流徙之女場刊 Sweet Mandarin(4th Run) House Program

11-13, 18-20/11/2022

上環文娛中心劇院 Theatre, Sheung Wan Civic Centre

“It is the story of an amazing family and their sweet and sour, hot and bitter lives.”

Xinran, author of the Good Women of China

本劇以粵語及英語演出， 附有中英文字幕

Performed in Cantonese and English with bilingual surtitles

creative terrenzchang@atVis | photography keith hiro

三代女流，五味紛陳 百年流徙，萬里尋珍

主辦

宣傳伙伴

一條褲製作為藝發局資助團體 Pants Theatre Production is financially supported by the HKADC

導賞手冊 Guidebook 《流徙之女》曾在 2020 年獲邀參與「賽馬會藝壇新勢力」 在港重演。 該次演出特備節目導賞手冊，從原著、海外華人歷史、性別 定型議題等多角度切入，為觀眾導讀《流徙之女》。 掃描 QR Code，即可閱覽導讀手冊。

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In 2020, Sweet Mandarin was revived in Jockey Club New Arts Power presented by Hong Kong Arts Development Council.

An appreciation guide was prepared for the show, which analyzes Sweet Mandarin from different angles, including the original novel, the history of overseas Chinese, gender roles, and so on.

You may read the full version of the appreciation guide by scanning the QR code.

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導演的話 Director’s Note

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兩年前《流徙之女》重演時，我沒想過會再上演這齣戲，所以有些用不著的服裝及道具都丟 棄了。誰知後來有幸成為上環文娛中心劇院的場地伙伴，因為上環的地利，應該有不少外語 觀眾，我想這個戲對他們應有吸引力，所以決定一再重演。 對本地華人觀眾來說，今天再看這齣戲應更有共鳴。自上次重演至今，與朋友見面時，少不 免談起移民。之前不少朋友還未拿定主意，再說起便已告知即將動身離港了。尤其是剛過去 的夏天，道別的說話不知說了多少遍，雖然當世界復常，即使遠在天邊，也許還有機會重逢， 但是離愁別緒總是難免。 香港人與「流徙」似是結下不解緣，我成長之時經歷 97 移民潮，想不到今日再次面對，只希 望借花敬佛，把這齣戲當作禮物，送贈無論離開或留下的香港人，正如本劇一句台詞：「明天 仍要開店！」我們還要生活，承傳優秀的香港精神，大家加油，好好生活下去！ 胡海輝

Two years ago, after the revival, I didn’t imagine that Sweet Mandarin would be staged again, so a lot of costume pieces and props were thrown away. Surprisingly and gratefully, we became the Venue Partner of the Theatre of Sheung Wan Civic Centre. Since there is a large community of non-Chinese living in Sheung Wan, the Theatre has great potential in developing a non-Chinese speaking audience. I believed that Sweet Mandarin should be appealing to them and thus, I decided to have another run this year.

Local Chinese audience would have even greater emotional response when they see the performance at this particular moment. Since its last rerun, during my meetings with friends, emigration has been a hot topic in conversation. Before, a lot of friends were still in two minds about emigration. When we mentioned it again lately, they told me that they were about to leave soon. During last summer, I have had a number of farewell meals.

When the world is back to normal, we may see each other again no matter how far we live apart, but it is always sad to say goodbye.

Migration seems always relevant to Hong Kong. In my upbringing, there were waves of emigration due to 1997. I didn’t expect it would happen again. I would like to offer this play as a present for both Hongkongers who have left and those who stay. Just as a line in the play says, “Tomorrow the restaurant will be open again!” we will continue to live, with the inheritance of Hong Kong’s remarkable spirit. Add oil, Hongkongers, let’s live for a better life!

Wu Hoi-fai

編劇的話 Playwright’s Note 如果包括上海 2018 的演出，今次已是《流徙之女》四度重演。啊，我一個小 小編劇竟然有個劇本可以四度重演，真的是要多得移民這股熱潮。重演，但「編 劇的話」我是不會重覆的，不過當我重讀兩年前的文章，那時正是移民潮開始 的時候，再想想身邊有多少人離開了，依然被自己所寫的觸動：「今天，流徙 已是全球化，未必是從鄉到城，但依然是為了更好的生活而流動。對於我這一 代，根在哪，家在哪？家鄉，是出生的，是成長的，是成家的，是居住的，還 是給予你身份的？」 寫於 2020 年重演前：

我的幼稚園和小學是這樣的：每年開學都要填學生資料，姓名呀、出生日期呀、 出生地點呀、父母姓名職業等，而其中一欄是籍貫。我問爸媽籍貫是什麼，鄉 下是也。那鄉下是哪裡？「就是爸爸出生的地方啊。」所以班上就出現不同爸 爸的鄉下：汕頭、汕尾、廣州、石岐、中山等等，而我從來都不知道這些地方 在哪裡，總之，就是鄉下地方吧。 問題兒童來了。若果爸爸是土生土長，那籍貫是哪裡？「那就爺爺出生的地方 啦。」然後，為什麼不是媽媽出生的地方⋯⋯為什麼不是婆婆⋯⋯為什麼籍貫 就是鄉下⋯⋯為什麼鄉下就是大陸⋯⋯為什麼為什麼⋯⋯ 為什麼我來讀書，你要知道我爸爸的鄉下在哪？

對我和一眾同學的父母來說，流徙多是從鄉下來到城市，所以「鄉下」真的是 鄉下地方。家鄉，家和鄉，鄉下是他們的根，家呢？哪裡是家？是出生的，是 成長的，是成家的，還是居住的？ 今天，流徙已是全球化，未必是從鄉到城，但依然是為了更好的生活而流動。 對於我這一代，根在哪，家在哪？家鄉，是出生的，是成長的，是成家的，是 居住的，還是給予你身份的？ 鄭廸琪

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This is the 4th run of Sweet Mandarin, including that run in Shanghai in 2018. Oh, what an achievement for a nobody playwright like me, with thanks to the emigration wave! Although this is a revival, I won’t just keep using the same playwright’s note. But when I reread the playwright’s note I wrote two years ago, when the emigration wave just began, and now considering how many people have really left, I am still touched, “Today, migration has gone globalized in which people no longer limit themselves from moving from the countryside to the city, but still, we are moving for a better life. How about my generation?

Where is the root and where is my home? Hometown, could it be the place you were born, grew up, married, lived, or the one which gave you an identity?”

Here is what I wrote in the playwright’s note in 2020, “My lives in kindergarten and primary school were more or less the same: every year when schools started, student information must be provided, such as name, date and place of birth, parents’ names and occupations, etc., and one of the columns was hometown, I asked my parents, ‘what does hometown mean?’ The answer was the rural area. Then what does the “rural area” mean? “It’s the place where I was born”, my father said. Thus, there were many rural areas of fathers’ appearing in the class: Shantou, Shanwei, Guangzhou, Shiqi, Zhongshan, etc., and I had never known where these places exactly are. In short, they are the rural areas.

My curiosity is piqued. If one’s father was in fact locally born and raised, where is his hometown then? “Well, it must be the place where one’s grandpa was born”, my father said. However, why is it not the place where one’s mother was born…why not one’s grandmother’s…why hometown refers to the rural area…why the rural area must be in Mainland China…why…why…

Why do my schools had to know my hometown anyway?

For my parents and those of my classmates, migration always denotes moving from the countryside to the city, hence the “rural area” is indeed rural. Hometown, home and town. If the countryside is their root, how about home? Where is home? Would it be the place you were born, grew up, married, or lived?

Today, migration has gone globalized in which people no longer limit themselves from moving from the countryside to the city, but still, we are moving for a better life. How about my generation? Where is the root and where is my home? Hometown, could it be the place you were born, grew up, married, lived, or the one which gave you an identity?”

Cheang Tik-ki

小說改編工作坊 小說改編工作坊 日期： 24/11, 1/12, 8/12, 15/12 （逢星期四，共4堂） 時間：8:00pm - 10:00pm

導師：鄭廸琪 @Big Ear Story 授課形式：Zoom 學費：$1200

如有查詢，請電郵至bigearstory@gmail.com， fb inbox # Big Ear Story 或 IG direct @ bigearstory

報名連結

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流徙女聲的主體書寫 蔡玉萍 香港中文大學社會學系教授 香港中文大學亞太研究所性別研究中心聯席主任

遷移、流徙是全球化下，不同國家、不同地域的很多人的共同經歷。南中國 沿海的華人在十八世紀就已經漂洋過海到東南亞、美國等地打工。雖然很多 早期的移民是男性，但到二十世紀，很多華人女性也同樣為了生活及養家而 冒險隻身離鄉別井。一九三十年代廣東省以自梳女身份到新加坡、香港及馬 來西亞等地當女傭的媽姐就是一個例子。在傳統社會男尊女卑、男主外女主 內的主流性別規範下，這些隻身遷移的女性如劇中的瓊（Lily）不但要面對 種族歧視，也要克服社會加諸於女性身上的種種枷鎖及責任。她們如何活出 甜酸苦辣的移民生活，面對生活的挫折及追尋夢想？她們如何平衡工作及母 職的雙重責任？她們的遭遇又如何的啟迪及影響下一代的女性？《流徙之女》 要説的就是這樣一個遷移女性的故事。 有別於把女性聚焦為父權制度下受壓迫者的角色，《流徙之女》給我們帶來了 一個新的、複雜的視角。劇中的第一及第二代女性固然受著傳統父權文化的 壓迫，但她們以勇氣、冒險精神及對子女責任的義無反顧的承擔勇往直前， 在移居地開拓了一片天。她們的夢想也啟迪了下一代的女姓，給予她們勇氣 去超越階級的想像，去追尋充滿未知的夢想。生活的歴練造就了這些遷移女 性堅毅的性格，縱使面對失敗，她們也展現出了豁達的胸懷及能從失敗中重 新站起來的韌性。 女性移民的故事無論在學術研究或在公眾討論中一直未得到充分關注，因為 女性遷移者很多時被視為被動的跟隨丈夫或家人遷移。直至九十年代初，女 性主義學者才大力的推動以女性移民為主體的研究及書寫。本劇目可説是承 續了這種精神，通過世代、家庭及華人飲食文化的蛻變及延續，透視了移民 女性在全球化下五味紛陳的人生。

Writing about The Voices of Female Migrants Prof. Susanne Choi Yuk Ping Professor at the Department of Sociology, the Chinese University of Hong Kong Co-director, Gender Research Centre, Hong Kong Institute of Asia-Pacific Studies (HKIAPS), CUHK

Migration and diaspora are a shared experience for many people across different countries and regions under globalization. Chinese migrants have long crossed the South China Sea to work in countries in Southeast Asia and to America since the 18th Century. Although most of the early Chinese migrants were men, many Chinese women have also left their homelands to migrate to foreign countries since the 20th century. The sworn spinsters (Cantonese Amah) from the Guangdong province who headed to Singapore, Hong Kong, and Malaysia to work as maids are examples of the early cohorts of female Chinese migrants. In the context of a traditional and patriarchal society, female Chinese migrants such as Lily in the play, were confronted with racial discrimination and constraints society imposed on women. How did they live out their dreams in a foreign country whilst overcoming the barriers in life? How did they balance their care and work responsibilities? How have their experiences and struggles influenced and inspired the younger generations of women? Sweet Mandarin is a story about the struggles, dreams, and inspirations of these female Chinese migrants.

Unlike other works that highlighted the oppression female migrants have experienced under patriarchal systems, Sweet Mandarin presents a fresh and nuanced perspective into the subject matter. Despite the oppression and obstacles, the first and second generations of female Chinese migrants in the Play have demonstrated their bravery, strength and dedication to provide a better life for their children, ultimately creating their own place in their destination society. Their dreams have inspired and motivated the next generation of women in their family, and empowered the latter to imagine a life beyond social class boundaries and to pursue their own dreams. The challenges and obstacles that female Chinese migrants such as Lily encountered during their migration and settlement have made them stronger. Even in the face of difficulties and failures, they have persevered and maintained their optimism and resilience.

Before the 1990s, the experiences and stories of Chinese female migrants had not been properly acknowledged in both scholarly research and in public debates.

This was because of the perception that female migrants were mostly trailing wives or daughters who relocated with their spouse and family. It was only until the early 1990s that feminist scholars have started to focus on the experiences of female migrants and given them a voice in research writings. This play inherits this feminist tradition to celebrate the lives of female migrants. It gives them a voice and narrated their stories through the transformation of generational values and aspirations, the bonds and conflicts of the Chinese families, and the Chinese culinary culture.

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Hong Kong’s one and only restaurant offering British Chinese Classics

Reservation

852 2116 4668

5/F The Pemberton, 22-26 Bonham Strand, Sheung Wan

Please show this flyer with your next booking and get a one time 20% discount off your food menu!

劇目簡介 Synopsis

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「有律師唔做，你走去做廚？！」Helen 的父親嘩然。

華人流散異地，往往以食謀生，只求下一代出人頭地，飛出廚房。英國長 大的 Helen 已是執業律師，偏偏逆其道而行。一次回鄉之旅，燃起 Helen、 Janet 及 Lisa 承傳祖傳廚藝的決心。她們毅然放下高薪厚職，拿起鑊鏟，

鑽研祖傳珍味，可惜得不到父母親的支持。Helen 開餐館一事，更挖開母親 Mabel 與祖母 Lily 已癒合多年的傷口。原來餸菜背後不只百味紛陳，還有家 族蜿蜒曲折的流徙歷程，令 Helen 重新品味自己既中且英的雙重身世。

“You want to be a chef, instead of a lawyer?!”

Helen’s father is stunned.

Catering is probably the most common business among the overseas Chinese community. The older Chinese generation labors day and night in order to free their younger generation of the chore of the kitchen. Helen, a British born Chinese, against all expectation left her lawyer job to set up her own restaurant. All the ambition and ideas arouse after a family trip back in Hong Kong and China. Together with her sister Janet and Lisa, Helen was ready to face any challenges. However, she had never thought that the biggest challenge was coming from her parents. Helen’s decision even opened the long-healed wound between her mother Mabel and grandmother Lily…

Helen discovered that her family cuisines were not only tasty but also full of dramatic stories, spanning almost a hundred years and crossing from Guangzhou via Hong Kong to England.

分場表 Scene List 序幕

1925 年，廣州往香港的小艇上； 2002 年，英國米爾頓，謝家。 第一場

2003 年，英國米爾頓，謝家。 第二場

1930 年，廣州。 第三場

2003 年，英國米爾頓，謝家。 第四場

1953 年，香港灣仔，瓊家。 第五場

2003 年；1959 年，英國米爾頓，瓊家。 第六場

1977 年，英國米爾頓，龍鳳餐館。 第七場

2003 年，英國米爾頓，謝家。 第八場

2002 年，廣州；

1978 年，英國米爾頓，新龍鳳外賣店。 尾聲

2005 年，英國曼徹斯特城， Sweet Mandarin 餐館。

Prologue 1925, A ship from Guangzhou to Hong Kong; 2002, Middleton, UK; Tse’s House.

Scene 1 2003, Middleton, UK; Tse’s House.

Scene 2 1930, Guangzhou.

Scene 3 2003, Middleton, UK; Tse’s House.

Scene 4 1953, Wanchai, Hong Kong; Lily’s House.

Scene 5 2003; 1959, Middleton, UK; Lily’s House.

Scene 6 1977, Middleton, UK; Lung Fung Restaurant.

Scene 7 2003, Middleton, UK; Tse’s House.

Scene 8 2002, Guangzhou; 1978, Middleton, UK; New Lung Fung Takeaway.

Epilogue 2005, Manchester, UK; Sweet Mandarin Restaurant.

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角色表 Character List 蘇育輝 So Yuk-fai

王曉怡 Wong Hiu-yee

高少敏 Ko Siu-man

羅正心 Law Ching-sum

譚安婷 Tam On-ting 李肇桐 Li Siu-tung

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Eric Tse

飾

婆（Lily 郭梁瑞瓊） Grandmother (Lily Kwok)

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Mabel Kwok /

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Helen Tse

飾 飾

梅/ Mui Leung /

太公 / Great Grandfather /

太婆 / Tai Po (Great Grandmother) /

Janet Tse

Lisa Tse /

少女 Mabel Kwok Young Mabel Kwok

Jimmy Tse /

Arthur Kwok /

Peter

製作人員名單 Production Team 原著 Original Author

Helen Tse

導演 Director

胡海輝 Wu Hoi-fai

編劇 Playwright

鄭廸琪 Cheang Tik-ki

演出 Actors

蘇育輝 Ben So

王曉怡 Wong Hiu-yee^ 高少敏 Ko Siu-man

羅正心 Law Ching-sum 譚安婷 Tam On-ting 形體設計及編舞 Choreographer and Movement Director 佈景及服裝設計 Set & Costume Designer 燈光設計 Lighting Designer

作曲及音響設計 Composer & Sound Designer 舞台監督 Stage Manager

執行舞台監督 Deputy Stage Manager

助理舞台監督 Assistant Stage Manager 監製 Producer

助理監製 Assistant Producer

字幕控制 Subtitle Operator

服裝主管 Costume Supervisor 化妝主任 Make-up Artist

燈光編程員 Lighting Programmer

^ 承蒙香港話劇團批准參與是次演出 ^ With the kind permission of Hong Kong Repertory Theatre

李肇桐 Li Siu-tung

呂沅蔚 Lui Yuen-wai

孫詠君 Suen Wing-kwan 鄭可聆 Cheng Hoe-ling 何子洋 Ho Tsz-yeung

丁美森 Dan May-sum

陳雅媛 Chan Nga-wun 陳積玉 Chan Chik-yuk 潘藹婷 Poon Oi-ting

杜卓頤 To Cheuk-yee

麥嘉聰 Mak Ka-chung 鄭皓諺 Cheng Ho-yin

湯詠斯 Tong Wing-sze

黃靖雯 Wong Ching-man

鄭翠萍 Cheng Tsui-ping, Jojo 黃思穎 Wong Sze-wing

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演出及製作人員簡介 Biography 藝術總監及導演 Artistic Director & Director

胡海輝 Wu Hoi-fai

先後畢業於香港中文大學及香港演藝學院戲劇學院，2008 年獲英國倫敦大學 中央戲劇及語言學院碩士，同年夏天獲亞洲文化協會基金獎學金前往美國考察 研究。現為一條褲製作藝術總監，近年銳意發展紀錄劇場。 胡氏為香港學校戲劇節首席評判及香港藝術發展局審批員，亦為香港科技大學 及香港演藝學院擔任兼職講師。2017 年胡氏獲民政事務局局長嘉許，以表揚 對紀錄劇場的貢獻。

Artistic Director and Co-founder of Pants Theatre Production; Examiner of Hong Kong Arts Development Council and Adjudicator of Hong Kong School Drama Festival. Graduate of the Chinese University of Hong Kong (BA in English) and The Hong Kong Academy for Performing Arts (BFA in Drama – Directing); the Central School of Speech and Drama, University of London (MA in Advanced Theatre Practice – Dramaturgy); Recipient of the Yiqingzhai Foundation Arts Fellowship, the Asian Cultural Council in 2008, the Outstanding Young Director Award in 2001 Hong Kong Drama Award and the Award of the Secretary for Home Affairs’ Commendation Scheme in 2017.

編劇 Playwright 鄭廸琪

Cheang Tik-ki

大耳創作 Big Ear Story 創辦人。

編劇／職業治療師／繪本作家／繪本老師等等等等多重身分。

劇本作品：《螢火》、《魚躍記》、《流徙之女》、《我的父親．我的兒子》、《好人 不義》、《未忘之書》、《柒肆零貳》、《長夜守燈》及《愛的實驗》。 繪本作品：《我的不速之客》

Founder of Big Ear Story, playwright, occupational therapist, picture book author, picture book tutor, and more.

Cheang obtained the Master of Fine Arts in Drama (Distinction) from The Hong Kong Academy for Performing Arts, majoring in playwriting. Her plays include Angel’s Gift, The Story of Leaping Fish, Sweet Mandarin, Fantasia on Fathers and Sons, An Unjust Good Fellow, An Unforgettable Chapter, 7402, Eternal Flame In The Dark and Experiment of Love – Harry Harlow.

Latest Picture Book: My Unwanted Guest.

Big Ear Story bigearstory

演員 Actor

蘇育輝 So Yuk-fai

演武者。劇場遊俠。

香港演藝學院戲劇學院表演系畢業。

A theatre warrior & a theatre flaneur.

So graduated from The Hong Kong Academy for Performing Arts in Drama (Acting).

演員 Actress

王曉怡 Wong Hiu-yee

現為香港話劇團全職演員。

畢業於香港演藝學院戲劇學院，獲頒藝術學士（榮譽）學位，主修表演。在校 期間，憑校內演出《櫻桃園》、《故園幽夢》及《新宅風雲》三度獲頒傑出演員 獎，亦曾獲春天舞台獎學金、恒生銀行獎學金及演藝學院戲劇學院院長獎學 金。其後於 2012 年獲李寶椿慈善信託基金—海外深造及專業培訓獎學金，往 法國 École Philippe Gaulier 深造一年。 2008-2018 年為中英劇團全職演員，參演多部作品，並曾聯合編寫及執導「香 港戲劇交流計劃：獨腳戲功」 《擁抱我！》 （由中英劇團與澳門文化中心合辦）。

曾憑《水滸嘍囉》於 19 年獲香港舞台劇獎最佳女主角（喜劇／鬧劇）；於 09 年憑《冰鮮校園》獲最佳女配角（悲劇／正劇）及 20 年憑《波音情人》獲最 佳女配角（喜劇／鬧劇）。另外，分別憑《夜鶯》、《搶奪芳心喜自由》及《過 戶陰陽眼》獲提名最佳女配角（喜劇／鬧劇）。 近期演出有：《兩刃相交》、《愛情觀自在》及電影作品《叔．叔》。

Currently a full-time actress at the Hong Kong Repertory Theatre.

Wong graduated from the School of Drama, Hong Kong Academy for Performing Arts, majoring in acting. During her school years, she received Outstanding Actor Awards for her performances in The Cherry Orchard, Arcadia and The New Apartment. She was a scholarship recipient of the Li Po Chun Charitable Trust Fund to attend a year-long course at the École Philippe Gaulier in France in 2012.

A former actress of the Chung Ying Theatre Company (2008–18), she was the co-director of Embraces (Monologue Diaries, Macao Cultural Centre’s AIR HK Exchange Project).

She has received accolades at the Hong Kong Drama Awards, including Best Actress (Comedy/Farce) for Water Margin’s Lou Luo, Best Supporting Actress (Tragedy/Drama) for Freshly Frozen School and Best Supporting Actress (Comedy/Farce) for Boeing Boeing. She was also nominated for Best Supporting Actress (Comedy/Farce) for her performances in The Nightingale, A Funny Thing Happened On The Way To The Forum and Go Go Ghost.

Her recent performances include Confrontations, Love à la Zen and film Suk Suk.

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演員 Actress

高少敏 Ko Siu-man

畢業於意大利聯合書院及美國 Colby College 戲劇及舞蹈系，獲優等生榮譽及 該系「優秀學生獎」，後獲香港演藝學院戲劇學院戲劇藝術碩士，主修表演。 在美期間，曾獲獎學金到倫敦的 Drama Centre London 進修演技及 Green Candle Dance Company 作實習。2012-2016 年為中英劇團駐團演員。現為 自由身演員，戲劇老師，瑜珈導師，及努力學習成為一個母親。

Ko graduated from the United World College of Adriatic in Italy, then graduated with the Phi Beta Kappahonour from the Theatre and Dance department of Colby College in the United States. Later she received her Master of Fine Arts in Drama from The Hong Kong Academy for Performing Arts, majoring in acting. During her studies in the States, she also attended an exchange program in Drama Centre London and interned at Green Candle Dance Company.

Previously an actress of Chung Ying Theatre Company (2012-2016), she now works as a freelance actress, drama educator, yoga teacher, and learning to be a mother.

演員 Actress

羅正心 Law Ching-sum

香港演藝學院戲劇學院學士畢業生，主修表演。曾於美國波士頓留學主修舞台 表演，於 2020 年從香港演藝學院畢業。 近期參與演出包括：R&T《男人 show 得吧》、一條褲製作《流徙之女》、音樂 劇作《Come Out! A Physical Cabaret》、香港演藝學院及中英劇團合辦《備忘 錄》

校內參與演出包括：《無言劇》、《青春的覺醒》、《Unknown 進行中》、音樂劇 《Rent》。 並且在《青春的覺醒》中憑 Ilse 一角獲第十一屆香港小戲場獎優秀女演員之提 名。

Law graduated from The Hong Kong Academy for Performing Arts, majoring in Acting. She also received an Associate Degree at Bunker Hill Community College in the Boston, majoring in Theatre Studies.

Her recent theatre credits include Man of la Central by R&T Tap, Sweet Mandarin by Pants Theatre Production, Come Out! a Physical Cabaret by the Musical Trio, Memorandum by the Hong Kong Academy for the Performing Arts along with Chung Yung Theatre Company.

Her school production theatre credits include Acte Sans Parlos, Spring Awakening, Unknown: Living in Progress, and Rent. She received a nomination for “Best supporting Actress” with Spring Awakening by the Hong Kong Theatre Libre.

演員 Actress

譚安婷 Tam On-ting

2018 年 畢 業 於 香 港 演 藝 學 院 戲 劇 學 院， 主 修 表 演。 在 校 時 憑《 嚎 叫 》 獲 得「 最 傑 出 演 員 獎 」。 近 期 舞 台 演 出 包 括 前 進 進 戲 劇 工 作 坊《 案 內 人 HongKongShima》。​

Pearlmi Tam 譚安婷

2019 年至 2021 年加入一條褲製作擔任駐團實習演員，參演作品包括《長夜守 燈》、《愛的實驗》（錄播版）、 《最危險的時候》讀劇、《棉絮飄飄》互動劇場、 《流徙之女》（三度重演）、《捌次二〇四七》、《香港藝術的前世今生》、《2047 的上半場與下半場》等。

電影方面曾於寰亞電影《那一天我們會飛》中飾演鄧巧靜一角。譚氏亦喜愛寫 作，曾於普劇場主辦的「第三屆心之河土壤栽培計劃」憑《不避風的港》獲得 優異劇本。近期亦參與電影英皇娛樂《阿媽有咗第二個》編劇助理。 ​現為自由身演員、中小學戲劇課導師、編劇。

Tam graduated from The Hong Kong Academy for Performing Arts in Drama (Acting) in 2018. While training at school, she was awarded the outstanding actor (ensemble) award for her performance. Howl. Recent theatre credits include HongKongShima by On and On Theatre Workshop.

She worked as a full time actor trainee in Pants Theatre Production from 2019 to 2021, and joined various productions, including Eternal Flame in the Dark, Experiment of Love – Harry Harlow (Streaming version), Tian Han in the Storm (Play reading), Cotton Grass in the Wind (Interactive theatre), Sweet Mandarin (3rd Run), 2047 x 8, What About Art in Hong Kong, et al. She also starred in Media Asia Film’s She Remembers, He Forgets.

She is also keen on writing, previously receiving Outstanding Play at The 3rd Heart River Cultivation Programme at Pop Theatre. Recently, she also participated in film Mama’s Affair as assistant to playwright.

She is currently a freelance actress, drama teacher and a playwright.

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演員 Actor

李肇桐 Li Siu-tung

香港人。自由身演員。

2019 年畢業於香港演藝學院戲劇學院表演系。活躍劇場製作，近期演出包括： 劇場空間《神探福邇，字摩斯》、演戲家族《路比和嫲嫲的鐵路五號》、《高加 索傳奇》、想不到戲劇節《殺死她十七次》、香港藝術節《我們最快樂》、中英 劇團《羅生門》（重演）等。另外圍讀演出包括《影子盒》、《愈來愈難集中精 神》、《罪該萬死》等。

曾 參 與 拍 攝 港 台《 獅 子 山 下 》 劇 集、MV 拍 攝 李 妍《Shopaholic》、 Rubberband《此刻我們》及鮮浪潮《完全自殺手冊》等。 Hongkonger and freelance actor.

Li graduated from the Hong Kong Academy for Performing Arts in Drama (Acting) in 2019. He is active in theatre productions, with recent theatre credits including House of Detectives – Hong Kong Remakes by Theatre Space, Cinematic Moments on Train No.5 and The Caucasian Chalk Circle Musical (Reading) by Actors’ Family, Attempts On Her Life by HKAPA School of Drama: The Unthinkable Drama Festival, We Are Gay by Hong Kong Arts Festival, Rashomon (Re-run) by Chung Ying Theatre Company, and play reading performances including The Shadow Box, Ztížená možnost soustředění, Sins, and more.

He also took part in various filming activities, including RTHK’s Below the Lion Rock series, music video of Leanne Li and Rubberband, and The Handbook of Suicide Prevention at Fresh Wave.

編舞及形體指導 Choreographer and Movement Director

呂沅蔚 Lui Yuen-wai

畢業於香港演藝學院學士學位，主修現代舞及編舞。隨後加入城市當代舞蹈團 成為全職舞者。曾隨團到訪德國、意大利、廣州、北京等地方演出。現為自由 身舞者、編舞及導師。

近期演出包括編舞李健偉的《兔子先生的時光旅行》、黃靜婷的《夜光飛行》、 《遙遙之城》 、《人圖》以及《人間。獨白 II》，並到杜塞爾夫及釜山演出。近年 編舞作品包括《岌岌可危》、香港藝術節《同呼同吸》。除了舞蹈演出以外，呂 氏亦曾參與多個話劇演出，曾合作劇團包括香港話劇團、戲劇農莊以及浪人劇 場。

Lui graduated from The Hong Kong Academy for Performing Arts, majoring in Contemporary Dance and Choreography. She joined the City Contemporary Dance Company as a full-time dancer and has subsequently performed in Germany, Italy, Guangzhou, and Beijing. She is currently a freelance dancer, choreographer and tutor.

Her recent performing credits include A Journey of Mr. Rabbit by Max Lee Kin-wai, Light Flight the Night, Maybe Tomorrow, Our Atlas, and Heaven Behind the Door II by Chloe Wong, subsequently touring in Dusseldorf and Busan. Her recent choreography includes On the Edge and Respiration (Hong Kong Arts Festival). Apart from dance performances, Lui also participates in various theatre performances, and have worked with the Hong Kong Repertory Theatre, Theatre Farmer, and Theatre Ronin.

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佈景及服裝設計 Set & Costume Designer

孫詠君 Suen Wing-kwan

畢業於香港演藝學院藝術學士 ( 榮譽 ) 學位課程，主修舞台及服裝設計，在學 期間獲頒多個獎學金。2019 年憑作品《死人的手機》獲提名第二十九屆香港 舞台劇獎之最佳舞台設計、《此地他鄉》獲國際演藝評論家協會（香港分會） 提名「IATC(HK) 劇評人獎」年度舞台美術獎。2018 年憑《培爾·金特》榮獲 第二十七屆香港舞台劇獎之最佳舞台設計。自 2016 年起 於香港演藝學院設計 學院擔任客席講師，現為該校駐校藝術家。

近期作品包括：唯獨舞台《全世界靜哂！》；劇場工作室 x Love Production 《4000 里》 ；鄧樹榮戲劇工作室《超自然之戀》 ；劇場空間《死亡和我有個約會》、 《謀殺迴路》、《生死裁決》、《謀殺啟示》;《陳健安 2020 以青春之名演唱會》， JB《我要玩》演唱會 2021；劇場工作室《大夜蕭條》；風車草《新聞小花的吿 白》 ；音樂劇《奮青樂與路》重演；香港話劇團《祝你女途愉快》、 《慾望號雞批》 ； 天邊外劇場《培爾·金特》；香港藝術節《炫舞場》首演及巡演；香港演藝學 院《魔零》；同流《毒》、《巴黎公社的日子》、《赤道上的冰花男孩》、《拚死為 出位》重演、《都市的聲音》、《心靈病房》 ；一條褲製作《父子母女一場……》、 《Gwelio》等等。 同時亦活躍於澳門的舞台設計，作品包括：戲劇農莊《心洞》、《浮沙》、《勇猛 辣媽》；澳門演藝學院舞蹈學校《守望》、《日出印象》；澳門劇社《李爾王》； 友人創作《螳螂捕蟬》、《荒幕行人》、《順風·送水》等。

Suen graduated from The Hong Kong Academy for Performing Arts, with a Bachelor of Fine Art (Honor), majoring in set and costume design. She was awarded several Scholarship Awards during her study. She was nominated Best Set Design in the 27th Hong Kong Drama Award for Dead Man’s Cell Phone in 2021, and Scenography of the Year for Foreign Land in 2020. She won The Best Set Design in the 27th Hong Kong Drama Award for Peer Gynt in 2018. She has been teaching at the HKAPA design school since 2016 and currently as an artist in residence.

Her recent theatre design credits include: Sh……… (The Only Stage); 4000 Miles (Drama Gallery x Love Production); Larger Than Life (Tang Shu-wing Theatre Studio); Appointment with Death X Go Back for Murder, Verdict, A Murder is Announced (Theatre Space); On Chan 2020 Live Concert; JB Live Concert 2021; The Great Little Depression (Drama Gallery); No News is True News (Windmill Grass Theatre); Sing Out musical (Re-run); Ladies, Bon Voyage! A cabaret, Roads to Chicken Pie (Hong Kong Repertory Theatre); Peer Gynt (Theatre Horizon); Danz Up premiere and tour (Hong Kong Arts Festival); Morning (Hong Kong Academy for Performing Arts); Poison, The Days of the Commune, Frosty Boy on the Equator, Stones in His Pockets rerun, Sound of the City, Wit (We Draman); My Dad, My Mom, My Son and My Daughter…, Gweilo (Pants Theatre Production).

She is also active in stage design in Macau, credits include: Rabbit Hole (Theatre Farmers), School of Dance at Macao Conservatory, King Lear (Associacao de Arte Dramatica de Macau), To Kill or To Be Killed, Invisible Men (Brotherhood Art Theatre).

燈光設計 Lighting Designer

鄭可聆 Cheng Hoe-ling

香港演藝學院科藝學院一級榮譽畢業，主修舞台燈光設計。

燈光設計作品包括第十屆華文戲劇節代表地區演出《馬克白》、香港演藝學院 《兒欺》、演戲家族《老子駕到》、一條褲製作《2047 的上半場與下半場》、《捌 次二〇四七》等。

Ling graduated with first-class honours from the Hong Kong Academy for Performing Arts, majoring in lighting design.

Her theatre credits include Macbeth (the Hong Kong representative for the 10th Chinese Drama Festival), Luna Gale (The Hong Kong Academy for Performing Arts), Lo’s Here (Actors’ Family), the First and Second Half of 2047 and 2047 x 8 (Pants Theatre Production).

作曲及音響設 Composer & Sound Designer

何子洋 Ho Tsz-yeung

聲音藝術家、聲響設計師及混音工程師，2012 年畢業於香港演藝學院，主修 音響設計。參與劇場、獨立電影、動畫、編曲等不同範疇的音響設計。個人作 品多探索聲音與空間的關係，以不同的聲音素材，建構獨特的聲音空間，締造 獨一無二的聽覺體驗。

Ho is a sound artist, sound designer, and mixing engineer. He graduated from the Hong Kong Academy of Performing Arts in 2012, majoring in sound design. His works include theatre sound design, independent film music and sound mixing, animation sound effects, and music arrangement. He explores the relationship between sound and space, and through the use of diverse effects he creates unique soundscapes and unparalleled aural experiences.

舞台監督 Stage Manager

丁美森 Dan May-sum

參與舞台工作超過三十年，與無數的業餘及職業劇團合作過，曾為明日劇團及 中英劇團全職工作人員，現為自由身舞台工作者。 曾經參與的舞台工作範疇包括：演員、導演、化妝師、木偶及皮影師、舞台監 督、佈景設計及道具製作、技術統籌及製作統籌等。

Dan has participated in theatre productions for more than 30 years, and have worked with numerous professional and amateur theatre companies, engaging in roles including actor, director, make-up artist, puppeteer, stage manager, set and props production, technical management and production management. Previously a full-time production staff for Mingri Theatre and Chung Ying Theatre Company, he is now a freelance theatremaker.

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執行舞台監督 Deputy Stage Manager 年月很惡沒太多仍然能保衞

陳雅媛 Chan Nga-wun

從來難敵時代的洗禮

Time is relentless, there’s not much you could defend.

The passage of time is one that you cannot repel.

助理舞台監督 Assistant Stage Manager

陳積玉 Chan Chik-yuk

超過十年從事不同媒體的工作經驗，主力於舞台製作、廣告、宣傳短片及各類 型典禮等。曾與不同團體及機構合作，擔任節目統籌、舞台監督及行政總監。 近年曾參與的項目包括香港舞蹈聯會大型舞蹈劇等。

Chan has more than ten years of experience in different media, focusing on stage production, advertising, promotional videos, annual dinners, and various types of ceremonies. She has worked with performing groups and organizations as program coordinator, stage manager, and administrative director. In recent years, she has participated in projects including Hong Kong Dance Federation large-scale dance drama.

監製 Producer

潘藹婷 Poon Oi-ting

畢業於嶺南大學文化研究系。過往曾擔任雜誌編輯、藝術活動統籌等工作，並 先後於社區文化發展中心、香港藝術發展局及香港藝術中心工作。2014 年獲 「藝術行政人員海外培訓計劃」資助，於澳洲「阿德萊德藝術節中心」實習。

近年參與製作包括：《同行尋光》、《父子母女一場……》（首演及重演）、《時 代記錄者》、《戲劇與社會︰紀錄劇場節》、《回溯重構：1967》 、《流徙之女》 （上海重演）、《金童子》（重演）、《讀癮起》演讀劇場系列及《一個人的政治： 長毛》。 Poon graduated from the Cultural Studies Department of Lingnan University.

She has previously worked as a magazine editor, project coordinator, in organizations including Centre For Community Cultural Development, Hong Kong Arts Development Council and Hong Kong Arts Centre. She was granted the Fellowships for Arts Management Experience in 2014 to intern at the Adelaide Festival Centre in Australia.

Her recent production credits include: Together in Search of Light, My Dad, My Mom, My Son and My Daughter… , On The Record, Theatre and Society: Documentary Theatre Festival, 1967 Rerun, Sweet Mandarin (Re-run), Gweilo (Re-run), Play Reading Series and A Hong Konger’s Political Journey: Long Hair.

助理監製 Assistant Producer

杜卓頤 To Cheuk-yee

畢業於香港中文大學新聞及傳播學院，主修創意媒體。現職一條褲製作行政， 最近參與製作：路過北角參與式互動劇場《變變變新大陸》、《同行尋光》、 《愛 的實驗》、 《最危險的時候》、 《長夜守燈》、 《黑暗燃燒》及第三屆紀錄劇場節— 新進紀錄劇場讀劇展演。

To graduated from the School of Journalism and Communication at the Chinese University of Hong Kong, majoring in creative and new media.

Currently an administrative officer at Pants Theatre Production, her recent production credits include: Urban Participatory Theatre, Together in Search of Light, Experiment of Love – Harry Harlow, Tian Han in the Storm, Eternal Flame In The Dark, In the Burning Darkness, and Theatre of Society: 3 rd Documentary Theatre Festival, Documentary Theatre Play-readings Showcases.

助理監製 Assistant Producer

麥嘉聰 Mak Ka-chung

畢業於香港浸會大學電影及電視專修，白紙一張，不諳世事。最近參與製作： 《最危險的時候》、《長夜守燈》、《黑暗燃燒》及第三屆紀錄劇場節－新進紀錄 劇場讀劇展演。

Mak graduated from the Hong Kong Baptist University with a Honors Bachelor’s degree of Communication in Film (Film and Television Concentration). His production credits include: Tian Han in the Storm, Eternal Flame In The Dark, In the Burning Darkness and Theatre of Society: 3 rd Documentary Theatre Festival, Documentary Theatre Play-readings Showcases.

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助理監製 Assistant Producer

鄭皓諺 Cheng Ho-yin

畢業於香港浸會大學，主修新媒體及影視創意寫作。現職一條褲製作行政，相 信細胞的自我修復機制。近年參與製作包括：一條褲製作《同行尋光》、《愛的 實驗》、《最危險的時候》、《長夜守燈》、《黑暗燃燒》及第三屆紀錄劇場節— 新進紀錄劇場讀劇展演。

Cheng graduated from the Baptist University of Hong Kong, majoring in creative writing for film, television, and new media. His production credits include: Together in Search of Light, Harry Harlow, Tian Han in the Storm, Eternal Flame In The Dark, In the Burning Darkness and Theatre of Society: 3 rd Documentary Theatre Festival, Documentary Theatre Play-readings Showcases.

字幕控制 Subtitle Operator

湯詠斯 Amy Sze

劇場新人、監製及導演，港英兩邊走。先後畢業於香港中文大學文化管理文學 士課程及倫敦中央演講和戲劇學院（MA Advanced Theatre Practice）。最近 合導及監製作品 Rooms Left Behind 於倫敦 LIFT Festival 首演。

Amy is a theatre producer and director based in Hong Kong and London.

She graduated from the bachelors programme in Cultural Management at the Chinese University of Hong Kong and received her master’s degree at the Royal Central School of Speech and Drama (London) for MA Advanced Theatre Practice. Her recent co-producing and co-directing piece Rooms Left Behind has premiered at LIFT Festival (London).

一條褲製作簡介 About Pants Theatre Production 成立於 1995 年 12 月，2012 年重組，邁向成為全職劇團，在 2019 年躍升為藝發局三

年資助藝團，更於 2022 年成為上環文娛中心場地伙伴。一條褲製作秉承多年來開拓的

成績與方向，本著「立足舞台，放眼社會」的精神，全面投入本地劇壇，推出更多內容

與形式同樣鮮活而有意義的作品，期盼以戲劇回應、回饋、改變社會。劇團現正朝著三 個主要方向發展：演出、應用戲劇及研究與保存，以所知所長，令本地劇壇更百花齊放。

劇 團 近 年 致 力 發 展「 紀 錄 劇 場 」（Documentary Theatre） 及「 人 種 誌 戲 劇 」

（Ethnotheatre） ，更大膽嘗試將此創作方式應用至本地議題上，成為本地劇壇先鋒，現 正籌辦第三屆的「紀錄劇場節」，進一步令戲劇藝術與社會產生更緊密的關係。

Founded in 1995, Pants Theatre Production was restructured in 2011 with Hoi-fai Wu as Artistic Director and was developed into a professional theatre company.

In 2012, it started receiving the One Year Grant from the Hong Kong Arts Development Council. In July 2019, we were promoted to Three Year Grant status and became the Venue Partner at Sheung Wan Civic Centre in 2022.

Our work lies in theatre while we keep a vigilant eye on our community and environment.

We have created a number of remarkable theatre productions relating to various social issues. Recently we advocate documentary theatre, an effective tool to turn meaningful materials into exciting theatrical works with artistic imagination. Recent critically acclaimed productions include The Laramie Project and its sequel: 10 Years Later, 1967, Sweet Mandarin, Gweilo, Estate Agents, On the Record and My Dad, My Mom, My Son and My Daughter... 董事局主席 Chairman of the board of Directors 董事局成員 Directors 藝術總監 Artistic Director

行政經理 Administrative Manager 行政主任 Administrative Officer

藝術行政見習員 Art Administrator Trainee

周偉強

Chow Wai-keung

黃婉萍

Wong Yuen-ping, Estella

李浩儀 簡淑明 劉天明 胡海輝 潘藹婷

Lee Ho-yee Kan Suk-ming Lau Tin-ming Wu Hoi-fai Poon Oi-ting

鄭皓諺

Cheng Ho-yin

麥嘉聰

Mak Ka-chung

杜卓頤

To Cheuk-yee

27

成為一條褲之友

入會費用全免 ! 會員盡享優惠包括：

- 定期透過電郵收取一條褲製作的最新資訊 及優惠

- 憑「一條褲之友」會員卡於城市售票處購 買本團主辦之演出門票，即享折扣優惠 - 會員參加本團舉辦的工作坊可專享折扣優 惠 登記方法：

1) 請填妥問卷下方的表格並以電郵、傳真或 郵寄方式交回，或 2) 掃描以上 QR code 填妥申請表格，或

3) 到 www.pants.org.hk 填妥網上入會表格。

本團將於七日內回覆確認，會員卡將會於兩 星期內郵寄予閣下。

Join Friends of Pants for FREE and enjoy the following privileges: - Receive newsletter about our latest activities & promotions - Enjoy ticket discounts for Pants Theatre Production presented shows by presenting the card at sales counter of URBTIX Outlets upon purchase - Enjoy discount on workshops presented by Pants Theatre Production Application Method: 1) Please fill in the information at the bottom of the questionnaire, return to us by e-mail / fax / mailing, or 2) Scan the QR and fill in the application form, or 3) Complete the online application form at www.pants.org.hk.

We will confirm your application within 7 days, and membership card will be mailed to the correspondence address within 2 weeks.

支持一條褲製作

一條褲製作本著「立足舞台，放眼社會」的 精神，期盼以戲劇回應、回饋、改變社會。 您的支持將有助本團更全面地發展「戲劇演 出」 、 「應用戲劇」及「研究與保存」三大方向。 捐款 HK$500 或以上者： 我們將於同年的各演出場刊中作特別鳴謝 捐款 HK$100 或以上者： 將獲發捐款收據申請扣稅

* 您亦可指定捐款贊助本團「學生專場」門 票，令更多本地學生能夠接觸戲劇藝術。 歡迎閣下致電 2419 9006；或傳真至 2419 9789；或電郵至 info@pants.org.hk 聯絡本 團向我們捐助。

Pants Theatre Production acts as the catalyst to produce works that reflect and respond to the Hong Kong society. We believe that theatre can be the witness of our time, as well as advocating changes for a better world.

Your support will help us grow and develop in diverse aspects.

Donations of HK$500 or above will be acknowledged in our house programmes of the year.

Donations of HK$100 or above are tax deductible with the official donation receipt. * You can also specify to sponsor the Student Performance ticket, help local students get exposure to performing arts.

You are welcome to make your donation by contact us through telephone: 2419 9006; or fax: 2419 9789; or email: info@pants.org.hk.

如遇特殊情況，一條褲製作保留更改節目及表演者的權利。

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我們與超過100個本地及外國著名藝團合作 專注為文化藝術及舞台表演提供宣傳策劃與推廣服務

HOC PRODUCTION LIMITED

。文案創作 。活動策劃 。公關宣傳 。廣告設計 。錄像製作 。門票預售

熱線：3599 6963 網站：www.chasing-culture.com

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鳴謝 Acknowledgement（排名不分先後 Listed in no particular order） -

鄧潔蓮 CHAN LUNG FUNG Scarlett CHAN & Sunny CHAN 葉卓邦 中英劇團 Chung Ying Theatre 愛麗絲劇場實驗室 Alice Theatre Laboratory 少言劇團 Siu Yin Theatre 三角關係 Trinity Theatre 同流 We Draman Group 好 TEEN 戲 Teens Theatre 自在觀 Zi Zai Guan 香港戲劇協會 Hong Kong Federation of Drama Societies 獨立媒體 Hong Kong In-media 上環文娛中心 Sheung Wan Civic Centre 1908bc 各擺放單張及海報的書店、咖啡室、餐廳及商舖 Bookshops, cafés, restaurants and shops that display the publicity of Sweet Mandarin

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演出問卷 Questionnaire

感謝各位觀眾對《流徙之女》的支持， 盼望您在欣賞演 出後可以填寫以下問題， 給予我們寶貴的意見。

Thank you for supporting Sweet Mandarin (4th Run).

Please take a few minutes to leave us some comments or feedbacks.

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 phone and any other sound and light emitting devices before the performance. We also forbid eating and drinking, as well as unauthorized photography, audio and video recording in the auditorium. Thank you for your co-operation.

如遇特殊情況，主辦機構保留更換節目及表演者 的權利。 The presenter reserves the right to substitute artists and change the programme should unavoidable circumstances make it necessary. 演出長約 2 小時 15 分鐘，不設中場休息 Approximately 2 hours and 15 minutes without intermission

遲到者須待節目適當時候方可進場 Latecomers will only be admitted until the intermission or a suitable break in the programme

香港藝術發展局全力支持藝術表達自由，本計劃內容並不反映本局意見。 Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.

www.pants.org.hk info@pants.org.hk

主辦

宣傳伙伴

一條褲製作為藝發局資助團體 Pants Theatre Production is financially supported by the HKADC

creative terrenzchang@atVis | photography keith hiro

一條褲製作 Pants Theatre Production