Toy Factory Productions Ltd TOY 肥料厂 (Singapore)
A DREAM UNDER THE SOUTHERN BOUGH: REVERIE
31 May - 2 Jun Fri & Sat, 8pm Sun, 3pm Drama Centre Theatre 2h 20m, including a 20min intermission
Photo by Barbara Braun/MuTphoto
南柯一梦 之 如梦
MESSAGE FROM THE FESTIVAL DIRECTOR When I was appointed as the new Festival Director for Singapore International Festival of Arts (SIFA) last year, one of the central tenets of the curation process we put in place was to present work by game-changing artists. From the outset of my three-year tenure, it was important to me that SIFA challenges audiences intellectually, emotionally and artistically, allowing them to experience works they would not normally have a chance to see in Singapore. Last year, I found myself huddled amid the sand dunes and pine forests of Terschelling Island off the north coast of The Netherlands, to watch Bedtime Stories, a brilliant one-man show which we are bringing to SIFA this year. It reminds us that powerful stories can be told with the simplest of tools - in this case, the actor’s voice. Or through elaborate work such as the cross-cultural, multi-faceted Dionysus by Tadashi Suzuki. Game-changing artists and work exist everywhere – it is our mission to find them and bring them to you. This season, SIFA 2019 is proud to present provocative and challenging works by artists from Singapore and abroad. Our local Festival commissions explore contemporary issues and daringly bring to the spotlight lesser-known facets of Asian history and culture. Toy Factory will realise its innovative re-interpretation of a beloved Ming play. Checkpoint Theatre delves into the realities of the humanitarian aid industry, while Singaporean artist Ho Tzu Nyen investigates some of Southeast Asia’s most shadowy historical figures. On the international front, SIFA is delighted to welcome to our shores works by worldrenowned theatre directors Tadashi Suzuki and Simon McBurney, legendary musicians Ryuichi Sakamoto and Bill Frisell, and groundbreaking choreographers Gisèle Vienne and Sasha Waltz.
SIFA 2019 audiences can also expect to see a greater range of multidisciplinary work that defies easy classification, from pushing boundaries between theatre and dance in ST/LL by Japanese artist Shiro Takatani, to the use of virtual reality and binaural sound in Frogman by UK company curious directive. SIFA will also present Silo Theatre’s Peter and the Wolf for families, as well as free outdoor performances in non-traditional venues for audiences of all ages. Festival House will be back this year, as the epicentre of SIFA 2019. Here, audiences and artistes can extend their engagement with the Festival beyond the performance, as well as engage with each other, through a range of talks, workshops and master-classes to delve deeper into the themes and perspectives of each show. SIFA 2019 would not have been possible without the support of CEO Sarah Martin; our three extraordinary producers – Junmin, Rydwan and Sara; and the phenomenal team at Arts House Limited. I would like to thank each of them for their dedication and passion. Finally, I would like to warmly welcome you, our audience, to SIFA 2019. We look forward to taking you on this exciting journey with us.
Gaurav Kripalani Festival Director
艺术节总监的话 在我去年被委为新加坡国际艺术节（SIFA）的总监 时，我们团队就定下策划的核心原则，其一就是要 呈献勇于突破常规艺术家的作品。在我的三年任期 内，SIFA要能在无论是在知性、感性或艺术上都能 挑战观众，推动观众去体验去欣赏他们通常无法在 新加坡看到的作品。
去年，我到荷兰北岸泰尔斯海灵岛的沙丘和松林中 观赏《睡前故事》——这也是我们今年带来的一台精 彩的独角戏。它提醒了我们，强大的故事，是可以透 过最简单的工具——在这台戏里是人声；也可以透过 精心制作的作品，如日本现代戏剧大师铃木忠志的 跨界跨文化的《酒神狄俄尼索斯》。艺术家的颠覆性 作品无处不在，找寻它们并把它们给带到新加坡的 舞台上，是我们的使命。
今年，我们很高兴能够带来国内外艺术家振奋人心 和极具挑战性的作品。在SIFA的委约下，我国艺术 家的新作，除了探讨当代课题外，也包括大胆的把鲜 为人知的亚洲历史文化带到舞台上：TOY肥料厂将 继续重新诠释明代剧作家的史诗之作；Checkpoint 剧团深入研究人道主义援助的实际状况；而我国艺 术家何子彦则调查研究东南亚其中一位最神秘隐晦 的历史人物。 在国际方面，SIFA很高兴能够邀请到世界知名的艺 术家前来本地呈献精彩的演出，他们包括剧场导演 包括铃木忠志和赛门‧麦克伯尼、传奇音乐家坂本龙 一和比尔‧弗力索、开拓性编舞家吉赛尔‧韦安和莎 夏‧瓦兹。
SIFA的观众也可预期看到更多无法轻易归类的跨 界作品，包括高谷史郎竭力拓展剧场与舞蹈疆界的 ST/LL、英国探‧向剧团运用虚拟现实和双耳声的《 蛙人》。 此外，SIFA还将呈献老少皆宜的《彼得与狼》 （新西 兰希罗剧团），并在多个非传统演出场地安排多不胜 数的阖府统请免费户外表演。
艺术节举行期间，我们将再次把艺术之家装点成“节 日之家”，让它重新肩负艺术节焦点中心的重任。届 时，观众和艺术家可以在这里自由分享交流，并利用 在这个平台上所举行的讲座、工作坊或是大师班等 等，更多更深的了解各项演出节目的主旨与观点。 我要感谢艺苑公司总裁莎拉马丁的支持，感谢三位 制作人：Jun Min、Rydwan和Sara的精心策划，以及 艺术节工作团队成员的倾情投入。是他们的热情与 能耐，使SIFA 2019能够成功举行。
最后，我要热烈的欢迎您来到今年的SIFA！欢迎您同 我们一起搭上2019班次的艺术列车！ 戈拉夫 • 克里帕拉尼 艺术节总监
MESSAGE FROM THE CEO What does the Singapore International Festival of Arts (SIFA) mean to you? A doorway to the world’s performances out there? An escape from the routine of everyday life? An opportunity to indulge your curiosity? Or something more? It would not be unusual for each of you to take away something different from the Festival. When I look back at my years attending the Festival, what stands out in my memory are thrilling moments of discovering a work or artist that slowly built my own love for festival making. In everything we do, SIFA brings audiences and artists on a personal journey, creating a shared experience across different touch-points with a wider community of art lovers, international and local artists. Every edition of the Festival is also unique and contributes to the development of Singapore’s cultural landscape. 2018 was an encouraging year, with SIFA seeing heartening growth in the number of new – and especially – younger audiences. I believe this is a testament to the success of Festival Director Gaurav Kripalani’s balanced curatorial approach, emphasising diverse works with multiple levels of accessibility.
In 2019, the 42nd Singapore International Festival of the Arts will continue to enrich the spectrum of audience experiences with a diversity of artistic genres and innovative platforms. Over 17 days, SIFA will showcase a spectrum of world-class performances by game-changing artists, alongside a range of distinctive multi-disciplinary works. As one of the cultural peaks of Singapore’s arts calendar, the Festival will allow audiences to engage with a fascinating range of contemporary issues and create avenues for critical dialogue. The Arts House will once again transform into our Festival House, a unique gathering point to share ideas and viewpoints and to engage with the artists on a more intimate level. Working behind the scenes at SIFA are many passionate individuals who have been critical to the Festival’s success over the years. I would like to take this opportunity to thank everyone who has played their part in shaping SIFA, and to Gaurav for leading the Festival to new artistic heights. I hope you leave this year with a fresh perspective of what the Festival means to you, and with wonderful memories of your own personal discoveries.
Sarah Martin CEO, Arts House Limited
总裁的话 新加坡国际艺术节（SIFA）对您有什么意义？是通往 世界表演大门之路？是离开常规生活的避难所？还是 一个满足您好奇心的机会？或者是有其他的意涵？
每个人都能从艺术节汲取可以各为己用的东西。就 我而言，当我回看自己参加艺术节的那些年，记住的 往往就是当我发现一个叫人激动的作品或艺术家的 时候，心灵被触动的那一瞬间/那一刻，也使我慢慢 建立起对艺术节制作的热爱/热情。 在SIFA所做的每件事中，我们立意带领观众和艺术 家经历一趟个人的艺术旅程，跟海内外的艺术家和 艺术爱好者，共享不同触点的艺术体验。
每一届的艺术节对我们新加坡文化景观的发展来说 都是独一无二的。2018年是令人鼓舞的一年。我们 看到艺术节叫人振奋的成长——尤其是在年轻观众 的层面上。我相信这是我们的艺术节总监戈拉夫• 克里帕拉尼成功领导策划了一个让更多人得以接触 多元作品的艺术节的明证。 今年第42届新加坡国际艺术节，将继续以多元的艺 术类别和创新的演出，丰富观众的艺术体验。艺术节 前后举行17天，我们将给观众献上一系列的世界级 表演项目，在观赏创意独具的跨界作品之际，也见证 一些艺术家颠覆己身风格的全新作品风貌。
作为新加坡文化艺术界的盛典集会之一，SIFA将为 观众提供一个可以/有机会参与当代课题和进行关 键对话的平台；借着艺术之家再次变身为非一般的“ 节日之家”，让艺术家和观众可以交流聊天，分享想 法和意见，激起思维的火花！ 每一届的新加坡国际艺术节，都是幕后工作团队每 一个人倾情投入的成果，是他们成就了艺术节这些 年来的成功举行。谨此，我要感谢大家落力扮演好各 自的角色、扛起各自的责任，造就了今天的SIFA国 际艺术节。对艺术节总监戈拉夫，我要说的是，谢谢 你再次带领大家奔向又一个全新的艺术高度。 对我们的观众来说，我期待您能从一个崭新的视角 来看待和感受今年的艺术节对您的意义，也希望您 能从中因为有所自我发现而留下美好回忆。 莎拉马丁 艺苑公司总裁
DIRECTOR’S MESSAGE It was at dawn of a typical day five years ago – in 2014 – when I woke up, incredibly early as I usually do, and felt the opposite of the real-life situation our world was in. It was a period of pure prosperity: a golden age where poverty was low; the world was stable in spite of the pure madness that seemed always in the background; and in the air was the promise of progress – as a nation, as a world, and as a species. It should have been a morning full of hope, but instead, I felt despair. Words of negativity wafted through me: emptiness, poorness, jadedness, soullessness. I imagined the world I was living in was a lie – presented beautifully on a platter furnished with golden wrapping paper – but nevertheless, a lie. I started cross-referencing how I felt that morning to the world that was created in A Dream Under the Southern Bough during the Ming Dynasty – and made the connection between what was happening in the present day with the written text: an unreal dream that we are forced to fall in love with. I needed to tell the story of Chun Yu Fen, to borrow his story to tell the world how I felt that day, because his dream is my dream, and my dream is our dream. The playwright Tang Xian Zu built his play and dream on scintillating themes, and presented discussions around serendipity, karma, desires and lucidity. I have added to the play more layers of meaning, exploring existence, fantasy and delusion. As the audience member, we are both passing the dream to you, and what you make of it is your own journey. This is what is most exciting about what is being staged today. The Singapore International Festival of Arts (SIFA) has long been a champion of artistic excellence and over the years, it has enabled the journey of creation and discovery by artists all over the world. As an artist, I am indebted to SIFA to allow me a three-year journey. This makes it possible for the team to explore, understand and develop the concept beyond one staging – and allows the audience following us to be part of this development too. It is a project filled with generosity and humanity – and it started with SIFA’s trust. In sharing this creation, we want everyone to see things beyond instant gratification and rewards. Indulge in a dream that is created by you, and follow it fervently as long as it brings you where you need to go. Life is a stage, and dreams can be our reality. The last remaining audience in your life will be you, and so go forth with sincerity and truthfulness.
Goh Boon Teck Director
导演的话 五年前，一个再普通不过的早晨，我和往常一样起得很早。 一觉醒来，我突然感觉 仿佛身卧在一片繁华盛世。 这般昌盛繁荣的景象，没有贫穷与饥饿的黄金时代， 尽管我们的世界在发生着各种各样的戏剧化变动，但此时此刻却显得如此的安 逸祥和。 在这样一个充满希望的早晨，我却感觉到失落与绝望。 消极的只字片语在我脑顶 不停地打转，泛着空虚、乏味、厌倦，没有灵魂的载体，让我相信我脚下的这个世 界是一个谎言—— 一缕金丝包裹了许久的躯壳。
我不停地徘徊在这个矛盾之中，最终我在《南柯一梦》中找到了答案 。 我们被迫爱 上剧中淳于棼的虚幻梦境，我要借用他的故事，来告诉世界我的感受，因为他梦 之我所梦，也相系着现代人类的梦。 剧作家汤显祖用梦点亮了作品的主题，探讨人类对机遇、命运以及欲望的掌控。 在这次的重新再创造中，我赋予了更多人性、幻想以及奢求的意义。 作为观众，我 们带您入梦，在梦中您可以自由的主宰您的梦境，自由的幻想。 这也是我们对演 出抱有的最大祈盼。
新加坡国际艺术节（SIFA）举办以来，一直倡导有品质的艺术作品。 多年来，它集合 了世界各地的艺术家并提供了一个共同创作，展现艺术的国际大舞台。 作为一名 艺术工作者，我非常感激SIFA给予我们三年演出的委约，使我们的团队可以沉淀 思考整部《南柯一梦》的创作概念，与此同时，有机会让观众陪同我们一起见证这 三年的奇幻之旅。 感谢SIFA主委会对我们的信任。 我们希望每位观众都可以得到超越演出本质的满足与回报 。 沉浸在由自己编织 的梦境中，追随它去到您所想要去的地方。 人生如梦，梦如人生，我们生命中最后 一位观众是自己，因此，希望我们能够透视虚实坦诚生活。 吴文德 导演
ABOUT THE PRODUCTION A naval officer, Chun Yu Fen ventures into his fantastical dream in the Ant Kingdom in this ambitious undertaking of adapting Ming Dynasty playwright’s Tang Xianzu’s masterpiece onto the modern stage by Singaporean company Toy Factory. The dream world is an often-explored motif in the greatest works of Ming playwright Tang Xianzu, including A Dream Under the Southern Bough. Hailed as the Shakespeare of the East, Tang’s romantic view of love and dreams were a foil against the feudal conventions of his time. Bringing Tang’s lyrical play to the modern stage, Toy Factory presents the highly-anticipated first half of this epic play in A Dream Under the Southern Bough: Reverie, as disgraced naval officer Chun Yu Fen falls asleep and is thrust into the Ant Kingdom. In the ensuing 22 chapters of this wondrous journey, Chun finds himself in a situation beyond his wildest dreams, now betrothed to the Kingdom’s princess and the newly appointed governor of the Southern Bough. It appears to be a time for revelry – but trouble is brewing and inching ever closer. From the vision of award-winning Goh Boon Teck, don’t miss this enchanting installment of Reverie, which meets its dramatic culmination in Existence, to be presented in SIFA 2020.
《南柯一梦》之如梦 TOY肥料厂根据明代剧作家汤显祖的史诗剧作《南柯记》 ，悉心改编的《南柯一梦》 三部曲之二 － 如梦，将继续主人翁淳于棼在其蚂蚁王国的梦幻旅程。 梦，是明代剧作家汤显祖最为珍爱的主题，在他最伟大的几部作品包括《南柯记》 在内，都与梦相关。 有东方莎士比亚之誉的汤显祖，对爱情与梦境的浪漫观点与 他所处封建时代的思维大相径庭。 TOY肥料厂再次将汤显祖的如歌作品搬上现代戏剧舞台，观众将跟随主人翁淳于 棼的脚步入梦蚂蚁王国，开始一场人生的如梦盛宴。
在这一段奇幻旅程中，淳于棼赫然发现自己身处在一个超出他想象的梦境里—— 自己不仅同公主订亲，还被委任为南柯郡太守。 然而，在这个看似值得狂欢之际， 种种的麻烦与问题正悄悄地酝酿逼近。 依旧由吴文德执导的《南柯一梦》之如梦，将继续婉约旖旎之姿演绎那种似乎了 悟人生的感触。 同时值得期待的是，2020年推出的巅峰完结篇《南柯一梦》之辱 梦—— 将带您回归现实世界，触目蓦然一惊，人生倏忽，名利虚无。
AN INTERVIEW WITH GOH BOON TECK GOH BOON TECK Director, A Dream Under the Southern Bough: Reverie 南柯一梦之如梦 Boon Teck, why do dreams matter? We have many dreams in our lives. Which dreams are true? Which dreams are imaginary? Are there dreams we should not even think about? These are important questions we should ask ourselves. Thinking about our ideal life lead us to ponder the value of human existence – the effort and sacrifice one makes in pursuit of one’s dream, and what one ultimately achieves in the end. Was staging A Dream Under the Southern Bough a dream for you? I have been developing the concept of A Dream Under the Southern Bough for several years now. For people around the world, this work will be filled with new meaning. No one in the world has seen this work as a stage play. Audiences will have seen it performed either as an opera or a Kun opera. I hope to present A Dream Under the Southern Bough on the international stage, as we’ve reinterpreted it in a very novel style. I believe it will be a completely different Chinese theatre performance. What was the audience’s response after the first part, Beginning, in SIFA 2018? After the performance, the audience offered us many comments. We were able to understand what they care about and what they don’t care about. Many of the comments were related to how Singaporean actors are able to speak Mandarin so well! To me, that isn’t a hard thing to do. As long as we work at it, we are able to produce professional Chinese plays. What happens to Chun Yu Fen in Reverie? We will see Chun Yu Fen entering the Ant Kingdom, which is also his ideal world. In this dream world, he encounters many beautiful things, so he will indulge and enjoy everything, living a happy life. This is the story of the second part, Reverie. The character of Chun Yu Fen allows us to reflect: are we able to live our ideal life in reality? What will audiences expect to see in Reverie? For the creation of this trilogy, we are putting in a hundred and ten percent. Reverie is especially challenging as we have 22 chapters to produce. Each chapter must pique and excite the audience’s interest to know what happens next.
This requires tremendous creativity and skill, but we are happy to take on the challenge. In addition to focus, hard work, as well as deliberating over the script, we need to do deep research to produce a work with the greatest artistic tension. What does SIFA mean to you as an artist? I believe that if Singaporeans were free to write the scripts we want, to present the productions we want, our work can be on par with artists on an international level. Local artists need such a platform to deepen our work, make our thoughts more playful, and allow our creations to have more gradation. An arts festival is a driving force that allows us to fully bloom with a higher and more exciting artistic ability. Goh Boon Teck is the director of A Dream Under the Southern Bough: Reverie. He is the Chief Artistic Director of Singapore’s leading bilingual theatre company, Toy Factory. Goh’s works are soulful explorations of human issues treated with contemporary sensitivity. 文德，梦为何重要？
我们人生里有很多梦。 哪一种梦是真的，哪一种梦是虚有的，哪一种梦是你不应 该想的？这都是我们需要在生活中不断探索的问题。 每个人与自己理想生活的对 话，会使得我们去探讨人存在的价值。 在追求理想的过程中，需要付出什么，需要 牺牲什么，那最终又会得到什么。
能够创作《南柯一梦》也是你个人的梦想吗？ 我们创作《南柯一梦》的整个构思跟创造过程已经好多年了。 大家看的《南柯一 梦》不是戏曲，就是昆曲，也没看过它是以话剧来演出, 所以这是全世界没看过的 呈现方式。 我希望我们的《南柯一梦》可以呈现在一个国际舞台上。 它的风貌是很 新颖的，而不是大家熟悉的昆曲版本。
2018年“入梦”表演之后，观众给了你什么评语？ 观众在看完的时候给了我们很多的评语。 我们得听，我们也感觉到了他们觉得他 们在乎什么不在乎的是什么。 很多的评语都来自说，哇！新加坡演员能够把华语 说得这么好。 其实我也觉得那也不是一个难的问题，只要我们去做，我们是能够 把华语演出做得很专业。
在“如梦”里，淳于棼的故事会如何发展？ 我们会看到淳于棼进入蚂蚁王国。 这是他理想的世界。 在这个理想世界里，他看 到了很多很炫丽，很美好的东西。 然后他会沉迷于其中，欢乐于其中，过着一个幸 福美满的生活。 这就是第二部分“如梦”的整个故事。 通过淳于棼，我们领悟到，人类的现实生活是无法活出自己梦想中的样子。
在“如梦”里，观众能够期待什么？ 这个三部曲的创作我们要拼尽全力，全身心投入去做。 第二部分也是相当艰巨 的。 我们有二十二场戏要处理，每场戏必须扣人心弦，让你很迫切地想要知道下 一场的故事是什么。 我们需要展开想象，尽可能的把每场戏都演绎得十分精彩。 面对这样的挑战，我们要不断的推敲，挖掘剧本中的含义。 深入地研究，不断地创 作，最终把艺术所带来的力量与震撼通过演出传递出去。
作为艺术家，新加坡国际艺术节对你有什么意义？ 我们应该给新加坡艺术工作者多一点机会写他们要写的剧本，做他们要做的演 出。 我觉得新加坡人的创作可以是天马行空的。 我们也不会比外国人来的逊色。 艺术家都需要 新加坡国际艺术节 这样的平台让你的作品深化，让你的思想更戏 剧化，让你的创作更有层次。 然后也许是这样的推动力，在一个国际艺术节里，让 我们彻底绽放潜伏的艺术力。 吴文德是《南柯一梦》之如梦的导演，同时他也是新加坡最具活力的剧团之一 TOY肥料厂的首席艺术总监。他的作品多以人性出发，透过现代艺术的敏觉性、 强烈的视觉设计与对社会的深切关怀，把创作焦点锁定在人文艺术上。
CAST & CREATIVE TEAM CREATIVE TEAM 创作组 Director 导演 Set Designer 舞台设计 Lighting Designer and Set Consultant 灯光设计与舞台顾问 Sound Designer 音响设计 Sound Engineer 音响工程 Speech Coach 台词指导 Singing Coach 歌唱指导 Movement Coach 形体指导 Assistant Movement Coach 助理形体指导 Props & Puppetry Designer 道具与木偶制作 Costume Designer 服装设计 Hair Designer 发型设计 Make-up Designer 彩妆设计 Graphic Designer 平面设计 THEME SONG PRODUCTION 主题曲制作 Composer and Producer 作曲/配唱制作 Lyricist 作词 Music Arranger 编曲 Singer 歌手 Sound Engineer 录音师 Mixing and Mastering Engineer 混音/母带处理
PRODUCTION TEAM 制作组 Producer 监制 Associate Artistic Director 副艺术总监 Company Manager 公司经理 Assistant Marketing Manager 助理营销经理 Project Coordinator 项目协调 Production Manager 制作经理 Stage Manager 舞台监督 Assistant Stage Manager 助理舞台监督 Assistant Stage Manager 助理舞台监督 Wardrobe Mistress 服装管理 Stage Crew 舞台助理 Stage Crew 舞台助理 Dresser 服装助理 Dresser 服装助理 Surtitle Operator & Translator 字幕翻译与操控
Goh Boon Teck 吴文德 Goh Abigail 吴佳恩 Petrina Dawn Tan 陈雪薇 Louis Quek Sandra Tay 郑吉钦 Ma Tian Ling 马天凌 Elaine Chan 陈慧玲/ Chriz Tong 汤薇恩 Yong Wei Li 李勇伟 Rachel Lim Hue Li 林惠丽 Vivien Lau 刘伟娜 Tube Gallery Ashley Lim 林忠华 The Make Up Room Cao Yimeng 曹苡萌 Jack Lim 随安 Goh Boon Teck 吴文德 August Lum 林海贤 Alex Hong 翁芝耀 Isaac Tong 陈颖斌（Stereoimage Studios） Darren Sim 沈文钏 （Mix Junction 美强声） Justin Wong 黄培杰 Stanley Seah 谢丰远 Jiang Daini 姜黛妮 Shaleihin Pi’ee 善乐幸 Masturah Malik Chan Lee Lee 曾梨莉 Pamela Lai 赖美娜 Chantel Goh 吴美亭 Esleen Ng 黄曼榕 Glenna Ng 吴汭蓉 Angeal Cheong 张鸿维 Teo Li Lin 张俐霖 Chng Si Jie 庄思洁 Valeree Ray Lee 李欣芮 Quek Yee Kiat 郭毅杰
CAST 演员 Tang Shao Wei 唐绍炜 Audrey Luo 罗宝玲 Abby Lai 黎嘉希 Li Te 李特 Rei Poh 傅正龙 Gavin Xie Yi Xuan 谢逸轩 Timothy Wan 温伟文 Ma Tian Ling 马天凌 Chriz Tong 汤薇恩 Jodi Chan 陈珮文 Alvin Chiam 詹辉振 Yo Chen 陈忆幼
ENSEMBLE 群戏演员 Lim Ci Xuan 林慈暄
Lim Meng Jiat 林明珏 Victoria Chen 陈伟 Aricia Ng 黄韵闵
David Tao 陶正明
Lim Jun Jie Jey 林俊杰
Andy Yew Wei Jie 游惟杰 Dwayne Ng 伍原声
CHARACTER 角色 Chun Yu Fen 淳于棼 Qiong Ying 琼英 /Maid 5 宫娥五 Shang Zhen 上真/ Maid 6 宫娥六 Qi Xuan 契玄 / Receptionist 堂候馆/Clerk 吏书 Duan Gong 段公/Shi Yan 石延/Tan Luo 檀萝 Zhou Bian 周弁/ Sha San 沙三/ Senior Monk 首座僧 Tian Zi Hua 田子华/ Wu Jie 五戒 Ant King 蚁王/ Chun Yu Fen’s Father 淳于棼爹/ Messenger 报子 Ant Queen 国母/ Maid 8 宫娥八 Yao Fang 瑶芳 Liu Er 溜二/Old Monk 老僧/Eunuch 内使/ Chief 府幕官 Shan Zhe 山鹧/ Ling Zhi 灵芝
CHARACTER 角色 Devotee 1 俗一/ Maid 3 宫娥三/ Red Ant 红蚁 Singer 歌手/Devotee 2 俗二/Maid 4 宫娥四/ Red Ant 红蚁 Devotee 3 俗四/Maid 1 宫娥一/Pangolin 穿山甲/ Red Ant 红蚁 Devotee 4 俗四/Maid 2 宫娥二/ Red Ant 红蚁 Zi Yi 1 紫衣一/ Monk 僧一/Devotee 5 俗五/ Red Ant 红蚁 Zi Yi 2 紫衣二/Monk 僧二/Devotee 6 俗六/ Red Ant 红蚁 Zi Yi 3 紫衣三/Arcade Goer 街机玩家/ Devotee 7 俗七/Red Ant 红蚁 Zi Yi 4 紫衣四/ Arcade Goer 街机玩家/ Devotee 8 俗八/Red Ant 红蚁
ABOUT TOY FACTORY Founded in 1990, Toy Factory has been a part of Singapore’s amazing arts scene for 29 years, generating a body of original and unique stories for the region. Priding itself on its all-inclusive approach, Toy Factory is an advocate of creating a legacy of original Asian stories for the stage – often toggling between vastly different languages, dialects and styles, in order to present the purest form of theatrical storytelling for Singapore’s main stage. Being a regional theatre company in Asia, Toy Factory often ventures beyond Singapore to share its stories to the rest of the region. From its inception till today, Toy Factory has collaborated with and worked with numerous different associations and festivals in major cities around Asia and beyond. Above other worldly factors, Toy Factory believes in creating for the people an experience that will bring the world together: to share, to love and to be.
关于TOY肥料厂 TOY 肥料厂成立于1990年，在过往的二十九年里，TOY以大胆锐利的原创性创作 了许多戏剧作品，始终坚持成为一个供促进学识、教育与精神心灵交流的艺术平 台。
TOY的戏剧作品提倡通过不同的语言、方言和表现风格创造以亚洲精神故事为主 的原创戏剧作品，并以最纯粹的表现方式展现给新加坡的观众们。 作为亚洲的戏剧团体，TOY除了为本国的观众不断的带来新的作品，同时也热衷 于与世界各地做文化交流。 创团至今已与周边许多国家的戏剧团体合作，并积极 参与各国艺术节的演出。 TOY相信，戏剧将用她独有的魅力将世界联系在一起，促进我们人类积极分享文 化、共同创造艺术、互爱同存。
BIOGRAPHIES TANG SHAO WEI Tang Shao Wei is the founder and artistic director of Singapore Focus Theatre. A talented and creative individual in Singapore’s drama industry, he specialises in directing and organising theatre drama productions for children. Since 2006, Tang has directed more than 800 theatre drama shows in Singapore. Tang has led many local Secondary Schools and Junior Colleges to participate in the Singapore Youth Festival Drama Competition and is known as a gold medal drama instructor. Since 2010 to 2018, Tang has planned and organised more than 50 creative drama camps. 唐绍炜
唐绍炜是新加坡焦点剧场创办人和艺术总监。 他擅长于舞台剧的策划和编导工 作，是狮城儿童剧创作鬼才。 自2006年至今，他在新加坡亲自策划编导的大型儿童 舞台剧有800余场。 他带领了全岛多间中学及初院参加全国青年戏剧比赛（SYF） ， 被誉为SYF金牌教练。 在2010年至2018年期间，他策划了50余次戏剧类创意文化 营。 他主演的主要作品包括《南柯一梦》、 《玄奘》、 《我是你爸爸》 ， 《七十二家房客》 、 《请你对我说个慌》、 《我们的小镇》等。 他编导的主要作品包括： 《丑小鸭》、 《病菌 王国历险记》、 《小白兔快跑》系列、 《绿野仙踪》、 《狮城传说》、 《我是英雄武松》、 《孙 悟空传奇》、 《爱丽丝梦游仙境》、 《博物馆奇妙夜》、 《我是你爸爸》等30余部。 AUDREY LUO Audrey Luo is a bilingual theatre practitioner, singer and host and has collaborated with Drama Box, ECNAD, I-Theatre, The Finger Players, The Necessary Stage, Pangdemonium, Paper Monkey Theatre, TheatreWorks, The Theatre Practice, Toy Factory and W!LD RICE. She has toured internationally with productions to countries such as Japan, Hong Kong, Taipei, Shanghai and New York. In 2012, Luo won Best Supporting Actress at the 12th The Straits Times Life! Theatre Awards for her role in 881 The Musical. Other notable credits include the titular role in Toy Factory’s Titoudao and ‘Mrs Wong’ in feature film Our Sister Mambo. She independently co-produced and acted in her first Mandarin monologue My Mother’s Chest to full houses in 2016. 罗宝玲
罗宝玲是一名精通双语的演员，歌手兼主持人。 她曾合作的剧团包括：戏剧盒、舞 蹈多面体、I-Theatre、十指帮、必要剧场、彭魔剧团、猴纸剧坊、剧艺工作坊、实践 剧场、Toy肥料厂和野米剧场等。 其参与的海外巡演更遍布日本、香港、台北、上海 和纽约。 2012年，她以《881》音乐剧荣获第12届海峡时报生活！戏剧奖之最佳女配 角。 2015年，她在国泰80周年电影《Our Sister Mambo》中饰演的Mrs Wong备受各 界好评。 同年，她也饰演了《剃头刀》的主角。 2016年，她更以独立制作的方式演出 她的第一部独角戏《妈妈的箱子》。
TIMOTHY WAN Timothy Wan is a core member of the Nine Years Theatre Ensemble. Wan is an actor, singer, and musician. He graduated with a Bachelor’s Degree with Honours from the Theatre Studies department at the National University of Singapore in 2013. Since then, he has been actively involved in both the local English and Mandarin theatre scene. His stage credits include Army Daze, Glass Anatomy, High Class, Red Riding Hood, Firecrackers & Bombshells, Romeo & Juliet: The Musical, Hansel & Gretel, The Nightingale (in both English & Mandarin), Junior Claus, Titoudao, The Tempest, December Rains, White Soliloquy, Beauty World, Red Demon, Kumarajiva, Red Sky, Fundamentally Happy, Girl in the White Sandbox, Art Studio, Cut! Kafka, Pissed Julie, Sometime Moon and Lear is Dead. 温伟文
温伟文是「九年剧场演员组合」核心组员。他是一名演员，歌手，以及音乐家。 他毕 业于新加坡国立大学戏剧系，目前是一名以自由性质工作的演员。 毕业以后，他已 参与了许多英语和华语剧场的制作。 他接受了美国的SITI剧团的夏日工作坊以及 日本利贺村的“铃木忠志演员训练法”。 他曾参演于Army Daze、 《搭错车》、High Class、Red Riding Hood、Firecrackers & Bombshells、Romeo & Juliet: The Musical, Hansel & Gretel,、 《夜莺》 （中英文版本）、Junior Claus、 《剃头刀》 、The Tempest、 《雨季》、 《白言》、Beauty World、 《赤鬼》、 《鸠摩罗什》、 《红色的 天空》、 《本质上快乐》、 《莎莎》、 《画室》、 《咔嚓卡夫卡！ 》、 《有时月光》、 《茱莉小解》 和《李尔亡》。 CHRIZ TONG After releasing three albums in her ten-year singing career and lending her voice to many TV dramas series in Singapore and Malaysia, bringing her two loves, music and drama, together seemed like the natural thing to do. Chriz Tong ventured into the musical theatre scene in 2014 with Toy Factory’s Innamorati as part of an ensemble cast, followed by her first leading role as “Li Qing” in the third rendition of the monumental production December Rains in 2015. She subsequently appeared as a Getai singer (Ge Tai – The Musical), a Chio-bu (Broadway Beng 10th Anniversary Concert), a songstress (Sometime Moon), a working mother (Super Mummy) and wrote an original song for Innamorati II. She truly hopes that all these adventures will lead her on her way to be featured in a Disney musical some day. 汤薇恩
在近十年里，汤薇恩发表了三张个人专辑，也为数十部新马电视剧献唱。 她因此被 媒体冠上“新一代主题曲女王”的封号。 自从在2014年参与Toy肥料厂的《唯一》 ， 她便展开了她的音乐剧旅程。 她非常感恩有机会把她对音乐和戏剧的热爱在音乐 剧的舞台上融为一体，并在2015年版的《雨季》里有幸饰演女主角“丽卿”卿幸饰 演女主角的音乐剧旅程。 她非常感恩《歌台音乐剧》、Broadway Beng 十周年演 唱会”、 《唯二》、 《有时月光》和《我的妈妈是Eny》。
ABBY LAI Abby Lai is a graduate from Creative Edge, an 18-month theatre training programme under ITheatre, and has performed in various musicals, including December Rains The Musical by Toy Factory, Lao Jiu The Musical by The Theatre Practice and Forbidden City: Portrait of An Empress by Singapore Repertory Theatre. She is also a bilingual emcee and singer and made it to the Top 20 Finalists under Sing! China, Singapore Auditions, in 2016. 黎嘉希
出生于香港的黎嘉希在新加坡从事演艺工作，包括歌唱、主持，以及戏剧演出。 她 参与过的舞台剧有Toy肥料厂的《雨季》、实践剧场的《老九》和SRT的Forbidden City: Portrait of An Empress。 她在2016年的《中国好声音》新加坡海选中得到 前20名，目前也有从事驻唱的工作。 REI POH Rei Poh is a committed multi-disciplinary theatre practitioner who believes in the power of theatre to transform and to create hope. Having trained as a director and facilitator under the likes of Adrian Jackson, David Diamond and Tassos Stevens, Poh has created thought-provoking community and forum theatre works like Sha Sha, Who Cares About Me? as well as PRISM by Toy Factory. He has also appeared in 12 Angry Men by Nine Years Theatre and Grandmother Tongue by W!LD RICE to positive reviews. Poh’s recent projects include ATTEMPTS, a participatory piece that experiments with a videogames narrative at the M1 Fringe Festival 2018 and The Last Dance, a project with Dramabox dealing with issues of death and dying. 傅正龙
傅正龙是名演员兼剧场工作者。 他参与了野米剧场，九年剧场，TOY肥料剧场等剧 团许多演出，包括《人民公敌》与《祖母语》。 他也在在戏剧盒到了几部教育剧场和 论坛剧场，像《莎莎》 ， 《最后一支舞》。 近期在墨尔本以及M1 Fringe Festival 2018 呈现首部个人作品《ATTEMPTS》 ，以电脑游戏的叙述方式来实验剧。
ALVIN CHIAM Alvin Chiam has been actively involved in the Singapore theatre scene for more than 15 years. For six years, he worked as an actor and director for The Theatre Practice, a major bilingual theatre company of Singapore founded by the late Kuo Pao Kun. After working and understudying with many acclaimed directors in Asia, including Stan Lai (Taiwan), Jim Chim (Hong Kong) and Fredric Mao (Hong Kong), Chiam was awarded the Arts Professional Development Grant from the National Arts Council Singapore in 2007 and went on to train in Paris with the great master Philippe Gaulier. In 2009, Chiam graduated with distinction from E’cole Philippe Gaulier. In 2013, Chiam was awarded the NAC Arts scholarship and graduated with a Master of Arts from the Rose Bruford College of Theatre and Performance in the United Kingdom. 詹煇振
从1997年开始，詹煇振就开始活跃于新加坡的中文剧场。 在这些年来，他以演员的 身份参与了实践剧场、戏剧盒、意象剧场，海燕等人剧团和Toy肥料厂等多个剧团 的演出。 他在2001年加入了戏剧家郭宝昆先生创立的实践剧场，在剧团里参与了 演员、导演和戏剧导师的工作。 在这段期间，他也有机缘到台湾和香港向不同的导 师学习导戏和表演，这些导师包括了台湾表演艺术坊的赖声川先生、香港话剧团 的毛俊辉先生和香港剧场组合的詹瑞文先生。 在2007年到2009年期间，他远赴欧 洲深造，师承法国戏剧大师Philippe Gaulier，完成两年的表演训练课程。 在2013 年，他荣获了国家艺术理事会的全额奖学金，远赴伦敦Rose Bruford College修读 硕士课程，于2014年成功取得戏剧硕士学位。 JODI CHAN Jodi Chan graduated from the University of Exeter, United Kingdom, with a Master of Arts degree in Theatre Practice. Her affinity with the stage began in secondary school, where she first performed under the guidance of various inspiring teachers and drama instructors. She’s determined to pursue her passion in theatre and has been actively contributing to the local arts scene. 陈珮文
陈珮文于英国埃克塞特大学获得她的戏剧实践硕士学位。 从中学时期开始，她在 多位导师的启蒙下接触了表演，爱上了戏剧，更希望能够透过自己的力量为本地 剧场做出小小的贡献。
LI TE Li Te graduated from Nanyang Academy of Fine Arts with a Diploma in Theatre Arts (Mandarin Drama) and continued to excel with Honours in Theatre Arts, validated by the University of Essex (East 15 Acting School). Li has actively participated and played different roles in numerous productions. His film productions include Lulu The Movie and Take2. His TV drama productions include Crescendo, Lion Mum 2, Doppelganger and Till We Meet Again. His stage performances include Special Love for A Special You, Kumarajiva, I Have a Date with Spring, The Wizard of Oz and The Legendary Monkey King. 李特
李特毕业于新加坡南洋艺术学院戏剧系专科，后继续深造英国艾塞克斯大学东十 五戏剧学院艺术荣誉学士。 他参与的作品包括电影《露露的电影》、 《遇见贵人》；电 视剧《起飞》、 《Lion Mum2》、 《入侵者》、 《千年来说对不起》；和舞台剧《特别的爱给 特别的你》、 《鸠摩罗什》、 《我和春天有个约会》、 《绿野仙踪》和《孙悟空传奇》等。 GAVIN XIE YIXUAN Gavin Xie is a Singapore actor and singer who graduated in theatre studies from the University of Essex and Nanyang Academy of Fine Arts. He is actively involved in many local and international stage works such as A Dream Under the Southern Bough—The Beginning, The Caine Mutiny, Kumarajiva, December Rains, The Crescendo and The Hero is Coming! Within the music industry, Xie was the champion of Cantopop competition Mai Wang Zheng Ba 2016 and was amongst the top 10 finalists of Superboy 2017. 谢逸轩
谢逸轩是本地新生代戏剧演员和歌手。 他是新加坡南洋艺术学院荣誉学士毕业 生，主修戏剧。 他参加过的演出包括《南柯一梦之入梦》、 《哗变》、 《鸠摩罗什》、著名 本地音乐剧《雨季》、 《起飞》和《Hero来咯！ 》。 在音乐上，他曾获全球华人粤语歌唱 比赛《2016麦王争霸》冠军及《2017快乐男声》东南亚10强。
MA TIAN LING Ma Tian Ling is a Chinese National First Grade broadcaster and guest actor at MediaCorp. He studied at the Beijing Broadcasting Institute (also known as Communication University of China) and was previously a drama lecturer at the Nanyang Academy of Fine Arts for ten years. He was also the artistic director with Focus Theatre and a senior radio presenter at Rediffusion. Since the 1970s, Ma has been actively involved in theatre, musicals, movies, radio and television shows. He has directed theatre performances Xuan Zang, Donkey Finds Water, excerpts from theatre classic The Wilderness, Rickshaw Boy, De Ling and Empress Dowager Ci Xi, and MediaCorp chat show Smart@Work. 马天凌
马天凌是中国国家一级播音员，进修于北京广播学院。 他是个新传媒特约演员。 他 曾在南洋艺术学院戏剧系任教十年、曾任新加坡焦点剧场艺术总监、丽的呼声商 业电台资深节目主持人。 自70年代他从事戏剧、广播电视工作，曾演出多部话剧、 电视剧及电影、音乐剧相声剧等。 他导演的作品有话剧《玄奘》、 《驴得水》；经典话 剧选场《原野》、 《骆驼祥子》、 《德龄与慈禧》和新传媒综艺节目23集短剧 《上班不留白》。 YO CHEN Yo Chen is passionate about drama. She had been in drama clubs since secondary school and joined Mediacorp’s Chinese Drama department after graduation. From a production assistant, she worked her way up to an assistant director and ultimately, director. In October 2013, she left her position and started practicing theatre. The productions she has been involved in include Toy Factory’s December Rains 2015 as part of the ensemble, Paper Monkey’s The Enchanted Flute, Checkpoint Theatre’s Normal 2017 and Nine Years Theatre’s Art Studio. She is delighted to work with Toy Factory again. 陈忆幼
忆幼对戏剧充满热忱。 自中学以来，她的课外活动就是戏剧社团。 毕业后，她就在 新传媒中文戏剧组任职，从一名制作助理学习电视制作直至当导演。2013年10 月，她毅然辞去全职工作，返回舞台表演。 她参与的作品包括TOY肥料厂的《雨季 2015》、猴纸剧团的 The Enchanted Flute 和凯门剧场的 Normal 2017和九年剧 场的《画室》。 能够再次与TOY肥料厂合作，参与《南柯一梦》是她莫大的荣幸。 拥有 这次机会，她非常珍惜、感恩。
TICKET HOLDER PRIVILEGES
FLASH YOUR SIFA 2019 TICKET
TO ENJOY SPECIAL DEALS AT OUR PARTNER OUTLETS Empress
Kuro Izakaya
1 Empress Place, #01-03, Asian Cilivilisation Museum, S179555
3 Temasek Boulevard, #01-604/605, Suntec City Tower 3, S038983
10% off dine-in ala carte food and drinks purchased at EMPRESS.
Enjoy 15% off total food bill.
Esplanade Mall
OTC Café
Esplanade – Theatre on the Bay, 8 Raffles Avenue, S039802 Beware of Pity, ST/LL, Körper and Ryuichi Sakamoto ticket holders are entitled up to 15% savings on dining and shopping at Esplanade Mall on the day of performance. Visit www. esplanade.com for details.
House Pour @ Festival House
The Arts House, 1 Old Parliament Lane, S179429 Chill out and soak in the festival buzz at House Pour. Enjoy a glass of signature Housepour cocktail or a serving of ancho chicken tacos at only $4.20nett and all other items at 15% off. In addition, complimentary premium ice cream in assorted flavours will be given out daily. (Limited to the first 30 guests each day)
JW Marriott Singapore South Beach 30 Beach Road, S189763
Enjoy 25% off at Beach Road Kitchen and 15% at Akira Back.
100 Victoria Street, #03-01 National Library Building S188064 15% off food and beverages.
Privé ACM
1 Empress Place, #01-02 S179555 10% off dine-in ala carte food and drinks purchased at Privé ACM.
Paulaner Bräuhaus
9 Raffles Boulevard, #01-01, Millania Walk, S039596 SIFA 2019 ticket holders enjoy 20% off total bill when you dine in at Paulaner Bräuhaus.
The NCO Club
32 Beach Road, S189764 Enjoy 15% off dine-in ala carte food and beverage (Cool Cats, Madame Fan, Stags Room & Fish Pool)
Kith Café
Bras Basah: 51 Bras Basah Rd, #01-03A Manulife Centre, S189554 Marina Square: 6 Raffles Blvd, #02-49 S039594 Enjoy 10% off dine-in ala carte items purchased at KITH CAFÉ (Bras Basah, Marina Square).
Capital Zouk
3C River Valley Road The Cannery, #02-02, S179022 Enjoy free entry into Capital Zouk before midnight.
For more Festival deals, visit sifa.sg. Unless otherwise stated, all promotions are valid till 2 June, Sunday. Not applicable with other promotions, discounts, vouchers and offers by credit or privilege cards. Ticket stubs presented must be in its original condition and e-tickets must be shown via electronic devices clearly. Management reserves the right to amend any promotional terms and conditions without prior notice. Merchants’ terms and conditions apply.
ABOUT SINGAPORE INTERNATIONAL FESTIVAL OF ARTS As Singapore’s annual pinnacle arts festival, the Singapore International Festival of Arts (SIFA) presents captivating and diverse works across theatre, music, dance, film and visual arts. First launched as the Singapore Festival of Arts in 1977, the festival has gone through several evolutions and inspired generations of arts lovers and practitioners. Today, the highly-anticipated festival is a high-point on Singapore’s arts and cultural calendar. Under the helm of Festival Director Gaurav Kripalani from 2018–2020, SIFA continues its festival mission to champion the creation and presentation of Singaporean and international works.
ARTS HOUSE LIMITED BOARD Chairperson Christine Ong Members Chong Yuan Chien Deborah Ho Eduardo Ramos-Gómez Kelvin Ang Kenneth Kwok Lynette Pang Madeleine Lee Maniza Jumabhoy Mok Wei Wei Ong Chao Choon Ong Choon Fah Sarah Martin (Ex-Officio)
SINGAPORE INTERNATIONAL FESTIVAL OF ARTS MANAGEMENT
Chief Executive Officer Sarah Martin Festival Director Gaurav Kripalani Chief Financial Officer Ng Soon Lee Head, Production Cindy Yeong Head, Marketing Jasmine Gan Assistant Head, Event Services Management Emma Izzabella Tagoe
PROGRAMMING Producers Sara Joan Fang Rydwan Anwar Ye Junmin Senior Manager Lisa Lip Manager Shridar Mani Assistant Manager Alicia Chong Festival Assistant Chong Xinyi
PRODUCTION
Production Manager Chan Silei Yo Shao Ann Production Co-ordinators Celestine Wong Melissa Chin Technical Co-ordinators Huang Xiangbin Ian Tan
Assistant Technical Co-ordinator Muhammed Muzzamier Bin Abu Bakar Production Assistants Chong Wee Nee Alexis Ho
MARKETING & TICKETING Senior Managers Elizabeth Wong Winnie Chan Managers Allison Lai Fiona Chua Senior Designers Hakim bin Rahim Md Firdaus bin Wari Executives Juliana Tan Shariffah Natasha Dinah Eriqah Azman Intern Chew Ying Ying
COMMUNICATIONS Manager Khairi Johann Jasmin Intern Jamie Buitelaar
PARTNERSHIP DEVELOPMENT Manager Norita Senin Executive Tan Yanru
EVENT SERVICES MANAGEMENT
Managers, Artist Logistics Carine Lee Syafiq Zulkepli Managers, Front-of-House Nura Osman Germaine Leow Manager, Back-of-House Hospitality Esther Goh Manager, Event Services Johnson Kee Manager, Special Projects and Operations Zalikha Mis’ari Executive, Front-of-House Kitty Kwan
FINANCE
Managers Vivian Gan Executives Aileen Ong Izyan Nooraini Bte Ramlee
HUMAN RESOURCE Manager Noraliza Ramli Senior Executive Elaine Neo
ADMINISTRATION
Centre Manager Lucas Chiew Executive Nor Limah Binte Ja’ffa
DON’T MISS
THESE OTHER PRODUCTIONS IN THE FESTIVAL
Curated by Asian Film Archive 18 May - 2 Jun Screening Room, Festival House & Oldham Theatre
CROWD
IMPULSE
by Gisèle Vienne (France)
Varsha (Singapore)
1 & 2 Jun, Sat & Sun Victoria Theatre
1 & 2 Jun, Sat & Sun Play Den, Festival House
Photo by Barbara Braun/MuTphoto
FREE PROGRAMMES AND MORE DE RELAXERETTE
WE CAN DANCE
12 – 20 May & 22 May – 2 Jun, Daily, Various timings The Plaza, National Library Building
10 May - 2 Jun 2019 Daily, Various Timings The Plaza, National Library Building
Daily tous les jours, featuring ScRach MarcS (Canada/Singapore)
Arjan Kruidhof and Explore-the-North (The Netherlands)
FESTIVAL CLOSING CONCERT
with Singapore Symphony Orchestra Conducted by Joshua Tan Featuring Elena Wang, Julia Abueva and Sean Ghazi 2 Jun, Sun, 6pm The Shaw Foundation Symphony Stage
FOR FULL FESTIVAL LINE-UP, VISIT SIFA.SG Organised By
Commissioned By
Supported By
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