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

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

The Red Shoes 紅舞鞋

放映節目贊助 Screening sponsored by

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.

香港藝術節 HONG KONG ARTS FESTIVAL 感謝 would like to thank

贊助 for sponsoring 「香港賽馬會藝粹系列」之馬修 · 伯恩版《紅舞鞋》節目放映

THE SCREENING OF MATTHEW BOURNE'S THE RED SHOES as part of THE HONG KONG JOCKEY CLUB SERIES

分場

訪問 Interview

Matthew Bourne’s Dance Film

馬修．伯恩

馬修．伯恩版 Matthew Bourne' s

專題文章

導演及編舞 Director and Choreographer

藝團簡介

新冒險舞蹈團及 Illuminations 製作馬修．伯恩舞蹈電影

A New Adventures and Illuminations Production

紅舞鞋

THE RED SHOES 27–30.03.2021 網上放映

Scenes

with Matthew Bourne

Feature Article 馬修．伯恩 Matthew Bourne

About New Adventures

Online Screening

演出長約 1 小時 40 分鐘

Approx 1 hour and 40 minutes

只限香港地區播放

Hong Kong only

先到先得，限時限額供收看 First come, first served. Limited number

of quotas within the specified period

封面照片 Cover Photograph © Johan Persson

香港藝術節感謝天開數碼媒體有限公司為馬修 ‧ 伯恩版《紅舞鞋》節目提供視頻串流技術 The HKAF thanks TFI for providing video streaming technology support for the online screening of Matthew Bourne’s The Red Shoes

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

馬修．伯恩版紅舞鞋

Matthew Bourne's The Red Shoes

導演及編舞 Directed and Choreographed by

馬修．伯恩 Matthew Bourne

音樂 Music by

伯納德．赫爾曼 Bernard Herrmann

配器及附加音樂 Orchestrations and Additional Music

泰利．戴維斯 Terry Davies

佈景及服裝設計 Set and Costume Designer

雷斯．布萊斯特頓 Lez Brotherston

燈光設計 Lighting Designer

保妮．康斯達保 Paule Constable

音效設計 Sound Designer

保羅．告魯夫斯 Paul Groothuis

助理編舞及駐團導演 Assistant Choreographer and Resident Director

尼爾．威斯特摩蘭

Neil Westmoreland

副燈光設計 Associate Lighting Designer

羅伯．凱西 Rob Casey

指揮 Conductor

布朗．莫里斯 Brett Morris

電影版導演 Directed for the screen by

羅斯．麥吉伯恩 Ross MacGibbon

Illuminations 執行製作 Executive Producer for Illuminations

約翰．偉佛 John Wyver

製作 Producer

露西．康拉德 Lucie Conrad

投影設計 Projection Designer

鄧肯．麥連 Duncan McLean

副藝術總監及編舞 Associate Artistic Director and Choreographer

艾塔．馬菲特 Etta Murfitt

演員及角色 Cast and Characters

雅莎莉．蕭 Ashley Shaw 飾 – 維多利亞．佩琪 as Victoria Page

亞當．庫柏 Adam Cooper 飾 – 波利斯．雷莫托夫 as Boris Lermontov

多米尼克．諾斯

Dominic North

飾 – 朱利安．克雷斯特 as Julian Craster

米凱拉．梅亞莎

Michela Meazza

飾 – 伊蓮娜．波倫斯卡亞 as Irina Boronskaya

利亞姆．莫維爾 Liam Mower 飾 – 伊凡．波利勞斯基 as Ivan Boleslawsky

格倫．嘉咸 Glenn Graham 飾 – 格力沙．盧博夫 as Grischa Ljubov

群舞成員 The Company

史蒂芬妮．比爾斯 Stephanie Billers 班．布朗 Ben Brown

朱昂．卡羅里諾 João Carolino 里斯．考斯頓 Reece Causton

哈里森．道威斯爾 Harrison Dowzell 傑克遜．費雪 Jackson Fisch

羅斯．戈達德 Rose Goddard

布賴尼．哈里森 Bryony Harrison

黛絲．梅．坎普 Daisy May Kemp 凱特．里昂 Kate Lyons

丹尼．萊本斯 Danny Reubens

《紅舞鞋》根據麥可．鮑華與艾默利．柏斯保格之電影，以及安徒生童話故事改編。電影版本於 2019 年 1 月在倫敦沙德勒之井劇院拍攝。

Based on the film by Michael Powell and Emeric Pressburger and the Hans Christian Andersen fairy tale. Filmed live at Sadler’s Wells Theatre, London in 2019.

分場

SCENES

Scenes

故事發生於 1940 年代末的倫敦及法國南部的蔚藍海岸地區

The action takes place in London and the French Riviera in the late 1940s 第一幕 Act One 倫敦

芭蕾舞團

「塔瑪拉伯爵夫人的兩難局面」萊斯頓夫人的晚會高文花園

London At the Ballet “Countess Tamara’s Dilemma” Lady Neston’s Soirée Covent Garden

蒙地卡羅

Monte Carlo

雷莫托夫的大宅

Lermontov’s Mansion

「海灘舞會」

蒙地卡羅歌劇院《紅舞鞋》演出

“Ballon de Plage” Monte Carlo Opera House The Ballet of The Red Shoes

第二幕 Act Two

三個月後 Three Months Later

濱海自由城

Villefranche-sur-Mer

蒙地卡羅

Monte Carlo

倫敦東區

East End, London

舞季結束派對「骷髏協奏曲」

End of Season Party

“Concerto Macabre”

音樂廳

A Music Hall

蒙地卡羅

Monte Carlo

倫敦

London

蒙地卡羅

Monte Carlo

雷莫托夫的辦公室廉價公寓維多利亞．佩琪的回歸

Lermontov’s Office

Cheap Digs

Victoria Page Returns

與馬修．伯恩暢談《紅舞鞋》 A CHAT WITH MATTHEW BOURNE ABOUT THE RED SHOES

故事吸引你改編成舞作的地方是甚麼？《紅舞鞋》的故事背景設定於一個經常巡演至不同地方的芭蕾舞團，講述的其實是有關舞蹈和舞者的故事。電影最為精妙之處在於將舞團劇力萬鈞的戲劇世界推進至超現實、傳奇的境界，而且別具電影感。如何在一般劇場環境中捕捉那種超現實和感性的特質，是對我的一項挑戰。 16

What is it about the story that attracts you to an adaption?

Set in the theatrical world of a touring dance (ballet) company, it is actually about dance and dancers. The film’s genius is to make that theatrical world at times surreal, larger than life and highly cinematic. My challenge will be to capture some of that surreal, sensuous quality within the more natural theatre setting.

訪問

Interview

你希望透過《紅舞鞋》帶出甚麼主題？《紅舞鞋》最重要的主題是愛情與藝術，或者事業與愛情的相爭。作品圍繞兩位藝術家的愛情故事，一位是舞者，另一位是作曲家；舞團的傳奇經理人波利斯．雷莫托夫相信男女之愛會令人分心，從而導致人不能成為偉大的藝術家；故當中的掙扎在於追求愛情，還是選擇登上經理人所象徵的藝術成就之巔。我亦探討了舞團的童話世界及它的故事如何與現實生活中的愛情、野心、藝術性及個人成就交融，直至兩者幾乎難以區分為止，例如在電影結尾，紅舞鞋彷彿操控並引導着女主角，讓她走到蒙地卡羅海濱一列火車前喪命／自殺。

亞當．庫柏飾波利斯．雷莫托夫 Adam Cooper as Boris Lermontov

What themes might you explore?

The main theme of The Red Shoes is love versus art, or career versus love. It is the love story of two young artists (one a dancer, one a composer) and the fight between that love and the lure of the highest artistic achievement as represented by Boris Lermontov, the dance company’s legendary impresario, who believes that you cannot be a great artist if distracted by human love! I have also explored how the fairy tale world of a ballet company and the stories it tells can actually blend into the real life tale of love, ambition, artistic and personal fulfilment, until the two are barely distinguishable, as in the film’s finale when the red shoes seem to take over and lead our heroine to her death/suicide in front of a train on the Monte Carlo seafront.

為何《紅舞鞋》能夠引起觀眾共鳴？在時下的文化潮流中，大家對於如何成為優秀的表演者或藝術家深感興趣，眾多有着相似題材的影視節目均大受歡迎，例如《 X 音素》、《黑天鵝》及《舞動奇蹟》，叩問藝術途上必要的犧牲。觀眾亦喜愛看幕後故事，尤其那些能夠讓人深入了解藝術形式的故事。但《紅舞鞋》也是個愛情故事，極具戲劇性，劇情甚至可說是通俗。多姿多采的角色、精采的舞蹈和音樂都令故事更為吸引。作品不僅呈現了舞團的後台風光，還讓觀眾欣賞到他們演出一系列劇作，包括長篇芭蕾舞劇《紅舞鞋》。不過，故事的核心其實是個三角戀故事，而這個愛情悲劇，則由象徵着藝術以及必要之犧牲的魔性角色——雷莫托夫牢牢掌控着。可否與我們分享你的音樂和設計意念？我與泰利．戴維斯參考天才電影配樂作曲家伯納德．赫爾曼的早期作品，為《紅舞鞋》創作配樂。赫曼最為著名的雖然是為希治閣電影所編創的樂曲，但《紅舞鞋》的音樂卻是取自他更早期的作品，大概是上世紀三十至四十年代。我從中發掘出很多非常出色的舞曲，以及一些動聽的電影音樂，例如《幽靈與未亡人》及《大國民》。雷斯．布萊斯特頓的挑戰在於他要製作一個可靈活變動的場 18

Why will it speak to an audience?

In today’s culture everyone is very interested in what it takes to become a great performer or artist, with the likes of TV and movies such as the X Factor , Black Swan and Strictly Come Dancing highlighting this and the question of what sacrifices need to be made. Audiences also love a backstage story, particularly one that gives insight into the art form. However, The Red Shoes is also a love story, a highly dramatic, even melodramatic tale, populated by a cast of colourful characters, glorious dancing and music. Not only do we represent the backstage life of a dance company, we also see them in performance in a range of theatrical productions (including the full length ballet, The Red Shoes ). However, the heart of the story is a tragic real life triangular love story, overseen by the towering Svengali-like figure of Lermontov, representing art and the sacrifices it asks us to make. What can you tell us about your ideas for the music and design?

With Terry Davies we have created a score from the early works of the genius film music composer, Bernard Herrmann. Herrmann is mostly famous for his scores for the films of Alfred Hitchcock, but the music for The Red Shoes is taken from an earlier period (the 1930s and 1940s). I have unearthed some great dance music, as well as some beautiful music from

訪問

Interview

景，展示出舞台及後台，以及一連串地點如倫敦、巴黎及蒙地卡羅。與此同時，他也要帶領觀眾走出劇場，進入感性與夢幻之境，體會角色所經歷的藝術體驗和付出的心血。

原文刊登於新冒險舞蹈團網站，獲許可轉載。

movies such as The Ghost and Mrs Muir and Citizen Kane . Lez Brotherston’s challenge has been to create an adaptable theatrical setting (on stage and backstage) and a range of locations from London to Paris and Monte Carlo, but to also allow for those flights of fancy that take us out of the literal theatrical world and into the sensuous and surreal one of the artistic experience and endeavour.

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

調和藝術與生命

馬修．伯恩及《紅舞鞋》

MEDIATING ARTS AND LIFE:

MATTHEW BOURNE AND THE RED SHOES 新冠病毒疫情令不少現場表演被迫取消，但同時也令電影

在連繫舞蹈與觀者，以及開拓世界各地的潛在觀眾方面，

擔當更重要的角色。然而，電影與這舞蹈兩個藝術範疇的相遇，像兩位故友重逢，多於一對新朋友邂逅彼此，事關兩者一直有着深厚的共同興趣：動態。畢竟，我們也會稱電影為「動態影像」。

While the coronavirus pandemic has caused so many cancellations of live performance, it has also given film a far more prominent role in connecting dance with audiences, and indeed in reaching new viewers around the world. Yet the two art forms meet more as friends reunited than as new acquaintances, for they share a long and deep common interest: movement. After all, we call films “movies” or “motion pictures”. 22

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曾幾何時，一位名叫馬修．伯恩的年青倫敦人成立了「動態影像歷險舞團」。他的職業生涯仿如電影中的情節：小小局外人成就了大事。時至今日，年屆六十的伯恩早已獲獎無數，甚至可能是世界上最受歡迎的在世編舞家。他於 1987 年自舞蹈學院畢業後便踏入舞壇，雖然以相對較遲的二十二歲之齡入讀學校，之前更從未上過任何舞蹈課，但其實當時他已是個資深的舞台藝術家。在整個童年及青少年時期，他一直有製作個人演出，大力遊說他的同學及朋友來參演。而且他自小已經會去看各類不同演出，並從中獲取靈感，包括：戲劇、音樂劇、歌劇、芭蕾……還有大量電影。

「我以往常常將看過的電影變成製作」，2002 年，他將原有舞團重整成「新冒險舞蹈劇團」時，曾於英國廣播公司的訪問如此說。「例如迪士尼

Once upon a time, too, a young Londoner called Matthew Bourne formed a dance company that he called Adventures in Motion Pictures. His career path would itself resemble something out of the movies: the little outsider who makes it big. Today, aged 60, Bourne is arguably the world’s most popular living choreographer, garlanded with awards. Starting out in 1987, he was fresh out of dance school, to which he had been admitted at the relatively late age of 22, having never before taken a dance class. Yet he was already a seasoned stage artist. All through his childhood and adolescence he had been putting on his own shows, pressing schoolmates and friends into performing roles. And from a very young age he had been watching and drawing inspiration from plays, musicals, operas, ballets—and movies. Lots of movies. “I used to do productions of

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films I’d seen,” he told the BBC in 2002, on the launch of his reformed company, New Adventures. “Disney films like Lady and the Tramp, or Mary Poppins.” Once, he did a version of Cinderella where “all the men played women and all the women played men. I must have been about eight!” Bourne is, of course, best known for his phenomenally successful version of Swan Lake, in which he flipped the traditionally female swans into male roles, discovering fresh dimensions to the story—and a vast new audience. Premiered in 1995 and still going strong, it catapulted him onto the world stage. Though he is not a ballet choreographer, he has ever since been associated with his “remakes” of classical ballets, each giving a new spin to the traditional stories—a Dickensian Nutcracker! (1992), Highland Fling (1994, based on La

電影《小姐與流氓》，又或者《歡樂滿人間》。」有一次，他製作了一部別開生面的《仙履奇缘》：「所有女人角色由男人扮演，而所有男人角色就由女人扮演。當時我應該大約八歲！」

當然，伯恩最為人熟悉的是他極為成功的改編舞劇《天鵝湖》。他把傳統由女性擔演的天鵝反轉成男性角色，為原來的故事帶來新鮮的角度，吸引一大群全新觀眾。此劇自 1995 年首演後一直大受歡迎，令他躍升全球舞台。儘管他並非芭蕾編舞家，但自此他就與這些傳統芭蕾「再造」作品有着密不可分的關係，而每一次他也會為這些傳統故事帶來新變化，例如：極具狄更斯風格的《胡桃夾子！》（ 1992 年）、《仙凡之戀 — 搖滾激情篇》（ 1994 年，改編自《仙女》）、《仙履奇缘》（ 1997 年，以時值第二次世界大戰的倫敦作背景）、

《睡美人》（ 2012 年，公主與吸血殭屍談情），以及《羅密歐與茱麗葉》（ 2019 年，以青年所作故事場景）。

故此，伯恩的作品常被譽為既有「芭蕾性」，亦甚「舞台化」。前者若非在形式上，也是體現在主題之中；後者就與其十分英國式的表演模式相關，往往由情節及角色去推進劇情、對場景佈置及服裝費盡心思，並且較著重娛樂大眾多於自命高深。不過，以電影感來形容他的作品也同樣正確，即使是他根據芭蕾舞作改編的舞作，影迷們都樂此不疲去發掘當中之電影蹤跡。《睡美人》向《吸血新世紀》系列電影致意；《羅密歐與茱麗葉》有着《飛越瘋人院》的弦外之音，亦有引自《油脂》的元素；《仙凡之戀 — 搖滾激情篇》曾被稱作「芭蕾版迷幻列車」；《天鵝湖》亦帶有希治閣的《鳥》的迴響。

Sylphide), Cinderella (1997, set in London during the Second World War), Sleeping Beauty (2012, complete with vampires) and Romeo and Juliet (2019, set in an institution for young people). As a result, Bourne has gained a reputation for being both “balletic”—in subject, if not in style—and “stagey”, in that very British sense of being driven by plot and character, somewhat mannered in performance, attracted to interior settings and costume drama, and more interested in popular appeal than highbrow pretension. But it would be equally true to call his work cinematic. Even his balletbased works are studded with film references that cinephiles will enjoy spotting. Sleeping Beauty nods to the Twilight films. Romeo and Juliet has overtones of One Flew Over the Cuckoo’s Nest, as well as quotes from Grease. Highland Fling was once dubbed “Trainspotting: The Ballet”, while Swan Lake has echoes of Hitchcock’s The Birds.

利亞姆．莫維爾（左）飾演伊凡．波利勞斯基；雅莎莉．蕭（右）飾演維多利亞．佩琪 Liam Mower (left) as Ivan Boleslawsky and Ashley Shaw (right) as Victoria Page

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伯恩從電影裏借來的，不單是對白等呼應元素，他還創作過好幾齣明顯由電影發展出來的舞作，好像《汽車人》（ 2000 年），源自 1960 年代多齣英國電影的《無言遊戲》（ 2002 年），以及《幻海奇緣》（ 2005 年）。伯恩另一齣直接改編自電影的作品就是《紅舞鞋》（ 2016 年），根據 1948 年鮑華與柏斯保格的經典英國電影而創作。電影描繪一群對舞台及戀愛同樣充滿激情的年青藝術家，努力在劇場內爭取名聲，以及講述舞團根據一個悲喜參半的寓言去創作全新芭蕾舞作的故事。電影中很多元素都與伯恩自己的舞蹈生涯及作品有所呼應，差不多可說是為他度身訂做。

Bourne’s debt to cinema goes further than quotes and references: he has made several pieces explicitly drawn from movies, such as The Car Man (2000), Play Without Words (2002), which drew on British films of the 1960s, and Edward Scissorhands (2005). Another of Bourne’s productions with direct cinematic antecedents is The Red Shoes (2016). It is based on Powell and Pressburger’s classic 1948 British film about stage-struck, and lovestruck, young artists, eager to make their names in the theatre, and about the dance company for which they create a new ballet, based on a bittersweet fable. So many of the elements resonate with Bourne’s own career and work, it could almost have been tailor-made for him.

For music, Bourne’s collaborator Terry Davies adapted a range of film scores by the legendary Bernard Herrmann, best known for his work with Alfred Hitchcock, but who also worked with Orson Welles, François Truffaut and Martin Scorsese. The result is a curiously recognisable but intriguing atmosphere of fleeting motifs and drifting harmonies. Lez Brotherston, Bourne’s most frequent collaborator, has once again created a skilfully mobile set that can flip effortlessly between on-stage and backstage worlds, as well to a more delocalised realm of fantasy. Bourne relishes light comedy as well as drama, and for those who know some British ballet history, there are plenty of in-jokes. But as ever, Bourne excludes no one, 25

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音樂方面，乃由伯恩的合作夥伴泰利．戴維斯改編傳奇音樂家伯納德．赫爾曼所創作的一系列電影配樂。赫爾曼最著名的是他與希治閣合作的作品，但他也曾與奧遜．威爾斯、杜魯福及馬田．史高西斯合作。最終舞劇的配樂帶有瞬息萬變的樂思與流暢和聲，營造出一種熟悉又耐人尋味的奇妙氛圍。與伯恩合作經驗最多的佈景及服裝設計師雷斯．布萊斯特頓則再一次創作了一個巧奪天工的靈活場景，可以輕易地在舞台及後台之間轉換，並帶觀眾進入一個遠離現實的幻想世界。伯恩喜歡正劇之餘，也愛輕喜劇，那些對英國芭蕾歷史有所認識的觀眾，自會在作品

中發現不少圈內人才懂的幽默之處。不過由始至終，伯恩都沒有把任何人拒諸門外，而是盡量把演出帶給更多觀眾，總是細心地述說故事並讓情感流露，毋須任何圈內知識也能理解作品。

正如伯恩所有的作品一樣，故事這一環才是至關重要：舞蹈也許是他的表達媒介，但當中的意義乃來自角色、情節、主題及背景。《紅舞鞋》的故事讓伯恩可以在編舞上盡情嬉戲遊創作，他不單重構了二十世紀初的芭蕾以及舞者，而且也一如以往找到角色情感困擾的核心。在《紅舞鞋》中，那種困擾正是舞蹈本身，也體現在力爭上游的舞者維多利亞．佩

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playing to a larger audience, always careful to let the story unfold and emotions flow, with no need for insider knowledge. As with all Bourne’s works, it is the story that matters: dance may be his medium, but its meaning comes from character, plot, theme and setting. The story here lets Bourne have lots of fun with the choreography, mounting pastiches of early 20th-century ballets—and ballet dancers—but as so often, he also finds a core of emotional disturbance in the characters. In The Red Shoes, that disturbance is dance itself, and in the character of aspiring dancer Victoria Page—in the dreaming lilt of her first entrance, in the impetuous suspensions and

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琪這個角色之內，不論是她登場時如夢似幻的輕快跳動，或是在幾個矚目時刻裏，她橫衝直撞式的舞步所迸發的張力，凡此種種，都可見伯恩準確捕捉了舞蹈對觀者有着的迷人魔力。《紅舞鞋》是一個非常特別的愛情故事，充滿了各色各樣相互競爭的愛──不單是人與人之間的愛，也有對舞蹈、對成就、對認同的愛。故事的終極主題則是對藝術及生命的愛之間的互不相容。

這造就了力量澎湃的舞劇情節，幸而，伯恩的人生故事與之並不一樣。他依舊做着自小已經熱愛的事情。「我喜歡為廣大的觀眾製作大型表演，」他於 2016 年向《衛報》道：「我一直都是這樣。」《紅舞鞋》中注定失敗收場的藝術追求並非他的命運：他更常邁步於紅地毯之上，而那本身就是另一個值得傳頌的故事。

桑喬．羅伊桑喬．羅伊是倫敦舞評家，作品散見《衛報》及其他刊物。他是《 Springback Magazine 》的編輯，負責報導歐洲當代舞。原文刊登於香港藝術節 2021 年之《閱藝》雜誌

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headlong rush of her limelight moments—Bourne captures the strange, siren call that dance has for its devotees. The Red Shoes is a very particular love story, replete with competing kinds of love—not only between people, but love for dancing, for achievement, for recognition. The story’s ultimate theme is the incompatibility of the loves of art and life. That makes for a powerful plot, but happily, Bourne’s life story turned out very differently. He is still doing what he has loved doing ever since he was a boy. “I like making big shows for big audiences,” he told the Guardian in 2016. “I always have.” Not for him the doomed artistry of The Red Shoes: he’s more likely to be seen on the red carpet, which is itself a story worth telling.

Sanjoy Roy Sanjoy Roy is based in London. He writes on dance for the Guardian and other publications, and is editor of Springback Magazine, covering new contemporary dance in Europe. Originally published in the HKAF’s FestMag 2021

馬修．伯恩 MATTHEW BOURNE

導演及編舞

Director and Choreographer

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

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

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

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

導演及編舞 – 馬修．伯恩

Director and Choreographer – Matthew Bourne

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

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

爵士齊名，同為獲得最多奧利花獎的得獎者。

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

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

新冒險舞蹈團

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

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

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

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

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

新冒險舞蹈團簡介

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

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

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

About New Adventures

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

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

鳴謝 ACKNOWLEDGEMENTS

香港藝術節衷心感謝下列機構及人士的慷慨支持： The Hong Kong Arts Festival would like to thank the following for their generous support:

贊助舍計劃會員 Patron’s Club Members 鉑金會員 Platinum Member 嘉里控股有限公司 Kerry Holdings Limited

黃金會員 Gold Member 怡和集團

The Jardine Matheson Group

純銀會員 Silver Member 太古集團慈善信託基金

The Swire Group Charitable Trust

青銅會員 Bronze Members 鷹君集團 Great Eagle Group

上海商業銀行有限公司

Shanghai Commercial Bank Limited

實物支持機構 In-kind Supporters 嘉頓有限公司 The Garden Company Limited

學生票捐助計劃 Student Ticket Scheme 鉑金捐款者

PLATINUM DONORS

HK$140,000 或以上 AND ABOVE

無名氏 (2) Anonymous (2) Burger Collection

鑽石捐款者

DIAMOND DONORS HK$70,000 – HK$139,999

Rusy and Purviz Shroff Charitable Foundation

田家炳基金會

Tin Ka Ping Foundation

芝蘭基金會 Zhilan Foundation 黃金捐款者 GOLD DONORS HK$12,000 – HK$29,999

Dr Chung See Yuen Peter and Nancy Thompson Mr William To

純銀捐款者 SILVER DONORS HK$6,000 – HK$11,999

無名氏 Anonymous

Initial Fashion

Mr Iain Bruce

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

黃乃正及陳頴儀

Ms Wong Pie Yue Cleresa

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

無名氏 (6) Anonymous (6) Ms Anna CY Chan Ms Chan Wan Tung

網上藝術教育捐助計劃 Digital Arts Education Scheme 鑽石捐款者

黃金捐款者 GOLD DONORS

HK$70,000 – HK$139,999

Dr & Mrs Samuel and Ellen Lam Stefan & Caroline Kracht

DIAMOND DONORS

法國巴黎銀行 BNP Paribas Lincoln & Yu-San Leong Sino Group

HK$12,000 – HK$29,999

純銀捐款者 SILVER DONORS HK$6,000 – HK$11,999

藝術節捐助計劃 Festival Donation Scheme 翡翠捐款者 JADE DONORS HK$30,000 – HK$69,999

無名氏 Anonymous

Nathaniel Foundation Limited Nine Queens Investment Limited Shun Hing Group

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

Mr & Mrs Jeffrey & Helen Chan Mr SHN Cheng Ms Jenny Hodgson

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

純銀捐款者 SILVER DONORS HK$6,000 – HK$11,999

無名氏 (5) Anonymous (5) Mr & Mrs David S L Lin Dr Michael Mak Dr Ronald Paul Ng

新作捐助計劃 New Works Scheme 翡翠捐款者 JADE DONOR HK$30,000 – HK$69,999

Nine Queens Investment Limited

無名氏 Anonymous Mrs Germaine Tso Ms Wu Tseng Helen

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

無名氏 (4) Anonymous (4)

Mrs A.M. Peyer Leland & Helen Sun Mr Wong Yick Kam Ms Isabel Yiu

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

無名氏 (8) Anonymous (8) Mrs Veryan E. Bradshaw Ms Grace Chiang Ms Fung Man Yee

黃金捐款者 GOLD DONOR

無名氏 Anonymous

純銀捐款者 SILVER DONOR

HK$3,000 – HK$5,999

HK$12,000 – HK$29,999

劉仰澤先生 Mr Lau Yeung Chak HK$6,000 – HK$11,999

青銅捐款者 BRONZE DONORS 無名氏 Anonymous

Mr D Chang Ms Christine Lam Ms Savita Leung Mrs A.M. Peyer Ms Janice Ritchie Mr Alex So Mrs Teresa Pong Tam Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao

殷和順先生劉善萍女士

Star B Chan & MDB Mr Lee King Fung Mrs A.M. Peyer Mr Alex So Mrs Teresa Pong Tam Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao

Dr Alfred Lau Ms Khoo Li Lian Flavia & Gary Ma Mr & Mrs Gary Ma Mr Jose Manuel Sevilla Sora.C Mr & Mrs Ian Stone Mrs Teresa Pong Tam Yeung’s family Dr Jason Yeung

Ms Grace Chiang Mr S C Tong Ling Mauretania Co. Ltd. Mrs A.M. Peyer Mrs Teresa Pong Tam

支持及協助 SUPPORT AND COOPERATION Acorn Design Alfie Leung Design

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

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

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

CITIC Telecom International CPC Limited 城市當代舞蹈團

City Contemporary Dance Company 城巿花園酒店

Théâtre de la Feuille

Ko Shan Theatre

Kwang Hwa Information & Culture Center

中央人民政府駐香港特別行政區聯絡辦公室

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

Maxibit HK/China

中華人民共和國文化和旅遊部

Ministry of Culture and Tourism, PRC Mission Production Company Ltd MOViE MOViE 太古城中心 MOViE MOViE Cityplaza

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

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.

•音樂系 Department of Music •拉闊文化 Cultural Literacy Programme

香港中樂團

Hong Kong Chinese Orchestra 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

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

Wharney Hotel wine etc

元朗劇院

Yuen Long Theatre 赤豚事務所

Zhu Graphizs

Southgate Design

事必達推廣有限公司

Speedy Promotion Limited 台灣蘇富比國際房地產

Taiwan Sotheby's International Realty 道風山基督教叢林

Tao Fong Shan Christian Centre 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

Hong Kong Philharmonic Orchestra

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

Hong Kong Tourism Board

西九文化區管理局

信興電器貿易有限公司

香港中文大學

香港旅遊發展局

Wealthy Step Printing Co.

Primasia Corporate Services Limited

Hong Kong Gold Coast Hotel 香港管弦樂團

進富印刷公司

Pixellent

沙田大會堂

Hong Kong Baptist University

WeDraman Black Box Theatre

Piano Arts Service Limited

Gloucester Luk Kwok Hong Kong

香港浸會大學

同流黑盒劇場

PCCW

Royal Pacific Hotel

香港藝術中心

URBTIX

電訊盈科

皇家太平洋酒店

香港藝術行政人員協會

Tuen Mun Town Hall

Patsville Company Ltd

Fringe Club 六國酒店

Trinity Theatre

卓滙達有限公司

犇華企業服務有限公司

藝穗會

三角關係

Parsons Music Limited

Die Konzertisten

Department of Cultural Studies, Lingnan University

Tom Lee Music Company Ltd

城市售票網

Mr Alpha Li

俄羅斯駐香港總領事館

通利琴行

Marco Polo Hongkong Hotel

馬哥孛羅香港酒店

Consulate General of Canada in Hong Kong and Macau Consulate General of the Czech Republic in Hong Kong

THEDO

屯門大會堂

City Garden Hotel

捷克共和國駐香港領事館

綠葉劇團

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

MOViE MOViE 太古廣場 MOViE MOViE Pacific Place

加拿大駐香港總領事館

The Pottinger Hong Kong

JellyBin Limited

光華新聞文化中心

CAMPSITE

中環石板街酒店

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

British Consulate General Hong Kong 百老匯院線 Broadway Circuit

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

Island Pacific Hotel Hong Kong 高山劇場

Broadway Cinema

香港演藝學院

港島太平洋酒店

BRICK LANE

英國駐香港總領事館

• 文學院 Faculty of Arts

The Chinese University of Hong Kong

按英文名稱首字母排列 In alphabetical order

節目一覽 FESTIVAL PROGRAMME 新冒險舞蹈團及 Illuminations 製作馬修．伯恩舞蹈電影《仙履奇緣》

A New Adventures and Illuminations Production Matthew Bourne's Dance Film Cinderella 幕後花絮 Behind-the-scenes

新冒險舞蹈團及 Illuminations 製作馬修．伯恩舞蹈電影《羅密歐與茱麗葉》

A New Adventures and Illuminations Production Matthew Bourne's Dance Film Romeo & Juliet 幕後花絮 Behind-the-scenes

新冒險舞蹈團及 Illuminations 製作馬修．伯恩舞蹈電影《天鵝湖》

A New Adventures and Illuminations Production Matthew Bourne's Dance Film Swan Lake 幕後花絮 Behind-the-scenes

新冒險舞蹈團及 Illuminations 製作馬修．伯恩舞蹈電影《紅舞鞋》

A New Adventures and Illuminations Production Matthew Bourne's Dance Film The Red Shoes 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

中國國家京劇院《龍鳳呈祥》

China National Peking Opera Company A Perfect Matrimony 多瑪倉庫劇院《盲流感》

Donmar Warehouse Blindness

陳以琳與安特衛普交響樂團

Elim Chan and the Antwerp Symphony Orchestra 香港中樂團 — 樂旅中國

Hong Kong Chinese Orchestra Music About China 香港小交響樂團莫扎特交響協奏曲

Hong Kong Sinfonietta & Adrien La Marca 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

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》

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

《鼠疫》（粵語版） The Plague (Cantonese version)

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

《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

吳懷世與首爾愛樂樂團

Wilson Ng and the Seoul Philharmonic Orchestra 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

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 40

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市場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 * 雷淑雯 * 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 Marketing Manager Assistant Marketing Managers Outreach Coordinator Assistant Technical and Production Manager Senior Accounting Officer

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

Chung Cheuk-yau*

Mak Tsz Kam*

Tiffany Wong*

按英文姓氏首字母排列 In alphabetical order 2021 年 3 月更新 Updated March 2021