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THE POW
戲劇的 …the forefront of Hong Kong’s alternative culture and has grown over the years into a leading force in Asian avantgarde theatre.
— Rosella Ferrari, Lecturer, The School of Oriental and African Studies (SOAS), University of London
Their experiments, connecting to groups in China and abroad and their contributions to the emergence of creative industries are many and fully documented. — Tunney Lee, Professor Emeritus of School of Architecture and City Planning, MIT, USA
…professionalism, originality, enthusiasm, and eclectic skills with multiple forms,were a real eye opener. — Jonathan Spence, Sterling Professor of History, Emeritus, Yale University, USA
I…was very impressed by Zuni’s visions in networking the contemporary arts groups in Asia. — Sato Makoto, Artistic Director, Za-Koenji Public Theatre, Tokyo
True to its avant-garde roots. — Singapore Strait Times
ER OF THEATRE
戲劇不是人生，但人生可以因為戲劇而獲得一些啟 示，重拾失去的感覺和記憶，細說現實世界的善與 惡，尋找生活與生命的不同顏色。這就是進念的戲 劇，這就是戲劇 REAL TIME REAL SPACE 的力量。 Theatre is a real time real space experience.
Zuni Theatre starts with experience in exploring all of the possibilities in the theatre – traditions and technologies, dialogues and movements, politics and entertainment, history and philosophy, sense and sensibility…
《 —資本壹週》
Theatre is not life, but life can be enlightened by theatre – regaining lost feelings and memories, recounting the good and bad of the world, searching for various possibilities of living and life. This is Zuni Theatre; this is the power of real time, real space of theatre.
柯軍，江蘇省崑劇院院長 —
In the theatre, we laugh, cry, think, and experience all the vicissitudes of life together in the same space and in the same period of time.
「是香港不可或缺的文化資產。」
進念的戲劇，以實驗作起點，探索戲劇的各種領域 — 傳統與科技、政治與娛樂、語言與動作、歷史與 哲學、理性與感性。
林懷民，雲門舞集創辦人及藝術總監 —
在同一個空間，同一段時間，在劇場裡面，我們一 起歡笑、一起哭泣、一起想像、一起沉思、一起體 會人世間種種的悲歡離合。
「進念的主催和一系列合作，使崑曲這門傳統的表演藝術 得到了更大的發展空間。」
戲劇是一種現場的體驗。
「由跨地域國際文化交流，到時下傳統社會的禁忌都積極參與，一切都在發 揚華人社會的舞台美學，亦為香港培育出不少出色的創作人才。」
力量
節目總覽
8/7 - 11/9, 9 - 28/11
Programme Overview
「天天向上」社區校園創意拓展計劃
“Tian Tian Xiang Shang” Creativity-for-Community and School Development Programme
14 - 22/9
香港文化中心大劇院
Grand Theatre, Hong Kong Cultural Centre
28/9 - 7/10 香港文化中心劇場
Studio Theatre, Hong Kong Cultural Centre
23 - 25/11 THE DIVINE COMEDY OF CAPITALISM
台泥士敏廳 Cement Hall, Cement Building ( 台北 Taipei)
12 - 20/10
香港文化中心劇場
Studio Theatre, Hong Kong Cultural Centre
9 - 10/11
香港文化中心大劇院
Grand Theatre, Hong Kong Cultural Centre
11 - 14/10
座．高圓寺 Za-Koenji Public Theatre ( 東京 Tokyo)
25 - 28/10
欣藝坊 The Joyden Hall of Iluma ( 新加坡 Singapore)
16 - 17/11
香港文化中心劇場
Studio Theatre, Hong Kong Cultural Centre
30/11
29/11 - 2/12
香港文化中心大劇院
香港文化中心大劇院
Grand Theatre, Hong Kong Cultural Centre
Grand Theatre, Hong Kong Cultural Centre
進念．二十面體保留更改節目內容、表演者及座位編排的一切最終決定權 Zuni Icosahedron reserves the right to add, withdraw or substitute artists and/or vary advertised programmes and seating arrangements.
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FLEE BY NIGHT
實驗經典 文學歷史
人文舞台
演出： 大 歷 史 話 劇《 萬 曆 十 五 年 》 全新改編《半生緣》 五 ( 度重演 )
Experimental Theatre Classics
Literature x History – Stage for the Humanities Performances
1587, A Year of No Significance (the 5th rerun) – History Theatre Eighteen Springs – A brand new adaptation
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「... 不過幾年的工夫，這幾年裡面卻經過這 麼許多事情，彷彿把生老病死一切的哀樂都 經歷到了。」 — 張愛玲
愛情時光緣起緣滅
“...It was only a matter of some years. And the many things that happened in those years made them felt as if they have passaged through the cycle of life experiencing all the pain and bliss.” — Eileen Chang
二十世紀三十年代，上海。
Love is fleeting, as time 沈世鈞、許叔惠一雙好朋友遇上了顧曼楨。曼 楨和世鈞是兩情相悅的；而叔惠一顆心向著世 鈞南京公館的一位大小姐石翠芝。
家中，曼楨的姐姐曼璐久歷風塵下嫁祝鴻才 – 吃在碗裡看在鍋裡，鴻才一雙眼睛飄曼楨身上； 另方面，曼璐少女時代的未婚夫張豫瑾重臨上 海，在曼楨身上看見朝氣。 千萬人來復去，時間無涯荒野裡，七名男女赫 然相遇，七段關係一番糾結十四年 ... 對於年輕 男女，三年五載就可以是一生一世的事，不像 中年以後的人，十年八年都好像是指顧間。 魚龍舞罷星如雨，驀然凝眸，沒有早一步，沒 有遲一步；執手輕輕問一句：你也在這裡嗎？ Shanghai in the 1930’s. Eighteen Springs is a tragedy of an ill-fated romance. Shijun and Shuhui, are good friends. Shijun works in a factory where he meets Manjing, an innocent young woman, and they fall in love. However, Shijun’s parents had planned for him to marry wealthy Cuizhi, who instead becomes romantically attracted to Shuhui. Minjing’s elder sister Manlu lost her fiancé Yujin, the only man she had ever loved due to his mother’s opposition. Later, she became a nightclub hostess to support her family, and met a rich client Hongcai whom she married. Millions of people cross paths every day, and in the vast ocean of time these seven men and women encountered each other and met their fate. Seven relationships entangled in a span of fourteen years…For young lovers, a few years might seem a lifetime, unlike middle aged people, to whom a decade felt like only a moment. As transient as images of a magic lantern, as fleeting as a shooting star is our existence on earth. Yet, we cross paths at this very spot and at this very moment in our journey of life, and our eyes meet. I gently ask, “You are here as well?”
14 - 15, 21 - 22/9 16/9
五、六 Fri, Sat I 8:15pm 日 Sun I 5pm
票價 Ticket Price：$420, $350, $280, $220, $160 香港文化中心大劇院
Grand Theatre, Hong Kong Cultural Centre 小說原著：張愛玲 導演、設計：胡恩威 聯合編劇：魏紹恩、胡恩威 音樂總監、作曲：于逸堯 @ 人山人海 特邀演出：金燕玲 彈詞演出：金麗生、郁羣 演出 *：沈磊、何彥淇、徐漫蔓、張琦、賀彬、賈景暉、謝承穎 Based on the Novel Eighteen Springs by Eileen Chang Director / Designer: Mathias Woo Co-Scriptwriters: Jimmy Ngai, Mathias Woo Music Director / Composer: Yu Yat-yiu@PMPS Special Appearance: Elaine Jin Suzhou tanci (storytelling and ballad singing in the Suzhou dialect): Jin Li-sheng, Yu Qun Performers*: Shen Lei, He Yan-qi , Xu Man-man, Zhang Qi, He Bin, Jia Jing-hui, Xie Chang-ying * 上海話劇藝術中心演員 Members of Shanghai Dramatic Arts Centre 設學生專場，詳情請參閱頁 51 Student Matinees available. For details, please refer to page 51
胡恩威 x 魏紹恩 x 于逸堯 x 金燕玲
演出長約 150 分鐘，不設中場休息 Running time approximately 150 minutes without intermission. 普通話演出，附中英文字幕 Performed in Putonghua, with Chinese and English surtitles. 承蒙皇冠出版社 ( 香港 ) 有限公司授權 With authorisation from Crown Publishing (H.K.) Ltd 協力製作 Co-production：上海話劇藝術中心 Shanghai Dramatic Arts Centre 鳴謝 Acknowledgement：派 PYE, Club Monaco 本節目支持由康樂及文化事務署主辦的「2012/13 高中生藝術新體驗計劃」 In Support of the “2012/13 Arts Experience Scheme for Senior Secondary Students” presented by the Leisure and Cultural Services Department
攝影 Photography: Sonny Wong
六個角色 六段悲劇
Six Characters, Six Tragedies
中文題字 Chinese Inscription：區二連 Au Yee-lin 攝影 Photography：冼家弘 Keith Sin
《 萬 曆 十 五 年 》 七 年 內 五 度 上 演 四 十 七 場， 贏 盡 各 界 口 碑 —
徐克：「富警世意識的實驗劇場。」
本劇源自享譽海峽兩岸和歐美歷史學者黃仁宇先生同名著作，導演 胡恩威聯同歷史劇《走向共和》編劇張建偉，共同將《萬曆十五年》 發展成最貼近原著的舞台劇劇本。全劇以明朝萬曆年間的六個人 物的六段獨腳戲構成，以小敍事透視大歷史，借明朝平淡無味的 一個年頭，揭示影響中國往後近百年的種種歷史因素。 今年十一月將前赴台北，為「2012 香港周」演出項目。
1587, A Year of No Significance was staged 5 times with 47 performances in 7 years, and it has won word of mouth from all sectors.
Director Tsui Hark describes it as “Rich cautionary experimental theatre”.
The performance was based closely on the book of the same title by Ray Huang, the legendary scholar renowned in Asia, America and Europe, and it is highly regarded among historians and scholars. The script of this performance is a collaboration of Mathias Woo with Zhang Jian-wei, the screenplay writer of the controversial television historical drama, For the Sake of the Republic. The performance evolves around six monologues delivered by the six characters from the book, and the story is focused on the year 1587, a bland year with no distant events in the Ming Dynasty, and yet bearing great impact on the history of China in the following decades. Touring this November in Taipei as one of the programmes of “Hong Kong Week 2012”.
28 - 29/9 30/9 4 - 6/10 7/10
五、六 Fri, Sat I 7:30pm 日 Sun I 3pm 四至六 Thu to Sat I 7:30pm 日 Sun I 3pm
票價 Ticket Price：$420, $280, $180 香港文化中心劇場
Studio Theatre, Hong Kong Cultural Centre
編導及設計：胡恩威 改編：張建偉 ( 北京 ) 形象設計：張叔平 音樂總監：于逸堯 @ 人山人海 演員：楊永德、黃大徽、鍾家誠、凌梓維、蔣可 * 特邀演出 ( 南京 ) ：孔愛萍、單曉明 Scriptwriter, Director and Designer: Mathias Woo Scriptwriter: Zhang Jianwei (Beijing) Costume Design: William Chang Music: Yu Yat-yiu@PMPS Performers: David Yeung, Dick Wong, Carson Chung, Benson Ling, Jiang Ke* Guest Artists (Nanjing): Kong Aiping, Shan Xiaoming * 上海話劇藝術中心演員 Member of Shanghai Dramatic Arts Centre 設學生專場，詳情請參閱頁 51 Student Matinees available. For details, please refer to page 51 演出長約 3 小時，包括 15 分鐘中場休息 Running time approximately 3 hours including a 15-min intermission. 普通話、粵語演出，附中英文字幕 Performed in Putonghua and Cantonese, with Chinese and English surtitles. 鳴謝：江蘇省演藝集團崑劇院 Acknowledgement: Jiangsu Performing Arts Group Kun Opera Theatre 本節目之首演由康樂及文化事務署贊助 The Premiere of this production was sponsored by the Leisure and Cultural Services Department.
本節目支持由康樂及文化事務署主辦的「2012/13 高中生藝術新體驗計劃」 In Support of the “2012/13 Arts Experience Scheme for Senior Secondary Students” presented by the Leisure and Cultural Services Department
全新創作
演出： 進念口述歷史劇《 0 3 8》 2
Commissioned Work Performance
0382 – Zuni Oral History Theatre
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進念三十周年委約作品
Commissioned Work Celebrating the 30th Anniversary of Zuni Icosahedron
三個進念老將的口述歷史劇 Zuni Oral History Theatre
.......... 16-17/11 17/11
五、六 Fri, Sat I 8pm 六 Sat I 3pm
票價 Ticket Price：$200 香港文化中心劇場
Studio Theatre, Hong Kong Cultural Centre
戲 劇 化 的 說 法， 是 關 乎 一 名 新 聞 系 學 生， 一 名 電 訊 工 程 員 和 一 名 待 業 女 青， 如 何 被 82 年 3 月 所 發 生 的 一 些 事 改 變 了 他 / 她 們 的 一 生。 主 題 式 的 說 法， 是 關 乎 個 人、 團 體 以 至 一 個 城 市 之 間 的 相 互 記 憶， 大 概 怎 樣 發 生 和 是 否 那 樣 發 生 並 不 最 重 要， 甚 麼 留 低 才 是 亮 點。
導演：黃大徽 文本創作 / 演出：楊永德、何秀萍、黃大徽 舞台美術：王瑞華 Director: Dick Wong Text / Performers: David Yeung, Pia Ho, Dick Wong Production Designer: Glenis Wong
推廣宣傳的說法，是青春是一場大雨，人生是一場 不停的戰鬥，今個秋冬，讓我們一起回到那些年， 整理懷緬翻舊帳，口述體述再Remix，給往事定案， 為流言煽火。
演出長度不少於 70 分鐘，詳情容後公佈 Running time no less than 70 minutes, details will be announced later 粵語演出 Performed in Cantonese
0382，亦即 82 年 3 月，在那三十一天，香港仔隧 道開放通車，長洲觀音灣 34 名遊人被掠劫，南華 兩度輸波引起球迷騷動，實驗劇團進念 ‧ 二十面體 正式成立。
攝影 Photography: Sonny Wong
Dramatically speaking, it is about how the lives of three people, a journalism student, a telecommunication technician, and an unemployed young woman, were forever changed because of something that happened in March 1982. Thematically speaking, it is about the interwoven memories of individuals, communities and the city. Probably it doesn’t matter what really happened or how it took place. What matters is what we chose to remember and how to get on with it. From a marketing point of view, it is about youth as a heavy rain shower and life as a continuous battle. This fall and winter, let us go back to those past years and settle some unfinished old score there. Let us dig up the past, get some closure, retell, remix and re-present. 0382 stands for March 1982. In that 31 days, the Aberdeen Tunnel opened; 34 tourists were robbed in Kwun Yam Beach of Cheung Chau Island; the South China Football Team lost twice and their fans started a riot; Zuni Icosahedron, an experimental theatre group was founded officially.
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傳承與創新 實驗傳統
演出： 逆 轉 視 角 崑 劇 傳 奇《 舞 台 姊 妹 》 四百五十年傳統與創新《夜奔》
FLEE BY NIGHT
跨界交流
Reinvent Traditions Performances
Stage Sisters – A kunqu legend challenging perspectives Flee by Night – Reinventing 450 years of tradition
Experimenting Traditions Cross-border Exchange
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榮念曾實驗劇場
DANNY YUNG EXPERIMENTAL THEATRE
逆轉傳統劇場視點 舞台成為觀眾席
A reversal of points of view in theatre – Stage has become auditorium
「極奢華的簡約舞台經驗。」 — 鄧小宇《信報》 「感情之豐富和現實之華美，教人衷心折服。」 — 邁克《蘋果日報》
29/11,1/12 1/12 2/12
四、六 Thu, Sat I 8:15pm 六 Sat I 3pm 日 Sun I 5pm
票價 Ticket Price：$280
“A stage experience by turns sumptuous and simple.” — Peter Dunn, Hong Kong Economic Journal
香港文化中心大劇院
“…is impregnated with feelings so rich and visuals so luxurious that it is absolutely enrapturing.” — Michael Lam, Apple Daily
導演、文本、舞台設計：榮念曾 演出：石小梅 ( 南京 )、胡錦芳 ( 南京 )、孔愛萍 ( 南京 )、李雪梅 ( 徐州 )、 孫伊君 ( 南京 ) 演出、旁白：何秀萍 ( 香港 ) 音樂：于逸堯 @ 人山人海 服裝設計：Vivienne Tam Director, Scriptwriter, Stage Designer: Danny Yung Performers: Shi Xiaomei (Nanjing), Hu Jinfang (Nanjing), Kong Aiping (Nanjing), Li Xuemei(Xuzhou), Sun Yijun (Nanjing) Performer, Narrator: Pia Ho (Hong Kong) Music by: Yu Yat-yiu@PMPS Costume Designer: Vivienne Tam
Grand Theatre, Hong Kong Cultural Centre
演出長約 100 分鐘，不設中場休息 Running time approximately 100 minutes without intermission. 附中、英文文本 With Chinese and English texts 鳴謝：江蘇省演藝集團崑劇院 Acknowledgement: Jiangsu Performing Arts Group Kun Opera Theatre
新中國成立六十年，當中政治是如何影響著藝術的發展？ 藝術家的個人歷史又如何與大歷史的論述對照？《舞台姊 妹》以著名崑劇表演藝術家石小梅為起點，亦以她為表演 藝術家的代表。她將與五位不同年代背景的女性表演者在 台上引領我們，共同見證其五十年的舞台人生；檢視現代 政治、社會、文化與表演藝術家的關係；並細看她這一代人， 一位女性表演藝術家，是怎麼走過來，又如何走下去。 是次演出將打破傳統舞台格局，逆轉傳統劇場的視點： 觀眾將於舞台後方觀看台前的表演，而演員則會以觀眾席 為舞台背景，一同以嶄新角度審視、認清觀者與演出者、 看與被看的關係。 Since the foundation of PRC, how has the development of the arts been affected by politics? And how is an artist’s personal history related to history’s grand narrative? Stage Sisters started with and features on the kun opera master Shi Xiaomei, who as a representative female theatre artist will engage in dialogue with five “sisters”, six actresses of different backgrounds. Wandering between subjects of female identity, sexuality, arts and politics, the sisters’ intimate conversations will shed light on the times and lives of women in theatre under the PRC regime. Together, the Sisters will delve into memories and weave their personal narratives of the New China with references to the political, the cultural and the economic, gently expanding, perplexing and critiquing history’s grand narrative.
攝影 Photography: 陳立怡 Yvonne Chan, 冼家弘 Keith Sin
Unconventional and non-linear, the performance will create a new kind of theatre experience by putting the audience and performers’ positions in reverse. From subverted perspectives, both the audience and the artists will be persuasively and vigorously questioning about the preconceptions about the theatre that has been holding them from understanding the true, tragic exigencies of theatre experience.
「榮念曾對李開先《夜奔》最大的提 煉 。 」 — 《P AR 表 演 藝 術 》 ( 台 灣 ) 「很滿足和感謝…這很可能演變出新 的 演 出 程 式 。 」 — 瞿小松 ， 現 代 中 國 音 樂 家 “Danny Yung has brought out the essence of Li Kaixian’s Flee by Night.“ — Performing Arts Review (Taiwan) “I feel so contented and grateful…It’s very likely that this would evolve into a new set of stage formula.” — Qu Xiaosong, contemporary Chinese composer 榮 念 曾 繼《 挑 滑 車 》 及《 荒 山 淚 》 後， 再 回 到 傳 統 戲 曲 實 驗 室， 開 出 崑 劇 武 生 高 難 度 動 作《 夜 奔 》， 以 此 為《 實 驗 中 國 傳 統 三 部 曲 》 劃 上 句 號。《 夜 奔 》 是 明 中 葉 戲 劇 大 家 李 開 先 名 作《 寶 劍 記 》 僅 存 兩 折 子 戲 之 一， 講 述 宋 朝 八 十 萬 禁 軍 教 頭 林 冲， 因 彈 劾 權 奸， 受 誣 陷 刺 配 滄 州， 又 遭 追 殺， 被 逼 投 奔 梁 山。「 丈 夫 有 淚 不 輕 彈、 只 因 未 到 傷 心 處 」， 寥 寥 幾 句 唱 詞 和 念 白 已 是 說 不 盡 的 淒 涼， 說 不 盡 的 孤 憤。 榮念曾在二十一世紀的今天，再度改編《夜奔》，讓一個歷史人物走進當 代，既詠嘆生命中一些揮之不去的寂寥和愁思，也反思劇場四百五十年的傳 統與創新，彰顯表演藝術如何在時代的變遷中，仍能不斷發揮其生命韌力。 本劇曾多次獲邀海外演出，包括新加坡、上海世博、橫濱、台北。 Following The Outcast General and the award-winning Tears of Barren Hill, Danny Yung brings a finale to his “Trilogy of Experimental Traditional Opera” with Flee by Night, a one-act kunqu that puts the wucheng role (martial) to its highest challenge. Flee by Night is one of the two surviving acts from the play The Legend of the Precious Sword written by the Mid-Ming playwright Li Kaixian. It tells the story of Lin Chong, one of the famous 108 Liangshan heroes from the Chinese classical novel Water Margin. Lin Chong, an honourable man and the chief instructor of the Imperial Guards, was framed and persecuted by malicious court officials. He was being hunted, and had no alternatives but to join the band of Liangshan outlaws. He was so overwhelmed with desolation and frustration that he started to weep for his star-crossed destiny. Now, in the 21st Century, Danny Yung is making another adaptation of Flee by Night, allowing a historical figure to come to life on a contemporary stage. This performance is an elegy on the lingering melancholy and dejection of life, as well as a reappraisal of 450 years of theatre with all the tradition and innovation in between, showing us how resilient performing arts could be through the ages. Flee by Night has been invited to stage in various cities, including Singapore, S h a n g h a i W o r l d E x p o , Yo k o h a m a and Taipei. 香港藝術節及進念．二十面體聯合委約節目 Co-commissioned by Hong Kong Arts Festival 2010 and Zuni Icosahedron 攝影 Photography: 陳立怡 Yvonne Chan
30/11
五 Fri I 8:15pm
票價 Ticket Price：$220 香港文化中心大劇院
Grand Theatre, Hong Kong Cultural Centre 導演、文本、舞台設計：榮念曾 演出：柯軍 ( 江蘇省演藝集團崑劇院院長 )、 楊陽 ( 江蘇省演藝集團崑劇院 )、潘德恕 現場敲擊：李立特 ( 江蘇省演藝集團崑劇院 ) 音樂：潘德恕 服裝設計：鄭兆良 Director, Text, Stage Design: Danny Yung Performers: Ke Jun (President of Jiangsu Performing Arts Group Kun Opera Theatre), Yang Yang (Jiangsu Performing Arts Group Kun Opera Theatre), Pun Tak Shu Live Percussion: Li Lite (Jiangsu Performing Arts Group Kun Opera Theatre) Music: Pun Tak Shu Costume Design: Barney Cheng 演出長約 1 小時 40 分鐘，不設中場休息 Running time approximately 1 hour 40 minutes without intermission. 附中、英文文本 With Chinese & English texts
榮 念 曾 實 驗 劇 場 《夜奔》
Danny Yung Experimental Theatre
FLEE BY NIGHT
《水滸傳》林冲 暗遭奸臣陷害 憤奔梁山的故事 The story of Lin Chong, one of the heroes of Water Margin – how he was framed and persecuted by malicious court officials, and had to flee and join the band of Liangshan outlaws.
THE DIVINE COMEDY OF CAPITALISM
社會劇場
時事現象笑聲淚水
邏輯知性公民社會
演出： 通 識 劇 場《 資 本 主 義 喜 劇 》 上 海 話 劇 藝 術 中 心 香 港 巡 演《 資 本 ．論 》
Social Theatre
Performances
Responding to current affairs with tears and laughter Building a logical and intellectual civil society
The Divine Comedy of Capitalism – Liberal Studies Theatre
On Das Kapital – Hong Kong touring by Shanghai Dramatic Arts Centre
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攝影 Photography: Sonny Wong
通識劇場之
《 資本主義喜劇 》 LIBERAL STUDIES THEATRE
THE DIVINE COMEDY OF CAPITALISM
《資本主義喜劇》是一齣仿但丁 《神曲》 (The Divine Comedy) 的 通識喜劇。話說自由市場經濟 icon — iRon Lady 誤闖意識形態地獄之 門， 幸 遇 上 全 球 科 技 潮 物 消 費 教 主 Save Jobs 引 領， 一 路 upgrade 做 iRon nano、iRon 4S、the New iRon Lady，一路從資本主義走到共 產主義。沿途景色由閃亮的黃金與 藍綠的美鈔漸漸換成鮮血與旗幟的 紅色，究竟 Save Jobs 是要帶 iRon Lady 從地獄邁往天堂，還是從天堂 墜 進 地 獄？ 抑 或 一 切 沒 有 最 壞， 只有更壞，地獄之後還是地獄？
The Divine Comedy of Capitalism is a theatre burlesque inspired by Dante’s epic poem, The Divine Comedy in a framework of liberal studies. Halfway along the journey of her life, lost in a dark wood and unable to find the right way, our heroine iRon Lady, an icon in our free market economy, chanced upon the gate of hell ideologically. Fortunately, she was rescued by Save Jobs, the wizard of cool gadgets and technology in the realm of consumerism. Under the guidance of the master, the iRon Lady upgraded her gizmo to iRon Nano, iRon 4S, and finally became the New iRon Lady, as they took their course from Capitalism to Communism. The scenery and colours along the way changed from gold in shiny glitters to green of the dollar bill, and eventually into blood and vermillion red. Is Master Save Jobs leading iRon Lady from hell to heaven, or casting her into the inferno abyss from heaven? Or, the worst is yet to come? Is there another hell beyond this one?
12 - 13, 19 - 20/10 14/10
五、六 Fri, Sat I 8pm 日 Sun I 5pm
票價 Ticket Price：$250, $150 香港文化中心劇場
Studio Theatre, Hong Kong Cultural Centre 導演及設計：胡恩威 聯合編劇：胡恩威、徐沛筠 演員：伍嘉雯、王耀光、鍾家誠、高若珊 ( 台北 )、彭漪婷 Director and Designer: Mathias Woo Co-Scriptwriters: Mathias Woo, Pamela Tsui Performers: Carmen Wu, Denny Wong, Carson Chung, Kao Jo-shan (Taipei), Pang I Ting 設學生專場，詳情請參閱頁 51 Student Matinees available. For details, please refer to page 51 演出長約 100 分鐘，不設中場休息 Running time approximately 100 minutes without intermission. 粵語、普通話演出 Performed in Cantonese and Putonghua
本節目支持由康樂及文化事務署主辦的「2012/13 高中生藝術新體驗計劃」 In Support of the “2012/13 Arts Experience Scheme for Senior Secondary Students” presented by the Leisure and Cultural Services Department
「爆笑幽默。」
世界巡演香港站
金 牌 編 劇喻 榮 軍 票 房 蜜 糖何 念
X
— 中國戲劇網
「掀起了一場關於資本的藝術風暴。」 — 新浪娛樂 《資本論》是卡爾馬克思一生最偉大的著作，這部 一百多年前的巨著以數學般的準確性，第一次深刻地 分析了資本主義的全部發展過程。舞台劇《資本．論》 2010 年起於上海三度上演，劇中主人公以一場「戲劇 帝國」的黃粱夢，掀起對於資本、金錢、物質的新一 輪思考和討論。 資本是天使？資本是魔鬼？ 資本能讓我們一步登天， 也能讓我們落入萬丈深淵。 人人心中都有一個資本的模樣， 你心中的資本模樣如何？ 「這個時代充斥資本誘惑，每個人都能輕易進入這個 鏈條」。擁有財富，是否就能成為錢的主人？還是反 過來被資本駕馭，丟失幸福感？
靈感來自馬克思著作《資本論》 現實源於美國華爾街金融危機 Inspired by Karl Marx’s Magnum Opus
Based on real-life incidents in the Wall Street financial crisis
“Hilarious and witty” – Drama Forum, xijucn. com “It took the art world by storm and set off a creative tsunami on Capital.” – Sina Entertainment Forum Das Kapital is the magnum opus of Karl Marx. This masterpiece from more than a hundred years ago is the first ever publication to spell out the development process of the capitalist system and its consequences with mathematical accuracy. The theatre work of On Das Kapital was first premiered in Shanghai in 2010, and was restaged there for three times. In the play, the protagonist starts outs a discourse on a new treatise on capital, money and material with a vanity dream, “The Theatre Empire”. Is Capital an angel? Is Capital a devil? Capital can be a stairway to heaven, And it can also be a highway to hell. Everyone has his own concept of what Capital should be. What is it like, your idea of Capital? “The world nowadays is filled with temptations of Capital, and it is so easy for a person to fall victim and join in the chain gang.” Can one become the master of money when he is in possession of great wealth? Or, on the contrary, will he be enslaved by Capital, and lose his sense of happiness?
9 - 10/11
五、六 Fri, Sat I 8:15pm
票價 Ticket Price：$350, $280, $180 香港文化中心大劇院
Grand Theatre, Hong Kong Cultural Centre 編劇：喻榮軍 導演：何念 製作及演出：上海話劇藝術中心 Scriptwriter: Nick Yu Director: Nian He Production & Performance: Shanghai Dramatic Arts Centre 設學生專場，詳情請參閱頁 51 Student Matinees available. For details, please refer to page 51 演出長約 150 分鐘，不設中場休息 Running time approximately 150 minutes without intermission. 普通話演出，附中文字幕 Performed in Putonghua, with Chinese surtitles. 上海文化發展基金會資助項目 Sponsored by Shanghai Cultural Development Foundation
AD 7
文化交流
開闊胸襟前瞻視野
國際互動合作創作
演出： 崑劇能劇交流巡演《靈戲》
Cultural Exchange
Performance
An open mind with forward-looking vision International interaction in creative collaboration
The Spirits Play – An exchange and touring performance of Kun and Noh
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非物質文化遺產 表 ( 演藝術 崑能文化交流計劃 — )
Intangible Cultural Heritage (Performing Arts) – Kun & Noh Cultural Exchange Programme
兩大亞洲劇場大師佐藤信、榮念曾携手合作，再度創作已故新加坡導演郭寶崑同名作 — 原為新加坡楊厝港日本人 公墓裡一幫太平洋戰爭亡魂的自白。演出由香港、南京及東京三地劇場創作人參與，透過崑劇和能劇的跨文化演繹， 處理有關戰爭和記憶的議題。繼去年十月的創作階段演出，經歷不斷發展、再創，成為本年度的巡迴終極版，並將 於東京、新加坡兩地巡演。
攝影 Photography: 區子強 Johnny Au
聯合策劃及製作 Conceived & Jointly Produced by
協辦 Co-organized by
「記憶、場所、對話 2011-2013」能與崑劇文化交流計劃 “Memory Place Dialogue 2011-2013” Noh and Kun Cultural Exchange Programme
11 - 14/10
四至日 Thu - Sun
座．高圓寺 Za-Koenji Public Theatre ( 東京 Tokyo)
郭寶崑藝術節 2012 Kuo Pao Kun Festival 2012
25 - 28/10
四至日 Thu - Sun
欣藝坊 The Joyden Hall of Iluma ( 新加坡 Singapore) 導演：佐藤信 ( 東京 )、榮念曾 ( 香港 ) 參與表演藝術家：笛田宇一郎 ( 當代劇場 ) 清水寬二、西村高夫 ( 能劇 ) 松島誠 ( 現代舞 ) 楊陽、孫晶、徐思佳、唐沁 ( 崑劇 ) Directors: Makoto Sato (Tokyo), Danny Yung (Hong Kong) Performers: Uichiro Fueda (Contemporary Theatre) Kanji Shimizu, Takao Nishimura (Noh Theatre) Makoto Matsushima (Modern Dance) Yang Yang, Sun Jing, Xu Sijia, Tang Qin (Kun Opera) 演出長約 120 分鐘，中場休息 10 分鐘 Running time approximately 120 minutes with 10-minute intermission 日語及普通話演出，附中、英文字幕 Performed in Japanese & Putonghua, with Chinese & English surtitles 合作機構 In Collaboration with： 銕仙會 ( 能劇團 ) Tessen-kai (Noh Theatre Group) ( 東京 Tokyo) 江蘇省演藝集團崑劇院 Jiangsu Performing Arts group Kun Opera House ( 南京 Nanjing) 支持機構 Supported by：
Collaboration between Asian theatre masters, Makoto Sato and Danny Yung, inspired by the work of the same title by the late Singaporean director Kuo Pao Kun, the original story is about a group of spirits at the Japanese Cemetery in Singapore which confess their deaths at the Pacific War. In this Hong Kong-Nanjing-Tokyo joint venture, theatre practitioners across cultural backgrounds will experiment the combination of Kun opera and Noh theatre, while addressing the issues of war and memory. This performance will be touring in Tokyo and Singapore this year.
票務詳情 Ticketing Details
《半生緣》Eighteen Springs
門票即日起於城市電腦售票網公開發售 Tickets NOW available at URBTIX
其他演出門票 Other Programmes
於 7 月 11 日起在城市電腦售票網公開發售 Tickets available at URBTIX from 11 July onwards
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77 折 ( 優惠期 : 01 - 30 / 06 ) 23% off (Advance Booking Period: 01 – 30 / 06)
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劃一特惠票價港幣 100 元 ( 名額有限，先到先得。) Uniform concession price: HK$100 (Bookings are on a first-come-first-serve basis and subject to availability.)
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綜合社會保障援助受惠人士 Comprehensive Social Security Assistance Recipients (CSSA) 香港社會服務聯會機構會員 The Hong Kong Council of Social Service Agency Members
劃一特惠票價港幣 10 元 ( 只適用於公開售票期間在城市電腦售票處直接購票，名額有限，先到先得。) Uniform Concession Price: HK$10. (Only applicable at counter booking at all URBTIX outlets for direct purchase, on a first-come-first-serve basis and subject to availability.) 團體訂票一律港幣 10 元 ( 訂購詳情請與我們聯絡。) Concession price for group tickets: HK$10 (For reservation & enquiries, please contact us.)
節目查詢 Programme Enquiries: +852 2566 9696 / www.zuni.org.hk 團體訂購 Group Booking: +852 2566 9696 / ticketing@zuni.org.hk 信用卡電話購票 Credit Card Booking: +852 2111 5999 網上訂票 Internet Booking: http://ticketing.zuni.org.hk ( 進念 Zuni ) www.urbtix.hk ( 城市電腦售票網 URBTIX ) 公開售票期間優惠詳情請參閱各節目宣傳單張 For other discount offers, please refer to programme leaflet
優先訂票細則及條款 ．所有訂票表格均以先到先得方法處理，進念．二十面體不能保證所有訂票人士均能成功訂取門票；而座位分配將由進念．二十面體作最終決定。 ．優惠只適用於成功訂購之門票。 ．優惠計劃只供預訂門票之用，不適用於城市電腦售票網。 ．優惠計劃名額有限，先到先得。 ．一人一票，幼童不論年齡亦須憑票入場 ( 須合符年齡限制 )。 ．所有門票一經售出，概不退換。 ．購買每張門票，只可享用其中一項購票優惠計劃。 ．折扣優惠按每張訂購表格獨立計算。如再次訂購門票，之前所享之優惠不能累積至下一次訂票時使用。 ．預訂之門票將以郵遞方式寄給閣下。有關票務查詢，請致電 +852 2566 9696 查詢。 ．進念．二十面體並不負責因顧客提供失效或不正確地址而導致的門票遺失。 ．優惠票 ( 包括但不局限於 60 歲或以上的高齡人士、殘疾人士和全日制學生優惠票 ) 持有人必須在入場時出示認可的身份證明，否則須付全值票價及手續費。 ．學生優惠只限於本地全日制學生；持票人必須帶同有效之本地學生證明文件以供查核，否則須付全值票價及手續費。 ．殘疾人士門票持有人進場時，須出示有效的「殘疾人士登記證」，否則需付全值票價及手續費。 ．所有節目恕不招待 6 歲以下小童進場。 ．折扣按每張門票獨立計算。每張門票折扣後的票價將計算至個位數，不足港幣一元亦作一元計算。 ．進念．二十面體有權不讓遲到者入場，亦有權決定遲到者的入場時間及方式。 ．進念．二十面體有權增減或更換藝人及 / 或更改已公佈的節目、座位編排及容納觀眾的數目。
Terms & Conditions for Advance Booking
．All bookings will be dealt with on a first-come-first-served basis. Zuni Icosahedron cannot guarantee the availability of tickets. Allocation of seats will be at the discretion of Zuni Icosahedron. ．Discount offers are only applicable to successful subscriptions of tickets. ．All discount packages are applicable to Advance Booking only, and are invalid at URBTIX. ．Discount packages are limited and available on a first-come-first-served basis. ．One person per ticket regardless of age (subject to age limit specified for each event). ．Tickets sold are non-refundable and non-exchangeable. ．Subscribers can enjoy only one of the discount packages, and a discount package cannot be used together with other subscription discount offers in purchasing the same tickets. ．If you order your tickets in separate transactions, discount previously enjoyed in the first transaction cannot be carried forward to the second transaction. ．Tickets for Early Bird orders will be sent to you by post. Please contact us at +852 2566 9696 for enquiries about your booking status. ．Zuni Icosahedron will not be responsible for any lost ticket due to the submission of invalid or inaccurate mailing addresses by customers. ．Concessionary ticket holders, including but not limited to concessionary tickets for senior citizens aged 60 or above, people with disabilities and full-time students, will be admitted only on production of acceptable proof of identity. Those who fail to do so will be required to pay full ticket price and handling charges. ．Half-price concessionary student tickets are limited to local, full-time students only. Students will be required to present a valid student ID card for inspection at the admission point. Those who fail to do so will be required to pay full ticket price and handling charges. ．People with disabilities must bring the valid “Registration Card for People with Disabilities” when attending performances. Those who fail to do so will be required to pay full ticket price and handling charges. ．People under the age of 6 years are not allowed to enter the theatre performance. ．The discount will be calculated upon each ticket purchased. The price of discounted tickets will be rounded up to the nearest dollar for EACH ticket. ．Zuni Icosahedron reserves the right to refuse admission by any late-comers to the event. The management also reserves the right to determine the time at which and the manner in which late-comers are to be admitted. ．Zuni Icosahedron reserves the right to add, withdraw or substitute artists and/or vary advertised programmes, seating arrangements and audience capacity.
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進 念． 二 十 面 體
Zuni lcosahedron
1982 年成立，為非牟利慈善文化團體，以香港為基，面向世界的實驗藝術團體。 從事多元戲劇藝術創作至今，原創劇場作品超過一百九十齣，曾獲邀前往演出及 交流的城市遍及歐、亞、美等地三十多個城市。多年來一直致力拓展香港文化藝 術新領域，積極推動國際文化交流，主催藝術評論及文化政策研究等工作，並活 躍於藝術教育和發展電子媒體及跨媒體等新類型的藝術模式，近年亦致力促進非 物質文化遺產 (表演藝術) 的傳承和發展。現為香港九個主要專業藝術團體之一， 也是香港最具代表性的國際實驗劇團。2008 年獲選為香港文化中心的場地伙伴 團體，進念在 2009 年起進駐香港文化中心，開展系列創作及外展教育計劃。 進念的劇場創作，一直在實驗與探索「舞台空間」不同形式和內容的可能性。由 早期非敍事、形體，與舞台空間的互動實驗，到近十年光、影、聲、空間的多媒 體設計，由跨媒體舞台表演空間，到跨界別政治民生空間，到跨地域國際文化交 流空間，由流行普及到社會禁忌，由傳統到當代……進念的實驗性和顛覆性，不 斷啟發著華人社會的藝術和舞台美學發展。 Founded in 1982, is a Hong Kong based international experimental theatre company. Zuni has produced more than 190 original productions of alternative theatre and multimedia performances, and has been active in video, sound experimentation and installation arts, as well as in the area of arts education, arts criticism, cultural policy research and international cultural exchange. Recently, Zuni has also been undertaking the mission of preserving and developing Intangible Cultural Heritage (Performing Arts). Over the years, Zuni has been invited to more than 30 cities in Europe, Asia, and America for cultural exchange and performances. Zuni is one of the nine major professional arts companies in Hong Kong, and has established itself as a premier experimental theatre locally, regionally and internationally. In 2008, Zuni was chosen by the Hong Kong Cultural Centre as one of the groups participating in the Venue Partnership Scheme introduced by the Leisure and Cultural Services Department (LCSD). Since 2009, Zuni has been partnered with the Hong Kong Cultural Centre and produces a series of theatre works and outreach education programmes. Zuni’s theatre has been always in probing the possibilities of form and content in “theatre space” through experimentation and exploration. Zuni has been most inspiring in developing the aesthetics of theatre in Chinese society, with its experimental and subversive nature, and this could be seen in the interactive experiments in the narrative (or rather non-narrative), form and space in its early works. The same spirit could be found in the multimedia design in lights, images, sounds and spaces as in the attempts in the area of cross-media performances, to cross-boundary political and civil area, and to cross-region international cultural exchanges. The topics covered stretch from popular culture to social taboos, from the traditional to the contemporary.
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聯合藝術總監：榮念曾、胡恩威
Co-Artistic Directors: Danny Yung, Mathias Woo
榮念曾
Danny Yung
華人實驗藝術先驅，進念創辦人之一及聯合藝術總監，香港當代文化中心主席。投入劇場、 漫畫、錄像及電影、視覺藝術及裝置藝術等創作超過四十年，作品於超過三十個城市演出。 2008 年憑《荒山淚》於聯合國教科文組織國際劇協 Music Theatre NOW 比賽中奪得殊榮。2009 年獲德國聯邦總統頒贈聯邦十字絲帶勳章，以表揚其推動港德兩地交流、尤其在文化藝術方面 的成就。 Danny Yung is an experimental art pioneer, the founder cum Co-Artistic Director of Zuni Icosahedron and Chairperson of the Hong Kong Institute of Contemporary Culture. In the past 40 years he has been deeply involved in multifarious fields of the arts, mainly, theatre, cartoon, film and video, visual art and installation. In 2008 with Tears of Barren Hill he garnered the Music Theatre NOW Award given by UNESCO’s International Theatre Institute. He was bestowed the Merit Cross of the Order of Merit by the Federal Republic of Germany in 2009 in recognition of his contributions towards the arts and cultural exchange between Germany and Hong Kong.
胡恩威
Mathias Woo
進念聯合藝術總監暨行政總裁，從事編劇、導演、監製和策劃等多方面的工作，劇場作品逾 六十齣，作品曾應邀於世界多地上演，主題涵蓋文學、歷史、時政、建築、宗教。胡氏尤擅 於運用多媒體科技從事舞台創作，其創作的「多媒體建築音樂劇場」系列開創香港劇場界的先 河。2009 年，胡氏策劃了香港首個以建築為主題的「建築是藝術節」，探索建築的各種藝術 可能。 Woo joined Zuni in 1988 and is currently the Co-Artistic Director cum Executive Director of the group. As a scriptwriter, director, producer and curator, he has created more than 60 theatre works which have been performed around the world. Woo’s theatre works cover a wide range of topics. He is well-known for his Multimedia Music Theatre Series, and ingenious blending of theatrical space, text, video images and cutting-edge multimedia technology. His pioneering works in the Multimedia Architecture Music Theatre have set up a new paradigm for theatrical experience in Hong Kong. In 2009, Woo curated “Architecture is Art Festival”, the first of its kind in Hong Kong that explored the artistic potential of architecture with different art forms. 33
進念聯合藝術總監
榮念曾筆記
戳破語言的氣泡．戳破氣泡的文化（節錄） 早於 1970 年代，榮念曾從事實驗劇場的同時，已在九格漫畫實驗環境並挑 戰敘事，在三格漫畫直接展開文字的遊戲。1982 年他創立進念．二十面體 後，仍持續以漫畫、文字和劇場，拓展創意互動的平台。
顛覆文字的漫畫、顛覆劇場的文字 1979 年香港藝術中心邀請我展出我的「氣泡」概念漫畫，其中一部份是填 了文字二人對話的上下三格漫畫，一共有六十四張，基本上是兩個相同的 人物手插袋，面對面，但二人都不動；我自己先在他們的頭上填了各樣的 文字或符號，彷彿成為二人的對話。這上下三格漫畫的概念基本上可以說 包含一次寫對白的練習。 你一句 我一句 是甚麼？
不對 一格跟著 一格的…
不對不對 沒有聲音的。
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是相聲吧？
是電影吧？
難道… 是漫畫？
作為一個對話的結構，當然，首先是如何回應漫畫本身設計內容的對話， 比如每格裡兩個相同的人物，比如這兩個人都是手插袋，比如兩個人一左 一右，面對面，比如兩個人都沒有嘴巴；至於兩個人頭上的空間，可以提 供來回「三次」填入的對白，可以是一問一答形式，也可以不是；根據如 是設計內容的框架下，如果是一問一答形式，可以怎樣發展成一次溝通對 話的經驗。在最後回合的對話是否就是三次對白的結論？最後的回合，右 邊的人物是否有最後作結論的權力。對我來說，這是一次底限概念藝術的 實驗，也是一次處理文字影像互動的實驗，也是一次學問的實驗。 舉一個三格一問一答形式「學問」的例子：第一格左面的小人問右面的小 人問題：「一格一格的圖畫是甚麼？」右面小人答：「那肯定是電影囉！」 第二格左面小人再問：「我一句，你一句的又是甚麼啊？」右面小人答：「那 當然是相聲喇！」第三格也是最後的一格，左面小人再問：「一格一格， 我頭上有一句，你頭上又有一句的，那又是甚麼啊？」右面小人答左面小人： 「不會是漫畫吧？！」在這樣的實驗裡，也引發我對口字邊的中文感嘆詞 及助語字產生很大的興趣，比如喂、哦、哇、喲、噫、噯、呸、啊、呵、呀、 嘿、哈、唔、嘩，等等真是見字聞聲；比如咩、啥、咦、咁，後面都該是 個問號！比如咭，嗲，等簡直可以用來做新年及父親節賀卡。 這些對白結構跟感嘆及助語字的實驗，不多不少啟發了我幾年後為進念． 二 十 面 體 排 演 劇 作《 列 女 傳 》 的 實 驗。 在《 列 女 傳 》 裡， 兩 個 演 員 在 沙 發 上 來 回 六 次 對 話 的 結 構； 然 後 發 展 至 三 個 人 來 回 六 次 對 話， 四 個 人 來 回 六 次 對 話 等 等； 這 裡 包 括 非 文 字 言 語 的 交 流， 比 如 沉 默 避 而 不 答， 以 笑 或 嘆 息 回 應。 借 了 劇 場， 由 形 式 角 度 來 探 討 對 話 的 各 種 可 能 性， 再 去 處 理 內 容 和 形 式 的 互 動。 最 近 我 也 在 想， 概 念 漫 畫 可 以 是 從 新 認 識 文 字 言 語 交 流 的 一 個 學 習 平 台， 問 題 是 我 們 需 要 系 統 的 實 驗， 理 論 的 支 援。
談到理論，已故的老友浸會大學教授林年同很關注香港漫畫發展； 他曾經勸我繼續發展關於「概念」漫畫作品，他認為這些實驗足夠 他發揮理論性的評議，去寫一本書。他有一次勸我：「榮念曾，你 別去浪費時間操作甚麼概念劇場！不如繼續做你的概念漫畫！你的 實驗劇場，永遠是在發展進行中的概念，永遠在尋找過程；而概念 實驗漫畫就能概括你的思想，結論是完整的。」林年同不知道的是 作為漫畫創作，畫畫有自得其樂的時候，但也有落單寂寞的時候； 尤其是在 80 年代，在實驗創作畫漫畫的前線，能相互評議對話的 朋友實在太少。實驗劇場卻提供更多的互動和合作。所以問題在於 我的「不甘寂寞」。我畫漫畫始於用畫顛覆文字，或許，我創作劇 場則是以文字顛覆劇場。
開拓香港新文化、開拓語言新空間 80 年代初期，《列女傳》的實驗之後有《舊約》、 《日出 ( 前 / 後 )》結構對白方面的實驗，一直伸延至 《石頭記》無厘頭對白，到了 90 年代的《石頭再現 記》、《石頭記備忘錄》裡開始文字閱讀的練習，是 關於四字成語的實驗，例如《石頭記備忘錄》裡「莫 失莫忘」、「不離不棄」、「忽隱忽現」、「三反五 反」等。那是一次分析發展並處理有兩個同樣字的四 字成語之實驗。有兩個同樣字的四字成語在結構上建 立了一個聲勢力量；例如「是真是假」，閱讀了兩次 「是」的時候，印象變得深刻。我們中國語言文字和 語句的結構，實在充滿深層意義；如果懂得發掘實驗 使用的話，我們對自己的當代文化（由成語，標語， 廣告，至俚語）就有更深入的了解，有了解就有評議， 有評議就有發展，之後就有創新。 我認為香港在言語文化的辯證，相對於內地和台灣， 還是有比較大的評議和創作的空間。我覺得台灣跟大 陸的文化價值觀其實是很接近的，都是大中華正統中 心的。他們對外來文化的看法、本土文字的用法，基 本態度是一樣地單元。但在 50 年代的香港，我們曾 經是潮、粵、國三言平等共通；一直到近三十年才進 入一個雙文化雙語文（粵及英）的時代；我們在這樣 的環境內成長，很多時兩語交叉並用或是中英夾雜，
並重視快速翻譯，這些多元文化現象及環境都是絕佳 推動評議文化的客觀條件。我覺得香港的所謂邊緣文 化對於大中華中心文化的發展是有正面的作用，中國 中心文化的單元性格如果沒有多樣性文化的存在和 衝擊，將會在世界文化發展潮流中更孤立和失去辯證 和創意的力量。香港的「邊緣」文化位置很可以成為 中外文化交流緩衝的地帶，也可以成為中外文化合作 評議的平台。 當然在 97 前後有一個階段，香港處處充斥政治掛帥， 強調中華為本的說法；這是一種自卑倒退的觀念，亦 在不知不覺中加快香港失去其本質，以致走向文化發 展上的失焦。香港本身的多元文化背景及中外歷史交 叉的經歷是沒有可能更改，在香港倡導跟隨大中華文 化間接在抹殺香港這個獨特「少數族類」文化特性和 創意，抹殺了香港當代文化對中國文化督促評議的位 置，也違反了中國的文化多樣化國策。近年這種香港 文化發展的失落現象，部份理由因為香港的本地當代 文化學術研究基礎的薄弱；薄弱的情況來自政府及社 會對它的忽略；如果本土當代文化研究做得好的話， 一定會回饋本土當代文化前線工作者，包括強化當代 文化評論者，有香港特色的文化發展就不會受制於政 治，文化發展就不會在回歸後如此停滯不前。
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Note from Danny Yung,
Co-Artistic Director of Zuni Icosahedron Pricking and Bursting the Language Bubble Pricking and Bursting the Bubble Culture (Excerpt) In the 1970s, Danny Yung, while engaging in theatre experimentation, was already into the experimentation with nine-frame comic strips challenging the ways of narratives, and at the same time, he also began his textual play in three-frame comic strips. In 1982, he founded Zuni Icosahedron and he continued to explore platforms for creative interaction through comics, texts and theatre.
Subverting Texts with Comics, and Subverting Theatre with Texts
You say something; I say something; what would that be?
No; it is one frame following another.
No! No! It does not have sound.
Isn’t that xiangsheng?
That would be a movie, no?
Could that be cartoons?
In 1979, I was invited by the Hong Kong Arts Centre to showcase my conceptual comics of “bubbles”. I divided the exhibition into three parts. The second part was 64 pieces of vertical three-frame comic strips with dialogues between the two characters. In those three-frame comic strips, basically, there were the same two characters with their hands in their pockets facing each other, and they didn’t move. I put down all kinds of texts or symbols above their heads as dialogues. The idea of the vertical three-frame comic strip is basically an exercise for dialogue-writing. In designing the structure of a dialogue, of course, the first thing to deal with is how to respond to the predetermined content of the dialogue in the comic strip itself. For example, it could be the same two characters in each box, it could be both characters with their hands in their pockets, it could be the two characters standing face to face, one on the left and the other one on the right, it could be two characters with no mouths, etc. The bubbles above the heads of the two characters provide “three rounds” of dialogue exchange. It can be in a question-and-answer format, or not. Under the framework of this predetermined content, if it is in a question-and-answer format, how can it be developed into an experience of communication and dialogues? Does the dialogue in the last round conclude the three rounds of dialogues? In the last round, does the character on the right have the authority to draw the final conclusion? To me, this is an experiment of minimal conceptual art, an interactive experiment of handling texts and visuals, as well as an experiment of knowledge. Take a three-frame question and answer dialogue for “knowledge” as an example. The little guy on the left in the first frame asks the little guy on the right, “What are those frames of drawings?” The little guy on the
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right says, “They are definitely a movie!” The little guy on the left then asks, “What about the things they say in turn?” The little guy on the right says, “That, of course, is a repartee!” In the third and the last frame, the little guy on the left asks again, “Frame after frame, a sentence above my head, and a sentence above yours. What is that?” The little guy on the right says to the little guy on the left, “Isn’t that a comic strip?” Such an experiment also arouses my great interest in Chinese characters of exclamation and words of complement with the character “mouth” on the left, such as, “hey”, “well”, “whao”, “yo”, “eh”, “oi”, “pi”, “oh”, “ho”, “ah”, “he”, “ha”, “hmm”, “wow”. These words sound like what they look. Words like “what”, “who”, “why”, “so”, for example, should be followed by a question mark! Characters like “gig” ( 咭 ) and “tei” ( 嗲 ) should be used in greeting cards for Chinese New Years and Father’s Days. These experiments on dialogue structures and words of exclamation and complement have more or less enlightened me in the experimental drama production of Portraits of Women for Zuni Icosahedron a few years later. In Portraits of Women, the structure was at first six rounds of dialogues between two performers sitting on a sofa, and then it was developed into six rounds of dialogues among three characters, and then six rounds of dialogues among four characters, etc. The dialogues included exchanges without text or language, such as staying quiet without answering, or responding with a smile or a sigh. I used theatre to explore all possibilities of dialogues from a perspective of form, and the next thing I dealt with was the interaction of content and form. Recently I have thought that conceptual comics could be used as a learning platform for new understanding of texts and language exchanges. The question is, we need systematic experiments and a theory to support this.
my “conceptual” comic collections. He thought these experiments would have been sufficient materials for him to develop theoretical critiques and to write a book on them. He once suggested to me, “Danny Yung, don’t waste your time in the so-called conceptual theatre! Why don’t you continue with your conceptual comics! Your experimental theatre is always a concept in-progress, always in the process of searching; while your conceptual, experimental comics wrap up your thoughts, and, with a complete conclusion.” What Lin Nien-tung did not know was that, creating comics could be good fun, but it could be a lonely process as well, especially in the 80’s, when there were only very few friends who could exchange dialogues and criticisms in the frontline of experimental comic creation. On the other hand, experimental theatre could provide more interactions and collaborations. Therefore the problem was my “reluctance to be lonely”. My comic strips started with my intention of subverting texts with comics. Perhaps, my theatre works are subverting theatre with texts.
Speaking of theories, my good friend, the late Lin Nien-tung, professor of Baptist University, was very concerned about the development of comics in Hong Kong. He once encouraged me to continue to develop
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Developing New Culture in Hong Kong and Developing New Space for Language In the early 80’s, following the experiment of Portraits of Women, there were experiments on structural dialogues like Old Testament and Sunrise (Pre/Post), extending all the way to the absurd dialogues in Romance of the Rock. Then in the 90’s, we started practising text reading in Romance of the Rock ‘97 and Memorandum of the Rock. Those were experiments on four-word Chinese idioms. For example, in Memorandum of the Rock, we had “lose me not, forget me not”, “no leaving and no abandoning”, “now you see it, now you don’t”, “three oppositions and five oppositions”, etc. That experiment was to deal with, analyze, and develop four-word Chinese idioms which carry two identical words. A power of identical voice is established in the structure of a four-word Chinese idiom that carries two identical words; for instance, in “being true and being false”, the impression is made stronger when you read “being” twice. The words and sentence structure of the Chinese language are really profound and full of layers of meanings. If we know how to explore and experiment their uses, we will have a more in-depth understanding of our own contemporary culture (from Chinese idioms, slogans, advertisements to slang). If we understand, we can discuss and give critical analysis, and when we do that, we can develop, and innovation will follow. I think the dialectics of the language culture in Hong Kong, when compared to that in mainland China and Taiwan, has more space for discussions, criticisms and creation. I think the cultural values in Taiwan and the mainland are actually very similar. Both are traditional Greater China oriented. As for their views towards foreign culture and their uses of local words, they share the same basic attitude of a singular nature. In Hong Kong, during the 50’s the Chiu Chow dialect, Cantonese and Mandarin were once equally and commonly used as the vernacular. That was the case until we entered to a bicultural and bilingual (Cantonese and English) era in the last 30 years. As we grew up in such an environment, we often interlace the two languages when we speak, or mix Chinese and English together, and we also value quick translation. These multicultural phenomenon and environment provide excellent conditions for promoting the culture of discussion and critical analysis. I think the so-called marginal culture plays a positive role in the development of the Greater China oriented culture. If there were no impact from the existence of a diverse culture on the singular nature of the China-oriented culture, our culture would have been more
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isolated, and would have been much weaker in her dialectical and creative power, in the current of global cultural development. Hong Kong, with a position in “marginal” culture, can become a buffer zone for Chinese and foreign cultural exchange, as well as a platform for critical analyses for the collaboration of Chinese and foreign cultures. There certainly was a period before and after 1997 when there were talks about politics and emphases on being China-based. This concept was backward, with a sense of inferiority. It hastened the process of Hong Kong losing its true nature, and losing the focus of cultural development without people realising it. The multicultural background of Hong Kong and its experience of mixing Chinese and foreign histories are facts. Advocating the pursuit of Greater China culture in Hong Kong is indirectly wiping out its unique “ethnic” cultural characteristics and creativity. It takes away the vantage point of Hong Kong contemporary culture in monitoring criticisms on the culture of China, and it is also against the national policy of a diverse culture in China. The collapse of cultural development in Hong Kong in the recent years is due partly to a weak foundation in the academic research on local contemporary culture in Hong Kong. This unhealthy situation sprang from the negligence from the government and the society. If we care about and put our effort in local contemporary cultural studies, the workers of local contemporary culture in the frontline would be rewarded. We should help raise the standard of our contemporary cultural critics, and so the development of Hong Kong’s unique culture will not be bounded and controlled by politics, and our cultural development would not have been lagging behind after the handover.
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「天天向上」社區校園創意拓展計劃 “Tian Tian Xiang Shang” Creativity-For-Community and School Development Programme 香港是創意之都，今年適逢是「香港設計年」，進念以榮念曾創作的「天天向上」漫畫為主題，開展一系列社 區校園創意拓展計劃，包括第一階段「妙想二千」校園創意工作坊，及第二階段「奇想八百」社區巡迴展覽 及工作坊，將創新理念伸展至香港中小學及社區，與超過 2800 名小朋友及社區人士互動合作；結集 100 位社 會不同界別人士各施各法，創作塑像作品於香港各區展出，並於最後階段假香港文化中心舉行大型總結展覽。 「天天向上」是五十年代毛澤東送給當時的小朋友，寄語他們對未來有所嚮往的成語，榮念曾在 1979 年首次 於香港藝術中心展出他的概念漫畫，內容側重實驗、參與及互動，過去五年「天天向上」曾經多次以不同形式， 不同姿態，在世界各地巡迴展覽。這個平台鼓勵大小朋友互動參與，發揮創意，凝聚合作精神。仿如白紙的「天 天」讓大家共同探討形式和內容，夢想和視野，如小朋友們天馬行空地實驗和學習。 Hong Kong is the capital of creativity, and this year is the “Hong Kong Design Year”. In this significant time, Zuni launches a series of communities and schools creative outreach project, themed on “Tian Tian Xiang Shang” comics created by Danny Yung. The project encompasses three stages, including the first stage, “Tian Tian Xiang Shang” School Workshop, the second stage “Tian Tian Xiang Shang” Tour Exhibition and Creative Workshop – both stages extending the creative notion to primary and secondary schools and communities in Hong Kong, to interact and collaborate with 2,800 youths and community folks – and the final stage when 100 innovative sculptures of “Tian Tian” from cross-disciplinary artists will be presented in “Tian Tian Xiang Shang” Finale Exhibition at Hong Kong Cultural Centre. “Tian Tian Xiang Shang” was a message Chairman Mao Zedong gave the children in China in 1950’s to boost their aspirations for the future. Local artist Danny Yung first put on a comic exhibition on this concept in 1979, with content focusing on experimentation, participation and interaction. In the past five years, “Tian Tian Xiang Shang” has taken different forms to tour around the world. This platform encourages adults as well as children to participate and interact, play with their creativity, and work together in a spirit of cooperation. “Tian Tian” is like a blank sheet of paper, allowing everyone to explore format and content, dream and vision, just the way children can experiment and learn, knowing no boundaries or confines. 贊助 Sponsored by
場地贊助 Venue Sponsored by
「天天向上」社區巡迴展覽 “Tian Tian Xiang Shang” Tour Exhibition 第一站 First Stop 地點 Venue： 沙田大會堂 大堂及廣場 ( 鄰近沙田婚姻登記處 ) Foyer & Plaza, Sha Tin Town Hall (adjacent to Sha Tin Marriage Registry) 日期 Date： 8 - 24/7 9am - 8pm 第三站 Third Stop 地點 Venue： 荃灣大會堂 展覽館 Exhibition Gallery, Tsuen Wan Town Hall 日期 Date： 16 - 29/8 9am - 8pm
第二站 Second Stop 地點 Venue： 金鐘政府合署 高座大堂 Deck Floor of High Block, Queensway Government Offices 日期 Date： 28/7 - 12/8 9am - 6pm
星期一至五 / 星期六、日休息 Mon to Fri / Sats & Suns Closed
第四站 Fourth Stop 地點 Venue：九龍公園拱廊 Kowloon Park Arcade 日期 Date： 2 - 11/9 9am - 10pm 免費入場 Free Admission
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「天天向上」社區創意工作坊 “Tian Tian Xiang Shang” Creative Workshop
社區 x 個人 x 創意
Community x Individual x Creativity
「『天天向上』社區校園創意拓展計劃」 之「社區創意工作坊」部分，現已接受 社區團體報名，亦歡迎個別人士、家長 及小朋友 ( 六歲以上小童 ) 報名參加，通 過「天天」的 2D 概念漫畫，進行討論和 練習，最終在 12 厘米高的「天天」塑像 上進行創作。參加者完成工作坊後，其 作品將有機會聯同一百位當代藝術家、 設計師和社會各界人士的作品，於 11 月 一同在香港文化中心展出。
Apart from community groups, individuals, parents with kids (above the age of 6) are also more than welcomed to enroll for the community workshop sessions of “Tian Tian Xiang Shang” Creativity-For-Community and School Development Programme, and improvise on the 12cm “Tian Tian” sculptures after discussion and exercises on the 2-dimensional “Tian Tian” conceptual comics. There is a good chance that the works of participants could be displayed along with the re-worked “Tian Tian” by 100 celebrated contemporary artists, designers and personnels from the whole society in Hong Kong Cultural Centre in November.
免費活動，名額有限，先到先得。
Free Admission on first-come-first-served basis.
社區團體報名 Enrollment for Community Groups 日期 Date：7 - 9/ 2012 歡迎社區團體查詢，報名及詳情，請致電 +852 2893 8704 或電郵至 tt02@zuni.org.hk For enquiries & enrollment, please contact us at +852 2893 8704 or email to tt02@zuni.org.hk
個別人士報名 Enrollment for Individuals 日期 Date：18/8, 25/8 時間 Time：3 - 5pm 地點 Venue： 牛棚藝術村 Cattle Depot Artist Village (九龍土瓜灣馬頭角道 63 號 63, Ma Tau Kok Road, To Kwa Wan, Kowloon) 請將姓名、電郵地址、聯絡電話、參加人數及活動日期 ( 選 18/8 或 25/8) 電郵至 tt02@zuni.org.hk，我們將會有專人聯絡及跟進。 Please write down your name, email address, contact number, number of participants and event date and email to tt02@zuni.org.hk, our staff will contact you for further follow-up. 42
「天天向上」年結互動創作展覽 “Tian Tian Xiang Shang” Finale Exhibition
多媒體 x 跨界別
Multi-media X Cross-disciplinary
整合各階段「天天」創作成果舉行年結 互動創作展覽：由榮念曾歷年的概念漫 畫，到來自校園的「妙想二千」、社區 的「奇想八百」，還有一百個跨界別創 作「天天」作品塑像和現場互動創作空 間，邀請社會各界人士即席參與藝術交 流，激發全民創意。
Integrating all the various works gathered from the different stages of the “Tian Tian” project into one finale: from the conceptual comics of Danny Yung of the past years, to the 2,000 fantastical figures created by students, to the 800 works of wonderment from the community and the 100 innovative sculptures of “Tian Tian” from cross-disciplinary artists – these all will be displayed in a space of interactive creativity, with participation of guests from all walks of life for impromptu acts of the imaginative and inventive mind.
日期 Date：9 - 28/11 地點 Venue：香港文化中心大堂 Foyer, Hong Kong Cultural Centre 免費入場 Free Admission 學生展覽導賞 Student Guided Tour 日期 Date： 12 - 16, 19 - 23/11
( 星期一至五 Mon - Fri )
小學組別 Primary School Session 日期 Date： 12 - 16/11 9:15am, 10am & 10:45am; 19 - 23/11 11:30am & 12:15pm
中學組別 Secondary School Session 日期 Date： 12 - 16/11 11:30am & 12:15pm; 19 - 23/11 9:15am, 10am & 10:45am
本節目支持由康樂及文化事務署主辦的「2012/13 學校文化日計劃」，有興趣報名的學校請與康文署聯絡， 電話：+852 2268 7267 或電郵至 dyyfung@lcsd.gov.hk This exhibition guided tour is in support of the “2012/13 School Culture Day Scheme” presented by the Leisure & Cultural Services Department. Interested schools, please contact the LCSD at +852 2268 7267 or email to dyyfung@lcsd.gov.hk 免責聲明：香港特別行政區政府創意香港僅為本項目提供資助，除此之外並無參與項目。在本刊物／活動內（或由項目小組成員）表達的任何意見、研究成果、結論或建議，均不代表香港特別行政區政府、商 務及經濟發展局通訊及科技科、創意香港、創意智優計劃秘書處或創意智優計劃審核委員會的觀點。 Disclaimer: Create Hong Kong of the Government of the Hong Kong Special Administrative Region provides funding support to the project only, and does not otherwise take part in the project. Any opinions, findings, conclusions or recommendations expressed in these materials/events (or by members of the project team) do not reflect the views of the Government of the Hong Kong Special Administrative Region, the Communication and Technology Branch of the Commerce and Economic Development Bureau, Create Hong Kong, the CreateSmart Initiative Secretariat or the CreateSmart Initiative Vetting Committee.
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進念聯合藝術總監
胡恩威訪談
三十年來，香港的社會變化不少，你覺得有哪些變化對進念的藝術路向 影響最大？ 香港社會自 89 年後出現巨大的變化，八卦狗仔傳媒獨大，電視台走低俗路線，原來香港的多 元文化社會變得愈來愈單一。政治上的開放是容許了一些進步，像同性戀和人權這些社會禁 忌也多被正常化了，但在文化上，香港是墜落的，而且斷層特別厲害，今日的年輕人都不知 道香港曾出現過一個多元文化而且具深度的社會。《桃姐》獲獎令我想起了方育平。今天已 經沒有太多人知道方育平導演了。方育平的時代也是進念開始的時代，方育平的寫實主義和 進念的抽象前衛在那個年代是可以共存和互相尊重的，今天的香港已經不太會尊重了。今天 香港是個動物本能官能主導的社會，文化藝術在這種低俗強權下可以有甚麼角色呢？進念過 去三十年一直在變，形式和內容也是多元的，這也是對目前香港這個單一文化社會的回應。
進念早期的創作較偏向抽象和概念性，近十年則增添了多個看來截然不 同的戲劇系列，如社會劇場、大歷史劇場、生命劇場……等，是因應哪 些因素而增添的？ 進念過去十年的「全職化」和制度化過程，容許進念在形式和內容上進行更多元和更有系統 的實驗，有些是實驗「政治」作為一種題材，有些是實驗敘事體劇場的不同可能，有些是實 驗傳統戲曲的形式。香港是個愈來愈在文化上單一的社會，文化藝術應該更多元的，也許我 們在示範如何創作更「多元」的實驗創作，如何與觀眾在劇場建立一種關係。怎樣可以培育 更會看戲更多主動思考的觀眾，是香港目前最大的挑戰。有些人會認為以「拉低水平」吸引 水平低的觀眾是市場行為，但這種策略是一種短期策略，而不可是長遠的。
你對進念未來的方向有甚麼看法？如何看進念的下一個「十年」？ 進念下一個十年，和進念未來的方向有甚麼可能？在創作路向上應該是沒有大的改變，在經 營和運作上是可往人才培育以及具體的教育工作方面走。這些均要場地配合，劇團是需要自 己的排練和演出空間的。從培養觀眾群以至培育人才，場地是關鍵。文化中心的場地伙伴是 個好開始，但要繼續下去，便需要一個更自主更自由的創作空間和劇場空間。
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為甚麼選擇於三十周年劇季重新演繹《半生緣》及第五度重演《萬曆十五 年》這兩個經典作品？ 《半生緣》是一次香港和上海的合作，合作和交流是進念的一個工作重點，三十周年以《半 生緣》作為一次實驗，一次合作的實驗，一次形式上的實驗，把一些進念在傳統戲曲和敍事 體和多媒體劇場的實驗整合。我自己認為《半生緣》的時間概念也許和進念三十年的時空改 變有些關係。 《萬曆十五年》也是以「年」為主題，《萬曆》是以傳統的話劇手法，在劇場裡表達一些非 常非主流的中國歷史觀，我也沒有想過《萬曆十五年》和進念三十年的直接關係，只是覺得 這個戲好，便找機會再重演了。
全新通識劇場《資本主義喜劇》，是否對 2012 這個充滿變動的一年的 回應？ 《資本主義喜劇》是一個回應全球資本主義獨大的喜劇，也是我看了上海話劇藝術中心《資 本．論》所啟發而進行的一個創作。我們都是活在資本主義社會，但我們對資本主義的理解 是非常沒有深度的。這個喜劇也是想讓大家知道一些關於資本主義的歷史和理論以及香港這 個資本主義社會的一些現況。透過兩個資本主義 icon – iRon Lady 和 Save Jobs 來說明資本 主義的一些觀念。這個演出是通識劇場的一種，是在「說」也是在「教」，像一種劇場形式 的「教育方法」。觀眾正在「被教育」。劇場是娛樂，娛樂也可以是教育。
《夜奔》及《舞台姊妹》是榮念曾的「實驗傳統」劇目，前者較舊 (2004 年挪威首演 )，後者較新 (2010 年香港首演 )，兩者並列上演，可有特殊 意義？ 是場地伙伴下的一個計劃。利用文化中心大劇院，為觀眾創造不一樣的舞台經驗，在舞台看 觀眾席，在觀眾席看舞台，舞台空間是可以有著不一樣的佈局和安排，形式不同的實驗空間， 這也是榮念曾一直以來的舞台美學風格。甚麼空間也可以成為舞台空間，甚麼環境也可以成 為舞台的環境，視乎創作者的經營方式和創意。
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Interview with Mathias Woo,
Co-Artistic Director of Zuni Icosahedron
Hong Kong has gone through many changes over the past 30 years. What do you think are the changes that have brought the greatest impact to Zuni’s artistic direction? Gigantic changes have taken place in Hong Kong since 1989. With the monopoly of paparazzi and gossiping media, as well as the increasingly cheap and vulgar direction of TV stations, the once culturally pluralistic society with diverse voices has become more and more homogeneous with only one singular voice. Political relaxation might have allowed some progress including the normalisation of social taboos such as homosexuality and human rights. However, in terms of cultural development, Hong Kong is seriously going downhill. Young people nowadays do not even know Hong Kong was once a culturally diverse society of great depth. The award-winning film A Simple Life reminds me of Allen Fong Yuk-ping. Today not many people are aware of this film director any more. The active era of Fong was also Zuni’s beginning era. The realism of Fong’s and the abstract avant-garde of Zuni’s co-existed with mutual respect in those days. Such kind of respect is now barely felt in Hong Kong. Today Hong Kong is a society driven by pure animal instincts and sensory pleasures. What sort of role can arts and culture play in a society run by this mighty power of vulgarism? In the past three decades, Zuni has always been involved in making changes, trying to create diversity in form and content. This is Zuni’s reply to this society of homogeneous culture.
Zuni’s early works tend to be abstract and conceptual. In the recent 10 years, there have been more apparently different theatre series focusing on distinctive themes, such as Social Theatre, History Theatre, Life Insight Theatre, etc. What are the factors that have promoted such development? Zuni has undergone the process of full-time staffing and institutionalisation over the past 10 years, allowing Zuni to be more diverse and systematic in the experimentation in form and content. Some of these experiments use “politics” as a theme; some experiment on the different possibilities of narrative theatre; and some on the form of traditional Chinese opera. Hong Kong has become a more and more culturally homogeneous society. Arts and culture should be more diverse and pluralistic. Perhaps we are trying to demonstrate how experimental works could be more “pluralistic”; and how to establish a relationship with the audience in theatre. The greatest challenge now faced by Hong Kong is how we can nurture audience so that they are more competent in theatre appreciation and become more proactive in thinking. Some may consider it a marketing strategy to produce “substandard” works to attract substandard audience into theatre. Yet, it is only a shortterm strategy, it can never be long-term.
What do you think will be the future direction of Zuni? How do you view its coming “10 years”? What will happen in the next 10 years for Zuni; what are the possibilities of Zuni’s future direction? There should not be major changes along the creative direction. With regards to management and operation, more efforts will be put to personnel training and specific educational work. To achieve, we need the support of venues. Theatre groups need their own rehearsal and performance space. Venue is the key when it comes to audience building and talent nurturing. The Venue Partnership Scheme with Hong Kong Culture Centre is a good start, but to continue, we need creative and theatre spaces that allow more independence and freedom.
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Why choose to present a brand new adaption of Eighteen Springs and the 5th rerun of 1587, A Year of No Significance for the celebration of Zuni’s 30th anniversary? Eighteen Springs is a collaboration between Hong Kong and Shanghai. Collaboration and exchange make up the focus of Zuni. The celebration of Zuni’s 30th anniversary features Eighteen Springs as an experimental piece on collaboration and form; integrating some of our experimentation on traditional opera, narrative and multimedia theatre. I personally think that the time concept of Eighteen Springs may have certain relationship with the changes happening in time and space over the past 30 years of Zuni’s development. The theme of 1587, A Year of No Significance is also about “years”. Using the techniques of traditional drama, 1587, A Year of No Significance offers the most non-mainstream view of Chinese history in theatre. It never occurred to my mind that there is a direct link between 1587, A Year of No Significance and Zuni’s 30th anniversary. I just feel that this drama is good and I want to look for chances to have another rerun of it.
The Liberal Studies Theatre has a brand new series called The Divine Comedy of Capitalism. Is it a response to 2012, a year so full of changes? The Divine Comedy of Capitalism is a comedy created in response to the global situation of the monopoly of capitalism. I was inspired by Shanghai Dramatic Arts Centre after watching their Das Kapital. We all live in a capitalist society but our understanding of capitalism is so shallow. This comedy gives us a chance to explore more about the history and theory of capitalism, and to get to know more about the current situations of Hong Kong as a capitalist society. The concepts of capitalism will be illustrated through two capitalist icons – iRon Lady and Save Jobs. The show is a kind of Liberal Studies Theatre, “expounding” as well as “teaching”, more or less like education in theatre form. The audience is being “educated”. Theatre is entertainment, and entertainment can also be educational.
Flee by Night and Stage Sisters are the repertoire of Danny Yung’s “Reinventing Traditions”, the former being an earlier work (premiered in Norway, 2004); the latter being more recent (premiered in Hong Kong, 2010). Is there any special meaning by staging them together in the same season? They are projects under the Venue Partnership Scheme. In the Grand Theatre of Hong Kong Cultural Centre, a very distinctive stage experience is created for the audience with perspectives being experimented upon, the audience viewing the auditorium from where they sit on the stage and vice versa. The space of a stage can be explored with different layouts and arrangements, creating an experimental space in different forms. This has always been unique to the stage aesthetics of Danny Yung. Whatever space can be taken as stage; whatever environment can become a stage environment, depending on how the creator operates and the creative concerns behind. (Translated by Mo-yung Yuk Lin) 47
進念通識及藝術教育計劃
Zuni’s Liberal Studies & Arts-in-Education Programme 配合新高中學制和通識教育的推行，進念推出相應的藝術教育活動，主題涵蓋本地社會時事、公民教育，以致有 關於歷史、哲學、文化、藝術概念等。 進念的藝術教育和通識劇場活動，透過專為中學團體而設的學生導賞場，在觀賞演出以外，與老師同學進行導賞、 專題分析和討論，探討社會、歷史、文化、藝術議題，幫助青少年掌握事實、理解現象、澄清概念，以達致培養 識見，及批判反思、獨立思考的能力。 Zuni responds to the changing needs of society by rolling out corresponding arts education programmes in order to meet new needs generated under the implementation of New Senior Secondary Academic Structure and Liberal Studies. Zuni’s Liberal Studies and Arts-in-Education Programme covers topics from local social issues and current affairs to concepts related to history, philosophy, arts and culture, using theatre and different art forms to make responses and explore issues that are of social and cultural concern. Guided viewing sessions are specially arranged for secondary students, with the aim of fostering students’ ability in the grasping of facts, understanding of phenomena and concepts in order to nurture and enhance their ability in developing insights, as well as independent and critical thinking.
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學 生 團 體 優 惠 場 次 Secondary School Group Booking Session 半生緣 Eighteen Springs 香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre 14/9 (五 Fri) 8:15pm 15/9 (六 Sat) 8:15pm 16/9 (日 Sun) 5pm 20/9 (四 Thu) 3pm* 21/9 (五 Fri) 8:15pm 22/9 (六 Sat) 8:15pm 資本．論 On Das Kapital 香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre 9/11 (五 Fri) 3pm* 9/11 (五 Fri) 8:15pm 10/11 (六 Sat) 8:15pm 舞台姊妹 Stage Sisters 香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre 29/11 (四 Thu) 8:15pm 1/12 (六 Sat) 3pm 1/12 (六 Sat) 8:15pm 2/12 (日 Sun) 5pm
夜奔 Flee by Night 香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre 30/11 (五 Fri) 8:15pm
萬曆十五年 1587, A Year of No Significance 香港文化中心劇場 Studio Theatre, Hong Kong Cultural Centre 27/9 (四 Thu) 3pm* (演出選段 Excerpt) 28/9 (五 Fri) 7:30pm 29/9 (六 Sat) 7:30pm 30/9 (日 Sun) 3pm 3/10 (三 Wed) 3pm* (演出選段 Excerpt) 4/10 (四 Thu) 3pm* (演出選段 Excerpt) 4/10 (四 Thu) 7:30pm 5/10 (五 Fri) 3pm* (演出選段 Excerpt) 5/10 (五 Fri) 7:30pm 6/10 (六 Sat) 7:30pm 7/10 (日 Sun) 3pm 資本主義喜劇 The Divine Comedy Of Capitalism 香港文化中心劇場 Studio Theatre, Hong Kong Cultural Centre 11/10 (四 Thu) 3pm* 12/10 (五 Fri) 8pm 13/10 (六 Sat) 8pm 14/10 (日 Sun) 5pm 17/10 (三 Wed) 3pm* 18/10 (四 Thu) 3pm* 19/10 (五 Fri) 8pm 20/10 (六 Sat) 8pm 0382 香港文化中心劇場 Studio Theatre, Hong Kong Cultural Centre 16/11 (五 Fri) 8pm 17/11 (六 Sat) 3pm 17/11 (六 Sat) 8pm
* 學生專場 Student Matinees 須預先報名參加。名額有限，先到先得。學校團體報名請致電 +852 2566 9696。 Advanced booking is essential. Limited seats available on a first-come-first-serve basis. Reservation and enquiries: +852 2566 9696
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進念公益門票捐助計劃
Zuni Welfare Ticket Donation Scheme 「進念 ‧ 二十面體」為香港註冊非牟利慈善文化團體，以提升人文素質、推動社 會對文化藝術的多容性、發展多元文化為目標。並於 2009 年加入「香港社會服務 聯會」，希望讓社會不同階層人士，有更多機會觀賞戲劇和實驗藝術。
2009 - 2011 年度受惠人士分佈 Distribution of People Benefited during years 2009 - 2011
Zuni Icosahedron is a registered non-profit making and charitable cultural organisation. In 2009 Zuni joined the Hong Kong Council of Social Service with the aim of allowing more people from different sectors of society to get in touch with the theatre and experimental arts, and raise their interest and awareness in the area, and by doing so to enhance the quality of our people and to nurture our society for the embracement of diversity in arts and culture. 針對近年實行的新高中學制及通識學科，進念推出了「通識及藝術教育計劃」， 提供票務優惠計劃予全港在學青年，2009/11 至 2011/12 年度，參與人次高達 25,000，反應熱烈。 進念亦不斷優化及擴展其票務優惠計劃，透過「香港社會服務聯會」平台，把優惠 推廣給社福群組，達至惠及社群，以藝術創建關愛、共融的社會。 In response to the implementation of the new senior secondary academic structure and curriculum, Zuni rolled out the “Liberal Studies and Arts-inEducation Programme” a few years ago and provided concession ticket plans to all students. These discount schemes obtained outstanding achievements, and during the years 2009 – 2011, the number of people benefited from these schemes offered by Zuni amounted to 25,000. Zuni is incessantly trying to improve and extend its concession ticket schemes, and through the platform of the Hong Kong Council of Social Service, we hope to reach out further so that more social welfare groups and different social sectors could benefit from our plans, and a more caring and harmonious society could be created.
62% 中學團體 Secondary Schools
2% 慈善團體 Charities
人士 疾人士、綜援 5% 高齡、殘 sabilities, People with Di s, en tiz Ci r Senio ime ts ien cip Re CSSA ull T
生F
31%
學 日制
全
優惠票務計劃受惠群組包括：
．綜合社會保障援助受惠人士 ．香港社會服務聯會機構會員 ．六十歲或以上高齡人士及殘疾人士 ．全港中學團體 ．全日制學生
( 劃一特惠票價 $10)； ( 團體訂票一律 $10)； ( 所有正價門票半價 )； ( 團體訂票一律 $48)； ( 劃一特惠票價 $100)。
Discounts are offered to:
(Uniform concession price: $10); ．CSSA Recipients ．Member Organisations of Hong Kong Council of Social Service (Concession price for group tickets: $10 each); (50% discount for full-price tickets) ．The Elderly aged 60 or above and the Disabled (Concession price for group tickets: $48 each) ．All secondary schools (Uniform concession price: $100). ．Full time students
受惠者眾，計劃的推行實有賴各界人士的捐款及贊助。 This scheme depends entirely on the generosity and contribution of people from various sectors, and your donation will make a tremendous difference.
我們非常需要你的支持！ We need your support!
為表謝意，捐款 $1,000 以上之企業 / 組織 / 人士，將於 2012/13 年度報告以捐款金額分組列名鳴謝。捐款 $100 以上可憑捐款收據申請退稅。 As a token of appreciation, for donations of HK$1,000 or more, an acknowledgment of the companies / organisations / individuals will be made in Zuni’s Annual Report 2012-2013 in categories according to the amounts donated. Donations of HK$100 or above are tax-deductible. 52
ts
den
Stu
請封口 Please seal here
進念．二十面體單次 / 每月捐款表格 Zuni Icosahedron One-off / Monthly Donation Form 請將捐款表格之正本寄回 進念．二十面體 香港柴灣祥利街 9 號祥利工業大廈 7 樓 B 室 Please mail the original donation form to Zuni Icosahedron, Unit B, 7/F., Cheung Lee Industrial Building, 9 Cheung Lee Street, Chai Wan, Hong Kong 請以正楷填寫 Please complete in BLOCK LETTERS 表格上如有任何塗改，請在旁簽署 Please sign against any alterations you make on this form
捐款者號碼 ( 如適用 )
( 先生 Mr/ 小姐 Miss/ 女士 Ms) 姓名 Name 地址 Address
Donor No. (if applicable) 聯絡電話 Tel 電郵 Email
進念．二十面體將於 2012/13 年度報告中，向捐款港幣 $1,000 或以上者以捐款金額分組列名鳴謝。 For donations of HK$1,000 or more, an acknowledgement will be made in Zuni’s Annual Report 2012/13 in categories according to the amounts donated. □ 鳴謝為 Acknowledged as □ 本人無需公開鳴謝 I prefer not to be acknowledged publicly
請封口 Please seal here
請封口 Please seal here
捐款者資料 Donor’s Information
捐款資料 Donation Information
□ 本人樂意單次捐款予進念．二十面體 I would like to make an one-off donation to Zuni Icosahedron ( 其他捐款金額 Other donation amount ) □ HK$500 □ HK$1,000 □ HK$3,000 □ □ 本人樂意成為進念．二十面體每月定期捐款者 I would like to become Zuni Icosahedron Monthly Donor
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為節省行政開支，最低捐款額為港幣 100 元 To save administration cost, the minimum donation amount is HK$100 ( 其他捐款金額 Other donation amount )
□ HK$100 □ HK$300 □ HK$1,000 □
□ 劃線支票：抬頭請填寫「進念．二十面體有限公司」Crossed Cheque: Payable to “Zuni Icosahedron Limited” 請在支票背後填上 閣下之姓名及聯絡電話。 Please write down your name and contact number at the back of the cheque
□ 信用卡 Credit Card □ 匯財卡 Visa
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□ 萬事達卡 MasterCard
持卡人姓名 Cardholder’s Name
持卡人簽名 Cardholder’s Signature
信用卡號碼 Card No.
有效日期至 * Expiry Date
( 月 MM / 年 YY)
* 本人於以上「捐款資料」選擇成為進念．二十面體每月定期捐款者，授權進念．二十面體有限公司由本人之信用卡戶口轉賬上述指定金額作每月定期捐款。此授權在本人之信用卡有效期 過後及獲發新卡後仍繼續生效，直至另行通知。 For those selected to become Zuni Icosahedron Monthly Donor in above “Donation Information”, the authorization for Zuni Icosahedron Limited to debit the specified amount monthly from his/ her credit card account will continue after the expiry date of the credit card and with the issuance of a new card until further notice.
□ 銀行自動轉賬 Bank Auto-Pay ( 只適用於每月捐款 Monthly Donation Only ) 收款人之一方 ( 受益人 ) Name of the Party to be credited (The beneficiary) 進念．二十面體有限公司 Zuni Icosahedron Limited
銀行號碼 Bank No.
分行號碼 Branch No.
本人 ( 等 ) 之銀行及分行名稱 My/Our Bank Name and Branch
銀行號碼 Bank No.
分行號碼 Branch No.
015
514
賬戶號碼 Account No.
6800 1066
本人 ( 等 ) 之賬戶號碼 My/Our Account No.
本人 ( 等 ) 在結單 / 存摺上所紀錄之名稱 My/Our Name(s) as recorded on Statement/Passbook 本人 ( 等 ) 在結單 / 存摺上所紀錄之地址 My/Our Address as recorded on Statement/Passbook 每月捐助之限額 Limit for Each Monthly Donation **
本人 ( 等 ) 之簽名 My/Our Signature(s) **
日期 Date
HK$ 摺 Fold
此欄由本機構職員填寫 For Official Use Only 檔案編號 Debtor’s Reference
進念．二十面體有限公司捐助人參考 Zuni Icosahedron Limited Donor Ref. No.
銀行專用 For Bank Use
簽名式樣 Signature(s) Verified
1) 本人 ( 等 ) 現授權本人 ( 等 ) 之上述銀行 ( 根據受益人或其往來銀行不時給予本人 ( 等 ) 銀行之指示 )，自本人 ( 等 ) 之賬戶內轉賬予上述受益人。惟每次轉賬金額不得超過以上指定之金額。 2) 本人 ( 等 ) 同意本人 ( 等 ) 之銀行毋須證實該等轉賬通知是否已交予本人 ( 等 )。3) 如因該等轉賬而令本人 ( 等 ) 之賬戶出現透支 ( 或令現時之透支增加 )，本人 ( 等 ) 願共同及各別承 受全部責任。4) 本人 ( 等 ) 同意如本人 ( 等 ) 之賬戶並無足夠款項支付該等授權轉賬，本人 ( 等 ) 之銀行有權不予轉賬，且銀行可徵取慣常之收費，並可隨時以一星期書面通知取消本 授權書。5) 本授權書將繼續生效至另行通知為止。6) 本人 ( 等 ) 同意，本人 ( 等 ) 取消或更改本授權書之任何通知，須於取消 / 更改生效日期最少兩個工作天之前交予本人 ( 等 ) 之銀行。 ** 請確保 閣下在此授權書內之簽名，與銀行賬戶所簽者完全相同。如「每月捐款之限額」一欄未有填上，債務銀行會將轉賬限額設定為「不設上限」。 1) I/We hereby authorize my/our above named Bank to effect transfer from my/our account to that of the above named beneficiary in accordance with such instructions as my/our Bank may receive from the beneficiary and/or its banker from time to time provided always that the amount of any one such transfer shall not exceed the limit indicated above. 2) I/We agree that my/our Bank shall not obliged to ascertain whether or not notice of any such transfer has been given to me/us. 3) I/We jointly and severally accept full responsibility for any overdraft (or increase in existing overdraft) on my/our account which may arise as a result of my such transfer(s). 4) I/We agree that should there be insufficient funds in my/our account to meet any transfer hereby authorized, my/our Bank shall be entitled, in its discretion, not to effect such transfer in which event the Bank may make the usual charge and that it may cancel this authorization at any time on one week’s written notice. 5) This authorization shall have effect until further notice. 6) I/We agree that any notice of cancellation or variation of this authorization which I/we may give to my/our Bank shall be given at least two working days prior to the date on which such cancellation/variation is to take effect. ** Please ensure that you sign the form in the usual way that you would sign on your Bank Account. If “Limit for Each Monthly Donation” is not specified, the debtor’s bank will set the limit as “unlimited”. 注意事項 Notes: 1) 你的個人資料將會絕對保密。 2) 進念．二十面體將運用你的個人資料發出捐款收據、通訊、籌募本會經費及收集意見之用途。我們可能將有關資料提供予第三者服務供應人進行有 關運作，但所有資料均絕對保密。 3) 若你不願意收到本會的通訊，請通知我們。 1) Your personal data will be kept confidential. 2) We shall use your personal data for issuing receipts, fostering communications, raising funds and conducting surveys for Zuni Icosahedron. We may furnish your data on a strictly confidential basis to third parties who provide service to us in relation thereto. 3) Please inform us if you prefer not to receive any further mailings from the Zuni Icosahedron. 電話 Hotline: +852 2893 8704 傳真 Fax: +852 2838 7527 電郵 Email: info@zuni.org.hk 「進念 ‧ 二十面體有限公司」是本港註冊慈善團體， 如欲了解更多關於進念的資料，請到 www.wisegiving.org.hk “Zuni Icosahedron Limited” is a Tax-Exempt Charity. For more information, please visit www.wisegiving.org.hk
社聯機構會員 Member of the Hong Kong Council of Social Service
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進念．二十面體
請貼上郵票 Postage Stamp
香港柴灣祥利街 9 號祥利工業大廈 7 樓 B 室 捐款
Zuni Icosahedron Unit B, 7/F., Cheung Lee Industrial Building, 9 Cheung Lee Street, Chai Wan, Hong Kong Donation
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寄件人 Sender 回郵地址 Sender Address 摺 Fold
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主辦 Presenter
場地伙伴 Venue Partner
進念．二十面體為香港文化中心場地伙伴 Zuni Icosahedron is the Venue Partner of the Hong Kong Cultural Centre 進念．二十面體由香港特別行政區政府資助 Zuni Icosahedron is financially supported by the Government of the Hong Kong Special Administrative Region
伙伴及贊助 Partners & Sponsors 節目贊助 Programme Sponsors
合作機構 Supporting Organisations
《半生緣》贊助 Eighteen Springs Sponsor
學術研究及合作機構 Academic Support And Partner
伙伴書店 Bookstore Partner
香港專業教育學院 ( 李惠利 ) ﹣多媒體及互聯網科技系 視聽娛樂科藝 高級文憑 Higher Diploma in Audio-Visual Entertainment Technology, Department of Multimedia and Internet Technology, Hong Kong Institute of Vocational Education (Lee Wai Lee)
多媒體器材贊助 Multimedia Equipment Sponsor
指定印刷 Official Printing
全力支持 Support From
媒體伙伴 Media Partners
「進念之友」會員優惠 Benefits for “Zuni's Friends”
憑「進念之友」會員証可享以下優惠 “Zuni's Friends” cardholders will be entitled to the below offers: 即日起至 2012 年 12 月 31 日，惠顧以下 agnès b. 餐廳，即享 9 折優惠！ ( 九龍塘又一城 UG-33 號舖 / +852 2265 7680 及銅鑼灣開平道 1 號 Cubus 15 樓 / +852 2577 2718) Enjoy a 10% discount at the following agnès b. LE PAIN GRILLÉ restaurant. Offer valid until 31/12/2012. (Shop UG-33, Festival Walk, Kowloon Tong/ +852 2265 7680; 15/F, Cubus, 1 Hoi Ping Rd., Causeway Bay/ +852 2577 2718)
* 須於結賬前出示「進念之友」會員証；優惠不適用於指定日子 “Zuni’s Friends” membership card must be presented before payment; black-out dates apply
由 2012 年 9 月 14 日至 11 月 30 日，於福茗堂茶莊購買正價產品可獲 9 折優惠。 Enjoy a 10% discount on Fook Ming Tong regular-priced items. Offer valid from 14/9 - 30/11/2012.
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場地資料 彌敦道
n Station
沙田站 Shati
Nathan Rd.
Drive
大埔道 ( 沙田段
atin
) Tai Po Rd - Sh
.
Salisbury Rd
香港太空館 Hong Kong Space Museum 梳士巴利公園 Salisbury Garden
St . ing ok T
香港藝術館 Hong Kong Museum of Art
白 鶴 汀 街
香港文化中心 Hong Kong Cultural Centre
新界沙田源禾路 1 號 1 Yuen Wo Road, Shatin, New Territories, Hong Kong 查詢電話 Enquiries: +852 2694 2509 / 2694 2542
港鐵荃灣站 A 出口 MTR Tsuen Wan Station Exit A
Chung On St.
土瓜 灣道
牛棚藝術村 Cattle Depot Artist Village 中華煤氣公司 China Gas Co.
wa Rd.
新山道 San Shan Rd.
Wan
尖沙咀柯士甸道 22 號 22 Austin Road, Tsim Sha Tsui, Kowloon, Hong Kong
馬頭角道 Ma Tau Kok Rd.
To K
彌敦道 Nathan Rd.
Kowloon City Rd.
九龍公園游泳池 Kowloon Park Swimming Pool 尖沙咀警署 Tsim Sha Tsui Police Station
九龍公園 Kowloon Park
Te 德士 xa 古 co 道 Rd Tsue . n Wa n Rd.
新界荃灣大河道 72 號 72 Tai Ho Rd., Tsuen Wan, New Territories, Hong Kong 查詢電話 Enquiries: +852 2414 0144
九龍城道
Haiphong Rd.
Austin Rd.
海防道
九龍公園 拱廊 Kowloon Park Arcade
港鐵尖沙咀站 A 出口 MTR TST Station Exit A
荃灣路
荃灣大會堂 Tsuen Wan Town Hall
Airport Tunnel
公園
九龍
荃灣廣場 Tsuen Wan Plaza
啟德隧道
ive Dr rk a P 柯士甸道
徑
n oo wl Ko
眾安街
金鐘道 66 號 66 Queensway, Admiralty, Hong Kong 查詢電話 Enquiries: +852 2867 2796
n Rd.
沙咀道 Sha Tsui Rd. 荃灣大會堂 Tsuen Wan 大壩街 Tai Pa St. Town Hall
港鐵荃灣西站 A2 出口 MTR Tsuen Wan West Station Exit A2
金鐘道政府合署 Queensway Government Offices
Canto
.
道 法院
港麗酒店 Conrad Hotel Hong Kong ive Dr ce Sup sti reme Court Rd. Ju 道 義 正
Rd
港島香格里拉酒店 Island Shangri-La Hotel
海壩街 Hoi Pa St.
Ho
Tai Chung Rd.
太古廣場 Pacific Place
Peak Rd.
Tai
大涌道
ueensway
金鐘道政府合署 Queensway Government Offices
青山公路 Castle
西樓角路 Sai Lau Kok Road
大河 道
統一中心 United Centre
金鐘道 Q
廣東道
沙田大會堂 Sha Tin Town Hall
沙田大會堂 Sha Tin Town Hall
九龍尖沙咀梳士巴利道 10 號 10 Salisbury Road, Tsim Sha Tsui, Kowloon, Hong Kong 查詢電話 Enquiries: +852 2734 2009
港鐵金鐘站 C1 出口 MTR Admiralty Station Exit C1
Tam Kon Po St.
天星碼頭 Star Ferry Pier
新城市廣場 New Town Plaza
沙田正街 Shatin Centre St.
担杆莆街
香港文化中心 Hong Kong Cultural Centre
Pa kH
梳士巴利道
港鐵尖沙咀站 E 出口 MTR Tsim Sha Tsui Station Exit E
Hankow Rd.
n Park
n Rd. Canto
Kowloo
廣東道
園徑 九龍公
漢口道
Venue Info
土瓜灣遊樂場 To Kwa Wan Recreation Ground
牛棚藝術村 Cattle Depot Artist Village 九龍土瓜灣馬頭角道 63 號 63, Ma Tau Kok Road, To Kwa Wan, Kowloon 查詢電話 Enquiries: +852 2893 8704
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