Lea et Front
特首獻辭
CHIEF EXECUTIVE'S MESSAGE
二零二五年度香港藝術節隆重揭幕，這項名聞 中外的國際文化盛事昂然踏入第五十三屆，可 喜可賀。
今年藝術節匯聚逾 1,300 名本地及海外藝術家， 帶來約 125 場文藝節目，包括音樂、舞蹈、戲 劇、戲曲、歌劇等，多彩多姿。其中，意大 利的博洛尼亞市立歌劇院樂團在大師級指揮家 杜拿多．倫澤第領導下，演奏經典的意大利歌 劇詠嘆調，為藝術節揭開序幕。藝術節閉幕當 日，著名中國指揮家呂嘉將率領中國國家大劇 院管弦樂團，與國際鋼琴家張昊辰和女高音宋 元明攜手演出，獻上音樂盛宴，為今屆藝術節 畫上圓滿句號。
一如往年，今屆藝術節推出多個「加料節目」， 包括大師班、工作坊、後台參觀、文化導賞團 等，讓藝術家與觀眾互動交流。藝術節「青少年 之友」計劃則籌備了學校巡演、演前講座、藝術 示範及其他特備節目，讓本地年輕人有更豐富 的文化與藝術體驗。
政府銳意加強香港文化影響力。為進一步鞏固 香港作為中外文化藝術交流中心的地位，政府 於去年 11 月公佈《文藝創意產業發展藍圖》，提 出四個發展方向共 71 項具體措施，並正積極推 展相關工作。
感謝香港藝術節及其團隊盡心竭力推動香港、 整個地區以至全球的文化藝術發展；亦感謝贊 助商和捐款者慷慨解囊和鼎力支持，令藝術節 綻放異彩。
祝願今屆香港藝術節續創輝煌，再度呈獻文藝 盛宴，讓市民樂在其中，回味無窮。
香港特別行政區行政長官 李家超
This year’s Festival brings together over 1,300 international and local artists in some 125 performances covering music, dance, theatre, Chinese and Western opera and much more. The Festival-opening performance, by Italy’s Orchestra of the Teatro Comunale di Bologna, conducted by Maestro Donato Renzetti, features classic Italian opera arias. Renowned Chinese conductor Lü Jia and the China National Centre for the Performing Arts Orchestra, together with international pianist Zhang Haochen and soprano Song Yuanming, bring the Festival to a close in grand style. Festival PLUS returns, presenting a wealth of artistaudience events, including masterclasses and workshops, backstage visits, guided cultural tours and more. Besides, the Festival’s “Young Friends” programme features school tours, pre-performance talks, arts demonstrations and other special events designed to engage local young people with a world of arts and culture.
The Government is determined to enhance the appeal of Hong Kong’s culture. To further solidify Hong Kong’s position as a vibrant East-meets-West centre for international cultural exchanges, the Government has launched the Blueprint for Arts and Culture and Creative Industries Development in November 2024, and has been actively working on the 71 measures under four key strategic directions as outlined in the Blueprint.
I am grateful to the Hong Kong Arts Festival and its dedicated team for their unremitting efforts in promoting arts and culture in Hong Kong, throughout the region and around the world. I am grateful, too, to the many sponsors and donors for their generous support for the Festival.
I wish this year’s Hong Kong Arts Festival another resplendent season of arts and culture, entertainment and memorable community engagement.
John KC LEE Chief Executive Hong Kong Special Administrative Region
主席獻辭
CHAIRMAN'S MESSAGE
歡迎閣下蒞臨第 53 屆香港藝術節。作為一個具 領導地位的國際表演藝術盛事，藝術節將在今 年繼續肩負重任，拓寬香港文化景觀，透過邀 請超過 1,300 位國際及本地的優秀藝術家，為 觀眾帶來超過 45 套節目、合共逾 125 場精采演 出，並同時舉辦約 300 項加料節目及教育活動， 促進香港的藝術文化發展。
我感謝香港特別行政區政府透過康樂及文化事 務署提供年度恆常撥款及配對資助，對我們的 工作予以鼓勵和肯定。此外，我亦由衷感謝香 港賽馬會慈善信託基金在過去 53 年的堅定支 持，以及其他贊助機構、慈善基金會和捐助者 的慷慨解囊，讓我們得以透過表演藝術為社會 各界帶來裨益。
與此同時，我亦向我們的藝術家深表謝意，感 謝你們不斷追求藝術上突破，為觀眾帶來無與 倫比的藝術享受。我也份外感激藝術節團隊一 直以來努力不懈，令藝術節得以順利舉行。
最重要的是，我衷心感謝所有觀眾的參與與支 持。希望您享受在藝術節的節目及活動，並從 中找到喜悅和靈感。
香港藝術節主席 盧景文
A warm welcome to the 53rd Hong Kong Arts Festival. As a leading international performing arts event, the Festival is continuing its mission of enhancing Hong Kong’s cultural landscape by showcasing over 1,300 exceptional international and local artists in more than 125 performances of over 45 unique programmes, as well as organising about 300 PLUS and educational activities for the community.
I would like to thank the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention and matching grant which are not only essential to our operations, but also an important recognition of the work we do. I also want to thank The Hong Kong Jockey Club Charities Trust for its unwavering support during the past 53 years, as well as other corporate sponsors, charitable foundations and donors, whose contributions have enabled us to reach out to different sectors of the community and positively impact society through the performing arts.
My deepest gratitude goes to all participating artists for their dedication and exceptional performances. I also thank all HKAF staff, who worked extremely hard to bring this Festival to life.
Most importantly, I extend my heartfelt appreciation to all audience members for your participation and support. May you find joy and inspiration in our programmes and events.
Lo Kingman Chairman Hong Kong Arts Festival
支持機構： Supporting Organisation:
前言 FOREWORD
香港藝術節的其中一個主要目標，就是推動國 際文化交流。本屆香港藝術節秉承一貫既尊重
傳統又開創新猷的精神，邀請了一眾來自世界 各地殿堂級的大師，以及國際上備受矚目的年 輕藝術拓荒者，為我們獻上優秀的名作。當中 不少取材自經典文學，甚至是原汁原味地呈現 原著的創作，為觀眾帶來豐富的藝術享受。
與此同時，我們還獻上一系列以「幻想與冒險」 為主題的節目，部分以虛擬實境及擴增實境等 技術，把藝術與科技完美融合，部分則借鑑傳 統的戲偶與馬戲演出，創造出引人入勝的新作 品。本屆藝術節亦繼續積極支持本地藝術家， 鼓勵交流，共同建構一個充滿活力的多元化藝 術平台。
演出精采可期之外，我們更不忘在藝術教育和 觀眾拓展方面努力耕耘，一方面送上一連串精 心準備的「加料節目」，包括展覽、大師班、後 台參觀、演後藝人談等，另一方面亦策劃了豐 富多元的青少年之友及教育活動，冀望從不同 的層面、角度，為大家塑造更立體而深刻的藝 術體驗。
希望您會喜歡香港藝術節團隊今年為您準備的 藝術盛宴。
香港藝術節行政總監 余潔儀
香港藝術節的資助來自：
The Hong Kong Arts Festival is made possible with the funding support of:
Promoting international cultural exchange has always been a key objective of the Hong Kong Arts Festival. This year’s Festival continues to invite renowned global masters and internationally recognised young pioneers to present a range of world-class programmes, respecting tradition while encouraging new, innovative initiatives. Many of these works are inspired by classic literature or offer rediscoveries of the original, bringing vibrant artistic experiences to the city.
We will also present a series of programmes centred around “fantasy and adventure”. These include works that seamlessly blend the arts with VR and AR technology, as well as captivating new creations that draw on traditional puppetry and circus performances. The Festival will also continue to support local artists and encourage exchanges to foster a vibrant and diversified platform for the arts.
We also remain dedicated to advancing arts education and audience building. Our PLUS programmes will present a series of thoughtfully curated masterclasses, backstage visits, post-performance artist talks and an exhibition. And our Young Friends and educational activities will continue to offer multi-dimensional arts experiences to students.
We hope that you will enjoy this year’s arts extravaganza prepared by the Hong Kong Arts Festival team.
Flora Yu 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 聯繫中國與世界
An International Arts Festival in Hong Kong Connecting China and the World
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，以及舉辦多元化的「加料」和教 育活動，致力豐富香港的文化生活。
香港藝術節 是一所非牟利機構，2024/25 財政年度 預計收入（包括第 53 屆香港藝術節及 2025 年「無限 亮」）約港幣一億五千萬，當中香港特區政府的年度 恆常撥款佔總收入約 12%，另外約 23% 需來自票房 收入，約 45% 則需依賴來自各大企業、熱心人士和 慈善基金會的贊助和捐款。預計餘下的約 20% 則來 自其他收入，包括政府針對捐款和贊助收入而提供的 配對資助。
香港藝術節 每年呈獻眾多國際演藝名家精采多元的 演出，例如 *：
• 歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、 莫斯科大劇院、聖彼得堡馬林斯基劇院
• 中國戲曲：中國國家京劇院、河北梆子劇院、上 海崑劇團、上海張軍崑曲藝術中心、江蘇省蘇州 崑劇院、浙江小百花越劇團
• 古典音樂：塞西莉亞．芭托莉、列卡杜．沙爾、 趙成珍、古斯塔沃．杜達美、菲力普．格拉斯、 劉曉禹、馬友友、丹尼斯．馬祖耶夫、安娜．涅翠 柯、詹安德列亞．諾斯達、小澤征爾、湯瑪士． 夸斯托夫、甘拿迪．羅傑斯特汶斯基、譚盾、 湯沐海、克里斯蒂安．泰利曼、班貝格交響樂團、 倫敦交響樂團、NHK 交響樂團、皇家阿姆斯特丹 音樂廳樂團、柏林廣播電台合唱團、萊比錫聖 多馬合唱團、維也納愛樂樂團
• 爵士樂及世界音樂：波比．麥非年、尤蘇．恩多 爾、艾斯佩蘭薩．斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼
• 舞蹈：米高．巴里殊尼哥夫、蕭菲．紀蓮、艾甘． 漢、娜塔麗亞．奧斯波娃、美國芭蕾舞劇院、雲門舞 集、漢堡芭蕾舞團—約翰．紐邁亞、紐約市芭蕾 舞團、巴黎歌劇院芭蕾舞團、翩娜．包殊烏珀塔爾 舞蹈劇場、米蘭史卡拉歌劇院芭蕾舞團
• 戲劇：彼得．布祿克、羅伯特．利柏殊、蜷川幸雄、 羅柏特．威爾遜、柏林劇團、中國國家話劇院、皇家 莎士比亞劇團
• 大型特備節目：《藝裳奇幻世界》、星躍馬術奇 藝坊
• 戶外節目：《聲光園》、《幻光動感池》、《聲光頌》 香港藝術節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 250 套本地全新創作，包括粵劇、戲劇、室內 歌劇、音樂和舞蹈作品，不少製作更已在香港及海外 多度重演。近年的藝術節新製作包括《茱莉小姐》、 《飯戲攻心》踏台版、《末戀 · 無愛合約》、《我們最 快樂》、《鼠疫》、《陪着你走》、《百花亭贈劍》、 《香港家族》三部曲、《世紀．香港》、《炫舞場》、 《大同》、《金蘭姊妹》、《聖荷西謀殺案》等。
香港藝術節 多年來與知名 海外藝術家及團體聯合製 作不少優秀作品，當中包括 由香港藝術節、香港歌
The HKAF, launched in 1973, 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 as well as a diverse range of “PLUS” and educational events in February and March each year.
The HKAF is a non-profit organisation. The total estimated income for FY2024/25 (including the 53rd Hong Kong Arts Festival and 2025 “No Limits”) is approximately HK$150 million. Current Government annual baseline funding accounts for around 12% of the Festival's total income. Around 23% of the Festival’s income needs to come from the box office, and around 45% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 20% is expected to come from other revenue sources including the Government’s matching grant scheme, which matches income generated through private sector sponsorship and donations.
The HKAF has presented top international artists and ensembles across multiple genres, such as*:
• Western opera: Bayerische Staatsoper, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre
• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Kunqu Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe
• Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Bamberg Symphony, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra
• Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini
• Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, Natalia Osipova, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet–John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Teatro alla Scala Ballet Company
• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company
• Large-scale special events: World of WearableArt, Zingaro
• Outdoor events: Power Plant, Super Pool, Chorus
The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, the HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include Miss Julie, Table for Six On Stage, Loveless Romance, We Are Gay, The Plague, Always by Your Side, Pavilion of a Hundred Flowers, A Floating Family—A Trilogy, Hong Kong Odyssey, Danz Up, Datong—The Chinese Utopia, The Amahs and Murder in San Jose, to name a few.
The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by the HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III
德學院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的 《抹窗人》、由倫敦老域劇院、布魯克林音樂學院與 尼爾街製作公司製作、香港藝術節為聯合委約機構 之一的「橫貫計劃」之《暴風雨》及《李察三世》、
由香港藝術節及上海國際藝術節聯合委約的《青 蛇》、香港藝術節與三藩市歌劇院聯合製作的《紅樓 夢》、香港藝術節與芬蘭國家歌劇院及芭蕾舞團聯合 製作的《拉娜》等。
香港藝術節大力投資下一代的藝術教育。「青少年之 友」成立32年來，已為約836,000位本地中學 生及 大專生提供藝術體驗活動。藝術節近年亦開展多項 針對大、中、小學生的藝術教育活動，包括由 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。同時，通過「學生票捐助計劃」，藝術節每年提 供約 10,000 張半價學生票。
香港藝術節 每年主辦一系列多元化並深入社區的 「加料節目」， 例如電影放映、示範講座、大師班、 工作坊、座談會、後台參觀、展覽、藝人談、文化 導賞團等，鼓勵觀眾與藝術家互動接觸。
香港藝術節 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20 19 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、擁抱藝術。
為創造更穩健的財政環境以及確保藝術節的長期可 持續性， 香港藝術節基金會 於 2022 年成立，旨在讓 藝術節在未來進行年度預算以外的大型或特別項目。
(2025年2月更新 Updated February 2025)
and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with the HKAF as a co-commissioning institution, Green Snake co-commissioned with the Shanghai International Arts Festival, Dream of the Red Chamber co-produced with the San Francisco Opera, and Laila, a co-production of the HKAF and the Finnish National Opera and Ballet.
The HKAF invests heavily in arts education for young people. Over the past 32 years, our “Young Friends” scheme has reached around 836,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year.
The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.
The HKAF actively promotes inclusion via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.
To provide greater financial security and long-term sustainability for the Festival, the Hong Kong Arts Festival Foundation was officially launched in 2022. Donations to the Foundation will be used towards enabling the Festival to present in the future largescale or special projects which its annual budget cannot cater for.
*有關香港藝術節的過往節目 Details of past HKAF programmes https://www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2024.html
誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。
To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.
香港藝術節協會2024/25年度預計收入來源（約港幣一億五千萬）
電郵 Email: dev@hkaf.org
直線 Direct Lines: (852) 2828 4911/12
網頁 Website: www.hk.artsfestival.org/en/support-us
Estimated Income Sources for the Hong Kong Arts Festival Society in FY2024/25 (About HK$150 million)
約Around 45%
贊助和捐款 Sponsorship & Donations
約Around 23%
票房收入 Box Office
約Around 12%
政府的年度 恆常撥款 Current Government annual baseline funding
約Around 20%
其他收入 (包括按捐款和贊助收入 可望獲得的政府配對資助) Other Revenues (including possible Government Matching Grant for Sponsorship and Donation Income)
捷克國家芭蕾舞團 《仙凡之戀》
The Czech National Ballet
La Sylphide
06.03-08.03.2025 / 7:30pm
08.03.2025 / 2:30pm
藝術節加料節目
後台參觀 Backstage Tour
08.03.2025 (6:00PM-6:30PM)
香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre
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捷克國家芭蕾舞團《仙凡之戀》部分成員乘坐第 53 屆
香港藝術節指定航空公司國泰航空來回香港
香港文化中心大劇院
Grand Theatre, Hong Kong Cultural Centre
演出長約 1 小時 40 分鐘，包括一節中場休息
Approximately one hour and 40 minutes including one interval
適合 6 歲或以上的兒童及家長觀看
Suitable for children aged six and above and their families
封面照片Cover Photograph
© Serghei Gherciu
※ 演出期間敬請關掉手提電話及其他電子產品，以免發出聲響或產生光線，影 響表演者及其他觀眾。
Please switch off mobile phones and all electronic devices so they will not emit sound or light during the performance, disturbing the performers and other audience members.
※ 請勿擅自攝影、錄音或錄影。
Unauthorised photography or recording of any kind is strictly prohibited.
※ 演出期間請保持安靜。
Please keep noise to a minimum during the performance.
※ 本場刊採用環保紙張印刷。
This programme is printed on environmentally friendly paper.
※ 如不欲保留本場刊，請於完場後放回演出場地入口
If you don't wish to keep this booklet, please return it to the admission point.
香港賽馬會慈善信託基金、香港賽馬會、其各自關聯公司或任何參與彙編此載 內容或與彙編此載內容有關的第三方（統稱「馬會各方」）皆無就內容是否準 確、適時或完整或使用內容所得之結果作任何明示或隱含的保證或聲明。任何 情況下，馬會各方皆不會對任何人或法律實體因此載內容而作出或沒有作出的 任何行為負上任何法律責任。
None of The Hong Kong Jockey Club Charities Trust, The Hong Kong Jockey Club, their respective affiliates or any other person involved in or related to the compilation of the contents herein (collectively, the HKJC Parties ) makes any express or implied warranties or representations with respect to the accuracy, timeliness or completeness of the contents or as to the results that may be obtained by the use thereof. In no event shall any HKJC Party have any liability of any kind to any person or entity arising from or related to any actions taken or not taken as a result of any of the contents herein.
Some members of The Czech National Ballet - La Sylphide flew to and from Hong Kong on Cathay Pacific Airways, the Official Airline of the 53rd Hong Kong Arts Festival
本節目內容及本刊物所載之藝術家/客席撰文者言論屬於個人觀點，並不代表 香港藝術節（「本會」）之立場或意見。
The content of this programme and the opinions featured in this publication are solely those of the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival (“HKAF”).
為免影響演出，持票人士務請準時入場。本會有權不讓於演出開始後或中場休 息後遲到和在演出期間中途離場的觀眾重新入場。
Ticket holders are strongly advised to arrive punctually. The HKAF reserves the right to refuse the (a) admission of latecomers (whether at the beginning of the performance or after the intermission) and (b) re-admission of audience members who leave the auditorium during the performance.
本會保留全權決定觀眾（包括遲到和中途離場的觀眾）入場和重新入場的可能 性及方式。
The HKAF also reserves the sole discretion to determine the possibility of admission and re-admission of audience members (which includes latecomers and audience members who have left the auditorium and are seeking readmission), as well as the manner in which they are admitted.
在任何情況下，若本會允許遲到者入場，該等遲到者只能在指定的遲到點入 場。持票人士如因遲到而不獲安排入場，本會恕不退票或換票。如有任何爭 議，本會保留最終決定權。
In any case, should the HKAF permit the admission of latecomers, such latecomers shall only be admitted at designated latecomer point(s). No refunds or changes will be offered if ticket holders are refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.
© Serghei Gherciu
捷克國家芭蕾舞團《仙凡之戀》
The Czech National Ballet— La Sylphide
捷克國家芭蕾舞團藝術總監
菲臘．巴蘭卡維馳
編舞
約翰．高博格
(根據奧古絲．布農維爾的版本改編)
音樂
赫曼．馮．魯文斯基奧德
佈景設計
馬田．車尼
服裝設計
芭波拉．瑪蘭蓮斯卡
燈光設計
帕維．道托夫斯基
芭蕾舞大師
米哈拉．卓娜
荻本美穗
演員及角色
Cast and Characters
阿麗娜．娜魯 / 奥村彩
飾 仙女
保羅．伊爾馬托夫 / 艾利雲．加里奧利 飾 占士
亞歷山德拉．佩拉 / 奧爾嘉．波高紐布斯卡 飾 艾菲
馬提．素斯特 / 法查斯高．斯卡爾柏圖
飾 根恩
荻本美穗 / 祖凡尼．羅圖洛 飾 馬奇
井口陽花 / 尤珍妮亞．維多利．岡薩雷斯 飾 眾仙女（獨舞）
Artistic Director of The Czech National Ballet Filip Barankiewicz
Choreography Johan Kobborg (after August Bournonville’s version)
Music Herman von Løvenskiold
Set Designer Martin Černý
Costume Designer Barbora Maleninská
Lighting Designer Pavel Dautovský
Ballet Masters Michaela Černá Miho Ogimoto
Alina Nanu/Aya Okumura as the Sylphide
Paul Irmatov/Erivan Garioli as James
Alexandra Pera/Olga Bogoliubska as Effie
Matěj Šust/Fracesco Scarpato as Gurn
Miho Ogimoto/Giovanni Rotolo as Madge
Haruka Iguchi/Evgeniya Victory Gonzalez as Sylphs (solo)
捷克國家芭蕾舞團的獨舞員及群舞員 Soloists and Corps de ballet of The Czech National Ballet
來自蘇格蘭高地的美麗之謎
A Beautiful Mystery from the Scottish Highlands
一百九十多年來，這個關於仙女和蘇格蘭年輕 人占士的浪漫故事，一直打動世界各地的觀 眾。它在十九世紀首次登上巴黎歌劇院的舞 台後風靡全球，之後便被永久保留在哥本哈根 皇家劇院。早在 1836 年，丹麥編舞奧古絲． 布農維爾就將戲劇化的「神秘」意象融入這舞 劇。故事裏有垂死的仙女、迷戀仙女但又無法 得到她的占士，布農維爾所創作的舞台，融合 了文學、音樂、舞蹈和美術，讓這個不朽的童 話故事，永恆植根在國際芭蕾舞傳統當中。
約翰．高博格曾在哥本哈根的丹麥皇家芭蕾舞 團和倫敦皇家芭蕾舞團擔任首席舞者，並獲公 認為把布農維爾芭蕾舞風發揚光大。
This Romantic tale of the Sylphide and young Scotsman James has moved audiences worldwide for more than 190 years. It emerged in the 19th century on the stage of the Paris Opera and, after entrancing the world, it permanently settled at the Royal Theatre in Copenhagen. There the Danish choreographer August Bournonville fitted it in his image of theatrical “mystery” as early as 1836. In his stage synthesis of literature, music, dance and fine arts, the fairytale about the immortal yet dying Sylph and the enamoured yet unloving James was introduced into the world ballet tradition forever.
Johan Kobborg, former principal dancer with the Danish Royal Ballet in Copenhagen and the Royal Ballet in London, has proven to be an outstanding continuator of Bournonville’s ballet legacy.
© Serghei Gherciu
Scenes
第一幕
一座蘇格蘭莊園
在占士與艾菲準備舉行婚禮的早上，占士坐在 扶手椅上睡着。一位長有翅膀的仙女跪在他身 旁，親吻了他的額頭，他迷糊地醒來，被眼前 的景像迷住。他試圖捉住仙女，但被她逃脫。 她走到壁爐旁，轉瞬從煙囪中消失。占士大感 困惑，便喚醒了同伴，但沒有人見過那位仙 女。占士的情敵根恩來到，發現占士迷上了艾 菲以外的人。
婚禮正籌備得如火如荼。占士對艾菲漠不關 心，與此同時，根恩熱烈追求艾菲，艾菲卻無 動於衷。占士雖然在籌備婚禮，但他漸漸意識 到，隨着艾菲對婚禮抱有愈來愈多憧憬，他的 心早已跨越莊園的牆壁，翩想他方。
Act I
A Scottish manor house
It is the morning of James’ marriage to Effie and he is asleep in his armchair. A winged Sylphide is kneeling by his side. She kisses him on his forehead and he wakes up confused. Entranced by the vision of the Sylphide, he attempts to capture her, but she escapes; as she reaches the fireplace, she vanishes up the chimney. Troubled, he wakes his companions but none of them have seen her. Gurn, James’ rival, arrives and learns that James is infatuated with someone other than Effie.
The preparations for the wedding are in full swing. James hardly notices Effie; instead she is wooed by Gurn whom she ignores. James joins in the preparations, but gradually realises that, as Effie dreams more and more of the wedding, his own dreams go far beyond the walls of the manor house.
© Serghei Gherciu
一位名叫馬奇的老婦人悄悄溜進大廳，在壁爐 旁取暖。占士覺得她的來到乃不詳之兆，對她 心生厭惡，無法容忍她坐在仙女最後出現的位 置。他命令她離開，但艾菲安撫了他，並說服 他讓馬奇為婚禮的來賓算命。馬奇預言艾菲會 嫁給根恩，占士聽後勃然大怒，威脅馬奇，馬 奇於是咒罵他。艾菲為了準備婚禮禮服而匆匆 離開，留下占士獨自心煩意亂。
仙女再次現身，向占士示愛，並告訴他，他們 屬於彼此。根恩進來，他確信自己逮到占士與 另一個女人說話，還試圖向艾菲揭發占士的行 徑但不果。
婚禮開始，仙女再次出現，占士無法抗拒她 的誘惑，跟隨她進入了森林，遺下艾菲痛徹 心扉。
An old woman, Madge, has slipped unnoticed into the hall to warm herself by the fire. James, sensing that she is a sinister presence, takes an immediate dislike to her and cannot bear to see her sitting where he last saw the Sylphide. He orders her to leave, but Effie calms him and persuades him to let Madge tell the fortunes of some of the guests. Madge prophesies that Effie will marry Gurn, and James, furious at this, threatens Madge, who curses him. Effie runs off to dress for the wedding, leaving James alone and in turmoil. The Sylphide once again shows herself to James, declares her love for him and tells him that they belong together. Gurn enters and, believing that he may have caught James talking to another woman, attempts to reveal the situation to Effie but fails.
As the wedding festivities begin, the Sylphide reappears and, unable to resist her enticements, James follows her into the forest. Effie is left broken-hearted.
© Serghei Gherciu
第二幕
林間空地
森林深處迷霧籠罩，馬奇正策劃復仇。她在一 個魔法大鍋中，製作一件讓所有人都無法抵擋 的紗巾。隨着霧氣消散，占士跟隨仙女，走進 她的森林領域。仙女為他採集漿果和清水，但 迴避了他的擁抱。為了讓他提起精神，她召喚 了她的姊妹們，使得整個森林滿是為占士翩翩 起舞的仙女。然而，不管占士如何努力，都無 法將他所愛的仙女擁入懷中。
艾菲和占士的同伴們來到林間空地尋找占士。
根恩找到了占士的帽子，但馬奇說服他別說出 來。根恩向艾菲求婚，在馬奇的鼓勵下，艾菲 接受了。所有人都離開，前往準備艾菲和根恩 的婚禮。
與此同時，占士瘋狂地尋找仙女，馬奇說服 他，聲稱那件紗巾可以幫他捉住仙女。仙女出 現了，她被紗巾迷住。她讓占士把紗巾披在她 肩上並親吻她。然而，他的擁抱卻帶來致命後 果——仙女的翅膀脫落在地上。絕望中，占士 看見本該屬於自己的婚禮隊伍正在遠處。馬奇 強迫他看清自己失去了甚麼，而他現在才意識 到，在試圖擁有得不到的東西時，他已經失去 了一切。
Act II
A glade in the forest
Deep in the forest, shrouded in mist, Madge is planning her revenge. She makes a veil, irresistible to all, in a magic cauldron. As the fog lifts, James enters with the Sylphide, who shows him her realm. She brings him berries and water, but evades his embrace.
To lift his spirits, she calls on her sisters and the forest fills with sylphs, who dance for James. Try as he might, he is unable to catch the Sylphide in his arms.
Effie and James’ companions reach the glade looking for him. Gurn finds James’ hat, but Madge convinces him to say nothing. He proposes to Effie and, encouraged by Madge, she accepts. Everyone leaves to prepare for the wedding of Effie and Gurn.
Meanwhile, James is desperately looking for the Sylphide, and Madge convinces him that the veil she has made will help him catch her. The Sylphide appears and is captivated by the veil. She allows James to place it around her shoulders and as he does, he kisses her. His embrace is fatal and the Sylphide’s wings fall to the ground. In despair, James sees what should have been his own wedding party in the distance. As Madge forces him to see what he has lost, he realises that in trying to possess the unobtainable he has lost everything.
© Serghei Gherciu
Dramaturgical Structure
音樂 赫曼．馮．魯文斯基奧德
第一幕
序曲
第一場 仙女、占士、兩位男子 仙女獨舞
親吻
占士醒來 仙女消失
占士喚醒兩位男子
第二場 占士、根恩、艾菲、母親、 兩位男子、兩位女子
第三場 眾男子與眾女子進場
艾菲與占士雙人舞
六人舞
艾菲獨舞
馬奇進場
占士看見馬奇 算命
第四場 在窗邊
占士與仙女 仙女獨舞
根恩進場 仙女在椅子上消失
第五場 群舞員進場
根恩獨舞 占士獨舞
行板 3/4 不太快的快板 6/8
小行板 2/4
快板 2/4
行板 3/4
優雅的波蘭舞曲風格 3/4
小行板 2/4
熱情如火的極快板 2/4 小行板
悲痛的小行板 6/8
優雅的快板 6/8
小行板 2/4
活潑的快板 2/4
快板 2/4
進行曲節奏 2/4
第六場 連索舞 / 性格舞 快板 3/4
第七場 仙女及台上所有人進場 (第一幕終曲)
行板 3/8
快板，像急板似的快板 3/4
Music Herman Severin von Løvenskjold
ACT I
Overture
Scene One The Sylphide, James, two boys
The Sylphide solo
Kiss
James wakes
The Sylphide disappears
James wakes two boys
Scene Two James, Gurn, Effie, Mother, two boys, two girls
Scene Three Boys and girls’ entrance
Effie and James’ duet
Pas de six
Effie’s solo
Madge’s entrance
James sees Madge
Fortune telling
Scene Four Window scene
James and the Sylphide
The Sylphide’s solo
Gurn’s entrance
The Sylphide disappears in chair
Scene Five Corps de ballet’s entrance
Gurn’s solo
James’ solo
Scene Six Reel/character dance
Scene Seven The Sylphide’s entrance and full cast on stage
(Finale of Act I)
Andante 3/4
Allegro non tanto 6/8
Andantino 2/4
Allegro 2/4
Andante 3/4
Alla polacca grazioso 3/4
Andantino 2/4
Allegro con fuoco assai 2/4
Andantino
Andantino Doloroso 6/8
Allegro grazioso 6/8
Andantino 2/4
Allegro vivace 2/4
Allegro 2/4
Tempo di Marcia 2/4
Allegro 3/4
Andante 3/8
Allegro, allegro presto 3/4
第二幕
第一場 三位女巫與馬奇
第二場 眾仙女的場景—三位仙女 仙女、占士進場
第三場 眾仙女 / 群舞員、占士、仙女進場
第四場 眾仙女的慢板 仙女獨舞 占士獨舞 三位仙女
雙人舞 仙女獨舞 占士獨舞 尾聲—仙女 尾聲—占士 尾聲—四位仙女 終曲
第五場 眾仙女、占士與仙女的場景
第六場 根恩、兩位男子、馬奇進場 艾菲、母親進場
艾菲與根恩訂婚
第七場 馬奇與占士
第八場 終曲： 仙女與占士進場 眾仙女、群舞員進場 婚禮行列
馬奇、占士進場；仙女死去
快板 6/8
行板 2/4
小行板 6/8
快板 2/4
平靜的行板 6/8
漸轉活潑 6/8
不太快的小快板 2/4
漸轉緩板 2/4
小快板 2/4
稍快 2/4
漸快 2/4
快板 2/4
中板 2/4
中板 2/4
漸轉快板 2/4
快板 2/4
行板 6/8
慢板 6/8
快板 2/4
行板 6/8
ACT II
Scene One Three Witches and Madge
Scene Two Sylphs’ scene—Three Sylphs James and the Sylphide´s entrance
Scene Three Sylphs’ entrance/corps and James, the Sylphide
Scene Four Adagio of Sylphs The Sylphide´s solo James’ solo
Three Sylphs
Pas de Deux: The Sylphide´s solo James’ solo Coda—The Sylphide Coda—James Coda—Four Sylphs Finale
Allegro 6/8
Andante 2/4
Andantino 6/8
Allegro 2/4
Andante tranquillo 6/8
Piu vivo 6/8
Allegretto non troppo 2/4
Piu lento 2/4
Allegretto 2/4
Poco piu mosso 2/4
Accelerando 2/4
Scene Five Scene of Sylphs, James and the Sylphide Allegro 2/4
Scene Six Entrance of Gurn, two boys, Madge
Effie and Mother’s entrance
Engagement of Effie and Gurn
Moderato 2/4
Moderato 2/4
Allegro vivo 2/4
Scene Seven Madge and James Allegro 2/4
Scene Eight Finale:
The Sylphide´s and James’ entrance
Sylphs/corps’ entrance
Wedding procession
Madge and James’ entrance, the Sylphide dies
Andante 6/8
Adagio 6/8
Allegro 2/4
Andante 6/8
Artistic Director’s Notes
仙女是神話中的生物或精靈。這部芭蕾舞劇 講述了人類與精靈之間一段不可能的愛情， 同時揭示了人類對未知領域、甚至是危險的 生活，有種原始的渴望。即使你不知道《仙 凡之戀》的故事，也會在其他地方領悟到當 中的教訓——如果你試圖觸碰夢境，它就 會幻滅。
《仙凡之戀》是現存最早期的浪漫主義芭蕾 舞劇之一，於 1832 年在巴黎首演。作品最 初由菲利浦．塔里奧尼編舞，但如今廣為人 知的，卻是奧古絲．布農維爾編舞的版本。
而編舞約翰．高博格的改編至今仍是古典和 浪漫主義芭蕾舞傳統的基石，更為芭蕾舞界 創立了重要先例。在此表演中，我們有幸採 用布農維爾的技巧演出，這是其中一種最美 麗且難度最高的舞技。
有趣的是，在這場製作中，我們採用了赫 曼．馮．魯文斯基奧德的音樂，當中有部分 曾在布農維爾編舞版本首演時被演奏，只是 後來被剔除掉。
A sylph is a mythological creature or spirit. This ballet tells the story of an impossible love between a human and a spirit, and man’s inherent temptation for the unknown and a sometimes dangerous life. Even if you don’t know the story of La Sylphide , you have learnt its lesson elsewhere: if you try to touch a dream, it will die.
One of the first Romantic and still surviving ballets, La Sylphide was first performed in Paris in 1832. It was originally choreographed by Filippo Taglioni, but most people are more familiar with the version by August Bournonville.
Johan Kobborg’s adaptation is still a cornerstone of the Classical and Romantic ballet tradition and it has set an important precedent in the ballet world. In it, we have an opportunity to use a Bournonville technique that is one of the most beautiful and difficult to execute.
What is interesting is that Herman Severin von Løvenskjold’s music in our production includes parts that were played during the premiere of
© Serghei Gherciu
此外，我們法國本土的創作者芭波拉．瑪蘭 蓮斯卡（服裝設計）和馬田．車尼（舞台設 計）為此製作重新設計。這些設計以傳統版 本作為基礎，對我來說，它們值得被奉為劇 場的瑰寶和重要教材。
每位有志氣的藝術家，都應有機會盡展所 長。而對舞者來說，若從未經歷布農維爾的 訓練方式，便無法成長。
故此，將這項傳統傳承後世是我們的重任。
丹麥風格以華麗舞蹈和生動活潑的默劇為基 礎，透過重演這舞作，我們得以繼續實踐使 命。編舞高博格強調舞者足尖上的表現，以
及接觸地面時的動作控制。他總是鼓勵捷克 國家芭蕾舞團的年輕藝術家積極演出新作， 他還以專業態度分享技藝。我們非常感激他 對古典芭蕾的無私奉獻。
讓我們一起啟航，感受故事裏的心碎之痛， 沉浸在對浪漫主義芭蕾的熱愛中，敞開心 扉，細味這段《仙凡之戀》。
祝你能擁有一場不同凡響的藝術體驗。
撰文：捷克國家芭蕾舞團藝術總監菲臘．巴 蘭卡維馳
Bournonville’s choreography but were later omitted.
Our local creators Barbora Maleninská (costumes) and Martin Černý (stage design) came up with new designs. These are based on traditional versions, which, in my opinion, should be regarded as a treasure and educational asset of the theatre.
Every aspiring artist should be given a chance to fulfil their potential in their chosen discipline. For a dancer it would not be possible to grow without encountering the Bournonville method. It is vital that we pass this tradition on to future generations. We are continuing the mission by restaging the established Danish style based on bravura dancing and expressive mime. Choreographer Kobborg emphasises these qualities en pointe and in the way that dancers use the control of the floor. His staging encourages young artists of the Czech National Ballet to engage in an effective rollout, while he shares his know-how in a professional manner. His understanding of Classical ballet is full of devotion and we are thankful for his generosity. Let’s travel together and experience the emotional tone of a heartbreaking story. Let’s indulge in a passion for Romantic ballet and open our hearts to the story of La Sylphide .
We wish you an extraordinary artistic experience.
Text: Filip Barankiewicz, Artistic Director, Czech National Ballet
布農維爾的芭蕾舞技巧與風格
The Bournonville Ballet Technique and Style
當代布農維爾風舞者在舞技和演技兩方面均 需出類拔萃。每部芭蕾舞劇最初都是一部戲 劇，然後透過芭蕾默劇、古典舞和民族舞形 式呈現。布農維爾風具備一系列鮮明的特 徵，包括充滿了優雅流暢的動作、輕盈的 跳躍和精采的快板，並着重肩膀（包括上半 身、頭部及目視的方向）與腿部、手部位置 的聯繫。
1979 年，為紀念布農維爾逝世一百周年， 哥本哈根以丹麥皇家芭蕾舞團和布農維爾 為主題，舉辦了一場盛大的國際節慶。活 動包括於丹麥皇家劇院舉辦的芭蕾舞表 演、展覽、布農維爾芭蕾技藝工作坊和理 論研討會。
布農維爾創造了一套獨特的舞蹈和訓練風 格，他的學生兼繼承者漢斯．白克將這種 扎實的教學方式加以編纂，以便傳承予後 代舞者。
多年以來，布農維爾學派一直靠口耳相傳 來流傳，但這種承傳方式難免出現變動和 遺漏。好些人曾嘗試把舞步記錄下來，以 傳給後人。不過到了 1979 年，前首席舞 者、芭蕾舞大師兼布農維爾學派教師基斯 頓．拉洛夫才成為首位真正創辦布農維爾 學派的人。他出版了一共四冊刊物，包括 使用法文名稱、拉班舞譜和班尼斯動作譜 這兩種舞譜系統的舞步錄音，以及原本為 布農維爾學派創作的音樂錄音。
布農維爾其中一項最偉大的成就，就是創造 了一種代表丹麥的芭蕾舞風格。這種風格以 法國古典芭蕾舞派為基礎，而布農維爾以非 常個人化的方式將之加以發展。
Bournonville dancers of our time must excel in dancing as well as acting. Each ballet is above all a drama, expressed by ballet mime, Classical dance and folk dance. The Bournonville style features certain specific characteristics. It’s full of grace, flowing movements, lightness of jumps, brilliant allegro and focus on épaulement (position of the upper body and head, including the direction of the eyes) in relation to the position of legs and arms.
In 1979, 100 years after Bournonville’s death, Copenhagen hosted a great international festival featuring the Royal Danish Ballet and Bournonville’s choreography. It involved ballet performances at the Royal Danish Theatre, exhibitions, Bournonville ballet technique workshops and theoretical conferences.
Bournonville created a unique style of dancing and training; a solid method of instruction that Bournonville’s pupil and continuator Hans Beck codified and bequeathed to generations of dancers to come.
For many years the Bournonville School survived in an oral tradition, with all the possible changes and omissions this naturally involves. Several attempts had been made to write down the steps for posterity, but in 1979 the former principal dancer, ballet master and Bournonville teacher Kirsten Ralov became the first to actually publish the Bournonville School. This four-volume publication included recordings of the steps using French designations and two different notation systems, Labanotation and Benesh Movement Notation, as well as recordings of the music originally composed for the Bournonville School.
One of Bournonville’s greatest accomplishments was the creation of a national Danish ballet style. This style was based on the French school of Classical ballet, which Bournonville developed in a very personal manner.
編舞
奧古絲．布農維爾
丹麥皇家芭蕾舞團的獨特風格主要歸功於 奧古絲．布農維爾（1805-1879年），他是將 十九世紀中葉的芭蕾舞和後來由俄羅斯主 導的芭蕾世界聯繫起來的關鍵人物。布 農維爾在其父親安東尼．布農維爾的指導 下開始學習跳舞，八歲加入丹麥皇家芭蕾 舞學校，十五歲便在皇家劇院演出，並 於巴黎師從奧古絲特．韋斯特里斯等知名 導師。
他短暫返回哥本哈根後，隨即面臨一個轉 折點——其父於 1823 年被丹麥皇家劇院解 僱，這促使他再次在巴黎逗留兩年。這段 時期對布農維爾至關重要，他塑造了其標 誌性的風格。布農維爾與巴黎歌劇院芭蕾 舞團合作，並與瑪利亞．塔利奧尼搭檔， 在歐洲巡演後便回到哥本哈根，與丹麥皇 家芭蕾舞團簽下為期十八年的獨舞員和編 舞合約。
在布農維爾的自傳《我的舞台生活》（1877 年）中，他反思了自己的舞蹈優點——精 確、輕盈和天生的優雅，同時也承認了趾 尖旋轉和跳躍的難度。自 1848 年起，他將 事業重心完全轉向編舞，並續簽其編舞合 約七年。
Choreographer
August Bournonville (1805–79)
The Royal Danish Ballet’s unique style is largely attributed to August Bournonville (1805–79), a key figure linking mid-19th-century ballet to the later Russian dominance. Bournonville began his studies under his father, Antoine Bournonville, and at eight joined the Royal Danish Ballet School. By 15, he was performing with the Royal Danish Theatre and studying with renowned instructors in Paris, including Auguste Vestris.
After a brief return to Copenhagen, he faced a pivotal moment when his father was dismissed from the Royal Danish Theatre in 1823, prompting another two-year stay in Paris. This period was crucial, as it shaped his signature style. Bournonville danced with the Paris Opera Ballet, partnering with Maria Taglioni, and after a European tour he returned to Copenhagen to sign an 18-year contract as soloist and choreographer with the Royal Danish Ballet. In his autobiography, Mit Theaterliv (1877), Bournonville reflected on his dance strengths— precision, lightness and natural grace—while acknowledging challenges with pirouettes and elevation. By 1848, he had shifted his focus entirely to choreography, extending his contract by seven years.
1855 年，布農維爾在維也納宮廷歌劇院工 作了一年，其後回到哥本哈根，直到 1861 年，他又在斯德哥爾摩過了三季。從 1829 年 9 月到 1877 年退休期間，他編排了逾 六十部作品，包括《瓦爾德瑪》（1835 年） 和他創作的《仙凡之戀》經典版本，後者 由赫曼．馮．魯文斯基奧德重新配樂。
布農維爾的芭蕾舞作品常常反映他處身 的地方，例如《阿爾巴諾的節日》（1839
年）、《拿坡里》或名《漁夫與他的新娘》 （1842 年）以及《布魯日的市集》（1851 年）。他的最後一部芭蕾舞作品《從西伯利 亞到莫斯科》（1876 年），靈感來自一次造 訪聖彼得堡馬林斯基劇院的經歷，他在那 裏結識了馬利斯．佩蒂巴。
四十年來，布農維爾一直爭取使芭蕾舞成 為一種獲認可的藝術形式，為專業舞者的 尊嚴而奮鬥。他的努力成功提升芭蕾舞在 丹麥社會的地位，並獲皇室支持。布農維 爾獲封為騎士，成為丹麥貴族的一員，鞏 固了他在丹麥文化歷史上的地位。
Bournonville spent a year with the Court Opera in Vienna in 1855, then returned to Copenhagen until 1861, followed by three seasons in Stockholm. From September 1829 until his retirement in 1877, he choreographed more than 60 works, including Valdemar (1835) and his iconic version of La Sylphide , with a new score by Herman von Løvenskjold.
His ballets often reflected their settings, such as The Festival in Albano (1839), Napoli, or The Fisherman and his Bride (1842), and The Kermesse in Bruges (1851). His last ballet, From Siberia to Moscow (1876), was inspired by a visit to the Mariinsky Theatre in St Petersburg, where he met Marius Petipa.
For 40 years, Bournonville fought for ballet’s recognition as a legitimate art form and the dignity of the dancing profession. His efforts elevated the status of ballet in Danish society, leading to support from the royal family.
Bournonville was knighted, becoming part of Denmark’s nobility and cementing his legacy in Denmark’s cultural history.
編舞專訪：布農維爾手稿重現 復刻著名芭蕾舞劇《仙凡之戀》
Interview with Johan Kobborg: Rediscovering a Celebrated Ballet Master’s La Sylphide
現今的觀眾會如何理解於1832年首演，一個 關於一位蘇格蘭人與一個超自然生物間的愛 情故事？對於編舞約翰．高博格而言，一切 只取決於觀點。他正為捷克國家芭蕾舞團排 演歷史悠久的《仙凡之戀》。在今天，超自然 事件的象徵意義可以有多種詮釋，不過若理 解為「對幸福的追求」，大抵放諸四海皆準。
或許當代觀眾不像十九世紀的觀眾般，會沉 醉在浪漫主義的幻想中，但高博格相信，那 個時代的藝術故事仍具有強大感染力。
How do audiences today relate to a love story between a Scotsman and a supernatural creature that premiered in 1832? For Johan Kobborg, who is staging a historically informed La Sylphide for the Czech National Ballet, it’s all about perspective. The symbolism of the supernatural can be interpreted in many ways today and the pursuit of happiness is a universal theme. While contemporary audiences may not be as steeped in Romantic fantasies as their 19th-century counterparts, Kobborg believes the era’s artful storytelling remains as powerful as ever.
© Serghei Gherciu
《仙凡之戀》述說年輕男子占士熟睡時，被 歐洲民間傳說常見的森林仙女弄醒，故事由 此展開。占士對她一見鍾情，可是當日正是 他迎娶未婚妻艾菲的大日子。他應否追求一 段超越常規、尚未來臨的愛情？還是他只是 一時意亂情迷？
重探經典
《仙凡之戀》獲公認是首齣重要的浪漫主義 芭蕾舞劇，於 1832 年在巴黎歌劇院首演， 唯該版本現已失傳。然而，另一個版本自 1836 年起，就一直是丹麥皇家芭蕾舞團的 保留劇目。該舞劇由傳奇芭蕾舞大師奧古 絲．布農維爾（1805-1879）創作，他在巴 黎觀賞《仙凡之戀》後受啟發，於是在哥本 哈根編創了自己的版本。約二百年過後，丹 麥皇家芭蕾舞團及倫敦皇家芭蕾舞團的前首 席舞者高博格，悉心重探現存最早的版本，
重新整合歷史細節，仔細思考這個芭蕾舞故 事如何在現今的舞台以最佳方式呈現。
在高博格的《仙凡之戀》於 2005 年首演之 前，一個偶然的發現為這個製作畫龍點睛： 一間瑞典的圖書館發掘出一份管弦樂譜，上 面竟有布農維爾的手寫註釋，那是前所未見 的。高博格的版本利用這些滄海遺珠，並加 入丹麥版《仙凡之戀》散失已久的元素，包 括眾角色在舞台上的位置、多年來被刪掉的 音樂段落。全靠布農維爾手稿的啟發，高博 格肯定道：「我沒有刪去任何被認為非常接 近原著版本的東西，反而加回布農維爾早期 版本曾出現的東西。」
布農維爾風格
觀賞布農維爾的芭蕾舞劇，可以為歷史舞蹈 帶來有趣觀點，觀眾能看到高博格所指出
La Sylphide opens with a sleeping young man named James, who is awakened by a sylph, a woodland fairy from European folklore. He immediately falls in love with her, but he is due to marry his fiancé, Effy, that very day. Should he pursue a love that transcends the conventional future that awaits him? Or is he simply suffering the temporary effects of enchantment?
Revisiting a classic
Widely considered the first major Romantic ballet, La Sylphide premiered in 1832 at the Paris Opera, a version that has now been lost. At the Royal Danish Ballet, however, another version has been part of the company’s repertoire since 1836. That production was created by legendary ballet master August Bournonville (1805-79), who was inspired to choreograph his own La Sylphide in Copenhagen after attending a performance in the French capital. Nearly 200 years later, Kobborg, former principal dancer with the Royal Danish Ballet and The Royal Ballet in London, has painstakingly revisited the earliest-known surviving La Sylphide , reintegrating historic details while carefully considering how best to convey the ballet’s story in the present.
Just before Kobborg’s La Sylphide was premiered in 2005, a fortuitous discovery bestowed an additional aura on the production: a library in Sweden unearthed an orchestral score with Bournonville’s handwritten notes that had never been seen in our time. Using these historic pearls of wisdom, Kobborg’s version includes elements of the Danish La Sylphide that had disappeared from previous iterations of the ballet, including the placement of the characters on stage, as well as musical passages that had been eliminated over the years. Thanks to insights provided by Bournonville’s notes, Kobborg confirms, “I have not cut anything from what is considered as close to the original as possible, but I have added things that used to be in the early versions of Bournonville”.
The Bournonville style
Viewing a Bournonville ballet provides an interesting perspective on historic dance, allowing audiences to observe ballet steps that Kobborg asserts “have survived more or less in an unbroken chain, so they have been passed
© Serghei Gherciu
「基本上從沒間斷、由一位舞者承傳到另一 位舞者」之芭蕾舞步。高博格指出，布農維 爾的編舞特色部分源於傳統上丹麥的舞台比 其他國家的舞台小，這在一定程度上影響了 舞者的身體動作和空間運用模式，因為「舞 台愈大，你的動作就愈大。」高博格道。
布農維爾風格亦強調含蓄的姿態表現。例 如，手臂只是身體的延伸，無須過分強調 手部動作。高博格說：「在布農維爾的作品 中，我們盡量不刻意表現任何努力，雙臂的 擺放亦並非要帶來特殊效果。」布農維爾這 位芭蕾舞大師還會利用默劇動作，作為其說 故事的重要元素。這位丹麥編舞家相信舞蹈 是快樂的表現，因此，「在布農維爾的作品 中，人們開心便起舞。」高博格說，至於故 事中的其他部分，就會透過默劇來表達。這 些微細的差異，對於不熟悉布農維爾風格的 舞者來說，可能是一個挑戰，但高博格記得 《仙凡之戀》中的捷克舞者都能很快適應， 皆因他們在布拉格的舞團有着多樣化的保留 劇目，跟習慣於單一編舞家或風格傳統的表 演者大相逕庭。
布農維爾與男舞者
作為一位備受推崇的舞者，布農維爾為提升 男性舞者地位貢獻良多。高博格指，布農維 爾構思雙人舞時，讓男舞者不再隱身在女舞 者背後作支撐。相反，兩者並肩而舞，同時 跳着一致的舞步，高博格認為這是「獨一無 二的布農維爾」。許多男舞者喜歡演出布農 維爾的芭蕾舞作，正「因為我與我的女舞者 拍檔同樣重要」。高博格認為，《仙凡之戀》
down from dancer to dancer”. He remarks that Bournonville’s choreography is partly the result of Danish stages that have traditionally been smaller than those in other nations. This affects the dancers’ physical movements and spatial patterns because “the larger the stage, the larger your movements”, Kobborg says.
The Bournonville style also emphasises an understated approach to placement. The arms, for example, function as an organic continuation of the entire body without emphasis. Kobborg says: “In Bournonville, we try not to show any effort, the arms are not placed for effect.” The style also includes the use of mime, an integral element of the ballet master’s storytelling. The Danish choreographer believed that dancing was an expression of joy, therefore “in Bournonville, people dance when they’re happy”, says Kobborg, while the rest of the storytelling occurs through mime. These subtle differences can be a challenge for dancers unfamiliar with Bournonville’s style, but Kobborg recalls that the Czech dancers in La Sylphide were able to adapt quickly due to the diverse repertoire of their Prague-based company, in contrast to performers accustomed to a single choreographer or stylistic tradition.
The male dancer and Bournonville
As a respected dancer himself, Bournonville did much to promote the position of the male dancer. Kobborg describes how Bournonville reimagined partnering in which the male was no longer hidden behind the female for support. Instead, the two danced side by side, executing the same
© Aya Erivan
的男主角占士，是布農維爾創作的劇目中， 其中一個難度最高、最令人興奮的角色，這 個角色「不會令人演至厭倦，就如最好的芭 蕾舞劇，因為有空間讓你成長，所以能不斷 改進演繹方式。」
除了芭蕾舞劇本身，布農維爾的訓練方式也 特別適合培育強壯的男舞者。與其他風格完 全不同，男舞者在演繹布農維爾風格的大跳 躍時，不會以雙臂來帶動身體前進，同時要 表現出毫不費力，然而，「我們仍要跳得一 樣高。」高博格總結道，「必須以身體其他 部位發力量，例如雙腿以及上半身」，從而 建立出堅實基礎，來表達力量與從容。
時至今日，不論男女舞者都能從布農維爾的 訓練方式中獲益，透過自行詮釋與微調，結 合古典與現代的精粹，為十九世紀的編舞作 出獨特貢獻。
撰文：Marisa C. Hayes 中譯：陳瑋鑫
原文刊載於2024年12月香港藝術節之線上雜誌《News & Features》
steps at the same time, something Kobborg considers “uniquely Bournonville”. One of the reasons that many men consider it so fulfilling to perform in Bournonville ballets is “because you are as important as your female counterpart”. Kobborg considers James, the male protagonist of La Sylphide , to be one of the most demanding and exciting roles in the Bournonville repertoire, saying it’s a part “that you don’t get tired of performing, as with the best ballets, you can evolve your interpretation because there is room for growth”.
In addition to the ballets themselves, Bournonville training is particularly well suited to preparing strong male dancers. In contrast to other styles, men trained in Bournonville don’t use their arms to propel themselves through space while performing large leaps, nor are they taught to show any effort, but “we are expected to jump just as high”, says Kobborg. That strength, he concludes, “must be found somewhere else, in your legs and in your upper body”, creating a solid foundation that builds strength and ease.
Today, both men and women can benefit from Bournonville’s training while offering their own unique contributions to his 19th-century choreography through their own interpretations and small adjustments that combine the best of old- and new-world approaches.
Text: Marisa C. Hayes
Chinese Translation: William Chan
This article was originally published on the HKAF’s News & Features website in December 2024
蘇格蘭短裙
占士的格子呢褶襉短裙，讓人一眼就能認出故事發 生在蘇格蘭，這個充滿異國情調的地方，正好符合 浪漫主義對原始環境的偏好。男芭蕾舞者一般穿緊 身褲來展示腿部的整體線條，而此劇則採用蘇格 蘭短裙遮蓋了大腿，以突顯小腿及腳部快速而精準 的舞步。
The Scottish kilt
James’ tartan kilt immediately identifies the ballet’s setting as Scotland, an exotic locale in keeping with Romanticism’s focus on untamed environments. While tights normally display the entire line of the male dancer’s legs, the kilt covers the thighs, framing the quick and precise choreography for the lower legs and feet.
童話的世界
奧古絲．布農維爾與安徒生的終生友誼始於兒時， 二人同樣熱愛舞蹈。不過安徒生並沒有像布農維爾 那樣，成為專業表演者，而是撰寫了具影響力的童 話故事，其著作模糊了現實與幻想的邊界，為《仙 凡之戀》等芭蕾舞劇中的魔法精靈世界作出貢獻。
A world of fairytales
Lifelong friends since childhood, August Bournonville and Hans Christian Andersen shared a love of dance. While Andersen did not perform professionally like his schoolmate, he wrote influential fairytales that blurred the line between reality and fantasy, contributing to ballet’s world of magical spirits such as those that populate La Sylphide.
編舞
約翰．高博格
約翰．高博格是丹麥知名的芭蕾舞者、編舞 和導演，他在倫敦皇家芭蕾舞團和丹麥皇家 芭蕾舞團時因表現卓越而聞名。他出生於奧 登斯的一個藝術世家，最初接受男高音的培 訓，後來轉而學習舞蹈，在菲英島芭蕾舞學 院和丹麥皇家芭蕾舞學校學習。1989 年， 他以見習舞蹈員的身份加入丹麥皇家芭蕾舞 團，並在 1994 年首次出演《仙凡之戀》中 占士一角後，獲晉升為首席舞者。1999 至 2013 年間，他在倫敦皇家芭蕾舞團擔任首 席舞者。
高博格的代表作包括為多套古典和當代芭 蕾舞劇擔當主角，如《吉賽爾》中的阿爾伯 特和《天鵝湖》中的齊格弗里德。他曾以客 座藝術家身份，與多個備受推崇的芭蕾舞 團合作，當中包括馬林斯基芭蕾舞團、美國 芭蕾舞團。由 2001 年起，他與羅馬尼亞芭 蕾舞者亞里娜．科作卡羅成為拍檔，二人被 譽為芭蕾舞界最偉大的雙人組合之一，經常 被拿來與瑪歌．芳婷和魯道夫．雷里耶夫作 比較。
身為編舞，高博格為多個著名舞團創作了 不少重要作品，包括《羅密歐與茱麗葉》和 《唐吉訶德》。他曾獲無數殊榮，包括雷里
耶夫芭蕾舞比賽大獎，以及丹麥女王瑪格麗 特二世頒發的丹尼布洛騎士勳章。
Choreographer
Johan Kobborg
Johan Kobborg is a celebrated Danish ballet dancer, choreographer and director known for his remarkable tenure with The Royal Ballet in London and the Royal Danish Ballet. Born in Odense to an artistic family, he initially trained as a tenor before shifting his focus to dance, studying at the Funen Ballet Academy and the Royal Danish Ballet School. He joined the Royal Danish Ballet as an apprentice in 1989 and was promoted to Principal in 1994 after debuting as James in La Sylphide . From 1999 to 2013, he served as a Principal with The Royal Ballet in London.
Kobborg’s repertoire includes major roles in both Classical and contemporary ballet, such as Albrecht in Giselle and Siegfried in Swan Lake . He has performed as a guest artist with esteemed companies including the Mariinsky Ballet and the American Ballet Theatre. His artistic partnership with Romanian ballerina Alina Cojocaru began in 2001, and they are celebrated as one of ballet’s greatest duos, often compared to Margot Fonteyn and Rudolf Nureyev.
As a choreographer, Kobborg has created notable works for various prestigious companies, including Romeo and Juliet and Don Quixote . He has received numerous accolades, including the Grand Prix at the Rudolf Nureyev International Ballet Competition and the Order of the Dannebrog from Queen Margrethe II of Denmark.
佈景設計
馬田．車尼
馬田．車尼在布拉格的表演藝術學院修讀舞台設 計。自 2000 年畢業以來，為捷克、斯洛伐克、烏 克蘭、俄羅斯和奧地利等地逾二百套製作設計舞台 佈景和服裝。在布拉格國家劇院工作期間，他與導 演伊凡．拉傑蒙特合作，製作多部戲劇作品，包括 《罪與罰中的 K.I. 》和《科利奧蘭納斯》。他還與哈 娜．布雷索娃一起製作《德．浦爾叟雅克先生》， 並與安德烈．哈維爾卡製作歌劇《波希米亞人》、 芭蕾舞劇《金髮姑娘》和《天鵝湖》。
車尼為布雷索娃改編的《正午的分界》設計舞台， 並於 2011 年榮獲阿爾弗．拉多克獎。他現於表演藝 術學院執教，並擔任布拉格國家劇院製作部的藝術 總監。
Set Designer
Martin Černý
Martin Černý studied Set Design at the Academy of Performing Arts in Prague and has created over 200 sets and costumes since graduating in 2000 for productions in the Czech Republic, Slovakia, Ukraine, Russia and Austria. At the National Theatre in Prague, he collaborated with director Ivan Rajmont on various drama productions, including K.I. from Crime and Coriolanus . He also worked with Hana Burešová on Monsieur de Pourceaugnac and Ondřej Havelka on operas including La bohème and ballets such as Goldilocks and Swan Lake .
Černý’s design for Burešová’s adaptation of Partage de Midi won the Alfréd Radok Award in 2011. He teaches at the Academy of Performing Arts in Prague and serves as the Artistic Director of the Production Department at the National Theatre in Prague.
服裝設計
芭波拉．瑪蘭蓮斯卡
芭波拉．瑪蘭蓮斯卡於 2013 至 2020 年間在布拉格 表演藝術學院修讀舞台設計。她現正在該學院戲劇 系研究舞台設計，並以此作為其博士學位研究的一 部分。她經常為捷克的獨立劇場和電影擔任舞台和 服裝設計，並專注從事跨界別的創作項目。此外， 她也是布拉格國家劇院長期合作的藝術家，為該劇 院許多作品設計服裝。她的作品包括：2022 年，由 卡特卡．德拉加內斯庫為帕慕夫卡劇院執導的《沉 睡者》、由珍．布里安為維諾拉第劇院執導的《捕 鼠器》、由卡歷圖．彼耶多為布拉格國家劇院執導 的《火焰》等。
Costume Designer Barbora Maleninská
Barbora Maleninská studied Stage Design at the Academy of Performing Arts in Prague from 2013-20. She is currently engaged in scholarly research in the field of stage design at the Academy’s Drama Department, as part of her doctoral degree studies. She is active as a stage and costume designer on the Czech independent theatre and cinema scene, focusing primarily on interdisciplinary author projects. She has been a long-term collaborator with the Prague National Theatre. She has created a number of costume designs, for example Spáči (“Sleepers”) for the Palmovka Theatre, directed by Catinca Draganescu in 2022, Past na myši (“The Mousetrap”) for the Vinohrady Theatre), directed by Jan Burian in 2022, and Plameny (“Flames”) for the National Theatre, directed by Calixto Bieito in 2022.
音樂
赫曼．馮．魯文斯基奧德
奧古絲．布農維爾為了創作其版本的《仙凡之戀》， 委託了當時十九歲的馮．魯文斯基奧德男爵譜寫全 新樂譜，這可能原於布農維爾資金不足，無法購買 尚．施奈茨霍夫於 1832 年所作的《仙凡之戀》原 版樂譜。法國評論家認為原版樂譜不夠戲劇化。而 布農維爾認為音樂對芭蕾舞至關重要，他曾表示， 音樂能營造氣氛並界定舞蹈的性質。魯文斯基奧德 與布農維爾密切合作，根據劇本創作了合適的芭蕾 舞樂段，並在舞蹈課和彩排時以小提琴伴奏。他為 《仙凡之戀》所作的樂譜是現存最古老的浪漫主義 芭蕾舞原創樂譜之一，突顯了仙女的超凡脫俗與蘇 格蘭民俗舞蹈之間的對比。魯文斯基奧德還參與了 《新佩涅羅珀》或名《雅典春季節日》（1847 年）的 創作，並於 1850 年代成為宮廷管風琴師。
Music
Herman Severin von Løvenskjold (1815-70)
For his choreographic version of La Sylphide , August Bournonville commissioned a new score from 19-year-old Herman von Løvenskjold, possibly due to insufficient funds to purchase the original 1832 score by Jean Schneitzhoeffer. French critics deemed the original score insufficiently dramatic. Bournonville believed music was essential to ballet, stating that it evoked atmosphere and defined dance character. Løvenskjold worked closely with Bournonville, composing ballet parts in line with the libretto and using violin accompaniment for classes and rehearsals. His score for La Sylphide represents the oldest original Romantic ballet score, expressing contrasts between the ethereal sylph and Scottish folk dances. Løvenskjold also collaborated on The New Penelope, or Spring Festival in Athens (1847) and became a court organist in the 1850s.
捷克國家芭蕾舞團
Czech National Ballet
位於布拉格的捷克國家芭蕾舞團於 1883 年 成立，在中歐舞壇上具有舉足輕重的地位。
作為一個多元化的舞團，捷克國家芭蕾舞團 由來自十九個國家的七十五名舞者組成，將 不同的舞蹈風格和流派兼收並蓄，亦豐富了 彼此的表演，互為啟發。
在藝術總監菲臘．巴蘭卡維馳的領導下，捷 克國家芭蕾舞團與全球舞蹈劇場界建立了緊 密的連結。通過與外國編舞、導師、舞台總 監和設計師的合作，探索各種舞蹈風格，從 中發展了具中歐特色的舞蹈，使舞團在歐洲 聲譽日隆。
舞團主要在四個場地演出，並計劃在2024/25 年度，於捷克舉行共一百三十一場演出。此 外，他們將前往華倫西亞、馬斯喀特、列 日、香港和路德維希堡等地進行國際巡演。
舞團將推出三部長篇舞劇以及一部三齣劇 合一的舞劇，這六齣作品中，有三齣舞劇 都是全球首演。舞團亦即將舉辦多項外展 活動，包括舞蹈工作坊、簽名會、演前講 座與廣受歡迎的 DANCE ON 舞蹈課程，透 過這些活動，舞團的國際地位與影響力逐步 提升。
Founded in 1883, the Czech National Ballet in Prague has established itself as a prominent force in Central European dance. With a diverse ensemble of 75 dancers representing 19 nationalities, the company embodies a rich tapestry of dance styles and schools, fostering mutual enrichment and inspiration.
Under the leadership of Artistic Director Filip Barankiewicz, the Czech National Ballet has cultivated a strong dialogue with the global dance theatre community. Its reputation on the European stage has been enhanced through collaborations with international choreographers, coaches, stage directors and designers, allowing the company to explore various movement styles and develop a unique Central European identity.
The company performs at four venues and, in the 2024/25 season, plans to stage 131 performances across the Czech Republic, alongside international tours to locations such as Valencia, Muscat, Liège, Hong Kong and Ludwigsburg. It will debut three new feature-length productions and one triple bill, with three of these six pieces receiving their world premieres. The company will also engage in various outreach initiatives, including dance workshops, autograph sessions, preperformance lectures and the popular DANCE ON classes, while continuing to expand its international presence through tours.
一級獨舞員
阿麗娜．娜魯
飾 仙女
First Soloist
Alina Nanu
As the Sylphide
一級獨舞員
奥村彩
飾 仙女
First Soloist
Aya Okumura
As the Sylphide
© Pavel Hejný
一級獨舞員
馬提．素斯特
飾 根恩
First Soloist
Matěj Šust
As Gurn
一級獨舞員
保羅．伊爾馬托夫
飾 占士
First Soloist
Paul Irmatov
As James
獨舞員
法查斯高．斯卡爾柏圖
飾 根恩
Soloist
Fracesco Scarpato
As Gurn
芭蕾舞大師
荻本美穗
飾 馬奇
Ballet Master
Miho Ogimoto
As Madge
© Pavel Hejný © Pavel Hejný © Pavel Hejný
© Pavel Hejný © Pavel Hejný
獨舞員
艾利雲．加里奧利
飾 占士
Soloist
Erivan Garioli
As James
半獨舞員
亞歷山德拉．佩拉
飾 艾菲
Demisoloist
Alexandra Pera
As Effie
一級獨舞員
祖凡尼．羅圖洛
飾 馬奇
First Soloist
Giovanni Rotolo
As Madge
獨舞員
奧爾嘉．波高紐布斯卡
飾 艾菲
Soloist
Olga Bogoliubska As Effie
群舞員
井口陽花
飾 眾仙女之一（獨舞）
Corps de ballet
Haruka Iguchi
As a Sylph (solo)
獨舞員
尤珍妮亞．維多利．岡薩雷斯 飾 眾仙女之一（獨舞）
Soloist
Evgeniya Victory Gonzalez
As a Sylph (solo)
與捷克國家芭蕾舞團的群舞員
And Corps de ballet of The Czech National Ballet (如有變更，恕不另行通知）
(Subject to change)
© Zdeněk Sokol
© Pavel Hejný
© Pavel Hejný © Pavel Hejný © Pavel Hejný
© Pavel Hejný
捷克國家芭蕾舞團領導層及職員
Czech National Ballet — Directors
and Staff
藝術總監 Artistic Director
菲臘．巴蘭卡維馳 Filip Barankiewicz
藝術總監助理 Assistant to Artistic Director
Cecile Jasmin Barankiewicz-Kreutzer
技術總監 Technical Director
Pavel Dautovský
舞台總監 Stage Director
Jiří Brabec
舞台經理 Stage Manager
Petr Strnad
助理舞台經理 Assistant Stage Manager
Ondřej Novotný
電機主管 Head Electrician
Hynek Dörner
電機師 Electricians
Filip Wiesner, Marta Vondrášková, Jaroslav Repka, Luděk Havlíček
道具主管 Props Supervisor
Sára Rešlová
服裝 Wardrobe
Ilona Broncová, Petra Čepková
髮型及化妝 Hair and Make-Up
Petra Bártová, Tereza Zítková
排練樂師及燈光提示 Rehearsal Accompanist and Light Cues
Anna McBride
製作經理 Production Manager
Petra Patricelli
行政總監 Administrative Director
Martin Rypan
巡演經理 Tour Manager
Olga Semlali
公關經理 PR Manager
Helena Bartlová
(如有變更，恕不另行通知)
(Subject to change)
鳴謝 ACKNOWLEDGEMENTS
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Community Partner Foundation Limited
李鈞榮博士 Dr Eddy Li
Ms Janice Ritchie
Alan and Penny Smith
Savita Leung
Lian Crystal Rhinestone
Dr Xina Lo
YIM Chui Chu
殷和順先生及劉善萍女仕
青銅捐款者 BRONZE DONORS
HK$3,000 - HK$5,999
無名氏 (2) Anonymous (2)
D. Chang
CHANG Shen
Ms CHIU Shui Man Tabitha
W W Y Ho
Dr Alfred Lau
Mr LEE Ming Wai Joannes
李芸輝博士 Dr LEE Wan Fai Walter
網上藝術教育捐助計劃 Digital Arts Education Scheme
青銅捐款者 BRONZE DONORS
HK$3,000 - HK$5,999
無名氏 Anonymous
HKCT ABRSM Alumni Association
香港藝術節基金會贊助人
Hong Kong Arts Festival Foundation Patrons
首席創始贊助人 Lead Founding Patrons
陳俊豪先生 Mr Thomas Chan
黃廷方慈善基金 Ng Teng Fong Charitable Foundation
電訊盈科 PCCW
九龍倉集團 The Wharf Group
主要創始贊助人 Major Founding Patrons
萬通保險國際有限公司 YF Life Insurance International Ltd
眾安銀行 ZA BANK
創始贊助人 Founding Patrons
陳煒文博士 , JP Dr Raymond Chan, JP
丹斯里拿督邱達昌 Tan Sri Dato' David Chiu
曹其鋒先生 Mr Silas Chou
霍建寧先生及霍何綺華女士 Mr and Mrs Canning and Eliza Fok
馮氏基金有限公司 E.M. Fung Foundation Limited
何超瓊女士 , SBS, JP Ms Pansy Ho, SBS, JP
科勁國際（控股）有限公司 King's Flair International (Holdings) Limited
梁婉玲博士 Dr Elina Leung
孫漢明博士 Dr Stephen Suen
包陪麗女士 , BBS 及渡伸一郎先生 Ms Cissy Pao, BBS and Mr Shinichiro Watari
Agnes Chu Vocal Studio
教育局藝術教育組 Arts Education Section, Education Bureau
網上售票平台 Art-mate
香港展能藝術會 Arts with the Disabled Association Hong Kong
AS Production Co., Limited
亞洲文化協會香港分會 Asian Cultural Council Hong Kong
香港愉景灣酒店 Auberge Discovery Bay Hong Kong
奧地利駐港總領事館 Austrian Consulate General Hong Kong
Backstage Music Studio
Ballet Blanc
卓藝舞蹈學院 Balletbean Dance Academy
BRICK LANE
英國駐香港總領事館 British Consulate General Hong Kong
百老匯院線 Broadway Circuit
CAMPSITE
思藝舞蹈中心 CB Dance Studio
中英劇團 Chung Ying Theatre Company
城市當代舞蹈團 City Contemporary Dance Company
Cloverland Music and Arts Centre Limited
阿根廷駐香港總領事館 Consulate General of Argentina in Hong Kong
比利時駐香港總領事館 Consulate General of Belgium in Hong Kong
加拿大駐香港及澳門總領事館 Consulate General of Canada in Hong Kong and Macao
法國駐港澳總領事館 Consulate General of France in Hong Kong & Macau
愛爾蘭駐香港總領事館 Consulate General of Ireland in Hong Kong
意大利駐香港總領事館 Consulate General of Italy Hong Kong
日本國駐香港總領事館 Consulate-General of Japan in Hong Kong
馬來西亞駐香港總領事館 Consulate General of Malaysia in Hong Kong
西班牙駐港總領事館 Consulate General of Spain in Hong Kong
瑞士駐香港總領事館 Consulate General of Switzerland in Hong Kong
捷克共和國駐港總領事館 Consulate General of the Czech Republic
荷蘭駐港總領事館 Consulate General of the Kingdom of Netherlands in Hong Kong and Macau
大韓民國駐香港總領事館 Consulate General of the Republic of Korea in Hong Kong
新加坡駐香港總領事館 Consulate General of the Republic of Singapore in Hong Kong.
俄羅斯聯邦駐香港總領事館 Consulate General of the Russian Federation in Hong Kong
美國駐香港及澳門總領事館 Consulate General of the United States, Hong Kong and Macau
創藝舞蹈學院 Creation Dancing Academy
寶貝芭蕾舞學校 Dance with Me Ballet Academy
Edmond Cheng's Music Center Ltd.
誠品書店 eslite bookstore FOSSA.ART Studio
德國駐香港總領事館 German Consulate General Hong Kong
纋雅芭蕾舞學校 Glamor Ballet School
Glenda Allen Dance Academy
六國酒店 Gloucester Luk Kwok Hong Kong
香港君悅酒店 Grand Hyatt Hong Kong
廣州市唄壳文化發展有限公司 Guangzhou Beike Culture Development Co. Ltd.
香港藝術中心 Hong Kong Arts Centre
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
香港文化博物館 Hong Kong Heritage Museum
香港藝術館 Hong Kong Museum of Art
香港話劇團 Hong Kong Repertory Theatre
香港小交響樂團 Hong Kong Sinfonietta
香港旅遊發展局 Hong Kong Tourism Board
摩洛哥駐香港名譽領事館 Honorary Consulate of Morocco in Hong Kong
可允芭蕾 Howan Ballet
入境事務處 Immigration Department
敲擊樂藝術中心 Initial-P Music Ltd
益普索 IPSOS
王仁曼芭蕾舞學校 Jean M. Wong School of Ballet
高山劇場 Ko Shan Theatre
葵青劇院 Kwai Tsing Theatre
勞工處 Labour Department
康樂及文化事務署 Leisure and Cultural Services Department
牧羊少年與他的浮萍 Lemna of the Alchemist
陳綺婷舞蹈及藝術學院 Les Danseurs Dance Academy
曾眉芭蕾舞學校 Le Studio Ballet
Maxibit HK/China
MOViE MOViE
Ms Grace Li
Munchkinlands Company
迷音樂 Musikholic
南蓮園池 Nan Lian Garden
北區大會堂 North District Town Hall
柏斯琴行 Parsons Music Limited
Performing Arts Fund NL
迷離科技有限公司 Practical Magic and Innovation
犇華企業服務有限公司 Primasia Corporate Services Limited
舍區 Quarryside
RED ZHU
富豪九龍酒店 Regal Kowloon Hotel
富豪東方酒店 Regal Oriental Hotel
黃日芝芭蕾舞學校 Regine Wong School of Ballet
倫敦皇家歌劇院及芭蕾舞團館藏 Royal Opera and Ballet Collections
皇家太平洋酒店 Royal Pacific Hotel
沙田大會堂 Sha Tin Town Hall
上環文娛中心 Sheung Wan Civic Centre
Southgate Design
春天芭蕾舞學校 Springtide Ballet School
大館—古蹟及藝術館 Tai Kwun Centre for Heritage and Arts
台灣蘇富比國際房地產 Taiwan Sotheby's International Realty
駐香港臺北經濟文化辦事處 Taipei Economic and Cultural Office in Hong Kong
藝林文具印刷有限公司 The Artland Co. Ltd.
瑞典駐香港及澳門總領事館 The Consulate General of Sweden in Hong Kong and Macau
灣景國際 The Harbourview
香港演藝學院 The Hong Kong Academy for Performing Arts
音樂學院 School of Music
表演場地管理部 Venue Performance Unit
場地技術部 Venue Technical Unit
香港兒童合唱團 The Hong Kong Children's Choir
香港管弦樂團 The Hong Kong Philharmonic Orchestra
加拿大國家芭蕾舞團 The National Ballet of Canada
香港半島酒店 The Peninsula Hong Kong
港青—香港基督教青年會 The Salisbury – YMCA of Hong Kong
荃灣大會堂 Tsuen Wan Town Hall
屯門大會堂 Tuen Mun Town Hall
東華三院東蒲 TWGHs TungPo
郭慧芸芭蕾舞學校 Vivian Kwok School of Ballet
西九文化區管理局 West Kowloon Cultural District Authority
Wewow House
艾希妮控股有限公司 X Social Group Holdings Limited
高木 Yakitori Takagi
元朗劇院 Yuen Long Theatre
贊助人 李家超先生 , PATRON
電話 TEL （852）2824 3555
傳真 FAX （852）2824 3798、（852）2824 3722
電子郵箱 Email afgen@hkaf.org
節目查詢熱線 （852）2824 2430
Programme Enquiry Hotline
電話 TEL （852）2824 3555
地址 ADDRESS
傳真 FAX （852）2824 3798、（852）2824 3722
電子郵箱 Email afgen@hkaf.org
節目查詢熱線 （852）2824 2430
Programme Enquiry Hotline
香港灣仔港灣道二號十二字樓 1205 室 Room 1205, 12/F,2 Harbour Road, Wan Chai, Hong Kong
地址 ADDRESS 香港灣仔港灣道二號十二字樓 1205 室 Room 1205, 12/F,2 Harbour Road, Wan Chai, Hong Kong
The Hon. John KC Lee, GBM SBS PDSM PMSM GBM SBS PDSM PMSM
贊助人 李家超先生 , PATRON
永遠名譽會長 邵逸夫爵士（1907-2014）
執行委員會
The Hon. John KC Lee, GBM SBS PDSM PMSM GBM SBS PDSM PMSM
HONORARY LIFE PRESIDENT The Hon. Sir Run Run Shaw, GBM CBE（1907-2014）
永遠名譽會長 邵逸夫爵士（1907-2014）
主席 盧景文教授
執行委員會
副主席 文肇偉先生
主席 盧景文教授
義務司庫 范高廉先生 委員 鄭惠貞女士 馮愉敏先生 何苗春暉女士
副主席 文肇偉先生
義務司庫 范高廉先生 委員 鄭惠貞女士 馮愉敏先生 何苗春暉女士 薛文熹先生 譚榮邦先生 姚潔莉女士 楊 光先生
節目委員會
節目委員會
薛文熹先生 譚榮邦先生 姚潔莉女士 楊 光先生
主席 譚榮邦先生
主席 譚榮邦先生
委員 白諾信教授 羅志力先生 毛俊輝教授
委員 白諾信教授 羅志力先生 毛俊輝教授 約瑟 施力先生 + 姚 珏女士
財務委員會
財務委員會
主席
委員
約瑟・施力先生 + 姚 珏女士
主席 范高廉先生 委員 鄭惠貞女士 梁國輝先生
發展委員會
范高廉先生
鄭惠貞女士 梁國輝先生
發展委員會
委員 張詩樂先生 馮愉敏先生 馮穎詩女士 梁嘉彰女士 龐心怡女士 孫林宣雅女士 文 藝女士
委員 張詩樂先生 馮愉敏先生 馮穎詩女士 梁嘉彰女士 龐心怡女士 孫林宣雅女士
文 藝女士
顧問 夏佳理先生
鮑 磊先生
查懋成先生
顧問 夏佳理先生 鮑 磊先生 查懋成先生 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
EXECUTIVE COMMITTEE
HONORARY LIFE PRESIDENT The Hon. Sir Run Run Shaw, GBM CBE（1907-2014）
Chairman Prof. Lo Kingman, SBS MBE JP
EXECUTIVE COMMITTEE
Vice-Chairman
Mr Sebastian Shiu-wai Man
Chairman Prof. Lo Kingman, SBS MBE JP
Honorary Treasurer
Vice-Chairman
Members
Honorary Treasurer
Mr Colin Farrell
Mr Sebastian Shiu-wai Man
Ms Margaret Cheng, JP
Mr Colin Farrell Members
Mr Michael Fung
Ms Margaret Cheng, JP
Mr Michael Fung
Ms Joanna Hotung
Ms Joanna Hotung
Mr Hugh Simon
Mr Hugh Simon
Mr Tam Wingpong, SBS
Mr Tam Wingpong, SBS
Ms Miriam Yao
Ms Miriam Yao
Mr Sunny Yeung
Mr Sunny Yeung
PROGRAMME COMMITTEE
PROGRAMME COMMITTEE
Chairman
Chairman
Members
Members
Mr Tam Wingpong, SBS
Mr Tam Wingpong, SBS
Prof. Giorgio Biancorosso
Prof. Giorgio Biancorosso
Mr Peter C L Lo
Mr Peter C L Lo
Prof. Fredric Mao, BBS
Prof. Fredric Mao, BBS
Mr Joseph Seelig, OBE +
Ms Jue Yao, SBS JP
Mr Joseph Seelig, OBE +
Ms Jue Yao, SBS JP
FINANCE COMMITTEE
FINANCE COMMITTEE
Chairman
Members
Chairman
Members
DEVELOPMENT COMMITTEE
Members
DEVELOPMENT COMMITTEE
Members
Mr Colin Farrell
ADVISORS
ADVISORS
Ms Margaret Cheng, JP
Mr Colin Farrell
Mr Nelson Leong
Ms Margaret Cheng, JP
Mr Nelson Leong
Mr Carey Cheung
Mr Michael Fung
Ms Ophelia Fung
Mr Carey Cheung
Ms Catherine Leung
Mr Michael Fung
Ms Samanta Sum-yee Pong
Ms Ophelia Fung
Mrs Helen Lin Sun
Ms Catherine Leung
Ms Yi Wen
Ms Samanta Sum-yee Pong
The Hon. Ronald Arculli, GBM CVO GBS OBE JP
Mrs Helen Lin Sun
Mr Martin Barrow, GBS CBE
Ms Yi Wen
Mr Victor Cha
Dr John CC Chan, GBS JP
The Hon. Ronald Arculli, GBM CVO GBS OBE JP
Dr Darwin Chen, SBS ISO
Mr Martin Barrow, GBS CBE
Mr Angus H Forsyth
Mr Victor Cha
The Hon. Charles YK Lee, GBM GBS OBE JP
Dr John CC Chan, GBS JP
Mrs Mona Leong, SBS BBS MBE JP
Dr Darwin Chen, SBS ISO
Dr The Hon. Sir David KP Li, GBM GBS OBE JP
Mr Angus H Forsyth
名譽法律顧問 甘乃迪女士 （美博香港律師事務所）
核數師 羅兵咸永道會計師事務所
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
名譽法律顧問 甘乃迪女士
（美博香港律師事務所）
+ 榮譽節目顧問 Honorary Programme Advisor
核數師 羅兵咸永道會計師事務所
HONORARY SOLICITOR
AUDITOR
HONORARY SOLICITOR
AUDITOR
Ms Gabriela Kennedy, Mayer Brown Hong Kong LLP
The Hon. Charles YK Lee, GBM GBS OBE JP
Mrs Mona Leong, SBS BBS MBE JP
PricewaterhouseCoopers
Dr The Hon. Sir David KP Li, GBM GBS OBE JP
Ms Gabriela Kennedy, Mayer Brown Hong Kong LLP
PricewaterhouseCoopers
職員
行政總監 余潔儀
行政總監助理 何丹蓉
節目
節目總監 梁掌瑋、蘇國雲 副節目總監 李冠輝
職員
STAFF
Executive Director
Assistant to Executive Director
PROGRAMME
Programme Directors
STAFF
Associate Programme Director
Flora Yu
Connie Ho
Grace Lang, So Kwok-wan
Kenneth Lee
高級節目經理 蘇雪凌、游慧姿*
行政總監 余潔儀
行政總監助理 何丹蓉
節目經理 鄭佩群*、趙蔚霖*、廖國穎*、 馬筠婷*
節目
節目統籌 容諾行*
節目總監 梁掌瑋、蘇國雲
Executive Director
Senior Programme Managers
Programme Managers
Assistant to Executive Director
PROGRAMME
Flora Yu
Shirley So, Janet Yau*
Connie Ho
Cathy Cheng*, Crystal Chiu*,
Sophie Liao*, Katie Ma*
副節目總監 李冠輝
節目主任 周 翹*、鍾曉晴*
製作助理 陳娟瑜#
高級節目經理 蘇雪凌、游慧姿*
節目助理 黃明儀#
節目經理 鄭佩群*、趙蔚霖*、廖國穎*、 馬筠婷*
物流
節目統籌 容諾行*
物流及接待經理 金學忠*
節目主任 周 翹*、鍾曉晴*
製作助理 陳娟瑜#
技術
製作經理 梁雅芝*
節目助理 黃明儀#
副製作經理 陳梓衡*
出版
物流
物流及接待經理 金學忠*
技術
編輯經理 陳詠恩*
製作經理 梁雅芝*
副製作經理 陳梓衡*
英文編輯 Adam Wright*
副編輯 陳劭儀*、楊紫媛*
出版
外展
編輯經理 陳詠恩*
英文編輯 Adam Wright*
外展經理 林嘉敏* 外展統籌 李幸凝*、鄧芷蔚*、黃思婷*
副編輯 陳劭儀*、楊紫媛*
外展主任 陳沅渟*、趙家琳*
外展
外展經理 林嘉敏*
外展助理 郭曉潼*、汪意玲*
市場推廣
外展統籌 李幸凝*、鄧芷蔚*、黃思婷*
外展主任 陳沅渟*、趙家琳*
市場總監 鄭尚榮
副市場總監 盧伯全
外展助理 郭曉潼*、汪意玲*
市場經理 陳綺紅*、鄭曉恩*、張予心*
市場推廣
副市場項目經理 李穎軒*、譚懿諾*
市場總監 鄭尚榮
副市場經理 曾諾怡*
副市場總監 盧伯全
市場統籌 盧之愷*
市場經理 陳綺紅*、鄭曉恩*、張予心*
市場主任 梁喬正*
副市場項目經理 李穎軒*、譚懿諾*
市場助理 陳慧琳#
票務
副市場經理 曾諾怡*
市場統籌 盧之愷*
市場主任 梁喬正*
高級市場經理（票務） 梁彩雲
市場助理 陳慧琳#
票務
票務助理 蔡嘉熹*
發展
發展總監 簡潤如
特別發展協理 蘇啟泰*
高級市場經理（票務） 梁彩雲 票務助理 蔡嘉熹* 發展
高級發展經理 譚樂瑤
發展總監 簡潤如 特別發展協理 蘇啟泰*
發展經理 葉巧儀*、黃珮茵*
助理發展經理 黃堅詠* 發展助理 葉涴喬*
高級發展經理 譚樂瑤
發展經理 葉巧儀*、黃珮茵*
行政事務
助理發展經理 黃堅詠* 發展助理 葉涴喬*
行政事務
財務總監 鄺敬婷
會計
會計經理 杜詩麗*
財務總監 鄺敬婷 會計
會計及行政助理 麥婕妤*
人力資源及行政
人力資源及行政經理 楊美君* 接待員/初級秘書 李美娟 助理 黃國愛 資訊科技
會計經理 杜詩麗* 會計及行政助理 麥婕妤* 人力資源及行政 人力資源及行政經理 楊美君* 接待員/初級秘書 李美娟 助理 黃國愛 資訊科技
資訊科技經理 陳啟明*
無限亮
資訊科技經理 陳啟明*
項目總監 錢 佑*
節目及外展經理 鍾美琼*、高君*、吳卓恩*
無限亮 項目總監 錢 佑* 節目及外展經理 鍾美琼*、高君*、吳卓恩*
助理節目及外展經理 潘詠汶*
助理節目及外展經理 潘詠汶*
節目及外展統籌 張沚鈴*
節目及外展統籌 張沚鈴*
市場經理 黃嘉欣*
市場經理 黃嘉欣*
副市場經理 陳佩鈴*、吳雪琼*
副市場經理 陳佩鈴*、吳雪琼*
助理製作經理 鄭家裕*
助理製作經理 鄭家裕*
高級會計主任 鍾巧明*
高級會計主任 鍾巧明*
藝術家統籌經理 朱芷慧*
製作主任 王子蕙*
Programme Coordinator
Programme Directors
Programme Officers
Associate Programme Director
Production Assistant
Senior Programme Managers
Programme Managers
Programme Assistant
LOGISTICS
Programme Coordinator
Programme Officers
Logistics Manager
Production Assistant
TECHNICAL
Programme Assistant
Production Manager
LOGISTICS
Deputy Production Manager
Logistics Manager
PUBLICATIONS
TECHNICAL
Editorial Manager
English Editor
Production Manager
Deputy Production Manager
Associate Editors
PUBLICATIONS
OUTREACH
Editorial Manager
Outreach Manager
English Editor
Associate Editors
Outreach Coordinators
Outreach Officers
OUTREACH
Outreach Assistants
Outreach Manager
MARKETING
Outreach Coordinators
Outreach Officers
Marketing Director
Outreach Assistants
MARKETING
Marketing Managers
Marketing Director
Ryan Yung*
Grace Lang, So Kwok-wan
Kenneth Lee
Nicole Chow*, Dorothy Chung*
Alice Chan#
Shirley So, Janet Yau*
Cathy Cheng*, Crystal Chiu*,
Melissa Wong#
Sophie Liao*, Katie Ma*
Ryan Yung*
Elvis King*
Nicole Chow*, Dorothy Chung*
Alice Chan#
Melissa Wong#
Shirley Leung*
Jacob Chan*
Elvis King*
Eugene Chan*
Shirley Leung*
Jacob Chan*
Adam Wright*
Shao yi Chan*, Trista Yeung*
Eugene Chan*
Adam Wright*
Carman Lam*
Shao yi Chan*, Trista Yeung*
Giselle Li*, Tina Tang*, Ariel Wong*
Olivia Chan*, Raven Chiu*
Carman Lam*
Angel Kwok*, Elaine Wong*
Giselle Li*, Tina Tang*, Ariel Wong*
Olivia Chan*, Raven Chiu*
Katy Cheng
Associate Marketing Director Eugene Lo
Angel Kwok*, Elaine Wong*
Annie Chan*, Vicki Cheng*, Stephanie Cheung*
Katy Cheng
Deputy Project Managers - Marketing Hill Li*, Hades Tam*
Associate Marketing Director
Deputy Marketing Manager
Marketing Managers
Marketing Coordinator
Marketing Officer
Eugene Lo
Margaret Tsang*
Annie Chan*, Vicki Cheng*, Stephanie Cheung*
Lettie Lo*
Deputy Project Managers - Marketing Hill Li*, Hades Tam*
Deputy Marketing Manager
Marketing Assistant
Marketing Coordinator
Isaac Leung*
Margaret Tsang*
Lettie Lo*
Kelly Chan#
TICKETING
Marketing Officer
Marketing Assistant
Isaac Leung*
Senior Marketing Manager (Ticketing) Eppie Leung
Kelly Chan#
Ticketing Assistant Heidi Choi*
TICKETING
DEVELOPMENT
Senior Marketing Manager (Ticketing)
Ticketing Assistant
Development Director
DEVELOPMENT
Eppie Leung
Heidi Choi*
Brenda Kan
Special Development Associate Alex So*
Development Director
Brenda Kan
Senior Development Manager Lorna Tam
Special Development Associate
Development Managers
Senior Development Manager
Alex So*
Evelyn Ip*, Janice Wong*
Lorna Tam
Assistant Development Manager Angela Wong*
Development Managers
Development Assistant
Assistant Development Manager
Evelyn Ip*, Janice Wong*
Jeria Yip*
Angela Wong*
Development Assistant
CORPORATE SERVICES
Finance Director
CORPORATE SERVICES
Finance Director
ACCOUNTS
Jeria Yip*
Teresa Kwong
Teresa Kwong
Account Manager Connie To*
ACCOUNTS
Account Manager
Connie To*
Accounting & Administrative Assistant Charmaine Mak*
HR & ADMINISTRATION
Accounting & Administrative Assistant
HR & ADMINISTRATION
HR and Admin Manager
HR and Admin Manager
Charmaine Mak*
Janet Yeung*
Janet Yeung*
Receptionist/Junior Secretary Virginia Li
Receptionist/Junior Secretary Virginia Li
General Assistant Bonia Wong
General Assistant Bonia Wong
INFORMATION TECHNOLOGY
INFORMATION TECHNOLOGY
Information Technology Manager
Derek Chan*
Information Technology Manager Derek Chan*
NO LIMITS
NO LIMITS
Project Director
Project Director
Eddy Zee*
Eddy Zee*
Programme and Outreach Managers
Assistant Programme and Outreach
Becky Chung*, Tiffany Ko*, Frieda Ng*
Programme and Outreach Managers Becky Chung*, Tiffany Ko*, Frieda Ng*
Jasmine Poon*
Assistant Programme and Outreach Jasmine Poon* Manager
Manager
Programme and Outreach Coordinator Cheung Chi-ling*
Programme and Outreach Coordinator
Marketing Manager Carly Wong*
Cheung Chi-ling*
Marketing Manager Carly Wong*
Deputy Marketing Managers
Gina Chan*, King Ng*
Deputy Marketing Managers Gina Chan*, King Ng*
Assistant Production Manager Dick Cheng*
Assistant Production Manager Dick Cheng*
Senior Accounting Officer Catherine Chung*
Senior Accounting Officer Catherine Chung*
藝術家統籌 張晞琳*、莊唯*、向怡君*、何敬堯*、梁頌怡*、盧悅穎*、Giacomo Matelloni*、曾婷欣*、胡肇婷*、楊嘉嘉*、翁蒨懃*
技術統籌 張詠宜*、范文恩*、李浩賢*、彭家達*、曾以德*
藝術家統籌經理 朱芷慧* 藝術家統籌 張晞琳*、莊唯*、向怡君*、何敬堯*、梁頌怡*、盧悅穎* Giacomo Matelloni*、曾婷欣*、胡肇婷*、楊嘉嘉*、翁蒨懃* 製作主任 王子蕙* 技術統籌 張詠宜*、范文恩*、李浩賢*、彭家達*、曾以德* Head of Artist Coordinators Eleanor Chu*
Head of Artist Coordinators Eleanor Chu*
Artist Coordinators Haynes Cheung*, Viola Chong*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Giacomo Matelloni*, Renee Tsang*, Blanche Wu*, Jiajia Yang*, Bonnie Yung*
Artist Coordinators Haynes Cheung*, Viola Chong*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Giacomo Matelloni*, Renee Tsang*, Blanche Wu*, Jiajia Yang*, Bonnie Yung* Production Officer Anissa Wong* Technical Coordinators Jess Cheung*, Yan Fan*, Lawrence Lee*, Pang Ka-tat*, Joyi Tsang*
Production Officer Anissa Wong*
Technical Coordinators Jess Cheung*, Yan Fan*, Lawrence Lee*, Pang Ka-tat*, Joyi Tsang*
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order
# 藝術人才見習配對計劃2023/24 及2024/25 由香港藝術發展局資助
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order # 藝術人才見習配對計劃2023/24 及2024/25 由香港藝術發展局資助 # 2023/24 and 2024/25 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2025年2月更新 Updated February 2025
# 2023/24 and 2024/25 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2025年2月更新 Updated February 2025
