香港國際黑盒劇場節 Hong Kong International Black Box Festival
導演 Director
李建軍 Li Jianjun 文本 Text | 策劃 Curator
莊稼昀 Zhuang Jiayun 戲劇顧問（香港）Dramaturg (HK)
賴閃芳 Lai Sim Fong
演出設計 Performance Design
譚澤恩 Tan Zeen
燈光設計 Lighting Design
陳俠吉 Chen Xiaji 音樂 Music
邵彥棚 SHAO 執行導演 Deputy Directors
牛頓 Niu Dun | 楊明晨Yang Mingchen | 黃冰 Huang Bing 執行導演（香港）Deputy Directors (HK)
王維 Wang Wei | 吳家良 Ng Ka Leung | 陳煦莉 Karrie Tan | 辛偉強 Chris Sun | 劉守正 Lau Shau Ching
香港話劇團黑盒劇場 HKRep Black Box
11-13.10.2018 8pm 13.10.2018 3pm 14.10.2018 5pm 10月11日設有演後座談會 Post-performance talk on October 11 全劇長約1小時30分鐘，不設中場休息 Approximately 1 hour 30 minutes without intermission 遲到或中途離場觀眾將不可進場 No admission for latecomers
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. 指定黑盒劇場LED電視機贊助 Official Black Box LED TV Sponsor
媒體贊助 Media Sponsor
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讓香港成為 「戲劇盛事之都」!
這是香港話劇團繼2014和16年後，第三度舉辦「國際黑盒劇場節」。在上屆，本團 與西九文化區已啟動對話表達合作意向。就今屆落實與西九文化區攜手聯合主辦，更 重新命名為「香港國際黑盒劇場節」，身為藝術總監除感到榮幸外，也視為外界對話 劇團國際黑盒劇場節成績的一種肯定。 好戲連場的香港國際黑盒劇場節，一如以往，一票難求！促使其成功的一大要素，在 於能為觀眾開拓眼界，不論是題材、製作手法或在劇場裡的體驗，均能刺激觀眾反思 自身和社會的議題。話劇團的黑盒劇場是一個難得的開放平台，讓藝術家大膽嘗試各 種創作手法和題材。 今次為大家介紹的四齣劇目中，話劇團將參與製作其中兩齣的香港版本，包括來自北 京的《美好的一天》和澳洲的《伊狄帕斯˙豬亦拍屍》，話劇團團員亦有機會參演或 協助製作，對本地和海外劇場人的藝術交流大有裨益。另外兩齣劇作《中性》（意大 利）和《五段小品》（瑞士 / 德國 / 比利時），均屬寰宇劇壇震撼之作，是次作為中 介引入好戲，亦與有榮焉。 最後，再次感謝西九文化區主動提出合作邀請，也感謝多個國家和地區的劇場人抽空 來港演出，讓香港國際黑盒劇場節成為本地劇壇年度盛事。作為本團的重點項目，我 當然希望國際黑盒劇場節可持續舉辦，既為香港觀眾介紹更多海外好戲，同時更進一 步推動劇藝交流，讓香港成為「戲劇盛事之都」。 陳敢權 香港話劇團藝術總監
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Hong Kong International Black Box Festival: The Real Deal!
West Kowloon Cultural District is thrilled to partner with Hong Kong Repertory Theatre to launch our first collaborative “Hong Kong International Black Box Festival”. Our partnership demonstrates our shared commitment to deliver world class, daring performances to more Hong Kong audiences and artists. West Kowloon and HKRep invested years of planning to reach this moment of fruition. To borrow this year’s theme, we can finally see all the careful planning Becoming Real in this year’s festival. West Kowloon’s long-awaited venues, which start to open at the end of this year, also are Becoming Real, and we look forward to welcoming you all to our district for the next festival in 2020! Theatre uses imagined, unreal, sometimes surreal creative experiences to help us touch the most true, most real aspects of being human. We welcome you on this journey of exploration through the imaginations of four brilliant minds of modern theatre to discover what is real for you.
Alison M Friedman Artistic Director, Performing Arts West Kowloon Cultural District
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聯合策劃的話 兩年一度的國際黑盒劇場節，重新命名為「香港國際黑盒劇場
來自澳洲，是次聯同香港的演員和編劇一起打造香港版本。香
節」，標誌著香港話劇團與西九文化區的合作正式開始！雙方
港和澳洲曾為殖民地，白人教育底下對西方經典的膜拜深深影
充滿期待，為香港觀眾帶來更多當代劇場出色的作品。
響著我們。Zoë和Mish以幽默風趣的現場藝術模式探討和檢視 植根已深的「死亡」概念，同時為觀眾帶來一次真亦假時假亦
無可否認，這年代我們被權力和資訊無孔不入地誘導著，真相
真的獨特體驗。對她們來說，「死亡」屬於每個人，在此前提
與假象模糊不清，更漸漸習以為常，放棄思考，隨意附和，紛
下，她們每日請來二十五位普通人，玩轉經典中的場面，朗讀
爭不絕，價值觀亦同時受到極大的衝擊。在劇場上，真與假同
當中關於死亡的記載，即席示範在舞台上「死俾你睇」是多麼
樣是一直糾結的難題，在呈現和重現真實的同時，也許藝術家
有趣的樂事！
應藉劇場去詰問，讓觀眾在參與的過程當中，深刻觀照自己的 行為及思想，拾回作為人的力量和信念。
瑞士頂尖導演Milo Rau創作的《五段小品》，成功征服世界各 地的劇場節，成為近年劇場最重要的演出之一。尖銳、深入而
今屆以全新角度將「尋常見」到的真實放諸舞台，四個獨特的
全面地探索扮演的意義，在舞台上重現及呈現特定人選的情
演出邀請你重啟不一樣的動力。節目內容會引起你對自身經
感，帶來的是不安還是覺醒？起用七位十三歲以下的兒童演繹
歷、閱讀方式、思考角度、道德標準以至情感觸覺的反應，現
轟動比利時殺童案中的關鍵人物，是Milo Rau一次顛覆常理卻
場看見和感受到的將挑戰你的底線、日常的認知和習性，激發
又極度嚴肅的實驗，他讓我們擴闊對兒童感知的認識，亦催促
你也一同詰問「真 / 實」究竟是怎樣一回事。
我們審視沉睡已久的倫理思維。假若成年人能夠克服恐懼，悲 劇也許不會在我們身邊一直重演。
率先登場是北京李建軍導演的《美好的一天》。演出會起用當 地約十九位來自不同背景、階層、種族的「市民」在舞台上攜
此外，今年國際黑盒劇場節還有同樣精彩的講座、工作坊、延
手演出，現身說法。觀眾可以透過耳機，自由選擇聆聽他們生
伸活動和電影放映，不容錯過！
活的片段，選擇權在你手，即時吸收眼前人的面貌和聲音，當 中必定找到共鳴。此劇目已在北京、杭州、上海和深圳巡演，
最後非常感謝你的光臨，參與這場感官的冒險，期望你踏出劇
來到香港，公開招募第五批市民，並標誌著第一百位的參與，
場的時候，會有不一樣的動力！
為觀眾娓娓道來關於香港的故事。 香港國際黑盒劇場節聯合策劃 《中性》是意大利Silvia Calderoni與前衛劇場Motus合作，極 具震撼力的爭議性演出，帶領大家超越性別認知的框架。在強 烈的搖滾樂、零碎的影像和耀目的燈光下，Silvia以最大膽的肢 體語言和美妙的獨白，譜出雌雄同體的激昂樂章。演出徘徊在 實和虛之間，直面觀眾對各種性別標籤的常識和身份認同的概 念。 《伊狄帕斯．豬亦拍屍》的創作人Zoë Coombs Marr和Mish Grigor
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馮蔚衡 及 劉祺豐
Curatorial Statement
The biannual International Black Box Festival will now be renamed the Hong Kong International Black Box Festival and it marks the first of many collaborations between the Hong Kong Repertory Theatre and West Kowloon Cultural District. Together, we believe in curating the best and brightest of the contemporary theatre scene from around the world for Hong Kong’s audiences. This edition is an invitation for you to spend a moment of disruption with us as a response to the world we live in today. Our world today is one of war and hatred, ruled by fear and misinformation. A scenario that ironically conditions us to absolve our agency by simply clicking a like, a share on Facebook or Twitter. This situation also blurs the lines between what is real and what is fiction. But then, what is real? The presentation and representation of the real in theatre is always a problematic one as Walter Benjamin discusses in his essay The Work of Art in the Age of Mechanical Reproduction. Perhaps the consumption of such absolutes is less important than the need to specifically address the returning of agency to audiences in the theatre. The projects that we have curated for this festival invite us, the audience, to be aware of our agency. Your life experiences, your intellectual, moral and emotional compasses that you imbue with these performances will complete them. Hence, they encourage you to question the process of Becoming Real. This encounter, however, is not about what is and what is not, but rather, it tests our limits of what we think we know and questions our reading of the everyday. We begin the festival with a special performance called One Fine Day by Beijing director Li Jianjun. Working with 19 individuals of varied cultural, social and ethnic backgrounds from Hong Kong, the audience will encounter their stories as told by the subjects themselves. Almost like a voyeur, you listen in on their stories told ”live” through selecting the appropriate channel on your radio set. You are instantly made aware of your role as you engage in this deliberate act of consuming these ”real” stories, real lives. In week two, we invite you to enter the world of Silvia
Calderoni in a piece titled MDLSX by critically acclaimed Italian company Motus. Beyond the currency of labels such as transgender, cisgender, gender fluid, etc. The experience of meeting Calderoni blurs the lines between fact and fiction, one that pushes the limitations of identity structures transcending into actual living. MDLSX is a post-punk rollercoaster ride that explodes our conceptions of gender identities and difficulties in going beyond such labels. The third piece by Australian performance company post, will introduce their unique brand of humour, live art and theatre in collaboration with artists from Hong Kong for the first time. The Cantonese version of their riotous Oedipus Schmoedipus will have its world premiere this autumn. In this piece, they challenge our conceptions of death as told by the Great White Man so pervasive in our theatrical canon. For them, “death belongs to everyone” and hence, 25 volunteer are invited for each performance date to playact their best dying sequences through a hysterical journey of “sly postmodern commentary” on the coloniser and the colonised. We close the festival with Five Easy Pieces by Milo Rau/ International Institute of Political Murder/CAMPO. A theatrical triumph at festivals the world over, the piece is a sharp investigation on being someone else on stage. Working with children under 13 years old, they perform the life of child killer Marc Dutroux using testimonies, trial documents, and interviews. This (re)presentation by these young performers probes the limits of the possibility of what children know, feel and do. This experience brings to the fore our own fears, taboos and morality, an intervention that wakes us from our ethical slumber conditioned by the everyday of our today. So we invite you to come and be a little uncomfortable with us, to take a moment and engage in this disruption of your everyday. Hopefully, you will leave the theatre transformed, energized with a renewed sense of agency and know that you can and must do something about it. See you at the festival! Fung Wai Hang & Low Kee Hong Co-curators, Hong Kong International Black Box Festival
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HKIBBF HKREP PRODUCTION TEAM
香 港 國 際 黑 盒 劇 場 節 香 港 話 劇 團 製 作 人 員
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藝術總監 Artistic Director
陳敢權 Anthony Chan
聯合策劃 / 助理藝術總監 Co-curator, Assistant Artistic Director
馮蔚衡 Fung Wai Hang
監製 Producer
彭婉怡 Yvonne Pang
戲劇顧問 Dramaturg
賴閃芳 Lai Sim Fong
製作統籌 Production Coordinators
鄺天恩 Matthew Kwong
王雪燕 Suki Wong
李晶慈 Crystal Li
李寶琪 Pauly Lee
市務推廣 Marketing
黃詩韻 Anita Wong
張泳欣 Yansi Cheung
何嘉泳 Karen Ho
陳嘉玲 Karen Chan
技術統籌 Technical Coordinators
溫大為 David Wan
馮國彬 Lawrence Fung
顏尊歷 Johnny Yien
技術 Technical
陳國達 Chan Kwok Tat
羅美琦 Katy Law
曾靖嵐 Tammy Tsang
關凱明 Kwan Hoi Ming
盧琪茵 Ruth Lo
趙浩錀 Chio Ho Lun
朱 峰 Chu Fung
祁景賢 Kee King Yin
場刊設計 House Programme Design
Doxa Graphix
場刊印刷 House Programme Printing
恒星印刷設計公司 Hang Sing Printing & Design Co., Ltd.
方美昂 Alison M Friedman
聯合策劃 / 表演藝術主管（戲劇） Co-curator, Head of Theatre, Performing Arts
劉祺豐 Low Kee Hong
製作人 Producer
李筱怡 Bobo Lee
製作統籌 Production Coordinators
邱浩朗 Franco Yau
袁潔敏 Loui Yuen
傳訊及公共事務 Communications and Public Affairs
許雅麗 Cindy Hui
張靄敏 Man Cheung
巫凱宜 Mo Hoi Yi
市場推廣 Marketing
黃嘉欣 Carly Wong
趙芷潁 Felicity Chao
實習生 Interns
余承智 John Yu
曾棱尉 Cherry Tsang
宣傳平面設計 Promotional Graphic Design
sunnysunshine
演出攝影 Performance Photo Shooting
Winnie Yeung@iMAGE28
HKIBBF WEST KOWLOON PRODUCTION TEAM
表演藝術總監 Artistic Director, Performing Arts
香 港 國 際 黑 盒 劇 場 節 西 九 文 化 區 製 作 人 員
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新青年劇團簡介 About New Youth Group 新青年劇團成立於2011年，創作了《狂人日記》、《影喻》、《美好的一天》、 《25.3km童話》和《飛向天空的人》等作品，致力探索新的劇場美學，用劇場介入 中國當代生活。曾受邀參加北京國際青年戲劇節、烏鎮戲劇節、東京國際劇場藝術 節、德國魯爾藝術節、意大利VIE藝術節等戲劇節。 The New Youth Group was founded in 2011. They have created A Madman’s Diary, Say Goodbye to your Shadow, One Fine Day, 25.3km Fairy Tale, A Man who Flies up to the Sky. The group is devoted to exploring new theatre aesthetics and using the stage art as a tool for intervening in the daily life of contemporary China. New Youth Group has been invited to the Beijing Fringe Festival; Wuzhen Theatre Festival; Festival/Tokyo; Ruhrfestspiele Recklinghausen, Germany and VIE Festival, Italy.
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新青年劇團的話 Message from New Youth Group 《美好的一天》誕生於2013年的北京，先後走過上海、杭州、 深圳，在每個城市挑選自己的講述者，講述自己的人生故事。 今天，我們終於來到了第五個城市 — 香港，迎來第一百位講 述者。 作為我們第一次在內地之外的製作，香港版本對我們而言有著 重大的意義。香港的十九位素人演員，是從一百多位報名人士 中挑選出來的，他們的背景、身份、經歷都與內地的講述者有 著巨大的差異。香港和內地獨特的關係，也通過這些普通人的 人生故事，達成一種敘事上的反映和連接。 在北京、上海、杭州、深圳、香港不同版本的工作中，我獲得 了一種極具縱深感的反思，這種反思也隨著作品生命的延續不 斷演變，過程非常美妙。通過聆聽香港素人演員的故事，我能 清晰地感受到，他們處於不同的身份、地位，面對無法掌控的 命運，在時代浪潮中依然前進、奮鬥的頑強精神。 《美好的一天》不是對日常生活的粉飾，更不打算談論一種所 謂甜美的生活。經歷了五個城市的排演，我們再次在香港觸摸 到我們所熟知的堅韌精神，這是一切樸素的生命中最值得被讚 美的品質，我始終被這種屬於普通人的獨特氣質深深打動。 實際上，不斷製作新版本的過程更像是一種閱讀，我們得以通 過每一個普通人的生命，感受到他們的歷史，好比翻開一本本 書，仔細品讀他們的人生，我的生命也在一次次閱讀中得到豐 富。到了今天，《美好的一天》給我帶來的體驗，已經超越了 最初出於作品美學考量的焦慮，變成了一種樂趣和滋養。 在《美好的一天》即將迎來第一百位講述者的重要時刻，我要 在此感謝所有和我一起工作的夥伴、演員。感謝香港話劇團及 西九文化區向我們發出邀請，同時也感謝所有觀眾，謝謝你們 來到香港國際黑盒劇場節，和我們一起見證《美好的一天》香 港版本的誕生。 One Fine Day was born in 2013 in Beijing, and has since travelled to Shanghai, Hangzhou and Shenzhen. In each city, a group of narrators were chosen to share their life stories. Today, we arrive at our fifth stop—Hong Kong, as we welcome our 100th narrator. This marks our first production outside mainland China. To us, the Hong Kong version bears momentous significance. The
19 non-professional actors participating in this production were selected from more than 100 people who auditioned. Their backgrounds, identities and life experiences are vastly different from those narrators in China. Because of the unique relation between Hong Kong and China, these life stories of ordinary citizens engender much reflection as they piece together a larger narrative. Preparation work for Beijing, Shanghai, Hangzhou, Shenzhen and Hong Kong has provided me with many opportunities to ponder, and my ideas change as the work evolves. This has been an amazing process. By listening to the stories of Hong Kong’s non-professional actors, I can discern that despite dissimilar identities and social positions, when faced with destiny beyond their control, people bravely forge ahead with the tides of time, their spirits strong and indomitable. One Fine Day does not whitewash; it has no intention of entering a discourse on the sweetness of life. Having experienced extensive rehearsals in five cities, we come face to face in Hong Kong with a familiar human determination. This is the most praiseworthy trait found in all ordinary lives. Since the beginning of this project, I’ve been deeply touched by this unique quality of the common people. In fact, the process of creating new versions is akin to reading: through discovering the lives of ordinary people, we fall in step with many details of each of their histories, much like opening a good book. As I savour the factors that constitute their lives, my own life is enriched time and again. Up until now, One Fine Day has offered me experiences that far surpassed my initial concerns on the work’s aesthetics. It has transformed into delight and nourishment. As One Fine Day prepares to welcome its 100th narrator, I must take this special moment to thank all of my collaborators and actors, as well as the invitation by the Hong Kong Repertory Theatre and West Kowloon Cultural District. I must also thank all of you in the audience. Thank you for coming to the Hong Kong International Black Box Festival, bearing witness with us to the Hong Kong version of One Fine Day.
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ONE FINE DAY PRODUCTION TEAM
︽ 美 好 的 一 天 ︾ 製 作 人 員
CAST
演 員
導演 Director
李建軍 Li Jianjun
文本 / 策劃 Text / Curator
莊稼昀 Zhuang Jiayun
戲劇顧問（香港） Dramaturg (HK)
賴閃芳 Lai Sim Fong
演出設計 Performance Design
譚澤恩 Tan Zeen
燈光設計 Lighting Design
陳俠吉 Chen Xiaji
音樂 Music
邵彥棚 SHAO
執行導演 Deputy Directors
牛 頓 Niu Dun
楊明晨 Yang Mingchen
黃 冰 Huang Bing
執行導演（香港） Deputy Directors (HK)
王 維 Wang Wei
吳家良 Ng Ka Leung
陳煦莉 Karrie Tan
辛偉強 Chris Sun
劉守正 Lau Shau Ching
製作（香港） Production (HK)
鄺天恩 Matthew Kwong
製作 Production
王青陽 Wang Qingyang
舞台監督 Stage Manager
楊明晨 Yang Mingchen
前台助理 Front House Assistant
蘇建衡 Anthony So
David Bensimhon
梁金蘭 Leung Kam Lan
陳漢堯 Billy Chan
李洛衡 Ryan Li
陳 盈 Crystal Chan
盧興祥 Christopher Lo
張雪芬 Ruby Cheung
巫加沙 Kashif Ali Mohammad
莊國棟 James Chong
蘇曼玲 Mona So
周志強 Chow Che Keung
辛芷瑤 Carmen Sun
朱禎潔 Chu Ching Kit
施培良 Sze Pui Leung
朱嘉欣 Chu Ka Yan
黃恩賜 Wong In Jea
何志燊 Samuel Ho
楊靜得 Serena Yeung
劉 晞 Cinko Lau
以英文姓氏字母序 In alphabetical order of family name
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導演 Director
李建軍 Li Jianjun 獨立劇場導演，在北京生活和工作。 2011年創立新青年劇團，是中國當代劇 場藝術的重要實踐者。他的一系列導演 作品體現對普羅大眾生存情境的關切。
medium. In recent years, his works have received extensive attention due to their critical cultural stand and unique exploration of the aesthetics of theatre.
作品結合視覺藝術經驗和劇場媒介研
Major works include: A Man who
究，具有鮮明的創新精神。近年作品因
Flies up to the Sky (Wuzhen Theatre
其批判立場和對劇場美學的探索而受到
Festival, China 2015; VIE Festival, Italy
廣泛關注和爭議。
2016; Ruhrfestspiele Recklinghausen,
作品包括：《飛向天空的人》（第三屆 烏鎮戲劇節、2016年意大利VIE戲劇節 和2017年德國魯爾藝術節參節節目）； 巴士上的紀錄戲劇《25.3km童話》 （2013至14年）；記錄劇場《美好的 一天》，曾於北京（2013年），杭州 （2013及17年）、上海（2016年）及 深圳（2018年）製作當地版本；改編自 魯迅小說《影喻》（2012年）和《狂人 日記》（2011年）；哈洛．品特作品 《背叛》（2010年）；原創作品《斯德 哥爾摩冒險家》（2010年）；北京歌德 學院的讀劇《非常小姐》（2009年）； 舞蹈劇場作品《犧牲》（2008年）；日 本青年編舞家計劃《掠奪II》；草場地藝 術節及青年編導計劃《掠奪I》（2007 年）。
Germany, 2017); 25.3km Fairy Tale, a documentary theatre production performed on a bus (China, 20132014);
the
documentary
theatre
production One Fine Day (Beijing 2013, Hangzhou 2013 and 2017, Shanghai 2016, Shenzhen 2018); Say Goodbye to your Shadow (2012) and A Madman’s Diary (2011), theatrical adaptations of works by Lu Xun; Betrayal, by Harold Pinter (2010); Nostalgic
Stockholm
Syndrome,
a
full-length original work (2010); Miss Extraordinary, a staged reading for “New Dramatic Art in China/Germany” programme at Goethe-Institute China (Beijing,
2009);
dance-theatre
The
Sacrifice,
performance
a
(2008);
Li Jianjun is a Beijing-based independent
Plundering II (2008), a dance-theatre
theatre director and the artistic director
performance for “the Japanese Young
of New Youth Group. Recognised as one
Choreographers’ Project”; Plundering I
of the key directors and practitioners
(2007), a dance-theatre piece for “the
of Chinese avant-garde theatre, Li
Young Choreographers’ Project” and
creates innovative productions that
the Caochangdi May Festival.
reconsider
theatre
as
an
artistic
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畢業於中央戲劇學院，後於加州大學洛杉 磯分校（UCLA）獲戲劇和表演研究博士學 位，Andrew W. Mellon基金得主。 任教於北卡羅萊納大學教堂山分校戲劇藝 術系，並為北京舞蹈學院創意學院特聘教 授及美國職業劇團PlayMakers Repertory
Company戲劇構作。也以獨立戲劇工作者 身份長期與新青年劇團、生活舞蹈工作室 合作。於2017年與上海編舞江帆成立三種
文本 / 策劃 Text / Curator
碗合作社。
A graduate of the Central Academy of
Drama, Zhuang Jiayun continued her graduate studies at UCLA Department of
Theater, where she received her doctorate degree in Theater and Performance Studies. She held an Andrew W. Mellon
Foundation Fellowship. She teaches in
the Department of Dramatic Art at UNCChapel Hill, where she serves as dramaturg
for the PlayMakers Repertory Company. She is a special invited professor at the Beijing Dance Academy. When building
莊稼昀 Zhuang Jiayun
her practice as an independent writer and dramaturg, she frequently collaborates
with the New Youth Group and the Living Dance Studio (both Beijing-based). In
2017, she cofounded the Three Bowls Coop with Shanghai-based choreographer Jiang Fan.
畢業於英國艾賽特大學舞台實踐藝術 碩士，跟隨當代戲劇訓練大師Phillip
Zarrilli學習。曾於香港中文大學現代語 言及文化研究、德國弗萊堡大學及美國 加州大學柏克萊分校交流，分別主修德 語、文化研究及西洋藝術史。作品曾於 利物浦、曼徹斯特及波蘭等地區發表。 賴氏為自由身戲劇顧問，涉足戲劇及 當代舞蹈。戲劇顧問作品包括：香港話 劇團《紅》及《安．非她命》；一條褲
戲劇顧問 Dramaturg
賴閃芳 Lai Sim Fong
製作《流徙之女》；香港藝術節賽馬 會當代舞蹈平台《太平山街71號》及 《叄角厝》。導演作品包括：香港話劇團 《相請不如偶遇》及Artelier《十四首情 詩》。2015至17年擔任一條褲製作的首屆 紀錄劇場節戲劇顧問，遠走歐洲訪問十多 位藝術家，研究紀錄劇場。18年任德國紀 錄劇場Rimini Protokoll《遙感城市》香港 版導演助理。
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Lai Sim Fong graduated with the Master of Fine Arts in Theatre Practice at University of Exeter (UK), learning from master Phillip Zarrilli in psycho-physical approach. She studied also German, cultural studies and art history at the Chinese University of Hong Kong, Freiburg University and UC Berkeley (USA). She has presented her work in Liverpool, Manchester and Poland. She works as dramaturg in theatre and contemporary dance. Recently works include Hong Kong Repertory Theatre Red and Attempts on her life; Hong Kong Arts Festival Nook. She was the dramaturg of 1st Documentary Theatre Festival of Pants Theatre Production. In 2018, she worked as the assistant to director of Rimini Protokoll, to produce Remote Hong Kong for Tai Kwun.
演出設計 Performance Design
譚澤恩 Tan Zeen
畢業於中央戲劇學院舞台美術系本科及研 究生，現為中國傳媒大學藝術學部戲劇影 視學院美術系研究生導師和舞台美術工作 室負責人。作品曾參加世界劇場設計展、 北京舞台美術邀請展、CISD中國先鋒戲劇 青年設計師提名展、第三屆全國舞台美術 展，曾任2015布拉格舞台設計四年展中國 展館設計和2017CISD中國先鋒戲劇青年 設計師提名展策展人。與李建軍導演合作 作品《美好的一天》及《25.3km童話》入 圍2017世界劇場設計展，並憑《美好的一 天》榮獲演出設計銀獎。
燈光設計 Lighting Design
陳俠吉 Chen Xiaji
北京當代芭蕾舞團駐團舞台監督及燈光設 計。長期活躍在中國頂尖舞台劇創作團隊 間，形成細膩而敏銳的舞台藝術觀念，設 計創作獨樹一幟、手法流暢。曾與李六乙 導演合作，作品包括：詩劇《口供》、話 劇《北京人》、《安提戈涅》、《俄狄浦 斯王》、京劇《金鎖記》、《梅蘭芳華》、 《浣花吟》、歌劇《原野》。與李建軍導 演合作話劇包括：《影喻》、《美好的一 天》、《飛向天空的人》。
A graduate of the Department of Stage Design of the Central Academy of Drama with both Bachelor’s and Master’s degrees, Tan is currently an instructor for postgraduate students at School of Drama, TV and Cinematic Arts, Faculty of Arts of the Communication University of China where he also heads the Stage Art Studio. Tan’s works have been presented at World Stage Design, Beijing Stage Art Invitation Exhibition, China Institute of Stage Design (CISD) Nominees Exhibition for Avant-Garde Drama Designer and The Third Chinese Stage Design Exhibition. Tan designed the China Pavilion at the 2015 Prague Quadrennial of Performance Design and Space and curated the 2017 CISD Nominees Exhibition for AvantGarde Drama Designer. His collaborations with Li Jianjun—One Fine Day and 25.3km Fairy Tale—were selected in 2017 by World Stage Design, where One Fine Day won a Silver Medal in Performance Design.
Resident lighting designer and stage
manager of the Beijing Dance Theater, Chen is an active artist who has worked for more than a decade with China’s top stage
professionals, recognised for his nuanced
and sensitive artistry and uniquely fluid and amenable creations. For Li Liuyi, he was lighting designer for the poem-drama
Confessions, spoken dramas Peking Man, Antigone and Oedipux The King, Peking opera The Golden Cangue, Mei Lanfang Classics and Lament of Huanhua, and the opera Savage Land. He collaborated with
Li Jianjun in Say Goodbye to your Shadow, One Fine Day and A Man Who Flies up to the Sky.
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音樂 Music
邵彥棚 SHAO
中國新生代電子音樂的關鍵人物和中堅先 鋒，2015年成為第一位與德國柏林高科技 舞曲傳奇廠牌Tresor Records簽約的中國 藝術家。受傳統東方音樂、德國工業化和 包浩斯風格影響，他一直探索著聲音抽象 空間的各種可能。作品中的張力由抑制的 情感和縱橫空間的運動交織而成，又帶來 了甯謐、堅實的強大震懾。早年化名Dead J，07年獲第七屆華語音樂傳媒大獎最佳電 子藝人。
執行導演 Deputy Director
牛頓 Niu Dun
劇場工作者、詩人、新青年劇團成員。 參與作品包括：《飛向天空的人》、《美 好的一天》、《你好，杭州》、《劇場語 言學報告》、《無名的時間》、《孤兒2.0》、 《死無葬身之地》。導演作品包括：《我 的青春成長日記》、《烏托邦咖啡館》、 《小卡的秘密》、《哈姆雷特》。
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SHAO is a key figure and pioneer in the younger generation of electronic musicians in China who, in 2015, was the first Chinese artist to sign on the legendary German label Tresor Records. Influenced by traditional music from the East, German techno and Bauhaus concepts, he strives to discover the wide array of possibilities in the abstract sound world. SHAO’s output is a rich interplay of suppressed emotions and vivacious energy that envelop a space, wielding tranquillity, substance and raw power at different times. SHAO was formerly known as Dead J. In 2007, he received the accolade of “Best Electronic Artist” at the 7th Chinese Music Media Awards.
A theatre practitioner, poet and member of the New Youth Group, Niu Dun has participated in such productions as A Man Who Flies up to the Sky, One Fine Day, Hi HangZhou, China Philology, The Unknown Letters, L’Orphelin 2.0 and Morts sans sépulture. Among the works he directed are Diary of My Youth, Utopian Café, Secrets of Little K and Hamlet.
執行導演 Deputy Director
楊明晨 Yang Mingchen
劇場工作者、新青年劇團成員。 參與作品包括：《狂人日記》、《影喻》、 《美好的一天》、《25.3km童話》、《飛 向天空的人》、《太極》、《水面之下》、 《你好，杭州》。
執行導演 Deputy Director
中央戲劇學院戲劇文學系戲劇創作專業在
執行導演(香港) Deputy Director (HK)
1998年加入香港話劇團。角色塑造能力成
黃冰 Huang Bing
王維 Wang Wei
Jason Wang Wei jasonwang.sky-dreamsky.net
讀學生、新青年劇團成員。
熟多變，具備歌唱和舞蹈方面的才華。 曾憑《長髮幽靈》、《旋轉270°》、《黐 孖戲班》、《太平山之疫》多次獲香港舞 台劇獎提名及表演獎項。 曾於話劇團「2號舞台節」中編、導、演 《周周與豆豆的二三事》及獲俳優劇場邀 請執導原創劇《童年》，均大獲好評。13 年獲香港藝術節邀請參演《爆．蛹》；15 年獲劇場空間邀請演出《棋廿三》參加臺 南藝術節。18年初，獲邀參演新加坡華藝 節開幕節目《六根不寧》，年末再獲邀參 演糊塗戲班《瑪麗皇后》。 Since joining the HKRep in 1998, Wang Wei has played a wide range of characters and showed his talent in singing and dancing. Wang was nominated as Best Supporting Actor at the Hong Kong Drama Awards for his performance in Haunted Haunted
Theatre practitioner and member of the New Youth Group, Yang Mingchen has participated in such productions as Diary of a Madman, Say Goodbye to your Shadow, One Fine Day, 25.3km Fairy Tale, A Man Who Flies up to the Sky, Taiji, Under the Water’s Surface and Hi HangZhou.
Currently a playwriting student at the Central Academy of Drama, and a member of the New Youth Group.
Little Star and Rotate 270°. He won Best Supporting Actor for his performance in Moon Over Buffalo and 1894 Hong Kong Plague. Wang was the director, playwright and actor in Do You Still Remember (REP 2 production). He was also invited by the Pai Yeo Theatre to direct the original drama Childhood. Both productions received much critical acclaim. In 2013, Wang performed in the Hong Kong Arts Festival’s newly commissioned stage work Blast. In 2015, he was invited by Theatre Space to perform Checkmate in the Tainan Arts Festival. Most recently, he joined the cast in I came at last to the seas, the opening theatre production of the 2018 Huayi - Chinese Festival of Arts. He will join the production of Yokohama Mary by The Nonsensemakers in the end of this year.
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執行導演(香港) Deputy Director (HK)
吳家良 Ng Ka Leung
2014年加入香港話劇團，善於在同劇中一 人分飾男女老幼多角。曾憑中英劇團《冰 鮮校園》及影話戲《神扒之間》分別獲香 港舞台劇獎最佳男配角（悲劇 / 正劇）及 最佳男配角（喜劇 / 鬧劇）提名。17年憑 《好人不義》中演繹患有認知障礙且行動 不便的徐福獲提名第四屆香港小劇場獎優 秀男演員。 多年來亦積極參與形體、面具、木偶等不同 形式之戲劇演出，包括進劇場《蛻變》及隨 明日劇團聯同台灣九歌兒童劇團及廣東省木 偶劇團進行一連串兩岸三地之交流演出，擔 任主要演員兼執行導演。參與的編、導及 劇場教育工作包括：春天舞台首個戲劇課程 《踏上台板》；澳門戲劇農莊論壇劇場《戀 愛搭錯線》、《你輸得起嗎？》、《巴士瘋 雲》；不小心創作社《色》；中英劇團團員 編作劇目《同棲異想 — 從石屎罅走到劇場
執行導演(香港) Deputy Director (HK)
陳煦莉 Karrie Tan
fatboysociety karrietan.sky-dreamsky.net
company member in 2014, specialising in
playing multiple roles (male, female, old and young) within a production. Ng has
ventured into other performance arts, including physical theatre, and mask and puppet plays. Ng’s
performances
in
Chung
Ying
Theatre’s Freshly Frozen School and Cinematic Theatre’s Oh My Goddess! were
nominated for the Hong Kong Drama Award’s Best Supporting Actor (Tragedy/ Drama)
and
Best
Supporting
Actor
(Comedy/Farce) respectively. In 2017, he was nominated as Outstanding Actor at
the 4th Hong Kong Theatre Libre, for his
performance in An Unjust Good Fellow.
中間鏽已生》的導演。
Ng graduated with a BFA degree from the
畢業於香港演藝學院戲劇學院，主修表演。
for Performing Arts, majoring in acting.
自2001年加入香港話劇團，參與劇目逾
she collaborated with the Radiant Theatre
八十齣，在多個演出中都擔任主要角色， 展示她的表演魅力。她在黑盒劇場創作及 演出的劇目具創意亦備受觀眾喜愛，並憑 13年 與 一 路 青 空 編 導 的 《 囍 雙 飛 》 ， 獲 第二十三屆香港舞台劇獎十大最受歡迎製 作 。 14年 編 導 的 黑 盒 劇 場 作 品 《 巨 型 曲 奇》獲提名第七屆香港小劇場獎最佳劇 本。 陳煦莉在香港演藝學院攻讀表演時，已憑 學院製作《長繫我心》獲香港舞台劇獎最 佳女配角（悲劇 / 正劇）。14年憑《教授》 再度獲香港舞台劇獎最佳女配角（悲劇 / 正 劇）；16年憑《結婚》獲最佳女主角（悲 劇 / 正劇）。 Since joining the HKRep in 2001, Karrie Tan has taken part in more than 80 productions, many in leading roles. In addition, her innovative creations and performances in the HKRep Black Box have
earned her much critical acclaim. In 2013,
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Ng Ka Leung joined the HKRep as full-time
School of Drama, Hong Kong Academy
as playwright and director for The Mixed
Doubles, which was selected among the Top Ten Most Popular Productions at the Hong Kong Drama Awards the following year. A Giant Cookie, which she wrote and
directed, was nominated for Best Script at the 7th Hong Kong Theatre Libre in 2015.
While a student at the Hong Kong Academy for Performing Arts, Tan's performance in Steel Magnolias already won
her
Best
Supporting
Actress
(Tragedy/Drama) at the Hong Kong
Drama Awards. Later, she was awarded Best Supporting Actress (Tragedy/Drama) for The Professor (2014) and Best Actress (Tragedy/Drama) for Marriage (2016).
執行導演(香港) Deputy Director (HK)
辛偉強 Chris Sun waikeung.sun Chris Sun
1994年加入香港話劇團。不論在喜劇中飾 演小人物角色，抑或飾演悲劇英雄，都可 見其極具感染力的表演風格。 曾先後十二次獲香港舞台劇獎提名，包 括：《瘋雨狂居》、《北京大爺》、《一 拍兩散偷錯情》、《盲流感》、《橫衝直 撞偷錯情》、《一頁飛鴻》（重演）、《誰 家老婆上錯床》及《親愛的，胡雪巖》 （首演），並四度獲獎，包括：2003年憑 《如夢之夢》獲最佳男配角（悲劇 / 正劇）、 06年憑《生殺之權》獲最佳男主角（悲劇 / 正劇），以及08及12年分別憑《藝術》和 《脫皮爸爸》獲最佳男主角（喜劇 / 鬧劇） 等獎項；16年憑《一頁飛鴻》中飾演掛靴 男花旦常映輝獲第十屆華文戲劇節「優秀 表演獎」。 畢業於香港演藝學院戲劇學院，主修表 演。 Chris Sun joined the HKRep in 1994. An expert in portraying the common man, he
執行導演(香港) Deputy Director (HK)
劉守正 Lau Shau Ching
2001年加入香港話劇團任全職演員，18年 轉任演員 / 導演。過去多次獲香港舞台劇 獎提名並數度獲獎：憑劇場工作室《不動 布娃娃》獲最佳男配角（喜劇 / 鬧劇）；憑 《時間列車00:00》及《回歸》獲最佳男配 角（悲劇 / 正劇）；憑音樂劇《頂頭鎚》 （首演）獲最佳男主角（悲劇 / 正劇）；憑 《最後晚餐》獲得第四屆香港小劇場獎最 佳男主角及獲提名第二十一屆香港舞台劇 獎最佳男主角（悲劇 / 正劇）。
is also adept in the internal struggles of tragic heroes.
Sun has been nominated a dozen times
at the Hong Kong Drama Awards for his performances in Before the Rain Stops, The
Native Son of Beijing, An Absolute Turkey, Blindness, A Flea in Her Ear, Footprints in the Snow (re-run), Whose Wife is it
Anyway? and Hu Xueyan, my Dear (1st
run). To date, he has received four awards: Best Supporting Actor (Tragedy/
Drama) for A Dream Like a Dream (2003), Best Actor (Tragedy/Drama) for Whose
Life is it Anyway? (2006), Best Actor (Comedy/Farce) for Art (2008) and Shed
Skin (2012). In addition, the 10th Chinese
Drama Festival awarded him Best Actor for Footprints in the Snow, in 2016.
Sun graduated from the School of Drama, Hong Kong Academy for Performing Arts, majoring in acting.
A company member of the HKRep since 2001, Lau Shau Ching now holds the
position of actor/director. He is a frequent
winner at the Hong Kong Drama Awards. Among his accolades are Best Supporting Actor (Comedy/Farce) for Drama Gallery’s The Mannequin; Best Supporting Actor
(Tragedy/Drama) for Departure 00:00 and The Homecoming; Best Actor (Tragedy/ Drama) for Field of Dreams (1st run). His
performance in The Last Supper won him
畢業於香港演藝學院戲劇學院，主修表 演。
Best Actor at the 4th Hong Kong Theatre
Libre; he was also nominated for Best Actor (Tragedy/Drama) at the 21st Hong
Kong Drama Awards for this role.
Lau graduated from the School of Drama,
Hong Kong Academy for Performing Arts, majoring in acting.
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© Jorge Sanchez
血淋淋玩轉 無法逃脫的 終極命運
A comic bloodbath about a fate that none of us can escape
澳洲 AUSTRALIA / 香港 HONGKONG
post / 香港話劇團 HKRep
伊狄帕斯．豬亦拍屍 OEDIPUS SCHMOEDIPUS 26-29.10.2018
香港話劇團黑盒劇場 HKRep Black Box ( 上環文娛中心 8 樓 8/F Sheung Wan Civic Centre )
$300
( 不設劃位 Free seating )
門票現於城市售票網公開發售
Tickets now available at URBTIX 訂票 Book Now
2111 5999 / www.urbtix.hk 粵語演出，附英文字幕 本劇含暴力場面及強光效果 適合十二歲以上人士觀看 節目全長約 1 小時 15 分鐘，不設中場休息
Presented in Cantonese with English surtitles This programme contains scenes of violence and strong lighting effects Recommended for ages 12 and above Approximately 1 hour 15 minutes without intermission
編劇 Playwrights
post (Zoë Coombs Marr, Mish Grigor & Natalie Rose) after Aeschylus | Anon | Barrie | Behn | Boucicault | Büchner | Chekhov | Euripides | Gogol | Goldsmith | Gorky | Hugo | Ibsen | Jonson | Marlowe | Mayakovsky | Molière | Pirandello | Plautus | Racine | Seneca | Shakespeare & many, many more 翻譯 Translation | 改編 Adaptation ( 香港 HK )
甄拔濤 Pat To Yan 導演 Directors
Zoë Coombs Marr | Mish Grigor 演出 Cast
郭靜雯 ManMan Kwok | 文瑞興 Man Sui Hing | 每日 25 位「素人」演員 25 local volunteers per performance date 與香港話劇團及 西九文化區聯合委約 Co-commissioned with HKRep &
聯合製作 Co-produced with
West Kowloon
Intimate Spectacle is supported by the Australian Government through the Australia Council for the Arts
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聯合主辦 Co-presented by
勘察兒童感知與 行動極限的驚世之作
© Phile Deprez
A provocative, groundbreaking performance that probes the limits of what children know, feel, and do
瑞士 SWITZERLAND / 德國 GERMANY / 比利時 BELGIUM
五段小品 FIVE EASY PIECES 31.10-3.11.2018 香港藝術中心壽臣劇院 Hong Kong Arts Centre Shouson Theatre
$380 / $280 / $200
概念 Concept | 文本 Text | 導演 Direction
Milo Rau
文本 Text | 演出 Cast
Aimone De Zordo | Fons Dumont | Arno John Keys | Blanche Ghyssaert | Lucia Redondo | Pepijn Siddiki | Eva Luna Van Hijfte | Peter Seynaeve
門票現於城市售票網公開發售
劇場構作 Dramaturgy
訂票 Book Now
製作 Production
Tickets now available at URBTIX
2111 5999 / www.urbtix.hk 荷蘭語演出，附中英文字幕 本劇含暴力意識場面 適合十二歲或以上人士觀看 節目全長約 1 小時 30 分鐘，不設中場休息
Presented in Dutch with Chinese and English surtitles This programme contains scenes with sense of violence Recommended for ages 12 and above Approximately 1 hour 30 minutes without intermission
Stefan Bläske
Supported by The Flemish Government, The Province of East Flanders & The City of Ghent
Funded by Senatsverwaltung für Kultur und Europa Berlin, Pro Helvetia, GGG Basel, Ernst Göhner Stiftung and Fachausschuss Tanz und Theater BS_BL (Basel)
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HONG KONG REPERTORY THEATRE
香 港 話 劇 團
藝 術 總 監 : 陳 敢 權
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年創團，2001年公司化，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。 • 四十一年來，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 • 平衡劇季 — 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。 • 黑盒劇場 — 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。 • 戲劇教育 — 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。 • 對外交流 — 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。 • 戲劇文學 — 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。 香港話劇團由香港特別行政區政府資助 香港話劇團為香港大會堂場地夥伴 BACKGROUND • 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, Hong Kong Repertory Theatre 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 41 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.
ARTISTIC DIRECTOR: ANTHONY CHAN
AREAS OF ACTIVITY • A Balanced Repertoire – A selected programme of local original works, 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. Hong Kong Repertory Theatre is financially supported by the Government of the Hong Kong Special Administrative Region Hong Kong Repertory Theatre is the Venue Partner of the Hong Kong City Hall
追蹤香港話劇團 FOLLOW THE HKREP
www.hkrep.com
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背景 • 座落維港旁邊的西九文化區，是全球規模最大的文化項目之一，集藝術、教育及公共空間於一身。 • 西九文化區的願景是為香港創造一個多姿多彩的文化地帶。當中佔地二十三公頃的公共空間包括藝術公園和長達兩公里的海濱 長廊，同時設有多個表演場地和博物館，製作及上演世界級展覽、演藝節目，以及其他文化藝術活動。
BACKGROUND • Located on Hong Kong’s Victoria Harbour, the West Kowloon Cultural District is one of the world’s largest cultural developments. Its vision is to create a vibrant new cultural quarter for Hong Kong. • With a complex of theatres, performance spaces and museums, the district will produce and host world-class exhibitions, performances and cultural events, as well as provide 23 hectares of public open space, including an art park and a two-kilometre waterfront promenade.
www.westkowloon.hk
westkowloon
@wkcda
西九文化區
香港話劇團及西九文化區謹向下列人士對是次香港國際黑盒劇場節《美好的ㄧ天》的協助致謝 Special Acknowledgements: 香港舞蹈團 Hong Kong Dance Company 加拿大神召會嘉智中學 PAOC Ka Chi Secondary School 香港善導會 The Society of Rehabilitation and Crime Prevention, Hong Kong 陳珠青女士 Ms. Chan Chu Ching 陳炎湘先生 Mr. Chan Yim Sheung 鄭寶鴻先生 Mr. Cheng Po Hung 張月芳女士 Ms. Cheung Yuet Fong 林健良先生 Mr. Wilson Lam 吳 略先生 Mr. Hawk Ng 學界宣傳媒體 www.growsmart.hk 各大傳媒機構 Mass Media （排名不分先後 In no particular order）
表 演 藝 術 總 監 : 方 美 昂
ARTISTIC DIRECTOR, PERFORMING ARTS: ALISON M FRIEDMAN
OBJECTIVES • To facilitate the long-term development of Hong Kong as an international arts and cultural metropolis; • To uphold and encourage freedom of artistic expression and creativity; • To enhance and promote excellence, innovation, creativity and diversity in arts and culture; • To enhance the appreciation of a diverse and pluralistic range of the arts; • To develop new and experimental works in arts and culture; • To cultivate and nurture local artistic talent, arts groups and others working in the cultural sector; • To encourage wider participation by the local community in arts and culture; • To promote and provide arts education to the local community; • To facilitate the development of cultural and creative industries; • To facilitate and enhance cultural exchange and cooperation between Hong Kong, Mainland China and beyond; • To facilitate and enhance cooperation between government or non-government bodies and organisations with arts providers, locally and internationally; • To encourage community, commercial and corporate support and sponsorship of arts and culture; • To provide or facilitate the provision of free and accessible open space within the West Kowloon Cultural District to the general public; and • To strengthen the position of Hong Kong as a tourist destination.
WEST KOWLOON CULTURAL DISTRICT
目標 • 促進香港長遠發展為國際藝術文化大都會； • 維護及鼓勵藝術表達自由及創作自由； • 提升及推展在各類藝術及文化方面的卓越表現、創新、創造力及多元； • 提升對種類廣泛而多元化的藝術的欣賞； • 發展各類藝術及文化的新作品及實驗作品； • 發掘及培育本地藝術人才（包括本地藝術工作者）、本地藝術團體及與藝術相關的本地從業員； • 鼓勵本地社會更廣泛地參與各類藝術及文化活動； • 向本地社會推廣及提供藝術教育； • 促進文化及創意產業的發展； • 促進並加強香港、中國內地與其他地方之間的文化交流及合作； • 促進並加強不同政府或非政府的團體或組織與香港及國際的藝術工作者之間的合作； • 鼓勵社會、商界及企業支持及贊助各類藝術及文化活動； • 於西九文化區內協助或向公眾提供便利和免費的休憩用地；及 • 強化香港作為國際旅遊城市的地位。
西 九 文 化 區
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© Renato Mangolin
聯合主辦 Co-presented by
一場對自身性別混沌與 自由解放的勁爆獨腳戲
An explosive gender-blurring solo performance about individual authenticity and freedom 意大利 ITALY
中性 MDLSX
製作及演出 Produced & Performed by
MOTUS
17-21.10.2018
香港話劇團黑盒劇場 HKRep Black Box ( 上環文娛中心 8 樓 8/F Sheung Wan Civic Centre )
$300
( 不設劃位 Free seating )
門票現於城市售票網公開發售
Tickets now available at URBTIX 訂票 Book Now
2111 5999 / www.urbtix.hk
演出 Performer
Silvia Calderoni 導演 Directors
Enrico Casagrande | Daniela Nicolò 劇場構作 Dramaturgy
Daniela Nicolò | Silvia Calderoni
意大利語演出，附中英文字幕 本劇含裸露場面、強光效果及成人內容 適合十八歲以上人士觀看 節目全長約 1 小時 20 分鐘，不設中場休息
Presented in Italian with Chinese and English surtitles This programme contains scenes of nudity, strong lighting effects and adult content Recommended for ages 18 and above Approximately 1 hour 20 minutes without intermission
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