝術節行政總監
香港藝術節資助來自: The Hong Kong Arts Festival is made possible with the funding support of:
Since the arrival of COVID-19, the 48th Hong Kong Arts Festival’s celebration of “resonance” in the performing arts seems to have taken on a deeper meaning. Resonance is the capacity of the arts and the world to echo each other. The very human stories at the core of excellent works of art can resound through the ages: the work you are seeing today is one such gem. The Four Southern Opera Classics series was envisaged as an opportunity to showcase the enduring legacy of nanxi in Chinese opera today. Although we are unable to present the two kunqu programmes due to cross-border travel restrictions, we are delighted to at last present Yip Siu-tak’s adaptation of A Thorn Hairpin and the full-length version of Tong Tik-sang’s Praying to the Moon. These celebrations of the heritage of Cantonese opera have been made possible by the hard work of local artists and our dedicated team. As Hong Kong gradually recovers from the trials of the pandemic, I look forward to rediscovering the joys of the performing arts with you at this performance. I hope that you will enjoy the show and continue to support the work of the Festival as we adapt to a changing world.
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。
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.
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。 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。
*2020 年 9 月更新 Updated September 2020
過往節目一覽 Visit our programme archive
We have collaborated with Hong Kong’s own creative talent to produce work that is now part of the local canon and to showcase emerging local artists. Over the years, HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance — many with successful subsequent 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, meet-the-artist sessions and guided backstage and cultural tours. Beyond the main Festival, 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, HKAF also invests heavily in year-round 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 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.
四大南戲 The Four Southern Opera Classics
《雙仙拜月亭》 (拜月記)
PRAYING TO THE MOON 7.11.2020 南戲簡介
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本事
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專題文章
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Introduction to Southern Opera
Synopsis
Feature Article —
訪問 Interview
新劍郎 Sun Kim-long
—
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編劇 Playwright
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藝術總監 Artistic Director
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演員簡介
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唐滌生 Tong Tik-sang
新劍郎 Sun Kim-long
Cast Profiles 高山劇場新翼演藝廳 Auditorium, Ko Shan Theatre New Wing
分上、下兩卷,每卷演出長約 2 小時 20 分鐘, 各包括一節中場休息 Performed in two parts, each approx 2 hrs and 20 mins
including one interval
粵語演出,附中、英文字幕
Performed in Cantonese with Chinese and English surtitles
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
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
此場刊由 Fundamental 設計及嘉昱有限公司印刷 This house programme was designed by Fundamental and printed by Cheer Shine Enterprise Company Limited
《雙仙拜月亭》
PRAYING TO THE MOON
編劇 Playwright
唐滌生 Tong Tik-sang 藝術總監 Artistic Director
新劍郎 Sun Kim-long 撃樂領導 Percussion Leader
高永熙 Ko Wing-hei 音樂領導 Music Leader
彭錦信 Pang Kam-shun 舞台監督 Stage Manager
陳愛蓮 Chan Oi-lin 經理 Manager
黃肇生 Wong Siu-sang
服裝及道具 Costumes and Props
金儀粵劇服裝公司
Kam Yee Costumes Company
佈景 Set
廣興舞台佈景製作公司
Kwong Hing Stage Scene Production Company 總務 General Affairs
陳健一 Chan Kin-yat 英文字幕翻譯 English Translation
李沛妍 Eliza Li
新增字幕翻譯 Additional lines translated by
林秋美 Gloria Furness
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角色及演員 Characters and Cast 蔣世隆 Cheung Sai-lung
阮德文 Ruan Dewen 王瑞蘭 Wong Sui-lan
靈 音 Ling Yan
秦興福 Chun Hing-fuk
文 華 Man Wah
蔣瑞蓮 Cheung Sui-lin
文雪裘 Man Lai-ha 王夫人 Madam Wong
陳玉卿 Chan Yuk-hing 王 鎮 Wong Chen
一點鴻 Ryder Chan 卞柳堂 Bin Lau-tong
柳御風 Lao Yu-fung 卞夫人 Madam Bin
何寶華 Ho Po-wa 六兒 Lok-yi
吳倩衡 Ng Sin-hang
南戲簡介
Introduction to Southern Opera
南戲簡介
INTRODUCTION TO SOUTHERN OPERA
南戲是傳統戲曲中最古老的劇 種 之 一, 約 有 八 百 年 歷 史, 育 於 兩 宋, 盛 於 金、 元, 在 明 代 中 葉 經 過 輾 轉 相傳,因應 地 域 及 社 會 人 文 變 化,迎合觀 眾 口 味 喜 惡, 與 其 他劇種聲腔 結 合, 發 展 為 以 崑 腔為主的傳 奇, 成 為 明、 清 年 代 的 戲 曲 主 流, 以 崑 曲 和 非 崑 曲 分 為 花、 雅兩部 。「花部」即一般通俗的 地 方 戲, 又 稱「亂 彈」, 以 異 於 崇 尚 高 雅 的 崑 曲; 但 考 其 源 流, 不 論 崑 曲 抑 或 亂 彈, 仍 是 源 於 南 戲, 有 戲 曲 學 者因而奉 南戲為中國戲曲之濫觴 。
Nanxi, literally translated as “south opera”, is generally regarded as one of the oldest operatic genres in China, with a history of 800 years. Its inception can be traced back to the Southern Song, maturing through the Yuan and Ming dynasties. Over time, nanxi also adapted to changing audience tastes, interacted with other regional performing art forms and gradually developed into different sub-genres—most notably the kun qiong, which then became the main form to dominate the operatic stage for almost two centuries, well into the Qing dynasty. While there was at one time over 90 different forms of regional operas being performed in China, most of them could find their roots in nanxi.
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明代古籍《永樂大典》收錄了全本《張協狀元》,是現存少數保存完整的南戲作品之一 The Ming dynasty compendium Yongle Dadian records the full text of Scholar Zhang Xie, one of the few complete nanxi works surviving today
宋、 元 之 前 流 行 的 戲 劇 形 式, 例 如 唐 參 軍 戲、 宋 雜 劇、 金 院 本、 諸 宮 調 等, 或 重 唱 唸, 或 重 舞 蹈、 雜 耍, 但 均 未 具 備 完 整的戲劇體裁 。宋室南遷,把 官 宦、 仕 人、 商 賈 移 徙 南 方, 帶 來 一 段 繁 榮 安 定 的日子,也 促 使 本 地 和 外 來 的 優伶、藝人 勠 力 發 展 娛 樂 事 業,把各種演 藝 形 式 共 冶 一 爐, 成 為 南 戲 的雛型 。 最 初 由 江 湖 藝 人 邊 編邊演,劇 本演完即棄,稱為「路頭戲」, 製 作 非 常 粗 糙, 也 沒有完整的 曲 本 流 傳 下 來; 其 後 文 人 雅 士 加 入 參 與 編 寫 劇 本 的工作,供 戲班演出,成為一時風尚 。特 別 在 當 時 溫 州 一 帶, 更 有「書 社」的成立,專門集體或個別創 作 劇 本, 又 不 時 以 競賽形式遴 選 優 秀 作 品, 提 高 文 學 水 準, 融 合 唱、 唸、 做、 打 各 門 技 藝, 確 立 行 當 制 度, 加 強 故 事 情 節 的 發 展, 而 且 音樂體裁靈 活, 不 拘 一 格, 鄉 俚 歌 謠、 南 北 套 曲, 兼 收 並 蓄; 同 時 曲 本 被 正 式 刊 印 下 來, 廣 泛 流 傳, 讓 南 戲 得 以 傳 播 各 地,加強其 發展和影響 。 12
Before the Song Dynasty, public entertainment mainly took the form of comic shows, brief dramatic episodes and ballad singing. The emphasis was either on singing and storytelling or on dancing and acrobatics. Such performances did not merge into a cohesive or wholesome dramatic form. When the Song court moved its capital southward to Lin’an around 1140—after nearly a century of turmoil due to border warfare in the north— it took with it noble families, officials, scholars and merchants, bringing a period of peace and prosperity to the country. There was a growing demand for entertainment among the affluent classes. Street performers who followed the crowd south worked together with local actors and singers. They tried to combine the different elements of singing, dancing and acrobatics into a new art form, strung up with story lines on themes drawn from folklore, history and current social issues, thus forming a complete, quintessential musical drama form. Nanxi was born.
南戲簡介
當時溫州該處的戲班競爭激 烈, 演 出 頻 繁, 大 批 劇 本 湧 現,其中 最 受 歡 迎 和 最 具 影 響 力 的 劇 碼, 當 推 高 則 誠 的《琵 琶 記》和 號 稱 四 大 南 戲 的《荊 釵 記 》、《 劉 智 遠 》( 即《 白 兔 記 》)、《 拜 月 記 》( 即《 幽 閨 記 》) 和《 殺 狗 記 》, 通 稱「荊、 劉、 拜、 殺」, 直 至 今天,仍 不 斷 在 各 地 舞 台 上 出 現, 無 論 京、 崑、 越、 湘、 甌、 潮、 莆 仙 各 劇 種, 都 保 存 着南戲的影子 。
At the time, the artists compiled the scripts as they performed, but these scripts were usually discarded once a series of performances was over. Few of them survived thereafter, and it is difficult for us to know what the original form of nanxi was like. It was not until later on, when literati took an interest in the art form and started composing and publishing scripts for performance, that a trove of nanxi literature could be widely circulated, performed and preserved for posterity. With the participation of the literati, the quality of the scripts was much improved. A vast number of scripts began to be performed on the nanxi stage. Out of them, to find those with a strong influence on the development of Chinese opera, we must look at The Story of the Lute by Gao Zecheng and the so-called Four Southern Opera 撰文:譚榮邦
譚榮邦現為八和會館名譽顧問及香港藝術節 協會節目委員會委員之一 。
Introduction to Southern Opera
Classics: A Thorn Hairpin, The White Rabbit, The Moon Pavilion (later adapted as Praying to the Moon) and Slaying the Dog. These scripts had become the source of inspiration for other regional opera singers who adapted the plots and music into new pieces to meet local demands. Many versions of these nanxi are still performed frequently throughout China today; local artists in Hong Kong have also made some nanxi part of the Cantonese opera repertoire, which still enjoys great popularity with contemporary audiences. The music, format and style of performance may have undergone enormous changes since the Song, Yuan and Ming dynasties, but the traces of heritage can still be felt. Nanxi, per se, is now dead, but it survives in many new reincarnations live onstage, as can be seen in this series of performances by the Hong Kong Arts Festival.
Written by Tam Wing-pong Tam Wing-pong is currently honorary advisor to the Chinese Artists Association of Hong Kong and a member of the HKAF's programme committee.
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本事
SYNOPSIS
書生蔣世隆與妹妹瑞蓮逃避戰 亂至一驛 館, 瑞 蓮 本 與 秦 侍 郎 之子興福 訂 情, 惜 秦 家 遭 奸 臣 殺 害。 兵 部 尚 書 王 鎮 亦 帶 同 家人逃難 至 驛 館, 他 往 軍 營 前 叮囑女兒瑞蘭必須守身以保家 聲 。亂兵殺至驛館,眾人逃亡 失散 。瑞蘭與世隆偶遇同行, 二人漸生情愫 。王夫人則與瑞 蓮相遇,認作母女同行 。 世隆與瑞 蘭 到 興 福 避 居 之 處, 興 福 自 薦 為 媒, 二 人 即 時 拜 堂 。時王鎮等人亦到來,誤以 為女兒無 媒 苟 合, 大 怒 命 瑞 蘭 回 府 。 世 隆 悲 極 投 江 自 盡, 幸獲救 。 王鎮擢升 為 宰 相, 擬 為 女 兒 瑞 蘭及乾女兒瑞蓮在新科狀元之 中 挑 選 夫 婿。 瑞 蘭 以 為 世 隆 投江已死, 請 求 在 成 婚 前 祭 奠 世 隆 亡 魂; 世 隆 亦 借 詞 附 薦 亡 魂,實則 二 人 分 別 決 定 於 祭 拜 亡魂後殉 愛, 但 出 乎 意料 重 逢 彼此⋯⋯
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Scholar Cheung Sai-lung and his sister Cheung Sui-lin arrive at a relay station to seek refuge from war. Sui-lin has recently sworn her love to Chun Hingfuk, the only surviving son of the Assistant Minister, whose family was framed and slaughtered. Meanwhile, the Minister of War, Wong Chen, delivers his family to the safety of the same town. Before leaving for the barracks, Wong tells his daughter Wong Sui-lan to stay chaste to preserve the family’s reputation. When the town is attacked, the two families are separated in the commotion. Drawn together by a confusion of names, Wong’s wife meets Sui-lin and takes her into her care, while Sai-lung and Suilan meet and pose as husband and wife for safety, gradually developing feelings for each other as they travel to the compound where Hing-fuk is hiding. Although initially disappointed that his beloved Sui-lin is not travelling with her brother, Hingfuk agrees to act as matchmaker
for Sai-lung and Sui-lan, so that they can be properly married. However, Wong happens to lodge in the same compound as he returns to the capital from the frontlines. When he discovers his daughter’s hasty marriage, he angrily orders her home. Devastated, Sai-lung tries to drown himself in the river, but is saved by a wealthy benefactor. To avoid further troubles, Hingfuk sends a false letter to Wong purporting Sai-lung’s death, while Wong sends false word claiming Sui-lan’s death. Three years later, Wong has been promoted to Prime Minister and decides to choose husbands for his daughters from the newly announced first-class scholars, among whom are Sai-lung and Hing-fuk. To avoid a second marriage, Sui-lan and Sai-lung have separately planned to kill themselves after praying in a temple for their lost loves…but an unexpected reunion awaits.
本事
分場 SCENES
上卷 / 下午 2 時 30 分
Synopsis
Part I (2:30pm)
第一場〈走雨踏傘〉
Scene 1: Rendezvous by an Umbrella
第二場〈投府諧偶〉
Scene 2: Marriage in the Mansion 中場休息 Interval
第三場〈抱恙離鸞〉
Scene 3: Ailment Caused by Separation
下卷 / 下午 7 時 30 分
Part II (7:30pm)
第四場〈錦城觀榜〉
Scene 4: The Examination Results
第五場〈幽閨拜月〉
Scene 5: Praying to the Moon 中場休息 Interval
第六場〈推就紅絲〉
Scene 6: Debating the Marriage Proposal
第七場〈雙仙疑會〉
Scene 7: A Heaven-sent Reunion
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角色 CHARACTERS 按出場序 In order of appearance
蔣世隆
Cheung Sai-lung
蔣瑞蓮
Cheung Sui-lin
秦興福
Chun Hing-fuk
王鎮
Wong Chen
王夫人
Madam Wong
王瑞蘭
Wong Sui-lan
六兒
Lok-yi
卞夫人
Madam Bin
卞柳堂
Bin Lau-tong
書 生, 與 王 瑞 蘭 結 為 夫 婦 。 後 成 為 卞 夫 人 之 養 子, 改 名 卞雙卿 蔣 世 隆 之 妹。 後 成 為 王 夫 人 之養女,與王瑞蘭以姊妹相稱
侍 郎 之 子, 蔣 世 隆 之 義 兄 。 後 成 為 卞 夫 人 之 養 子, 改 名 徐慶福 兵 部 尚 書, 王 夫 人 之 丈 夫, 王瑞蘭之父 王 鎮 之 妻, 王 瑞 蘭 之 母, 卞夫人之妹 王 鎮 之 女, 與 蔣 世 隆 結 為 夫 婦,與蔣瑞蓮以姊妹相稱 王鎮之養子 王 夫 人 之 姊, 先 夫 為 鎮 陽 縣 知縣,後成為蔣世隆與秦興福 之養母
卞夫人之親兒
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A scholar who becomes husband of Wong Sui-lan and godson of Madam Bin. He later changes his name to Bin Seung-hing
Sister of Cheung Sai-lung, who later becomes Madam Wong’s god-daughter and Wong Suilan’s godsister
Son of the Assistant Minister and godbrother of Cheung Sai-lung. He later takes on the name of Tsui Hing-fuk
Minister of War, husband of Madam Wong and father of Wong Sui-lan
Wife of Wong Chen, sister of Madam Bin and mother of Wong Sui-lan
Daughter of Wong Chen, who becomes wife of Cheung Sai-lung and godsister of Cheung Sui-lin
Godson of Wong Chen
Sister of Madam Wong and widow of the late Magistrate of Zhenyang County, who becomes godmother of Cheung Sai-lung and Chun Hing-fuk
Son of Madam Bin
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《雙仙拜月亭》重現「唐哥」心血
PRAYING TO THE MOON HIGHLIGHTS THE BEST OF TONG TIK-SANG
唐滌生曾為任劍輝及白雪仙寫下多部經典戲寶,但其改編自
《拜月記》的《雙仙拜月亭》卻是寫給何非凡及吳君麗的 。
專門研究唐滌生作品的粵劇學者陳守仁因應足本版演出,簡 述作品的妙處 。
Tong Tik-sang is well-known for having written classic works for performers Yam Kim-fai and Pak Suet-sin. But Praying to the Moon was tailor-made for another pair of actors: Ho Feifan and Ng Kwan-lai. Chan Sau-yan, a specialist in Tong’s work, introduces the highlights of this full-length version. 以為 1950 年代的唐滌生(唐哥) 是 任、 白 仙 鳳 鳴 劇 團的御用編 劇 家, 純 屬 誤 會 。1958 年, 唐 為 七 個 戲 班 寫 了 十 三部新戲, 這 年 的 突 破 是 造 就 了何非凡、 吳君麗的三部傳世之作:《雙仙 拜 月 亭》、《白 兔 會》及《百 花 亭 贈 劍》, 鋒 芒 直 逼 任、 白, 而《雙 仙 拜 月 亭》更 是 傑 作 中 的奇葩 。
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If you were to think that Tong Tiksang only wrote for Yam Kim-fai and Pak Suet-sin’s Sin Fung Ming Opera Troupe during the 1950s, you would be gravely mistaken. In 1958, Tong wrote 13 plays for seven different troupes, including three classics that brought Ho Fei-fan and Ng Kwan-lai career breakthroughs that helped them rise to a level of fame second only to Yam Kim-fai and Pak Suet-sin. These plays included Praying to the Moon, The Reunion by a White Hare and Pavilion of a Hundred Flowers. Inarguably, Praying to the Moon is the magnum opus of the three.
專題文章
《拜月記》源起
宋元時期是中國戲曲的誕生 期, 比 歐 洲 歌 劇 的 形 成 約 早 四百年 。《拜月記》原是這時的 「四大南戲」之一,據說是元代 施惠據同代雜劇四大家之一關 漢 卿 的 同 名 雜 劇 改 編,但這兩 個版本已不幸散佚 。 「南 戲」是 從 漢 代「百 戲」、 唐 代「戲 弄」和 北 宋「雜 劇」的 基 礎 上 發 展 起 來 的 。「扮 老 虎」、「扮 參 軍」、「扮 官」、「扮 女 人」、「扮 僧 道」等, 玩 的 都 是「身分」和「分身」;南戲除 利 用 演 員 的 角 色 扮 演外,也藉 劇 中 人 物 的 社 會 地 位、親屬關 係、 性 別、 姓 名、 樣 貌 等 身 分 元 素 的 混 淆、 改 變, 來 推 展 劇 情的矛盾 。
Feature Article
The Origins of
Praying to the Moon Chinese opera came about during the Song and Yuan dynasties, approximately 400 years before the existence of European opera. The Moon Pavilion was one of the Four Southern Opera Classics, purportedly written by Shi Hui, who had adapted it from another Yuan zaju of the same name by Guan Hanqing, one of the four great playwrights of the Yuan dynasty. Unfortunately, the texts of these two versions are now lost to posterity. Nanxi (southern operas) were derived from baixi (variety shows) in the Han dynasty, xinong (plays and dramas) in the Tang dynasty, and zaju (variety plays) in the Northern Song dynasty. Nanxi require the performers to play roles interchangeably. Not only do nanxi make use of roleplay, but they also manipulate the characters’ social statuses, kinship, genders, names and appearances for a series of twists and turns, taking the play to a paradoxical climax.
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唐滌生妙筆
唐 滌 生 筆 下 的《雙 仙 拜 月 亭》 裏, 命 運 與 巧 合 令 蔣世隆與妹 妹 瑞 蓮 失 散, 也 使 王夫人與女 兒 瑞 蘭 分 隔 。 在「名 有 相 似」 的 作 弄 下, 竟 導 引 出人際關係 的「大洗牌」。有情人因階級懸 殊、 情 孝 難 全 而 遭 拆 散, 幾 經 波 折, 最 後 藉 至 死 不渝的堅貞 得到命運恩賜,終成眷屬 。
Tong Tik-sang’s Masterpiece
In Praying to the Moon — Tong Tik-sang’s version of The Moon Pavilion — Cheung Sailung and his sister Sui-lin are separated, as are Madam Wong and her daughter Sui-lan. The close similarities of the female characters’ names lead to a quick reversal of roles, and Sui-lan and Sai-lung become a couple. Torn between romance, conflicting duties and status gaps, the two 在 唐 滌 生 眼 中, 當 年的吳君麗 lovers are forced to part. It is 充滿朝氣,而何非凡的「凡腔」 their abiding love that gets them 洋 溢 靈 氣, 故 此,《雙 仙 拜 月 through such a long and bumpy 亭》裏, 到 處 都 是 為 二 人 度 身 journey to their final reunion.
訂 造 的 精 采 唱 段 。 其 中 讓「凡 腔」盡 致 發 揮 的, 是 第 三 場 世 隆失去了瑞蘭後唱的乙反中板 唱 段 和 尾 場 的 主 題 曲《仙 亭 夜 怨》。尾場裏,瑞蘭唱的主題曲 《花燭薦亡詞》也是子喉唱腔的 代表作 。
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In the eyes of Tong Tik-sang, Ng Kwan-lai was an exuberant lady, while Ho Fei-fan had a unique, ethereal voice. Perhaps that’s the reason why Tong staged tailor-made verses for them throughout the play. Ho’s voice is on full display in the third scene when Sai-lung loses Sui-lan, who then starts to sing in yifan mode, moderato. The last scene highlights Sai-lung’s voice again with the theme song Grieving at the Pavilion at Night, while the other theme song, Offering Eulogy Before Burning Candles, sung by Sui-lan in the same scene, can be regarded as a masterpiece of female vocals.
專題文章
新 劍 郎 先 生 既 是 紅 伶,也是編 劇, 這 次 製 作 足 本 版《雙 仙 拜 月亭》,引領我們對中國戲曲誕 生 的 致 敬 。 過 去 少 演 的〈錦 城 觀 榜〉、〈推 就 紅 絲〉和〈幽 閨 拜月〉三場戲的恢復,既對此劇 的 傳 承 帶 來 了 積 極 的動力,也 使唐哥當年為《雙仙拜月亭》投 放的心血得以重現 。
撰文:陳守仁
前香港中文大學音樂系教授,專門研究粵劇 及潮劇等戲曲劇種 。著有《唐滌生創作傳奇》
Feature Article
As a famous Cantonese opera actor and a veteran playwright, Sun Kim-long dedicated himself to reproducing a full version of Praying to the Moon so that we can pay tribute to the birth of Chinese opera. The excerpts “The Examination Results”, “Debating the Marriage Proposal” and “Praying to the Moon” have seldom been performed over the years; their return gives a fresh impetus to revive such classics and appreciate all the hard work Tong put into this play.
Written by Chan Sau-yan Chan Sau-yan is a former professor of the Chinese University of Hong Kong’s Department of Music. He specialises in Cantonese opera and Chiuchow opera.
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與藝術總監新劍郎暢談足本版 《雙仙拜月亭》
ARTISTIC DIRECTOR SUN KIM-LONG ON PRAYING TO THE MOON
多年來,《拜月記》被改編成多個地方劇種,包括唐滌生的
粵劇版本《雙仙拜月亭》,但此劇的足本版自 1958 年首演當
晚後就沒有再演 。睽違逾六十年,「田哥」新劍郎為觀眾帶 來原汁原味的《雙仙拜月亭》,藝術節為此與田哥進行簡單 的對談 。
Over the years, The Moon Pavilion has been adapted into various regional styles, but Tong Tik-sang’s Praying to the Moon has never been performed in full since its 1958 debut. After this more than 60-year gap, Sun Kim-long (Tin Gor) brings audiences an authentic taste of the original with this full-length production of Praying to the Moon. Prior to the performance, he spoke to the HKAF about the opera.
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為何會有製作《雙仙拜月亭》 足本版的念頭 ? 搬演足本版主要因為剛巧碰上 第 48 屆香港藝術節「四大南戲」 系 列 的 節 目 構 思, 而《雙 仙 拜 月 亭》正 正 就 是 出 自 四 大 南 戲 之一的《拜月記》。除此之外, 現 時 坊 間 常 演 版 本 都 會 以〈搶 傘〉作 為 首 場 戲, 然 而 唐 滌 生 的 改 編 版 是 以〈走 雨 踏 傘〉揭 開序幕,情節有所不同 。而於 1958 年 首 演 當 晚, 正 是 以 這 原 裝版本作全 本 演 出 的, 當 時 是 東 樂 戲 院(現 太 子 聯 合 廣 場 附 近)的開山戲,演出時間四個多 小 時, 不 設 隔 音 裝 備, 大 鑼 大 鼓的樂聲影響周圍居民而遭投 訴,於是 第 二 晚 起 的 演 出 便 立 即有所刪減 。 可否簡述《雙仙拜月亭》和 《拜月記》的分別 ? 南戲《拜月記》的篇幅非常長, 故事較為完 整, 但 是 也 有 很 多 累贅的情節,削弱了觀賞性 。 相反,唐 先 生 改 編 的 版 本 卻 去 蕪 存 菁, 詞 曲 優 美 不 在 話 下, 故事編寫得 更 為 濃 縮, 戲 劇 的 張力和情感的迸發也更容易彰 顯 。《雙 仙 拜 月 亭》以 文 戲 為 主, 雖 然 唱 情 的 部 分 較 多, 但 實際上也有 不 少 身 段, 包 括 第 一場及拜月的場口 。「拜月」是 全劇的核心, 南 戲 原 著 設 有 兩 位花旦拜月 相 認 的 一 幕, 但 至 今已少有演 出, 為 了 更 合 觀 眾 心 意, 唐 先 生 更 新 增 一 場「生 旦拜月」,亦即最後一場〈雙仙 疑會〉,反映了唐先生擁有敏銳 的商業觸角, 而 且 在 粵 劇 界 適 應力強 。
訪問新劍郎
Interview with Sun Kim-long
What inspired you to remount the full-length version of Praying to the Moon?
Moon is driven by wenxi scenes dominated by singing, numerous stylised movements in fact appear throughout, including the opening and moon-praying segments.
I came up with the idea of rerunning Praying to the Moon in full when I learned that the organisers of the Hong Kong Arts Festival’s Four Southern Opera Classics programme conceptualised the nanxi, The Moon Pavilion, as becoming part of the programme. Today, performances of the play generally kick off with the scene "Holding the Umbrella", but Tong Tik-sang's adaptation opens with "Rendezvous by an Umbrella"; the plot is a bit different. What was debuted in 1958 at Prince Theatre [once located near the current Allied Plaza in Prince Edward] was the complete version. Running for four-odd hours without any noise barriers, the performance disturbed the neighbourhood with its loud gongs and drums, and thus was abridged immediately from the following night. Could you briefly describe the differences between The Moon Pavilion and Praying to the Moon? A lengthy nanxi, The Moon Pavilion is composed of relatively complete yet cumbersome plots and is thus less inviting to perform [than other nanxi]. On the contrary, the adaptation by Tong Tik-sang demonstrates a less-is-more approach. Aside from its gorgeous songs and lyrics, this variant is written in a more concise way that easily accentuates the theatrical tensions and emotional bursts. Although his Praying to the
“Moon worship” is at the core of the play. The original nanxi version features a scene in which the two huadan (young female protagonists) recognise each other as sisters; this scene is seldom staged today. To better cater to his own audiences, Tong incorporated an additional moon-praying scene, "A Heavensent Reunion" performed by the sheng (young male protagonists) in duet with the huadan. This approach reflects not only Tong’s playwriting talent, but also his business-oriented mind. On one hand, he created operas based on actors’ talents; on the other, he created tense plots that are comprehensible to both the educated and uneducated. The aforesaid characteristics are all unique to Tong's playwriting. From a commercial point of view, he took into account both audience reception and box office revenue, creating a number of popular signature repertoires including Praying to the Moon.
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足本版還有哪幾場戲令你最 難忘 ? 分 別 是 第 三 場 的〈抱 恙 離 鸞〉 及 第 四 場 的〈錦 城 觀 榜〉。 前 者是演員 發 揮 演 技 的 場 口, 因 為角色之間有着強烈的情感互 動; 第 四 場「三 元 遊 街」一 幕 主要交待蔣世隆高中狀元參與 遊街,同 時 瑞 蘭 父 親 希 望 藉 此 為女兒物 色 夫 君, 有 承 上 啟 下 的作用, 唐 先 生 加 插 這 段 能 令 故事結構 更 為 完 整, 刪 卻 是 遺 憾之舉 。 演足本版有甚麼難度 ? 足本版的演出時間比現時一般 粵劇長, 四 小 時 的 演 出 難 以 於 一晚完成, 所 以 這 次 分 為 上 下 兩卷演出 。對於演員來說,除 了考驗體 力 外, 原 裝 劇 本 對 他 們而言亦 比 較 陌 生, 須 要 花 較 多時間細 讀, 並 揣 摩 戲 中 人 物 的性格特 色, 也 須 要 重 新 掌 握 和摸索唱詞和身段 。
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Could you share with us some of the most memorable acts from the full version? To me, they are the third scene, “Ailment Caused by Separation”, and the fourth scene, "The Examination Results". The former allows the actors to unleash their acting skills through intense emotional interactions, while in the latter, the "Parade of the Top Three Scholars" excerpt mainly portrays Cheung Sailung achieving the title of zhuangyuan (the top candidate in the imperial examination) and parading through the streets, observed by Sui-lan’s father, who is hoping to make a good match for his daughter. Through this added scene, Tong connects the preceding and following scenes to better integrate the story structure. It was thus regrettable that it was eliminated in the abridged version.
What is the difficulty in staging the full version? The full-length version is much longer than the typical Cantonese opera performed nowadays, spanning four hours and exceeding one night's performance time; it is thus split into two sections. For actors, it is a challenge not only of physical endurance, but also of acquainting themselves with the unfamiliar original script. They need to spend more time to review it, figure out the characters’ unique characteristics, and master the lyrics and stylised movements from scratch.
訪問新劍郎
Interview with Sun Kim-long
首次在高山劇場演出足本版, 心情如何 ?
How do you feel about staging the full version for the first time at Ko Shan Theatre?
高山劇場的舞台大小和配套都 是 為 粵 劇 演 出 度 身 而造,不論 是 今 次 的《雙 仙 拜 月 亭》, 還 是 場 地 都 非 常 適 合 新進演員, 絕對是他們學藝生涯的試煉 場 。所以我很高興這次能夠在 高 山 劇 場 上 演 足 本 版,既是對 唐 先 生 的 尊 重, 也 可對戲迷有 所交待 。 與香港藝術節助理編輯 黎家欣對談
Both Ko Shan Theatre’s stage size and supporting facilities are tailored for Cantonese opera performances. Whether it is for Praying to the Moon or not, the venue is suitable for novice actors—a place for trial and error in their careers. It is for this reason that I am thrilled to stage the full version at Ko Shan Theatre, which both pays tribute to Tong Tik-sang and fulfils the fans’ expectations. As told to HKAF Assistant Editor Melody Lai
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唐滌生
TONG TIK-SANG
(1917–1959)
編劇 Playwright
唐 滌 生, 原 名 唐 康 年, 廣 東 中 《紅樓夢》、《再世紅梅記》等, 山 人,1917 年 生 於 黑 龍 江 。 成為香港粵劇的經典瑰寶 。 1937 年,日軍轟炸上海,旅居 上海的唐 氏 父 母 先 後 辭世, 唐 1959 年 9 月 14 日, 唐 滌 生 在 利 滌 生 被 迫 輟 學, 南 下 廣 州, 翌 舞 台 欣 賞 新 劇《再 世 紅 梅 記》 年流徙香港 。在港期間,唐滌 時, 不 幸 突 發 腦 溢 血, 延 至 翌 生加入名伶薛覺先領導的覺先 日凌晨不治,享年四十二歲 。 聲 劇 團, 負 責 抄 曲, 之 後 轉 為 編劇,深得 薛 覺 先 和 著 名 編 劇 Tong Tik-sang was born in 家馮志芬 賞 識, 二 人 更 積 極 鼓 Heilongjiang Province in 1917, but his family hailed from Guangdong. 勵他從事編劇工作 。 五十年代 的 唐 滌 生, 已 成 為 炙 手可熱的 編 劇 家, 幾 乎 所 有 粵 劇紅伶均有演出他所編撰的劇 本, 其 中 包 括 薛 覺 先、 馬 師 曾、 紅 線 女、 鄧 碧 雲、 何 非 凡、 麥 炳 榮、 吳 君 麗、 羅 艷 卿 等 。1956 年, 任 劍 輝 和 白 雪 仙 羅 致 著 名「武 生 王」靚 次 伯 及「丑 生 王」梁 醒 波 等 人, 成 立仙鳳鳴 劇 團, 聘 用 唐 滌 生 為 駐 團 編 劇, 演 出 改 編 元、 明、 清三代的劇本 。他所撰名劇諸 如《牡 丹 亭 驚 夢》、《蝶 影 紅 梨 記》、《帝 女 花》、《紫 釵 記》、
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His parents died during the Japanese bombardment of Shanghai in 1937, and Tong was forced to go first to Guangzhou and then to Hong Kong in 1938. In Hong Kong, Tong joined the Kok Sin Sing Opera Troupe, led by Sit Kok-sin. He started as a transcriber, and later, at the encouragement of the troupe’s leader and noted librettist Fung Chi-fun, took up writing libretti as a career. By the 1950s, Tong Tik-sang was already known for his popular operas. Most of the top
Cantonese opera stars—including Sit Kok-sin, Ma Sze-tsang, Hung Sin-nui, Tang Bik-wan, Ho Feifan, Mak Bing-wing, Ng Kwanlai and Law Yim-hing—appeared in his works. In 1956, Yam Kimfai and Pak Suet-sin established the Sin Fung Ming Opera Troupe with Lan Chi-pat and Leung Singbor. They engaged Tong as their resident playwright to rewrite the operas of the Yuan, Ming and Qing dynasties. His operas, such as Dream of Peony Pavilion, Butterfly-Shadowed Red Pear Chronicle, Princess Changping, The Purple Hairpin, Dream of the Red Chamber and Reincarnation of Lady Plum Blossom, have been regarded as part of the canon of Hong Kong Cantonese operas. During the premiere of Reincarnation of Lady Plum Blossom on 14 September 1959, Tong Tik-sang suffered a brain hemorrhage. He died the following day, aged 42.
藝術總監
Artistic Director
新劍郎
SUN KIM-LONG
藝術總監 Artistic Director
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.
Award (Xiqu) by the Hong Kong Arts Development Council, and in 2019, he received the Medal of Honour from the HKSAR Government.
Sun currently serves as the ViceChairman of the Chinese Artists Association of Hong Kong and 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
27
阮德文 Ruan Dewen
蔣世隆 Cheung Sai-lung
一點鴻(陳惠堅)
Ryder Chan
王鎮 Wong Chen
吳倩衡 Ng Sin- hang
六兒 Lok-yi
按出場序 In order of appearance
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文雪裘 Man Lai- ha
蔣瑞蓮 Cheung Sui-lin
陳玉卿 Chan Yuk- hing
王夫人 Madam Wong
何寶華 Ho Po- wa
卞夫人 Madam Bin
文華 Man Wah
秦興福 Chun Hing-fuk
靈音 Ling Yan
王瑞蘭 Wong Sui-lan
柳御風 Lao Yu- fung
卞柳堂 Bin Lau-tong
演員簡介
阮德文 Ruan Dewen
蔣世隆 Cheung Sai-lung
阮德文先後畢業於湛江藝術學 校及廣東粵劇學校,2008 年以 全額獎學金考入香港演藝學院 中 國 戲 曲 課 程 繼 續 進 修;2012 年畢業並投身演藝青年粵劇團; 2013 年加入「粵劇新秀演出系 列」。 他 於 2014 年 獲 西 九 戲 曲 中心粵劇新星展演的優秀表演 獎(生角)。
horse-riding female), was a disciple of the late Leung Mingshing. She also trained with Hui Kin-shun, Ho Ka-yiu, Zhu Xiaobing and Wu Kam-fai. She has performed with numerous professional troupes, had practicum training with Chan Kimfung, and recently participated in the Cantonese Opera Young Talent Showcase as well as performing with various professional troupes.
Ruan Dewen, a graduate from 文華 Man Wah Zhanjiang Arts School and 秦興福 Chun Hing-fuk Guangdong Cantonese Opera School, began his Bachelor of 文華畢業於香港中文大學中國 Fine Arts (Honours) in Chinese 語 言 及 文 學 系, 後 入讀香港演 Opera studies at the Hong Kong 藝 學 院 粵 劇 演 藝 文 憑課程,並 Academy for Performing Arts 修 畢 由 香 港 八 和 會 館主辦、香 (HKAPA) on a full scholarship in 2008. After his graduation in 2012, 港大學教育學院中文教育研究 he joined the Young Academy 中心協辦的粵劇編劇班 。她創 Cantonese Opera Troupe. In 2013, 辦 天 馬 菁 莪 粵 劇 團,並負責編 he appeared in the Cantonese 劇、 演 出 和 舞 台 製 作, 曾 創 作 Opera Young Talent Showcase. 《獅 子 山 下 紅 梅 艷》、《黃 鶴 樓》 Ruan received an Outstanding 及《珍珠塔》等多部粵劇劇本。 Performance Award (sheng, 她 於 2012 年 加 入「粵 劇 新 秀 演 leading male role) the following 出系列」。 year from the Rising Stars in Cantonese Opera event organised by West Kowloon Cultural District. Man Wah graduated from the Department of Chinese Language and Literature at the Chinese University of Hong 文雪裘 Man Lai- ha Kong and holds a diploma in 蔣瑞蓮 Cheung Sui-lin Cantonese opera from the Hong Kong Academy for Performing 文 雪 裘 專 工 花 旦、 刀 馬 旦, 是 Arts. She once participated in a 已故梁鳴聲之入室弟子 。她曾 Cantonese opera scriptwriting 跟 隨 許 堅 信、 何 家 耀、 朱 小 冰 course hosted by the Chinese 及胡錦輝 學 藝, 後 得 陳 劍 烽 給 Artists Association of Hong 予在職業班演出及演藝培訓的 Kong and the University of Hong 機 會 。 近 年 她 參 與「粵 劇 新 秀 Kong’s Centre for Advancement of 演出系列」的多場演出,也參與 Chinese Language Education and Research. Man later founded the 各大劇團的演出 。 Sensational Sprouts Cantonese Man Lai-ha, trained in the roles of Opera Association, where she has huadan (young leading female) been in charge of scriptwriting, and daomadan (sword-wielding, performance and stage
Cast Profiles
production. Her writing credits include Plum Blossom Under the Lion Rock, The Futile Hero and Romance in the Closet, among others. In 2012, she joined the Cantonese Opera Young Talent Showcase.
一點鴻(陳惠堅)
Ryder Chan
王鎮 Wong Chen
一點鴻專工武生和丑生 。畢業 於廣東省粵劇學校和香港演藝 學 院, 師 從 丑 生 陳 鴻 進、 胡 芝 風、 吳 律 光、 戴 成 焜、 刑 金 沙 等名師 。曾獲 2006 年全國少年 曲 藝 大 賽 廣 東 省 金 獎、2008 年 青少年曲藝明日之星選拔大賽 金 獎、2010 年 小 曲 王 大 賽 優 秀 獎及 2012 年全港青少年學藝大 賽 冠 軍 。 擅 演 劇 目 包 括:《大 鬧 廣 昌 隆》的〈投 店〉、《焚 香 記》、《楊 門 女 將》、《蘆 花 蕩》 及《走麥城》。
Ryder Chan, a specialist in the roles of wusheng (military male) and chousheng (comic male), studied singing under chousheng Chan Hung-chun, Hu Zhifeng, Ng Lut-kwong, Tai Shing-kwan, Ying Kam-sha and more. Chan graduated from the Hong Kong Academy for Performing Arts and is currently active in various Cantonese opera troupes. His past accolades include the Golden Award from the National Youth Quyi Contest in Guangdong Province (2006), the Golden Award for the Youth Selection Competition of the Rising Star of Quyi (2008), the Award of Excellence in the King of Xiaoqu Contest (2010) and Champion in the Hong Kong Youth Cultural and Arts Competition (2012). His 29
more well-known performances include Revenge at Guang Chang Long, Offering Incense to Mark a Lovers’ Pledge, Female Generals of the Yang Family, Hiding in the Luo River and The Defeat at Maicheng.
陳玉卿 Chan Yuk- hing
王夫人 Madam Wong
陳玉卿專工花旦 。畢業於香港 中文大學及香港八和會館合辦 的粵劇高級證書課程及香港演 藝學院夜間兼讀粵劇深造文憑 課 程 。 近 年 她 加 入「粵 劇 新 秀 演出系列」,並經常參與各大粵 劇團之演出 。
A specialist in playing huadan roles, Chan Yuk-hing graduated from the Advanced Certificate Course on Cantonese Opera created by the Chinese University of Hong Kong and the Chinese Artists Association of Hong Kong. She also studied part-time for the Postgraduate Diploma in Cantonese Opera at the Hong Kong Academy for Performing Arts, recently joined the Cantonese Opera Young Talent Showcase and regularly performs with various opera troupes.
靈音 Ling Yan
王瑞蘭 Wong Sui-lan
靈音為天馬菁莪粵劇團的花旦 演員 。畢業於香港中文大學音 樂系,曾 獲 任 白 中 國 戲 曲 獎 學 金,並修 畢 香 港 演 藝 學 院 與 香 港八和粵劇學院合辦之夜間粵 劇 課 程 。2003 年, 她 代 表 劇 團 以 新 編 折 子 戲《英 台 哭 墳》參 加全國國花杯中青年演員戲曲 表 演 大 賽, 並 獲 金 獎;2006 年 30
正式拜入中國著名表演藝術家 胡 芝 風 門 下;2012 年 加 入「粵 劇新秀演出系列」。曾擔演長劇 作品包括:《獅吼記》、《再世紅 梅 記》、《胡 不 歸》、《蝶 影 紅 梨 記》、《帝 女 花》、《紫 釵 記》及 《販馬記》等 。
Ling Yan is a huadan from the Sensational Sprouts Cantonese Opera Association. Ling graduated from the Department of Music at the Chinese University of Hong Kong, was a recipient of the Yam and Pak Scholarship in Chinese Opera and completed a degree in Cantonese opera collaboratively hosted by the Hong Kong Academy for Performing Arts and the Cantonese Opera Academy of Hong Kong. In 2003, she performed excerpts of Yingtai Crying at the Tomb at the National Competition in Chinese Operatic Arts Performance on behalf of her troupe and received a Golden Award. Ling became an official apprentice of Hu Zhifeng in 2006, and participated in the Cantonese Opera Young Talents Showcase in 2012. Her acting credits include The Outburst of a Shrew, Reincarnation of Lady Plum Blossom, Why Don’t You Return, Romance of the Red Pear Flower, Princess Changping and many more.
吳倩衡 Ng Sin- hang
六兒 Lok-yi
吳 倩 衡 專 工 生 角 。2003 年 至 今, 跟 隨 梁 森 兒 學 習 生 角 行 當, 並 參 與 劍 心 粵 劇 團 的 演 出 。2013 年 畢 業 於 香 港 八 和 會 館 粵 劇 學 院, 曾 獲 香港校際粵 曲比賽中學初級組獨唱季軍 。
現 隨 蔡 之 崴 習 藝, 並 參 與「粵 劇新秀演出系列」的演出 。
Ng Sin-hang specialises in the role of sheng. Since 2003, she has been learning the sheng role under the mentorship of Leung Sum-yee. She participated in a performance with the Kim Sum Cantonese Opera Association, and in 2013, graduated from the Cantonese Opera Academy of Hong Kong, going on to win third place in the Junior Form section of the Hong Kong Interschool Cantonese Operatic Singing Competition. Currently, Ng is continuing her studies under Tsai Chi-wei and participating in the Cantonese Opera Young Talent Showcase.
何寶華 Ho Po- wa
卞夫人 Madam Bin
何寶華熱愛中國戲曲,學藝逾 十年,專工旦角 。她畢業於香 港演藝學院,修讀粵劇演藝深 造文憑課程 。師承梁鳴聲和關 世振,也有跟隨梁漢威及劉艷 華 習 唱 。 現 為「粵 劇 新 秀 演 出 系列」的成員 。
A passionate lover of Chinese opera, Ho Po-wa has been learning the art of Chinese opera for over a decade, specialising in the role of huadan. She studied under Leung Ming-sing and Guan Shizhen and practiced singing under the tutelage of Leung Hon-wai and Lau Yim-wa. As a graduate of the Hong Kong Academy for Performing Arts, Ho is currently slated to participate in the Cantonese Opera Young Talent Showcase.
演員簡介
Cast Profiles
柳御風 Lao Yu- fung
卞柳堂 Bin Lau-tong
柳御風習 文 武 生, 曾 拜 羅 家 英 為 師, 並 隨 王 家 玲、 周 莉 莉、 曾 玉 女、 陳 輝 鴻、 朱 小 冰 等 學 藝 。2007 年 獲 選 參 演 青 年 版 《帝 女 花》, 獲 評 為「年 度 最 佳 演員」。2012 年參演「粵劇新秀 演出系列」。2014 年獲選為「西 九戲曲中心粵劇新星」。演出劇 目 有《帝 女 花》、《武 松 打 店》 及《斬經堂》等 。
Lao Yu-fung studied the role of wenwusheng (civilian and military male) and was an apprentice of Law Kar-ying. She has also studied under other mentors such as Wong Ka-ling, Zhou Lili, Tsang Yuk-nui, Chan Fai-hung and Zhu Xiaobing. In 2007, she was selected to perform in Princess Changping (Youth Edition) and was voted “Best Performer of the Year”. In 2012, Lao was selected to perform in the Cantonese Opera Young Talent Showcase. In 2014, she was selected to perform in the Rising Stars in Cantonese Opera Showcase organised by West Kowloon Cultural District. Her opera repertoire includes Princess Changping, Wu Song Fighting in the Inn and The Pull of Filial Piety and Righteousness.
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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
香港藝術節 @ 大館 項目經理 製作經理 項目統籌 ( 公關及宣傳 )
* 合約職員 Contract Staff
鄺敬婷 杜詩麗 * 蘇永恆 * 譚智盈 * 李美娟 黃國愛 鍾雅妍 * 盧逹智 * 林淦鈞 * 陳慧晶 * 朱穎欣 * 汪盈 * 馮顯峰 * 陳梓衡 * 彭健欣 * 鄺為立 * 甄明慧 * 楊佩雯 *
Executive Director Assistant to Executive Director PROGRAMME Programme Director Associate Programme Director Programme Managers Programme Manager (Administration) Assistant Programme Managers Programme Coordinator Programme Officer (Administration) Logistic Manager TECHNICAL Production Manager Assistant Production Manager OUTREACH Senior Outreach Manager Deputy Outreach Manager Assistant Outreach Manager Outreach Officers PUBLICATIONS Editors Assistant Editors MARKETING Marketing Director Associate Marketing Director Marketing Managers Deputy Marketing Manager Assistant Marketing Manager Digital Marketing Specialist Marketing Officer Arts Administrator Trainee Marketing Manager (Ticketing) Ticketing Officers DEVELOPMENT Development Director Development Managers
Tisa Ho Connie Ho Grace Lang So Kwok-wan Janet Yau* Susanna Yu* Shirley So Tracy Tam* Loui Yuen* Spaky Ching* Elvis King*
Linda Yip
Joseph Wong*
Shirley Leung* Benny Mok* Kenneth Lee Joe Tang* Carman Lam* Tracy Cheung* Kelvin Li*
Michael Lee*
Gloria Furness* Melody Lai*
James Liu* Grace Lam*
Katy Cheng Dennis Wu Dennis Chan* Alexia Chow Michelle Yeung* Joel Kwok* Ben Chan* Bonnie Cheng* Stephanie Cheung* Eppie Leung Stephanie Chan* Chung Cheuk-yau*
Assistant Development Manager Development Officers 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* Arthur Lo* Lam Kam-kwan* Ainslee Chan* Wendy Chu* Wilson Fung* Jacob Chan* Janice Pang*
HKARTSFESTIVAL@TAIKWUN Project Manager Production Manager Project Coordinator (PR & Marketing)
Kwong Wai-lap* Yun Ming-wai* Wind Yeung Pui-man*
Mak Tsz Kam*
Antonia Yuen*
Tiffany Wong*
按英文姓氏首字母排列 In alphabetical order
2020 年 10 月更新 Updated October 2020
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 Great Eagle Group
諾業基金有限公司 Nathaniel Foundation Limited 上海商業銀行 Shanghai Commercial Bank
其他支持機構 Other Supporters
荷蘭王國駐香港總領事館 Consulate General of the Kingdom of the Netherlands
實物支持機構 In-kind Supporters
Performing Arts Fund NL Pro Helvetia
帝盛酒店集團 Dorsett Hospitality International
信和集團 Sino Group
鷹君集團 Great Eagle Group
屯門市廣場 TMT Plaza
嘉頓有限公司 The Garden Company Limited 奧海城 Olympian City
藝術節捐助計劃 Festival Donation Scheme 鉑金捐款者 Platinum Donors HK$140,000 或以上 and above Burger Collection 陳廷驊基金會 The D. H. Chen Foundation
Mrs Miriam Hwa
林護紀念基金有限公司 Lam Woo Foundation Limited
Yu-San & Lincoln Leong
鑽石捐款者 Diamond Donors HK$70,000 ‒ HK$139,999 Nine Queens Investment Limited Mr & Mrs Stephen Suen 翡翠捐款者 Jade Donors HK$30,000 ‒ HK$69,999 無名氏 Anonymous Mrs Chan Kam Ling 陳求德醫生 Dr Chan Kow Tak
胡興正醫生慈善基金有限公司 Dr Wayne Hu Charitable Foundation Ltd
Ms Leung Wai Yee Candice Mr Stephen Tan
Mr & Mrs David S Y Wong
黃金捐款者 Gold Donors HK$12,000 ‒ HK$29,999 無名氏 (5) Anonymous (5) Jeffrey & Helen Chan Mr & Mrs S Cheng Mr Vincent Chow 周一嶽醫生 Dr York Chow Mr Edwin Choy Angus Forsyth Edmond Huang & Shirley Liu Mr Charles Lee Dr Nancy Leung Mr & Mrs Gilles Martin Ms Sun Tien Chen 曹延洲醫生夫人 Dr & Mrs Tsao Yen Chow
Samuel & Amy Wang
黃逸思先生夫人 Mr & Mrs Y S Wong
Mr Wong Yick Kam
純銀捐款者 Silver Donors HK$6,000 ‒ HK$11,999 無名氏 (4) Anonymous (4) Mrs Anson Chan Consigliere Limited
崇光 ( 香港 ) 百貨 SOGO Hong Kong
HKR International Ms Jenny Hodgson
Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia
Dr Chow Sze Fu Joseph Bethan & Tim Clark
Mr Jacobo F Garcia Gil
Ms Ka Shi Lau
胡立生先生 Mr Maurice L Hoo
Ms Rosanna Law
Ms Khoo Li Lian
Ms Lee Lai-Kuen Shelley
Ms HUI Silvia
Mr Edward Lau
Rose Lee
Mr & Mrs David S L Lin
Ms Joanna Lau
Roger & Lina Lui
Mr Lee King Fung
Dr Michael Mak
Flavia & Gary Ma Mr Craig Merdian & Ms Yelena Zakharova
Dr Poon Yee Ling Eligina
Leland & Helen Sun Ms Tse Chiu Ming
Ms Lim Geck Chin Mavis
Mr Andrew Moore
Mr Andric Yew
Dr Joe Pang
Ms Enoch Yiu
Ms Philana WY Poon
Ms Isabel Yiu
San Miguel Brewery Hong Kong Ltd.
青銅捐款者 Bronze Donors HK$3,000 ‒ HK$5,999 無名氏 (10) Anonymous (10) Atkinson Lambert Limited Dr Oliver Chan Mary Chen Mr Edmund Cheung
Patrick & Catriona Shaw Ms So Ching
Mr So Kin Man Ms Christine Tong Mrs Rebecca Yeung Ms Yim Chui Chu
野豬先生
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 (2) Anonymous (2) 陳廷驊基金會 The D. H. Chen Foundation 馬振玉慈善基金會有限公司 CYMA Charity Fund Ltd 恒生銀行 Hang Seng Bank
鑽石捐款者 Diamond Donors HK$70,000 ‒ HK$139,999 法國巴黎銀行 BNP Paribas
嘉華國際集團有限公司 K Wah International Holdings Ltd
Mrs Purviz R Shroff and the late Mr Rusy M Shroff, BBS, MBE
田家炳基金會 Tin Ka Ping Foundation 芝蘭基金會 Zhilan Foundation
翡翠捐款者 Jade Donors HK$30,000 ‒ HK$69,999 Ms Margaret Cheng Roger & Lina Lui Mr & Mrs Stephen Suen
黃金捐款者 Gold Donors HK$12,000 ‒ HK$29,999 無名氏 Anonymous Dr Oliver Chan Ms Yvonne Cheng & Mr Kelvin Koo Dr Chung See Yuen
天智合規顧問有限公司 CompliancePlus Consulting Limited 馮兆林先生夫人 Mr & Mrs Fung Shiu Lam
Mrs Carol Murray
Edith Shih & Stephen Sun Dr William To
曹延洲醫生夫人 Dr & Mrs Tsao Yen Chow
中國盛世音樂(香港)
純銀捐款者 Silver Donors HK$6,000 ‒ HK$11,999 無名氏 (2) Anonymous (2) 區燊耀先生 Mr Au Son Yiu
Mr & Mrs Kenneth H C Fung
黃逸思先生夫人 Mr & Mrs Y S Wong
陳頴儀與黃乃正
趙頴雅女士 Ms Winnie Chiu
Mr & Mrs Norman Chui
Mr & Mrs A R Hamilton
羅偉騫先生及夫人 Andy Law & Wendy Chan
Lok Yu Kim Ching Memorial Fund
Dr David Fang
Mrs Yvonne Hariman
Jonathan Harris, Yuka Shigetomi
ii production
簡秀屏女士 Ms Lydia Kan
Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia
關先生 Mr Kwan Dr Alfred Lau
Savita Leung Mr Craig Lindsay
CH Mak
Dr Xina Lo
Vernon & Karen Moore Dr Poon Yee Ling Eligina
Mrs Esther Pak
Peter & Nancy Thompson
Mr Siddique Salleh
麥禮和醫生 Dr Mak Lai Wo
Mr Andrew Moore
Mr & Mrs Kenneth Quinn
Ms Janice Ritchie
Ms Elsa Wong
Mr Wong Yick Kam Ms Wu Tseng Helen Mr Andric Yew
青銅捐款者 Bronze Donors HK$3,000 ‒ HK$5,999 無名氏 (11) Anonymous (11) Antonhill Company Ltd Ball CHAN and MDB Dr Cindy Chan Dr Chan Wan Tung Mr D Chang Cynthia Cheng & Aaron Chan Ms Cheung Kit Fung
新作捐助計劃 New Works Scheme 黃金捐款者 Gold Donors HK$12,000 ‒ HK$29,999 無名氏 Anonymous 劉仰澤先生 Mr Lau Yeung Chak
A Fan
純銀捐款者 Silver Donors HK$6,000 ‒ HK$11,999 無名氏 (2) Anonymous (2) Ms Yvonne Cheng & Mr Kelvin Koo Lok Yu Kim Ching Memorial Fund Edith Shih & Stephen Sun
陶國豪先生 Mr Frederico Rato
Julie & Michael Shamos William Stork & Jasmine Wong
Dr Joyce Oi Wo Tam
殷和順,劉善萍先生夫人
Dr Jason Yeung
余德銘先生 Mr Desmond Yu 皮皮
青銅捐款者 Bronze Donors HK$3,000 ‒ HK$5,999 無名氏 (3) Anonymous (3) Ms Chiu Shui Man, Tabitha Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia Mr Edward Lau Dr Xina Lo Dr Joe Pang 黃逸思先生夫人 Mr & Mrs Y S Wong
支持及協助 SUPPORT AND COOPERATION Acorn Design
Alfie Leung Design AMC Pacific Place
教育局藝術教育組
Arts Education Section, Education Bureau 香港展能藝術會
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 Austrian Consulate General Hong Kong
樺利廣告有限公司 Avanny Advertising Co Ltd 宏基國際賓館
Bishop Lei International House BRICK LANE
英國文化協會 British Council
Broadway Cinema
百老匯院線 Broadway Circuit
Broadway The One
粵劇發展基金 Cantonese Opera Development Fund 牛棚藝術村 Cattle Depot Artist Village 周生生集團國際有限公司
Chow Sang Sang Jewellery Co. Ltd
中信國際電訊(信息技術)有限公司
香港浸會大學 Hong Kong Baptist University
• 音樂系 Department of Music • 拉闊文化 Cultural Literacy Programme • 人文及創作系 Department of Humanities and Creative Writing
香港大會堂 Hong Kong City Hall
香港文化中心 Hong Kong Cultural Centre
香港黃金海岸酒店 Hong Kong Gold Coast Hotel
香港管弦樂團 Hong Kong Philharmonic Orchestra 香港公共圖書館 Hong Kong Public Libraries 香港旅遊發展局 Hong Kong Tourism Board
摩納哥駐香港名譽領事館 Honorary Consulate of
Monaco in Hong Kong
悦品酒店 .荃灣 Hotel COZi.Oasis 旭逸雅捷酒店 .荃灣
Hotel Ease Access Tsuen Wan 登臺 Hotel Stage
宜必思香港中上環
ibis Hong Kong Central and Sheung Wan 工銀亞洲 ICBC (Asia)
富薈馬頭圍酒店 iclub Ma Tau Wai Hotel
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
CITIC Telecom International CPC Limited
海景嘉福洲際酒店
City Contemporary Dance Company
香港洲際酒店 InterContinental Hong Kong
城市當代舞蹈團
城巿花園酒店 City Garden Hotel
思聯設計有限公司 CL3 Architects Ltd
比利時駐港澳總領事館 Consulate General of Belgium
in Hong Kong and Macau
InterContinental Grand Stanford Hong Kong 港島太平洋酒店 Island Pacific Hotel Hong Kong
JellyBin Limited
賽馬會創意藝術中心 Jockey Club Creative Arts Centre 高山劇場 Ko Shan Theatre
Consulate General of Canada in Hong Kong
九龍木球會 Kowloon Cricket Club
Consulate General of Chile in Hong Kong
葵青劇院 Kwai Tsing Theatre
加拿大駐香港總領事館 智利駐港澳總領事館
法國駐港澳總領事館 Consulate General of France in Hong Kong and Macao
以色列駐香港總領事館 Consulate General of Israel in Hong Kong & Macau 西班牙駐港澳總領事館
Consulate General of Spain in Hong Kong and Macao 瑞士駐香港總領事館
Consulate General of Switzerland in Hong Kong
Kubrick
光華新聞文化中心
Kwang Hwa Information & Culture Center
香港逸蘭精品酒店 Lanson Place Hotel, Hong Kong
拉脫維亞駐香港名譽領事館 Latvian Honorary Consulate in Hong Kong 中央人民政府駐香港特別行政區聯絡辦公室
Liaison Office of the Central People's Government in the HKSAR 嶺南大學 Lingnan University
Kingdom of Netherlands
• 文學院 Faculty of Arts • 黃炳禮音樂及演藝部 Wong Bing Lai Music and Performing Arts Unit • 文化研究系 Department of Cultural Studies • 學生服務中心 Student Service Centre • 鄺森活圖書館 Fong Sum Wood Library
PDR in Hong Kong
Maxibit HK/China
捷克共和國駐香港領事館 Consulate General of the
Czech Republic in Hong Kong
伊朗駐香港總領事館 Consulate General of the Islamic
Republic of Iran in Hong Kong
荷蘭王國駐港總領事館 Consulate General of the 老撾駐香港總領事館 Consulate General of the Lao 俄羅斯駐香港總領事館
馬哥孛羅香港酒店 Marco Polo Hongkong Hotel 中華人民共和國文化和旅遊部
Ministry of Culture and Tourism, PRC
Consulate General of the Russian Federation in Hong Kong SAR, PRC
Mission Production Company Ltd
拔萃女書院 Diocesan Girls' School
音樂事務處 Music Office
Die Konzertisten
李鏡輝先生 Mr Alpha Li
香港荃灣帝盛酒店 Dorsett Tsuen Wan, Hong Kong
One Minden Tapas Kitchen
香港瑰麗酒店 Rosewood Hong Kong 泰國駐香港總領事館
Royal Thai Consulate General Hong Kong Russian Club in Hong Kong
沙田大會堂 Sha Tin Town Hall
筲箕灣崇真學校 Shaukiwan Tsung Tsin School 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
香港西班牙商會
Spanish Chamber of Commerce in Hong Kong
事必達推廣有限公司 Speedy Promotion Limited 辰衝圖書有限公司 Swindon Book Co. Ltd. 大館 Tai Kwun
台灣蘇富比國際房地產
Taiwan Sotheby's International Realty
藝林文具印刷有限公司 The Artland Co Ltd 香港八和會館
The Chinese Artists Association of Hong Kong 香港中文大學
The Chinese University of Hong Kong
• 音樂系 Department of Music • 聯合書院 United College • 文學院 Faculty of Arts
香港城市大學 The City University of Hong Kong
• 中文及歷史學系 Department of Chinese and History • 創意媒體學院 School of Creative Media
香港教育大學
The Education University of Hong Kong
• 文化與創意藝術學系 Department of Cultural and Creative Arts • 圖書館 Library
梅夫人婦女會 The Helena May 香港演藝學院
The Hong Kong Academy for Performing Arts
• 戲曲學院 School of Chinese Opera • 戲劇學院 School of Drama • 音樂學院 School of Music
香港兒童合唱團 The Hong Kong Children’s Choir 香港科技大學
The Hong Kong University of Science and Technology
• 藝術中心 Center for the Arts
中環石板街酒店 The Pottinger Hong Kong 皇家太平洋酒店 Royal Pacific Hotel
The Swiss Chamber of Commerce in Hong Kong Limited
香港大學 The University of Hong Kong
• 音樂系 Department of Music • 香港大學美術博物館 University Museum and Art Gallery • Cultural Management Office • 志新學院 Chi Sun College
香港華美粵海酒店
The Wharney Guang Dong Hotel Hong Kong 敲擊襄 Toolbox Percussion
通利琴行 Tom Lee Music Company Ltd 三角關係 Trinity Theatre
德國駐香港總領事館
香港公開大學 Open University of Hong Kong • 學生事務處 Student Affairs Office
六國酒店 Gloucester Luk Kwok Hong Kong
卓滙達有限公司 Patsville Company Ltd
城市售票網 URBTIX
香港君悅酒店 Grand Hyatt Hong Kong
電訊盈科 PCCW
快達票香港有限公司 HK Ticketing
Pentahotel Hong Kong, Kowloon
西九文化區管理局
藝穗會 Fringe Club
German Consulate General Hong Kong
香港歌德學院 Goethe-Institut Hong Kong 青苗琴行 Greenery Music
柏斯琴行 Parsons Music Limited
Performing Arts Fund NL
香港九龍貝爾特酒店
香港藝術行政人員協會
Pixellent
香港藝術中心 Hong Kong Arts Centre
Primasia Corporate Services Limited
Hong Kong Arts Administrators Association
犇華企業服務有限公司
富豪酒店國際 Regal Hotels International
屯門大會堂 Tuen Mun Town Hall
UA CineHub
進富印刷公司 Wealthy Step Printing Co.
West Kowloon Cultural District Authority wine etc
香港基督教青年會(港青)YMCA of Hong Kong 元朗劇院 Yuen Long Theatre 赤豚事務所 Zhu Graphizs
以英文名稱首字母排列 In alphabetical order