The Plague (English version) - 49th Hong Kong Arts Festival by Hong Kong Arts Festival

鼠疫

原著：卡繆《鼠疫》改編：尼爾．巴奈特

After La Peste by Albert Camus, adapted for the stage by Neil Bartlett

THE PLAGUE 英語版 ENG LIS H VERS ION

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.

香港藝術節委約及製作 Commissioned and produced by the Hong Kong Arts Festival

劇情大綱、角色及分場

導演的話

訪問 Interview

導演 Director

創作團隊簡介

演員及製作人員簡介

Synopsis, Scenes and Characters

Director’s Note

《鼠疫》英語版 THE PLAGUE (ENGLISH VERSION) 原著：卡繆《鼠疫》

改編：尼爾．巴奈特

After La Peste by Albert Camus, adapted for the stage by Neil Bartlett

王翀 with Wang Chong 王翀 Wang Chong

Creative Team Profiles

Performer and Crew Profiles

19–21,24–28.03.2021 網上演出

Online Performance

演出長約 1 小時 30 分鐘，不設中場休息

Approx 1 hour and 30 minutes with no interval

英語演出，附中、英文字幕

Performed in English with English and Chinese subtitles

香港藝術節感謝天開數碼媒體有限公司為《鼠疫》（英語版）節目提供網上直播技術 The HKAF thanks TFI for providing live streaming technology support for The Plague (English version) 藝術節加料節目

歡迎觀眾觀賞導演王翀與《鼠疫》粵語版導演陳泰然的藝術家分享片段，詳情請參閱加料節目網頁

Have a look at the artist sharing video between directors Wang Chong and James Chan, whose Cantonese version of The Plague will also be presented at the 49th HKAF. Please visit the PLUS webpage for viewing link.

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

《鼠疫》英語版

原著：卡繆《鼠疫》改編：尼爾．巴奈特 After La Peste by Albert Camus, adapted for the stage by Neil Bartlett

The Plague (English version)

監製 Producer

香港藝術節

Hong Kong Arts Festival 導演 Director

王翀 Wang Chong

劇本 Original Script

尼爾．巴奈特 Neil Bartlett

角色及演出 Cast

福布斯．馬森（英國） Forbes Masson (UK) 飾 – 李厄醫生 as Dr Rieux

卡琳．特萊斯（巴西） Karine Teles (Brazil) 飾 – 藍柏 as Rambert

哈希姆．阿德南（黎巴嫩） Hashem Adnan (Lebanon) 飾 – 柯塔爾 as Cottard

森浩．馬芬傑瓦（南非） Simpho Mathenjwa (South Africa) 飾 – 格朗 as Grand

趙皙尼（中國） Sydney Zhao (China) 飾 – 塔魯 as Tarrou

亨利．埃蒙德（美國） Henri Emond (USA)

創作及製作人員 Creative and Production Team 戲劇構作 Dramaturg

愛瑪．華倫塔

Emma Valente

美術指導 Art Director

羅曼妮．哈珀

Romanie Harper 作曲及音樂設計 Composer & Music Designer

亨利．埃蒙德

Henri Emond

製作經理 Production Manager

葉曉雲 Andrew Yip

執行影像導演 Deputy Video Director

林堅誠 Tony Lam

影像工程師 Video Engineer

李庚蔚 Kevin Lee

音訊工程師 Audio Engineer

李浩銘 Lee Ho Ming

執行監製 Executive Producer

串流技術人員 Streaming Technician

中文字幕翻譯 Chinese Surtitles Translation

字幕操作員 Subtitle Operator

李宛虹 Lei Yuen-hung

王翀 Wang Chong

劉詠怡 Luna Lau Wing-yi 游詠雯 Yau Wing-man

選角顧問（英國） Casting Consultant (UK)

Laura Donnelly CDG

飾 – 歌者 as Singer

鳴謝 Acknowledgements 天域製作 Teamwork Productions, Analog Way, Trevor New, Rebekah Sangeetha Dorai, Harvard Radcliffe Institute, The Public Theater, Jenny Liang, Stephen Armstrong

劇情大綱

SYNOPSIS

疫情爆發，世界各地開始封城。醫生迫使政府承認疫情；義工不分晝夜地在前線戰鬥；記者想突破封鎖逃出去；罪犯享受疫情帶來的自由；公務員反覆修改情書；歌者用音

樂訴說希望。六個人在六個不同的國家，構成一幅全球疫情的圖景。以老鼠為名，觀察人類。以卡繆為名，記錄當下。

Since the start of the pandemic, countries and regions across the globe have gradually sealed off their borders. Six people from six different countries form a collage of the world during this unprecedented pandemic: a doctor who has compelled the government to admit the deadliness of the virus, a volunteer who has worked on the front line day and night, a journalist who hoped to escape the blockade, a criminal who has had a temporary taste of freedom, a civil servant who repeatedly modifies his love letters, and a singer who spreads hope with his music. From the perspective of rats, we observe humankind; in the name of Camus, we record the contemporary world.

角色

CHARACTERS

李厄醫生 Dr Rieux

醫生。疫症期間協調多個醫療中心及義工小隊。

格朗 Grand

公務員。負責統計工作。柯塔爾的鄰居。

柯塔爾 Cottard

單身無業人士。從事非法勾當，於疫症中獲取利潤。

塔魯 Tarrou

來自外地。旅居於市中心一間酒店。疫症期間積極組織義工隊。

Coordinates and oversees several medical centres and volunteer teams.

A civil servant in the statistics office. Cottard’s neighbour.

Single and unemployed. Profiteers on the black market during the pandemic.

A foreigner staying in a downtown hotel. Forms a team of volunteers during the pandemic.

藍柏 Rambert

記者。工作關係從外地到訪。疫症期間因未能出境而被困。

An overseas journalist on a work trip. Trapped in the city due to border restrictions.

歌者 Singer 13

故事大綱、角色及分場

分場

SCENES

序場

第一場第二場第三場第四場第五場第六場第七場第八場

敍事

李厄醫生的手術室柯塔爾企圖自殺第一名死者

合唱：第一名死者

4 月 31 至 5 月 6 日

5月 8日緊急衛生監察小組成立

Synopsis, Characters and Scenes

Prologue Scene 1

Scene 2 Scene 3

Story Telling Dr Rieux’s Surgery Cottard’s Attempted Suicide

Scene 4

The First Death

Scene 6

31 April–6 May

Scene 5

Chorus: The First Death

Scene 7

8 May The Establishment of the Emergency Health Commission 9–14 May Inexorable

一發不可收拾…

Scene 8

第十場

藍柏的計劃

Scene 10 Rambert’s Plan

第九場

5 月 9 至 14 日

與此同時… 5 月 15 至 6 月 22 日

第十一場獨白李厄醫生訴說自己的孤獨

Scene 9

Meanwhile… 15 May–22 June

Scene 11 Soliloquy Dr Rieux Speaks of Loneliness

第十二場疫症時期的生活方式六月與七月

Scene 12 Life in a Time of Plague

第十四場九月、十月…

Scene 14 September, October…

第十三場合唱：八月

第十五場「第一批血清準備好」第十六場合唱：見證了一個孩子死亡

第十七場十月、十一月、十二月

第十八場「戛然而止」（塔魯之死）第十九場合唱：最後那段日子

June and July

Scene 13 Chorus: August

Scene 15 “The First Batch of Serum is Ready” Scene 16 Chorus: Having Watched a Child Die

Scene 17 October, November, December

Scene 18 “Just Like That” (The Death of Mr Tarrou) Scene 19 Chorus: The Last Days

導演的話

DIRECTOR’S NOTE

寫下這些文字的時候，我在香港上環的酒店裏隔離。正值除夕，年夜飯只有海南雞飯和橙汁，可能還不如監獄飯。但是，比起漫無邊際的苦難和恐慌，這點狀況算得了甚麼？

在疫情中思考疫情，仿如戰爭中思考戰爭。一切懸而未決，一切勝負難料。但是，人之為人，必須思考。

《鼠疫》就是思考的產物。2019 年，香港藝術節的蘇國雲老師把劇本交給我。2020 年，我發表了《線上戲劇宣言》，又懷着一腔憤怒，在武漢和北京翻譯劇本。2021 年，錯綜複雜的情感和信息取代了憤怒。政治、人性、貧富分化，似乎比病毒更加驚心動魄。《鼠疫》自然成為了橫跨六大洲、八個國家和地區的製作。

As I write these words, I am spending my quarantine days in a hotel in Sheung Wan, Hong Kong. It is Lunar New Year’s Eve. On the table in front of me, there is just Hainanese chicken rice and a carton of orange juice. Perhaps it is even worse than prison food. Still, this is as nothing compared to the endless suffering and frenetic fear engulfing our everyday lives. Thinking about plague during a pandemic is analogous to thinking about war during wartime. Everything is unsettled, and everything is unpredictable. However, I must continue to think, as I exist. The Plague is the fruition of thoughts. Mr So Kwok-wan of the HKAF handed me the script in 2019. After releasing the Online Theatre Manifesto in 2020, I began to angrily translate the script in Wuhan and Beijing. In 2021, the complex emotions and

導演的話

為《鼠疫》面試演員的過程，堪比紀錄片。美國的演員顛沛流離，有的住在房車裏；巴西的演員一開始就批評政府；哥倫比亞演員獨佔空蕩蕩的劇場；英國演員紛紛購入錄音設備。在最終落實的團隊中，有人在封城中獨居數月，有人的朋友和親人死於新冠肺炎。藝術家不得不走出象牙塔，面對當下。我堅信，戲劇藝術必須關乎當下。除了我眼前的海南雞飯，還有甚麼比線上演出、全球疫情、存在主義更貼近當下？來吧，看看卡繆怎麼看當下，未來怎麼看當下，我們自己怎麼看當下。

wrangling streams of information have clouded my anger, while politics, human desires, and social divisions appear to have become more haunting than the deadly virus. As an eerily timely production in the shadow of the pandemic, The Plague has been elevated into a transcontinental collaborative production by artists and creatives from eight countries and regions on six continents.

Director's Note

I strongly hold that the theatrical arts should not depart from contemporary reality. Besides the Hainanese chicken rice in front of me right now, there is nothing more in synch with the present world than online performances, the pandemic and existentialism. Let’s see how Camus would have viewed the present world, how the future will view it, and how we view it.

It is as if a documentary were being produced when we cast the actors for The Plague: the drifting Americans who live in cars, the Brazilians who point fingers at their governments, the lonely Colombian living in an empty theatre, and the Brits who equip themselves with recording devices. In the finalised cast, some of them have already been at home alone for months amid lockdowns. There are also members whose dearest families and friends have passed away because of COVID-19. In the days of the pandemic, artists can do nothing but step out of their ivory towers and face reality.

我們時代的疫症

——看《鼠疫》的當代意義

THE PLAGUE OF OUR TIMES

CONTEMPORARY MEANING IN CAMUS’S THE PLAGUE

1947 年，第二次世界大戰結束後兩年，卡繆在法國出版他

的第二本小說《鼠疫》，描述一個叫奧蘭的阿爾及利亞城市遭受鼠疫侵襲。小說呈現人在面對恐懼與死亡時的抉擇，以及強烈的生存意志，引起戰後讀者的共鳴。

早在新冠肺炎疫情於 2019 年底爆發之前，香港藝術節便

籌備搬演英國劇作家尼爾．巴奈特改編卡繆小說的同名劇

作。藝術節其後委約北京導演王翀搬演英語版；對導演來說，疫症賦予了《鼠疫》一種切身的當代意義。

In 1947, two years after the end of World War II, Albert Camus’s second novel, La Peste (The Plague), was published in France. The story describes the devastation wrought by a fictional plague on the Algerian city of Oran. Its insights into humanity’s will to survive and the choices people make in the face of fear and death resonated with post-war readers. Before the outbreak of COVID-19 in late 2019, the Hong Kong Arts Festival was already looking into the possibility of adapting British playwright Neil Bartlett’s 2017 stage version of The Plague. The Festival subsequently enlisted Beijing director Wang Chong to stage a production in English. For Wang, the unusual circumstances during a pandemic have given Camus’s decadesold text a more personal and contemporary significance.

專題文章

「我們需要新的語言來訴說當下。」北京導演王翀過往曾導演作品如《雷雨 2.0 》、《茶館 2.0 》等，以實驗性的劇劇手法重新詮釋經典。這次執導英語版《鼠疫》，對王翀而言也是一次實驗性、具野心的嘗試，原因之一在於它將透過獨特的形式呈現：這是一套網上戲劇，六個演員在六個不同地方，通過通訊軟件 Zoom 演出。

王翀在 2019 年 11 月收到藝術節發來的《鼠疫》劇本，對作品非常感興趣。「選擇《鼠疫》最初是因為憤怒，來自於新聞和疫情的發展。但是後來疫情變成全世界的大流行，這種憤怒變成焦慮，然後變成一種訴說它的欲望。我們需要一種新的語言、新的方式來訴說當下正在經歷的這場戰爭。我希望借《鼠疫》來審視當下，表現二十一世紀的世界。」

Feature Article

“We need a new language to talk about this moment” Beijing-based director Wang Chong has previously directed several experimental adaptations of classic works, such as Thunderstorm 2.0 and Teahouse 2.0—updates of 20th-century Chinese classics by Cao Yu and Lao She. Directing the English version of The Plague is another experimental, ambitious endeavour for Wang, due in part to the special format he has adopted—this is an online play in which six actors from six different locations will perform via Zoom. Wang started reading the script in November 2019, and was instantly captivated: “In the beginning, I chose The Plague because of the anger that arose from the news and the spread of the virus. But afterwards, when the virus became a global pandemic, this anger

是次香港藝術節委約創作的英語版演出，是根據英國編劇尼爾．巴奈特於 2017 年就卡繆原著改編及搬演的版本 The English production commissioned by the HKAF is based on British playwright Neil Bartlett’s 2017 adaptation of Albert Camus’s La Peste

劇場的社會性及當代性王翀執導這個劇本的根本原因，是尼爾．巴奈特的改編對社會現實有深刻的描述：「它把很多篇幅放到群像上，展示了各種不同的立場，包括官員、醫生、記者、商人，各個層面都有所呈現，是一個全景式的社會。」

同時網上戲劇也是現實的一種反映。王翀希望透過網上版《鼠疫》，讓觀眾看到不同城市的疫情的狀況，看到疫情中人的生活狀態。這種獨特的戲劇形式其實不是王翀的首次嘗試，他 2020 年初的作品《等待戈多》也是一套網上戲劇，而《鼠疫》是《等待戈多》第二步的嘗試。他認為網上戲劇最大的困難在於時區的協調，對演員、導演和香港團隊來說都是挑戰，但這也是「一種時間上的相互遷就，是我們 2020 年的社會現實。」

gave way to anxiety, which was then transformed into a desire to express it. We need a new language, a new format to talk about this moment, this war we are living through. I hope that by using The Plague to closely examine the present, we can manifest a 21st century world.” The Social and Contemporary Nature of Theatre Wang’s core reason for directing the play is that Neil Bartlett’s adaptation contains profound descriptions of social realities: “Much of the play is situated within the ensemble which contains and presents a variety of viewpoints, including those of officials, a front-line doctor, a journalist, and a businessman. Every level of society makes its appearance; it’s a panorama of society.” The online format of the play is

王翀透過通訊軟件 Zoom 與身處世界各地的演員排練 Zoom becomes an important communication tool during the rehearsal process for Wang and the performers from various locations

專題文章

Feature Article

王翀的《雷雨 2.0 》以中國現代經典劇目《雷雨》為藍本，作品活用錄像、投影等多媒體表現手法，探索當代敘事形式 Based on Cao Yu’s celebrated 1933 play Thunderstorm, Wang Chong’s past previous production Thunderstorm 2.0 used video recording, projection and other multimedia means of expression for contemporary storytelling

王翀這次沿用尼爾．巴奈特的原劇本，會在戲劇演繹裏加入他對當代社會的觀察，因為他認為當代性是現代戲劇不可或缺的：「戲劇存在的理由是甚麼？這個就是我的答案，就是它是要關於時代的，尤其是當我們嘗試、呈現、改編、導演經典的時候，永遠應該把目光放在當下，讓作品是關於二十一世紀的，因為有很多作品，雖然它可能是 2020 年的新製作，但是它的美學和指向，沒有我們這個時代的味道，這個時代的努力和印記。我害怕戲劇變成那樣。我理想中的戲劇應該是關於我們這個時代的。」這種對當代性孜孜不倦的追求，讓王翀得以穿透經典文本，直接與當代觀眾產生聯繫。原文刊登於香港藝術節 2021 年之《閱藝》雜誌

yet another reflection of reality. Wang hopes that through his adaptation of The Plague, he can allow viewers to see how the virus has affected multiple cities and their residents. In April 2020, Wang directed Waiting for Godot, making his debut in directing online plays. Wang’s The Plague continues on the experimentation of this peculiar format, and the biggest difficulty, for him, is coordinating between the multiple time zones. For the actors, the director and his Hong Kong team, it is a challenge, but for Wang “this form of mutual accommodation in terms of timing is a reality of our society in 2020”. When staging Neil Bartlett’s version of the play, Wang has interpreted the script with his observation of the

contemporary society, as he sees contemporaneity is an indispensable part of today’s theatre: “Why does theatre exist? This is my answer: that it should respond to the times. Especially when we attempt, present, adapt or direct classic works, we should always keep our eye on the present and let the work be about today. There are many works that—despite being new 2020 productions— adopt an aesthetic or a direction which lacks in the flavour of our time, which is without efforts and marks of our era. I am afraid of theatre becoming like that.” This sort of indefatigable pursuit of the contemporary moment is what allows Wang to create a direct link between classic works and contemporary audiences.

Originally published in the HKAF’s FestMag 2021

劇本 – 尼爾．巴奈特

尼爾．巴奈特

Neil Bartlett

劇本 Original Script

尼爾．巴奈特是英國著名作家和劇場導演，自 1982 年起開始創作劇場作品。他的改編及翻譯作品取材自卡繆、狄更斯、大仲馬、惹內、克萊斯特、拉比殊、馬里沃、莫里哀、拉辛和王爾德，並由世界各地的劇團演出，包括皇家莎士比亞劇團、英國國家劇院、布里斯托爾老域劇團、格拉斯哥公民劇院、都柏林艾比劇院及波士頓話劇團。他的近期劇場作品除了包括編導是次《鼠疫》改編版的英國演出外，還有與曼徹斯特皇家交易所劇場合作的鴻篇巨製《和平 24 小時》、倫敦布萊頓藝穗節的《美狄亞》，以及與倫敦皇家戲劇藝術學院合作改編王爾德的《不可兒戲》，帶來讓人耳目一新的製作。

Original Script – Neil Bartlett

Neil Bartlett is a leading British author and theatre director who has been producing theatre since 1982. His adaptations and translations of Camus, Dickens, Dumas, Genet, Kleist, Labiche, Marivaux, Molière, Racine and Wilde have been performed around the world, including productions by the RSC, the National Theatre, the Bristol Old Vic, the Glasgow Citizens Theatre, the Abbey Theatre in Dublin and the American Repertory Theater in Boston. Besides directing his own acclaimed London production of this version of The Plague, his most recent theatre projects have included collaborations with the Manchester Royal Exchange Theatre (the epic 24 Hours of Peace), the Brighton Festival (Medea) and Royal Academy of Dramatic Art in London (a radical reimagining of Wilde’s The Importance of Being Earnest).

導演 – 王翀

王翀

Wang Chong

導演 Director

王翀是位中國八十後戲劇導演。他曾修讀北京大學法學士、夏威夷大學戲劇碩士，並為紐約大學及哈佛大學訪問學者。2012 年，他發起「新浪潮戲劇」運動，以嶄新手法運用身體、聲音及實時影像，帶來新穎的劇場演出。2018 年，他創辦薪傳實驗劇團，並擔任劇團的藝術總監。薪傳實驗劇團被英國媒體《環球藝術管理人》譽為「改變中國戲劇之面貌」。他兼任《陰道獨白》、《哈姆雷特機器》、《平行宇宙愛情演繹法》等歐美後現代名作的翻譯及導演，又以《雷雨 2.0 》、《茶館 2.0 》、《樣板戲 2.0 》革新華語劇作經典。2020 年，王翀執導網上戲劇《等待戈多》，吸引了二十九萬觀眾欣賞。

他的作品曾巡演十七個國家和地區；有十一部作品首演於海外。其作品屢獲肯定，例如《地雷戰 2.0 》獲東京國際劇場藝術節大獎，《大先生》

被《新京報》評為年度最佳華語戲劇，《雷雨 2.0 》亦被《新京報》評為「中國小劇場戲劇三十年十佳」作品，《茶館 2.0 》獲壹戲劇大賞「年度小劇場戲劇獎」。

王翀曾被《新京報》評為年度新銳藝術家，亦曾獲日本世尊藝術家獎金、美國亞洲文化協會獎金、中國翻譯協會韓素音青年翻譯獎亞軍。他著有譯作《空的空間》及《作家之旅》。

Wang Chong was born in Beijing in 1982. He received his bachelor’s degree in law from Peking University, and then a master’s degree in theatre from the University of Hawaii. In 2012 he started the Chinese New Wave Theatre Movement by presenting a series of new performances with an innovative use of body, live video and sound. In 2008 Wang founded the Beijing-based performance group Théâtre du Rêve Expérimental, which he is artistic director of. In the words of the UK magazine International Arts Manager, “Taking a radical approach to both form and text, Théâtre du Rêve Expérimental has been changing the face of China’s theatrical landscape.” With his unique touch, Wang has also translated and directed Chinese premieres of Heiner Müller’s Hamletmachine, Peter Handke’s Self-Accusation, Sarah Kane’s Crave, Nick Payne’s Constellations, Eve Ensler’s The Vagina Monologues and Woody Allen’s Central Park West. In April

Director – Wang Chong

2020, Wang directed an online performance of Waiting for Godot, which attracted a recordbreaking audience of 290,000. Wang’s works have been invited to festivals in 17 countries and territories, including Festival/ Tokyo, the Seoul Asian Theatre Directors Festival, the Singapore International Festival of Arts, the Jerusalem Israel Festival, the Melbourne Asia-Pacific Triennial of Performing Arts, the Adelaide OzAsia Festival, the Noorderzon Festival Groningen, the Rotterdam Festival de Keuze, the Helsingør Passage Festival, the Oslo International Ibsen Festival, and the Under the Radar Festival New York. His productions include The Warfare of Landmine 2.0, which won the Festival/Tokyo Award, Lu Xun, noted by The Beijing News as best Chinese performance of the year and Teahouse 2.0, which won a One Drama Award as best little theatre performance of the year. Wang has been named new artist of the year by The Beijing News. He has received a Radcliffe Fellowship at Harvard University, an Asian Cultural Council Fellowship in New York, and a Han Suyin Award for Young Translators.

愛瑪．華倫塔

Emma Valente

戲劇構作 Dramaturg

愛瑪．華倫塔是一位自由身導演、戲劇導演和燈光設計師。她是澳洲女權主義劇團「烏合之眾」的藝術總監兼行政總裁。華倫塔是澳洲備受認可的女權主義者之一，透過烏合之眾劇團專注實踐女權主義理論及創作相關作品。劇團以高水準的實驗劇場創作享負盛名，作品糅合超現實主義、直覺美學以及對女性處境的細膩觀察，為澳洲戲劇文化展現另一種可能。華倫塔是澳洲政府機構「創意維多利亞」的創作者基金得主，也是悉尼邁爾基金得獎者。華倫塔曾為不同藝術家擔任戲劇構作，包括尼古拉．岡恩、麗芙．薩切爾、愛瑪．麥馬納斯和梅格．威爾遜等。華倫塔目前受戲劇構作及創作中心委托撰寫關於實踐女權主義的文章。華倫塔曾在維多利亞藝術學院、蒙納許大學、墨爾本大學、博士山學院、PACT 藝術空間、澳洲國立戲劇藝術學院及墨爾本劇團等機構擔任教學及指導老師，並成立烏合之眾實習計劃。 26

Emma Valente is a freelance director, dramaturg and lighting designer. She is co-artistic director and co-CEO of feminist theatre company The Rabble. The Rabble has forged an unrivalled reputation for producing experimental theatre of the highest quality—theatre that interrogates the human condition through a combination of surreal and visceral aesthetics and a feminist sensibility. The results have changed the paradigm of what is possible in theatrical culture in Australia. Valente’s work at The Rabble focuses on creating feminist practices, methodology and content as is one of the most recognised feminist practitioners in the country. She is the recipient of the Creators Fund grant from Creative Victoria and is a Sidney Myer Fellow. Emma Valente has been dramaturg for artists including Nicola Gunn, Liv Satchell, Emma McManus and Meg Wilson. She is currently under commission from The Centre for Dramaturgy and Creation to write an essay on feminist practice. Valente has taught and mentored for Victorian College of The Arts, Monash University, Melbourne University, Box Hill Institute of TAFE, PACT, The National Drama School, Melbourne Theatre Company and more. She is also the founder of the Rabble’s internship programme.

羅曼妮．哈珀

Romanie Harper

美術指導 Art Director

羅曼妮．哈珀是一位澳洲墨爾本設計師。她近期的設計作品包括《帕加與兒子》（貝爾沃街劇院）、《我要怎麼辦呢？》和《晝夜平分時》（情深汗淋漓活動）、《澳洲眾生相》、《受託人》、《穆斯林乖男孩》、《小皇帝》及《渦輪》（莫爾特豪斯劇院）、《情感爆發遇見你》 ( 墨爾本劇團）及《死！死！死！老人去死吧！》（藝術之家）等。

她曾在紐約與伍斯特團隊合作，並共同設計 Radiohole 劇場的《充氣科學怪人》（廚房劇場，2013 ）。她曾為多個作品兼任導演和設計，包括家劇團的《維克多．褒曼作品集》（四十五層樓下，2014 ），以及 ZLMD 莎士比亞劇團的《災難》（霓虹藝術節），2015 ）。

創作團隊簡介

Romanie Harper is a designer based in Melbourne, Australia. Her recent design credits include Packer and Sons (Belvoir St Theatre), What Am I Supposed to Do? and Equinox (Deep Soulful Sweats), Australian Realness, Trustees, Good Muslim Boy, Little Emperors and Turbine (Malthouse Theatre), The Violent Outburst That Drew Me to You (Melbourne Theatre Company) and Die! Die! Die! Old People Die! (Arts House), among others. In New York, she has worked with The Wooster Group, and codesigned Radiohole’s Inflatable Frankenstein (The Kitchen, 2013). She has co-directed and designed The Collected Works of Victor Bergman (Fortyfivedownstairs, 2014) by The Family, and Calamity (NEON 2015) by ZLMD Shakespeare.

亨利．埃蒙德

Henri Emond

作曲及音樂設計

Composer & Music Designer

飾 — 歌者 as Singer

亨利．埃蒙德是一位來自紐約皇后區的歌手、唱作人及作曲家。他的作品有《白鯨記》啟發的《殺鯨：音樂奧德賽》。除此之外，他還兼任多部作品的作曲家和音樂總監，包括新民俗音樂劇《黎明》，以及他的新概念音樂夢幻劇場《這樣奇怪的事情》，作品取材自悉文．佛洛伊德、夏洛特．伯拉特和聖地亞哥．拉蒙—卡哈爾的生平及著作。埃蒙德曾在百老匯參與由喬希．格羅本主演的《大彗星》。埃蒙德分別是三支樂隊的成員，包括獨立民謠三人組藍眼貝蒂。他曾與不少格林美獎得獎者合作，包括山姆布希樂隊及英格麗．米高森等。他分別以獨唱歌手、藍眼貝蒂成員及獨立民謠樂隊獅子與獵犬成員的身份發行專輯。他現時與定居於澤西市的音樂拍檔及製作人力克．米勒正製作一張原創歌曲專輯。

Creative Team Profiles

Henri Emond is a singer, songwriter and composer based in Queens, New York. In addition to his musical inspired by MobyDick, Kill the Whale: A Musical Odyssey, he has composed and music-directed for several works, including a new folk musical play DAWN. He has also conceived Such Curious Things, a new piece of music dream theatre based on the life and works of Sigmund Freud, Charlotte Beradt and Santiago Ramony Cajal. Emond helped develop The Great Comet, a show which moved to Broadway starring Josh Groban. Emond plays in three bands, including the indie-folk trio The Blue Eyed Bettys. Emond has collaborated with some Grammywinning artists including Sam Bush band, Ingrid Michaelson, and more. He has released albums as a solo artist, with the Blue Eyed Bettys, with indie folk band Lion and Spaniel, and is currently writing and producing an album of original songs with his musical partner Nick Miller.

演員簡介

Performer Profiles

黎》、《紅矮星號》、《塔格特探案》和《我逝去的父親》。

福布斯．馬森（英國）

Forbes Masson (UK)

飾—李厄醫生 as Dr Rieux

福布斯．馬森的過往戲劇演出包括《布狄卡》（莎士比亞環球劇場）、《恐怖行動》（倫敦利瑞克漢默史密斯劇院）、《諧謔》（阿波羅劇院和梅尼爾巧克力工廠）、《夏日煙雲》（艾爾美達劇院）、《浮士德博士悲劇》（約克公爵劇院）、《富特先生的另一條腿》（海馬克皇家劇院／漢普斯特德劇院）、《統治階級：理查三世》及《馬克白》（特拉法加工作室）、《穿裙子的男孩》（皇家莎士比亞劇團）、《李爾王》（ Headlong / 新域劇團）、《皆大歡喜》、《羅密歐與朱麗葉》（紐約皇家莎士比亞常駐劇團）和《歷史》（皇家莎士比亞劇團）等。他曾參與的電視演出包括《大禍臨頭》、《布朗神父》、《設得蘭謎案》、《老闆之死》、《無吟遊詩人》、《殯儀館尋歡作樂》、《幽谷之王》、《東區人》、《超級少女》、《成為搖滾明星的青少年指南》、《是比爾貝利嗎？》、《創作者》、《蘇格蘭懶漢》、《哈米殊．麥克白》、《黑洞迷情》（與亞倫．甘明兼任作家創作者）、《巴 28

福布斯馬森是皇家莎士比亞劇團的駐團藝術家。

Forbes Masson’s theatre credits include Boudica (Shakespeare’s Globe), Terror (Lyric Hammersmith), Travesties (Apollo Theatre and Menier Chocolate Factory), Summer and Smoke (Almeida Theatre), Doctor Faustus (Duke of York’s), Mr Foote’s Other Leg (Theatre Royal Haymarket/Hampstead Theatre), The Ruling Class, Richard III and Macbeth (Trafalgar Studios), The Boy in the Dress (RSC), King Lear (Headlong/Young Vic), As You Like It and Romeo and Juliet (with RSC Residency in New York), The Histories (RSC), among others. On television, he has appeared in Catastrophe, Father Brown, Shetland, Dead Boss, No Holds Bard, Fun at the Funeral Parlour, Monarch of the Glen, EastEnders, Supergirly, A Young Persons Guide to Becoming a Rock Star, Is It Bill Bailey?, The Creatives, Rab C Nesbitt, Hamish Macbeth, The High Life (which he wrote and created with Alan Cumming), Paris, Red Dwarf, Taggart and My Dead Dad. Forbes Masson is an RSC associate artist.

演員簡介

卡琳．特萊斯（巴西）

Karine Teles (Brazil)

飾—藍柏

as Rambert

卡琳．特萊斯是一位演員及編劇，1978 年出生於里約熱內盧。她首次主演的電影是她聯合編劇的《技藝》，並於 2011 年在德薩斯州奧斯丁的西南偏南音樂節上首映。她曾主演多部巴西電影，演技備受讚譽，例如安娜．慕依拉緹執導的《繼母》（ 2015 ）和曼東沙．費侯及多赫聶拉斯的《殺戮荒村》（ 2019 ）。最近，特萊斯與古斯塔沃．皮齊共同創作於辛丹斯電影節首映的《愛琳》（ 2018 ），並參與電影演出。特萊斯以導演身份自編自導了一部名為《羅曼史》的短片，短片目前進入後期製作階段。她參與編劇和主演的電視連續劇《吉爾達最後的日子》是首部入圍柏林影展長篇電視劇組別的南美作品，並於 2021 年 3 月在電影節首映。

Performer Profiles

Karine Teles was born in Rio de Janeiro in 1978. She is an actress and a screenwriter. Her first leading film role was Craft, which she co-wrote and which premiered at SXSW in Austin, Texas in 2011. She has starred in several lauded Brazilian films such as The Second Mother, by Anna Muylaert (2015) and Bacurau, by Kleber Mendonça Filho and Juliano Dornelles (2019). Recently, Teles co-wrote with Gustavo Pizzi Loveling (2018), in which she also starred. The film premiered at the 2018 Sundance Film Festival. As a director, Teles has written and directed Romance, a short film currently in post-production. The TV series The Last Days of Guilda—which she co-wrote and stars in—is the first South American series to ever be selected for the Berlinale Series at Berlin International Film Festival and premiered at the festival in March 2021.

哈希姆．阿德南（黎巴嫩）

Hashem Adnan (Lebanon)

飾—柯塔爾 as Cottard

哈希姆．阿德南是一位貝魯特的導演、劇作家及演員。他於 2006 年畢業於黎巴嫩大學，並取得戲劇學士學位。從 2009 到 2018 年，他以作家、導演和演員的身份與祖卡克劇團合作超過十五個演出，分別於黎巴嫩和世界各地進行巡演，例如印度喀拉拉邦國際戲劇節、挪威國際易卜生會議、意大利地中海群島雙年展等。

2018 年，他執導了法迪．圖菲奇的《住在自我陰霾下的男人》。他為麥地那製作公司執導的劇作《科萊特從未露面》取材自黎巴嫩喜劇演員齊亞德．伊塔尼遭受叛國誣告的經歷。2019 年，他與作家馬爾萬．比茲里合作創作集體裝置和戲劇表演《噢完了》。他目前正在埋首創作《黑洞》，以抨擊阿拉伯國家對移民勞工實行的卡法拉保證人制度。

阿德南亦參與許多藝術家駐團計劃，合作單位包括倫敦 LIFT 國際戲劇節 LIFT（ 2014 ）、辛丹斯協會戲劇研究所（ 2017 ）及易卜生劇院（ 2019 ）。

Hashem Adnan is a director, playwright and actor based in Beirut. He graduated from the Lebanese University with a BA in theatre from in 2006. From 2009 to 2018, he collaborated with the Zoukak Theatre Company for over 15 performances as writer, director and performer, touring Lebanon and internationally, appearing at the International Theatre Festival of Kerala in India, the International Ibsen conference in Norway, and the Biennale Archipelago Mediterraneo in Italy, among others. In 2018, he directed The Story of the Man Who Inhabited His Shadow by Fadi Toufic. With Metro Madina productions, he directed Colette Never Showed Up, based on the case of Lebanese actor Ziad Itani, who was falsely accused of treason. In 2019, he collaborated with author Marwan Bizri on Oh to End, a collective installation and theatre performance. He is currently working on The Black Hole, a performative legal argumentation denouncing the abuses of the kafala system, which governs migrant workers in the Middle East. Hashem Adnan also participated in a number of artist’s residencies including the Lift festival, UK (2014); the Theatre Lab at the Sundance Institute (2017) and The Ibsen theatre (2019).

森浩．馬森傑瓦（南非）

Simpho Mathenjwa ( South Africa)

飾—格朗 as Grand

森浩．馬森傑瓦是金山大學金鑰匙獎的得獎者，曾創作並演出了許多戲劇作品。作為一位創作者，他為非洲巴克利銀行構思、製作，並舉辦內部創意營銷和溝通活動。

馬森傑瓦是德國國際合作機構 GIZ 委約、於南非舉辦的第十七次聯合國氣候變遷締約國會議的核心創意團隊成員，團隊針對氣候變化創作了一部環境工業劇作。

他近期的舞台作品包括《高加索灰闌記》、《約伯記》、《傳教士之物》、《西茲維．班茲》和《你見過贊迪爾嗎？》。他最近的電視作品包括《同盟》、《保持分數》、《慈善》、《搶劫》、肥皂劇《 Movhango 》及《 Emoyeni 》。

演員簡介

A Golden Key award laureate from Wits University, Simpho Mathenjwa has created and performed a number of theatre productions. As a creative, he has conceptualised, produced and launched internal creative marketing and communication campaigns for ABSA bank. Mathenjwa has also been part of a core creative team that produced an environmental industrial theatre for climate change, COP17 (Conference of Parties) held in South Africa, which was commissioned by GIZ (Germany). On the stage, he has recently appeared in The Caucasian Chalk Circle, The Book of Job, Missionary Possession, Sizwe Bantsi and Have You Seen Zandile? His recent work for television includes The Alliance, Keeping Scores, The Charity, Heist, Movhango and Emoyeni.

趙皙尼（中國）

Sydney Zhao (China)

飾—塔魯 as Tarrou

趙皙尼是長駐武漢的演員和行為藝術家，曾亮相於不同戲劇作品和藝術節。她的舞台表演包括《毛猿》（江湖戲班）和《武漢拼圖》（那甚麼實驗創作小組，雲劇場）。她的行為藝術作品曾參與「穀雨行動」中國當代行為藝術城市聯合展演和「水泥公園」行為藝術節，她亦於後者擔任策展人。她擁有賓夕法尼亞州狄金森學院的經濟學學士學位，亦曾就讀美國戲劇學院劇院。畢業後，她成為一名商業分析師。新冠肺炎疫情來襲後，她以過程導向式的戲劇、舞蹈和表演藝術，循着探索藝術、人體動作和心靈的旅程前進。她目前正在計劃一個行為藝術項目，當中運用了工程師和物理學家費登奎斯的學說和身心理學概念。

Performer Profiles

Sydney Zhao is an actor and a performance artist based in Wuhan. She has appeared in several theatre productions and art festivals. Her stage appearances include The Hairy Ape (Johoo Theatre) and Wuhan Puzzle (Cloud Theatre, So What Original). Her performances were featured at Guyu Action (X-CFCA) and the Cement Park Art Festival (Sowerart), where at the latter she also worked as a curator. She holds a BA in economics from Dickinson College in Pennsylvania and studied at the American Conservatory Theater. After graduation, she worked as a business analyst. After the breakout of COVID-19, she continued her journey exploring art, human body movement and mind, through process-oriented action in the form of drama, dance and performance art. She is currently working on a performance art project which involves certain concepts of the Feldenkrais Method and somatic psychology.

製作人員簡介

Crew Profile

葉曉雲 Andrew Yip

製作經理 Production Manager

葉曉雲是舞台工作者及媒體製作人，涉獵範疇包括行政、創作及製作等。他曾合作的劇團包括人間搞作、劇場工作室、三角關係、偶友街作、福戲網絡、唯獨舞台及新約舞流等。

他曾監製了《唯獨祢是王》（ I 及 II ）及《馬丁 ‧ 路德》等劇目，並執導《坐於碎星閃閃的天空下》、《 Double Espresso 》、《未完待續 ……》及《遠方的呼喚》等劇目，以及為多個製作擔任音響設計及影像設計。除舞台製作外，他亦參與不同商業及大型活動製作，包括 2009 年東亞運動會及維港煙花匯演等。同時，他亦是廣告、微電影及音樂影片之導演、合作公司及機構包括和興白花油、謝瑞麟 TSL 及 MAD MUSIC 等。

Andrew Yip is a stage practitioner and media producer. He is involved in a wide range of activities including administration, creation and production. He has collaborated with various theatres, including Project On Earth, Drama Gallery, Trinity Theatre, Make Friends With Puppet, Gospel Theatre Network, The Only Stage and Passoverdance, among others. He has produced The Only King (I & II) and Martin Luther. He directed Paradox: This Is the Life, Double Espresso and Call of the Faraway Space, among other works. He is also responsible for sound design and image design for several productions. Apart from stage production, he has also been involved in various commercial and mega-events include the East Asian Games in 2009 and Fireworks shows at Victoria Harbour. He is also a director for commercials, short films and music videos, and has worked with various institutions including Hoe Hin White Flower Embrocation, TSL and MAD MUSIC, among others.

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

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

無名氏 Anonymous

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 港島太平洋酒店

Island Pacific Hotel Hong Kong JellyBin Limited

• 文學院 Faculty of Arts

香港演藝學院

The Hong Kong Academy for Performing Arts

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

• 音樂學院 School of Music

中環石板街酒店

The Pottinger Hong Kong

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

BRICK LANE

高山劇場

光華新聞文化中心

THEDO

British Consulate General Hong Kong

中央人民政府駐香港特別行政區聯絡辦公室

Tom Lee Music Company Ltd

英國駐香港總領事館

Ko Shan Theatre

Théâtre de la Feuille

Broadway Cinema

Kwang Hwa Information & Culture Center

通利琴行

CAMPSITE

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

Trinity Theatre

Cattle Depot Artist Village

Marco Polo Hongkong Hotel

百老匯院線 Broadway Circuit

三角關係

馬哥孛羅香港酒店

屯門大會堂

周生生集團國際有限公司

Maxibit HK/China

URBTIX

中信國際電訊（信息技術）有限公司

Ministry of Culture and Tourism, PRC

牛棚藝術村

Chow Sang Sang Jewellery Co. Ltd

CITIC Telecom International CPC Limited 城市當代舞蹈團

City Contemporary Dance Company 城巿花園酒店

中華人民共和國文化和旅遊部

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

City Garden Hotel

MOViE MOViE 太古廣場 MOViE MOViE Pacific Place

Consulate General of Canada in Hong Kong and Macau

Mr Alpha Li

加拿大駐香港總領事館

捷克共和國駐香港領事館

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

Consulate General of the Russian Federation in Hong Kong SAR, PRC 香港城市大學中文及歷史學系

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

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

李鏡輝先生

前進進戲劇工作坊 On & On Theatre Workshop

One Minden Tapas Kitchen 柏斯琴行

Parsons Music Limited

沙田大會堂

Sha Tin Town Hall

Hong Kong Arts Administrators Association

上環文娛中心

Sheung Wan Civic Centre

Hong Kong Arts Centre

Shun Hing Electronic Trading Co., Ltd.

Hong Kong Baptist University

• 音樂系 Department of Music

• 拉闊文化 Cultural Literacy Programme

香港中樂團

元朗劇院

Yuen Long Theatre 赤豚事務所

Zhu Graphizs

Speedy Promotion Limited 台灣蘇富比國際房地產

Taiwan Sotheby's International Realty

Hong Kong Cultural Centre

香港八和會館

Hong Kong Gold Coast Hotel

香港中文大學

Tao Fong Shan Christian Centre The Artland Co Ltd

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

Hong Kong Philharmonic Orchestra

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

Hong Kong Tourism Board

• 音樂系 Department of Music

香港旅遊發展局

wine etc

事必達推廣有限公司

藝林文具印刷有限公司

香港管弦樂團

Wharney Hotel

Southgate Design

Hong Kong City Hall 香港黃金海岸酒店

粵海華美灣際酒店

信興電器貿易有限公司

道風山基督教叢林

香港文化中心

West Kowloon Cultural District Authority

Primasia Corporate Services Limited

Hong Kong Chinese Orchestra 香港大會堂

西九文化區管理局

Pixellent

Gloucester Luk Kwok Hong Kong

香港浸會大學

Wealthy Step Printing Co.

Piano Arts Service Limited

Royal Pacific Hotel

香港藝術中心

進富印刷公司

PCCW

皇家太平洋酒店

香港藝術行政人員協會

WeDraman Black Box Theatre

電訊盈科

Fringe Club 六國酒店

同流黑盒劇場

Patsville Company Ltd

犇華企業服務有限公司

藝穗會

城市售票網

卓滙達有限公司

Die Konzertisten

Department of Cultural Studies, Lingnan University

Tuen Mun Town Hall

節目一覽 FESTIVAL PROGRAMME 荀伯格合唱團

Arnold Schoenberg Choir 《節目構想》 Curating the Programme

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

粵劇《挪亞方舟》

Cantonese Opera Noah’s Ark

幕後花絮 Behind-the-scenes

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

查爾斯．理察－哈梅林音樂會 Charles Richard-Hamelin

Concerts

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

多瑪倉庫劇院《盲流感》

Donmar Warehouse Blindness

香港中樂團 — 樂旅中國

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

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

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

香港小交響樂團英雄 · 貝多芬

Inspired by Beethoven – Hong Kong Sinfonietta•Eroica

賽馬會本地菁英創作系列《後話西遊》/《兩個女子》

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

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

賽馬會本地菁英創作系列音樂劇《日新》（暫名）工作坊展演

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

馬修 · 伯恩芭蕾電影系列《仙履奇緣》

Matthew Bourne’s Ballet Film Series Cinderella

幕後花絮 Behind-the-scenes

馬修 · 伯恩芭蕾電影系列《羅密歐與茱麗葉》

Matthew Bourne’s Ballet Film Series Romeo & Juliet

幕後花絮 Behind-the-scenes

馬修 · 伯恩芭蕾電影系列《天鵝湖》

Matthew Bourne’s Ballet Film Series Swan Lake

幕後花絮 Behind-the-scenes

馬修 · 伯恩新冒險舞蹈團芭蕾電影《紅舞鞋》

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

National Theatre Brno Jen fa

幕後花絮 Behind-the-scenes

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

捷克布爾諾國家歌劇院《狡猾的小狐狸》

National Theatre Brno The Cunning Little Vixen

幕後花絮 Behind-the-scenes

捷克布爾諾國家歌劇院《失蹤者的日記》

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

《楊納傑克的戀戀情思》 Janá ek's Unrequited Love

巴維．哈斯四重奏

Pavel Haas Quartet

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

揚．巴托斯鋼琴獨奏會

Piano Recital by Jan Bartoš

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

史葛 · 蕭凡《心靈旅程》

Scott Silven’s The Journey

演後藝人談 Meet-the-Artist

快刀劇場《無晴情天氣報告》

The Chop Pathetic Fallacy

香港賽馬會當代舞蹈平台《當代十年》

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

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

香港賽馬會當代舞蹈平台《沒有大象》/《得體》

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

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

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

維也納交響樂團音樂會

Wiener Symphoniker’s Concerts 導賞講座 Guided Talk

葉氏兒童合唱團兒童歌劇《愛麗絲夢遊仙境》

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

音樂 Music

舞蹈 Dance

戲劇 Theatre

歌劇 / 戲曲 Opera/Chinese Opera

加料節目

藝術家分享 Artist Sharing

幕後花絮 Behind-the-scenes

紀錄片放映 Documentary Screening 講座 Talks

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

www.hk.artsfestival.org

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

香港賽馬會當代舞蹈平台《在不明確的世界中尋找意義》

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

香港賽馬會當代舞蹈平台《 Mokita 》/《眾聲起舞》

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

香港賽馬會當代舞蹈平台《火滅》/《煉金》

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

電話 Tel 傳真 Fax 電郵 Email 節目查詢

Programme Enquiry

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

香港灣仔港灣道 2 號 12 樓 1205 室

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

贊助人

林鄭月娥女士

PATRON

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

永遠名譽會長

邵逸夫爵士

HONORARY LIFE PRESIDENT

Sir Run Run Shaw, CBE (1907-2014)

執行委員會

EXECUTIVE COMMITTEE

主席

查懋成先生

義務司庫

李錦榮先生

副主席委員

節目委員會主席委員

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

委員

盧景文教授

白諾信教授紀大衛教授羅志力先生毛俊輝先生李義法官約瑟．施力先生 * 譚榮邦先生姚珏女士李錦榮先生

鄭惠貞女士梁國輝先生

發展委員會主席

副主席委員

顧問

名譽法律顧問核數師

Mr Victor Cha

Vice Chairman

Prof Lo King-man, MBE, JP, SBS

Honorary Treasurer

Mr William Li

Members

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

PROGRAMME COMMITTEE

財務委員會主席

Chairman

梁靳羽珊女士雍景欣女士

鄭阮培恩女士龐建貽先生孫林宣雅女士姚祖輝先生夏佳理先生鮑磊先生陳祖澤博士陳達文博士霍璽先生李業廣先生梁紹榮夫人李國寶博士

甘乃迪女士（孖士打）羅兵咸永道會計師事務所

* 榮譽節目顧問 Honorary Programme Advisor 38

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