香港國際黑盒劇場節 Hong Kong International Black Box Festival
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 / 改編（香港）Translation / Adaptation (HK)
甄拔濤 Pat To Yan 導演 Directors
Zoë Coombs Marr Mish Grigor 原作曲及音響設計 Original Composer & Sound Design
James Brown
音響設計（香港）Sound Design (HK)
温新康 Wan San Hong
佈景及服裝設計 Set & Costume Design
Robert Cousins
原燈光設計 Original Lighting Design
Matthew Marshall Ross Graham
燈光設計（香港）Lighting Design (HK)
謝徵燊 Mousey Tse 戲劇指導 Dramaturg
Anne-Louise Sarks
原動作指導 Original Fight Director
Scott Witt
動作指導（香港）Fight Director (HK)
葉榮煌 Guthrie Yip
與香港話劇團及西九文化區聯合委約 聯合製作 Co-commissioned with HKRep & West Kowloon Co-produced with
Intimate Spectacle 由澳洲政府經 澳洲藝術理事會支持 Intimate Spectacle is supported by the Australian Government through the Australia Council for the Arts
香港話劇團黑盒劇場 HKRep Black Box
26-27, 29.10.2018
8pm
27.10.2018 4pm 28.10.2018 5pm 10月26日設有演後座談會 Post-performance talk on October 26 本劇含暴力場面、強光效果及少量粗俗用語 This programme contains scenes of violence, strong lighting effects and strong language 全劇長約1小時15分鐘，不設中場休息 Approximately 1 hour 15 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電視及影音贊助 Official Black Box LED TV and Audio Visual 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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post簡介 About post 澳洲藝團post成立十三年，成員有Zoë Coombs Marr、Mish Grigor及Natalie Rose。作品橫跨行為藝術、劇場及當代表演多個 範疇。他們的嬉笑怒罵是認真和嚴肅的，刻意地對傳統劇場制度付諸不敬，同時又尊敬現場演出的神奇。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》（14年首演，18年國際巡演）。最新作品Ich Nibber Dibber於17年悉尼藝術節首演後，現正於澳洲 國內作巡迴演出。 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.
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Intimate Spectacle簡介 About Intimate Spectacle Intimate Spectacle由Harley Stumm於2012年創辦，是一間位於澳洲悉尼的獨立演藝製作公司。 Harley Stumm自1994年參與演藝製作，現居於悉尼。目前與形體表演劇團Branch Nebula、嘻哈編舞家Nick Power、當代劇場表 演組合post等藝術家及藝團合作。 Intimate Spectacle除了為以上藝術家策劃製作及巡演以外，亦與澳洲土著及編舞家Vicki Van Hout、柬埔寨裔澳洲搖滾樂隊 The Cambodian Space Project、視覺劇場藝術家Sam Routledge和Erth Visual & Physcial Inc.及Lenine Bourke合作，將作品帶到 澳洲、亞太地區和世界各地主要藝術節及演出場地。 近期作品包括：Nick Power舞蹈作品Between Tiny Cities（香港、馬來西亞、維也納、布達佩斯與柏林Tanz im August巡演）； post《伊狄帕斯．豬亦拍屍》（智利首都聖地亞哥雙語演出、香港國際黑盒劇場節的廣東話版本）；Branch Nebula曾獲 Helpmann大獎的Snake Sessions（澳洲國內各滑板公園演出）；Lenine Bourke作品The Walking Neighbourhood（芬蘭巡演）； 協助The Cambodian Space Project搖滾歌劇Cosmic Cambodia的巡演及創作策劃。 Intimate Spectacle is an independent performing arts producing company based in Sydney, Australia, founded by Harley Stumm in 2012. Harley Stumm has worked in performing arts producing since 1994. Based in Sydney Australia, he’s currently collaborating with artists including physical performance company Branch Nebula, hip-hop choreographer Nick Power, and contemporary performance collective post. Intimate Spectacle has produced and toured works by those as well as indigenous choreographer Vicki Van Hout, CambodianAustralian rocknroll band The Cambodian Space Project, visual theatre makers Sam Routledge & Erth Visual & Physcial Inc., and Lenine Bourke, to major festivals & venues nationally, regionally and internationally. Highlights include tours of Nick Power’s Between Tiny Cities to Hong Kong, Malaysia, Vienna, Budapest and Tanz im August in Berlin; post’s Oedipus Schmoedipus bilingual presentation in Santiago, and an adaptation into Cantonese with Hong Kong Repertory Theatre and West Kowloon Cultural District; a national tour of Branch Nebula’s Helpmann Award-winning Snake Sessions to skateparks throughout Australia; presentations of Lenine Bourke’s The Walking Neighbourhood in Finland, and developing and touring The Cambodian Space Project's rock opera Cosmic Cambodia.
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導演的話 Message from Directors 歡迎大家蒞臨欣賞《伊狄帕斯．豬亦拍屍》。這一刻大概是演出前，你坐在觀衆席翻閱場刊，同時等待其他觀眾進場。我們也是 一樣。 四年前，我們首次坐下來撰寫導演的話。當時是2014年1月8日，貓王皮禮士利的七十九歲冥壽。後來，《伊狄帕斯．豬亦拍屍》 在澳洲及世界各地以英語、西班牙語巡演。今天我們來到香港，執導廣東話版演出。我們曾與一千多名年齡介乎五至九十九歲的 素人演員在台上一同呻吟、哀號和歡騰。 要是貓王還活著，他今年應該八十三歲。1977年，他去世的那一年，當時post的成員還未出生。在他昏倒離世後的三十五年，我 們開始籌備這個演出，圍繞我們的是堆積如山的書籍和偉大的劇本。 我們搜羅所有涉及死亡的台詞，希望可以深入了解這個宇宙性的重要話題：死亡。不是哀悼、不是失去、不是悲傷，而是死亡 ― 一個人的死亡 — 無法想像自己將不再存在。我們想知道，偉大的戲劇大師們能否告訴我們死亡將會是 / 不再是什麼。 post專門創作及演出新作品。幾年前，有人質疑我們：「你們會搬演經典嗎？」我們選擇挑戰「不可能」（比如在沒有任何研究 的情況下，嘗試在一小時之內解釋全球經濟危機）。我們在想，如果我們要搬演經典，倒不如一次過搬演所有經典，並且探究死 亡這個話題。 你可能早已發現，西方經典劇目與死亡有密切關係，當中包含不同的死亡：謀殺、自殺、殺嬰、殺父、殺母、弒君……同時，這 些劇作家大多數亦已死亡。 這些逝世劇作家留下的文字，充滿近乎魔力的權威，傳到我們手中，擺在我們眼前，被視為重要文獻，深深印在我們腦海裡，成 為經歷時間考驗的集體智慧。作為澳洲人，其實對我們沒有多大意義 ― 劇本來自英國或歐洲 ― 跟我們國家的地理與文化環境 相距甚遠，但仍然支配著我們。這種遙距的殖民地意識在香港更顯得諷刺。 這些經典當中，有些相當不錯，有些感動著我們，有些用詞刻意地或不經意表現脫俗，其他都是爛透的……頂多沉悶，最壞的是 冒犯觀眾。但它們理應是宇宙性的，對吧？這些劇本是有話向我們所有人表達的。對吧？所以至今才會繼續搬演這些經典。 搬演這些劇作時，原有的陳述、信息、階級和模式都不會被挑釁。作品中不可侵犯的真諦甚至被強化和活化。於是，劇作家的 「傳奇」變成一種不朽的永恒。而這些「不朽」的作家又大多是白種男人，其他人種往往被拒諸門外。 我們重新編排這些經典內的原材料，刪去虛構的背景和內容，我們希望發掘更重大的議題：找到與我們有關的描寫，而非劇作家 的觀點。我們不會用傳統方法搬演經典，我們有自己的理由去創作劇場。我們現在是顛覆傳統的當代戲劇創作人，但曾經也是經 典的死忠粉絲。我們讓曾經深愛的偉大劇作復活：切開、肢解、經過儀式召喚，從而喚醒。既是尊敬卻又大不敬，我們的嬉笑怒 罵是認真和嚴肅的。 今天你在台上見到的演出者是三小時前才踏進舞台。沒有排練，只聽過簡短的介紹。他們就是我們、是你、是我……當然也是他 們自己。都是一群期望在喧鬧的生命中得到昇華的凡人。或許你會問（就如我們也會問自己）「這究竟是什麽？我們全部都會步 向死亡！」 劇場的燈光很快就會調暗，演員將走上舞台展露身手。當他們演罷，你跟我們，還有舞台上每一個人，還有整座大廈的人，邁向 死亡又近了一小時。 感謝你選擇與我們共渡這一小時。 Welcome to Oedipus Schmoedipus. You might be reading this before the show, sitting in your seats waiting for those pesky loiterers to hurry up to get in here. We want them to hurry up too. It was four years ago we first sat down to write these notes to you. It was the 8th of January 2014, on what would have been
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Elvis’s 79th birthday. Since then we have performed this show around Australia and across the world, in English, Spanish, and now in Cantonese. We’ve moaned, lamented and rejoiced and trodden the boards with thousands of volunteer performers aged from 5 to 99. And now here we are, in Hong Kong. Elvis would have been 83 this year but of course he’s dead. He’s been dead since 1977, which was years before any of post were born. Around 35 years after he keeled over, we began work on this show. We surrounded ourselves with piles of books, great plays. We were looking for all the lines about death. We wanted to know more about it, the great universal. Death. Not mourning, not loss, not sadness, but death. One’s own death. That impossible notion that you will cease to be. We wondered if the great minds of the theatre had anything to teach us about what it would be – to not be – anymore. post write and perform new works. Someone challenged us a couple of years ago, “Would you ever do a classic?”. We tend to go for impossible challenges (trying to explain the global financial crisis in an hour without any research, for instance). We thought, if we were going to do a classic, we would probably do all of the classics. At once. And why not tackle death at the same time? The western theatrical canon has a pretty intimate relationship with death, after all. You may already know this, but there are quite a few deaths in there. Murders. Suicides. Infanticide. Patricide. Matricide. Regicide. Also, most of its authors are dead. Imbued with an almost magic authority, these dead texts are handed to us, thrust upon us, deemed important and tattooed on our brains. They’ve become a collected wisdom which has somehow withstood the test of time. As Australians, it doesn’t make much sense - these plays were written in England, or Europe - very far away from us geographically and culturally, but still they dominate. The distance (and domination) of these colonising forces is even more ironic in Hong Kong. Some of the plays are quite good. Some touch us. Some have language that is casually, or forcefully, transcendental. Others are a bit shit… At best boring, at worst offensive. But they’re supposed to be universal, right? They speak to, and for, all of us. Right? And so we keep putting them on. In staging them, the narratives are maintained and the original messages, hierarchies and patterns left unchallenged. The sanctity of the work’s truth is reinforced, kept alive. And so, an author’s “legacy” becomes a kind of immortality. As nearly all of these ‘immortals’ are white men, this then is a kind of immortality that has traditionally been inaccessible to anyone else. By reordering the raw ingredients of these plays, removing the parts from the meaning of their fictional contexts, we hope to uncover something larger; a portrait, not of the playwright’s vision, but of ourselves. Although we don’t normally make ‘plays’ in the traditional sense, there is a reason we make theatre. We’re very cool subversive contemporary theatremakers now, but we’re also drama nerds from way back. This is our reanimation of the corpse of the canon we once loved: a cutting up, a dismembering, a ritualistic, shamanistic channeling, a wake. It is both reverent and deeply irreverent. We take being silly very seriously. The people you are seeing perform tonight entered the theatre for the first time three hours ago. They haven’t rehearsed, beyond a briefing. They are us, and you, and me… and themselves, obviously. Just people trying to find something sublime in the cacophony of life. Possibly asking, (as we are) “What even is this? We’re all going to die!” In a second the lights will go down on you and up on the stage, and then our actors will do some things, and then when they’ve finished, you and we and everyone on the stage and in the building will be an hour closer to our deaths. Thanks for choosing to spend that hour with us. Mish Grigor, Natalie Rose & Zoë Coombs Marr
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post POST OEDIPUS SCHMOEDIPUS PRODUCTION TEAM
︽ 伊 狄 帕 斯 ‧ 豬 亦 拍 屍 ︾ 製 作 人 員
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 / 改編（香港）Translation / Adaptation (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
原作曲及音響設計 Original Composer & Sound Design
James Brown
音響設計（香港）Sound Design (HK)
温新康 Wan San Hong
佈景及服裝設計 Set & Costume Design
Robert Cousins
原燈光設計 Original Lighting Design
Matthew Marshall
Ross Graham
燈光設計（香港）Lighting Design (HK)
謝徵燊 Mousey Tse
戲劇指導 Dramaturg
Anne-Louise Sarks
原動作指導 Original Fight Director
Scott Witt
動作指導（香港）Fight Director (HK)
葉榮煌 Guthrie Yip
助理導演 Assistant Director
邱廷輝 Yau Ting Fai
導演助理 Assistants to Directors
張紫琪 Kiki Cheung
黃慧慈 Mercy Wong
吳家良 Ng Ka Leung
執行監製 Deputy Producer
李晶慈 Crystal Li
技術監督 Technical Director
顏尊歷 Johnny Yien
執行舞台監督 Deputy Stage Manager
羅美琪 Katy Law
助理舞台監督 Assistant Stage Manager
關凱明 Kwan Hoi Ming
舞台助理 Stage Assistants
楊貴雄 Yeung Kwai Hung
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吳德輝 Ng Tak Fai
道具製作 Props Maker
黃敏蕊 Wong Man Yui
服裝主任 Wardrobe Supervisor
甄紫薇 Annabel Yan
字幕整理及操作 Surtitle Operator
范庭峰 Wilson Fan
前台助理
蘇建衡 Anthony So
編劇 / 導演 Playwright / Director
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16年墨爾本國際喜劇節巴里獎 （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12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13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14年在貝爾沃劇院上演，獲悉尼劇院獎的最佳 群戲獎，並獲提名最佳澳洲新演出。 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.
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編劇 / 導演 Playwright / Director
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18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」。 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.
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編劇 Playwright
Natalie Rose
Natalie Rose是post的三位成員之一，亦為Shopfront Arts Co-op創意總監，過去十 八年來活躍於澳洲當代藝術圈。畢業於西悉尼大學尼頻學院，獲藝術學士（戲劇製 作）學位，曾任PACT新銳藝術家中心及Urban Theatre Projects劇團演員。製作曾在 澳洲及國際亮相，如悉尼藝術節、貝爾沃劇院、悉尼話劇團、墨爾本藝術之家、劍橋 樞紐（英國）與布里斯本Powerhouse。十八年來，她為年輕人以及新銳藝術家主辦 工作坊，包括健全及殘障人士，讓他們有機會分享自己的故事及發聲。2017年，她 執導Ever After Theatre的演出How to Build a Home，同年執導 Shopfront/ATYP的 Dignity of Risk並獲悉尼戲劇大獎「青年組最佳製作」。同年，與post創作的Ich Nibber Dibber在悉尼藝術節首演（於18年在悉尼歌劇院和Malthouse劇院巡演）、 與Country Arts SA創作的We Are The World在in Mt Gambier首演、《伊狄帕斯．豬 亦拍屍》在南美首演。《伊狄帕斯．豬亦拍屍》於18年在香港首演，並將與Shopfront 及Harness Ensemble合作，為Bundanon Trust資助的第二個作品進行首輪創意策 劃，將於19年首演。 Natalie Rose is one third of the performance collective post, Creative Director at Shopfront Arts Co-op and has been involved in Australia’s Contemporary Arts scene for the past 18 years. She has a Bachelor of Arts (Theatre-making) from the University of Western Sydney, Nepean and has previously trained at PACT Centre for Emerging Artists and Urban Theatre Projects as a member of their ensembles. Her work has been seen nationally and internationally at Sydney Festival, Belvoir Theatre, Sydney Theatre Company, Arts House (Melbourne), Cambridge Junction (UK) and Brisbane Powerhouse, to name a few. Nat has facilitated workshops for the past 18 years for young people and emerging artists with and without disability. Nat is committed to creating work with young people, emerging artists and community members wanting to share their stories and have their voices heard. In 2017, she has has directed Ever After Theatre’s How to Build a Home as well as Shopfront/ATYP’s Dignity of Risk which was awarded a Sydney Theatre Award for Best Production for Young People. In 2017 with post, Nat premiered Ich Nibber Dibber in Sydney Festival, We Are The World with Country Arts SA in Mt Gambier as well as touring their 2014 Sydney Festival work Oedipus Schmoedipus to South America. In 2018 with post, Nat toured Ich Nibber Dibber to the Sydney Opera House, and Malthouse Theatre; as well as Oedipus Schmoedipus to Hong Kong. With Shopfront in 2018, Nat will begin first stage creative development with the Harness Ensemble on their second work supported by Bundanon Trust to premiere in 2019.
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翻譯 / 改編 (香港) Translation / Adaptation (HK)
甄拔濤 Pat To Yan
再構造劇場藝術總監、大學兼任講師。香港大學英國文學學士、香港中文大學社會 學（文學）碩士及倫敦大學Royal Holloway編劇碩士（優異成績）。英文劇本《未 來簡史》獲2016德國柏林戲劇節劇本市集（Theatertreffen Stückemarkt）獎，為 首位華人得此殊榮，並於16年香港的新視野藝術節作世界首演。中文劇本《灼眼的 白晨》獲第八屆香港小劇場獎最佳劇本。新作《核爆後的快樂生活》獲德國慕尼黑 Residenztheater委約，於18年6月首演。18年獲台灣國立政治大學邀請為駐校藝術 家。近作包括：前進進戲劇工作坊《建豐二年》（改編及導演）；香港藝穗會體驗 劇場《她和他的時間之流》、《她和他意識之流》（概念、編劇、聯合導演）。 再構造劇場facebook: www.facebook.com/reframetheatre Artistic Director of Reframe Theatre, part-time Iecturer. Graduated from the University of Hong Kong, majoring in English Literature; the Chinese University of Hong Kong, MA in Sociology; Royal Holloway, University of London, MA in Playwriting (pass with distinction). His play A Concise History of Future China is selected by 2016 Berliner Festspiele Theatertreffen Stückemarkt as one of the five theatre works presented. It is the first ethnic Chinese play ever selected. The staged reading (full or abridged version) of this play was already performed in Berlin, London, Munich, New York and Taipei. His play in Cantonese White Blaze of the Morning is awarded the Best Play at the 8th Hong Kong Theatre Libre. Happily ever after nuclear explosion is commissioned by Munich Residenztheater and premiered in June 2018. This play is under the programme of World/Stage. In May 2018, he has been invited by National Chengchi University (Taiwan) as Artist-in-residence. His recent works include: The Second Year of Jianfeng (On & On Theatre Workshop, An adaptation from a Hong Kong novel by Chan Koonchung) (Adaptation, Director); Flow of time and Stream of consciousness (Hong Kong Fringe Club, Immersive Theatre) (Concept, Playwright, Co-director).
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演出 Cast
郭靜雯 ManMan Kwok manmankwok0427
2011年加入香港話劇團，曾演出《教授》 的Lucretia、《櫻桃園》的安伊亞、《蠢 病還須蠱惑醫》的聰慧女僕及《好日子》 的妹妹等主要角色。其他主演的製作包 括：《盛宴》、《奇幻聖誕夜》、《武松 日記》、《三子》、《結婚》、《維港乾 了 》 、 《 俏 紅 娘 》 及 《 巨 型 曲 奇 》 。 16 年首次以作曲及作詞身份創作迷你音樂劇 《嗚啦啦啦啦你的歌》，盡顯她的音樂才 能。 加入劇團前已活躍於本地劇壇，曾憑《愛 情山手線》（首演）獲第三屆香港小劇場 獎最佳女主角。 畢業於香港演藝學院戲劇學院，獲藝術學 士（榮譽）學位，主修表演。
ManMan Kwok joined the HKRep in 2011. Her performances include The Professor (as Lucretia), The Cherry Orchard (as Anya), The Imaginary Invalid (as the maidservant Toinette) and Auspicious Day (as the younger sister). She was also featured in The Big Meal, Scrooge – the Musical, The Diary of Song, Three Brothers, Marriage, The Abandoned Harbour, Hello, Dolly! – the musical and A Giant Cookie. In 2016, Sing your Life – a Musical marked her debut as composer and lyricist. Pr i o r t o j o i n i n g t h e H K R e p , Kw o k collaborated with many theatre companies in acclaimed productions, receiving the Best Actress award for Lovego-round at the 3rd Hong Kong Theatre Libre. Kwok graduated with honours from the School of Drama, Hong Kong Academy for Performing Arts, majoring in acting.
演出 Cast
文瑞興 Man Sui Hing
2014年加入香港話劇團為全職演員。主要 演出有《好日子》飾媽媽、《結婚》飾四 女之母花田花，並憑此角獲第二十五屆香
for Best Supporting Actress (Tragedy/ Drama) at the 25th Hong Kong Drama
Awards.
港舞台劇獎最佳女配角（悲劇 / 正劇）提 名。 10年憑《車你好冇》獲香港舞台劇獎最佳 女主角（喜劇 / 鬧劇）及提名香港小劇場 獎最佳女主角。11年憑《喜靈州⋯⋯分享 夜》獲香港舞台劇獎最佳女配角（喜劇 / 鬧 劇）；13年再憑《反面情侶2》獲提名最佳 女配角（喜劇 / 鬧劇）。 02年獲香港中文大學社會科學院學士。08 年獲香港演藝學院戲劇學院學士（一級榮
In 2010, Man was awarded Best Actress
(Comedy/Farce) at the Hong Kong Drama Awards and received a nomination for
Best Actress at the Hong Kong Theatre
Libre for her performance in The Bloody
Hell. In 2011, she was awarded Best Supporting
Actress
(Comedy/Farce)
for Nunsense – A Musical Comedy. Two years later, she was nominated as Best Supporting
Actress
for Jack and Jackie 2.
(Comedy/Farce)
譽）學位，主修表演。 Man Sui Hing joined the HKRep as a full-time company member in 2014. Her
recent performances include Auspicious Day (as the mother), Marriage (as Hanada
Hana) , the latter garnering a nomination
Man
graduated
from
the
Chinese
University of Hong Kong with a Bachelor’s
degree in Social Science. In 2008, she
completed her studies at the School of Drama, Hong Kong Academy for
Performing Arts, with a BFA degree with First Class Honours, majoring in acting.
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戲劇指導 Dramaturg
Anne-Louise Sarks
身兼導演、編劇及戲劇文學，現任倫敦 Lyric Hammersmith劇院Lyric劇團藝術總
監 。 作 品 曾 在 Malthouse劇 院 搬 演 ， 包 括：The Testament of Mary、The Fiery
Maze、Ich Nibber Dibber（擔任戲劇文 學）及Thyestes。她曾執導《美狄亞》（貝 爾沃劇院、瑞士巴塞爾劇院 / 倫敦Gate劇 院）、Minnie and Liraz（墨爾本話劇團）、
《威尼斯商人》（Bell Shakespeare）、
S e v e n t e e n （ 貝 爾 沃 劇 院 / 倫 敦 Ly r i c
Hammersmith劇院）、Jasper Jones（貝 爾沃劇院）及By Their Own Hands（MTC
Neon）。曾任悉尼貝爾沃劇院駐院導演 （2013-15）、Malthouse劇院駐院女導演 （11）和The Hayloft Project藝術總監 （10-13）。
音響設計（香港）Sound Design (HK)
温新康 Wan San Hong
Freelancer Production Company始創人之 一。畢業於香港演藝學院科藝學院，獲藝 術學士（榮譽）學位，主修舞台音響設計 及音樂錄音。 多年來曾與不同藝團合作，曾參與製作包 括：福建省梨園戲實驗劇團《陳仲子》； 榞劇場《小島芸香》、《榞創．異－當人 類的靈魂滯留地上》、《在牛池灣轉角遇 上彩虹》；香港音樂劇藝術學院《喬「樂」 無窮咖啡館》；中英劇團《羅生門》；香 港話劇團《祝你女途愉快》；西九文化區 《霸王別姬》（香港、內地及新加坡多次 重演）；普 劇場《貝貝的文字冒險》（首 演 及 重 演 ） ； 影 話 戲 《 我 的 50呎 豪 華 生 活》（首演及多次重演）、《看著你……》 （日本及韓國重演）、《那一夜，你來收 樓》、《盛宴》（首演及阿德萊德藝術節 重演）。 現為自由身舞台工作者，並兼職任教於演 藝進修學院。 Co-founder of the Freelancer Production Company, Wan San Hong received a Bachelor’s degree from the School of Technical Arts of the Hong Kong Academy for Performing Arts, majoring in sound design and recording.
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Anne-Louise works professionally as a director, writer and dramaturg. She is currently Artistic Director of the Lyric Ensemble at the Lyric Hammersmith London. Selected Malthouse Theatre shows include The Testament of Mary, The Fiery Maze, Ich Nibber Dibber (as dramaturg), and Thyestes. She has also directed Medea (Belvoir / Theatre Basel, Switzerland / Gate Theatre, London), Minnie and Liraz (Melbourne Theatre Company), Merchant Of Venice (Bell Shakespeare), Seventeen (Belvoir/Lyric Theatre, London), Jasper Jones (Belvoir) and By Their Own Hands (MTC Neon). Anne-Louise was Resident Director at Belvoir Street Theatre, Sydney from 20132015. In 2011, Anne-Louise held the position of Female Director in Residence at Malthouse Theatre. From 2010-2013 Anne- Louise was Artistic Director of The Hayloft Project.
Wan has collaborated with such companies and productions as the Experimental Theatre of Liyuan Opera of Fujian’s Chen Zhongzi; Radix Troupe’s The Isle, Radix Series: Dissimilation-Ageless, An Accidental Rainbow; Hong Kong 3 Arts Musical Institute’s Smokey Joe’s Café; Chung Ying Theatre’s Rashomon; HKRep’s Ladies! Bon Voyage! - a Cabaret; West Kowloon Cultural District’s Farewell My Concubine (Hong Kong premiere and re-runs); Pop Theatre’s The Writing Adventure of Bui Bui (premiere and re-run) and Cinematic Theatre’s My Luxurious 50 Sqft Life (premiere and re-run), Watching U… (Japan and Korea re-runs), The Night when You Come to Repossess the Flat and The Feast (premiere and Adelaide Fringe Festival). Wan is a freelance theatre practitioner and adjunct faculty at the Hong Kong Academy for Performing Arts’ Extension and Continuing Education for Life (EXCEL).
燈光設計 （香港）Lighting Design (HK)
謝徵燊 Mousey Tse
眾聲喧嘩成員。 畢業於香港浸會大學，獲文學士（榮譽） 學位，主修人文學；其後畢業於香港演藝 學院，獲藝術學士（榮譽）學位，主修燈 光設計。
現為自由身舞台工作者及香港演藝學院兼 職講師。
He has served as lighting designer and production manager for the Hong Kong Art Festival, HKRep, Hong Kong Arts Centre, On and On Theatre Workshop, Tang Shu-wing Theatre Studio, Rhapsoarts, Orleanlai Projects, Richochet Ensemble, Ho Bit Good, Whole Theatre Limited, Wanchai Theatre, Pants Theatre Production, Theatre Ronin, Class 7A Drama Group and Piece by Piece Theatre, among others.
A member of Heteroglossia Theatre, Mousey Tse majored in the humanities and received his Bachelor of Arts (Honours)
Currently he is a freelance theatre practitioner and adjunct lecturer at the Hong Kong Academy for Performing Arts.
畢業於香港演藝學院戲劇學院，獲藝術學士 （榮譽）學位，主修表演。憑畢業作品《賣 花女》飾Henry Higgins獲傑出演員獎。 2009-15年任香港演藝學院戲劇學院Skill Training、Winter Term - Martial Arts Workshop及詠春拳之客席導師。現為演 員、形體及動作指導、戲劇、詠春拳導師。
School of Drama, Guthrie Yip was named Outstanding Actor for his graduation performance in My Fair Lady (in the role of Henry Higgins). Between 2009 and 2015, he served as guest instructor at his alma mater in Skill Training, Winter Term–Martial Arts Workshop and Wing Chun. Yip is currently working as an actor, a movement director, as well as a drama and Wing Chun instructor.
曾為不同藝術團體擔任燈光設計及製作經 理，包括：香港藝術節、香港話劇團、 香港舞蹈團、香港藝術中心、前進進戲 劇工作坊、鄧樹榮戲劇工作室、華意 堂、Orleanlai Projects、凝動劇場、何必。 館、團劇團、灣仔劇團、一條褲製作、浪 人劇場、7A班戲劇組、一張紙劇場。
動作指導（香港）Fight Director (HK)
葉榮煌 Guthrie Yip
16年憑《大報復》獲提名第八屆香港小劇 場獎優秀男演員。演出及創作包括：香港 戲劇協會《小井胡同》、演讀體驗劇場— 經典文本系列《人民公敵》、《都是我的 孩子》（首演及重演）；鄧樹榮戲劇工作 室《馬克白》（倫敦莎士比亞環球劇場）、 《泰特斯2.0》（歐亞巡演）、2012香港藝 術節《泰特斯》（倫敦莎士比亞環球劇場、 德國巡演）。
助理導演 Assistant Director
邱廷輝 Yau Ting Fai
from Hong Kong Baptist University. Later, he received a Bachelor of Fine Arts (Honours) from the Hong Kong Academy for Performing Arts, majoring in theatre lighting design.
A graduate with a Bachelor of Fine Arts (Honours) majoring in acting from the Hong Kong Academy for Performing Arts’
In 2016, he was nominated as Best Actor for the 8th Hong Kong Theatre Libre Awards for his performance in The Big Revenge. His performances and creative output include: Hong Kong Federation of Drama Societies’ Xiaojing Hutong, Reader’s Theatre—An Enemy of the People, All My Sons (and re-run); Tang Shu-wing Theatre Studio’s Macbeth (London Globe Theatre production), Titus Andronicus 2.0 (Europe and Asia tour), Hong Kong Arts Festival’s Titus Andronicus 2012 (and London Globe Theatre and German tour).
畢業於香港演藝學院戲劇學院，主修表 演。2001年加入香港話劇團為全職演 員，18年轉任演員 / 導演。他在《盛勢》 中飾演無台詞的猴子一角，獲得一致讚 賞，更在12年同時獲第二十一屆香港舞台 劇獎最佳男配角（悲劇 / 正劇）及第四屆香 港小劇場獎優秀男演員。
HKRep in 2001, currently serving as actor/ director in the company. His non-speaking role (as a monkey) in The Heydays was widely acclaimed, winning him Best Supporting Actor (Tragedy/Drama) at the 21st Hong Kong Drama Awards and Outstanding Actor at the 4th Hong Kong Theatre Libre.
近年積極參與編劇及導演工作，其執導的 作品《〇》（兼任編劇）在12年更由日本 當地劇團於東京以日語製作上演，15年重 新編寫為ALONE，在香港演出後到首爾參 與第二十二屆BeSeTo中日韓戲劇節及於廣 州巡演。他亦憑《臭格》獲第二十二屆香 港舞台劇獎及第五屆香港小劇場獎最佳劇 本提名。
Apart from acting, Yau is also a playwright and director. A Japanese version of his work O (as playwright & director), was presented in 2012 by the Za-Koenji Public Theatre in Tokyo. In 2015, Yau rewrote O as ALONE and this version was presented in Hong Kong and Guangzhou, as well as Seoul as part of the 22nd BeSeTo Theatre Festival. In 2013, Yau was nominated in the Best Original Script category for The Cell at the 22nd Hong Kong Drama Awards and 5th Hong Kong Theatre Libre.
Graduated from the School of Drama, Hong Kong Academy for Performing Arts, majoring in acting, Yau Ting Fai joined the
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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香港國際黑盒劇場節《伊狄帕斯．豬亦拍屍》的協助致謝 Special Acknowledgements: 香港舞蹈團 Hong Kong Dance Company 曾協助排練的素人演員 Volunteers who helped in rehearsals 學界宣傳媒體 www.growsmart.hk 各大傳媒機構 Mass Media
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
（排名不分先後 In no particular order）
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聯合主辦 聯合主辦 Co-presented Co-presented by by
勘察兒童感知與 勘察兒童感知與 行動極限的驚世之作 行動極限的驚世之作
© Phile Deprez
© Phile Deprez
A provocative, A provocative, groundbreaking groundbreaking performance performance that that probes probes thethe limits limits of what of what children children know, know, feel, feel, and and dodo
/ 德國 / 德國 / 比利時 / 比利時 瑞士瑞士 SWITZERLAND SWITZERLAND GERMANY GERMANY BELGIUM BELGIUM
五段小品 五段小品 FIVE FIVE EASY EASY PIECES PIECES 31.10-3.11.2018 31.10-3.11.2018 香港藝術中心壽臣劇院 香港藝術中心壽臣劇院 Hong Hong Kong Kong ArtsArts Centre Centre Shouson Shouson Theatre Theatre
$380 $380 / $280 / $280 / $200 / $200
概念 Concept 概念 Concept | 文本| Text 文本| Text 導演| Direction 導演 Direction
Milo Milo Rau Rau
文本 Text 文本| Text 演出| Cast 演出 Cast
| Fons| Fons | Arno| Arno | | Aimone Aimone De Zordo De Zordo Dumont Dumont JohnJohn Keys Keys | Lucia | Lucia | Pepijn | Pepijn | | Blanche Blanche Ghyssaert Ghyssaert Redondo Redondo Siddiki Siddiki | Peter | Peter Eva Luna Eva Luna Van Hijfte Van Hijfte Seynaeve Seynaeve
門票現於城市售票網公開發售 門票現於城市售票網公開發售
劇場構作 劇場構作 Dramaturgy Dramaturgy
訂票 Book 訂票 Now Book Now
製作 Production 製作 Production
TicketsTickets now available now available at URBTIX at URBTIX
/ www / www .urbtix .urbtix .hk .hk 2111 2111 5999 5999 荷蘭語演出，附中英文字幕 荷蘭語演出，附中英文字幕 本劇含暴力意識場面 本劇含暴力意識場面 適合十二歲或以上人士觀看 適合十二歲或以上人士觀看 節目全長約 節目全長約 小時 分鐘，不設中場休息 1 小時1 30 30 分鐘，不設中場休息
Presented Presented in Dutch in Dutch with Chinese with Chinese and English and English surtitles surtitles This programme This programme contains contains scenesscenes with sense with sense of violence of violence Recommended Recommended for ages for12 ages and12above and above Approximately Approximately 1 hour130 hour minutes 30 minutes without without intermission intermission
StefanStefan Bläske Bläske
FundedFunded by Senatsverwaltung by Senatsverwaltung für für Supported Supported by The Flemish by The Flemish Kultur Europa und Berlin, EuropaPro Berlin, Helvetia, Pro Helvetia, Government, Government, The Province The Province of of Kultur und GGGErnst Basel, Göhner Ernst Göhner StiftungStiftung and and East Flanders East Flanders & The City & The of Ghent City of GhentGGG Basel, Fachausschuss Fachausschuss Tanz undTanz Theater und Theater BS_BL BS_BL (Basel) (Basel)
媒體贊助 媒體贊助
MediaMedia Sponsor Sponsor
節目詳情 節目詳情
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