國際黑盒劇場節2016：《之前之後》場刊 Before After by 香港話劇團 Hong Kong Repertory Theatre

香港話劇團國際黑盒劇場節2016 HKREP International Black Box Festival 2016 南韓 South Korea ― Creative VaQi 《之前之後》Before After 編劇 Playwright

集體創作 Collective devised work

導演 Director

李敬誠 Kyung-sung Lee

戲劇指導 Dramaturgy

全康希 Kang-hee Jeon

舞台設計 Stage Designer

申承烈 Seung-ryul Shin

燈光設計 Lighting Designer

高赫晙 Hyek-joon Go

音響設計 Sound Designer

李羽濬 Kayip

香港話劇團黑盒劇場 HKRep Black Box 17-19.11.2016 8pm 19#.11.2016 3pm 20.11.2016 5pm # 11月19日下午場設有演後座談會，由西九文化區管理局藝術發展主管（戲劇）劉祺豐先生擔任嘉賓講者 Post-performance talk on November 19 matinee with Mr. Low Kee Hong, Head of Artistic Development (Theatre), West Kowloon Cultural District Authority as guest speaker 全劇長約1小時40分鐘，不設中場休息 Approximately 1 hour 40 minutes without intermission 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.

《之前之後》由韓國斗山藝術中心委約及與 Creative VaQi 聯合製作，於2015年10月23日假韓國斗山藝術中心作世界首演。 Before After was commissioned and produced by Doosan Art Center (DAC) and Creative VaQi, Republic of Korea in 2015 and had world premiered at DAC on 23 October 2015

委約及聯合製作 Commissioned and Co-Produced by

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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

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

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

羅美琦 Katy Law 彭善紋 Olive Pang 譚佩瑩 Dawn Tam 關凱明 Kwan Hoi Ming 趙浩錀 Chio Ho Lun 祁景賢 Kee King Yin

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

Creative VaQi《之前之後》製作人員 Production Team, Creative VaQi Before After

編劇 Playwright

集體創作 Collective devised work

導演 Director

李敬誠 Kyung-sung Lee

戲劇指導 Dramaturgy

全康希 Kang-hee Jeon

舞台設計 Stage Designer

申承烈 Seung-ryul Shin

燈光設計 Lighting Designer

高赫晙 Hyek-joon Go

音響設計 Sound Designer

李羽濬 Kayip

聲線指導 Voice Coach

崔正善 Jungsun Choi

視覺設計 Visual Design Team

VISUALS FROMS.

形體指導 Movement Coach

李昭英 Soyoung Lee

助理導演 Assistant Director

玄禮薛 Yei-sol Hyun

技術總監 Technical Director

文弘植 Hong-sik Moon

舞台監督 Stage Manager

徐秀賢 Soo-hyun Seo

巡演經理 Tour Manager

李姬真 Heejin Lee

劇本翻譯 Script Translation

慎載光 Jae-gwang Shin

前台助理 Front House Assistant

蘇子柔 Daphne So

演出攝影 Performance Photo Shooting

Wing Hei

Creative VaQi 簡介導演李敬誠與他的同僚2007年於首爾梨泰院區的天台小房間成立了Creative VaQi。VaQi既是韓文馬車車輪之意，象徵著流浪的吉卜賽人，同時也是真理（Veritas）、藝術（Art）、問題（Question）、想像（Imagination）四個英文字的首個字母組合。兩者合起來代表著他們有如吉卜賽人，走到世界每個角落，傳揚美麗事物。 Creative VaQi是一個非常獨特的劇團，有需要時會衝出戲劇的框框，作品多半不在劇場裡發生，而是在街頭、廣場、大廈、私人住宅、酒店房間等。Creative VaQi運用真實的空間，令我們重新體驗生活中的某些時刻，藉此反思當中一些可能被粗心地忽略了的某些方面。在此情況下，他們將戲劇的虛構轉化成生活的實在，抹掉了生活與表演之間的界線。因此，雖然 Creative VaQi的作品表面上是實驗劇場，但他們採用能吸引公眾和熟悉的方式來面向公眾。他們的作品既幽默又富詩意，而從他們的作品可看到世界正發生的事，Creative VaQi的長處是對生活與社會的深邃思考，對藝術在社會擔當何種角色的仔細研究，而最重要的是對事物的正面看法與對人的信心。 Creative VaQi與李敬誠的藝術手法以真誠與莊嚴見稱，逐漸發展並克服了所謂實驗性團隊一般面對的限制，例如表面的官能刺激元素、脆弱的建構、未發展成熟的概念、過度強調主題等等。雖然韓國劇場界越來越多以研究為本的作品，但卻鮮有李敬誠那種能夠準確拿捏時代脈搏的作品，充份呈現當下的生活與社會。有別於其他實驗性作品，Creative VaQi的劇作在呈現一個議題時，並沒有滿足於抽象和表面的人文與社會命題的層次，因此它們能清晰地蘊含了我們時代的影像，並適切地提出詰問。作品經常與創作地點的日常生活、社群和空間息息相關。在創作 Creative VaQi的作品之前，演員和工作人員先要置身那個空間之中，用呼吸感受那個空間，並進行長線研究。

About Creative VaQi Creative VaQi is a creative group established in 2007 by director Kyung-sung Lee and his colleagues in a small room on a rooftop in Itaewon, Seoul. VaQi refers to the wagon wheel (in Korean), the symbol of gypsies, and it is also the combination of the first letters of 'Veritas, Art, Question, and Imagination' representing the will to go to every corner of the world like a wagon wheel and communicate beauty. Creative VaQi is a unique company that is willing to break down the boundaries of theatre when the circumstances require. Their works often proceed not in the theatre, but in the spaces of everyday life; a crosswalk, a square, a building, a private residence and a room in a hotel to name a few. By using actual spaces, Creative VaQi allows us to reexperience a certain time in our lives in a way that makes us reflect on aspects that may have been carelessly overlooked. In this case, they tear down the boundary between life and performance by transforming the fictiveness of a play into the substantiality of life. Thus, although Creative VaQi's plays take the form of experimental theatre, they approach the public in a manner that is fascinating and familiar. Creative VaQi’s works are humorous and poetic. As reflected in the world of their works, their greatest strengths lie in their deep contemplation about life and society, thorough deliberation about the social role of art, and, above all, their positive outlook and faith in humanity. With an approach characterized by sincerity and gravitas, Creative VaQi and Kyung-sung Lee have progressively developed by overcoming the limitations faced by so-called experimental groups such as superficial sensory elements, fragile constructions, underdeveloped ideas, and an excessive sense of subject. Although the number of research-based plays has increased remarkably in the Korean theatre field, it is difficult to find plays like those of Kyung-sung Lee that precisely grasp the indicia of our times, thus exposing the truth in our lives and society. Unlike other experimental works, Creative VaQi’s works clearly embody images of our era and appropriately pose questions because their presentation of an issue does not merely remain on the level of an abstract and superficial humanistic and social thesis. Their works are always closely connected to specific daily life, community, and the spaces where they actually develop. Prior to creating Creative VaQi’s works, actors and staff members all physically stay in the space, breathe the space, and conduct longterm research.

Creative VaQi 的話當我們用「之前」或「之後」講述某個事件，通常意味著事件帶來了變化，所以自身的生活跟以前不再一樣；某個事件之後，生活在某些地方就會發生改變。這裡所指的可能是因為事件令到外在條件有所變化，或者事件的出現令我們對於內在條件自發性地付諸某些意義。換句話來說，事件的發生可能帶來人生中不可挽回的改變，或可包括我們因為事件發生後有所反思，因而推動必須的改變。因此亦界定了「事件之前」與「事件之後」的區別。在這裡，我利用「之前 / 之後」這兩個語彙，泛指在某個時間框架之內，事件所帶來的變化。值得一提的是，某一個人所意識的「之前 / 之後」未必與其他人所意識的「之前 / 之後」一致。我們無法把不同人在同一個事件中的經歷歸納起來。比方說，社會上發生了一場災難，對於受難者來說，這樁事件標誌著他們的生活已無法返回從前狀態的轉捩點。可是，沒有直接受影響的人往往把事件視為發生在其他人身上的「悲慘故事」。《之前之後》這齣話劇是從這一個問題所啟發的：我們如何在一場發生在他人的災難中感同身受，領略這次經歷與我們自身也是息息相關？我們又如何能證實我們沒有參與製造這場災難或引致他人所受的痛苦？在《旁觀他人之痛苦》一書中，作者蘇珊‧桑塔格寫道，「只要我們感覺到自己有同情心，我們就覺得自己不是引致痛苦的同謀。我們的同情宣佈了我們的清白，同時亦宣佈了我們的無能。由此看來，就算我們完全出於善意，即使不是不恰當的，也是無禮的回應。」因此，接下來的問題應當是怎樣建立一個渠道，讓我們通過它而仔細思考我們與事件的關係：事實上我們是同謀，而不是自以為客觀地抽離的同情者。如果說這齣話劇可以完美地解答以上的問題，未免誇張了一點。但是，我深信它起碼提供了一個機會讓我們「感受」，而不只在概念上理解那麼簡單。啟發我們創作《之前之後》的動機，是2014年4月16日世越號沉船事件。桑塔格曾經說過，透過媒體，國外的戰爭可以讓遠方的觀眾有如親歷其境。世越號沉沒事件發生在我們自己的國家，帶給我們的經歷涉及不同層面。更準確的說，是散佈在社會上每一個領域；散佈卻又孤立地存在著。通過歷時三個月的工作坊與探索研究，演員們都意圖解答沉船事件與「我們」每一個人的生活如何建立「聯繫」。最初，我們打算以間接的戲劇手法去創作，畢竟這個題材如果直接表達出來太沉重了。但經過反覆思量，如果我們要把這題材搬上舞台，我們無可避免地，必須正視這樁事件。在探索過程中發現，我們太著重把焦點放在沉船事件的歷史意義或人道主義的闡釋上，因而忽略了一個關鍵的問題 ─ 當天發生了什麼事？當焦點放回事件本身而不是它的意義，我們的思維終於可以與這次創作連繫上了。繼而更能與其他主題互相編織起來，如「國家與我」、「生命與呼吸」、「真實性與身體」、「你 / 其他人」。如果撇開所有相關的社會與政治話題，世越號沉沒涉及的，就是有關他人承受極度痛苦的體會，還有一個不可置疑的真相，就是我們不可能明白那種痛苦，因為我們不是「他們」 ─ 經歷這場災難的他們。而且，經歷那些痛苦的人跟我們共處於這個社會，所以我們也必須感同身受。如果我們無視他們的痛苦，我們的社會就只剩下利己主義，到最後只會退化為弱肉強食的野蠻世界。因此，我們提問的應該聚焦於如何分享這無法理解的痛苦並在公開場合中讓大家一起討論。我們還要緊記，這些答案將會界定未來韓國社會的真正本質。自從世越號沉船事件發生後，我們已站在改變的交叉路上了。同理心關乎情感。一齣戲劇可以激發我們的情感。當然，每一個人都會意識到他人的痛苦以及生命神聖的價值是非常重要的。但是，要活出這些價值，我們需要訓練自己縮短思維、感覺以至行為的距離。《之前之後》便是這個訓練過程的一部份。《之前之後》在斗山藝術中心首演之前，音響設計與我特地去了一次濟州港錄下海浪的聲音，希望用於此劇的尾聲。我們當時的想法是這海浪聲必須錄於受害者的出發地彭木港，或是他們的目的地濟州港。我們最後決定到濟州，相信把當天他們想到達的目的地的海浪聲錄下，能拉近我們與受難者未曾達成的願望的距離。當然，我們不會期望觀眾認得出海浪聲是從哪裡來。不過，儘管這樣做對演出沒什麼作用，我們還是選擇在最後階段進行這個舉動作為修煉，因為對我們相當重要，必須親身經歷深化體驗，才能倚仗真理繼續生活下去：即使堅守道德規範往往費時失事，以道德為本的選擇甚至要承擔損害或損失。我相信這段漫長的旅程延伸至香港的舞台和劇場時，觀眾也定必能分享其中的意義。李敬誠《之前之後》導演

Message from Creative VaQi When we use the word 'before' or 'after' in front of an event, we often imply that the event has brought about changes and so our lives are not the same as before; after the event, our lives have changed in any kind of way. Here the changes may refer to exterior ones forced by the event itself and/or interior ones made by one's voluntary meaning-making of the event. In other words, an event may inflict irreparable changes on one's life and/or one's own reflective introspection of the event may lead to obligatory changes that would differentiate 'the time after the event' from 'the time before the event.' In this context, I use the term 'before/after' as a phrase indicating a time frame during which a certain kind of changes take place with regard to an event. What's important is that one's 'before/after' does not always apply to everyone else. There is always an unbridgeable gap between our experiences even of the same event. For example, let's suppose that a disastrous event happened in our society. For the victims, the event marks an absolute turning point after which their lives would be never the same as before. However, for many others who are not directly involved, the event tends to be regarded merely as 'a sad story' that occurred in others' lives. The play Before After started with the question: how can we experience that a disastrous event which happened to others is actually related to our own lives?; how can we demonstrate that we have no alibis for the disaster and the suffering of others? In Regarding the Pain of Others, Susan Sontag says, "So far as we feel sympathy, we feel we are not accomplices to what caused the suffering. Our sympathy proclaims our innocence as well as our impotence. To that extent, it can be (for all our good intentions) an impertinent - if not an inappropriate - response." Therefore, the next question should be about how to construct the conduit through which we can contemplate our relation to the event: we are in fact accomplices to the event rather than self-complacent sympathizers who may objectify it away from the site. It might be too ambitious to say that a play can give perfect answers to the above questions. But I believe that it can provide us with at least an opportunity to 'feel' the relation beyond understanding it only conceptually. The play Before After starts with the sinking of MV(motor vessel) Sewol on April 16th, 2014. While Susan Sontag talks about how wars in foreign countries have been experienced to the faraway audiences through media, the sinking of Sewol offers a different stratum of experience to us in that it lies in our own society. More precisely, it lies scattered around in every part of our society; scattered but isolated. The actors and actresses had tried to answer the question of how we could 'relate' the sinking of Sewol to each of 'our' individual lives through the three month workshop and research activities. In the earlier stage, we had planned to devise an indirect method to dramatize the event because we believed it was too huge an event to deal with directly. But as we thought more and more, we came to the conclusion that it would be inevitable to confront the event itself in order for us to stage it. In the process, we realized that we had focused too much on the historical significance or humanistic interpretation of the sinking of Sewol, rather forgetting about the key question - what happened on that day? When we focused on the event itself rather than its meanings, we could finally align our thoughts with our project. And then we could also weave in other relevant themes such as: 'the nation and I,' 'life and breathing,' 'authenticity and body,' and 'you/others.' If all the relevant socio-political issues are set aside, the sinking of Sewol is about the extreme pain of others more than anything else. And the undeniable truth is that we cannot understand the pain as it is since we are not 'they' those who experienced the disaster themselves. Nevertheless, they - the subjects that suffer - live together with us in this society and that's why we should try to regard their pain as our own. If we turn our backs from the pain of our neighbors, egoism will be the only rule of our community, which will end up no better than a barbaric society controlled 09

by the law of the jungle. Therefore, our questions should be how to share this incomprehensible pain of others and how to discuss it together in the public sphere. And we need to remember that our answers to them will characterize the true nature of the future Korean society. Since the sinking of Sewol, we've been standing at a crossroad of change. To empathize with others is a matter of emotion. What a play can do is to simulate our emotions. Surely, everyone would be well aware of such values as the importance of sharing the pain of others and the sanctity of life. But in order to live these values, we need to train how to narrow the distances among our thinking, feeling, and behaving. The play Before After is a part of this training. Not so long before the premiere of Before After at Doosan Art Center, Sound Designer and I went on a one-day trip to Jeju Port in order to record the sound of waves which would be used at the ending of the show. We'd thought that the sound should be recorded either at Paengmok Port, the victims' point of departure, or at Jeju Port, their destination, and finally went for Jeju with the belief that recording the sound of the place they wanted to reach on that day could be one way of getting closer to their unfulfilled wish. Of course, we didn't expect that the audience would recognize where the sound of the waves came from. Nevertheless, in spite of the inefficiency, we chose to go through this final process as part of the training because it was essential for us to internalize and live by the truths: a matter of ethics is always inefficient and an ethical choice accepts even damages or loss. I believe when our long journey extends to the stage and auditorium in Hong Kong, the audience will share its meaning as well. Kyung-sung Lee Director of Before After

故事 Synopsis 《之前之後》以時間分段，講述災難前後社會上的轉變。災難降臨，天崩地裂，把周遭一切分割成兩個世界。是什麼讓我們感受到此災難對自身生活的影響？成秀娟目睹罹患癌症的父親逐步走近死亡；蔡山河的朋友離世後，他感到有所虧欠；張誠益受襲後幾乎失明，落入恐懼無助當中；金達軒在2014年4月16日於喜馬拉雅山上遠足；羅景敏翻看從前的日記，回首往昔；張修珍戲劇化政府的行動和感受。一樁大事件與幾個人物在事件前後的經歷相互交錯。同時，台上「我」的經歷，竟與「你」所處身的空間驟然相遇。 Before After is divided into sections based on time. It shows the changes that occur before and after a devastating event. A time before and after is created after a tragic, irreversible event. What experiences do we go through that make us realize that an event has affected “our” lives? The play Before After begins by answering this question. Soo-yeon Sung has gradually witnessed the death of her father who has cancer. San-ha Chae feels indebted after his friend’s death. Sung-ik Jang, who has almost lost his sight due to the assault he suffers in the hands of the government, has fallen into a state of helplessness. Da-huin Kim is trekking in the Himalayas on April 16, 2014. Kyung-min Na retraces those times gone by from his diary and memories. Su-jin Jang dramatizes the actions and feelings of the government. The play uses a pivotal event in our society that intersects with before and after events that occur in different people’s lives. What happens as a point in “my” time on stage suddenly meets “your” space.

演出 Cast 張誠益 Sung-ik Jang

羅景敏 Kyung-min Na

張修珍 Su-jin Jang

金達軒 Da-huin Kim

成秀娟 Soo-yeon Sung

蔡山河 San-ha Chae

導演

李敬誠 1983年在瑞士巴塞爾出生。畢業於南韓中央大學戲劇系，主修導演，及後在倫敦大學中央演講與戲劇學院取得碩士學位。他於2007 年創辦Creative VaQi，並擔任藝術總監。其作品包括：《移動展覽》（09年）、《桑丘夢》（10年愛丁堡國際藝穗節參節節目）、《江南歷史》（11年）及「劇院練習」系列（13-14年），系列中最新一劇在首爾演出。李敬誠是一位富有才華的導演，他善於利用多重感知的舞台語言來凸顯現今社會問題。他亦致力於解構劇種、探索多媒體，以及減低對文本的依賴性。反過來說，他以精準且具批判的思維，並積極運用媒體、裝置及表演，盡量使訊息傳達至多重感官。 10年憑《我們移動您的沙發》獲東亞戲劇獎新概念戲劇獎及14年獲斗山蓮崗獎。此外，亦憑《之前之後》分別獲韓國戲劇獎 2015 最佳新進導演及 2016年第35屆國際戲劇協會英熙戲劇獎。

Director

Kyung-sung Lee

Born in Basel, Switzerland in 1983, Kyung-sung Lee studied directing at Seoulâ&#x20AC;&#x2122;s Chung-Ang University before undertaking postgraduate studies at Royal Central School of Speech and Drama in London. He founded Creative VaQi in 2007 and serves as Artistic Director since then. Past works include Mobile Exhibition (2009), The Dream of Sancho (2010) (which took part in the Edinburgh Festival Fringe), The History of Gangnam: Our Epic Spectacle (2011), and the Theatre Practice series (2013-2014), the most recent of which was performed in Seoul. Lee is a director with exceptional ability. He utilizes a diverse range of sensory stage language to convey the problems that confronting the modern society. He engages in genre-deconstructing, multimedia experiments and reduces dependence on text. In turn of maximizing the possibilities of a messageâ&#x20AC;&#x2122;s multisensory transmissibility with an exacting and critical mindset while actively utilizing media, installation, and performance. He was awarded the 35th ITI Annual Young-hee Theatre Award 2016 and Best Young Director at Korean Theatre Awards 2015 for Before After, Doosan Artist Award 2014, and New Conception Theatre Award at Dong-A Theatre Awards 2010 for Let Us Move Your Sofa.

演出 Cast

張誠益 Sung-ik Jang

畢業於漢陽大學新聞系。於 1993年以參與惠化一號劇院的開幕演出開展他的演藝生涯。其後參演劇目包括：《回程火車》、《這裡是家》、《海鷗》、《怪獸》等。「之前之後…… 我首次到訪香港，是在主權回歸之前。我認識了Sophia、Helen和另外一個朋友。我受到熱情的款待。這一次是主權回歸之後，我首次重返香港。 Sophia、Helen，還有我已忘記他的名字的朋友…… 他們還住在香港嗎？」 Jang studied Journalism at Hanyang University. He started his career as an actor for the opening performance of Theater Hyehwa No.1 in 1993. He has performed in Returning Train, This is the Home, Seagull, Monster, etc. ‘Before After…My first visit to Hong Kong happened before the Handover. I had friends called Sophia, Helen, and another friend. I was warmly received. This is my first visit to Hong Kong after the Handover. Sophia, Helen, and a friend whom I can’t remember the name… Would they still live in Hong Kong?’

演出 Cast

羅景敏 Kyung-min Na

於2003年在韓國放送公社開展他的演藝生涯，參演電視劇包括：《復活》、《千秋太后》、《灰姑娘的姐姐》等。2008年加入Creative VaQi，致力於探索新戲劇語言和正視當今社會問題。曾參與各種風格迥異的製作，包括：《南山紀錄：話劇練習 — 劇場版》、《對話》、《之前之後》、《談及她》等。與此同時，他亦有鑽研後戲劇演技與傳統演技，並參演以文本為基礎的戲劇，如《他與她之間的星期四》與《粉紅女郎》。「我在總統府青瓦台前地示威的時候，有一位外國人走過來凝視我手執的標語。我猜他看不懂標語上的韓文。過了幾秒鐘，他看著我。在那一刻，我們對望、點頭。雖然我們在言語上無法溝通，但彼此卻有超越語言的、共通的感覺。我希望我們的話劇可以讓你們有所得著，我們彼此也可以對望。」 Na started his career as an actor at Korean Broadcasting System in 2003. After the debut, he has appeared in many TV dramas such as Revival, Empress Cheon-chu, Cinderella Sister, and etc. Since 2008, he joined Creative VaQi in order to search for new theatrical language and deal with current social issues. He has performed for diverse pieces such as Namsan Documenta: Practice - Theatre Version, Conversations, Before After, Talk about her. Meanwhile, he is also interested in both post-dramatic acting skill and traditional acting skill, and has been performed text-based theatre Thursday between him and her, and Pink Girl. ‘When I picketed in front of the Cheongwadae (office and residence of the South Korean president), a foreigner came up to me gazed at my picket. I assumed he didn't understand what was written on the picket. A few seconds later, he looked at me. In this short moment, we faced each other and exchanged nods. Even though we can't read and speak each other’s language, there was something beyond it, that we could feel the same thing with each other. I wish our play can offer you something; I hope we’ll look at each other.’

演出 Cast

張修珍 Su-jin Jang

於首爾藝術大學修讀表演，後來加入胡同劇團，開展她的演藝生涯。她於2012年加入 Creative VaQi，實驗性紀錄劇場與傳統戲劇及戲劇文本的不同，使她非常感到興趣。她的詩歌作品獲韓國著名的出版社 — 文學與智性社頒發文學獎；首輯詩歌集亦即將出版。她利用她的舞台經驗，創作話劇與詩歌。「你好，我很高興可以到這裡。在這段時間裡，或這段時間之外，我們可以相見嗎？」 Jang studied acting at Seoul Institute of the Arts and started her career at Golmokgil Theatre. She joined Creative VaQi in 2012 as she was fascinated by devising work with experimental documentary theatre, which is different from traditional dramatics and dramaturgy. Also, she won the literature prize for poetry at Moonji Publishing and her first book of poetry will release soon. She is focusing on new writing of play and poetry based on her experience from the stage. ‘Hello, so glad to be here. Within the time, out of the time, can we meet each other?’

演出 Cast

金達軒 Da-huin Kim

於2008年畢業於中央大學戲劇系，其後成為音樂劇演員。現為Creative VaQi與演友舞台成員，曾參演劇目包括：《推銷員之死》、《印度博客》、《土耳其藍調》、《喜瑪拉雅內》、《我們移動您的沙發》、《南山紀錄：話劇練習 — 劇場版》、《之前之後》等。「這是我第一次到訪香港。同時，這是我第一次在劇場裡與海外觀眾見面。一想到『第一次』就讓我緊張起來，但也感到興奮。感謝你和我們在一起。」 Kim graduated from Drama School of Chung-ang University in 2008. He started his career as a musical theatre actor. He is currently a member of Creative VaQi and Yeonwoo Stage and has performed for The Death of Salesman, India Blog, Turkey Blues, Inside Himalaya, Let Us Move Your Sofa, Namsan Documenta: Practice - Theatre Version, Before After, and etc. ‘This is the first time for me to visit Hong Kong. Also, it is the first time for me to meet foreign audience in the theater. Thinking about "first time" makes me nervous, but excited. Thank you for being with us.’

演出 Cast

成秀娟 Soo-yeon Sung

畢業於中央大學。2008年參與Creative VaQi首部製作《桑丘夢》，是該團創團團員之一。曾參演Creative VaQi各個劇目，包括《我們移動您的沙發》、《江南歷史》、《南山紀錄：話劇練習 — 劇場版》、《談及她》等。成秀娟也有參與其他劇團的演出以及電影製作。她致力於通過不同崗位與觀眾建立橋樑，在首爾藝穗節擔任節目策劃。與此同時，她嘗試利用自己在舞台上的經驗反思自身為演員與作者的角色。「當我是少女的時候，我想來香港，目的是要一睹張國榮的風采。我現在已經三十多歲了，在香港的劇場裡和你們一起呼吸，令我思潮起伏。你們好嗎？」 Sung graduated from Chung-Ang University and started her career with VaQi’s first production Dream of Sancho as a founding member of the company in 2008. She has performed for all productions of VaQi including Let Us Move Your Sofa, History of Gangnam: Our Epic Spectacle, Namsan Documenta: Practice - Theatre Version, Talk about her, and etc. She also participates in different production from other theatre companies as well as movie. She always endeavor to meet audiences through diverse experience such as working as a programmer at Seoul Fringe Festival, and try to reflect her experiences on the stage by perspective of performer and writer. ‘When I was teenager, I wanted to come to Hong Kong just to meet Leslie Cheung. Now I'm in my 30s and here in Hong Kong to breathe with you in the theatre; I have a lot on my mind. How are you doing?’

演出 Cast

蔡山河 San-ha Chae

2008年正式入行成為饒舌藝人，發表作品包括：《混音聲帶 — 成長的煩惱》（08 年）、《我知道》（14年）與《吞拿》（15年）。2015年，他參與Creative VaQi《之前之後》的演出。同年他創辦劇團Hereyouare，導演作品包括：《最後一天》、《有人在聆聽》、《空間》和音樂劇《啞巴奧賽羅》。「在我經歷過混沌、失落、悲痛、憤怒與無助後，能在這一刻，在這個地方跟你們相遇。我很高興，也很興奮。」 Chae has been working as a rapper since 2008, released Mixtape_Growing Pains (2008), I Know (2014), and Tuna (2015). In 2015, he worked as a performer of Creative VaQi for Before After. He formed the company Hereyouare in 2015, directed The Last Day, Someone is Listening, The Space and Othello the Mute. ‘I'm very happy and excited to meet you at this time in this place, after having lived through times of chaos, despair, sadness, anger, and helplessness.’

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人士對是次國際黑盒劇場節的協助致謝 Special Acknowledgements: Mr. Jungung Yang Ms. Hye-won Jang Ms. Sun-hee Kim Ms. Min-kyoung Shin 梁曉端鄧偉傑各大傳媒機構 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)

5 個演員 17 個角色 48 個場景

1 次最魔幻的環球旅程

門票現於城市售票網售票處公開發售

前進進 2016 壓軸之作，不能錯過的新文本經典

DER GOLDENE DRACHE 2016

導演陳炳釗

文本羅蘭 • 希梅芬尼

(Roland Schimmelpfennig) (德)

演出李鎮洲、鄭綺釵、溫玉茹

陳瑋聰、梁天尺

16-18/12/2016 8pm 17/12/2016 3pm 香港文化中心劇場＄ 2 4 0 , ＄ 2 0 0 （正價）/＄ 140 （優惠）主辦

贊助

鳴謝前進進戲劇工作坊為藝發局資助團體

康樂及文化事務署

挑戰當代最辛辣的議題，一刀劃破全球化下最殘酷的血色童話

前進進戲劇工作坊作品

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

•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.

The 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