香港國際黑盒劇場節聯合策劃 馮蔚衡 及 劉祺豐
Fung Wai Hang & Low Kee Hong Co-curators, Hong Kong International Black Box Festival
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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 2016 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
劇場節」，標誌著香港話劇團與西九文化區的合作正式開 始！雙方充滿期待，為香港觀眾帶來更多當代劇場出色的 作品。
無可否認，這年代我們被權力和資訊無孔不入地誘導著，真
相與假象模糊不清，更漸漸習以為常，放棄思考，隨意附和， 紛爭不絕，價值觀亦同時受到極大的衝擊。在劇場上，真與
假同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。
今屆以全新角度將「尋常見」到的真實放諸舞台，四個獨特
的演出邀請你重啟不一樣的動力。節目內容會引起你對自身
參與，講述關於香港的故事。
們身邊一直重演。
大膽的肢體語言和美妙的獨白，譜出雌雄同體的激昂樂章。
理思維。假若成年人能夠克服恐懼，悲劇也許不會在我
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
此外，今年國際黑盒劇場節的前後會有同樣精彩的講座、
《 伊 狄 帕 斯． 豬 亦 拍 屍 》 的 創 作 人 Zoë Coombs Marr 和
最後我們熱切期待你的光臨，一同參與這場感官的冒險，
身份認同的概念。
Mish Grigor 來自澳洲，是次聯同香港的演員和編劇一起打 造香港版本。香港和澳洲曾為殖民地，白人教育底下對經典 的膜拜深深影響著我們。Zoë 和 Mish 以幽默風趣的現場藝
屬於每個人，在此前提下，她們每日請來二十五位普通人，
來一次真亦假時假亦真的獨特體驗。對她們來說，「死亡」 玩轉經典中的場面，朗讀當中關於死亡的記載，即席示範在 舞台上「死俾你睇」是多麼有趣的樂事！
「素人」在舞台上攜手演出，現身說法。觀眾可以透過耳機，
瑞士頂尖導演 Milo Rau 創作的《五段小品》，成功征服世界
前人的面貌和聲音，當中必定找到共鳴。這劇目已在北京、
銳、深入而全面地探索扮演的意義，在舞台上重現及呈現特
自由選擇聆聽他們生活的片段，選擇權在你手，即時吸收眼
Milo Rau 一次顛覆常理卻又極度嚴肅的實驗，他讓我們
在強烈的搖滾樂、零碎的影像和耀目的燈光下，Silvia 以最
激發你也一同詰問「真 / 實」究竟是怎樣一回事。
之處在於它起用當地約十九位來自不同背景、階層、種族的
歲以下的兒童演繹轟動比利時殺童案中的關鍵人物，是 擴闊對兒童感知的認識，亦催促我們審視沉睡已久的倫
極具震撼力的爭議性演出，帶領大家超越性別認知的框架。
術模式探討和檢視植根已深的「死亡」概念，同時為觀眾帶
率先登場是北京李建軍導演的《美好的一天》。此演出獨特
定人選的情感，帶來的是不安還是覺醒？起用七位十三
《中性》是意大利 Silvia Calderoni 與前衛劇場 Motus 合作，
經歷、閱讀方式、思考角度、道德標準以至情感觸覺的反應， 現場看見和感受到的將挑戰你的底線、日常的認知和習性，
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杭州、上海和深圳巡演，來到香港，將有第一百位「素人」
各地的劇場節，成為近年劇場最重要的演出作品之一。尖
工作坊、延伸活動和電影放映，不容錯過！
一同領會當中的意義，也許當你踏出劇場的時候，會有 不一樣的動力而作出改變！
香港國際黑盒劇場節聯合策劃
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 postpunk 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 volunteers 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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美好的一天 ONE FINE DAY 導演 Director
李建軍 Li Jianjun
文本 Text | 策劃 Curator
莊稼昀 Zhuang Jiayun
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 製作 Production
王青陽 Wang Qingyang 執行導演 Deputy Directors
牛頓 Niu Dun | 楊明晨 Yang Mingchen | 黃冰 Huang Bing
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製作
Produced by
2017 第四屆世界舞台美術展 演出設計銀獎 Performance Design (Silver Medal) 4th World Stage Design 2017
「 一齣最帥的現代舞，一個聲音的交響樂， 一首關於地平線的詩，一本你在地鐵裡撿到的日記。」 孟京輝
“A graceful kind of modern dance, a symphony of voices, a poem about horizons, a random diary found at the metro.” Meng Jinghui
© Tan Zeen
北京 BEIJING
以真實人物與日常點滴 建構的另類劇場
An alternative theatre experience about real people and everyday life
請想像一下你最美好的一天是怎樣的？來自北京的李建軍導演在這個獨特及
What comes to mind when we hear the words “one fine day”? In this unique and powerful production, you will have an opportunity to encounter a range of Hong Kong residents sharing personal tales of happiness and heartbreak.
充滿力量的演出中，誠邀大家一起戴上耳機，聆聽一眾香港市民現身說法， 講述屬於他們的喜與悲。
舞台上將會有十九位都市人跟觀眾分享他們「美好的一天」的真實經歷。觀 眾可以自行選擇聆聽任何一位的故事，亦可以隨時轉換頻道，收聽另一位的
故事，甚至放下耳機純粹聆聽和觀察，透過聲音的交織、情感的迴盪，激發
On stag e, in tig htly chore ogra p he d simultaneous recitals, 19 non-professional performers share stories of their “one fine day”. Provided with headphones, the audience is free to choose whether to listen to the story of a single narrator, to switch between channels to hear other tales, or to put down the headphones and listen to everyone at the same time. Through the cacophony of sounds and voices, intensely intimate stories emerge, coming together
觀眾和演出者之間的深層互動，構成一幅專屬香港的城市藍圖。
《美好的一天》先後於北京、上海、杭州和深圳演出，曾參與其中的演出者
和觀眾都感到此製作能讓他們深切思考自己和身邊人以至與社會的關係。是 次來到香港演出，將公開招募「素人」演出者，從中挑選及發掘與香港相關 又有趣的人和事。你願意分享自己的故事嗎？演出者毋須任何演出經驗，期 望你們參與這次前所未有的舞台經歷。 演出者招募詳請參閱第 25 頁。
日期和時間 Date & Time
10 月 OCT 四 THU
五 FRI
六 SAT
地點 Venue
日 SUN
11 12 13 14 3 PM
8 PM
8 PM
8 PM
5 PM
＊ 設演後座談會 With post-performance talk
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 )
票價 Tickets
$300
( 不設劃位 Free seating )
語言 Language
in a profound and confronting experience for audiences and performers alike. Directed by Beijing-based Li Jianjun, One Fine Day has moved audiences in Beijing, Shanghai, Hangzhou and Shenzhen, and inspired those who took part to reflect on issues like personal relationships and how people relate to the society around them. This October, join us for tales that are quintessentially Hong Kong! We will be looking for these 19 performers through an open call for the Hong Kong premiere of One Fine Day. No performing experience needed. If you have a story to share, see P.25 for details.
適合六歲或以上人士觀看
節目全長約 1 小時 30 分鐘，不設中場休息
遲到或中途離場觀眾將不可進場
Recommended for ages 6 and above Approximately 1 hour 30 minutes without intermission No admission for latecomers
主要以粵語演出，不設字幕
Presented mainly in Cantonese without surtitles
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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。
作品結合視覺藝術經驗和劇場媒介研究，具有鮮明的創新 精神。近年作品因其批判立場和對劇場美學的探索而受到 廣泛關注和爭議。
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）；
（2013 至 2014 年 ）； 記 錄 巴 士 上 的 紀 錄 戲 劇《25.3KM》
、杭州（2013 及 劇場《美好的一天》，曾於北京（2013 年）
2017 年）、上海（2016 年）及深圳（2018 年）製作當地版
本；改編自鲁迅小說《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
（2008 年）；日本 小姐》 （2009 年）；舞蹈劇場作品《犧牲》
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）。
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Li Jianjun is a Beijing-based independent theatre director and the artistic director of New Youth Group. Recognised as one of the key directors and practitioners of Chinese avant-garde theatre, Li creates innovative productions that reconsider theatre as an artistic medium. In recent years, his works have received extensive attention due to their critical cultural stand and unique exploration of the aesthetics of theatre. Major works include: A Man Who Flies Up To the Sky (Wuzhen Theatre Festival, China, 2015; VIE Festival, Italy, 2016; Ruhrfestspiele Recklinghausen, Germany, 2017); 25.3km Fairy Tale, a documentary theatre production performed on a bus (China, 2013-2014); the documentary theatre production One Fine Day (Beijing 2013, Hangzhou 2013 and 2017, Shanghai 2016, Shenzhen 2018); Metaphor of the 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 GoetheInstitute China (Beijing, 2009); The Sacrifice, a dancetheatre performance (2008); Plundering II (2008), a dance-theatre performance for “the Japanese Young Choreographers’ Project”; Plundering I (2007), a dancetheatre piece for “the Young Choreographers’ Project” and the Caochangdi May Festival.
工作坊
記憶的遺址 The Remains of our Memories 歷。這種情況亦常見於劇場創作中，阻礙了藝術家的思維方 向和美學範式上的交流。
因此，《美好的一天》導演李建軍將帶領大家重回生命的第 一現場 ── 個人的記憶和經驗。透過再閱讀記憶和經歷作
為創作的根源，再把這些元素重組，轉化成為能呈現於舞台 但獨特的集體「記憶遺址」。
本工作坊將實踐如何運用「記憶」這素材完成一段劇場表 演，繼而討論劇場表演對鞏固集體身份認同的價值。
日期和時間
Date & Time
導師
Instructor
13.10.2018 [ 六 SAT ] 10am - 1pm
地點
李建軍
費用
Li Jianjun
Venue
Fee
I n t h e m a i n s t rea m h i s t o r i c a l n a r rat i v e , p e r s o n a l experiences and stories are often absent, overshadowed by the “grand narrative”, or simply viewed as trivial and unimportant. The idea of the “grand narrative” also affects contemporary artistic and theatrical expression, restricting both the creation and communication of creative ideas and aesthetics. In this workshop, Li Jianjun, director of One Fine Day, takes us back to life as we experience it as individuals: to our personal histories and memories. Taking personal experience as the source of the creative spark, this workshop explores how our own life stories can be reassembled and transformed into performance, and leads to a discussion on the importance of theatre in consolidating a collective identity.
香港話劇團 1 號排練室 HKRep Rehearsal Hall No. 1
名額
$300
語言
( 上環文娛中心 6 樓 6/F Sheung Wan Civic Centre )
WORKSHOP
當代某些藝術創作往往偏重敘述宏觀的歷史而忽略了個人經
No. of Participants
Language
25
網上登記時請附上中文簡歷，獲取錄者將收到 電郵通知。
Please register online and submit your application with a summary of your resume in Chinese. Successful applicants will receive a confirmation email.
普通話
Mandarin
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意大利 ITALY
© Renato Mangolin
中性 MOTUS MDLSX 製作及演出
Produced & Performed by
演出 Performer
Silvia Calderoni 導演 Directors
Enrico Casagrande | Daniela Nicolò 劇場構作 Dramaturgy
Daniela Nicolò | Silvia Calderoni 聲音設計 Sound
Enrico Casagrande in collaboration with Paolo Panella | Damiano Bagli
「《中性》為出人意表的性特徵，勾畫出 一幅豐厚而富前瞻性的地圖冊，震撼人心。」 意大利日報《宣言》Gianfranco Capitta
“MDLSX…a rich, visionary and overwhelming atlas of an unexpected sexuality” Gianfranco Capitta, Il Manifesto
燈光 Lighting | 影像 Video
Alessio Spirli
製作 Production
Elisa Bartolucci 行政 Logistics
Shaila Chenet 宣傳 Communication
Marta Lovato | Estelle Coulon 國際發行 International Distribution
Lisa Gilardino
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2015 年版本合作單位 2015 version in collaboration with
La Villette - Résidence d’artistes 2015 Paris | Create to Connect (EU project) Bunker/ Mladi Levi Festival Lubiana | Santarcangelo 2015 Festival Internazionale del Teatro in Piazza | L’arboreto - Teatro Dimora di Mondaino | MARCHE TEATRO MOTUS 支持單位 MOTUS is supported by
MiBACT | Regione Emilia Romagna
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
當「身份」和「性別」都褪去，你看見的是什麼？意大利戲劇界最高榮譽「烏
When identity and gender definitions are stripped away, who do you see? In a partly autobiographical 80-minute monologue, Premio Ubu-winner Silvia Calderoni peels away layers of scientific and historical convention and challenges the audience to re-imagine individual identity beyond the definitions of binary gender. Combining her own androgynous physicality with texts based on personal, researched and fictional experience, projected home movies, interviews and a powerful soundtrack,
布獎」最佳演員得主 Silvia Calderoni 在《中性》八十分鐘自傳式的獨腳戲裡，
引領觀眾一起大膽跨越性別想像的疆界，直面身體的原貌。Silvia 以極具感
染力的肢體語言和饒有詩意的獨白，完美地結合自身體驗及有關資訊，加上 音樂、錄像與現場 DJ 的方式作為媒介，赤裸展現蘊含著暴力、迷茫、失控 等的情感，超凡的魅力讓人喘不過氣。
《中性》曾於全球多個地方巡演，反應空前熱烈，門票火速搶購一空。是次 香港首演，實在不容錯過。
日期和時間 Date & Time
10 月 OCT 三 WED
四 THU
五 FRI
地點 Venue
六 SAT
日 SUN
17 18 19 20 21 8 PM
8 PM
8 PM
8 PM
＊ 設演後座談會 With post-performance talk
5 PM
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 )
DJ-ed “live”, Calderoni presents a visceral and delicately balanced depiction of the violence, bewilderment and emotional unravelling of an individual trapped in an imposed identity, and a journey towards authenticity and self-acceptance. A wild, charismatic performance that will take your breath away. MDLSX has toured internationally to sellout performances around the world. This Hong Kong premiere is not to be missed!
票價 Tickets
本劇含裸露場面、強光效果及成人內容
( 不設劃位 Free seating )
遲到或中途離場觀眾將不可進場
$300
語言 Language
意大利語演出，附中英文字幕 Presented in Italian with Chinese and English surtitles
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
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 No admission for latecomers
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Motus
Motus 於 1991 年由 Enrico Casagrande 和
Daniela Nicolò 在意大利里米尼創立，以
刻劃日常生活之殘酷與矛盾的劇作打進藝 術界，自此創作劇場作品、演出、裝置和 錄 像， 同 時 舉 辦 研 討 會 和 工 作 坊。 曾 參 與 不 同 的 藝 術 節， 足 跡 遍 佈 世 界 各 地，
從 紐 約 的 雷 達 外 藝 術 節， 到 蒙 特 利 爾 的
TransAmériques 藝術節、溫哥華的 PuSh
國際表演藝術節、智利的聖地牙哥國際戲 劇節、布宜諾斯艾利斯的 FIBA 國際戲劇
節、澳洲的阿德萊德藝術節、臺北藝術節
和歐洲各地的藝術節。作品獲得多個獎項 和肯定，包括三項意大利烏布獎。
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Motus was founded in Rimini, Italy in 1991 by Enrico Casagrande and Daniela Nicolò. The group burst onto the scene with productions portraying the harsh contradictions of present day life, creating theatre shows, performances, installations and videos, and conducting seminars and workshops. The group have performed in festivals all over the world, from Under the Radar in New York, to Festival TransAmériques in Montreal, PuSh Festival in Vancouver, Santiago a Mil in Chile, the FIBA Festival in Buenos Aires, the Adelaide Festival in Australia, the Taipei Arts Festival in Taiwan, and diverse festivals in Europe. They have received a number of prestigious awards and recognitions for their work, including three Ubu Prizes.
初生時，我們由體液、肌肉及膠質組成，卻被一層比任
何器官部位都異常強大的器官包圍著：皮膚。這層薄膜 承載所有，並以稱之為『身體』的單一形象呈現。 」 ── Paul B Preciado 本工作坊由 Motus 的 Enrico Casagrande、Daniela Nicolò 和 Silvia Calderoni 主持，帶領參加者嘗試跳出自我年齡、
形象、性別及社會條件的框架，從微小的日常出發，改變 慣常的感覺、行為、呼吸甚至走路的方式。小調整或可以 帶來大改變，讓我們重新定義自己。
Motus 近年作品致力打破地域及思想的界限。參加者與導
“ We aren’t born men or women, or boys or girls either. At birth we are a weaving of liquids, solids and gels that are, in turn, covered by a strange organ whose extension and weight is greater than any other: the skin. It is this membrane that takes care of everything it contains, showing the appearance of a single unit that we call BODY. “ ── Paul B Preciado
Sometimes even small changes – in the way we move, breathe or present ourselves – can produce major transformations. This workshop provokes a moment of escape that frees participants to experiment with small changes in self-image, age, social position and gender and explore the effect of becoming someone else.
WORKSHOP
「 我們並非生而為男人或女人，亦非生而為男孩或女孩。
工作坊
流動的存在 Moving Entities Motus' recent shows are inspired by the desire to break down barriers of all kinds, both geographical and mental. Working collaboratively, they have created an ever-evolving community of ever-evolving bodies, everevolving entities. This brief workshop looks at ways of breaking down mental barriers with our bodies. The aim is to look for the critical point where transformation begins to be apparent, to take time to explore what is happening, to look at what happens once the point of transformation is crossed, and to reflect on what would happen if we moved beyond this point forever.
師們將會在本工作坊突破身體上的界限，一同探索未知， 擺脫既有的身份標籤，純粹以當下的身體狀態存在。
日期和時間
Date & Time
導師
Instructors
20.10.2018 [ 六 SAT ] 3pm - 6pm
地點
Enrico Casagrande, Daniela Nicolò & Silvia Calderoni
費用
Venue
Fee
香港話劇團 1 號排練室 HKRep Rehearsal Hall No. 1
名額
$300
語言
( 上環文娛中心 6 樓 6/F Sheung Wan Civic Centre )
No. of Participants
Language
20
網上登記時請附上英文簡歷，獲取錄者將收到 電郵通知。
Please register online and submit your application with a summary of your resume in English. Successful applicants will receive a confirmation email.
英語
English
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「 為什麼我們要看戲劇呢？ 《伊狄帕斯・豬亦拍屍》推動觀眾思考 劇場的基本真理，與觀眾一同暫時擺脫死亡。」
post / 香港話劇團 HKRep
伊狄帕斯．豬亦拍屍 OEDIPUS SCHMOEDIPUS 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
澳洲日報《悉尼晨鋒報》
“Oedipus Schmoedipus pushes towards some fundamental truth about why we watch theatre at all, staving off our own mortality with a moment of togetherness.” Sydney Morning Herald
導演 Directors
原作曲及音響設計 Original Composer & Sound Design
燈光設計 Lighting Design ( 香港 HK )
演出 Cast
音響設計 Sound Design ( 香港 HK )
戲劇指導 Dramaturg
Zoë Coombs Marr | Mish Grigor 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
James Brown
温新康 Wan San Hong
謝徵燊 Mousey Tse
Anne-Louise Sarks
佈景及服裝設計 Set & Costume Design
原動作指導 Original Fight Director
原燈光設計 Original Lighting Design
動作指導 Fight Director ( 香港 HK )
Robert Cousins
Scott Witt
葉榮煌 Guthrie Yip
Matthew Marshall | Ross Graham
Intimate Spectacle 由澳洲政府經 澳洲藝術理事會支持 聯合委約
Co-commissioned by
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聯合製作
Co-produced with
Intimate Spectacle is supported by the Australian Government through the Australia Council for the Arts
© Jorge Sanchez
澳洲 AUSTRALIA / 香港 HONGKONG
血淋淋玩轉無法逃脫的 終極命運
兩位澳洲劇場藝術家 Zoë Coombs Marr 與 Mish Grigor 共同創作《伊狄帕 斯・豬亦拍屍》，在台上互相廝殺，將經典戲劇「起死回生」，運用大量經典
劇中關於死亡的台詞、情節和象徵意義串連成一個嶄新好玩的演出。死亡不 僅是屬於永垂不朽的戲劇英雄，而是與每一個人息息相關。
《伊狄帕斯・豬亦拍屍》糅合了現場藝術、劇場及當代藝術的元素。作品笑
中有淚，巧妙地構作一場累積了二千五百年的民主戲劇盛會。更有趣的是除 劇中兩位主持人外，每日會有二十五名經公開招募、未受戲劇訓練的演出者 參與這場廝殺遊戲。他們需於演出當日排練數小時後隨即演出，讓作品充滿 刺激之餘，也加上一層非凡的意義。
演出者公開招募詳情請參閱第 26 頁。
日期和時間 Date & Time
10 月 OCT 五 FRI
六 SAT
日 SUN
8 PM
8 PM
Oedipus Schmoedipus is a joyful, dark, irreverent, hilarious and confronting performance about death: real death, fake death, and death as portrayed in some of the world’s great theatre classics. Re s u r re c t i n g m u l t i p l e m u rd e r s a n d suicides, Zoë Coombs Marr and Mish Grigor – from the provocative Australian collective post – pile up classic dramatic death scenes into an accessible, fun-filled, engaging new spectacle with plenty of blood and gore. For each performance’s mammoth bloodbath, the two artists enlist
地點 Venue
一 MON
26 27 28 29 4 PM
A comic bloodbath about a fate that none of us can escape
5 PM
＊ 設演後座談會 With post-performance talk
8 PM
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 )
HKRep actors ManMan Kwok and Man Sui Hing and a cast of 25 local volunteers to join them in the comic lament and slaughter. Straddling live art, theatre and contemporary performance, Oedipus Schmoedipus has had audiences around the world in stitches and in tears. Cunningly and cleverly carried off, Oedipus Schmoedipus is a democratic theatrical extravaganza 2,500 years in the making. If you would like to try out your skills in the art of dying on stage, see P.26 for details.
票價 Tickets
本劇含暴力場面及強光效果
( 不設劃位 Free seating )
遲到或中途離場觀眾將不可進場
$300
語言 Language
粵語演出，附英文字幕
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
This programme contains scenes of violence and strong lighting effects Recommended for ages 12 and above Approximately 1 hour 15 minutes without intermission No admission for latecomers
Presented in Cantonese with English surtitles
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post
來 自 澳 洲 的 post 成 員 有 Zoë Coombs Marr、Mish Grigor 及
Natalie Rose，他們已合作了 13 年。作品橫跨行為藝術、劇場及 當代表演多個範疇。他們的風格糊塗嬉皮，刻意地對傳統劇場制 度付諸不敬，同時又推崇現場演出所營造的神奇瞬間。在悉尼獨
立當代藝術界冒起後，藝團獲多個澳洲重要的劇場及藝術節委約 創作，作品包括悉尼劇院 Who's the Best?（2011 年）；貝爾沃劇
院與悉尼藝術節的《伊狄帕斯・豬亦拍屍》（2014 年首演，2018 年國際巡演）。最新作品 Ich Nibber Dibber 於 2017 年悉尼藝術 節首演後，現正於澳洲國内作巡迴演出。
Zoë Coombs Marr
post 的聯合總監、演員、編劇、藝術家和喜劇演員，最新劇目
Bossy Bottom 獲 提 名 2018 年 澳 洲 海 普 曼 獎， 另 一 作 品 Trigger
Warning 獲 2016 年墨爾本國際喜劇節巴里奬（最佳演出）及金長 臂猿獎（獨立原創），並獲提名澳洲海普曼獎和愛丁堡藝穗節最佳 喜劇獎。她的個人喜劇劇場作品 And That Was The Summer That
Changed My Life 於 2012 年獲得菲利普帕森斯年輕劇作家獎， 並在墨爾本國際喜劇節上獲提名為最佳新人。其他作品包括：在
2013 年墨爾本國際喜劇節、愛丁堡藝穗節和倫敦蘇豪劇院演出的
Dave。她的劇作 Is This Thing On? 於 2014 年在貝爾沃劇院上演， 獲悉尼劇院奬的最佳群戲獎，並獲提名最佳澳洲新演出。
Mish Grigor
post 的聯合總監、表演創作者、編劇和策展人。作品 The Talk 曾 於澳洲（墨爾本、悉尼表演空間現場藝術節、達爾文節）及英國
（愛丁堡森林藝穗節、格拉斯哥板寸頭藝術節、布萊頓馬爾波洛
劇院、倫敦巴特西藝術中心）巡演。2017 至 2018 年獲澳洲藝術
局實驗藝術計劃資助，前往紐約倫斯勒理工學院媒體表演藝術中 心進行駐場創作。策展作品包括珀斯西澳藝術館親密藝術節 Sex
Talk，以及一系列與不同劇團合作的演出，如於悉尼貝爾沃劇院的 主劇場演出諾亞・卡活劇作，及於澳洲當代藝術博物館與悉尼劇 團 Branch Nebula 聯同主持「食物大戰」。
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For thirteen years, Australian company post – Zoë Coombs Marr, Mish Grigor and Natalie Rose – have collaborated on work that straddles live art, theatre and contemporary performance. They take being silly very seriously, combining with a deep irreverence for the institution of theatre with a deep reverence for the magic moment of live performance. Since starting out in Sydney’s independent contemporary scene, they have been commissioned by some of Australia’s leading theatre companies and festivals, including Sydney Theatre Company (Who’s the Best?, 2011), and Belvoir & Sydney Festival (Oedipus Schmoedipus, 2014 premiere, 2018 international tour). Their latest work, Ich Nibber Dibber, premiered at Sydney Festival 2017, is currently touring nationally in Australia. Zoë Coombs Marr, co-director of post, is a performer, writer, artist and comedian. Her latest show, Bossy Bottom, was nominated for a 2018 Helpmann Award. In 2016, her show Trigger Warning won the Melbourne International Comedy Festival (MICF) Barry Award for best show, the Golden Gibbo for original independent work, and was nominated for a Helpmann Award and Best Comedy at Edinburgh Fringe. In 2012, her solo work And That Was The Summer That Changed My Life was awarded the Philip Parsons Young Playwright Award and nominated for Best Newcomer at the Melbourne International Comedy Festival. Other works include Dave (MICF 2013, Edinburgh Fringe and Soho Theatre, London), and her five-woman ensemble play Is This Thing On?, which won a Sydney Theatre Award for Best Ensemble and was nominated for Best New Australian Work. Mish Grigor, co-director of post, is a performance maker, writer and curator. Her work The Talk has toured extensively in Australia (Melbourne, Performance Space’s LiveWorks in Sydney, Darwin Festival) and the UK (Forest Fringe, Edinburgh, Buzzcut Glasgow, The Marlborough Brighton, and Battersea Arts Centre, London). Mish was awarded an Australia Council Experimental Arts Residency to travel to New York to embed herself within interdisciplinary arts centre EMPAC, in 2017-18. Other projects include Sex Talk (for Proximity at the Art Gallery of Western Australia) and performing with a range of companies and contexts – from a Noel Coward production with leading mainstage company Belvoir, to hosting a food fight for the Museum of Contemporary Art for Branch Nebula.
工作坊
post 的拼貼美學 Personal Pastiche with post
post 的成員 Zoë Coombs Marr 和 Mish Grigor 將在工作坊
中挑選幾種迥異的素材，配合相應的編作手法引導大家如何 創作演出材料。不論是個人故事或是現成文本所引發的想 像，甚至是新奇但矛盾的念頭，都有機會被應用在劇場之 中。post 亦會以過往的作品為參考，抽取其中有趣的方法
及腦震盪遊戲，讓參加者掌握如何創造嚴肅，但不失幽默的 作品。
Date & Time
1.10.2018 [ 一 MON ] 2pm - 5pm
地點
導師
Zoë Coombs Marr & Mish Grigor
費用
日期和時間
Instructors
Venue
Fee
The Australian company post creates original works of theatre, devised and performed by the artists. In this workshop, post’s directors, Zoë Coombs Marr and Mish Grigor, introduce strategies for finding possibilities for performance from source material, and utilise personal stories and found text to help participants explore ways to begin new creative work and to analyse fresh and occasionally contradictory ideas. Taking post’s performance history as a starting point, they guide participants through a series of fun devising activities and big brainstorms on how to knit together critical thinking and strange hunches.
香港話劇團 1 號排練室 HKRep Rehearsal Hall No. 1
名額
$300
語言
( 上環文娛中心 6 樓 6/F Sheung Wan Civic Centre )
WORKSHOP
post 的創作活潑生動，由編作至演繹，均由成員一手包辦。
No. of Participants
Language
20
網上登記時請附上英文簡歷，獲取錄者將收到 電郵通知。
Please register online and submit your application with a summary of your resume in English. Successful applicants will receive a confirmation email.
英語
English
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五段小品 FIVE EASY PIECES 概念 Concept | 文本 Text | 導演 Direction
研究員 Research
文本 Text | 演出 Cast
佈景及服裝設計 Set & Costume Design
Milo Rau
Aimone De Zordo | Fons Dumont | Arno John Keys | Blanche Ghyssaert | Lucia Redondo | Pepijn Siddiki | Eva Luna Van Hijfte | Peter Seynaeve
「 演出證明了疏遠情感要比憂傷悲情的力量更為震撼。 這是一齣大戲，它富有人性、敏銳、智慧與政治的觸覺。」 比利時法語區電視台及電台 Christian Jade
“A performance that proves that distanced emotion is stronger than pathos. This is grand theatre, human, sensitive, intelligent and political.” Christian Jade, RTBF.be
Mirjam Knapp | Dries Douibi Anton Lukas
製作 Production
演出拍攝 Performance Film
Sara De Bosschere | Pieter-Jan De Wyngaert | Johan Leysen | Peter Seynaeve | Jan Steen | Ans Van den Eede | Hendrik Van Doorn | Annabelle Van Nieuwenhuyse 劇場構作 Dramaturgy
Stefan Bläske
導演助理 Direction Assistant 表演指導 Performance Coach
Peter Seynaeve
保姆 Child Care 製作助理 Production Assistant
Ted Oonk
Supported by The Flemish Government, The Province of East Flanders & The City of Ghent
聯合製作 Co-produced by
Kunstenfestivaldesarts Brussels 2016 | Münchner Kammerspiele | La Bâtie – Festival de Genève | Kaserne Basel | Gessnerallee Zürich | Singapore International Festival of Arts (SIFA) | SICK! Festival UK | Sophiensaele Berlin | Le phénix scène nationale Valenciennes pôle européen de création
2016 年 戲劇與舞蹈評論家大獎 評審團特別獎 (Milo Rau) Prix de la critique théâtre et danse 2016 Special juryprize (Milo Rau)
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Funded by Senatsverwaltung für Kultur und Europa Berlin, Pro Helvetia, GGG Basel, Ernst Göhner Stiftung and Fachausschuss Tanz und Theater BS_BL (Basel)
2017 年 柏林 Theatertreffen 戲劇節 參演節目 Selection Theatertreffen 2017
2017 年 3-SAT 大獎 (Milo Rau， 《五段小品》) 3-sat award 2017 (Milo Rau, Five Easy Pieces)
2017 年 荷蘭戲劇節參演節目 Selection Dutch Theatre Festival 2017
2017 年 比利時戲劇節參演節目 Selection Belgian Theatre Festival 2017
© Phile Deprez
瑞士 SWITZERLAND / 德國 GERMANY / 比利時 BELGIUM
勘察兒童感知與行動極限的 驚世之作
A provocative, groundbreaking performance that probes the limits of what children know, feel, and do
《五段小品》是一次極具挑戰又有趣的經歷，既真實亦殘暴，嘗試探討兒童
Five Easy Pieces is a profound, funny and confrontational experience that blends realism and brutality, probing the limits of what children know, feel, and do and initiating them in the emotional and political absurdities of the adult world. Using performers aged under 13, and the biography of the country’s most notorious criminal, child killer Marc Dutroux, the performance sketches a brief history of Belgium and reflects on the (re)presentation of human feelings on stage.
的感受、知性和行動的極限，企圖讓他們理解成人世界荒謬絕倫的行為，從
而達到真正的教育目的。社會學家及導演 Milo Rau 大膽起用七位十三歲以下
的兒童，重構比利時九十年代連環殺童案的相關史實。
通過簡單直接的練習，場景與獨白，兒童演員與成人演員一同排練後，兒童
演員將重現案中相關的角色：兇手的父親、警員、遇害者以及受害人父母等。 演出時而幽默，時而不安， 一方面重現比利時 1998 年「白色三月」反貪腐 行動觸發三十萬人上街，控訴司法制度敗壞的重要歷史，另一方面，則深入
研究兒童如何透過現身說法去理解與他們息息相關的社會及道德問題。當觀
眾見到兒童飾演被指派的身份時，又會有怎樣的體驗？會怎樣回應當下產生
的恐懼、渴望，甚至是忌諱呢？真實和扮演之間，我們會否重新檢視自己和
In five simple exercises, short scenes and monologues, the young actors sneak into different roles – a police officer, Dutroux’s father, one of the victims, the parents of a dead girl – in re-enactments they’ve rehearsed with adult actors: a
下一代生活的角度，從而避免悲劇繼續發生？
此劇曾於歐洲及新加坡等十多個國家巡迴演出，極受歡迎並具無比的震撼 力，今年先後受邀到北京及香港演出。
日期和時間 Date & Time
10 月 OCT
三 WED
11月 N OV
四 THU
地點 Venue
五 FRI
31 1 2 8 PM
8 PM
8 PM
香港藝術中心 壽臣劇院 Hong Kong Arts Centre Shouson Theatre
票價 Tickets
$380, $280, $200 語言 Language
荷蘭語演出，附中英文字幕
visit to the scene of the crime, a funeral, a moment in the life of Dutroux’s father. At times funny, at times deeply disturbing, these scenes unfold against a projected backdrop of moments from Belgium’s history, from Congo’s declaration of independence to the 1998 “White March” against corruption. Aesthetic and theatrical questions blend with moral issues: How can children understand the real significance of empathy, loss, old age, disappointment, or rebellion? What does it mean for adults to observe them in these scenes? And what does it say about our own fears, desires and taboos? After touring to international popular acclaim, Five Easy Pieces premieres this year in Hong Kong and Beijing.
本劇含暴力意識場面
適合十二歲以上人士觀看
節目全長約 1 小時 30 分鐘，不設中場休息
遲到或中途離場觀眾將不可進場
This programme contains scenes about violence Recommended for ages 12 and above Approximately 1 hour 30 minutes without intermission No admission for latecomers
Presented in Dutch with Chinese and English surtitles
19
Milo Rau
瑞士的劇場及電影導演，身兼記者、散文作家及大學講師。 於巴黎、蘇黎世及柏林修讀心理學、德國及羅馬研究，師隨
Tzvetan Todorov 及 Pierre Bourdieu。2007 年成立國際政
治 謀 殺 學 院（International Institute of Political Murder），
以獨特的紀錄文獻形式，配合多媒體的表現手法，創作了多 個政治劇場作品，呈現歷史及社會的矛盾，在國際舞台上廣 受注目及讚譽。《五段小品》是 Milo Rau 首次與兒童演員合
作的作品，由比利時藝術中心 CAMPO 委約創作。此劇曾 於十多個國家巡迴演出，備受好評。
IIPM 的 多 個 創 作、 演 出 計 劃 及 電 影 曾 受 邀 到 多 個 國 家 及 國 際 藝 術 節 演 出， 包 括 Montana、The Last Days of the
Ceausescus、Hate Radio、City of Change、The Moscow
Trials 、 The Zurich Trials 、 The Civil Wars 及 The Dark Ages。他的作品曾於亞維儂藝術節、柏林戲劇節及布魯塞
爾藝術節演出。《自由比利時報》形容他為「歐洲最炙手可
熱的導演之一」；德國周報《星期五周報》形容他為「在 同世代之中最俱爭議的劇場導演」。他的作品屢獲殊榮，
2014 年獲得首個瑞士劇場獎項，之後憑 Hate Radio 獲得
德 國 Hörspielpreis der Kriegsblinden 最 重 要 的 廣 播 劇 大
獎；The Civil Wars 獲 得 德 國 政 治 劇 場 節 評 審 大 獎；The
Moscow Trials 獲得德國電影節特別獎。
20
Milo Rau is a Swiss theatre and film director, journalist, essayist and lecturer. Rau studied sociology, German and Romance studies in Paris, Zurich and Berlin under Tzvetan Todorov and Pierre Bourdieu, among others. In 2007, Rau founded the theatre and film production company International Institute of Political Murder (IIPM), which quickly attained international acclaim for its unique, dense documentary form of political theatre and special focus on multimedia adaptations of historical or social conflicts. Five Easy Pieces was created in response to a request from the Belgian arts centre CAMPO, and marks Rau’s first time working with children on stage. The production has toured internationally to much critical acclaim. His IIPM productions, campaigns and films (Montana, The Last Days of the Ceausescus, Hate Radio, City of Change, The Moscow Trials, The Zurich Trials, The Civil Wars, The Dark Ages) have been invited to major national and international festivals, including the Festival d’Avignon, the Berliner Theatertreffen, and the Kunstenfestival Brussels. The Belgian newspaper La Libre Belgique recently named Rau one of Europe’s “most sought-after directors”. The German weekly Der Freitag described him as “the most controversial theatre director of his generation”. As well as receiving the first Swiss Theatre Award (2014) and the prestigious Hörspielpreis der Kriegsblinden (for Hate Radio), Rau was awarded the Jury Prize at the Festival Politik im Freien Theater (for The Civil Wars), and the Special Prize at the German Film Festival (for The Moscow Trials).
電影放映
《剛果裁决》 Milo Rau 執導 The Congo Tribunal by Milo Rau
SCREENING
香港歌德學院與香港藝術中心聯合主辦和放映的 《剛果裁決》為香港國際黑盒劇場節的延伸活動。 This screening is co-organised by Goethe-Institut Hongkong and Hong Kong Arts Centre and is an extension activity of HKIBBF.
在剛果東部及柏林實地拍攝，《剛果裁决》以劇場及電影呈 現非洲一段毛骨悚然的血腥歷史，持續二十年的戰亂重創
中非大湖地區。作品以深刻的舞台設置，深入剖析這場人 類歷史上最殘暴戰爭之一，找出衝突的原因及背景。
由 1994 年盧旺達大屠殺所引發，這場被稱為非洲第一次世
界大戰的衝突造成超過六百萬人死亡。不少評論家認為衝 突不只是中非的政治鬥爭，更是全球化時代中最決定性的
經濟戰役之一。戰爭不再由種族差異引發，全球天然資源 及利益掠奪才是背後的催化劑。
在《剛果裁决》中，Milo Rau 集合了受害人、參與者、目 擊者及分析員，在虛擬民事法庭上揭露人性最真實的一面。 英國報章《衛報》稱為「最具野心的政治劇場作品之一」。
Filmed on-location in eastern Congo and in Berlin, the harrowing theatre and film project The Congo Tribunal offers a profound analytic tableau of the causes and background of one of the biggest and bloodiest economic wars in the history of mankind – the war affecting the Great Lakes region of Central Africa for the past 20 years. Triggered by the Rwandan genocide of 1994, the conflict known as Africa’s first world war has claimed up to six million lives. Many observers not only see it as a fight
for political predominance in Central Africa, but also one of the most decisive economic battles in the era of globalisation. No longer fuelled by ethnic differences, the war continues as a struggle over global interests and natural resources. For The Congo Tribunal, Milo Rau gathered victims, perpetrators, witnesses and analysts of the conflict for a unique civil tribunal – creating an unveiled portrait described by The Guardian as “one of the most ambitious pieces of political theater” ever produced.
日期和時間
Date & Time
30.10.2018 [ 二 TUE ] 7:30pm
地點
Venue
Hong Kong Arts Centre Louis Koo Cinema
香港藝術中心古天樂電影院
購票方法及詳情將於網頁公佈 Ticket information
語言
法、英、德、斯瓦希里、林格拉語對白，英文字幕
費用
$75
The film is a German-Swiss coproduction of Fruitmarket Arts and Media and Langfilm, in cooperation with IIPM and Schweizer Radio und Fernsehen SRF & Radio Télévision Suisse RTS, Lemafrika Culture et Développement and Kwetu Film Institute, funded by Film- und Medienstiftung NRW, Bundesamt für Kultur Schweiz, Beauftragte der Bundesregierung für Kultur und Medien, Kulturförderung Kanton St. Gallen / Swisslos, Zürcher Filmstiftung, Filmförderungsanstalt, Deutscher Filmförderfonds and Volkart Stiftung.
Language
French, English, German, Swahili and Lingala with English surtitles
Fee
to be announced. For details, please see www.goethe.de/hongkong
21
講座
策劃人面對面 Curators Face to Face
TALK
是次香港國際黑盒劇場節以「尋常見・見尋常」 為策展方向，帶來四個獨特的演出，激發觀眾一
同思考習以為常的「真／實」 。現今世界真假難辨， 極端個人化的社交媒體資訊泛濫，內容農場不斷
捏造新聞爭取最大利潤。事實上，社會的確充斥 着超越我們想像的荒謬事件，而虛擬科技的進步
更模糊了我們的感知，使我們身心俱疲。在這前 所未見的混雜狀態下，劇場這種古老而又講求當 下共感共存的藝術形式能怎樣拾回人類的信念與
力量？藝術家的創作又能如何作出回應？兩位策 劃人將與主持賴閃芳進行對談，除了闡述香港國 際黑盒劇場節策劃理念與社會的關係，亦會分享 觀察當代劇場後的所得。
日期和時間
Date & Time
6.10.2018 [ 六 SAT ] 11am - 1pm
講者
Speakers
馮蔚衡 及 劉祺豐
主持
賴閃芳
地點
Venue
香港話劇團 1 號排練室 HKRep Rehearsal Hall No. 1
語言
粵語
Moderator
Language
22
Fung Wai Hang & Low Kee Hong Lai Sim Fong
( 上環文娛中心 6 樓 6/F Sheung Wan Civic Centre )
Cantonese
馮蔚衡 Fung Wai Hang
Curated around the theme Becoming Real, this year’s Hong Kong International Black Box Festival presents four world-renowned productions that challenge our perceptions of reality in different ways and encourage audiences to question their reading of the everyday. In a world where the boundaries between what is real and unreal have become blurred, where social media is flooded with factual and fake information, where anything goes in the competition for hit rates and profit, and where AR and VR technologies develop so quickly that we question the reliability of what we feel and perceive, it can be hard not to feel drained and isolated. But if the real world community around us breaks down, where can we create a new sense of belonging? Could theatre, one of the oldest art forms, be a place for us to come together and face the challenges ahead? In this session, festival co-curators Fung Wai Hang and Low Kee Hong talk face to face with Lai Sim Fong about this year’s festival, about the world we live in, and about their observations of contemporary theatre and how artists respond to the circumstances around them.
費用全免，名額有限，先到先得。請於網上登記。
Free admission. Limited capacity on a first come, first served basis. Please register online in advance.
集演員、導演、創作人、節目策展於一身的劇界精英。英國艾 賽特大學舞台實踐藝術碩士（MFA）及香港演藝學院戲劇學院首 屆畢業生。1988 年加入香港話劇團，曾任首席演員、藝術總 監助理、創作統籌、駐團導演等職位；現為香港話劇團助理藝 術總監，負責統籌及策劃話劇團黑盒劇場的節目。
A fine talent in stage art, Fung Wai Hang is not only an actor but also a director, playwright and programme coordinator. Fung obtained an MFA in Theatre Practice at the University of Exeter and was a graduate of the inaugural class of the Hong Kong Academy for Performing Arts’ School of Drama. Fung has taken on various positions of the HKRep, including Principal Actor, assistant to the Artistic Director, the Project Coordinator and Resident Director. Now she is Assistant Artistic Director of HKRep, coordinating and planning the company’s Black Box productions.
劉祺豐 Low Kee Hong
現為西九文化區管理局表演藝術主管（戲劇） ，負責制定文化 區戲劇發展的藝術方向及具體策略。在他的帶領下，團隊推出 一系列圍繞當代創作模式並著重推動創新的活動。當中包括香 港首個國際劇場工作坊節、探討舞台美學的「什麼是舞台」和 劇場構作的「超越劇場構作」三年計劃，他與蘇格蘭、新西蘭 及澳洲簽訂創意交流及合作協議，並於多個國際藝術節中委約 作品，如於英國曼徹斯特國際藝術節呈獻楊嘉輝的「One of 、於 GREC Festival de Two Stories, or Both (Field Bagatelles)」 Barcelona 呈獻由鄧樹榮戲劇工作室及感官劇場聯合創作的《就讓世界黑下去吧》。他同時 製作西九首部原創並糅合粵劇元素的粵語音樂劇《大狀王》，引領本地創作走向國際。
As Head of Theatre, Performing Arts at the West Kowloon Cultural District, Low Kee Hong is responsible for formulating the district’s artistic direction and strategies for drama and theatre arts. In this role, Low has overseen the launch and co-presentation of a number of projects and programmes that engage in new discussion and discourse around contemporary modes of creation. These include Hong Kong’s first International Workshop Festival of Theatre; a three-year programme on new directions in scenography (“What is Stage”); a three-year programme on dramaturgy (“Dramaturgy and Beyond”); international residency programmes with partners in Scotland, New Zealand and Australia; new commissions with international festivals, such as Samson Young’s One of Two Stories, or Both with the Manchester International Festival, Teatro de los Sentidos and Tang Shu Wing’s Our Death Won’t Hurt Anybody with GREC Festival Barcelona; and West Kowloon’s first original Cantonese musical The Great Statesman featuring Cantonese opera elements.
Institute of Political Murder) 的 工 作。IIPM 於 2007 年 由 Milo Rau 創立，是一間劇場及電影製作公司。IIPM 除了發 表劇場及電影作品外，亦進行劇場構作及其他研究工作，
日期和時間
6.10.2018 [ 六 SAT ] 3:30pm - 6:30pm
Stefan Bläske 將詳細分享他於 IIPM 的創作過程，與參加者
講者
Stefan Bläske
聯合主持
Co-moderators
劉祺豐 及 潘詩韻
地點
Venue
香港演藝學院實驗劇場
語言
英語
研究範圍包括不同的歷史及社會政治衝突。是次講座中，
探索劇場與社會政治當中的劇場構作。
As part of the "Dramaturgy and Beyond" programme co-organised by West Kowloon and the School of Drama at the Hong Kong Academy for Performing Arts, Stefan Bläske presents a public seminar on his practice as a dramaturg, in particular his work at the International Institute of Political Murder (IIPM). IIPM, a theatre and film production company founded by Milo Rau in 2007 for the creation and international utilisation of his theatre productions, actions and films, dramaturgy and research, is a critical department in the investigation and treatment of historical and sociopolitical conflict. In this seminar, Stefan Bläske, the production dramaturg of IIPM’s Five Easy Pieces, shares the creative processes employed by the company and explores the dramaturgy of political theatre today.
Date & Time
Speaker
Language
Low Kee Hong & Janice Poon Studio Theatre, The Hong Kong Academy for Performing Arts English
設粵語及普通話即時傳譯
with simultaneous Cantonese and Mandarin interpretation
費用全免，名額有限，先到先得，請於網上登記。
Free admission,limited capacity on a first come, first served basis. Please register online in advance.
EXTENSION ACTIVITY
Stefan Bläske 分 享 他 在 國 際 政 治 謀 殺 學 院 (International
延伸活動
作」活動之一。是次講座邀請了《五段小品》的劇場指導
Th i s e v e n t i s c o - o rg a n i s e d b y We s t Kowloon and the Hong Kong Academy for Performing Arts and is an extension of the talk "Curators Face to Face". Priority will be given to participants attending both events on a first come, first served basis. Places are limited, please register online in advance.
Ⓒ Marc Stephan
西九文化區與香港演藝學院戲劇學院合辦的「超越劇場構
西九文化區和香港演藝學院聯合主辦的 「Stefan Bläske 公開講座：政治劇場的劇場 構作」所探討的題目亦為「策劃人面對面」 講座的延伸內容。現登記並出席「策劃人面 對面」者，可優先登記「Stefan Bläske 公開 講座：政治劇場的劇場構作」 。優先名額有限， 先到先得。
©Marc Stephan
Stefan Bläske 公開講座: 政治劇場的劇場構作 Public Seminar by Stefan Bläske: Dramaturgy and Political Theatre Today
Stefan Bläske 劇場指導及講師，研習劇場及媒體，哲學及公共治理。畢業後於愛爾 朗根 － 紐倫堡大學擔任副研究員，亦於維也納大學任職助教，並完成 《當代劇場的自我及媒體反思》博士研究。2011 至 2013 年擔任德國 Residenztheater 的劇場指導；2014 年起為慕尼黑 Otto Falckenberg Schule 任教舞台導演及劇場構作。現為國際政治謀殺學院的劇場指導， 曾與瑞士導演 Milo Rau 創作 The Dark Ages。
Dr Stefan Bläske is a dramaturg and lecturer. After studying Theatre and Media Studies, Philosophy, Public Management and Governance, he worked as a research associate at the University of Erlangen-Nuremberg and as a graduate assistant at the University of Vienna, and completed a PhD study on “Self-reflection and media reflection in contemporary theatre”. Between 2011 and 2013 he worked as a dramaturg at the Residenztheater in Munich, and in 2014 he was mentor for direction and dramaturgy at the Otto Falckenberg School of Performing Arts. Bläske has worked with the International Institute of Political Murder (IIPM) since 2015, when he joined director Milo Rau for the production The Dark Ages (Residenztheater, Munich).
聯合主辦
Co-organised by
23
工作坊
虛實．距離 Between the Real and the Represented
WORKSHOP
「戲劇的目的，要如鏡子一樣反映真實，過去如是，現在亦 如是」是莎劇《哈姆雷特》中的名句。幾百年以來，劇作家
藉著劇本反照社會面貌。可是近代劇場藝術家不再滿足於躲 在虛構的劇本背後，紛紛以現實素材入戲，令歷史劇、紀錄
劇場到素人演出等劇作種類百花齊放。誠然，當現實比戲劇 更具戲劇性，藝術家的創作主體亦有所轉移。以「現實」作 為材料，藝術家在作品中將之拼湊、挪用或錯置，反映真實
似乎不再是唯一目的。那麼藝術家所關心的是什麼？他們又
以什麼形式去承載真實？現實與虛構之間的距離可以有多 遠 / 近？本工作坊邀得概念藝術家程展緯，帶領參加者運用
現實材料創作，親身體驗藝術家的創作歷程。藉由視覺藝術 的角度與經驗，再看本節的四個作品，了解當代藝術及劇場 的走向。
For hundreds of years, dramatists have reflected society through their work. Today, no longer satisfied with this form of representation, many contemporary theatre artists choose to confront reality more directly, using forms such as documentary theatre or theatre of facts. Through the process, reality becomes the material to be cut and pasted, collaged, or juxtaposed with other sources. In this workshop, conceptual artist Ching Chin Wai Luke looks at the concerns of contemporary artists and the ways in which new forms of representation are derived, and leads participants through a series of exercises that offer first-hand experience of creating work from real life. Examining the four productions chosen in the festival from a conceptual arts perspective, he also explores the development of contemporary theatre.
日期和時間
Date & Time
7.10.2018 [ 日 SUN ] 2pm - 5pm
語言
粵語
導師
Instructor
程展緯
費用
$200
統籌
Coordinator
賴閃芳
名額
20
地點
香港話劇團 1 號排練室
Venue
24
“ The purpose of playing…was and is, to hold, as ’twere, the mirror up to nature. ” —— Hamlet
Ching Chin Wai Luke Lai Sim Fong HKRep Rehearsal Hall No.1
( 上環文娛中心 6 樓 6/F Sheung Wan Civic Centre )
Language
Fee
No. of Participants
Cantonese
先到先得，請於網上登記，獲取錄者將收到 電郵通知。
Online registration required, on a first come, first served basis. Successful applicants will receive a confirmation email.
程展緯 Ching Chin Wai Luke 香港中文大學藝術碩士學位畢業。本地活躍的概念藝術家，多年 來在創作人和城市觀察者這雙重角色之間遊走，透過藝術形式向 公眾展示觀察者的發現，創作出超越形式和限制的作品。他以獨 特的論述系統加上個人的幽默風格，回應城中政治及文化上的 衝擊，並予以提問。在過去二十年，參與了多個國際機構舉辦 的展覽和駐場計劃，包括美國 P.S.1 藝術中心、英國 Blackburn Museum and Art Gallery、日本福岡亞洲美術館。曾在香港發起 「請給保安員椅子運動」。
Ching Chin Wai Luke graduated with an MFA from The Chinese University of Hong Kong. An active conceptual artist and observer, Ching creates work that transcends conventional forms and disciplines and offers audiences a new perspective on life in the city. His unique practice and sly observations respond to and interrogate everyday cultural and political situations. In the past two decades, Ching has participated in a number of exhibitions and residencies at international institutions, including P.S.1 Contemporary Arts Center (US), Blackburn Museum and Art Gallery (UK) and the Fukuoka Asian Art Museum Residence Programme (Japan). He was the initiator of the recent “Please give security guards chairs” movement in Hong Kong.
鮑魚爭產、深宮爭鬥、警匪大戰……來來去去同樣的故事， 與我們的生活有何關係？
七百萬人生活在香港，當中值得被傳頌的好故事，怎可能只 得一種？您生命中發生過大大小小的故事一閃即逝，哪個故 事刻骨銘心？哪個故事驚心動魄？哪個故事拍案叫絕？哪個 故事賺人熱淚？
《美好的一天》需要您和您的故事。我們現正招募十九位「素
人」演員參與這個前衛而罕有的劇場實驗。若您自問口材不 俗，同時願意分享自己獨一無二的個人經歷，歡迎報名。
打破傳統戲劇規限，一個專屬於我們這個時代、這個地方的 作品，將由您來編寫。
節目詳情請參閱第 6 至 7 頁。
演員要求 Performer Requirements
・ 必須生活在香港，語言及種族不限 ・ 願意與人分享自身的經歷 ・ 毋須任何演出經驗
・ 歡迎各行各業人士報名
・ 有誠信及責任感，需出席相關排練及演出
“All the world’s a stage, and all the men and women merely players …” As You Like It More than seven million people live in Hong Kong. That’s over seven million lives, over seven million stories…But how many of these stories are being told? How many of these stories do we hear? If you have a personal story you would like to share – a tale of heartbreak or happiness, a tale that comes to mind when you hear the words “one fine day” – we would like to hear them. One Fine Day is looking for you and your stories for an alternative theatre experience about real people and everyday life, created and performed entirely by ordinary members of society – the stories of our city, the stories of Hong Kong. We are now recruiting 19 non-professional performers to be part of this exciting original production. Whatever your age, background or experience, if you live in Hong Kong and have a story you would like to share, we would like to hear from you. For programme details, please see P.6–7.
・ No prior artistic or performing experience required. ・ People from all sectors are welcome.
・ Selected performers should attend the required rehearsals and performances
遴選日期 Auditions
11–19.8.2018
排練日期 Rehearsals
9 月下旬開始 Start late-September ( 詳情將於遴選後公布
Details will be announced after auditions )
報名方法 Application Methods
1
網上報名 Online enrolment
填寫網上報名表格。
Please complete and submit the application form online.
・ Participants must live in Hong Kong. People of all ethnic backgrounds are welcome. ・ Willingness to share personal stories honestly.
《美好的一天》 演員公開招募 One Fine Day Open Recruitment
網上報名及 表格下載 Enrolment webpage
2
郵寄報名 By post
下載及填妥報名表格，郵寄至「香港皇后大道中 345 號上環市政大廈 4 樓香港話劇團」，信封面註 明「《美好的一天》演員招募申請」。
Download and complete the application form and send the completed form to The Hong Kong Repertory Theatre, 4/F, Sheung Wan Municipal Services Building, 345 Queen’s Road Central, Hong Kong. Please specify “One Fine Day Open Recruitment” clearly on the envelope.
www.hkrep.com/hkibbf_onefineday_recruit
報名截止日期
Application Deadline
3.8.2018
成功獲邀參與遴選者將於
7.8.2018 或之前收到電郵通知。 Applicants invited to audition will receive a confirmation email on or before 7.8.2018.
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《伊狄帕斯．豬亦拍屍》 演員公開招募 Oedipus Schmoedipus Open Recruitment 面試日期 Interviews
13–15.9.2018
玩盡劇場終極一死 我們需要您！
還有您的先生太太，
您的祖父母堂姪女舅父姨婆表嬸三叔公！
《伊狄帕斯‧豬亦拍屍》將同你講生講死。齊齊將莎
士比亞到曹禺的經典劇目死亡場景一一重現，來個
二次三次創作，演繹劇場最不可能任務——死亡！由 澳洲悉尼最精又最驚青的劇團組合 post 創作，他們
的作品以好玩抵死黑色幽默見稱，今次香港話劇團和
post 聯合製作《伊狄帕斯‧豬亦拍屍》香港版本，史
無前例地玩轉戲劇歷史，誠邀您齊來「搞搞震」！ 報名方法 Application Methods
1
網上報名 Online enrolment
2
郵寄報名 / 前台報名 Application by post or in person at the HKRep reception desk during performances
填寫網上報名表格， 下載報名表格，填寫後連同近照一張郵 附上近照一張。 寄至「香港皇后大道中 345 號上環市政 ，信封面註明「《伊 大廈 4 樓香港話劇團」 Submit a recent photo 狄帕斯．豬亦拍屍》演員公開招募」；或 with your online application. 親臨《親愛的，胡雪巖》演出前台遞交。
Download and complete the application form and post it, with a recent photo, to The Hong Kong Repertory Theatre, 4/F, Sheung Wan Municipal Services Building, 345 Queen’s Road Central, Hong Kong, or hand it to staff at the HKRep reception desk during any of the performances of Hu Xueyan, my Dear. Please specify “Oedipus Schmoedipus Open Recruitment” clearly on the envelope.
網上報名及 表格下載 Enrolment webpage
www.hkrep.com/hkibbf_oedipusschmoedipus_recruit
26
節目詳情請參閱第 14 至 15 頁。 每日演出將需要二十五名「素人」演員參與。每日不 同，日日新鮮。 演員要求好簡單
・ 您、您的親戚朋友、朋友的朋友，任何人 皆可參加！
・ 毋須劇場演出經驗
・ 毋須背劇本，只需演出當日的下午進行排練
・ 能閱讀、聆聽和操流利粵語，輔以簡單英語 ・ 能出席演出及當天下午的排練
post 的創作團隊會與您一同排練，內容簡單， 而且角色眾多，總有一個適合您！
WE WANT YOU! PLAY DEAD with POST Be part of the international tour of Oedipus Schmoedipus Oedipus Schmoedipus, a show by Sydney company post, is now touring internationally. Featuring death scenes from several hundred of the greatest plays of all time, patched together and brought to life Frankenstein-style, the Hong Kong production is a Cantonese adaptation of the extravagant spectacle of shufflingoff-the-mortal-coil from Australia’s silliest, smartest theatre group, post – Zoë Coombs Marr, Mish Grigor and Natalie Rose – and boasts two of HKRep’s most screwball actors. Joyful and dark, Oedipus Schmoedipus is a new bid for theatre history – join us to find out more! For programme details, please see P.14 –15. Each day the show features a new cast of 25 volunteers and we want you to be one of them. The requirements are simple!
・ We want you, your nan, your cousins and their friends. Absolutely everyone!
・ No experience is necessary at all.
・ You won’t need to memorise anything.
・ Able to read, listen and speak fluent Cantonese, with simple English. ・ You must be able to attend rehearsals and perform the same day.
The task is simple and there are a range of roles. You will rehearse with the post team and won’t be asked to do anything you aren’t comfortable with!
報名截止日期
Application Deadline
20.8.2018
成功獲邀參與面試者將於 5.9.2018 或之前收到電郵通知。
Applicants invited to interview will receive a confirmation email on or before 5.9.2018.
場地 Venues
演出 Performances
工作坊 Workshops
香港話劇團黑盒劇場 HKRep Black Box
香港話劇團 1 號排練室 HKRep Rehearsal Hall No.1
香港藝術中心壽臣劇院 Hong Kong Arts Centre Shouson Theatre
香港藝術中心古天樂電影院 Hong Kong Arts Centre Louis Koo Cinema
香港皇后大道中 345 號上環文娛中心 8 樓 8/F, Sheung Wan Civic Centre, 345 Queen's Road Central, Hong Kong
香港灣仔港灣道 2 號 2 Harbour Road, Wan Chai, Hong Kong
講座 Talk
電影放映 Screening
香港皇后大道中 345 號上環文娛中心 6 樓 6/F, Sheung Wan Civic Centre, 345 Queen’s aRoad Central, Hong Kong
香港灣仔港灣道 2 號 2 Harbour Road, Wan Chai, Hong Kong
香港演藝學院實驗劇場 Studio Theatre, The Hong Kong Academy for Performing Arts
香港灣仔告士打道 1 號 1 Gloucester Road, Wan Chai, Hong Kong
28
延伸活動 Extension Activity
關於香港話劇團 About Hong Kong Repertory Theatre
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。話劇團一直以 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為使命， 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。
關於西九文化區 About West Kowloon Cultural District
坐落維港海旁的西九文化區，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，促進本地藝術界互動、 合作與發展。區內將有佔地二十三公頃的
公共空間，以及長達兩公里、充滿活力的
海 濱 長 廊， 並 設 有 各 種 文 化 藝 術 設 施， 上 演 世 界 級 展 覽、 表 演 節 目 和 文 化 藝 術 活動。
Hong Kong Repertory Theatre is the longest standing and largest professional theatre company in the city, established in 1 9 7 7 and incorporat e d i n 2 0 0 1 . 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.
Located on Hong Kong’s Victoria Harbour, the West Kowloon Cultural District is one of the largest cultural projects in the world. Its vision is to create a vibrant new cultural quarter for Hong Kong. With a complex of theatres, performance spaces, and M+, the West Kowloon Cultural District will produce and host world-class exhibitions, performances, and cultural events, as well as provide twenty-three hectares of public open space, including a two-kilometre waterfront promenade.
Since its establishment 41 years ago, it has presented more than 300 productions, many of which have become classics of the local theatre canon. HKRep produces and develops a high quality, innovative and diverse repertoire, encompassing Chinese, international, classic, and contemporary theatre, as well as original new works by local artists. It aims 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.