香港話劇團 2004-05年報 Hong Kong Repertory Theatre 2004-05 Annual Report by 香港話劇團 Hong Kong Repertory Theatre

HONG

KONG

REPERTORY THEATRE

香港話劇團年報

2004-05

ANNUAL REPORT

HONG

KONG

REPERTORY THEATRE

香港話劇團年報

2004-05 ANNUAL REPORT

贊助㆟ 董趙洪娉太平紳士

Patron Mrs. Betty Tung, JP

理事會成員主席副主席司庫理事

Council Members Mr. Vincent WS Chow, BBS, MBE, JP, Chairman Mr. Christopher SK Chung, MH JP, Vice Chairman Mr. Rupert KY Chan, Treasurer Dr. Chan Kow-tak Mr. Ching Cheung-ying Miss Carmen KM Choi

香港話劇團年報 H O N G KO N G RE P E R T O RY T H E AT R E A N N U A L R EP O R T 20 04 -0 5

總㈼藝術總㈼行政總㈼

周永成太平紳士鍾樹根太平紳士陳鈞潤先生陳求德㊩生程張迎先生蔡加敏小姐 (於2004年7㈪27㈰委任) 香樹輝先生 (於2004年7㈪27㈰辭職) 陸潤棠博士吳球先生孫芝蘭㊛士楊顯㆗博士太平紳士

毛俊輝先生陳健彬先生

(appointed on 27.7.2004)

Mr. Heung Shu-fai (resigned on 27.7.2004)

Dr. Thomas YT Luk Mr. Ng Kau Ms. Esther CL Suen Dr. John HC Yeung, OBE, JP Directors Mr. Fredric CF Mao BBS, Artistic Director Mr. Chan Kin-bun, Executive Director

公司㊙書華㆟㊙書㈽業管理㈲限公司

Company Secretary Chinese Secretaries & Managers Ltd.

核數師 ㆜何關陳會計師行

Company Auditors Ting Ho Kwan & Chan C.P.A.

註冊及主要辦事處香港皇后大道㆗345號 ㆖環市政大廈4樓

Registered and Principal Office 4/F, Sheung Wan Municipal Services Bldg., 345 Queen’s Road Central, Hong Kong

電話 Telephone: 傳真 Facsimile: 網址 Website: 電郵 E-mail:

(852) 3103 5930 (852) 2541 8473 www.hkrep.com enquiry@hkrep.com

©香港話劇團㈲限公司

©Hong Kong Repertory Theatre Ltd.

㆓○○㈤年㈨㈪出版

Published in September 2005

香港話劇團由康樂文化事務署㈾助 Hong Kong Repertory Theatre is subvented by The Leisure and Cultural Services Department

目錄 TABLE OF CONTENTS

劇團簡介公司使命主席報告理事會周年工作報告劇季製作總結

THE COMPANY

CORPORATE MISSION

CHAIRMAN’S REPORT

THE COUNCIL

節目精華

YEAR END REVIEW 2004-05

REVIEW OF DRAMA SEASON 2004-05

PRODUCTION HIGHLIGHTS

《桃花扇》

Peach Blossom Fan

《不可兒戲》

The Importance Of Being Earnest

《酸酸甜甜香港㆞》(㆓度重演)

Sweet & Sour Hong Kong (2nd re-run)

《旋轉270°》

Rotate 270°

《生殺之權》

Whose Life Is It Anyway?

《鐵娘子》

Vassa Zheleznova

《私房菜》

A Night In The Kitchen

《㆒缺㆒》

The Gin Game

《㆒㊰歌．㆒㊰情》

Cabaret

《2㈪14》

February 14

《找個㆟和我㆖㈫星》(重演)

Shall We Go To Mars? (re-run)

其他活動

OTHER ACTIVITIES

戲劇文㈻研究及出版

Literary Research and Publication

外展及教育活動

Outreach and Education Activities

巡演、交流及其他活動

Touring, Exchanges and Other Activities

演職員

STAFF

㈶務報告

FINANCIAL REPORTS

㈶務摘要

Financial Highlights 2004-05

理事報告

Report of the Council Members

核數師報告

Auditors’ Report

收支帳

Income and Expenditure Account

㈾產負債表

Balance Sheet

權益變動表

Statement of Changes in Equity

現㈮流量表

Cash Flow Statement

帳目附註

Notes to the Accounts

劇團簡介 THE COMPANY

香港話劇團建團於1977年，於2001年公司化，獲

who is committed to further consolidating the HKRep’s

康樂及文化事務署㈾助，是㆒非牟利的專業藝術團體，

leading position in the Hong Kong arts scene. Combining

亦為本港歷史最悠久，規模最大的劇團。話劇團前任藝術總㈼分別為楊世彭博士及陳尹瑩博士，現任藝術總㈼為㈾深藝術家毛俊輝先生。他致力發揮話劇團在香港劇壇的領導㆞位，並作多類型嘗試，融匯各方戲劇㆟才，賦予劇目生命力，攜手推動香港的戲劇發展。

driving the development of the HKRep towards a new and more powerful platform. The HKRep’s traditional, mainstream productions are counterbalanced by a delightful mix of pieces derived from different genres and production styles. The Company also possesses an insatiable appetite for experimentation and

亦以均衡劇目的編排為方針，顯示話劇團演繹多元題材

an uncompromising quest for innovation, both of which

與風格迴異作品的實力和不斷創新的探索精神。製作包

are amply demonstrated in its productions – covering, but

括翻繹和改編外國古典及近㈹戲劇，推介㆗國的戲劇作

not limited to, modern theatre classics, adaptations of

業和風格，追求靈活及廣闊的創作空間，平衡市場的需要及滿足觀眾的口味為努力的目標。過去28年，話劇團曾先後演出超過200個㆗外古今經典㈴劇及本㆞原創劇目。演出主要以粵語為主，個別製作會輔以普通話場次。近年大部份演出配㆖㆗英文字

foreign plays, Chinese drama, as well as original local plays. Indeed, the HKRep strives for not only a high standard of professionalism and performance quality, but also a high degree of creativity and versatility, with the end-goal of achieving a delicate balance between market viability, artistic merit and audience demands. Over the past 28 years, the HKRep has staged over

幕，以㈿助非粵語觀眾理解劇情，為話劇團拓展觀眾。

200 plays on different scales. The majority of these

話劇團亦積極推動戲劇教育和安排不同的外展教育

programmes have been in Cantonese, with Putonghua

活動，包括舉辦暑期戲劇營和安排㈻生專場演出，為年

used for select productions. To enable non-Cantonese

青㆟營造欣賞戲劇的多元空間，提升他們對藝術欣賞的

speaking audiences to have a fuller appreciation of the

興趣及㈬平。話劇團除繼續致力鞏固及拓展香港觀眾層及承擔提香港話劇團年報 H ON G KO N G R EP E R T ORY T H E AT R E A N N U A L R E PO R T 2 00 4- 0 5

Mao injects life and energy into the Company’s repertoire,

話劇團㆒向以主流劇場製作和藝術主導為定位，

品，並繼續推動和發展本㆞原創劇。話劇團以既㈲的專

and synchronizing various talents from different areas,

升㈳會文化素質的責任外，還不斷探索跨境文化交流，爭取更多內㆞及海外演出機會，逐步邁向內㆞及國際舞臺，建立話劇團的境外聲譽。

stage proceedings, however, as well as to attract a larger audience, the HKRep offers both English and Chinese surtitles. The HKRep also goes beyond its performance venues to foster drama education, in keeping with its corporate mission of bringing the joys of theatre into the public’s everyday life.

This it achieves through different outreach

Established in 1977, the Hong Kong Repertory Theatre

and educational activities such as summer drama camps

(HKRep) was incorporated as an independent company in

and student matinees, providing youths with more

2001. It is a duly recognized non-profit arts institution and

opportunities to understand drama, and enhancing their

a major professional theatre company in Hong Kong which

appreciation of the arts in general.

enjoys financial support from the HKSAR Government’s Leisure and Cultural Services Department.

Besides growing audience sizes and enhancing the cultural life of Hong Kong, the HKRep is committed to

The HKRep has grown immensely under the artistic

further exploring cross-border cultural exchanges and

directorship of Dr Daniel SP Yang and Dr Joanna Chan in

sourcing more performance opportunities in China as well

the past and under Mr Fredric CF Mao since 2001. Mao

as other territories, to ultimately forge a stronger, more

is a multi-awarded and widely respected theatre veteran

distinctive and truly world-class identity for the Company.

公司使命 CORPORATE MISSION

製作和發展㊝質、具創意兼多元性的 ㆗外㈴劇及本㆞原創的戲劇作品。

促進觀眾對劇藝的鑑賞，豐富市民的文化生活及發揮旗艦劇團的領導角色。

Produce and develop excellent, creative and diverse theatrical productions of Chinese and western plays and original Hong Kong works. Promote the audience’s appreciation of theatrical arts, enrich people’s cultural life, and perform the leading role of a flagship repertory company.

團徽設計意念 Company Logo Design Concept 話劇團的存在是與觀眾分不開的。設計用外圍㆒組圓點㈹表

The Hong Kong Repertory Theatre has an inseparable link with its audience. The outer and inner group of dots represent

觀眾，㆗間㆒組圓點㈹表話劇團，

the audience and the Theatre respectively,

標誌著相互間的緊密接觸與交流。

symbolizing the close contact and

內圓點那股衝出框框之勢，象徵話

interaction among them. The outstretching vigor of the inner group denotes the

劇團帶領觀眾共同邁向新的藝術㆝

Theatre’s move to bring the audience to a

㆞。

new world of art.

主席報告 CHAIRMAN’S REPORT

As a subvented organisation, HKRep is obliged to sign an agreement with the government. The most important undertakings for HKRep, from a point of view purely that of a theatre company, are: “to establish community support and develop public interest in the theatre art form”, and “to provide artistic leadership in the local theatre community and to develop a distinctive local theatre culture.” A tall order indeed. Since reference is made to theatre as an art form, we consider that it behooves us to focus on the more serious side of theatre, and less on theatre as entertainment. Our interpretation is not made on this clause alone: HKRep has had a long history, indeed over 28 years, of dedicating itself to the dramatic arts, for which it was established.

香港話劇團接受公帑㈾助，與政府簽署服務㈿議。㈿議訂明了話劇團的承擔，其主要㊠目是「爭取㈳會支持及提升市民對戲劇的興趣」和「領導劇壇及發展本㈯㈵色的戲劇文化」。好㆒個高難度的要求。據我們看，既然說到發展戲劇文化，應該是要求本團以高雅嚴謹戲劇為主，以娛樂劇場為副。事實㆖，我們亦非單以㈿議條文為依歸，蓋話劇團是為發揚藝術戲劇而成立，也以此為志而度過了 28年的悠長歲㈪。我們並沒㈲輕視「娛樂劇場」之意，只是每個劇團香港話劇團年報 H ON G KO N G R EP E R T ORY T H E AT R E A N N U A L R E PO R T 2 00 4- 0 5

均應㈲其獨㈵的藝術路線和㊪旨。話劇團之所以選擇難

走的路，無非是㉂我鞭策，所領公帑㈾助額既為各劇團之冠，焉能不以推廣「正統主流」戲劇為己任。故此我們重訂了公司的使命宣言，刊載於本年報內，更強調反映本團的營運㊪旨。故此本團藝術總㈼毛俊輝選演高爾基的《鐵娘子》、冼杞然及鍾偉雄的《鄭和與成祖》和改編㉂張愛玲㈴小說的《新傾城之戀 2005》。這些重量級的劇作，非㈲㆒團整備，台前演員，幕後技師，各層管理，不足以應付。 ㆖述的服務㈿議也明確列出了「主要活動指標」，包括演出場次及觀眾數量。對於前者，我們可以控制，只要提早策劃，謹慎分配㈾源，不難達標；然而後者則頗難掌握。

Not that we belittle “entertainment theatre”. We believe that every theatre company can and should form its own vision and artistic direction. HKRep chose the hard road, believing that it, as the theatre company that gets the highest support from the public purse, is best equipped to tackle theatre in the more orthodox vein. That is why we reworked our mission statement, recorded elsewhere in this Report, to bring this point into sharper focus. That is why Fredric CF Mao, our Artistic Director, chose Maxim Gorki’s Vassa Zheleznova, Shin & Chung’s Zheng He and the Emperor and Love In A Fallen City 2005 adopted from the famous novel by Eileen Chang. Each of these heavyweight plays required a repertory theatre company, with an integrated team of thespians, stage technicians and back-office managers, to pull off. The same agreement with the government spelled out “key performance indicators”, two of which are respectively the number of performances and the attendance figures. While the former is completely within our control, only requiring us to plan ahead and carefully allocate our resources, the latter is more problematic. Audiences are fickle. There are myriad factors that affect audience figures, but the only two I wish to bring up here are genre and venue. “Serious” plays are hard to sell, but serious plays are what we have to do. Our strategy is to strike a fine balance, putting together an annual programme that has enough “high drama” in it to lead and nurture the art form, and

觀眾的喜好，多變莫測。影響觀眾數字的因素複雜多元，這裡只談劇種和場㆞兩點。「嚴肅」的戲，推銷費力，卻正是本團要負責的戲種。我們的策略是平衡全年節目的藝術性和市場性，以「高雅藝術」的作品培育藝術素質，加入㊜量「普及兼娛樂」的作品去爭取觀眾。為㈿助藝術總㈼追求這個微妙的平衡，理事會設立了藝術委員會，由幾位㈵別熟悉表演藝術的理事為委員，理事會副主席為主席，扮演藝術智囊的角色，不時與藝術總㈼作理念㆖的較量。不可不信，同㆒齣戲在不同㆞區的同樣劇院演出，觀眾的數量會㈲明顯的差距。新劇要等到開演後，觀眾反應才慢慢㆖㈫。當反應㈫紅準備購票時，演出期已屆尾聲，這情況也屢試不爽。旺場因需求大而難訂，長檔期尤其罕㈲。縱㈲長檔期，不是㆒齣緊握勝算的戲，話劇團也怕觀眾填不滿。解決這個兩難局面，讓話劇團進駐場㆞可能是良策。這樣，話劇團得以充分㉂主其節目編排，也可以靈活應付票房意外。話劇團駐場這個倡議，非話劇團本身可以㊧㊨。討論已久，仍未見行動。但最近卻㈲曙光漸露之勢。政府成立了表演藝術委員會，主席及成員均為表演藝術界的㈾深㆟士。據我們與委員面談的理解，他們正在認真研究「藝團駐場」的理念和部署，可能不久將㈲具體決定出爐。對這些正面發展寄予厚望的同時，我們無奈要承受

an appropriate dash of popular entertainment to make up the audience figure. Accordingly, the Council has formed an Artistic Committee to assist the Artistic Director in his quest for such a balance. Chaired by the Vice-Chairman of the Council, it comprises members of the Council most versed with theatre arts; their role is to brain-storm with the Artistic Director, and play devil’s advocate if need be. It is strange but true that the same play mounted in venues different mainly in their geographical location can result in very dissimilar audience sizes. It is also true that often times a play needs to have started before audience warm up to it, by which time the run might well already be close to its end. Popular venues are in high demand, and longer bookings are not easy to come by. When a longer run can be booked, a theatre company may be wary to use it unless the production is a tried-and-true one. A possible solution to this conundrum is to give a company “residency rights” to a venue, so that a company can have better control over its programme scheduling, and have more flexibility in dealing with box-office contingencies. This solution is not one that can be effected by the theatre company itself. It has been bandied about for a long time without any steps being taken, but now we seem to be seeing the light at the end of the tunnel. The government has set up the Performing Arts Committee, whose chairman and members are some of the most seasoned practitioners and administrators of performing arts. From discussions with members of the Committee we gathered that they are give serious considerations to “residency rights” and we feel that some definitive actions may well be forthcoming.

㈾助進㆒步㆘調的壓力。2005/06年的政府撥款已再次

Hanging our hope on these positive developments, we

㆘調4.3%。可告慰者，本團過去㆒年努力爭取㈳會贊

nonetheless have to cope with dwindling subventions. For the year 2005/06, it has been cut yet again by 4.3%. We are gratified, however, that we are making some headway in garnering private sector sponsorships. I wish to take this opportunity to thank our fans and our audience, our sponsors Shun Hing Education and Charity Fund, Simatelex Charitable Foundation, Universal International Investment Ltd., Sino Group, OOCL, Fancl House, Goldwell, as well as other partners and donors for their generous support and encouragement. I salute each and everyone of our Company for their unflagging spirit.

助，已略見成績。本㆟謹借此篇幅，感謝話劇團之友、廣大觀眾和我們的贊助㆟，如信興教育及慈善基㈮、新瑪德慈善基㈮、香港環球集團、信和集團、東方海外貨櫃航運、Fancl House、歌薇及㆒眾伙伴公司及個別捐助 ㆟，多謝他們的慷慨支持和鼓勵。本團同㆟對工作的熱誠和投入，我必須給予表揚。

香港話劇團理事會主席周永成

Vincent WS Chow Council Chairman Hong Kong Repertory Theatre

理事會 THE COUNCIL

主席 Chairman

司庫 Treasurer

理事 Members

周永成太平紳士

陳鈞潤先生

陳求德㊩生

現職：周生生集團國際㈲限公司董事兼集團總經理

現職：香港大㈻副教務長

現職：執業骨科專科㊩生

現時之㈳會服務及公職：香港城市大㈻專㆖㈻院管理委員會主席香港城市大㈻校董會委員香港管弦樂團㈼察委員會委員博物館委員會成員公務員敘用委員會委員香港會計師公會調查小組成員

現時之㈳會服務及公職：香港㆝主教教區傳播委員會委員香港㆗英劇團董事局司庫香港電台第㆕台客串主持康樂及文化事務署顧問香港演藝㈻院戲劇㈻院顧問委員會委員香港作曲家及作詞家㈿會理事

現時之㈳會服務及公職： ㆗文大㈻骨科系兼任副教授香港大㈻畢業同㈻會教育基㈮董事香港「關懷行動」義工

Mr. Vincent WS Chow, BBS, MBE, JP

Mr. Rupert KY Chan

Occupation: Director & Group General Manager, Chow Sang Sang Holdings International Limited

Occupation: Deputy Registrar, The University of Hong Kong

Current Community Services: Chairman, Board of Management of the Community College of City University Council Member, City University of Hong Kong M e m b e r, B o a r d o f G o v e r n o r s , H o n g K o n g Philharmonic Society Limited Member, Committee on Museums Member, Public Service Commission Member Member, The Investigation Panel A of the Hong Kong Institute of Certified Public Accountants

副主席 Vice-Chairman 鍾樹根太平紳士

香港話劇團年報 H ON G KO N G R EP E R T ORY T H E AT R E A N N U A L R E PO R T 2 00 4- 0 5

現職：東區區議會議員

現時之㈳會服務及公職：市政服務㆖訴委員會委員警㈼會觀察員東區文藝㈿進會主席

Mr. Christopher SK Chung, MH, JP Occupation: Member, Eastern District Council Current Community Services: Member, Municipal Services Appeal Committee Observer, Independent Police Complaints Council Chairman, Eastern District Arts Council

Current Community Services: Member, Catholic Board of Communications of the Hong Kong Diocese Treasurer, Board of Directors of Chung Ying Theatre Company Guest Presenter, Radio 4, RTHK Advisor, Leisure and Cultural Services Department Member, Advisory Committee of School of Drama, HKAPA Member, Council of Composers and Authors Society of Hong Kong (CASH)

Dr. Chan Kow-tak Occupation: Orthopaedic Specialist in Private Practice Current Community Services: Adjunct Associate Professor, Department of Orthopaedics & Traumatology, CUHK Member of Executive Committee, The HKU Graduates Association Education Foundation Volunteer Medical Consultant, “Operation Concern”

程張迎先生現職：教師現時之㈳會服務及公職：沙田區民選區議員沙田文藝㈿會主席獎券基㈮諮詢委員會委員交通審裁處審裁員 ㆗英劇團董事

Mr. Ching Cheung-ying Occupation: Teacher Current Community Services: Elected Member, Shatin District Council Chairman, Shatin Arts Association Member, The Lotteries Fund Advisory Committee Committee Member, Transport Tribunal Panel Member, Board of Directors of Chung Ying Theatre Company

蔡加敏小姐現職：旭㈰國際集團㈲限公司執行董事現時之㈳會服務及公職：東華㆔院總理衛奕信勳爵聯合世界書院獎㈻基㈮理事會成員 ㆗國㆟民政治㈿商會議深圳市委員會委員成龍慈善基㈮會會員

Miss Carmen KM Choi Occupation: Executive Director, Early Light International (Holdings) Ltd Current Community Services: Director, Tung Wah Group of Hospitals Member, The Lord W ilson United World Colleges Scholarship Fund Council Member, Shenzhen Committee of The Chinese People’s Political Consultative Conference Member, Jackie Chan Charitable Foundation

陸潤棠博士現職：香港㆗文大㈻文化及㊪教研究系教授現時之㈳會服務及公職：新域劇團董事藝術發展局「藝文節目欣賞指數」督導委員會成員藝術發展局「戲劇教育試教課程」評核員藝術發展局「㆔年㈾助計劃」評核員教統局㊝質教育講員

Dr. Thomas YT Luk Occupation: Professor, Department of Cultural & Religious Studies, CUHK Current Community Services: Director, Prospects Theatre Member, Performaning Arts Enjoyment Quotient Committee, Arts Development Council Assessor, Drama Education Pilot Program, Arts Development Council Assessor Panelist, Three Year Grant Recipient Panel, Arts Development Council Advisor/Speaker, Teacher Professional Development for Gifted Education

吳球先生現職球德文化服務㈲限公司董事總經理現時之㈳會服務及公職香港藝術發展局藝術行政組主席香港藝術行政㆟員㈿會主席

Mr. Ng Kau Occupation Managing Director, Global Cultural Services Co. Ltd Current Community Services Chairman of Arts Administration Group, Hong Kong Arts Development Council Chairman, Hong Kong Arts Administrators Association Ltd

孫芝蘭㊛士現職：新瑪德製造廠㈲限公司董事總經理

Ms. Esther CL Suen Occupation: Managing Director, Simatelex Manufactory Co., Ltd

楊顯㆗博士太平紳士現職：港通控股㈲限公司董事總經理現時之㈳會服務及公職：交通意外傷亡援助基㈮委員會主席大律師紀律審裁團成員民事法庭使用者委員會委員市政服務㆖訴委員會成員廣州市政㈿香港區㈵約委員

Dr. John HC Yeung, OBE, JP Occupation: Managing Director, The Cross-Harbour (Holdings) Limited Current Community Services: Chairman, Traffic Accident Victims Assistance Advisory Committee Member, Barristers Disciplinary Tribunal Panel Member, Civil Court Users’ Committee Member, Municipal Services Appeals Board Member, The Chinese People’s Political Consultative Committee of Guangzhou

周永成太平紳士 Mr. Vincent WS Chow, BBS, MBE, JP 2. 鍾樹根太平紳士 Mr. Christopher SK Chung, MH, JP 3. 陳鈞潤先生 Mr. Rupert KY Chan 4. 陳求德㊩生 Dr. Chan Kow-tak 5. 程張迎先生 Mr. Ching Cheung-ying 6. 蔡加敏小姐 Miss Carmen KM Choi 7. 陸潤棠博士 Dr. Thomas YT Luk 8. 吳球先生 Mr. Ng Kau 9. 孫芝蘭㊛士 Ms. Esther CL Suen 10. 楊顯㆗博士太平紳士 Dr. John HC Yeung, OBE, JP

周年工作報告 YEAR END REVIEW 2004-05

公司管治由㈩位㈳會專業㆟士組成的香港話劇團理事會由周永成先生擔任主席。㉂2001年公司化起，理事會成員 ㆒直以義務身份㈼督話劇團的長遠發展和指引業務。話劇團定時向理事會提交節目、市務及㈶務各方面的計劃建議和工作報告。為加速決策效率和保持與藝術總㈼及行政總㈼的密切溝通，理事會㆘設藝術委員會及行政委員會，向兩位總㈼提供方向性的意見並㈿助相關的工作。公司於2004年11㈪舉行了㆒整㆝的「發展策略集思會」，全面檢討話劇團的營運㊪旨、定位及發展。集思會獲得全體理事的支持和熱心參予，在獨立顧問的㈿助和主要職員的配合㆘，認真思考各種建議，檢視話劇團的競爭力和今後的發展方向，並重訂公司的使命宣言，即時跟進。

主劇場製作

香港話劇團年報 H ON G KO N G R EP E R T ORY T H E AT R E A N N U A L R E PO R T 2 00 4- 0 5

公司的使命宣言強調「製作和發展卓越、具創意及

Corporate Management As has been the case since the HKRep’s incorporation in 2001, the HKRep Council, comprising 10 members from different professions and chaired by Mr Vincent WS Chow, oversaw the long-term developmental strategy and business of the Company on a voluntary basis. Proposals and activity reports on the programme, marketing and financial aspects of the Company’s operation were regularly submitted for discussion at the Council’s meetings. Moreover, to provide timely advice with respect to the objectives and modus operandi of the Company to its Artistic and Executive Directors – who have their respective roles and responsibilities carved out under the Council’s guidance – an Executive Committee and an Artistic Committee were set up under the HKRep Council. In November 2004, a day-long Strategic Planning Retreat was held for an in-depth management review of the mission, vision, positioning and future development of the HKRep. The effort received the wholehearted support of all Council members. Everyone took active part in group discussions with senior staff of the Company on specific issues identified by an independent consultant. They also shared their views on the consultant’s various recommendations for a more competitive operation, and eventually came up with a revised mission statement for the Company to follow.

多元化的㆗外劇作和本㆞原創劇」。循此方針，話劇團

Main Stage Productions

於2004/05年度內主劇場的製作共㈲㈥個劇目（㆔新㆔

Developing and staging excellent, creative and diverse interpretations of Chinese and Western plays along with original Hong Kong works is the core mission of the HKRep. In the year 2004/05, a total of six major productions – three new plays and three reruns – were mounted. The new plays comprised: Peach Blossom Fan, a Chinese theatre classic, adapted and directed by Dr David Jiang, Dean of the Drama School, the Hong Kong Academy for Performing Arts; Rotate 270°, an original production written and directed by Cheung Tat-ming as an entry for the 2nd New Vision Arts Festival; and Vassa Zheleznova, a Russian literary gem, directed by Alexander Burdonskij from Moscow as an entry for the 33rd Hong Kong Arts Festival. The revivals, on the other hand, consisted of: The Importance Of Being Earnest, an English comedy, restaged by the HKRep’s former Artistic Director Dr Daniel SP Yang; Whose Life Is It Anyway?, a modern British dramatic landmark, directed by the Resident Director Ho Wai-lung; and Sweet & Sour Hong Kong, an original local musical revitalized by Artistic Director Fredric CF Mao.

舊）：新作包括邀請香港演藝㈻院戲劇院院長蔣維國博士改編及執導的㆗國傳奇《桃花扇》；參加康文署主辦的「第㆓屆新視野藝術節」、由張達明編劇和執導的原創劇《旋轉270°》和參加「第33屆香港藝術節」、由來㉂莫斯科大劇院的亞歷山大．波頓斯基執導的俄國㈴著《鐵娘子》。戲寶重溫劇目則㈲英國喜劇《不可兒戲》及英國近㈹正戲《生殺之權》。前者由話劇團前任藝術總㈼楊世彭博士執導，後者由駐團導演何偉龍執導。藝術總㈼毛俊輝則重排㆖㆒劇季的本㆞原創音樂劇

《酸酸甜甜香港㆞》，分別於本港、杭州和㆖海㆔㆞公演。主劇場在本港演出的總場次共86場，總觀眾㆟次 30,393，平均入座率77%。

㆓號舞台製作以發掘新題材和嘗試新表演模式，提高話劇團內部創作力和發展㉂我潛能為目標的「㆓號舞台」共製作㈤個劇目：包括由演員㉂編㉂導㉂演的獨白劇《私房菜》及餐廳演出節目《㆒㊰歌．㆒㊰情》；另外，美國翻譯劇《㆒缺㆒》及原創音樂劇場《2㈪14》是兩個全新的黑盒劇場製作；而《找個㆟和我㆖㈫星》則為㆖個劇季

These six major productions played to an audience of 30,393 people over 86 performances, representing 77% of the total venue capacity.

Rep 2 Productions With the aim of testing new themes and presentation formats, and to provide a platform for promoting inhouse creativity and potential, five Rep 2 productions were presented: A Night In The Kitchen (monologues) and Cabaret (dinner theatre), both conceived and directed by members of the Acting Company; The Gin Game (a translated play) and February 14 (original music theatre), both of them new black box productions; and Shall We Go To Mars?, a revival of one of last season’s very well-received plays. No less than 7,347 people patronized these productions over 54 performances, occupying a highly encouraging 89% of the total seats available.

受歡迎的重演劇目。 ㆓號舞台共演出54場，總眾總㆟次7,347，平均入座率高達89%。

整體製作成績檢討綜合主劇場和㆓號舞台共11個製作140場的演出，雖然達到話劇團與康文署㈿議的服務指標，然而全年總觀眾㆟次(連境外演出)僅達40,840，平均入座率78%。成績相對欠佳的原因，與《生殺之權》及《鐵娘子》兩個主題嚴肅的劇目的票房不理想㈲關。全年演出的票房及廣告收入436萬元，與總製作開支890萬元比較，每齣戲的平均補貼率為51%。這種現象反映今㆝㆒般觀眾愛看輕鬆及娛樂性豐富，或諷刺政治和㈳會的另類題材，或㈲明星和偶像效應的商業劇場。但是作為本㆞最具㈹表性的劇團，話劇團是㈲責任維護和發展主流和㊝質的㆗外㈴劇或原創作品。今後的市場推廣策略需要更具靈活性和創意，對準觀眾的期望。同時，亦要繼續做好戲劇教育工作，培育年輕㆒㈹觀眾的藝術修養和劇場意識。

外展及戲劇教育活動話劇團透過㈻生專場演出的安排和㈻校巡迴演出的外展活動，積極在㈻校㆗推廣戲劇。今年成功推出㈻科戲劇《新龍門客棧》，以武俠劇場形式演繹㆗㈻會考課

Overall Results and Review Taking the six major and five Rep 2 productions all together, the Company succeeded in reaching its target of 140 performances as stipulated in its funding agreement with the Government. Still, both the translated plays Whose Life Is It Anyway? and Vassa Zheleznova, with their serious themes, failed to attract good houses, thus leading to a comparatively lower overall attendance figure of 40,840 (including national tour audiences), or an average attendance rate of 78% this year. The total box-office income and advertising fees drawn from the above 11 productions was HK$4.36M, far below the overall production expenditure of HK$8.90M. The average subsidy for each production thus came to a considerable 51%. This can be explained by the fact that audiences nowadays seem to be more inclined towards enjoying shows with light, entertaining themes, or controversial social and political issues, or simply some celebrity artists. But the HKRep, being the flagship theatre company of Hong Kong, recognizes it has the responsibility of developing mainstream local and foreign plays of unequivocally high standards. Hence, to meet changing public expectations, the Company feels it may need to adopt new and more versatile marketing strategies for its motley audiences in the future, and to boost its educational and arts appreciation programmes for youths.

Outreach and Drama Education Activities The Company intensified its efforts to promote drama in the youth sector through student matinees and performance tours to secondary schools. These featured: A New Dragon Inn, an adaptation of a textbook play, Banquet, from the Chinese Literature curriculum and No Charcoaling, a ‘life education’ drama for Hong Kong and Macau schools, jointly organised with Theatre Farmers of Macau.

程《請客》。另外，生命教育劇《走炭》除了到本港㆗ ㈻及澳門㈻校巡演之外，更與澳門戲劇農莊合作。話劇團又繼續為㈻生舉辦「暑期戲劇先鋒營」和在㈳區作不同形式的戲劇講座。其㆗㆒㊠「㆗西區戲劇大使培訓計劃」則是取得區議會贊助，以合辦模式進行。全年外展教育活動共169㊠/場次，成功吸引58,870

Other outreach activities included summer drama camps for students and drama workshops for the community at large, with a generous sponsorship from the Central and Western District Council. On the whole, 169 outreach and education activities were organised with a total of 58,870 participants, a significantly higher figure than last year’s 38,647. This figure likewise exceeds the target stipulated by the Government.

㈴年輕㆟參加，高出去年的38,647㆟，也超額完成康文署的服務指標。

市務推廣與㈳會贊助 2004/05年，話劇團的市務推廣及宣傳工作㆒方面拓展話劇團的品牌，另㆒面則集㆗在劇季及節目的推廣，以配合藝術發展方向及㈿助完成既定的業務指標。劇季的郵購套票分春夏及秋冬兩個季度宣傳，策略性㆞方便消費者時間管理，又成功減少換票機會。推出與套票客戶掛勾的免費「好友營」會籍計劃亦頗受歡迎。會員由2003/04年的632㆟增㉃2004/05年的 2,033㆟，增長超過兩倍。傳媒方面則成功開拓了㆒些以往較少接觸話劇團的媒體，包括電子傳媒、㈾訊和㉁閒雜誌類的報刊，又增加演員於媒體的曝光。通過去年㈨㈪到杭滬巡演《酸酸甜甜香港㆞》，話劇團與內㆞某些媒體也建立了溝通渠道。話劇團的網頁設計已經全面革新，增加版位如「支持話劇團」，方便個㆟的捐助及㈽業機構的參與；設

香港話劇團年報 H ON G KO N G R EP E R T ORY T H E AT R E A N N U A L R E PO R T 2 00 4- 0 5

「傳媒專區」，方便媒體㆘載㈾料；與海內外各㆞戲劇

組織建立連線，結果增加網頁的瀏覽次數。 2005年5㈪出版的「公司㈾料冊」，精選和收錄話劇團公司化後㆕年的演出活動的圖文㈾料，是話劇團目前㆒本比較全面向外宣傳推介公司業務的㈾料冊子，尤其㈲用於向贊助商展示和介紹成績。從㈳會贊助成績而言，公司全年成功取得17位熱心㈳會㆟士及㈽業機構的慷慨捐款和贊助。新設的「好友營捐助㆟」組別將期待吸引更多個㆟捐助。

Marketing and Sponsorship In 2004/05, the Company not only worked rigorously to enhance its brand image and raise its profile, but also placed a special emphasis on the marketing of its productions in keeping with the Company’s stated business and artistic directions. The year’s postal subscriptions were split into two seasonal packages – Spring/Summer and Autumn/Winter. This change of tactic offered the convenience of better time management for consumers and effectively minimized the opportunities for ticket exchange. A free offer of HKRep PAL membership to seasonal subscribers likewise drew a very positive response: PAL members jumped from 632 in the year 2003/04 to 2,033 in 2004/05 – an increment of over 200%. On the media front, the Company successfully initiated dialogue with certain media which had relatively little contact with the HKRep in the past. The Company simultaneously reached out to various electronic media and magazines, and generated greater media attention for HKRep artists. With Sweet & Sour Hong Kong’s Hangzhou-Shanghai tour last September, a number of mainland media contacts were also established. The HKRep’s website was fully revamped this year with greater functionality and user appeal added. Topics such as “Support Us” in the menu now make it more convenient for individuals and commercial entities to access information about how they can partner with the HKRep. Similarly, media commentators can easily download the latest information about the HKRep from the online “Press Room”. Higher hit rates were also achieved following the installation of links with local and overseas drama entities on the HKRep website. Taking the HKRep’s corporate image to the next level, a corporate brochure highlighting the Company’s most notable productions and achievements in the last four years was published in May 2005. This publication is to date the most powerful tool in the Company’s communications arsenal, an all-in-one resource that effectively introduces the HKRep to the commercial sector for prospects of sponsorship. In terms of finance, the Company this year received the generous support of 17 individual donors and corporate sponsors. Furthermore, a new category – Pals Donor – was introduced to the Development Fund in the hope that the

內㆞巡演與港滬合作在香港環球集團的贊助及民政事務局的支持㆘，

Company would thereby be able to solicit the support of more individual donors.

話劇團於去年9㈪曾以《酸酸甜甜香港㆞》到杭州參加

National Tours and Collaborations

文化部主辦的「第㈦屆㆗國藝術節」及赴㆖海作慈善演

With sponsorship from Universal International Investment Ltd and the Home Affairs Bureau, Sweet & Sour Hong Kong went on tour to Hangzhou for the 7th China Arts Festival, and to Shanghai for charity performances last September. This was the Company’s first joint-tour with the Hong Kong Dance Company outside Hong Kong, and it attracted extensive publicity and recognition from the media and art circles in both cities. The activity undoubtedly also helped lay the foundation for the Company’s reputation on the mainland, seeding a potential market there.

出。這是話劇團與香港舞蹈團首次聯合外訪演出活動，結果獲得內㆞傳媒爭相採訪報導和同業的肯定。是次巡演無疑㈲助建立話劇團在內㆞的認受性，及為今後拓展內㆞市場播㆘種籽。另㆒重要的發展，是藝術總㈼於去年12㈪為㆖海話劇藝術㆗心執導美國劇本《求証》，本團演員馮蔚衡擔任主角以普通話參予演出。該次破㆝荒的交流合作，成功加強了話劇團與該㆗心的友好聯繫，也促成了該㆗心於2005 年7㈪把《求証》的普通話版本帶來香港演出。 2005 年10㈪話劇團將應邀赴滬於㆖海話劇藝術㆗ 心演出《傾城之戀》，勢將進㆒步鞏固彼此間的藝術業

In another noteworthy development, ties between the Shanghai Dramatic Arts Centre and the HKRep were further strengthened through an unprecedented collaboration on an American play, Proof, staged last December under the directorship of Fredric CF Mao and featuring Fung Waihang as the lead in the Putonghua cast. The gesture was reciprocated with a performance of the same play by the Shanghai troupe on a visit to Hong Kong in July 2005. A touring performance of the HKRep’s Love In A Fallen City at the Shanghai Dramatic Arts Centre, scheduled to take place in October 2005, is set to deepen the relationship between these two organisations.

務合作基礎。

境內外獲獎成績話劇團2004年的製作獲獎豐碩，獲得第14屆香港舞台劇獎提㈴共20㊠，獲獎12㊠。其㆗《家庭作孽》、《找個㆟和我㆖㈫星》、《不可兒戲》及《旋轉270°》㆕齣戲獲選為㈩大最受歡迎製作。秦可凡憑《㆒缺㆒》獲最佳㊛主角（悲/正劇）；潘璧雲以《桃花扇》取最佳㊛配角（悲/正劇）；而潘燦良以《家庭作孽》得最佳㊚配角（喜/鬧劇）的獎㊠。㈾深演員馮蔚衡及周志輝憑演出《酸酸甜甜香港 ㆞》的角色，分別獲第15屆㆖海「白玉蘭戲劇表演藝術獎」配角獎及提㈴獎，亦是本港舞台劇演員首度榮獲此㊠全國性舞台表演獎㊠殊榮。此外，話劇團於第14屆香港舞台劇獎被推薦獲得「傑出外㆞市場拓展大獎」的榮譽。

香港話劇團行政總㈼

Awards Inside and Outside Hong Kong All in all, HKRep’s 2004 productions received 20 nominations and 12 citations at the 14th Hong Kong Drama Awards. A Small Family Business, Shall We Go To Mars?, The Importance Of Being Earnest and Rotate 270° were selected among the Ten Most Popular Productions of the Year; Qin Kefan took home the Best Actress Award (tragedy/drama) for The Gin Game; Poon Pik Wan clinched the Best Supporting Actress title (tragedy/drama) for Peach Blossom Fan; and Poon Chan Leung garnered the Best Supporting Actor Award (Comedy/Farce) for A Small Family Business. Veteran artists Fung Wai-hang and Chow Chi-fai received the 15th Shanghai Magnolia Stage Performance Best Supporting Actress Award and Nomination Award (Best Actor), respectively, for their roles in the enormously wellreceived musical Sweet & Sour Hong Kong in Shanghai. This marked the first time Hong Kong thespians were cited at the national theatre awards. The HKRep additionally received an award for Outstanding Marketing Development Outside of Hong Kong at the 14th Hong Kong Drama Awards presentation.

陳健彬

Chan Kin-bun Executive Director Hong Kong Repertory Theatre

劇季製作總結 Review of Drama Season 2004-05 主劇場製作

Main Stage Productions ㈰期/場㆞ Date/Venue 15-31/5/04 香港大會堂劇院 Hong Kong City Hall Theatre

16/7-1/8/04 香港演藝㈻院戲劇院 HKAPA Drama Theatre 27-29/8/04 香港演藝㈻院歌劇院 HKAPA Lyric Theatre 6-16/11/04 香港文化㆗心劇場 Hong Kong Cultural Centre Studio Theatre 2-16/1/05 香港大會堂劇院 Hong Kong City Hall Theatre 12-20/3/05 葵青劇院演藝廳 Kwai Tsing Theatre Auditorium 小計： Sub-total:

劇目/場數 Repertoires / No. of Performances

《桃花扇》

Peach Blossom Fan 19 (連2㈻生場) (Including 2 student performances)

《不可兒戲》

The Importance Of Being Earnest 20 (連2㈻生場) (Including 2 student performances)

《酸酸甜甜香港㆞》(㆓度重演) Sweet & Sour Hong Kong (2nd re-run)

編劇/導演 Playwright / Director 孔尚任 / 蔣維國(兼改編) Kung Shangren / Directed and adapted by David Jiang

總觀眾㆟次 (入座率) Audience Size (Attendance Rate)

7,836 (93%)

王爾德/楊世彭 Oscar Wilde / Daniel SP Yang

6,957 (87%)

何冀平/毛俊輝 He Jiping / Fredric CF Mao

3,650 (96%)

張達明 Cheung Tat-ming

3,191 (92%)

白賴恩．奇勒 / 何偉龍 Brian Clark / Ho Wai-lung

4,465 (57%)

高爾基 / 亞歷山大．波頓斯基 Maxim Gorki / Alexander Burdonskij

4,294 (53%)

《旋轉270ﾟ》

Rotate 270ﾟ 14 (連2㈻生場) (Including 2 student performances)

《生殺之權》

Whose Life Is It Anyway? 18 (連2㈻生場) (Including 2 student performances)

《鐵娘子》

Vassa Zheleznova 11 (連1㈻生場) (Including 1 student performance) 86 (連9㈻生場) (Including 9 student performances)

30,393 (77%)

㆓號舞台製作

Rep 2 Productions ㈰期/場㆞ Date/Venue 3-6/6/04

香港話劇團年報 H ON G KO N G R EP E R T ORY T H E AT R E A N N U A L R E PO R T 2 00 4- 0 5

葵青劇院展覽廳 Kwai Tsing Theatre Exhibition Gallery

20-31/7/04 葵青劇院展覽廳 Kwai Tsing Theatre Exhibition Gallery 24-30/7/04 香港藝術㆗心雅廚餐廳 Hong Kong Arts Centre Open Kitchen

劇目/場數 Repertoires / No. of Performances

《私房菜》

A Night In The Kitchen 6

《㆒缺㆒》

The Gin Game 15 (連2㈻生場) (Including 2 student performances)

《㆒㊰歌．㆒㊰情》 Cabaret 7

編劇/導演 Playwright / Director

總觀眾㆟次 (入座率) Audience Size (Attendance Rate)

演員編作 / 何偉龍 Devised by Actors / Ho Wai-lung

592 (100%)

柯培恩 / 李國威 DL Coburn / Weigo Lee

1,344 (92%)

馮蔚衡(統籌) / 何偉龍(導演) Fung Wai-hang (Coordinator)/ Ho Wai-lung (Director)

692 (96%)

莊梅岩 / 何偉龍 Cancer Chong / Ho Wai-lung

1,857 (84%)

柯培恩 / 李國威 DL Coburn / Weigo Lee

458 (55%)

鄭國偉 / 傅㈪美 Matthew Cheng / May Fu

2,404 (98%)

14-17/10/04 香港藝術㆗心壽臣劇院 Hong Kong Arts Centre Shouson Theatre 15-16/12/04 ㆖環文娛㆗心劇院 Sheung Wan Civic Centre Theatre 4-17/1/05 香港話劇團黑盒劇場 HKRep Black Box

《找個㆟和我㆖㈫星》(重演) Shall We Go To Mars? (re-run) 6

《㆒缺㆒》(重演)

The Gin Game (re-run) 2

《2㈪14》

February 14 18 (連2㈻生場) (Including 2 student performances)

小計: Sub-total:

54 (連4㈻生場) (Including 4 student performances)

7,347 (89%)

總計： Grand Total:

140 (連13㈻生場) Including 13 student performances)

37,740 (79%)

內㆞演出

Tourings in the Mainland ㈰期/場㆞ Date/Venue

3/8/04 廣州老齡委㆗心禮堂 Guangzhou Old Comrades Recreation Centre

11/9/04 杭州蕭山劇院 Hangzhou Xiaoshan Theatre

17-18/9/04 ㆖海逸夫舞台 Shanghai Yifu Theatre

總計： Grand Total:

劇目/場數 Repertoires / No. of Performances

活動 Events

總觀眾㆟次 (入座率) Audience Size (Attendance Rate)

《㆒缺㆒》

交流示範演出 A cultural exchange demonstration

100 (50%)

《酸酸甜甜香港㆞》

參加第㈦屆㆗國藝術節 Entry for the 7th China Arts Festival

1,350 (51%)

為㆖海慈善基㈮會籌款演出 Fund-rasing performances for the Shanghai Charity Foundation

1,650 (92%)

The Gin Game 1

Sweet & Sour Hong Kong 2

《酸酸甜甜香港㆞》

Sweet & Sour Hong Kong 2

3,100 (67%)

聯合演出

Joint Performances ㈰期/場㆞/合辦機構 Date/Venue/Partnering Organization

16/12/04-2/1/05 ㆖海話劇藝術㆗心藝術劇院 Shanghai Dramatic Arts Centre Arts Theatre

劇目/場數 Repertoires / No. of Performances

編劇/導演 Playwright / Director

總觀眾㆟次 (入座率) Audience Size (Attendance Rate)

《求証》

戴維‧奧本 / 毛俊輝 David Auburn / Fredric CF Mao

3,546 (64%)

Proof 11

註：香港話劇團演員馮蔚衡與㆖海話劇藝術㆗心演員許承先、宋憶寧及王勇同台以普通話演出。 Note: HKRep actress Fung Wai-hang played the lead alongside with the Shanghai Putonghua cast Xu Chengxian, Song Yining and Wang Yong.

外展及其他活動總結

Summation of Outreach Programmes and Other Activities 活動性質／㈰期 Nature of Activities / Date

活動數目 No. of Activities

觀眾或參加㆟數 Audience and Participants

備註 Remarks

7,900

收費 Charge

38,224

收費 Charge

3,646

㆗㈻巡迴演出 Secondary School Performance Tours 1-23/4/04 生命教育劇場《走炭》 No Charcoaling Life Education Theatre 25/10- 25/11/04 First Round (首輪) 23/2-23/3/04 Second Round (次輪) ㈻科戲劇《新龍門客棧》 Textbook Play A New Dragon Inn ㆗㈻巡迴演出及工作坊系列(澳門) Secondary School Performance Tours and Workshops (Macau) 26-30/4/04 生命教育劇場《走炭》 No Charcoaling Life Education Theatre

收費 Charge 與澳門戲劇農莊合辦

26-30/4/04 戲劇講座 Seminars

1,582

3-6/5/04 戲劇工作坊 Workshops

584

暑期戲劇先鋒營 Summer Drama Camp

3個(30節) 3 (30 Sessions)

㈻員結業演出 Showcase Performances

175

3,970

A joint project with Theatre Farmers of Macau

3-28/8/04

收費 Charge

2/9-20/10/04 ㈻員回校跟進演出及講座 Follow-up Performances and Seminars at Schools

主辦機構 ㆗西區區議會㈿辦機構香港基督教㊛青年會西環綜合㈳會服務處明愛莫張瑞勤㈳區㆗心香港專業教育㈻院青衣分校堅尼㆞城教㈻㆗心

香港話劇團年報 H ON G KO N G R EP E R T ORY T H E AT R E A N N U A L R E PO R T 2 00 4- 0 5

29/10/04-19/3/05

㆗西區戲劇工作坊 Central & Western District Drama Workshops

3個 (26節) 3 (26 sessions)

Presented by Central & Western District Council Co-organizers HKYWCA Western District Integrated Social Service Centre Caritas Mok Cheung Sui Kun Community Centre HK Institute of Vocational Education (Tsing Yi) Kennedy Town Centre

4/04-3/05 講座、座談會、導賞及後台參觀活動 Talks, Seminars & Backstages Tours

2,436

免費 Free of Charge

㈳區演出 Community Tourings 主辦機構 ㆗西區區議會

24-28/3/05 3

185

㆗西區戲劇工作坊㈳區探訪演出 Performances for the Central & Western District Community 總計： Grand Total:

Presented by Central & Western District Council

169個 /場 169 Items/ Perfs

58,870

節目精華

PRODUCTION HIGHLIGHTS

《桃花扇》

Peach Blossom Fan 南明時㈹，復㈳領袖之㆒侯朝㊪在南京流連詩酒之時，愛㆖了秦淮㈴妓李香君。唯侯兩袖清風，無法梳攏香君。當時阮大鋮由於勾結閹黨，被復㈳文㆟ 排斥。為了討好侯，阮拿出錢㈶，請楊龍友轉贈侯作為妝奩之用。侯不明內裡，欣然受禮。李卻看穿其把戲，因退回妝奩而激怒阮。㉂此，侯李的愛情便和當時的黨派鬥爭聯結在㆒起，而兩㆟的命運亦反映了南明滅亡的淒涼景況。 At the end of the Ming Dynasty, Hao Chaozong, one of the leaders of the Restoration Society in Nanking, fell in love with the beautiful courtesan Li Xiangjun but couldn't afford to marry the love of his life because of his poverty. Being a lackey of the eunuch clique, Ruan Dacheng was repelled by the Society. In order to butter Hao up, he asked Yang Longyou, to present dowries to the courtesan on behalf of Hao. Hao was not aware of the tricks behind and accepted Ruan's offer. When revealing and denouncing the conspiracy of Ruan, Li refused to accept the dowries and hence irritated Ruan. Since then, the love between Hao and Li was involved in the power struggles among parties and their fate reflected the deplorable decline of the Ming Dynasty.

演出㈰期：2004年5㈪15㈰㉃31㈰ Date : 15-31 May 2004 演出㆞點：香港大會堂劇院 Venue : Hong Kong City Hall Theatre 演出場數 No. of Runs : 19 原著：孔尚任 Original Playwright : Kong Shangren

改編及導演：蔣維國 Adaptor & Director : David Jiang 原創音樂：羅永暉 Original Music : Law Wing-fai 副導演: 何偉龍 Associate Director : Ho Wai-lung 製作設計：何應豐 Production Designer : Ho Ying-fung

服裝設計：譚嘉儀 Costume Designer : Mandy Tam 燈光設計：崔婉芬 Lighting Designer : Psyche Tsui 編舞及形體設計：梁家權 Choreographer : Francis Leung

《不可兒戲》

The Importance Of Being Earnest 在倫敦，傑克化㈴華應真，於好友亞吉能的寓所認識了關多琳。就是因為關多琳對應真這個㈴字不可理喻的迷戀，他贏得了心㆖㆟的芳心。由於傑克是個被㆟放在手提箱內遺棄於維多利亞㈫車站的棄嬰，因此遭受到關多琳的母親巴夫㆟的白眼，對他們的婚事極力反對。在鄉間，傑克則與他那美麗純潔的養㊛西西麗同住，並向她聲稱㉂己㈲㆒個㈴叫應真的弟弟常在市區惹事生非，因而令他不得已經常離開鄉間的寓所。情竇初開的西西麗卻暗㆗對素未謀面的壞孩子應真產生好奇及愛意。㆒㆝，亞吉能冒充應真之㈴到鄉間向西西麗追求，西西麗立即答應他的求婚，也是因為應真這個㈴字。兩㊛同時愛㆖「應真」，㆒連串巧合的事件隨之而來。 In London, Jack Worthing's name is "Ernest". He meets Gwendolen at his friend, Algernon Moncrieff's flat. The lady declares that she chiefly loves him for his name Ernest. Her mother, Lady Bracknell, shudders Jack for his being a foundling and was deposited in a handbag at Victoria Station. In Woolton, Jack lives with his pretty ward, Cecily. Jack has allotted his non-existent brother whose peccadilloes explain his frequent absences from his country home. This made Cecily so fond of "Ernest" and has decided to marry him. One day, when Algernon presents himself in this guise, she immediately accepts his proposal. But she, too, will only marry an "Ernest". Both Gwendolen and Cecily fall in love with "Ernest" leads to a series of improbable coincidences.

演出㈰期：2004年7㈪16㈰㉃8㈪1㈰ Date : 16 July - 1 August 2004 演出㆞點：香港演藝㈻院戲劇院 Venue : The Hong Kong Academy for Performing Arts Drama Theatre 演出場數 No. of Runs 20 編劇：王爾德 (英國) Playwright : Oscar Wilde (UK)

導演：楊世彭 (美國) Director : Daniel SP Yang (USA) 翻譯：余光㆗ (台灣) Translator : Yu Kwang-chung (Taiwan) 佈景、服裝及燈光設計：莫禮圖 Set, Costume & Lighting Designer: Donato Moreno

《酸酸甜甜香港㆞》( ㆓度重演 ) Sweet & Sour Hong Kong

(2nd rerun)

香港旅遊勝㆞「照寶石」的百年老店「福臨記」以祖傳手打龍鬚麵馳㈴。老闆福叔仗著多年來無競爭對手，因循取巧，且服務態度惡劣，令生意㆒落千丈。冷不防麵店旁來了㆒家「新的」薄餅店，㊛東主㆝娜雖與福叔的姪兒冬㉃互相吸引，但依然來勢洶洶，野心勃勃㆞計劃吞併「福臨記」。當「新的」眾㆟成功鬥垮「福臨記」之際，㆒場風暴突㉃，兩店玉石俱焚，㆟㆟坐困愁城。面對百年老㈫被逼熄滅的㆒剎那，福叔㈲所頓悟，與兄嫂惠嫂合作烹調的最後㆒頓龍鬚麵及小籠飽重新喚起了座㆖客對㆟生的瞭解和欣賞…… Fu Linji, a restaurant located in a tourist hotspot in Hong Kong, has long been famed for its specialty noodles. But the popularity of the diner has gradually seen its owner, Uncle Fu, become complacent, surly and unaccommodating. Little surprise then that business now seems to be taking a turn for the worse. Enter Tina, an aggressive young entrepreneur who opens a pizza parlour — right next to the noodle restaurant. Her novel culinary offering immediately proves to be a threat to the timeworn noodle shop. Although sparks of a more benign kind begin to fly between Tina and Uncle Fu's handsome nephew Dongzhi, the shrewd businesswoman evidently has her heart set on taking over her neighbour's moribund operation. Just as Tina and her staff are celebrating their apparent commercial success, however, a ferocious storm strikes the city and causes extensive damage to the two rivals' premises. Both shop owners finally come to their senses. Tina embarks on a new plan whilst Uncle Fu and Auntie Hui, Dongzhi's mother, prepare a free-for-all "last supper", calling on everyone to face up to life's challenges and always put their best foot forward.

演出㈰期：2004年8㈪27㉃29㈰ Date: 27-29 August 2004 演出㆞點：香港演藝㈻院歌劇院 Venue: The Hong Kong Academy for Performing Arts Lyric Theatre 演出場數 No. of Runs : 4 導演 : 毛俊輝 Director : Fredric CF Mao 編劇 : 何冀平 Playwright : He Jiping 作曲 : 顧嘉煇、閻惠昌 Composers : Joseph Koo、 Yan Huichang 填詞 : 黃霑 Lyricist : James Wong 編舞 : 蔣華軒 Choreographer : Jiang Huaxuan ㆗樂演奏 (錄音) : 香港㆗樂團 Music (Recorded) : Hong Kong Chinese Orchestra 聯合演出 : 香港舞蹈團 Co-performer : Hong Kong Dance Company

副導演 : 傅㈪美 Associate Director : May Fu 製作設計 : 何應豐 Production Designer : Ho Ying-fung 服裝設計 : 周倩慧 Costume Designer : Cathy Chow 燈光設計 : 李樹生 Lighting Designer : Kim Lee 音響設計 : 袁卓華 Sound Designer : Yuen Cheuk-wa 錄像設計:黃志偉 Video Projection Designer : John Wong 歌唱指導 : 黃華豐 Singing Coach : Owen Wong 助理導演 : 潘燦良 Assistant Director : Poon Chan-leung

第㈦屆㆗國藝術節參節劇目 Entry for the 7th China Arts Festival

為㆖海慈善基㈮會籌款演出 Fund-raising for the Shanghai Charity Foundation

演出㈰期：2004年9㈪11㈰ Date : 11 September 2004 演出㆞點：杭州蕭山劇院 Venue : Hangzhou Xiaoshan Theatre 演出場數 No. of Runs : 2 (創作㆟員如前) (Creative Team as before)

演出㈰期：2004年9㈪17㉃18㈰ Date : 17-18 September 2004 演出㆞點：㆖海逸夫舞台 Venue : Shanghai Yifu Theatre 演出場數 No. of Runs : 2 (創作㆟員如前) (Creative Team as before)

《旋轉 270°》 Rotate 270°

㈦個完全沒㈲時空連接卻又環環相扣的㆟物與故事，㆒同遊走於生命迷宮。這是㈲關生與死的故事：㆒個走㆖㉂毀之路的運動員、㆒個患㈲精神分裂症的演員和他的其他性格、㆒個追尋丈夫㊙密的太太、㆒個墮進㉂己所創造陷阱的㊛作家，以及㆒個昏迷多時的病㆟，他們各㉂活在㉂己的時空，卻又同時闖進了別㆟的世界。他們穿梭往來，各㉂尋找、發現，就像胎兒在出生之前必先要旋轉270度才可離開母體㆒樣。 ㆟生總是要兜兜轉轉、尋尋覓覓始能走過生和死…… Rotate 270° is a collection of seven stories with no connection in time or space but is woven tightly as the characters travel together in the labyrinth of life. This is a story about life and death, depicting a self-destructive athlete, a schizophrenic actor and his other characters, a wife who searches for the secret of her husband, a female writer who falls into the trap of her own, and a comatose patient. They live in their own time and space but simultaneously invade the worlds of others. They traverse back and forth searching and discovering, just like the obligatory 270° rotation that a fetus must perform before leaving the womb. Life's endless cycles and searches are the paths to pass through life and death.

第㆓屆新視野藝術節參節劇目 Entry for the 2nd New Vision Arts Festival 演出㈰期：2004年11㈪6㈰㉃16㈰ Date : 6-16 November 2004 演出㆞點：香港文化㆗心劇場 Venue : Hong Kong Cultural Centre Studio Theatre 演出場數 No. of Runs : 14 編劇及導演：張達明 Playwright & Director : Cheung Tat-ming

佈景設計 : 曾文通 Set Designer : Kelvin Tsang 服裝設計 : 梁健棠 Costume Designer : Kenneth Leung 燈光設計 : 崔婉芬 Lighting Designer : Psyche Tsui 原創音樂及音響設計 : 林龍傑 Original Music & Sound Designer : Roger Lin

《生殺之權》

Whose Life Is It Anyway?

車禍之後，雕塑家夏禮信全身癱瘓，除了腦袋能運作正常之外，所㈲應付生活及生理的問題也要假手於 ㆟。偏偏他遇㆖最盡忠職守的主診㊩生，堅持將他的生命把守㉃最後㆒刻。為了維護尊嚴，他要奪回其生命的㉂主權，決意跟㊩院打官司……雖然他知道贏了官司後，他不會再生存。 After a car accident, sculptor Ken Harrison is left paralysed from the neck down, whilst his mind remains intact. He now has to depend on the others for the rest of his life - not the ideal existence for a passionate young artist. And Harrison lets it be known what his choice would be. His zealous physician, however, believes the sculptor should persevere and live out his days until his natural final moment. But whose life is it anyway? Harrison takes his case to court, demanding the right to decide his own fate...knowing full well that if he wins, he shall have to embrace an untimely, and ultimately scandalous, death.

演出㈰期：2005年1㈪2㈰㉃16㈰ Date : 2-16 January 2005 演出㆞點：香港大會堂劇院 Venue : Hong Kong City Hall Theatre 演出場數 No. of Runs : 18 編劇：白賴恩．奇勒 (英國） Playwright : Brian Clark (UK) 導演：何偉龍 Director : Ho Wai-lung

翻譯：黎翠珍 Translator : Jane Lai 佈景及服裝設計：馮家瑜 Set & Costume Designer : Angelica Fung 燈光設計 : 陳焯華 Lighting Designer : Billy Chan

背景約為1910年，「㈩㈪革命」(1917年) 前的俄國。鐵娘子娃薩的丈夫舒爾基因為孌童將被法庭控告，雖然㆓ ㆟為此已大灑㈮錢，到處疏通收買，仍然不能阻止公開聆訊的發生。娃薩為保家族辛苦經營的船運生意及㈴聲，不惜威迫丈夫服毒㉂殺。危機雖然過去，娃薩卻每㆝都要應付她的家㆟：兄長普洛哥嗜酒風流，不務正業，表面阿諛奉承，內裡卻奸險欺詐；大㊛娜塔莉憤世嫉俗，非常憎恨㉂己的親母；小㊛路狄嘉不願意長大，行為永遠像活在青春期。

《鐵娘子》

Vassa Zheleznova

㆒個㊰晚，娃薩的媳婦、正被通緝的革命黨㆟衛嘉，用假證件潛逃回國。衛嘉帶來娃薩唯㆒的兒子費奧多病危的消息，並且要求帶走㉂己的兒子，即娃薩的孫兒科利亞。由於科利亞是娃薩家族生意僅存的繼承㆟，娃薩堅決不肯讓衛嘉見科利亞。娜塔莉和普洛哥知道這件事後，合謀綁架科利亞以打擊娃薩，誰知道卻讓娃薩的㊙書安娜得悉其計劃。另㆒方面，娃薩為保孫兒，竟要安娜到㊙密警察處告密。娃薩識破綁架科利亞乃其兄及大㊛兒的計謀，決定要狠狠㆞教訓他們。當所㈲事尚未平息之際，娃薩頓感心力交瘁，猝死在家㆗的椅子㆖。安娜見狀立即露出狡猾的本性，普洛哥亦立即瘋狂㆞掠奪……然後，㆒幕幕醜惡㆟性的鬥爭繼續㆖ 演，永無㉁止的延續㆘去。 The story happens in Russia around 1910. Vassa's husband, Sergei is accused of pedophilia. They have spent a lot of money in bribery but it is no use to stop this infamous trial from proceeding. In order to save the family's business and reputation, Vassa forces her husband to poison himself. Although the crisis is overcome, Vassa has to handle her family problems everyday: Prokhor, her brother, is alcoholic and licentious. He is seemingly obedient but in fact cunning; Natalie, her elder daughter, is cynical and hostile towards her mother; Ludmila, her younger daughter, doesn't want to grow up and always behave like a child. One night, Rachel, Vassa's daughter-in-law and a revolutionary, risks being caught by the police and sneaks back home by fake document. Rachel tells Vassa that Fyodor, her only son, is very sick and demands to take away Kolja, Vassa's grandson. Since Kolja is the only successor of the family business, Vassa refuses to let Rachel see Kolja. When Natalie and Prokhor learn about this, they plot to kidnap Kolya in order to attack Vassa. But their plot is overheard by Anna, Vassa's secretary. On the other hand, in order to keep her grandson, Vassa tells Anna to report Rachel to the secret police. Vassa is then planning to revenge upon Natalie and Prokhor. When the storm is stirring, Vassa is exhausted and drops dead at home. Anna's malicious nature is revealed and Prokhor immediately snatches all the things away ... A series of the most hideous conflicts is just to begin.

第33屆香港藝術節參節劇目 Entry for the 33rd Hong Kong Arts Festival 演出㈰期：2005年3㈪12㈰㉃20㈰ Date : 12-20 March 2005 演出㆞點：葵青劇院演藝廳 Venue : Kwai Tsing Theatre Auditorium 演出場數 No. of Runs : 11 編劇：高爾基 (俄國) Playwright : Maxim Gorki (Russia)

導演：亞歷山大．波頓斯基 (俄國) Director : Alexander Burdonskij (Russia) 翻譯：廖梅姬 Translator : Grace Liu 佈景設計：維多．伏斯基 (俄國) Set Designer : Victor Volski (Russia) 服裝設計：拉斐爾．伏斯基 (俄國) Costume Designer : Raphail Volski (Russia)

燈光設計 : 張國永 Lighting Designer : Leo Cheung 製作聯繫及助理導演 : 納麗．尼爾遜 (俄國) Production Coordinator & Assistant Director : Nelli Nielsen (Russia) 助理導演：馮蔚衡 Assistant Director : Fung Wai-hang

《私房菜》

A Night In The Kitchen

《私房菜》是㆒個㈹表「㆓號舞台」創作概念的演出，由㈥位演員㆒起擔當編劇㆒職，把㉂己的經歷或聽回來的故事編作而成的獨白，通過導演何偉龍的佈局，把㆒個個不同類型的動㆟故事在㆒邊煮食時，㆒邊與觀眾們分享，讓觀眾感受到以文㈫武㈫蒸燉煮焗、鹹甜酸苦、㈲笑㈲淚的㆟生盛宴！ A creative project of Rep 2 spirit. The six actors wrote their respective monologues, inspired by their own personal experiences or stories they were told. Through director Ho Wai-lung’s meticulous arrangement, stories were respectively presented while the actors were preparing their own dishes in a "kitchen" on stage.

演出㈰期：2004年6㈪3㈰㉃6㈰ Date : 3-6 June 2004 演出㆞點：葵青劇院展覽廳 Venue : Kwai Tsing Theatre Exhibition Gallery 演出場數 No. of Runs : 6 導演：何偉龍 Director : Ho Wai-lung 製作設計：胡民輝 Production Designer : Pu Man-fai 創作: 陳麗卿、雷思蘭、龔小玲、周昭倫、郭志偉、邱廷輝 Co-developers : Chan Lai-hing, Lui Si-lan, Kung Siu-ling, Chow Chiu-lun, Kwok Chi-wai, Yau Ting-fai

《㆒缺㆒》

The Gin Game

演出㈰期：2004年7㈪20㈰㉃31㈰ Date : 20-31 July 2004 演出㆞點：葵青劇院展覽廳 Venue : Kwai Tsing Theatre Exhibition Gallery 演出場數 No. of Runs : 15 編劇：柯培恩 (美國) Playwright : DL Coburn (USA) 導演及翻譯：李國威 Director & Translator : Weigo Lee 舞台及服裝設計：阮漢威 Stage & Costume Designer : Leo Yuen

㆖環文娛㆗心重新啟用誌慶節目 Performance Commemorating the Re-opening of the Sheung Wan Civic Centre 演出㈰期：2004年12㈪15㈰㉃16㈰ Date : 15-16 December 2004 演出㆞點：㆖環文娛㆗心劇院 Venue : Sheung Wan Civic Centre Theatre 演出場數 No. of Runs : 2 (創作㆟員如前) (Creative Team as before)

在㆒家破舊的安老院內，新來的Fonsia 認識了㆒位醉心於紙牌遊戲的老㆟家 Weller。Weller終㈰獨個兒玩著紙牌，甚少與㆟交往。當他遇㆖紙牌初哥Fonsia， ㆓㆟開始牌局及對話。雖然Fonsia對紙牌的玩法非常陌生，但卻接㆓連㆔勝出牌局，教Weller為之氣結，還為此不斷謾罵Fonsia。Fonsia對Weller暴躁的脾氣及態度頗㈲微言，多番拒絕再跟他玩。奈何 Weller窮追不捨，要求Fonsia對局，Fonsia 無奈答允。㆓㆟㆒邊對局，㆒邊爭吵，氣氛緊張…… After moving into a shattered retirement home, Fonsia meets a lonely old man, Weller, who is infatuated with card games. He is so obsessed with his games that he seldom speaks to anybody. However, he asks Fonsia to play the game of Gin with him and the two senior persons begin their communication and relation through playing their daily games. Although a new learner, Fonsia instantly goes on a winning streak. Weller cannot help but starts losing temper on his opponent. Agonized by the surly old man, Fonsia swears to defeat him bitterly when being repeatedly asked to play the game. They keep fighting with each other, heightening the tension between the two friends-andfoes...

《㆒㊰歌．㆒㊰情》 Cabaret

演出㈰期：2004年7㈪24㈰㉃30㈰ Date : 24-30 July 2004 演出㆞點：香港藝術㆗心雅廚餐廳 Venue : Hong Kong Arts Centre Open Kitchen 演出場數 No. of Runs : 7 導演：何偉龍 Director : Ho Wai-lung 統籌：馮蔚衡 Coordinator : Fung Wai-hang 音樂總㈼：陳雋騫 Music Director : Phoebus Chan 歌唱指導：馮夏賢 Singing Coach : Eli Fung 燈光設計：趙匯江 Lighting Designer : Chiu Wui-kong 創作 : 郭紫韻、王維、馮蔚衡、邱廷輝、洪迎喜、劉守正、陳麗卿 Co-developers : Kwok Tsz-wan, Wang Wei, Fung Wai-hang, Yau Ting-fai, Hung Ying-hei, Lau Shau-ching, Chan Lai-hing

《㆒㊰歌．㆒㊰情》打破了劇場固㈲的框框，整個節目都是在㆒間餐廳內的舞台㆖唱歌，以導演及演員們共同創作的獨白及歌曲形式將所要表達的思想感情（故事）直達到坐在餐桌旁的觀眾裡去，讓觀眾們在輕鬆㊢意的環境㆗分享那令㆟回味的歌與情。 The show did not take place in a formal theatre but on a restaurant’ s stage. In their collaboration, the director guided the actors to write their own monologues and to select songs for expressing their thoughts and feelings. Audience viewed and shared the performance in a cozy and lighthearted atmosphere.

《2 ㈪ 14》

February 14 每逢佳節倍思親。Doris因那當教師的未婚夫曾經逃婚，令她傷心欲絕，從此對當教師的異性非常抗拒；Fiona對愛情easy come easy go，始終未找到知己伴侶；Venus㆒年前突然離婚。㆔位㊛子，於㆒年的情㆟節，在㆒間Dily甜品店內，相約誓要在㆒年的時間內找到生命㆗的真命㆝ 子。 Since her fi ancé, a schoolteacher, ran away from the wedding, Doris has been heart-broken and resistant to teacher wooers. Playgirl Fiona regards love as games for fun. Venus suddenly divorced her beloved husband one year ago. These three women, on a Valentine’s Day at Dily, a dessert-cafe, swear that they will find their Mr. Rights before the next Valentine’s Day comes.

《找個㆟和我㆖㈫星》( 重演 ) Shall We Go To Mars? (rerun) 旺角㈲㆒條僻靜的放狗街，每晚留連著背景不同的㆟和他們品種各異的狗。㆒㆝晚㆖，身患惡疾的 Jimmy帶著舊皮箱和望遠鏡，為了尋找㈫星的蹤影而來到這條街，並遇㆖最後㈤個放狗的㆟。他以為能在這些寂寞的㆟當㆗找個伴兒，然而㈤個放狗的㆟ 各㈲㉂己的「放不㆘」，Jimmy先㆝的「與㆟溝通困難症」又令他受盡排斥。最終他會孤獨㆖路，還是成功㆞找個㆟和他㆖㈫星？ In Mongkok, there is a quiet "dog-walking" street on where dog-lovers walk their pets every evening. One day, Jimmy, an old man suffering from terminal cancer, comes to the street. He brings along with him a worn-out suitcase and an astronomical telescope, wondering if he can find a proper place to gaze Mars. He meets five dog-lovers there, and hopes to make friends with them. However, each of these people with whom he comes across is perplexed by his/her own problem. Having difficulty in communicating with others, Jimmy does not make himself a popular person among his new acquaintances. What will be his way out - continuing with his lonely journey or succeeding in convincing someone to join his adventure to Mars?

演出㈰期：2004年10㈪14㈰㉃17㈰ Date : 14-17 October 2004 演出㆞點：香港藝術㆗心壽臣劇院 Venue : Hong Kong Arts Centre Shouson Theatre 演出場數 No. of Runs : 6 編劇 : 莊梅岩 Playwright : Cancer Chong 導演：何偉龍 Director : Ho Wai-lung 佈景及服裝設計 : 馮家瑜 Set & Costume Designer : Angelica Fung 燈光設計 : 陳焯華 Lighting Designer : Billy Chan 音樂創作及音響設計 : 鍾志榮 Composer & Sound Designer : Chung Chi-wing 助理導演 : 郭紫韻 Assistant Director : Kwok Tsz-wan

演出㈰期：2005年1㈪4㈰㉃17㈰ Date : 4-17 January 2005 演出㆞點：香港話劇團黑盒劇場 Venue : HKRep Black Box 演出場數 No. of Runs : 18 編劇：鄭國偉 Playwright : Matthew Cheng 導演：傅㈪美 Director : May Fu 創作意念 : 馮蔚衡 Conceived by Fung Wai-hang 音樂總㈼、作曲及填詞 : 鍾志榮 Music Director, Composer & Lyricist : Chung Chi-wing 佈景及服裝設計：阮漢威 Set & Costume Designer : Leo Yuen 燈光設計 : 劉銘鏗 Lighting Designer : Lau Ming-hang 編舞及形體指導 : 趙浩然 Choreographer : Rex Chiu 歌唱指導 : 馮夏賢 Singing Coach : Eli Fung 鋼琴伴奏 : 陳雋騫、張家銘 Pianists : Phoebes Chan, Charles Teo

戲劇文㈻研究及出版

Literary Research and Publication

戲劇文㈻研究小組為本劇季的各劇目搜集㈾料、撰㊢導賞文章及為各類座談會作紀錄，並籌備及編輯《劇評集》---- 話劇團第㆓本戲劇文㈻研究的書籍。內容是由本港㈩多位劇場工作者/㈻者/文化㆟/藝評家分別為話劇團本劇季不同的劇目撰㊢嚴肅的劇評。㉃於第㆒本戲劇文㈻研究的書籍《戲言集》亦於本劇季內完成大部份編、採、㊢工作，並於2005年㆘半年出版。全書由話劇團戲劇文㈻研究員撰㊢及編輯，主題是2003 ㉃2004年度各劇目其㆗㆒些編、導、演㆟ 員的創作心得，以訪問形式表達。另外，小組亦為話劇團於去年㈨㈪赴杭、滬㆓㆞演出之行出版了㆒本圖片小冊子。今年㈤㈪，小組再為話劇團出版創團以來首本「公司㈾料冊」，㆗英對照，厚 80頁，介紹話劇團㉂公司化後㆕年以來的種種面貌。年㆗，話劇團亦邀請專家㈻者為部分製作撰㊢導賞

香港話劇團年報 H O N G KO N G RE P ER T ORY T H E AT R E A N N U A L R EP O R T 2 0 0 4 -0 5

文章及導賞手冊。

The Literary Research team – responsible for drama research, developing appreciation guides and recording various seminars for HKRep productions – launched preparations for An Anthology of Drama Reviews, the second such publication of the HKRep. The book is to comprise over 20 incisive drama reviews by theatre veterans, scholars, cultural curators and art critics on the HKRep’s productions this season. Meanwhile, the team’s fi rst literary research publication, An Anthology of Drama Words, entered its fi nal editing stage, with publication due in the second half of 2005. Penned and edited entirely by the HKRep’s literary researcher, this book contains notes from first-hand interviews with playwrights, directors and actors of the Company’s 2003-2004 productions. Other major efforts by the team include a pictorial booklet brought out particularly for the HKRep’s September 2004 Hangzhou-Shanghai performance tour, and the HKRep’s first-ever Corporate Brochure, a bilingual, 80-page publication on all facets of the Company, released in May 2005. During the year, appreciation guides and introductory notes for selected productions were published through commissioning of theatre experts and scholars.

話劇團首本公司㈾料冊

圖片小冊子

HKRep’s first-ever Corperate Brochure

Pictorial Booklet

外展及教育活動

Outreach and Education Activities

外展及教育小組在年㆗進行了多㊠活動，包括應澳門專業戲劇團體「戲劇農莊」之邀，參加「專業藝術家來澳交流演出計劃」，將話劇團外展巡迴劇目《走炭》送抵澳門各㆗㈻演出，並在演出後舉行「生命教育戲劇工作坊」，藉此加強此劇之生命教育訊息。為了提升暑期戲劇營的活動質素，2004年夏㆝舉辦的戲劇先鋒進階訓練營以全㈰制形式進行，並選取了話劇團的㈻校巡迴劇本《溝通之王》作為教㈻題材、㈻校講座及㈻生回校演出。㈻校巡演方面，今年推出「㈻科戲劇」，根據㆗㈻會考課文《請客》創作劇本和演後工作紙，將戲劇欣賞與語文㈻習結合。因受到㈻校歡迎，季內作了兩輪的演出，共79場，吸引超過38,000㈴㈻生觀看。「㆗西區戲劇大使培訓計劃」是話劇團第㆔次與㆗ 西區區議會合辦同類型之文化落區活動，邀請了㆔個㆗ 西區之青少年活動團體共同參與，分別為㊛青年會西環綜合服務處、明愛莫張瑞勤㈳區㆗心及香港專業教育㈻院青衣分校堅尼㆞城教㈻㆗心。活動包括每㆗心㈧節戲劇工作坊、參觀後台、演出綵排及結業演出。

The Outreach and Education Unit embarked on a number of activities the past year. Upon the invitation of Theatre Farmers of Macau, a professional drama organisation in Macau, to join its Scheme of Artists Exchange, the HKRep staged No Charcoaling at various secondary schools in the former Portuguese enclave, and held Life Education workshops after the shows to reinforce the play’s message about the value of life and the wisdom of facing its myriad challenges with courage and vision, instead of considering suicide as an easy way out. Another play staged at various schools, albeit in Hong Kong, was King Of Communication, presented as a case study for drama teaching, class discussions and students’ own future drama productions. This show formed part of the HKRep’s latest Summer Camp, the Theatre Pioneer Advanced Training Camp, which, for the first time in years, was run on a full-day basis in order to enhance the activity’s overall quality and impact. The HKRep also introduced the concept of Dramain-Lesson to local schools this year. Besides adapting a Chinese literary passage from the HKCEE syllabus (Banquet) for the play A New Dragon Inn, the HKRep Outreach and Education Unit also developed post-performance worksheets for schools to tie in the ideas of drama appreciation and language learning. The activity proved to be extremely popular: the HKRep staged two runs of this production encompassing 79 shows, which were attended by over 38,000 students within a single drama season. At the community level, the HKRep entered into its third collaboration with the Central and Western District Council, with the Theatre Training Scheme for Central and Western District. Three youth associations from the area, namely, the HKYWCA Western District Integrated Social Service Centre, Caritas Mok Cheung Sui Kun Community Centre and IVE (Tsing Yi) Kennedy Town Centre, were invited to participate in this event. Items under the scheme included up to eight theatre workshops at each centre, backstage visits, observation of rehearsals and performances by the participants themselves.

㆗西區戲劇工作坊㈳區探訪演出 Performances for the Central & Western District Community

香港話劇團年報 H O N G KO N G RE P ER T ORY T H E AT R E A N N U A L R EP O R T 2 0 0 4 -0 5

暑期戲劇先鋒進階訓練營

Summer Drama Camp

㈻科戲劇《新龍門客棧》

Drama-in-Lesson A New Dragon Inn

㆗㈻巡迴演出

Performing Tours at Secondary Schools

生命教育劇場《走炭》 Life Education Theatre No Charcoaling

生命教育戲劇工作坊（澳門） Drama Workshop in Macau

巡演、交流及其他活動

Touring, Exchange and Other Activities

《酸酸甜甜香港㆞》參加杭州「第㈦屆㆗國藝術節」及㆖海慈善演出 Sweet & Sour Hong Kong in the 7th China Arts Festival in Hangzhou and charity fund-raising performances in Shanghai (9.2004)

「戲㆗是您‧您就是戲」商場展覽

香港話劇團年報 H O N G KO N G RE P ER T ORY T H E AT R E A N N U A L R EP O R T 2 0 0 4 -0 5

“Your Part, Your Play” Mall Exhibition (7-8.2004)

《求証》與㆖海話劇藝術㆗心聯合演出 Proof joint performances with Shanghai Dramatic Arts Centre (12.2004-1.2005)

參與「㈩年建樹」(1993-2003) 華文戲劇作品研討會（㆗文大㈻） Taking part in a seminar on 10 Years’ Retrospect of Chinese Theatre 1993-2003 at CUHK (7.2004)

發展策略集思會 Strategic Planning Retreat (11.2004)

㈿辦「狄倫馬㈵在㆗國」講座（浸會大㈻） In support of Durrenmatt in China Seminar at Baptist University (2.2005)

生殺之權‧誰主生命研討會 Whose Life Is It Anyway? Seminar (12.2004)

高爾基的《鐵娘子》在香港 – 演前導賞會 Maxim Gorki’s Vassa Zheleznova in Hong Kong Pre-performance Talk (2.2005)

演職員 STAFF 總㈼ Directors

藝術㆟員 Artistic Staff

藝術總㈼

Artistic Director

駐團導演

Resident Director

毛俊輝

Fredric CF Mao

何偉龍

Ho Wai-lung

行政總㈼

Executive Director

陳健彬

Chan Kin-bun

馮蔚衡

Fung Wai-hang

技術㈼督

Technical Manager

林菁

Eddie C Lam

舞台㈼督

Stage Manager

馮國彬

Fung Kwok-pan

顏尊歷

Yien Chuan-lik

Assistant to Artistic Director, Literary Researcher

涂小蝶

Tao Siu-tip

執行舞台㈼督

Deputy Stage Manager

總㈼㊙書

Secretary to Directors

陳國達

Chan Kwok-tat

Emily LY Leung

利湛求

Lee Cham-kau

行政㆟員

Administrative Staff

外展及教育策劃兼演員

Outreach and Education Coordinator, Actor

周昭倫

Chow Chiu-lun

演員

Actors

(離職㈰期 resigned on 27/7/05)

陳麗卿

Chan Lai-hing

助理舞台㈼督

Assistant Stage Manager

節目經理

Programme Manager

周志輝

Chow Chi-fai

周昭瑜

Chow Chiu-yu

梁子麒

Marble TK Leung

洪迎喜

Hung Ying-hei

副經理 (節目)

Assistant Manager (Programme)

高翰文

Ko Hon-man

馮之浩

Fung Chi-ho

李藹儀

Heidi OY Lee

龔小玲

Kung Siu-ling

舞台管理見習員

Stage Management Trainee

陳紫楓

Chan Tsz-fung

(離職㈰期 resigned on 17/3/05)

(離職㈰期 resigned on 18/6/05)

(離職㈰期 resigned on 11/12/04)

郭志偉

Kwok Chi-wai

郭紫韻

Kwok Tsz-wan

化妝及髮飾主任 Master

Make-up & Hairdress

何明松

He Ming-song

服裝主任

Wardrobe Supervisor

甄紫薇

Yan Gee-mei

道具製作

Props Maker

梁國雄

Leung Kwok-hung

電機師

Production Electrician

朱峰

Chu Fung

署任副經理 (節目)

Acting Assistant Manager (Programme)

劉守正

Lau Shau-ching

張婷

Candy T Cheung

李子瞻

Lee Tze-tsim

節目主任

Programme Officer

劉紅荳

Liu Hong-dou

周秀鳳

Kenix SF Chow

雷思蘭

Lui Si-lan

彭杏英

Pang Hang-ying

潘燦良

Poon Chan-leung

潘璧雲

Poon Pik-wan

秦可凡

Qin Kefan

孫力民

Sun Limin

影音技師

A/V Technician

辛偉強

Sun Wai-keung

祁景賢

Kee King-yin

陳煦莉

Tan Hui-lei

王維

Wang Wei

黃慧慈

Wong Wai-chi

邱廷輝

Yau Ting-fai

(離職㈰期 resigned on 13/8/04)

香港話劇團年報 H ON G KO N G R EP E R T ORY T H E AT R E A N N U A L R E PO R T 2 00 4- 0 5

Project Coordinator, Actress

Technical & Stage Management Staff

藝術總㈼助理兼戲劇文㈻研究員

梁念儀

創作統籌兼演員

技術及舞台管理 ㆟員

彭婉怡

Yvonne YY Pang

節目助理

Programme Assistant

鄭詠珊

Wing WS Cheng

市務及拓展經理

Marketing & Development Manager

何卓敏

Annie CM Ho

副經理 (公關及宣傳)

Assistant Manager (Public Relations & Publicity)

鄭維音

Harriet WY Cheng

(離職㈰期 resigned on 21/8/04)

市務主任

Marketing Officer

陳伊妮

Elaine YN Chan

曾翠芝

Tracy CC Tsang

(離職㈰期 resigned on 16/6/05)

㈶務及行政經理

Finance and Administration Manager

崔德煒

David TK Tsui

(離職㈰期 resigned on 30/10/04)

陸敬強

Kenneth KK Luk

會計及㆟事主任

Accounts and Personnel Officer

楊敏儀

Ivy MY Yeung

行政助理

Administration Assistant

梁詠琴

Terri WK Leung

辦公室助理

Office Assistant

吳瑞雲

Jess SW Ng

㈶務報告

FINANCIAL REPORTS

㈶務摘要 Financial Highlights 2004-05

收入來源 Sources of Income 捐款及其他收入 Donations and others received 票房收入 Ticket proceeds

13%

1% 外展活動及工作坊收入

Outreach activities and workshop fees

85% 政府撥款

Government subvention

支出分成 Expenses Distribution 其他營運開支 Other operating expenses

24%

19%

製作開支 Production expenses

香港話劇團年報 H O N G KO N G RE P E R T O RY T H E AT R E A N N U A L R EP O R T 20 04 -0 5

市務推廣開支 Marketing expenses

51% 薪酬福利開支

Payroll & related expenses

頂層薪酬僱員分析 Top 3-tiers annual salaries $400,001 - 550,000 $550,001 - 700,000 $700,001 above

7 1 2

票房及其他收入 Ticket Proceeds and Other Income $,000

8,000 6,000 4,000 2,000 ‘01/02

‘02/03

‘03/04

‘04/05

政府撥款 Government Subvention $,000

30,500 29,500 28,500 27,500 26,500 ‘01/02

‘02/03

‘03/04

‘04/05

營運支出 Operating Expenses $,000

4,000 3,000 2,000 1,000 ‘01/02

‘02/03

‘03/04

‘04/05

製作開支 Production expenses

薪酬福利開支 Payroll & related expenses

市務推廣開支 Marketing expenses

其他營運開支 Other operating expenses

理事報告 REPORT OF THE COUNCIL MEMBERS

理事會仝㆟欣然提呈本公司截㉃㆓○○㈤年㆔㈪㆔ ㈩㆒㈰止年度之理事報告及經審核帳目。

主要業務本公司之業務繼續為推動及發展戲劇文化，培養及提升香港及海外㈳會對戲劇及其他藝術的興趣和品味。

業績本公司截㉃㆓○○㈤年㆔㈪㆔㈩㆒㈰止年度之業績

The council members have pleasure in submitting their annual council members’ report and the audited accounts for the year ended 31st March, 2005.

PRINCIPAL ACTIVITIES The company continued to engage in promotion, maintenance, improvements and advancement of the interest of the public in Hong Kong and elsewhere in drama and various related art forms.

RESULTS The results of the company for the year are set out in the income and expenditure account on page 48.

載於第㆕㈩㈧頁之收支帳內。

COUNCIL MEMBERS

理事本年度內，本公司之理事如㆘：周永成太平紳士鍾樹根太平紳士陳鈞潤

Christopher SK Chung, MH, JP Rupert KY Chan Chan Kow-tak Ching Cheung-ying

程張迎

Carmen KM Choi (appointed on 27th July, 2004)

蔡加敏（於2004年7㈪27㈰委任）

Heung Shu-fai (resigned on 27th July, 2004)

香樹輝（於2004年7㈪27㈰辭職）

Thomas YT Luk

吳球香港話劇團年報 H O N G KO N G RE P E R T O RY T H E AT R E A N N U A L R EP O R T 20 04 -0 5

Vincent WS Chow, BBS, MBE, JP

陳求德

陸潤棠博士

The council members during the year were:

孫芝蘭楊顯㆗博士太平紳士根據公司組織章程細則第㆔㈩㈥㉃㆕㈩條之規定，陳求德先生、程張迎先生及鍾樹根太平紳士輪值告退，惟可候選連任。

Ng Kau Esther CL Suen John HC Yeung, OBE, JP

In accordance with Articles 36 to 40 of the Articles of Association, Messrs. Chan Kow-tak, Ching Cheung-ying and Christopher SK Chung, MH, JP retire by rotation and, being eligible, offer themselves for re-election.

COUNCIL MEMBERS’ INTERESTS No contracts of significance, to which the company was a party and in which a council member of the company had a material interest, whether directly or indirectly,

理事權益本年度內或年結時，本公司概無簽訂任何涉及本公司理事直接或間接在其㆗擁㈲重大權益之重要合約。本年度內，本公司概無參與任何㈿定，使本公司理事可藉收購本公司或任何其他法㆟團體之股份或債券而取得利益。

subsisted at the end of the year or at any timeduring the year. At no time during the year was the company a party to any arrangement to enable the council members ofthe company to acquire benefits by means of the acquisition of shares in, or debentures of, the company orany other body corporate.

MANAGEMENT CONTRACTS

管理合約本年度內，本公司並無就整體業務或任何重要業務之管理或行政工作簽訂或存㈲任何合約。

核數師本帳目已經由㆜何關陳會計師行審核，該核數師任

No contracts concerning the management and administration of the whole or any substantial part of the business of the company were entered into or existed during the year.

AUDITORS The accounts have been audited by Messrs. Ting Ho Kwan & Chan who retire and, being eligible, offer themselves for re-appointment.

滿告退，但表示願意應聘連任。

理事會㈹表

主席周永成香港，㆓○○㈤年㈦㈪㈩㈨㈰

On behalf of the Council

Vincent WS Chow Chairman Hong Kong, 19th July, 2005

核數師報告 AUDITORS' REPORT

致香港話劇團㈲限公司全體會員（於香港註冊成立之無股本的擔保㈲限責任公司）

TO THE MEMBERS OF THE HONG KONG REPERTORY THEATRE LIMITED (incorporated in Hong Kong with limited liability by guarantee)

本核數師已完成審核第48㉃54頁之帳目，該等帳目乃按照香港普遍採納之會計原則編製。

理事及核數師各㉂之責任香港公司條例規定理事須編製真實兼公平的㈶務報表。在編製該等真實兼公平的㈶務報表時，理事必須採用㊜當之會計政策，並且貫徹應用該等會計政策，作出保守而合理的估計和判斷，陳述與香港會計原則㈲重大偏離的原因，作合理之確定。本核數師之責任是根據我們審核工作之結果，對該等帳目作出獨立意見，並根據香港公司條例第141條僅向整體會員報告，除此之外，本報告別無其他目的。本核數師不會就報告內容向任何其他㆟士負㆖或承擔任何責任。

We have audited the accounts on pages 48 to 54 which have been prepared in accordance with accounting principles generally accepted in Hong Kong.

Respective Responsibilities of Council Members and Auditors The Hong Kong Companies Ordinance requires the council members to prepare accounts which give a true and fair view. In preparing accounts which give a true and fair view it is fundamental that appropriate accounting policies are selected and applied consistently, that judgements and estimates are made which are prudent and reasonable and that the reasons for any significant departure from applicable accounting standards are stated. It is our responsibility to form an independent opinion, based on our audit, on those accounts and to report our opinion solely to you, as a body, in accordance with section 141 of the Hong Kong Companies Ordinance, and for no other purpose. We do not assume responsibility towards or accept liability to any other persons for the contents of this report.

意見的基礎香港話劇團年報 H O N G KO N G RE P E R T O RY T H E AT R E A N N U A L R EP O R T 20 04 -0 5

本核數師已按照香港會計師公會頒佈之核數準則進

行審核工作。審核範圍包括以抽查方式查核與帳目所載數額及披露事㊠㈲關之憑證，亦包括評審理事於編製帳目時所作之重大估計和判斷，所採用之會計政策是否㊜合貴公司之具體情況、及㈲否貫徹應用並足夠披露該等會計政策。

Basis of Opinion We conducted our audit in accordance with Statements of Auditing Standards issued by the Hong Kong Institute of Certified Public Accountants. An audit includes examination, on a test basis, of evidence relevant to the amounts and disclosures in the accounts. It also includes an assessment of the significant estimates and judgements made by the council members in the preparation of the accounts, and of whether the accounting policies are appropriate to the company’s circumstances, consistently applied and adequately disclosed.

本核數師在策劃和進行審核工作時，均以取得所㈲本核數師認為必需之㈾料及解釋為目標，以便獲得充份憑證，就該等帳目是否存㈲重大錯誤陳述，作出合理之確定。在作出意見時，本核數師亦已評估該等帳目所載之㈾料在整體㆖是否足夠。本核數師相信我們之審核工

We planned and performed our audit so as to obtain all the information and explanations which we considered necessary in order to provide us with sufficient evidence to give reasonable assurance as to whether the accounts are free from material misstatement. In forming our opinion we also evaluated the overall adequacy of the presentation of information in the accounts. We believe that our audit provides a reasonable basis for our opinion.

作已為㆘列意見提供合理之基礎。

Opinion

意見本核數師認為，㆖述之帳見足以真實兼公平㆞顯示貴公司於㆓○○㈤年㆔㈪㆔㈩㆒㈰結算時之㈶務狀

In our opinion the accounts give a true and fair view of the state of the company’s affairs as at 31st March, 2005 and of its deficit for the year then ended and have been properly prepared in accordance with the Hong Kong Companies Ordinance.

況，及截㉃該㈰止年度之虧損及現㈮流量，並按照香港公司條例妥為編製。

㆜何關陳會計師行香港執業會計師

TING HO KWAN & CHAN Certified Public Accountants

香港，㆓○○㈤年㈦㈪㈩㈨㈰

Hong Kong, 19th July, 2005

收支帳 INCOME AND EXPENDITURE ACCOUNT 截㉃㆓○○㈤年㆔㈪㆔㈩㆒㈰止年度 For the year ended 31st March, 2005

主要收入 PRINCIPAL SOURCES OF REVENUE

其他收入 OTHER REVENUE

營運支出 OPERATING EXPENSES

香港話劇團年報 H O N G KO N G RE P E R T O RY T H E AT R E A N N U A L R EP O R T 20 04 -0 5

年度（虧損）／盈餘 (DEFICIT)/SURPLUS FOR THE YEAR

2005 港幣 HK$

2004 港幣 HK$

32,424,061

34,050,704

294,149

432,596

32,718,210

34,483,300

(33,575,361)

(31,347,988)

(857,151)

3,135,312

㈾產負債表 BALANCE SHEET ㆓○○㈤年㆔㈪㆔㈩㆒㈰結算 At 31st March, 2005

2005 港幣 HK$

2004 港幣 HK$

﹣

1,125,399

5,980

7,580

100,660

應收款㊠及預付款㊠ Accounts receivable and prepayments

1,302,718

2,618,316

銀行結餘及現㈮ Bank balances and cash

9,485,116

8,670,230

10,793,814

11,396,786

3,000

33,600

2,405,931

2,527,353

2,408,931

2,560,953

流動㈾產淨值 NET CURRENT ASSETS

8,384,883

8,835,833

總㈾產減負債 TOTAL ASSETS LESS CURRENT LIABILITIES

8,384,883

9,961,232

7,540,248

9,069,447

844,635

891,785

8,384,883

9,961,232

固定㈾產 FIXED ASSETS 流動㈾產 CURRENT ASSETS 公用事業及其他按㈮ Utility and sundry deposits 存貨 Inventories

流動負債 CURRENT LIABILITIES 預收套票及門票收入 Subscription and ticket proceeds received in advance 應付款㊠ Accounts payable and accruals

儲備 Represented by 累積盈餘 ACCUMULATED SURPLUS 發展基㈮ DEVELOPMENT FUND

於㆓○○㈤年㈦㈪㈩㈨㈰由理事會批准及授權發出 Approved and authorised for issue by the Council on 19th July, 2005

周永成 Vincent WS Chow

陳鈞潤 Rupert KY Chan

主席 Chairman

司庫 Treasurer

權益變動表 STATEMENT OF CHANGES IN EQUITY 截㉃㆓○○㈤年㆔㈪㆔㈩㆒㈰止年度 For the year ended 31st March, 2005

發展基㈮ Development Fund 港幣 HK$

累積盈餘 Accumulated Surplus 港幣 HK$

總額 Total 港幣 HK$

Total equity at 31st March, 2003

567,755

5,934,135

6,501,890

收益－發展基㈮ Income - Development Fund

352,772

支出－發展基㈮ Expenditure - Development Fund

(28,742)

3,135,312

891,785

9,069,447

9,961,232

1,043,191

(1,090,341)

於㆓○○㆔年㆔㈪㆔㈩㆒㈰結餘

年度盈餘 Net surplus for the year

於㆓○○㆕年㆔㈪㆔㈩㆒㈰結餘 Total equity at 31st March, 2004 收益－發展基㈮ Income - Development Fund 支出－發展基金 Expenditure - Development Fund 前期年度盈餘退還給政府 Refund of surplus to Government

(672,048)

年度虧損 Net deficit for the year

(857,151)

香港話劇團年報 H O N G KO N G RE P E R T O RY T H E AT R E A N N U A L R EP O R T 20 04 -0 5

於㆓○○㈤年㆔㈪㆔㈩㆒㈰結餘 Total equity at 31st March, 2005

844,635

7,540,248

8,384,883

現㈮流量表 CASH FLOW STATEMENT 截㉃㆓○○㈤年㆔㈪㆔㈩㆒㈰止年度 For the year ended 31st March, 2005

經營活動 OPERATING ACTIVITIES 年度（虧損）／盈餘 (Deficit)/surplus for the year 調整 Adjustments for : 利息收入 Interest income 折舊 Depreciation 固定㈾產註銷 Fixed assets written off 存貨註銷 Inventories written off 經營㈾㈮變動前之經營盈餘 OPERATING SURPLUS BEFORE CHANGES IN WORKING CAPITAL

2005 港幣 HK$

2004 港幣 HK$

(857,151)

3,135,312

(52,120) 1,771,187 109,184

(38,778) 581,994 -

971,100

3,678,528

(8,524) 1,600

1,863 9,100

存貨（增加）／減少 (Increase)/decrease in inventories 公用事業及其他按㈮減少 Decrease in utility and sundry deposits 應收款㊠及預付款㊠減少／（增加） Decrease/(increase) in accounts receivable and prepayments 預收套票及門票收入（減少）／增加 (Decrease)/increase in subscription and ticket proceeds received in advance 應付款㊠減少 Decrease in accounts payable and accruals

1,315,598

(1,394,023)

(30,600) (121,422)

33,433 (83,737)

經營活動之現㈮流入淨額 NET CASH FROM OPERATING ACTIVITIES

2,127,752

2,245,164

投㈾活動 INVESTING ACTIVITIES 購買固定㈾產 Purchase of fixed assets 已收利息 Interest received

(645,788) 52,120

(759,389) 38,778

投㈾活動使用之現㈮淨額 NET CASH USED IN INVESTING ACTIVITIES

(593,668)

(720,611)

融㈾活動 FINANCING ACTIVITIES 發展基㈮（減少）／增加 (Decrease)/increase in development fund 盈餘退還 Refund of surplus

(47,150) (672,048)

324,030 -

融㈾活動（流出）／流入現㈮ NET CASH (OUTFLOW)/INFLOW FROM FINANCING ACTIVITIES

(719,198)

324,030

現㈮及現㈮等值之增加 NET INCREASE IN CASH AND CASH EQUIVALENTS 年初之現㈮及現㈮等值 CASH AND CASH EQUIVALENTS AT 1ST APRIL

814,886

1,848,583

8,670,230

6,821,647

年終之現㈮及現㈮等值 CASH AND CASH EQUIVALENTS AT 31ST MARCH

9,485,116

8,670,230

9,485,116

8,670,230

現㈮及現㈮等值結餘分析 ANALYSIS OF THE BALANCES OF CASH AND CASH EQUIVALENTS 現㈮及銀行結餘 Bank balances and cash

帳目附註 NOTES TO THE ACCOUNTS ㆓○○㈤年㆔㈪㆔㈩㆒㈰ 31st MARCH, 2005

（㆒）簡介本公司為㆒間無股本的擔保㈲限責任公司。按照公司的組織章程，倘在本公司清算時，每位會員對於本公司債務之償還均需承擔，但每位的承擔數目，以不超過港幣㆒百元為限。

（㆓）主要會計政策編製帳目時所採納之主要會計政策列載如㆘：

（㆙）編製帳目之基準帳目乃按照香港普遍採納之會計實務準則，並遵照香港會計師公會頒佈之會計實務準則編製。本帳目乃以

(2) PRINCIPAL ACCOUNTING POLICIES The principal accounting policies adopted in the preparation of these accounts are set out as below: (a) Basis of preparation

減值虧損後，在其估計可使用年期內根據每年折舊率 33.33%以直線法撇銷。由本年初開始，理事會議決更

(b) Fixed assets

（㆚）固定㈾產過往固定㈾產的折舊及按固定㈾產原值減任何累計

改這會計政策，所㈲新添置的固定㈾產，即時全數註銷。因此在2004年3㈪31㈰的結存固定㈾產和累計折舊，也於本年度註銷。所以於2004年3㈪31㈰結存之固定㈾產的帳面淨值，和本年內添置的固定㈾產，分別為港幣1,125,399和港幣645,788，已全數註銷在收支帳內。若沒㈲這會計政策的更改，本年度的折舊應為港幣810,536。香港話劇團年報 H O N G KO N G RE P E R T O RY T H E AT R E A N N U A L R EP O R T 20 04 -0 5

The company is limited by guarantee, such that under the provisions of the company’s memorandum of association, every member shall, in the event of the company being wound up, contribution such amount may be required to meet the liabilities of the company but not exceeding HK$100 per member.

The accounts have been prepared in accordance with generally accepted accounting principles in Hong Kong and comply with accounting standards issued by the Hong Kong Institute of Certified Public Accountants. They have been prepared under the historical cost convention.

歷史成本作為編製基準。

(1) GENERAL

（㆛）經營租賃若㈲關㈾產的擁㈲權之相關風險及回報仍然由出租㆟ 承擔，則該租賃將被視作經營租賃處理。經營租賃租㈮在扣除來㉂出租㆟之任何㊝惠後，按租期以直線法㉂收支帳內扣除。

Previously, fixed assets are depreciated at the annual rate of 33.33% sufficient to write off their costs less any accumulated impairment losses over their estimated useful lives on a straight line basis. Effective the beginning of this year the council members resolved to change this accounting policy to write off the fixed assets at the time of acquisition. Accordingly all the fixed assets and the accumulated depreciation as at 31st March, 2004 were written off and written back respectively during the year. Therefore, the net book value of the fixed assets at 31st March, 2004 and the fixed assets acquired during the year amounting to HK$1,125,399 and HK$645,788 respectively were written off in the income and expenditure account. Had there been no change in the accounting policy, the depreciation charged for the year would have been HK$810,536. (c) Operating leases Leases where substantially all the risks and rewards of ownership of assets, remain with the leasing company are accounted for as operating leases. Payments under operating leases net of any incentives received from the leasing company are charged to the income and expenditure account on a straight-line basis over the lease periods.

（㆜）收入確認政府㈾助收入乃根據合約之條款按權責法計入。票房收入、外展及演出活動收入及工作坊收入乃於演出後確認。損款及贊助收入乃於收取損款及贊助時確認。銀行利息收入乃按時間比例，以本㈮㈮額及㈲關利率按權責法計入。

（戊）稅㊠本公司乃屬非牟利機構故可獲豁免繳稅。任何盈餘都不會分配予各會員故毋須為遞延稅㊠作出撥備。

（己）撥備倘本公司因過往事件而產生現㈲責任（法定或推定）而將來可能需要㈲㈾源流出以履行該責任及其㈲關數額可予以估計時，則會撥備予以確認。倘若本公司預期撥備可獲償付，例如保險合約，則㈲關償付款㊠僅會於其可實際確定時作為㆒㊠獨立㈾產確認。

（庚）現㈮及現㈮等值價物現㈮及現㈮等值價物包括銀行及手頭現㈮、銀行及其他㈶務機構之活期存款，以及短期而易於套現之投㈾，而該等投㈾並無重大轉變價值之風險，可毋須通知而兌換成已知數額之現㈮，且於購入後㆔個㈪內到期。就現㈮流量表而言，現㈮及現㈮等值價物亦包括須於通知時償還及為本公司現㈮管理主要部份之銀行透支。

（辛）發展基㈮發展基㈮乃用於政府㈾助範圍以外之計劃並且配合因捐助活動而產生之經常性和非經常性之表演承諾。該基㈮之收支帳是與政府㈾助㊠目分別記錄的。同時，該基㈮之來源並非來㉂政府。

(d) Revenue recognition Government subvention is recognised under the term of agreement on accrual basis. Ticket proceeds, outreach and touring activities fees and workshop fees are recognised when the performance presented. Donations and sponsorship received are recognised on cash receipt basis. Bank interest income is recognised on a time proportion basis, taking into account the principal amounts outstanding and the interest rates applicable. (e) Taxation The company is a non-profit-making charitable organisation and the charge for taxation is exempted. The surplus, if any, is not distributable to its members, therefore, it is inappropriate to account for deferred taxation in the accounts. (f) Provisions Provisions are recognised when the company has a present legal or constructive obligations as a result of past events, it is probable that an outflow of resources will be required to settle the obligation, and a reliable estimate of the amount can be made. Where the company expects a provision to be reimbursed, for example under an insurance contract, the reimbursement is recognised as a separate asset but only when the reimbursement is virtually certain. (g) Cash and cash equivalents Cash and cash equivalents comprise cash at bank and on hand, demand deposits with banks and other financial institutions, and short-term, highly liquid investments that are readily convertible into known amounts of cash and which are subject to an insignificant risk of changes in value, having been within three months of maturity at acquisition. Bank overdrafts that are repayable on demand and form an integral part of the company’s cash management are also included as a component of cash and cash equivalents for the purpose of the cash flow statement. (h) Development fund The development fund was used for non-subvented

（壬）僱員福利（1）補償㉁假僱員享㈲㈲薪年假之權利在僱員應得時確認。本公司會就僱員因於截㉃結算㈰提供服務之補償㉁假之估計責任作出撥備。僱員享㈲㈲薪病假在僱員申領時確認。

projects which fall outside the ambit of Government Subvention; the income and expenditure account was separated from that for Government Subvention’s accounts and the sources for the fund was not come from the Government; the fund is to be used for matching any recurrent and non-recurrent financial commitments created by acceptance of donation for specific purpose. (i) Employee benefits

（2）退㉁福利成本本公司根據香港強制性公積㈮計劃條例對定額供款退㉁計劃（「強積㈮計劃」）作出供款，給全體合㈾格僱員參與。公司之供款於產生時列作開支。本公司之僱主供款部份在作出供款時，全數歸僱員所㈲。

（癸）㈲關連㆟士如果某㆒方在另㆒方的㈶務和經營決策㆗能夠直接或間接㆞控制對方，或能夠對另㆒方的決定施加重大影響，則雙方均被視為㈲關連㆟士。此外，如果雙方的㈶務和經營決策是同時受到第㆔者的控制或重大影響，則此㆔方均被視為㈲關連㆟士。

（㆔）理事酬㈮本年度內本公司未㈲付出或應付酬㈮予各位公司理事（㆓

香港話劇團年報 H O N G KO N G RE P E R T O RY T H E AT R E A N N U A L R EP O R T 20 04 -0 5

○○㆕：無）。

(i) Employee leave entitlement Employee entitlements to annual leave are recognised when they accrue to employees. A provision is made for the estimated liability for annual leave and long service leave as a result of services rendered by employees up to the balance sheet date. Employee entitlement to sick leave and maternity or paternity leave are not recognised until the time of the leave. (ii) Retirement benefit costs The company’s contributes to the defined contribution retirement scheme set up pursuant to the Hong Kong Mandatory Provident Fund Schemes Ordinance (the “MPF” Scheme) for all qualifying employees are expensed as incurred. The company’s employer contributions vest fully with the employees when contributed into the MPF Scheme. (j) Related parties Parties are considered to be related if one party has the ability, directly or indirectly, to control the other party or exercise significant influence over the other party in making financial and operating decisions. Parties are also considered to be related if they are subject to common control or common significant influence.

(3) COUNCIL MEMBERS’ REMUNERATION No remuneration has been paid or is payable to the Council members of the company for the year (2004: Nil).