香港話劇團國際黑盒劇場節2016 HKRep International Black Box Festival 2016 香港 Hong Kong ― Performer Studio 《鄭和的後代》 Descendants of the Eunuch Admiral 編劇 Playwright
郭寶崑 Kuo Pao-kun
導演 / 改編 / 形體編導 Director / Adaptation / Movement Director
黃龍斌 Tony Wong
佈景及服裝設計 Set and Costume Designer
阮漢威 Yuen Hon Wai
燈光設計 Lighting Designer
楊子欣 Yeung Tsz Yan
作曲及音響設計 Composer and Sound Designer
李寶瑜 Labroe Lee
香港話劇團黑盒劇場 HKRep Black Box 15#, 18-22.10.2016 8pm 16#, 22-23.10.2016 3pm 10月15及16日設演後座談會 With post-performance talks on October 15 &16 #
全劇長約1小時25分鐘，不設中場休息 Approximately 1 hour 25 minutes without intermission 本劇含少量粗俗用語及成人內容 This programme contains strong language and adult content 遲到或中途離場觀眾將不得進場 No latecomers will be admitted 各位觀眾： 為求令表演者及觀眾不致受到騷擾，請關掉手提電話、其他響鬧及發光裝置。同時請勿在場內飲食或擅自攝影、錄音或錄影。多謝合作。 To avoid undue disturbance to the performers and other members of the audience, please switch off your mobile phones and any other sound and light emitting devices before the performance. We also forbid eating and drinking, as well as unauthorized photography, audio or video recording in the auditorium. Thank you for your cooperation.
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2015年改編版本製作 2015 adapted version produced by
指定黑盒劇場LED電視機贊助 Official Black Box LED TV Sponsor
媒體伙伴 Media Partners
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香港話劇團藝術總監的話 一桌人文盛宴 寰宇文本芳華 「國際黑盒劇場節2016」正式與觀眾見面了！ 「文本霓虹 折射人文光譜」為是次主題，我們旨在為香港觀眾介紹舞台上不同 風格的文本和結構，配合另類劇場形式，為香港話劇團黑盒劇場帶來不一樣的 戲劇風采！ 荷蘭阿姆斯特丹劇團製作的《人聲》作為開幕節目，先在今年四月為觀眾送上 一次經典重現，我們得到觀眾熱烈支持。從比利時導演Ivo van Hove完美演繹， 足見八十年前的經典作品對當下仍有強大的批判功能！ 接下來的五齣劇目，均來自不同地域，也會於今年10月至11月，一連六星期於 本團黑盒劇場內折射獨特的人文光譜。
Performer Studio《鄭和的後代》為香港代表，在導演黃龍斌的率領下，一班香 港演藝學院的畢業生傾力演出。此劇乃新加坡劇場之父郭寶崑先生的經典名 著，黃龍斌抽取文本的重點重新改編，並以形體劇場的方式呈現，既簡潔又活 潑地把歷史人物「鄭和」的遭遇與今天的情景對照，想像力豐富，玩味十足！加上一眾年輕演員的拼搏精神，當中所煥 發的青春火花，令人期待！ 緊接的是臺灣莫比斯圓環創作公社、威爾斯創作人和本團合作的《九面芙烈達》。威爾斯編劇凱特．奧萊莉（ Kaite O’Reilly）以「新文本」的寫作手法，深刻地描寫著名墨西哥女畫家芙烈達‧卡蘿（Frida Kahlo）的遭遇。芙烈達以傳統 彩衣和色彩奪目的一字眉自畫像流芳百世，其畫作是她一生多重身份的抗爭寫照。奧萊莉把芙烈達這些身份割裂開來， 逐一評價，與當代觀眾擦出情感上的強烈聯繫。奧萊莉擅長以不同戲劇體裁編寫傷健人士的故事，今次更會親自來港主 持工作坊和專題講座，真的不容錯過！ 日本著名編劇佃典彥在 2011年首次參觀我們的黑盒劇場，對這個創作空間一見鍾情，更誓言要寫一個新作品在這裡演 出。《朝顏》正是他為劇場節的「別注」創作，亮點更是他親自粉墨登場，與劇団B級遊擊隊的團員一同帶來這個作品。 佃典彥對生活觀察入微，喜歡探討親密關係中種種錯綜複雜的情感，表現手法總帶點魔幻色彩，諷刺現實生活，教人深 思！他亦會來港主持講座，分享他獨特的創作方法！ 《白房間》是香港土方巽舞踏研究場的參節演出，特邀日本舞踏大師和栗由紀夫編寫文本和執導。舞踏演出配合文字創 作，絕對是一次新鮮的嘗試。和栗由紀夫對表演有深層次的研究，之前也來港舉行為期兩天的工作坊，以舞踏訓練加上 文本，讓參加者經歷了一次有關角色理解的旅程。 壓軸作是來自南韓Creative VaQi的《之前之後》，由南韓年輕導演李敬誠與他的團隊集體創作。此劇於去年11月演出後引 起極大迴響，也榮獲不少獎項。李敬誠是近年首爾備受關注的導演之一，也常被邀到國外交流合作。他與其團隊十分關 懷個人和社會的聯繫，作品多以社會議題出發，探討和批判生活中的扭曲現象，觸角敏銳！李敬誠是次將與其創作團隊 一起帶領工作坊，介紹他們獨特的集體創作方法。 走筆至此，我謹代表香港話劇團歡迎並感激參節的本地和海外藝術家，還有本團策劃和執行劇場節各項工作的團員。最 後，我感謝每一位蒞臨欣賞和支持這場人文盛宴的觀眾朋友！希望大家能在黑盒劇場中，享受一連串難忘的舞台體驗！
陳敢權 02
Message from Artistic Director, HKREP Wonderful scripts from around the globe A colourful feast of humanity The International Black Box Festival 2016 is officially launched! “The Colours of Humanity” is the theme of this year’s installment. Our mission is to offer Hong Kong audiences different approaches to the dramatic text in a wide range of stage presentations, to provide a breath of fresh air in Hong Kong Repertory Theatre Black Box! As a prelude to the Festival, the Toneelgroep Amsterdam brought La voix humaine, a revival of a classic to which our audience responded enthusiastically. The production, led by Belgian director Ivo van Hove, proves that a repertory work from eight decades ago remains as valid and as critical today. The following five productions hail from different regions in the world. They are all presented on our stage in October and November. For six weeks, our Black Box will display a series of unique “colours of humanity”. Performer Studio’s Descendants of the Eunuch Admiral is the Hong Kong entry for this Festival. Under the leadership of Tony Wong, it features a cast of the Hong Kong Academy for Performing Arts graduates. This work is a masterpiece by the forefather of Singapore theatre, Kuo Pao-kun. Wong extracted the most important parts of the script and adapted it anew, adding choreographed movements into the presentation, depicting the historical figure Zheng He and his travails in a minimal yet lively way that relates to our contemporary world. It is an imaginative work that has many a twist! Along with the dedication of a cast of young actors, there is much to look forward to in this production! Following closely is Taiwan’s Möbius Strip Theatre’s collaborative project with Welsh artists as well as Hong Kong Repertory Theatre. The 9 fridas is the work of playwright Kaite O’Reilly with a totally new approach to “text” as she chronicles the life of Mexican painter Frida Kahlo, whose vibrant costumes and iconic eyebrows distinguished her, and whose paintings represent the challenges of her many roles in life. O’Reilly elects to present Kahlo’s portrait in many fragments, connecting each facet with audiences today. Renowned for her depiction of human difference and disability, O’Reilly will also conduct a workshop and a lecture under the auspices of our Festival. These are opportunities not to be missed! In 2011, celebrated playwright Tsukuda Norihiko visited our Black Box and fell in love with it, vowing he would write a new work specifically for this venue. Asagao is specially written for us, and the playwright will also appear on stage along with his cast from the BKYUYUGEKITAI Theatre Company. Tsukuda is a keen observer of how people live and the complexities of intimate relationships. His dramatic treatments always include elements of magic as a way to deliver provocative commentaries on real life. During the Festival, he will also speak about his work at a talk session. White Room is presented by Hong Kong’s own White Room Research Collective; it is a work created and directed by Waguri Yukio, combining Butoh and text. Waguri is a performer who has based his art on painstaking research. Prior to this Festival, he travelled to Hong Kong to host a two-day workshop, training participants not only in Butoh but also in working with the text as they embark on their journeys in exploring characters. Our final production is Creative VaQi’s Before After, a work collectively created by South Korean director Kyung-sung Lee and his company of actors. After its premiere last November, Before After received numerous accolades. Lee is among the most sought after directors in Seoul in recent years; he has been invited abroad many times. To Lee and his team, the connection between the individual and society is key to their art. Their works are often inspired by social issues, as they investigate how contemporary life has become unhinged. Lee and his cast will lead a workshop outlining their collaborative process. On behalf of Hong Kong Repertory Theatre, I want to extend a warm welcome to local and overseas artists who participate in the International Black Box Festival 2016. I must also thank our colleagues involved in the planning and execution of the Festival’s many productions and events. Last but not least, I am grateful to everyone entering our theatre to share and support “the colours of humanity”! You will have unforgettable experiences in our Black Box!
Anthony Chan
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香 港 話 劇 團 國 際 黑 盒 劇 場 節 2016 製 作 人 員 Production Team, HKREP International Black Box Festival 2016
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藝術總監 Artistic Director
陳敢權 Anthony Chan
策劃 Curator
馮蔚衡 Fung Wai Hang
監製 Producer
彭婉怡 Yvonne Pang
製作統籌 Production Coordinators
李寶琪 Pauly Lee 張家榮 Kevin Cheung 鄺天恩 Matthew Kwong
市務推廣 Marketing
黃詩韻 Anita Wong 張泳欣 Yansi Cheung 陳嘉玲 Karen Chan
技術統籌 Technical Coordinator
溫大為 David Wan
執行技術統籌 Deputy Technical Coordinators
顏尊歷 Johnny Yien 馮之浩 Fung Chi Ho
技術 Technical
彭善紋 Olive Pang 羅美琦 Katy Law 譚佩瑩 Dawn Tam 趙浩錀 Chio Ho Lun 祁景賢 Kee King Yin
宣傳攝影 Promotional Photo Shooting
Henry Wong Studio
宣傳平面設計 Promotional Graphic Design
Terrenz Chang@atVis
場刊設計 House Programme Design
Doxa Graphix
場刊印刷 House Programme Printing
東美設計印刷有限公司 Tung Mei Design & Printing Limited
Performer Studio 簡 介 About Performer Studio
使命 Performer Studio認為表演者是把自己獨特的生活經驗融入舞台演出，而表演者亦需要透過身體和演技作為首要媒體與觀 眾溝通。若他們未有一種最好的方法去表達訊息，他們會自行創造一種。Performer Studio的表演者應該擁有全面多元的 表演技巧。
歷史 Performer Studio是香港的多元劇場，於2010年由黃龍斌成立。它的特點是清楚而不隱藏地把信息展示於舞台，而其命 題多集中於社會政治議題。劇作常會挑戰舞蹈、形體和演技的可能性，於當中找出適合呈現信息的表達方式，從而結合戲 劇、舞蹈、視覺錄像和文字於其演出。劇團演出包括：《單身大晒》、《單身大晒》（晒命版）及《真話》。黃龍斌憑 《單身大晒》（晒命版）獲第二十一屆香港舞台劇獎最佳男主角提名。
Mission Statement Performer Studio began with a belief that each performer should bring his or her unique life experiences to the stage. Performers incorporate any movement and acting skills that speak to the audience. If the perfect method doesn’t exist, they invent one. Performer Studio’s performers should have versatile performing skills on stage.
History Performer Studio is a multi-theatres company based in Hong Kong. It was officially founded in 2010 by Tony Wong. It is characterized by the desire to communicate ideas and feeling clearly and unpretentiously, often with a focus on socio-political issues. The work challenges the limitations of dance, movement and acting by using any means necessary to find the most appropriate way to say something, thereby incorporating element of theatre, dance, video and text. Performer Studio has produced three works for the stage, Singlology (premiere and rerun), Invincible Truth. Tong Wong has been nominated for Best Actor for Singlology (rerun) at the 21st Hong Kong Drama Awards.
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Performer Studio 的 話
我曾排練過兩個不同版本的《鄭和的後代》，第一次是與新加坡拉薩爾藝術學院（LASALLE College of the Arts）的 學生一同排演，第二次是香港演藝學院的校內製作。因文化背景和社會的經歷不同，兩次演出的分別也很大。後者 排練期間正值雨傘運動，對郭寶崑老師寫下的自閹與被閹這個命題，一班年輕學生是充滿著激情、自覺、盼望的情 感去排演。 很喜愛郭老師這個劇本，當然他的《棺材太大洞太小》和《單日不可停車》也很愛。但《鄭和》確實寫得太好太 妙。在戲裡，郭老師不是要描寫鄭和的一生，而是藉他這位閹人作為一個符號。閹人本身是不會有後代的，但偏偏 他在戲中既有後代，更意味著是我們這一代不分種族背景的現代人。我們是否與他一樣自閹和被閹割著呢？這正是 郭老師在此劇探討的議題。俄國劇作家契訶夫曾說：「藝術家的作品是必須和社會有聯繫的。」這句話，每當我創 作時也常常提醒自己，因若不然，其過程便會缺乏生命和成長。 很高興香港話劇團邀請我排演第三次的《鄭和》。今次對我有著多重意義。因專注於教學，Performer Studio已有五 年多的時間沒有演出作品，今次的演員全是近三屆的畢業生，第一天的排練我和他們說：「終於再見面了！」很開 心再看見他們成長的另一階段，當然今次對比那次校內演出，我對他們在表演上的要求會更多。第二，香港經過雨 傘運動後，我們的社會確實出現了很多聲音，很多事也容易走向政治化。而這班年輕演員沒有了當時的那份情感， 是的，他們正在轉變著。有些感受沉澱了，或許成長了，或許更迷失。也許選擇逃避，也許找不到方向，也許失去 一份信任。這正是今次排練的挑戰，有機會再一次走到郭老師的劇本，看看他描寫的世界是怎樣的。 最後，多謝香港話劇團的邀請，多謝馮蔚衡、香港演藝學院戲劇學院院長薛卓朗教授和一班後台的工作人員。 黃龍斌 《鄭和的後代》導演
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Message from Performer Studio
I’ve been involved in two productions of Descendants of the Eunuch Admiral, the first with students at Singapore’s LASALLE College of the Arts, the second at the Hong Kong Academy for Performing Arts. Because of differences in cultural background and social context, these two productions were markedly dissimilar. We were rehearsing the latter at the height of Hong Kong’s Umbrella Movement. During that time, young students threw themselves into the production fired with passion, self-awareness and expectation as they studied Kuo Pao-kun’s script on castration and self-castration. I love Kuo’s script. I also love his other scripts, such as The Coffin is Too Big for the Hole and No Parking on Odd Days. But Descendants of the Eunuch Admiral is marvellous. In this play, Kuo doesn’t set out to chronicle the life of Zheng He. Instead, he utilises the castrated Zheng as a metaphor. A castrated man cannot have offspring, yet in this play Zheng has descendants, alluding to our generation of modern men regardless of race and background. Do we suffer the same predicament as Zheng, being castrated and castrating ourselves? This is exactly Kuo’s question. Chekhov once said, “An artist’s work must be connected with society.” I always remind myself that in my work, without such a connection, everything loses its vitality and potential for growth. I’m delighted that Hong Kong Repertory Theatre has invited me to direct Descendants of the Eunuch Admiral, my third production of this play. This opportunity is really meaningful to me. I’ve been devoting much energy in teaching; it has been more than five years since Performer Studio put together a production. My cast hails from the last three graduating classes of the Hong Kong Academy for Performing Arts. The day when we began rehearsals, I greeted them by saying, “At last, we reunite!” I was thrilled to witness their growth since their student years, but obviously my demands on their performance have also grown. Secondly, it has been two years since the Umbrella Movement; new voices and opinions have arisen in Hong Kong in the interim. Today, almost everything has become politicised. These actors no longer retain their youthful passions. Inevitably, they are changing. Feelings are settled, perhaps they have matured, or they are lost. Perhaps they opt for avoidance, they cannot find a direction, or they’ve lost their trust. This is precisely the challenge of rehearsing the play today: to experience the world that is the script of Kuo Pao-kun. Finally, I am grateful to the invitation of Hong Kong Repertory Theatre and to Fung Wai Hang, to HKAPA’s Dean of the School of Drama Professor Ceri Sherlock as well as to all of the production staff who work tirelessly away from the limelight. Tony Wong Director of Descendants of the Eunuch Admiral
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故事
角色表
Synopsis
Cast List
「我越來越發現，自己確確實實跟他是休戚相關、一脈相 承的，我根本就是這位太監大帥的後代！」
人 Man
胡浚浩 Wu Tsun Ho Marcus
一齣關於政治與閹割的作品，《鄭和的後代》描寫 15 世 紀鄭和艦隊七次下西洋時，作為太監被去勢引起的身體與 心靈的強烈衝擊，比喻現代人類在社會競爭的非人性壓迫 下，別無選擇地自我閹割與被閹割。
鄭和 Zheng He
黎樂恆 Lai Lok Hang Luke
子 / 官員 Son / Administrator
陳嘉茵 Chan Ka Yan Karen
父 / 官員 Father / Administrator
黃庭姍 Jessica Wong
士兵 / 群眾 Soldier / Chorus
陳庭軒 Chan Ting Hin Henry
人妖 Drag Queen
梁仲恆 Leung Chung Hang
群眾 Chorus
翁煒桐 Yung Wai Tung Pink
官員 Administrator
陳衍彤 Chan Hin Tung
群眾 Chorus
袁浩楊 Yuen Ho Yeung
樂師 Musician
李俊霖 Li Chun Lam James
面對大海，鄭和尋覓的是什麼？面對大時代的變遷，我們 如何自處？ “…the more I discover, the more I am convinced that we were related, that I had to be a descendant of the Eunuch Admiral.” A powerful work about castration and politics, Descendants of the Eunuch Admiral recounts the legacy of the man responsible for China’s most extensive maritime expeditions in the 15th century, the legendary eunuch, Admiral Zheng He. Using the metaphor of castration, parallels are drawn between the power struggles of court eunuchs and the displacement of modern human beings who make sacrifices in their lives in order to survive in the highly competitive and industrious society. What was Zheng He searching from the sea? What do we desire from our position in society?
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Performer Studio 《 鄭 和 的 後 代 》 製 作 人 員 Production Team, Performer Studio Descendants of the Eunuch Admiral
編劇 Playwright
郭寶崑 Kuo Pao-kun
導演 / 改編 / 形體編導 Director / Adaptation / Movement Director
黃龍斌 Tony Wong*
佈景及服裝設計 Set and Costume Designer
阮漢威 Yuen Hon Wai
燈光設計 Lighting Designer
楊子欣 Yeung Tsz Yan
作曲及音響設計 Composer and Sound Designer
李寶瑜 Labroe Lee
技術監督 Technical Manager
馮之浩 Fung Chi Ho
執行舞台監督 Deputy Stage Manager
彭善紋 Olive Pang
助理舞台監督 Assistant Stage Manager
譚佩瑩 Dawn Tam
製作行政助理 Production Administrative Assistant
陳海茵 Isabel Chan
前台助理 Front House Assistants 演出攝影 Performance Photo Shooting
吳勵纓 Ng Lai Ying 蘇子柔 Daphne So Wing Hei
* 蒙香港演藝學院允准參與製作 With kind permission of the Hong Kong Academy for Performing Arts
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編劇
郭寶崑
郭寶崑先生誕生於中國河北一貧困的農村，之後被帶到北京，再往大都會香 港，1949年又到了多元文化的新加坡，後又遠赴地域廣闊的澳洲，最後回 到新加坡定居。這就是已故新加坡戲劇大師郭寶崑先生一生的動盪生活。而 正是這樣的生活豐富了郭寶崑先生的人生體驗，也同時啟迪他的靈感。多元 的文化激奮了他，從而造就了一顆充滿包容的創作心靈。 郭寶崑先生與妻子吳麗娟女士於65年聯手創辦了新加坡表演藝術學院（即 後來的實踐表演藝術學院），著手推廣戲劇與舞蹈，也開始在新加坡文化發 展方面打下了根基。86年新加坡首個雙語劇團 — 實踐話劇團成立（現為 實踐劇場）。 89年，創辦新加坡第一個民間多元藝術、多元文化的藝術中 心 — 電力站藝術之家，並任其藝術總監至95年。2000年規劃開辦以表演 為中心，著重實踐的三年全日制「劇場訓練與研究課程」（現為跨文化戲劇 學院）。 76 年 3 月郭寶崑先生在內政安全法令下未經審判被逮捕。 77 年被剝奪公民 權。80年10月在居住和旅行的限制條件下獲釋。92年重新獲得公民權。 郭寶崑先生於90年獲頒新加坡文化獎（戲劇），92年獲新加坡日本工商總會新加坡基金頒發文化獎，93年榮獲亞細 安文化獎，97年再獲頒法國國家文學騎士勳章，02年榮獲新加坡卓越貢獻獎。 身為新加坡戲劇開創先鋒，郭寶崑先生四十多年的戲劇創作歷程，果實纍纍，影響新加坡戲劇界好幾代的人。除年 來孜孜不倦的劇本創作之外，他還從事寫作、翻譯、改編劇本的工作，並執導過無數的劇本。82年，新加坡十四個 華語劇團史無前例地大聯合，呈獻了郭寶崑先生創作並導演的《小白船》一劇。 在郭寶崑先生的創作劇本中，《棺材太大洞太小》影響甚是深遠，除多次出國巡迴表演之外，更在本地引起巨大迴 響，這個劇作現已成為部分學校的英文教材。 《傻姑娘與怪老樹》更是一個膾炙人口的演出，同時也培育了新一代戲劇人才；《尋找小貓的媽媽》是多元化的創 作，充分顯露了郭寶崑先生在文化融合上的敏感與細緻；《老九》、《鄭和的後代》都在當時引起了廣泛的討論， 《鄭和的後代》劇作題材更引起了震撼。另外，還曾經創作電視劇集《阿公肉骨茶》。 郭寶崑先生於02年9月10日病逝新加坡，新加坡文藝界痛失導師，更留給人們無止境的懷念與哀思。 人們把郭寶崑先生視為一個具有歷史意識和文化視野的公共知識分子。他在世時，通過教學、各種文化藝術活動 等，建構並展現了自己的文化觀和人文觀。不僅影響了戲劇界人士，也影響了各源流、各領域的知識分子（不分年 齡或海內外），甚至於一些領導精英。
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Playwright
Kuo Pao-kun
Kuo Pao-kun was born in a poor farming village in Hebei, China. At a tender age, he moved to Beijing and then to cosmopolitan Hong Kong. In 1949, he moved south again, this time to multi-ethnic Singapore. Subsequently, he explored the vastness of Australia and after graduating from the National Institute of Dramatic Art in Sydney, he returned to settle in Singapore. This is the journey of one man’s life, where the inflections of his journey are not lost upon the influence of his work, and where the varied experience of diverse cultures has shaped and inspired a unique and inimitable vision of creativity. In 1965, Kuo Pao-kun and choreographer Goh Lay-kuan founded Practice Performing Arts School, introducing the idea of performing arts education in Singapore, laying the initial foundation for a future arts scene. In 1986, Kuo founded Singapore’s first bilingual theatre company, The Theatre Practice. He founded The Substation - A Home for the Arts, Singapore’s first arts centre, in 1989 and remained its Artistic Director until 1995. In 2000 Kuo initiated a full-time, three-year, performer-centred, practice-oriented programme, the Theatre Training and Research Programme. In March 1976, Kuo was detained without trial by the Singapore government under the Internal Security Act. In 1977, his citizenship was rescinded by the government. In October 1980, he was released from detention with imposed conditions restricting residence and travel. In 1992, his Singapore citizenship was reinstated. In 1990, Kuo received the Cultural Medallion, the highest local award bestowed upon an artist in Singapore. In 1992, he received the Culture Award from the Japan Chamber of Commerce and Industry. In 1993, and also the ASEAN Culture Award (Performing Arts), and in 1997, he was knighted Chevalier des Arts et des Lettres by the French government. He also received the Excellence for Singapore Award in 2002. Arguably the father of Singapore Theatre, Kuo’s 40 years of dedication and kindling of local theatre has been an influence to generations of artistes and practitioners. Aside from scripts, Kuo has also written books, adapted scripts, and directed innumerable plays. In 1982, 14 of Singapore’s Chinese-language theatre companies collaborated on The Little White Sailing Boat, which Kuo wrote and directed. Among his works, The Coffin is Too Big for the Hole is his best known. It has been adapted and translated by local and international theatre groups. This play has also been incorporated by schools as teaching material. The Silly Little Girl and the Funny Old Tree is another popular work known for nurturing new generations of dramatic talents. Mama Looking for her Cat is a multi-lingual work attesting to Kuo’s sensitivity to the fusion of different cultures. Lao Jiu and Descendants of the Eunuch Admiral garnered attention at their premieres. The subject matter of Descendants of the Eunuch Admiral also caused a stir when it was first produced. Kuo also wrote an original screenplay for the film Grandpa’s Meat Bone Tea. Kuo Pao-kun passed away in Singapore on 10th September 2002, creating an irreplaceable absence in the theatre and cultural scene, as well as in the hearts of many who loved, admired and respected the man and his legacy. He was widely recognised as a public intellectual with an acute sense of historical consciousness and cultural vision. During his life, he taught and participated in the cultural and performing arts scene, creating and developing his own unique and humane world view. Not only did he affect theatre practitioners, but he also touched and inspired intellectuals and leaders beyond the theatre arts around the world.
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導演 / 改編/ 形體編導
黃龍斌
現為香港演藝學院戲劇學院表演系講師。2008年獲香港戲劇協會獎學金到 澳洲留學，於澳洲國家戲劇藝術學院獲得碩士學位，主修形體； 1997年畢 業於香港演藝學院戲劇學院，獲藝術學士（榮譽）學位，主修表演；同年加 入中英劇團任全職演員，期間曾於多個演出擔綱，包括：《丁燈》、《小謫 紅塵》、《仲夏夜之夢》、《煉金術士》及《始皇最後的日子》等。 在編劇、導演、演出及編舞上各有成績，集創作和演出於一身，風格獨特。 曾參與超過九十個演出，近作包括：香港演藝學院《鄭和的後代》任導演、 改編及形體編導、《仲夏夜之夢》及《秀才與劊子手》任導演及編舞、 《貓城夏秋冬》及《馴悍記》任編舞、《造謠學堂》任導演；中英劇團《多 次元戀愛》及《搏命兩頭騰》任導演、音樂劇《戇大人》任導演及編舞、 《莫札特之死》任副導演及演員、《威尼斯商人》及《天才一瞬》任演 員；Performer Studio《真話》、《單身大晒》、《單身大晒》（晒命版）、 《天下無双》（香港、新加坡及澳門演出）任編劇、導演、演員及編舞；香 港話劇團《櫻桃園》任編舞、《李察三世》任編舞及形體搏擊指導；澳洲悉 尼話劇團Gallipoli任助理形體指導；澳洲國家戲劇藝術學院X任編劇、導演、 演員及編舞。 04年獲第一屆香港舞台劇界傑出專業精神獎；06年憑《二人前‧2人後》榮 獲第十五屆香港舞台劇獎最佳導演（喜劇／鬧劇）及獲提名最佳男主角（喜 劇／鬧劇）。此外亦憑《單身大晒》（晒命版）獲提名第二十一屆香港舞台 劇獎最佳男主角（喜劇／鬧劇）；憑《秀才與劊子手》、中英劇團《搏命兩 頭騰》及音樂劇《戇大人》分別獲提名第二十二、二十三及二十五屆香港舞 台劇獎最佳導演（喜劇／鬧劇）；憑《鄭和的後代》獲提名第八屆香港小劇 場獎最佳導演。
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Director / Adaptation / Movement Director
Tony Wong
Tony Wong graduated from the Hong Kong Academy for Performing Arts (HKAPA) in 1997 with a Bachelor of Fine Arts (Honours) Degree, majoring in Acting. He then joined Chung Ying Theatre Company as a full-time actor, and played in such productions as Aladdin, A Tale of an Evanescent Mortal, A Midsummer Night’s Dream, The Alchemist and The First Emperor’s Last Day. A recipient of Hong Kong Federation of Drama Societies Scholarship to pursue his graduate studies in Australia, graduating with a master’s degree from the National Institute of Dramatic Art in Sydney, where he majored in Movement Studies. He currently serves as a lecturer in Acting at the HKAPA. Tony has received recognition as a playwright, director, actor and choreographer, his multi-faceted talents making him a unique artist. To date, he has participated in more than ninety productions. Among his recent works are HKAPA’s Descendants of the Eunuch Admiral (director, adaptation and movement director), A Midsummer Night’s Dream, The Scholar and the Executioner (director and choreographer), My Days in Cat Town and The Taming of the Shrew (choreographer) The School for Scandal (director). His works with Chung Ying Theatre Company are Possible Worlds and The 39 Steps (director), The Government Inspector - the Musical (director and choreographer), Amadeus (assistant director and actor) The Merchant of Venice and Flowers for Algernon (actor). He has played the multiple roles of playwright, director, actor and choreographer for Performer Studio’s Invincible Truth, Singlology (premiere & rerun), Moments in the Palm of your Hand (Hong Kong, Singapore and Macau performances). He also was choreographer for Hong Kong Repertory Theatre’s The Cherry Orchard and dance and stage combat choreographer for Richard III. He had also served as assistant movement director for Gallipoli for the Sydney Theatre Company. While at the National Institute of Dramatic Art, he wrote, directed, performed and choreographed in X. In 2004, Tony won an Actor Award at the Hong Kong Professional Awards. In 2006, he was awarded Best Director (Comedy / Farce) and nominated for Best Actor (Comedy / Farce) for Two of Us at the 15th Hong Kong Drama Awards. At the 21st Hong Kong Drama Awards, he was nominated for Best Actor (Comedy / Farce) for Singlology (rerun). At the 22nd, 23rd, and 25th Hong Kong Drama Awards, he was nominated for Best Director (Comedy / Farce) for The Scholar and the Executioner, The 39 Steps and The Government Inspector - the Musical respectively. He was recently nominated for Best Director at the 8th Hong Kong Theatre Libre for Descendants of the Eunuch Admiral.
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演 出 Cast
胡 浚 浩 Wu Tsun Ho Marcus
2015年畢業於香港演藝學院，獲頒藝術學士（榮譽）學位，主修表演。現為自由身戲 劇工作者。 近期演出作品包括：紅白藍劇場《女人病變》；天邊外劇場《學業進暴》、《漁港夢 百年第二部曲 — 噩夢連場》。 Wu graduated from the Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts (Honours) Degree, majoring in Acting. He is now working as a freelance actor. Recent stage performances are Purple Theatre’s Sick Women's Journey, Theatre Horizon’s Dear Yelena Sergeevna and Century-old Dreams of A Fishing Harbour - Episode II. Nightmares.
演 出 Cast
黎 樂 恆 Lai Lok Hang Luke
2015年畢業於香港演藝學院，獲頒藝術學士（榮譽）學位，主修表演。校內演出包 括：《鄭和的後代》、《羅生門》、《貓城夏秋冬》等，憑《鄭和的後代》飾演鄭 和一角獲得傑出演員獎。畢業後，為了探索身體和心靈的連繫，考獲註冊瑜伽導師證 書。曾參與進劇場舉辦的「演員運動」，純粹地探索演技和契訶夫《三姊妹》的世 界，並參演進劇場《暖大衣》（公開及學校巡迴演出），以英語演出果戈理的經典短 篇小說。16年參演香港藝術節《論語》。 Lai graduated from the Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts (Honours) Degree, majoring in Acting. While at the academy, he participated in such productions as Rashomon, My Days in Cat Town and Descendants of the Eunuch Admiral, the last for which he received an Outstanding Actor Award. After graduation, Lai continued to research the connection between movement and the human spirit. He is currently a registered yoga teacher. In 2015, Lai joined the Actor’s LAB organized by Theatre du Pif, delving into performance technique in the world of Chekhov’s Three Sisters. He also took part in an English production of The Overcoat, adapted from Gogol’s short story, in stage performance and school tour organized by Theatre du Pif. He was a member of the cast in Chinese Lesson, which premiered at the Hong Kong Arts Festival 2016.
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演 出 Cast
陳 嘉 茵 Chan Ka Yan Karen
2015年畢業於香港演藝學院，獲頒藝術學士（榮譽）學位，主修表演。在校期間連續 兩年獲傑出演員獎，並獲鍾景輝萬寶龍藝術大獎獎學金及滙豐銀行慈善基金 — 香港 與內地學生交流計劃獎學金到上海交流。畢業後演出包括：演戲家族音樂劇《仲夏夜 之夢》；劇場工作室《我們都在努力生活》；中英劇團《錯 ／ 覺》（香港演藝學院 導演碩士畢業作品選）；進劇場《暖大衣》（公開及學校巡迴演出）； Theatre Noir 《人鼠之間》等。除戲劇演出外，亦有多年芭蕾舞及現代舞經驗，曾為陳奕迅演唱會 擔任舞蹈員，亦於上海世界博覽會參與交流演出《天鵝之旅》。現為自由身演員及舞 者。 KarenChan graduated from the Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts (Honours)Degree, majoring in Acting. In her years of acting study, she was awarded the Outstanding Actor Award twice. She was also awarded the K. F. Chung Montblanc Arts Patronage Scholarships and HSBC HKAPA Mainland China Study Programme. Her works after graduation are Actors' Family’s A Midsummer Night's Dream - the Musical, Drama Gallery’s Life is a Struggle......Fight it!, Chung Ying Theatre Company’s Flaws of Nature (The HKAPA MFA Directing Graduate Production), Theatre du Pif’s The Overcoat (stage performance and school tour) and Theatre Noir’s Of Mice and Men. Karen also has years of ballet and contemporary dance experiences. She performed in Eason Chan’s concert as a dancer, and joined the exchange performance Swanning Around in Shanghai at the Expo 2010. She is now a freelance actress and dancer. Facebook: Karen Ka Yan Chan
演 出 Cast
黃 庭 姍 Jessica Wong
2016年畢業於香港演藝學院，獲頒藝術學士（榮譽）學位，主修表演。現為自由身演 員。 校內演出包括：《元宵》、《慾望號街車》、《鄭和的後代》、《羅生門》等，並憑 《鄭和的後代》獲傑出演員獎。在校期間，曾獲多個獎學金包括：Maria Fan Howard 藝術獎學金、章賀麟獎、焦媛獎學金等。除表演以外，亦熱愛舞蹈，曾習現代舞、中 國舞、爵士舞等，亦於15年完成瑜伽聯盟RYT 200瑜伽導師課程。 Wong graduated from the Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts (Honours) Degree, majoring in Acting. She is now a freelance actress. During her studies in HKAPA, she was involved in Twelfth Night, A Streetcar Named Desire, Descendants of the Eunuch Admiral and Rashomon, and received the Outstanding Actor Award for Descendants of the Eunuch Admiral. And she was awarded Maria Fan Howard Arts Scholarships, Colin George Prize and Chiu Woon Scholarship. Besides acting, she is also interested in dancing and she has learned different styles of dancing, including contemporary, Chinese and jazz. And she has completed Yoga Alliance RYT 200 in 2015.
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演 出 Cast
陳庭軒 Chan Ting Hin Henry
窮人誌創團成員。畢業於香港演藝學院，獲頒藝術學士（榮譽）學位，主修表演，僥 倖獲一級榮譽。 天性反叛、出身寒微。幼年成長在袓母、姑母懷中，於石硤尾一帶蹓躂。曾夢想成為 職業籃球員、地質學家、富商巨賈、蜘蛛俠及耶穌等等。現為尋找自由的演員。 夢想無休止地跟朋友一同冒險或向偉大航路進發。 Founded Poor Guy Diary with partners lately. Graduated from the Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts (First Class Honours) Degree in 2014, majoring in Acting. Born a rebel in an impoverished family, reared by grandmother and aunt around Shek Kip Mei, with early childhood dreams of becoming a basketball player, geologist, millionaire businessman, Spiderman and Jesus, among others. Currently an actor in search of freedom. Always dreaming to embark with friends in adventures or to set sail on a great journey.
演 出 Cast
梁仲恆 Leung Chung Hang
畢業於香港演藝學院，獲頒藝術學士（一級榮譽）學位，主修表演。校內演出包括： 《元宵》、《慾望號街車》《從八十號K開始》、《羅生門》、《三姐妹》、《貓城 夏秋冬》等。 在校期間憑《元宵》、《慾望號街車》、《羅生門》三度獲得傑出演員獎，亦曾獲得 演藝最佳演員獎及獎學金包括：Katterwall聲樂獎學金、毛俊輝獎學金、鍾景輝萬寶龍 藝術大獎獎學金、黎草田紀念獎學金。 Leung graduated from the Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts (First Class Honours) Degree, majoring in Acting. His previous productions are Twelfth Night, A Streetcar Named Desire, 80K, Rashomon, Three Sisters, My Days in Cat Town. He received the Outstanding Actor Award three times for his performances in Twelfth Night as Orsino, A Streetcar Named Desire as Stanley Kowalski and Rashomon as Tajomaru. He received the Academy Best Actor Award and several scholarships, including Katterwall Vocal Scholarship, Fredric Mao Scholarships, K. F. Chung Montblanc Arts Patronage Scholarships and Lai Cho-tin Memorial Scholarship.
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演 出 Cast
翁煒桐 Yung Wai Tung Pink
2016年畢業於香港演藝學院，獲頒藝術學士（榮譽）學位，主修表演。在校期間，曾 獲演藝學院友誼社獎學金、滙豐銀行慈善基金 — 香港與內地學生交流計劃獎學金、 並憑《秩序》獲 2014-15 年度傑出演員獎。校內演出包括：《馬克白》（第十屆華 文戲劇節參節節目）、《慾望號街車》、《從八十號K開始》、《青鳥》、《秩序》 等。現為自由身演員、模特兒。 近期作品包括：香港話劇團學校巡迴演出《活著真好！》；香港知專設計學院莎士比 亞數碼流動劇場《仲夏夜之夢 — 愛漂流》。曾為香港賽馬會、灣仔碼頭和香港快運 航空拍攝廣告。 Yung graduated from the Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts (Honours) Degree, majoring in Acting. He was awarded the Society of APA Scholarships, HSBC HKAPA Mainland China Study Programme and the Outstanding Actor Award for his performance in Order in year 2014-15. School productions he joined are Macbeth (The 10th Chinese Drama Festival), A Streetcar Named Desire, 80K, The Blue Bird and Order. He is now a freelance actor and model. His recent works are Hong Kong Repertory Theatre’s 2016-17 school tour and Hong Kong Design Institute’s Shakespeare mobile theatre performance A Midsummer Night’s Dream. He has also appeared in commercials for Hong Kong Jockey Club, Wanchai Ferry and HK Express.
演 出 Cast
陳衍彤 Chan Hin Tung
2012年畢業於香港浸會大學，獲頒傳理學社會科學學士（榮譽）學位，主修電影電 視；16年畢業於香港演藝學院，獲頒藝術學士（榮譽）學位，主修表演。 現在撕掉證書，在香港這片土地學習生活與生存。 In 2012, Chan graduated from the Hong Kong Baptist University, with the degree of Bachelor of Social Sciences (Honours) in Communication (Cinema and Television) . In 2016, she graduated from the Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts (Honours) Degree, majoring in Acting. At the moment, she has torn her certificates into pieces, is learning to survive and enjoy the life here in Hong Kong.
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演 出 Cast
袁浩楊 Yuen Ho Yeung
2016年畢業於香港演藝學院，獲頒藝術學士（榮譽）學位，主修表演。最近演出有音 樂劇作Songs for a New World 。校內演出包括：《仲夏夜之夢》、 Songs for a New World （音樂劇選段展演）、《原野》、《貓城夏秋冬》等。其他演出包括：同流 《直子小姐》；Theatre Noir音樂劇《我的長腿叔叔》等。亦曾參演電影《踏血尋梅》、 《哪一天我們會飛》、《那夜凌晨，我坐上了旺角開往大埔的紅 VAN 》等。在校 期 間 ， 憑 《 仲 夏 夜 之 夢 》 內 Puck 一 角 獲 傑 出 演 員 獎 ； 兩 度 獲 成 龍 慈 善 基 金 獎 學 金、Hausammann獎學金及2015年麥士威電子廠有限公司獎學金，於國立臺北藝術大 學戲劇系作學期交流。 Yuen Ho Yeung graduated from the Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts (Honours) Degree, majoring in Acting. He has participated in Music Trio’s Songs for a New World. His previous productions in HKAPA are A Midsummer Night’s Dream, Songs for a New World (Excerpts), The Wilderness and My Days in Cat Town. And he was involved in We Draman Group’s Miss Naoko, Theatre Noir’s My Daddy-Long-Legs the Musical. He also appeared in film, including Port of Call, She Remembers, He Forgets, The Midnight After. He received the Outstanding Actor Award for his performance in A Midsummer Night’s Dream as Puck. He also received Jackie Chan Charitable Foundation Scholarships, Hausammann Scholarship, Maxwell Electronics Limited Scholarships for an exchange programme at the Taipei National University of the Arts in 2015.
演 出 Cast
李俊霖 Li Chun Lam James
自小熱衷於音樂，由四歲開始學習小提琴，曾跟隨香港著名演奏家龍向輝先生學習， 並在2014-15年度（16歲）考獲聖三一音樂學院FTCL文憑。李氏現為香港演藝學院音 樂系學生，師承現任香港小交響樂團第二小提琴首席樂師李海南，主修小提琴。於16 年為B27協進會一部有關強直性脊椎炎微電影《竹。迷。藏》與周柏豪、張紋嘉及糖 兄一眾藝人創作，並任小提琴獨奏。活躍於樂團演出，現為新世紀青年管弦樂團第一 小提琴手，曾隨樂團參與中英劇團音樂劇《戇大人》；香港兒童音樂劇團音樂劇《小 王子》、《王司馬與牛仔音樂劇 — 飛行棋》及《噢！爸媽大戰茱羅記》等。 Li began to play the violin at the age of 4. He studied with Mr. Jensen Lung Heung Fai and obtained the FTCL diploma in the Trinity College London in year 2014-15 (16 years old). He is now studying at the Hong Kong Academy for Performing Arts in Music Studies, majoring in violin with the Second Violin Principal of the Hong Kong Sinfonietta, Mr. Le Hoai-nam. James had recorded the violin solo for a micro-film which is about the Ankylosing Spondylitis for the B27 Association in 2016. He has been actively participating in orchestra performance. He is the first violinist of the Millennium Youth Orchestra. He played in Chung Ying Theatre Company's The Government Inspector - the Musical, Hong Kong Children's Musical Theatre Le Petit Prince, Wong Sze Ma’s My Boy the Musical, Romeo and Juliet 2.0 with his orchestra. 18
佈 景 及 服 裝 設 計 Set and Costume Designer
阮漢威 Yuen Hon Wai
畢業於香港演藝學院科藝學院，主修佈景及服裝設計，曾獲香港賽馬會獎學金及成龍海外獎學金赴英國Stephen Joseph Theatre 實習。舞台設計作品至今約一百個。憑演戲家族《四川好人》獲第十三屆香港舞台劇獎最佳服裝 設計。現為自由身舞台工作者及劇場教育工作者、香港演藝學院駐院藝術家（設計），同時亦為舞台攝影師，為 不同專業表演藝術團體擔任攝影師，其舞台攝影作品曾分別在台灣及日本隨藝團展覽。2008年開始個人攝影計劃 「Black List」，並於10年7月展覽及出版。 Yuen graduated from the Hong Kong Academy for Performing Arts, majoring in Set and Costume Design. He has focused on designing for theatre and performing arts for more than a decade, with about 100 set designs for various arts performances including dance, drama, musical and concert. He received the Best Costume Design Award from the 13th Hong Kong Drama Awards for his design in The Good Person of Szechwan. He is currently an Artist-in-Residence (Design) of HKAPA and a theatre educator. He is also a freelance theatre artist and theatre photographer. He has been engaged by professional theatre companies and theatre publications to work on production still photos and promotional media. His photography works have been featured in Taiwan and Japan. In 2010, his first photo book Black List was published with an exhibition held to pay tribute to theatre technicians in Hong Kong.
燈 光 設 計 Lighting Designer
楊子欣 Yeung Tsz Yan
畢業於香港演藝學院科藝學院，獲頒藝術學士學位，主修舞台燈光設計。 在校期間，憑香港演藝學院《菲爾德》獲第十五屆香港舞台劇獎最佳燈光設計，其後再憑同流《關愛》、香港話劇 團《安．非她命》及《結婚》再獲此殊榮。 2012年憑《雙燕 — 吳冠中名畫隨想》獲第十四屆香港舞蹈年獎最值得表揚舞美。11年及15年獲選代表香港參加 布拉格舉行的舞台設計四年展。 A graduate of the Hong Kong Academy for Performing Arts, majoring in Stage Lighting Design, Yeung Tze Yan won her first Hong Kong Drama Award for the Hong Kong Academy for Performing Arts production of Phaedra (2006). She received three subsequent Hong Kong Drama Awards for Best Lighting Design in Iron (2012), Attempts on her Life (2015) and Marriage (2016). In 2012, Yeung was awarded Outstanding Design at the 14th Hong Kong Dance Awards for her contribution to Hong Kong Dance Company production of Two Swallows - Ode to Wu Guanzhong. She was also selected to represent Hong Kong at the 2011 and 2015 Prague Quadrennial.
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作 曲 及 音 響 設 計 Composer and Sound Designer
李寶瑜 Labroe Lee
畢業於香港演藝學院，主修音響設計。熱愛音樂及音樂劇創作。2014年寫下首齣音樂劇《整蠱造怪》。李氏自幼接 受父母多元化培育，從小加入音樂劇團和合唱團並參與多個公開演出和海外交流等，亦學習各種樂器。在學期間活 躍於校內合唱團及管樂團，於香港校際音樂節獲得個人及團體獎項。曾參與音響設計作品包括：香港話劇團《嗚啦 啦啦啦你的歌》；顛覆盒子《未成年少女的駕駛課程》；7A班戲劇組《老娘企硬》；新域劇團《青春修煉日記》； 香港演藝學院《跳出傳統》、《鄭和的後代》、《馴悍記》，原創音樂及編曲作品包括：R & T（Rhythm & Tempo） 《開心博士森林記》、《踢躂花木板》；中英劇團音樂劇《戇大人》等。 現為自由身工作者，積極參與劇場製作及音樂創作。 Labroe Lee has been actively involved in theatre and music productions since she graduated from the Hong Kong Academy for Performing Arts, majoring in Sound Design. As a musical lover and whom passionate in music composition, she wrote her first original musical Prank in 2014. Raised and trained under her parents’ influence, she has grown up in musical theatre, has performed worldwide as a choir member and has won awards both as individual and ensemble. Her past productions are Hong Kong Repertory Theatre’s Sing your Life a Musical, Error Box’s How I Learned to Drive, Class 7A Drama Group’s Mother Courage in China, Prospects Theatre's Those were the Days, HKAPA's Out Of Tradition, Descendants of the Eunuch Admiral, The Taming of the Shrew. Original music and arrangement works are R&T (Rhythm & Tempo)'s Dr Happy to the Rescue, Muban: A Tap Dancing Journey, Chung Ying Theatre Company's The Government Inspector - the Musical. She is now a freelancer.
製 作 行 政 助 理 Production Administrative Assistant
陳海茵 Isabel Chan
現為自由身工作者。近年參與製作包括：心創作劇場《女煮人》（三度公演及加拿大演出）、《失身1234》、《胖 侶》（首演及重演）、《就在那時候的那個時候》、《摘星天梯》；心靈客棧《聊Dry男》（加長洗版及加拿大演 出）；私人國《C AllStar我們的胡士托演唱會》、《C AllLive2015》；Performer Studio《單身大晒》、《單身大 晒》（晒命版）及《真話》。 曾在香港迪士尼樂園擔任舞台監督和在香港海洋公園擔任技術部項目統籌。另外，亦參與活動統籌、演出製作行政 及宣傳、學校巡迴演出、錄像拍攝及剪接等工作。 Isabel Chan is a freelancer. She has worked with many different performing arts companies, including Bravo Theatre’s Cook your Life (third run and Canada tour), My First Time, Fat Pig (premiere and rerun), All in the Timing and Ladder to the Stars; Take It Easy Theatre’s MeChat (rerun and Canada tour); Kingdom C’s C AllStar concerts, Performer Studio’s Singlology (premiere and rerun), Invincible Truth. She has worked for Hong Kong Disneyland as a Stage Manager, Hong Kong Ocean Park Corporation as Technical Coordinator. She has also worked in event production, promotion, ticketing, school touring, video shooting and editing.
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多謝支持 Thank You for Your Support 節目贊助 PROGRAMME SPONSORS 香港話劇團謹此向以下贊助機構深致謝意： The Hong Kong Repertory Theatre expresses its deepest thanks to the following Sponsors: 三井錶業有限公司 3 Wells Watch Industries Ltd. 亞聯工程公司 Alliance Engineering Co. 周生生集團國際有限公司 Chow Sang Sang Holdings International Ltd. 明愛之友 Friends of Caritas
恒生銀行 Hang Seng Bank 香港鐵路有限公司 MTR Corporation Limited 保良局 Po Leung Kuk 信興集團 Shun Hing Group （以公司英文名稱序 In alphabetical order of company name）
香港話劇團「發展基金」及「戲劇教育基金」捐款者芳名 The Hong Kong Repertory Theatre Development Fund Donors & Drama Education Fund Donors 香港話劇團謹此向以下商業機構及熱心人士深致謝意： The Hong Kong Repertory Theatre expresses its deepest thanks to the following corporations and individuals: 旗艦捐助人 FLAGSHIP DONORS （HK$100,000或以上 or over） 信興教育及慈善基金 Shun Hing Education and Charity Fund 程婉雯小姐 Miss Angela Ching 康宏金融集團 Convoy Financial Group Hsin Chong Construction Group Limited 蕭楚基先生 Mr. Siu Chor Kee, BBS, MH, JP 無名氏 Anonymous 百回看捐助人 ENCORE DONORS （HK$50,000 – HK$99,999） Mr. Chan Kam Kuen Anthony 戲連場捐助人 PLAY ON DONORS （HK$10,000 - HK$29,999) 李永誠先生夫人 Mr. & Mrs. Vincent Lee 活道教育中心 Living Word Education Centre 譚思樂先生 Mr. Isaac Tam 無名氏 Anonymous 幕初升捐助人 CURTAIN UP DONORS （HK$3,000 - HK$9,999） 陳穎嘉小姐 Miss Chan Wing Ka 鄭敬凱博士 張佩螢小姐 Miss Claudia Cheung 張經略（章經）及郭鳳嫻伉儷 Mr. & Mrs. Rocky (Cheung King) & Teresa Cheung 慈航慈善基金有限公司 Chi Hong Charitable Foundation Limited 朱文忠先生 Mr. Chu Man Chung
鍾麗容小姐 Miss Queenie Chung 林潔儀女士 Ms. Linda Lam 劉瑞朗先生 Mr. Lau Sui Long 梁志偉先生 Mr. Leo Leung Mrs. Joanna Leung 陸珊珊女士 Ms. Luk Susan 麥秋先生 Mr. James Mark 彭露薇小姐 Miss Pang Lo Mei 鄧竟成先生 Mr. Tang King Shing 徐詠璇教授 Professor Bernadette Tsui 黃天慧女士 Ms. Vivian Wong 胡秀英女士 Ms. Wu Sau Ying Louisa 好友營捐助人 PALS DONORS （HK$1,000 - HK$2,999） 陳懿嘉小姐 Miss Alison Chan 陳健康先生 Mr. Freeman Chan 陳祖同先生 Mr. Joseph Chan 陳允彤女士 Ms Chan Wan Tung Mrs. & Mr. Gardy & Joe Fong Mr. Andrew Fung 馮浩賢先生 Mr. Vincent Fung 洪秋燕小姐 Miss Hung Chau Yin 林惠玲女士 Ms. Leona Lam Ms. Esther Leung Mr. & Mrs. Frank Lui 譚天樂博士伉儷 Dr. & Mrs. Timothy T L Tam Ms. Michelle Tsang 余其祥先生夫人 Mr. & Mrs. Joseph K. C. Yu
香港話劇團謹向下列及人士對是次製作的協助致謝 Special Acknowledgement: 實踐劇場 The Theatre Practice 香港演藝學院 The Hong Kong Academy for Performing Arts 香港中樂團 Hong Kong Chinese Orchestra 鄭雅芝 Cheng Nga Chi 徐務研 Tsui Mo Yin 白清瑩 Pak Ching Ying 王文杰 Wong Man Kit 蔡溥泰 Choi Po Tai
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樓嘉豪 Lau Ka Ho 黃子澄 Wong Tsz Ching 張焱 Zhang Yan 李皓敏 Lee Ho Man 王丹丹 Wang Dandan 林宛珊 Lam Yuen Shan Sandy 各大傳媒機構 Mass Media（排名不分先後 In no particular order）
（「百回看」、「戲連場」、「幕初升」及「好友營」排名以姓氏字母 / 公司英文名稱序） (“Encore Donors”, “Play On Donors”, “Curtain Up Donors” and “Pals Donors” are listed in alphabetical order of family name / company name)
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背景 • 香港話劇團是香港歷史最悠久及規模最大的專業劇團。1977創團，2001公司化，受香港特別行政區政府資助，由理事 會領導及監察運作，聘有藝術總監、助理藝術總監、演員、舞台技術及行政人員等七十多位全職專才。 • 三十九年來，劇團積極發展，製作劇目超過三百個，為本地劇壇創造不少經典劇場作品。
使命 • 製作和發展優質、具創意兼多元化的中外古今經典劇目及本地原創戲劇作品。 • 提升觀眾的戲劇鑑賞力，豐富市民文化生活，及發揮旗艦劇團的領導地位。
業務
選演本地原創劇，翻譯、改編外國及內地經典或現代戲劇作品。匯集劇團內外的編、導、演 與舞美人才，創造主流劇場藝術精品。 以靈活的運作手法，探索、發展和製研新素材及表演模式，拓展戲劇藝術的新領域。 開設課程及工作坊，把戲劇融入生活，利用劇藝多元空間為成人及學童提供戲劇教育及技能 培訓。也透過學生專場及社區巡迴演出，加強觀眾對劇藝的認知。 加強國際及內地交流，進行外訪演出，向外推廣本土戲劇文化，並發展雙向合作，拓展境外 市場。 透過劇本創作、讀戲劇場、研討會、戲劇評論及戲劇文學叢書出版等平台，記錄、保存及深化 戲劇藝術研究。
Company Background • The Hong Kong Repertory Theatre is the longest standing and largest professional theatre company in the city, established in 1977 and incorporated in 2001. Financially supported by the Government of the Hong Kong Special Administrative Region, the Hong Kong Repertory operates under the guidance of its Governing Council, and employs a team of over 70 full-time professionals including the artistic director, assistant artistic director, actors, technical and stage management staff as well as administrators. • Since its establishment 39 years ago, it has presented more than 300 productions, many of which have become classics of the local theatre canon.
Missions
•To produce and develop a high quality, innovative and diverse repertoire, encompassing Chinese, international, classic, and contemporary theatre, as well as original new works by local artists. •To develop the audiences’ interest and appreciation of theatre and to enrich the city’s cultural life, through its leadership position as the city’s flagship theatre company.
Area of Activities
Hong Kong Repertory Theatre
• 平衡劇季 ― • 黑盒劇場 ― • 戲劇教育 ― • 對外交流 ― • 戲劇文學 ―
香 港 話 劇 團
•A Balanced Repertoire – A selected programme of local original works, and translations and adaptations of classic and contemporary plays from the Mainland and internationally. The company collaborates with playwrights, directors, actors, designers and other talent within and outside of the company, to create new mainstream theatre productions of artistic excellence. •Black Box Theatre – Flexible in approach, the Black Box Theatre provides a space where writers and practitioners can explore, take risks and experiment to create new material and modes of performances, in order to cultivate and stretch the boundaries of theatre arts. •Theatre Education – Bringing theatre to life through courses and workshops, the company aims to provide theatre education and skills development for adults and children via the many facets of theatre. It also works to increase the audiences’ awareness towards theatre arts through dedicated performances for students as well as the wider community. •International Exchange – Through the strengthening of exchanges with the Mainland and internationally, the company tours regularly in order to promote Hong Kong’s local theatre culture, and to develop opportunities for collaborations and performances across the border and overseas. •Theatre Literature – Through a varied programme of new writing development, Reader’s Theatre, seminars, reviews and publication of theatre literature, the company aims to encourage, document, preserve and consolidate creative activities in theatre.
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