建築是藝術節2017 ．Architecture is Art Festival 2017 by Zuni Icosahedron

街時行人樹活樓建間社天

水城火金土木

山海路氣光風

感

CITY

FE TREE

BUILDING

「建築是藝術節 2017」「香港帶路城市文化交流會議 2017」

設計及排版│郭健超、翟桐 Cover Artwork Mathias Woo anothermountainman Design and Layout English Translation

英文翻譯│梁惠琪、慕容玉蓮

Architecture Is Arts Festival 2017 Hong Kong Belt-Road City-to-City Cultural Exchange Conference 2017 Pollux Kwok, Rachel Chak Vicky Leong, Moyung Yuk-lin

WOOD

METAL ROAD

城市城市由建築所組成：我們在城市生活，可以不讀書、不看畫，不聽音樂，種種藝術形式都可以不接觸，但建築是我們不能逃避的藝術，建築是生活的容器。建築空間盛載著一個城市的人民生活、歷史和文化軌跡，而城市亦營造了我們的集體回憶。第五屆「建築是藝術節」以「城市」為題，當中每一個節目都猶如一所建築物，將建築與空間的探索延伸至「城市」的層面，讓我們從中尋找城市記憶，以及豐富空間的不同形態和想像。

City A city is composed of buildings. As urbanites, we may decide not to read books, look at paintings, listen to music or be in touch with any art forms. Yet, architecture is not one to be averted, for it is the vessel of life and architectural space the repository of the everyday life, history and cultural locus of its dwellers. The city also constitutes our collective memory. In the 5th Architecture is Art Festival which is themed around “city”, each programme resembles a building that extends the exploration of architecture and space to the level of cities, inspiring us to look into the different forms and imaginations of urban memories and luxuriant spaces.

藝術總監：

胡恩威

Artistic Director:

Mathias Woo 建築是藝術節

WIND SPACE WATER SKY

LIFE STREET

BUILD

EEL

UMAN

Architecture is Art Festival

FIRE EARTH COMMUNITY

LIGHT

兩年一度的「建築是藝術節」，由進念聯合藝術總監胡恩威於2009年策劃啓動，以建築結合人文精神，開展一系列有關藝術設計、建築與城市發展的活動，從生活和藝術的角度，認識建築、理解建築、學習建築，並以不同的藝術形式檢視建築的各種藝術可能性。

TIME MOUNTAIN OCEAN

AIR WALK

The biennial Architecture is Art Festival was initiated and curated by Zuni Icosahedron’s Co-Artistic Director Mathias Woo in 2009. It is the first-ever art festival that links architecture with humanistic spirit as the main theme, promoting activities on art, design, architecture and urban development. The festival will re-examine architecture from a perspective of life and arts, manifesting various artistic possibilities of architecture with different art forms.

建築音樂劇場 Architecture Music Theatre

Scriptwriter, Director & Designer: Mathias Woo Music Director & Composer: Yu Yat-yiu @ PMPS Performers: Wu Kun-Da, Chang Yao-jen, Albert Tsang Pianist: Wong KaJeng

፡࿫ࠑᇁ ೄˮᅥჱ ࿫iᐢd ۗਜ਼ဟኒ iᘚʥ࿫ ඡʆ௚ʥ ࡼdАஉ ̳౦i߮ Ͱɘi ሑ൫߈ d௽࢟ д#ۤ ‫נ‬Ɂ ༠ɬ Ɂ ࣵ

建城築市

The Architecture of the City 「城市是人民的集體回憶，城市把地方和物件連繫成為回憶。城市是集體回憶的軌跡。」—— 阿道．羅西取材自意大利建築師阿道．羅西（Aldo Rossi）同名著作再讀二十世紀現代建築理論經典發現城市的文化軌跡驗證都市科學透過舞台對比當下香港發掘另類空間經驗

“One can say that the city itself is the collective memory of its people and like memory it is associated with objects and places. The city is the locus of this collective memory” - Aldo Rossi Inspired by Italian architect Aldo Rossi’s book The Architecture of the City this performance revisits the seminal architecture theory from the 20th century unearths the cultural locus of the urban city and examines urban science. Through the stage it poses a contrast with the present Hong Kong exploring the experience of an alternative space.

高中生藝術新體驗計劃 2017/18 Arts Experience Scheme for Senior Secondary Students 2017/18

8-9.12 香港文化中心大劇院

Grand Theatre Hong Kong Cultural Centre

編劇、導演及設計／胡恩威音樂總監及創作／于逸堯@人山人海演出／張耀仁、曾兆賢、吳昆達鋼琴演奏／黃家正 Scriptwriter, Director & Designer Mathias Woo Music Director & Composer Yu Yat-yiu@PMPS Performers Chang Yao-jen, Albert Tsang, Wu Kun-Da Pianist Wong KaJeng

多媒體唱遊音樂演出 Multimedia Singing & Playing Performance

攝影 Photography: Franz Lai

BAUHAUS魔笛

BAUHAUS Magic Flute

12-13.8

「不論在舞台設計、人物造型及內容上都充滿奇趣異想，不單適合教育小朋友認識有關空間的概念，成年人看同樣樂趣無窮。」 ——Joycelyn Choi（MOViE MOViE 頻道主理人）香港文化中心大劇院「透過影像、動作、聲音等活潑生動的表現手法，把活生生的『設計藝術課』帶到小朋友面前。」——《明報》音樂改編自莫扎特歌劇《魔笛》，為旋律注入兒歌元素，填上中英文歌詞，再配合動畫，以唱遊形式介紹Bauhaus設計美學。由基本幾何形狀和三原色開始，發掘比例帶來的空間感，感受不同物料的冷暖質地，大小朋友齊齊學建築，探索Bauhaus經典美藝世界，激發兒童視聽感官。

“...wonderful and fantastical ideas, no matter in stage design, character figure design, or in content. It is not only suitable for educating children in the concept of space; it is also great fun for grown-ups too.” - Joycelyn Choi, General Manager of MOViE MOViE “Bringing an animated ‘Lesson of Art Design’ in front of the children by presenting images, actions and sounds with techniques of expression in a lively and invigorating manner.” - Ming Pao The music of BAUHAUS Magic Flute is adapted from the opera by Mozart, The Magic Flute. Infusing elements of kids songs into the melody, adapted with Chinese and English lyrics and with animations, the new show introduces Bauhaus aesthetic while audience singing along. Starting from the basic geometric shapes and primary colours, then exploring the sense of scale and space, as well as feeling different moods brought by different textures, adults and kids together learn architecture bit by bit. Adventure into Bauhaus world of art and stimulate children’s visual and auditory senses.

Grand Theatre, Hong Kong Cultural Centre

概念、導演及設計總監／胡恩威視覺及動畫設計／黎達達榮原創音樂／莫扎特音樂總監、編曲、和聲編排／孔奕佳填詞／陳浩峰聲音演出／林二汶、一舖清唱呼拉圈編舞及演出／許傲群特邀演出／黃大徽演出／江清蓉、呼夢雅、許民杰、郭凱盈、陳漢堯、葉珮君、羅凱盈、謝昊丹 Concept, Director & Design Director Mathias Woo Visual & Animation Designer Lai Tat Tat Wing Original Music Wolfgang Amadeus Mozart Music Director, Arrangement & Vocal Arrangement Edgar Hung Lyricist Cedric Chan Vocal Performance Eman Lam, Yat Po Singers Choreographer (Hoop) & Performance Grace Hoop Guest Performer Dick Wong Performers Ellen Kong, Orchid Hu, Hui Man-kit, Helen Kwok, Billy Chan, Stephanie Ip, Vicgina Law, Dan Tse

進念社會劇場 Zuni Social Theatre

攝影：張志偉 Photography: Cheung Chi-wai

東宮西宮14 警察不見了 East Wing West Wing 14 When there is no Police

「……通過劇場，不斷地向時代辯證、詰問、反思、批判與啟蒙。……這十四年來一共十四集《東宮西宮》，其實同樣承載著這種人文精神，也論盡了香港從『後九七』發展到『後雨傘』時代，在政治和文化面向上的各種演退。」──《號外》

11-12.8 香港文化中心大劇院

Grand Theatre Hong Kong Cultural Centre

《東宮西宮》系列是一個喜劇形式的公民教育劇場。目的是令市民大眾認識政治與政策，令香港政治更理性和多元。《東宮西宮14之警察不見了》是一國兩制二十年公民教育政治大喜劇，以警察和紀律部隊為主題。香港回歸二十年，有些香港人有離心變成了現實，不真實地去面對這個現實是香港脫離現實的困境。警察在佔中八十一天除了那幾個個案還做過什麼？大部份人天天想吃好玩好生活好的這個香港，大家的真正目標是什麼？《警察不見了》探討事實、現實和真實是什麼。香港未來的路可以怎樣走？下一個香港二十年會變成怎樣？各種各樣的香港現實問題如何解決？

“...unceasingly questioning our times with dialectics, crossexamination and critique, as well as enlightening through theatre... There are in total 14 episodes of ‘East Wing West Wing’ in the past 14 years, and they all carry a humanistic spirit, and review the various regressions in the political and cultural aspects of Hong Kong in the era from ‘Post-97’ to ‘post-Umbrella’.” - City Magazine “East Wing West Wing” is a liberal education theatre series in the form of comedy or burlesque, with the aim to raise the public’s awareness of politics and different policies, so as to make Hong Kong politics more rational and diverse. “East Wing West Wing 14: When There Is No Police” evolves around the theme of the police and the disciplinary force. Twenty years after the handover of Hong Kong, centrifugation has become reality to some Hong Kong people, and trying not to face this reality in an unrealistic manner is the dilemma of Hong Kong being totally devorced from reality. During the 81 days of “Occupy Central”, what else have the police done other than those few cases? What is the real goal of Hong Kong people, while the majority only want to eat, drink and be merry and lead a better life? “When There Is No Police” explores facts, reality, and what reality is. How should Hong Kong face its future? What will become of Hong Kong in the next 20 years? How are we going to resolve the various practical problems of Hong Kong?

導演及編劇／胡恩威創作顧問／黎達榮音樂總監／孔奕佳演出／伍嘉雯、高若珊、徐希臨、陳浩峰、楊永德、鍾家誠 Director & Scriptwriter Mathias Woo Creative Advisor Lai Tat-wing Music Director Edgar Hung Performers Carmen Wu, Kao Jo-shan, Tsui Hei-lam, Cedric Chan, David Yeung, Carson Chung

以舞台為繪圖板

儘管名為建築是藝術節，這個由進念．二十面體胡恩

概念而言，建築是藝術節的目的和內容可說是建基於

威構思及策劃的藝術節不僅關於藝術和建築，更是一

一組二分法——在兩端辯證之間的對話上。首先，除

個戲劇節。這是亞洲乃至世界上第一個建築和戲劇的

了美學探索和大眾娛樂的元素之外，建築是藝術節似

慶典，或者更恰當的說，是建築在戲劇，以及建築作

乎還有一個獨特的教育傾向——那可算是對古典布萊

為戲劇的慶典。

希特主張劇場作為娛樂和教學的重新演譯。第二，演出節目揭示了本地文化傳統與現代（主義）表現形式

自1982年成立以來，進念．二十面體一直站在香港

之間的張力，因而更顯露出另一層衝突。這是在中國

另類文化的前沿，多年來發展成為亞洲前衛劇場的領

大陸和香港的社會及美學空間中不斷發生的衝突：保

導者。儘管進念開始時是一個舞蹈和表演團體，其組

護和拆遷、紀念與移除、文化反思和未來創新的辯證

織一直抵制對專業領域的嚴格分類，因而在媒體、

法。精神與物質（主義）、人與機器，以至表演和儀

形式、概念和美學領域上，自我定位為遊牧實體、藝

式、戲劇和技術之間的聯繫也進一步建立起來。建築

術兩棲，旅人團體。藝術總監榮念曾及其合作者共創

是藝術節的意圖不只是實驗或娛樂觀眾，更是要與觀

作出過百項演出、錄像、裝置和其他視覺藝術作品。

眾進行一些知性鍛煉，讓他們接觸到新的知識層次、

他們也廣泛參與藝術評論、出版、教育和文化決策。

美學方法，以及批判性話語之中。

交互性、互文性、混合性、跨文化、旅程、映射、尋找，都是進念探索世界的關鍵詞。多功能性、跨領域

來自南京的劇作家、《紫禁城遊記：崇禎仙遊紫禁

性和探究態度已成為這團體的同義詞，而建築是藝術

城》的編劇張弘，形容他的作品是以崑劇這古代戲曲

節也一一緊守了這些態度。

形式表達的「建築文化理論闡釋」 3。當明朝（13681644）最後一個皇帝崇禎在首都被叛軍攻佔，其帝國覆亡之日，在他自盡前走過紫禁城的殿堂之時，中

「劇場是一個非常適合討論和探索建築的媒

國建築的基本概念——美學、形式、儀式和地理符

介，因為就像建築一樣，劇場本身就是由空

號——被一一察勘。伴隨崇禎走過最後旅程的，是設

間、光和聲音組成。空間在進念所有演出中都扮演了非常重要的角色，而每一次演出的空間總是有歷史感和限制感。」1 －胡恩威

計紫禁城三大殿的蘇州傳奇建築師蒯祥的鬼魂。當他們探索宮殿的各個角落時，各種建築物的方案和設計都被投射到屏幕上，以呈現建築師的話。他的闡釋既是對中國古代文明的頌詞和見證，也是對比建築永恆堅實以及人類無常脆弱的警示。建築師提醒了善忘的皇帝：這偉大的建築牽涉了多少痛苦和犧牲，而多少人又曾被他錯判、錯罰、錯殺、逼害、流放、懷疑、

胡氏認為，建築的本質已經被市場扭曲，並逐漸被簡化為功能、投資和投機的問題，然而公眾的注意力應該回歸到主要作為文化藝術的「純粹」建築理念上。今天的劇場也同樣地經常落入與經濟掛帥的困境。他並認為，當代社會的大多數衝突和焦慮都與建築空間有關2。

錯信卻在最後關頭背叛了他。這一場記憶和發現的儀式之旅，既是對文化傳承的提醒，也是對歷史責任的思考。（故宮）建築和（崑劇演唱傳統）表演藝術，這兩項本土藝術遺產都是透過尖端的多媒體傳遞，或讓觀眾

在昔日中國的知識和發現旅程中更被吸引。交織的燈光和聲音（現場敲擊樂、人聲、電腦生成效果），加上投映到活動屏幕上的動態地圖、數碼圖像和漢字的爆裂、螺旋、扭曲、分解、增生、擴張和收縮，把空的舞台填滿了，因而提升了表演者聲樂和身體的可塑性，以及建築設計的表演可能性。崑劇傳統透過純粹的演員動作讓觀眾看到場景、裝飾等各樣舞台部份，而這演出則透過虛擬元素架設精神構造，在崑劇特有的空白舞台上，整合和補充了現場演出。 ……胡恩威認為演講和演出的分別不大，因為劇場不應該受限於某固定形式，所以甚麼都可以是劇場。它們只是兩種不同的互動，兩種不同的表演。他的作品多如舞台散文；他的作品將舞台當成展現知識的平台，從戲劇和知性的觀點探索歷史、政治、宗教，或在這例子中的建築，諸如此類的領域。他堅持演出製作裡的教學論述，背後是對香港日益嚴重的反智、缺乏深度和文化同質化的關注：「香港對文化有這麼多的恐懼。」2。雖然把香港視作「文化沙漠」是根深蒂固卻不太準確的迷思，但的而且確，市民明顯傾向商業和全球化的娛樂形式，而不是像進念這樣的本地知性論述。我在多次與當地觀眾、評論家和朋友對話時都注意到，即使是受過良好教育和見多識廣的人，在香港，「進念」都是「複雜」、「艱深」、「晦澀」的同義詞。特別是年輕一代，更傾向喜好淺薄的娛樂。因此，真正的問題不在於缺乏生產和文化沙漠化，而是在接收方面的差距。香港劇場充滿活力，而香港文化、社會及政治評論也常是生機盎然。然而，正如胡恩威所說：「現在我們有一種新人類，所以我們需要尋找一個新概念」4去發展和傳播藝術。建築是藝術節可說是

中文翻譯：徐佩筠

這樣的一個嘗試，尋求傳播知識的新模式，促進公眾對美學的欣賞。

參考 1 建築是藝術節（2009）Corbu and Kahn 演出場刊 2 楊凡、胡恩威（2009）：〈胡恩威：我們究竟能不能用不同的角度去來看建築？〉，《建築是藝術節2009》（藝術節節目小冊子），見於 http://w w w. aiaf.hk/media/AIAF_booklet_rev.pdf （2010年2月1日） 3 建築是藝術節（2009）《紫禁城遊記》演出場刊 4 胡恩威接受本文作者訪問（2009年11月1日）

The Stage as a Drawing Board

Zuni Icosahedron’s Architecture Is Art Festival Rossella Ferrari, Reader in Chinese and Theatre Studies, SOAS, University of London Excerpt from TDR: The Drama Review 55:1 (T209) Spring 2011. ©2011 New York University and the Massachusetts Institute of Technology

Despite its name, the Architecture is Art Festival (AIAF) – conceived and directed by Mathias Woo of Zuni Icosahedron – is not simply a festival of art and architecture but also, and largely, a festival of theatre. It is a celebration of architecture and theatre or, rather, of architecture in theatre and architecture as theatre – the first of its kind in Asia and possibly worldwide. Since its establishment in 1982 Zuni Icosahedron has been at the forefront of Hong Kong’s alternative culture and has grown over the years into as a leading force in Asian avantgarde theatre. Born as a dance and performance group, Zuni has consistently strived to defy theoretical pigeonholing and strict disciplinary classifications and has configured itself as a nomadic entity, a company of travellers – through media, forms, concepts, and aesthetic domains. Artistic director Danny Yung and his associates have created more than a hundred performances as well as videos, installations, and other artworks. They have also engaged extensively in arts criticism, publishing, education, and cultural policymaking. Interactivity, intertextuality, hybridism, transmediality, journeying, mapping, and searching are all keywords for accessing the world of Zuni, and the AIAF matches the versatility, cross-disciplinarity, and investigative aptitude that have become synonymous with the group.

“Theatre is a very appropriate medium to discuss and explore architecture because, just like architecture, theatre itself is composed of and defined by space, light and sound. Space has played a very important role in all the performances of Zuni, and there is always a sense of history and limitation in the space of every performance”1 - Mathias Woo Woo contends that the essence of architecture has been distorted by the market and increasingly reduced to a matter of functionality, investment, and speculation, whereas

public attention should be reverted to a “pure” concept of architecture as primarily a cultural-artistic endeavour. The same may be said of theatre, which today is also too often driven by economic rationales. He also believes that most of contemporary society’s conflicts and anxieties originate in architectural spaces, since architecture, as a space and stage for social performance, significantly affects social structures and behaviors.2 Conceptually, the purpose and content of the AIAF can be said to rest on a set of dichotomies and dialectical polarities in conversation with one another. First, in addition to an element of aesthetic exploration and popular entertainment there seemed to be a distinct educational intention, in a sort of reappraisal of the classic Brechtian proposition of a theatre for pleasure and for instruction. Second, the performance program exposed a field of tension between local cultural traditions and modern(ist) expressions which, in turn, underscored an additional layer of conflict, one that is constantly played out in the social and aesthetic spaces of both mainland China and Hong Kong – namely, a dialectics of conservation and demolition, remembrance and removal, cultural introspection and futuristic innovation. Further connections were established between the spiritual and the material(istic), man and machine, performance and ritual, theatre and techne. The AIAF did not only intend to experiment or entertain but also to engage viewers in a joint intellectual exercise, and expose the local public to new layers of knowledge, aesthetic approaches, and critical discourses. Zhang Hong, author of A Tale of the Forbidden City, defines his play as a “theoretical exposition on architectural culture” through the classic form of kunqu3. The opera surveys the basic concepts of Chinese architecture – its aesthetics, forms, rituals and geomantic symbols –as the last emperor of the Ming dynasty (1368-1644) Chongzhen takes a walk through the halls of the Forbidden City before committing suicide on the final day of his rule, while the capital is seized by rebel troops. Chongzhen is accompanied on his last journey by the spirit of Kuai Xiang, the legendary architect from Suzhou who designed the Three Great Palaces of the Forbidden City. Plans and designs of various structures and buildings are morphed and projected onto a screen at the back of the stage to illustrate the architect’s descriptions as the two explore the different sections of the imperial residence. Kuai’s words stands as a tribute and testament to the glories of China’s ancient civilization, but also as a reminder of the transience and fickleness of man vis-à-vis the timelessness and solidity

of architecture. As the different sections of the palace are projected, the architecture, through song and speech, reminds the forgetful emperor of the human suffering that was involved in the realization of this grand design – of all those that he wronged, and wrongly punished, of those he killed and persecuted, those he exiled, those he mistrusted, and those he trusted yet who betrayed him in his last hour. Their journey of memory and discovery functions as both a reminder of the significance of cultural inheritance and a meditation on historical responsibility. The native artistic legacy – both architectural (the imperial palaces) and performative (the acting and singing conventions of Kunqu) – is transmitted and possibly made more appealing to contemporary audiences by sophisticated multimedia that enthrall the viewers as they, too, embark on a journey of knowledge and discovery of China’s past. Interweaving lights and sounds (live percussion, human voices, computergenerated effects) and elaborate projections of moving maps, digital graphs, and Chinese characters rolling onto movable screens, exploding and imploding, spiraling, twisting, disintegrating, multiplying, expanding and contracting – fill the bare stage to enhance the vocal and physical plasticity of the performers and the performative possibilities of architectural design. The virtual integrates and complements the live by erecting a mental construct on the characteristically bare stage of Kunqu, in which all the components of the performance, including the setting and décor, traditionally are brought to life for the audience only through the actor’s movement and voice.

sophisticated– how “Zuni” has somewhat become a synonym for “complex,” “difficult,” and “obscure” in Hong Kong. Such a penchant for facile entertainment is even more pronounced among the younger generations. Thus the real problem is not with the scarcity of artistic production or the alleged cultural void, but with gaps in reception. Hong Kong exhibits a vibrant theatre scene and a dynamic culture of criticism – cultural, social, and political. Yet, as Woo contends, “we now have a new form of human being [so] we need to find a new concept” for artistic development and dissemination4. The AIAF may be understood as one such attempt at seeking new modes of imparting knowledge and fostering aesthetic appreciation among the general public.

…Woo sees little difference between lecturing and theatremaking. Often his pieces come across as staged essays – works that take the stage as a platform to explore specific disciplines from a theatrical and intellectual standpoint, such as history, politics, and religion or, as in this case, architecture. The persistence of instructional discourse in Woo’s production underscores his concern for Hong Kong’s increasing anti-intellectualism, lack of depth, and cultural homogenization: “In Hong Kong, people have a lot of phobia for culture”2. Although the perception of Hong Kong as a “cultural desert” is a deep-seated and yet inaccurate myth, there is indeed a discernible propensity among citizens to privilege commercial and globally oriented forms of entertainment over local intellectual discourses such as Zuni’s. I have noticed on a number of occasions through conversations with critics and acquaintances – even the most educated and intellectually

References 1 AIAF. 2009. Corbu and Kahn. Performance playbill. 2 Yang Fan and Mathias Woo. 2009. “Mathias Woo: Is it possible to look at architecture from different perspectives?” In Architecture is Art Festival 2009, 9-13. Festival booklet. Also available at http://www.aiaf.hk/media/AIAF_booklet_rev.pdf (1 February 2010). 3 AIAF. 2009. A Tale of the Forbidden City. Performance playbill. 4 Woo, Mathias. 2009. Interview with author, 4 November.

實驗崑劇 Experimental Kunqu

攝影：冼家弘 Photography: Keith Sin

紫禁城遊記：崇禎仙遊紫禁城

A Tale of the Forbidden City 「兩位崑劇名角、一鼓一鑼、一空空舞台，便做出了一個時代走向終點那全部的悲哀和淒愴……這是一部另類的建築學戲劇。」 —— 廖偉棠（作家）「借由動人的角色故事，理解那一磚一瓦後面的文化涵義…… 一個不一樣的傳統崑曲演出。」—— 《文滙報》此劇於2009年由進念委約原創崑劇劇本及音樂，獲邀前往蘇州「第五屆中國崑劇藝術節」展演，2017年五度上演。兩百多年前營造紫禁城的蘇州香山工匠與崇禎邊唱邊遊，沿著京城的中軸綫，也是王者的軸綫，從午門一路北徑走出紫禁城，爬上煤山，俯瞰這座堂堂方正的宮城，走完了生命的最後一段路，明朝三百年的基業就此戛然而止。崇禎在蒯祥的指引下，重新審視這座皇城的建造意圖，感嘆物質之宮殿與精神之家國間若即若離般的滄桑流變，完成了別家，去國，辭祖，祭宮的最後儀式。

“Two Kunqu actors, one on drum, one on gong, an empty stage – and that created all the sadness and melancholy of an era going towards the end…This is an alternative architecture drama.” - Liu Wai Tong, Writer “By telling a touching story with unusual characters, this performance tries to illustrate the cultural significance of every brick and tile (of the Forbidden City)…a very unique Kunqu performance.” - Wen Wei Po

15-16.9 香港文化中心大劇院

Grand Theatre Hong Kong Cultural Centre

編劇／張弘策劃、導演及設計／胡恩威譜曲／遲凌雲崑劇演出／石小梅、李鴻良現場音樂演奏／戴培德、許建敏開場白／高若珊 Scriptwriter Zhang Hong Producer, Director & Designer Mathias Woo Transcript Chi Lingyun Kunqu Performers Shi Xiaomei, Li Hongliang Live Musicians Dai Peide, Xu Jianmin Prologue Kao Jo-shan

A Tale of the Forbidden City is an original Kunqu performance commissioned by Zuni in 2009 and was invited to “The 5th Chinese Kunqu Opera Art Festival” in Suzhou. In 2017, the show returns to the stage for the fifth time. Chongzhen Emperor, the last emperor of the Ming Dynasty, meets the spirit of Kuai Xiang, the architect who designed the Forbidden City Palace more than 200 years ago. They sang as they strolled along the north-south central axis upon which the Forbidden City was built. They passed through the Meridian Gate, headed north and got out of the Forbidden City. The emperor climbed up Meishan (Coal Hill) and came to the last part of his life’s journey. That was also the end of the Ming Dynasty which lasted 300 years. Under the guide of the architect, Chongzhen reviewed the intention of building the world’s largest woodenstructure palace city. He sighed upon the fleeting changes between the material palace and the spiritual concept of home and country. The emperor eventually completed the last rites of his departure from home, from country, from his ancestors and gave offering to and bade farewell to the palace.

香港特別行政區20周年紀念節目 A Tale of the Forbidden City is an accredited event celebrating the 20th Anniversary of the establishment of the Hong Kong Special Administrative Region

關公京劇 Lord Guan Yu Peking Opera

攝影 Photography: Joe Lau

關公在劇場

Lord Guan Yu on Stage 「指示了中國傳統戲未來應走的方向！」 ——榮鴻曾（匹茲堡大學音樂系榮休教授）「有創意又融古典及現代的佳作」——史維（香港科技大學副校長）「藉由傳統儀式的成立，去呼喚人與自我生命、生活環境的互動。」 ——吳岳霖《表演藝術評論台》從關公過關斬將，成就「驅除五方邪祟不祥」的淨台儀式。從功業顛峰到走向敗亡。從死亡到救贖而成神。拆解關公，穿越人神。正視關公人格特質，直視舞台上下關公形象的塑成。飽覽傳統戲《過五關斬六將》、《單刀會》、《走麥城關聖歸天》、《青石山》等經典段落，以現代劇場的後設試驗儀式戲劇，探索傳統戲劇未來之路。

“[It] has shown the way forward for traditional Chinese opera!” - Bell Yung, Professor Emeritus of Department of Music, University of Pittsburgh “A creative masterpiece that is both classical and modern.” - Wei Shyy, Executive Vice-President and Provost of the Hong Kong University of Science and Technology “Through establishing traditional rituals, the piece calls for interaction between man and his own life and living environment.” - Yue-lin Wu, Performing Arts Reviews The heroic acts of Guan Yu crossing five passes and slaying six generals have become rituals that subdue evil spirits and cleanse performing stages. Covering his rise and fall, death and becoming a god, the piece looks at the life of Guan Yu as he passed from a mortal to a ghostly and eventually divine being, scrutinizes his personality and probes the formation of his image on and off stage. Comprising elements from traditional excerpts, (Crossing Five Passes and Slaying Six Generals, Meeting the Enemies Alone, Mount Green Stone, etc), the current piece is an experimental, contemporary, ritual meta-drama that explores the way forward for traditional opera.

16-17.9 香港文化中心大劇院

Grand Theatre Hong Kong Cultural Centre

編劇、國光劇團藝術總監／王安祈導演、舞台及數碼影像設計／胡恩威京劇導演／王冠強音樂總監／于逸堯@人山人海音樂創作／許敖山傳統京劇音樂設計／李超動作捕捉設計及製作／Tobias Gremmler 唐文華飾關公黃毅勇、朱勝麗飾說書人劉育志飾周倉周慎行飾馬僮 Scriptwriter & Artistic Director of GuoGuang Opera Company Wang An-chi Director, Stage & Digital Content Designer Mathias Woo Jingju Director Wang Kou-chiang Music Director Yu Yat-yiu@PMPS Composer Steve Hui Aria Arrangement (Jingju) Lee Chao Motion Capture and Visualization Tobias Gremmler Performers Tang Wen-hua as Lord Guan Yu Huang Yi-yung, Chu Sheng-li as Storyteller Liu Yu-zhi as Zhou Cang Chou Shen-hsing as Coachman

復古創新 A Retro Yet Innovative Journey

攝影：葉紹麒 Photography: Yip Siu-ki

臨川四夢湯顯祖

Tang Xianzu’s Dream on Dreams 「好就好在一種純然現代的趣味，選擇了一個橫斷面，呈現出一種張力與思考，但是我更喜歡的，是它這裡面的形式與聲腔，保留了一種原汁原味，一種純粹的意韻。這種純粹，我覺得是崑曲的魂魄。」——于丹（文化學者，北京師範大學教授）「把崑曲的簡約美學和表演上的人的美學體現和示範出來了。」 ——劉華平《藝術評論》《臨川四夢湯顯祖》追求的是崑曲藝術的精緻，沒有大佈景大舞台，演員和樂隊不用揚聲器，純以最細膩的演出和簡潔的舞台，還原傳統崑曲藝術的神髓。《臨川四夢湯顯祖》是一次崑曲藝術的入門示範，又是一次經典的藝術欣賞。

“What’s good is its pure modern touch. It has chosen a cross section to present a kind of tension and reflection. What I like most are the forms and tunes contained within which have retained a kind of natural flavour attuned to a kind of pure rhymes. This purity is, I think, the soul of Kunqu.” - Yu Dan, Professor of Media Studies, Beijing Normal University “Expressing and demonstrating Kunqu’s aesthetics of simplicity as well as the aesthetics brought forth by the performers in their performance.” - Liu Huaping, Arts Criticism What Tang Xianzu’s Dream on Dreams sets out to do is being in pursuit of and in praise of the artistry of Kunqu. To do away with big stages and big sets, and the actors and musicians perform without using microphones. The performance retained to the essence of traditional Kunqu with pure and meticulous acting and a simple stage. Tang Xianzu’s Dream on Dreams is an illustrative beginner’s guide to the art of Kunqu, as well as an appreciation on a genre of classical art.

主辦 Presenters 江蘇省海外聯誼會 The Association of Overseas Affairs of Jiangsu Province

江蘇省對外文化交流協會

製作 Co-production 江蘇省演藝集團崑劇院 Jiangsu Kunqu Opera House

進念．二十面體 Zuni Icosahedron

香港江蘇社團總會 Federation of HK Jiangsu Community Organisations

江蘇旅港同鄉聯合會

28-29.8 香港演藝學院戲劇院

Drama Theatre The Hong Kong Academy for Performing Arts

編劇／張弘監製、導演及設計／胡恩威藝術指導／石小梅演出／柯軍飾年老湯顯祖、年老盧生、年少盧生石小梅飾年少湯顯祖、柳夢梅、淳于棼趙堅飾黃衫客、契玄龔隱雷飾杜麗娘、商小玲、瑤芳徐思佳飾霍小玉、崔氏錢振榮飾李益、呂洞賓李鴻良飾羅章二、高力士錢偉飾御醫、店小二音樂設計及指揮／戴培德 Playwright Zhang Hong Producer, Director & Designer Mathias Woo Creative Advisor Shi Xiaomei Performers Ke Jun as Old Tang Xianzu, Old Lu Sheng, Young Lu Sheng Shi Xiaomei as Young Tang Xianzu, Liu Mengmei, Chunyu Fen Zhao Jian as Yellow Robe Man, Zen Master Qixuan Gong Yinlei as Du Liniang, Shang Xiaoling, Yao Fang Xu Sijia as Huo Xiaoyu, Lady Cui Qian Zhenrong as Li Yi, Lü Dongbin Li Hongliang as Luo Zhanger, Gao Lishi Qian Wei as Court Physician, Helper Music Design & Conductor Dai Peide

新數碼經變圖 New Media Pictorial of Ancient Text

攝影 Photography: Joe Lau

華嚴經清淨之行

Hua-yen Sutra Purification Practices 「像心靈吃了一劑霜淇淋，獲得難以形容的寧靜。」 ——李歐梵（文化研究學者、香港中文大學冼為堅中國文化講座教授）「深沉又奪目地展現心與世界相容自在的境界。」 ——周倩漪《PAR表演藝術》釋迦牟尼佛初成正覺，全身放光，普照十方，宣講《華嚴經》。本演出以「光」為創作基本元素，運用多種的光源，與語言、書法、音樂、多媒體裝置的現場互動，呈現佛光照耀、重重無盡的華嚴世界。《華嚴經》從文殊菩薩舉出141種生活中的行願出發，經歷行住坐臥、處處時時皆可以修行的菩薩境界。

“As if having ice cream in the seething summer heat, the tranquility is beyond words.” - Ou Fan Leo Lee, Sin Wai Kin Professor of Chinese Cultural at the Chinese University of Hong Kong “The show reveals a state of compatible ease between the mind and the world.” - Zhou Qian-yi, Performing Arts Review Light is symbolic of the Sakyamuni Buddha's ultimate enlightenment. It was described as emanating from his entire body and shining in all directions. Upon enlightenment under the Bodhi Tree, the Buddha gave his first teachings which were recorded in the Hua-Yen Sutra (the Avatamsaka Sutra). In this Zuni performance, light is the key creative element, coming from multiple sources in real-time interaction with language, calligraphy, music and multimedia installation, bringing forth the Avatamsaka realm as described in the Sutra; endless in time and space. Hua-Yen Sutra focuses on the 141 daily practices devised by Bodhisattva Manjushri for wisdom seekers to carry out mindfully in their daily lives at all times, awake or asleep. A practical guide to experiencing how the enlightened conduct their lives in wisdom.

贊助 Sponsor

布施菩薩 Bodhisattva of Generosity

2-3.12 香港文化中心大劇院

Grand Theatre Hong Kong Cultural Centre

文本／一行禪師創作顧問及文本創作／釋衍空創作顧問（華嚴字母唱誦）／釋僧徹導演、編劇及設計／胡恩威音樂總監及創作／于逸堯@人山人海形象設計／張叔平書法創作（數碼影像）／董陽孜文字創作／林夕音樂創作／林二汶演出／伍宇烈、楊永德、黃大徽、陳浩峰現場音樂演奏／孔奕佳（鋼琴）、何怡安（敲擊）、鄭丞泰（洞簫／笛子）、林灒桐（彈撥）、彭康泰（笙）特邀演出（華嚴字母唱誦）／東蓮覺苑眾法師 Original Text Thich Nhat Hanh Advisor (Script & Text) Sik Hin Hung Advisor (Hua-Yen Siddham Alphabet Chanting) Sik Tsang Chit Director, Scriptwriter & Designer Mathias Woo Music Director & Composer Yu Yat-yiu@PMPS Costume Designer William Chang Chinese Calligraphy (Digital Images) Tong Yang-tze Creative Writing Lin Xi Music & Lyrics Eman Lam Performers Yuri Ng, David Yeung, Dick Wong, Cedric Chan Live Musicians Edgar Hung (Piano), Ho Yi-on (Percussion), Cheng Shing-tai (Dong Xiao / Dizi), Mavis Lam (Plucked Strings), Alan Pang (Sheng) Special Guests (Hua-Yen Siddham Alphabet Chanting) Venerable masters from Tong Lin Kok Yuen

念佛傳音 The Vocal Legacy of Buddhist Chanting

攝影 Photography: Joe Lau

香光念佛

Buddhist Chants in Scent and Light 「聲音、光影等各種舞台效果，意象新鮮，感受念佛法門的殊勝。」——佛門網「法師的誦唱帶領我們到一種境界……第一分鐘，我已經熱淚盈眶……」 ——蘇玉華（香港舞台劇、電視劇演員）五會念佛是淨土宗念佛的一種方法。念佛可去除煩惱，在念念之間培養清淨、平等、出離。五會就是五段不同音聲和緩急的念誦佛號，以表達念佛時平靜和懇切的心情。近代觀本法師，根據唐代法照大師承傳下來的真聲念佛法門，改成五會新聲念佛，並著有《香光閣隨筆》一書，廣傳於世。《香光念佛》是結合當代劇場藝術與傳統佛教軌儀，探討法音傳承與創新的實驗。

“Totally immersed in the profundity of Buddhist chanting with the special theatre effects of sound and light. The approach is fresh and novel.” - Buddhistdoor.org “Chanting of the venerable monastics lifted us to another state... I was already in tears right from the first minute of the performance...” - Louisa So, Actress in drama and TV series Chanting can bring relief to anxiety, fear and worry, allowing oneself to calm and purify the mind; develop equanimity; and learn and practise the art of letting go. The Pentatonic Buddhist Chant, a Pure Land Buddhist practice, is done in five parts of different vocals and tempos, conveying the tranquility and sincerity of the chanters. Based on a text more than 1,200 years old passed down by Master Fazhao of the Tang Dynasty, the performance features chants rearranged by Master Kuan Pen of the 20th Century in his book Chamber of Scent and Light. Integrating the art of contemporary theatre and traditional Buddhist rituals, Buddhist Chants in Scent and Light explores the heritage and innovation of the art of Buddhist vocal practices.

合作 Collaboration

布施菩薩 Bodhisattva of Generosity

1-2.12 香港文化中心大劇院

Grand Theatre Hong Kong Cultural Centre

藝術指導及顧問／釋衍空、釋僧徹學術顧問／李葛夫藝術總監及導演／胡恩威音樂總監／于逸堯＠人山人海平面設計／又一山人攝影／區子強文字整理／吳麗珍、梁冠麗演出／東蓮覺苑眾法師及菩仁合唱團、佛教大雄中學同學、寶覺中學同學 Artistic Advisor Sik Hin Hung, Sik Tsang Chit Academic Advisor Li Kwok-fu Artistic Director & Director Mathias Woo Music Director Yu Yat-yiu@PMPS Graphic Designer anothermountainman Photography Johnny Au Text Re-arrangement Ng Lai-chun, Theresa Leung Performers Venerable masters and Lay Can Sing from Tung Lin Kok Yuen, Students of Buddhist Tai Hung College and Po Kok Secondary School

胡恩威：以舞台科技實驗表演藝術的無限空間胡恩威 Freespace Tech Lab 總策劃及藝術總監（答）語瀟

記者（問）

問：為什麼會有「舞台與技術實驗室」（Freespace Tech Lab）這個想法？答：

舞台技術 (台、燈、聲) 是表演藝術其中一個很重要的元素，就是除了在舞台上的演員，舞台的燈光、音響，還有整個舞台空間本身有很多技術在裡面。兩岸四地對舞台技術的實驗卻是比較少的，而進念三十五年以來，藝術創作上跨界跨媒體，一直在實驗科技跟舞台的關係，本身就是一個Lab；像現在大家常常看到的投映，進念在二十五年前已經開始在舞台上應用和實驗。舞台技術和表演是同樣重要的，沒有舞台技術的創意和專業，戲是出不來的。

問：中港台近十年建了不少新的劇場，你認為有應用到新的舞台技術嗎？答：

很可惜這些新劇場還是使用舊有的科技，觀眾跟舞台的關係也是以前的概念；另外，中港台蓋劇場，很多時候只是看它的外表，花很多錢蓋外表，但是後台和舞台才是最重要的，後台跟舞台技術的配套，很多時候都被忽略。另一個趨勢就是很多中港台的劇場都不是由劇團和藝術專業主導，不同於歐洲、美國，甚或韓國，很多劇場都是由劇團來經營的。

問：那麼，和西九合作的「舞台與技術實驗室」如何對應這些情況？答：

我們的合作有幾個方面：一個是創作方面，實驗舞台技術跟表演的關係，新的技術出來會怎麼影響到觀眾跟表演者的關係；坊，讓他們知道舞台技術的一些基本概念。因為香港一些建築

12-26.11

師完全不了解表演藝術，甚至從不看戲，他們對設計劇場博物

香港文化中心劇場

另一個就是培訓，從中學生，到大學，到建築專業都會有工作

館跟藝術館，以及其他文化類型的建築，很多觀念都是錯的，比如說蓋劇場的佈景裝卸區的位置和大小都是錯誤的。就是西

Studio Theatre, Hong Kong Cultural Centre

方的顧問也沒有實際和在地的概念，大都是紙上談兵。香港的表演藝術，官方來說已經超過五十年的歷史，累積了很多經驗，但是為什麼還是培養不出自己的劇場設計專家？所以，這個「實驗室」會有一些工作坊給建築系及其他建築設計相關專業的學生來參加。未來，更會有專門為建築師規劃師而設的專業舞台技術課程。我們跟西九是一個長遠的規劃合作，未來他們有很多新的舞台。這些實驗有可能可以讓業界應用的。問：我看到有三個部分，一個是《維根斯坦》，一個是《追憶似水年華》，還有一個是舞蹈。答：

每一個星期都會有主題，主題有兩種，一個是技術上的，一個是題材上的。今年的技術主題是聲音、燈光跟空間。第一個星期的主題是電子音樂，以維根斯坦作為題材。第二個星期是 vocal（人聲），與收音和音響有關，我們找了台北的魏海敏、上海的張軍，還有巴黎和香港的演員，用《追憶似水年華》的文本進行實驗，這個也是和語言和聲音有關的。第三個星期是動作，舞者在四面都是鏡子的劇場裡，嘗試動作和空間的互動關係與可能。其實做藝術，「術」就是技術，這個是最重要的；而「藝」就是可能性。但技術的術是一定要知道的，所有藝術的變化都是跟技術有關的，不可能沒有技術。

總策劃、藝術總監、空間設計／胡恩威技術總監／胡偉聰「Freespace舞台與技術實驗室」是一項融合創新舞台科技及表演藝術的三年計畫，為表演藝術範疇相關的技術供應者及參與者建立交流平台，引領舞台科技的應用技術。 Creator, Artistic Director & Spatial Designer Mathias Woo Technical Director Rae Wu “Freespace Tech Lab” is a three-year project infusing innovative stage technology and performing arts, providing a platform for exchange between related technology providers of performing arts and participants, with a view to enhancing the applications of stage technology.

合辦 Co-organiser

創作與技術展示 + 技術專題講座 Creative and Technical Showcases + Themetic Talks

聲音及機動裝置 X 電子音樂 Sound and Kinetic Installation x Digital Music

維根斯坦 Wittgenstein

圖像：利志達 Visual: Li Chi-tak

根據2016年原創多媒體劇場作品《維根斯坦》的音樂為藍本，觀眾置身於四面鏡和聲音及機動裝置當中，延續空間與聲音的實驗，猶如經歷情緒波瀾的神經體驗。

無言哲學無盡光影無聲電音 This showcase is created with the music of the 2016 original multimedia theatre Wittgenstein as its blueprint. The audience seated inside an installation with four mirror walls, sound and kinetic. They immersed in an experiment of continuous space and sounds, as if going on a rollercoaster ride for the senses.

Philosophy of no language / Endless lights and images / Electronic music without sounds

展示+講座 Showcase + Talk

12.11

【機動裝置 Kinetic Winch】主講 Speaker Stage Tech Ltd. 代表

多媒體空間裝置／胡恩威音樂創作／許敖山圖像創作／利志達音響設計／夏恩蓓機動裝置系統／劉曉文 Multimedia & Installation Mathias Woo Music Nerve (Steve Hui) Visuals Li Chi-tak Sound Design Ha Yan-pui Kinetic Winch System Lau Hiu-man

合辦 Co-organiser

聲音及機動裝置 X 人的聲音 X 文本 Sound and Kinetic Installation x Human Voice x Text

追憶似水年華 In Search of Lost Time 「當一個人不能擁有的時候，他唯一能做的便是不要忘記。」普魯斯特（Marcel Proust）於二十世紀著寫《追憶似水年華》，在意識流中與遺忘抗爭。一百年過後，從當今目光和語境開展旅程，觀眾在光影環迴反射的鏡面迷宮中，聆聽演員們用不同語言不同聲線演繹，音響設計師混調配置，以聲音裝置實現一次舞台科技藝術與文學的探索，找尋逝去年華記憶中的真實與虛幻。 “When a person cannot possess, all he could do is not to forget.” Marcel Proust wrote In Search of Lost Time in the 20th century, in his struggle against oblivion in the stream of consciousness. A hundred years later, a journey begins from the present perspective and context; the audience is put inside a mirror maze with endless reflections of light and shadow, while they listen to the performers’ interpretations in different languages and tones. The sound designer uses mixing and sound installation to create an exploration of stage arts and technologies as well as literature, in search of reality and illusion in the remembrance of things past.

展示+講座 Showcase + Talk

17.11

【聲音景觀 Soundscape】

18.11

【舞台音響設計 Stage Sound Design】

主講 Speaker d&b audiotechnik

主講洪天佑 Speaker Frankie Hung

文本／普魯斯特多媒體空間裝置／胡恩威改編／廖端麗圖像創作／黎達達榮音樂總監／于逸堯@人山人海聲音演出／魏海敏（京劇）張軍（崑劇）孫陽（當代） Clara Rousselin（當代）鋼琴演奏／黃家正音響設計／洪天佑 Original Text Marcel Proust Multimedia & Installation Mathias Woo Adaptation Diana Liao Visuals Lai Tat Tat Wing Music Director Yu Yat-yiu@PMPS Voice Performance Wei Hai-Min (Jingju) Zhang Jun (Kunqu) Sunny Sun (Contemporary) Clara Rousselin (Contemporary) Pianist: Wong KaJeng Sound Design: Frankie Hung

即興演出 X 空間 X 燈光 Impromptu Performance x Space x Lighting

形體實驗 Movement Lab 舞者於四面無盡反射的空間內，與燈光投映技術互相捕捉，追逐真實的身體與形影的投射和投映的光線；在這個劇場空間內，觀眾從四面舞台俯瞰真與幻視覺的無限延伸。 In a space of endless reflections, dancers, light and projections are chasing one another, chasing after physical bodies and projected lights and shadows. In this theatre space, the audience are above looking over the infinite extension of reality and optical illusions.

特邀演出／梅卓燕、黃靜婷燈光顧問／麥國輝 Special Guest Performers Mui Cheuk-yin, Chloe Wong Lighting Consultant Mak Kwok-fai

即興演出+專題講座 Impromptu Performance + Thematic Talk

24.11

【GiantMirror】即興演出梅卓燕 Impromptu Performance by Mui Cheuk-yin 主講 Speaker ShowTex Hong Kong Ltd.

25.11

【投映與燈光 Projection and Lighting】即興演出黃靜婷 Impromptu Performance by Chloe Wong 主講麥國輝及 Christie代表 Speaker Mak Kwok-fai and Christie’s representative

講座、工作坊及實習 Talks, Workshops and Training

17.11 專題講座劇場建築的實用與實驗 Thematic Talk “The Practical and Experimental Nature of Theatre Architecture” 主講胡恩威 Speaker Mathias Woo

20.11 專題講座自由空間 Freespace的技術設計 Thematic Talk “Technical Design of Freespace” 主講胡偉聰、劉祺豐 Speakers Rae Wu, Low Kee Hong

大專生舞台專業工作坊／專業實習 Workshops and Training Programmes for Tertiary Students 學術伙伴 Academic partners

20-21.11 中學生專場及工作坊 Guided Tours for Secondary School and Workshops 高中生藝術新體驗計劃 2017/18 Arts Experience Scheme for Senior Secondary Students 2017/18

技術伙伴 Technical Partners

Exprimenting the infinite space of performing arts with stage technologies (excerpt) Mathias Woo Creator and Artistic Director of Freespace Tech Lab (W) Yu xiao Reporter (R)

R: How did the idea of Freespace Tech Lab come about? W: The technicalities of stage are pivotal in performing arts. Besides actors, the lighting, sound design and the spacial concept of stage require a great deal of techniques and thinking. But exploration and experiments of these technical aspects of stage are lacking in the greater China region, that is Hong Kong, Taiwan, Macau and mainland China. Zuni Icosahedron’s cross-media theatre productions have been extending the boundaries of theatre through exploring the relationship between technology and stage over the past 35 years. Take the large scale fancy projection that we often see on stage these days, Zuni began experimenting stage projections 25 years ago. In this regard, as an example, Zuni functions as a laboratory. Stage technologies and performance are equally important. Without the professional and creative support from the technical aspects, there is no way to complete a theatre production. R: A number of new theatres have been built in mainland China, Hong Kong and Taiwan in recent years. Do you think new technologies and stage techniques have been adopted in these new venues? W: It is unfortunate that we don’t see much development and adoption of new technologies in most of these recently built venues. There isn’t a reinvention of the relationship between the audience and the stage either. Besides, people’s focus on the fancy, costly facades of these new theatre buildings rather than on the front and back stages, which are the most crucial. How to complement the back stage with appropriate technicalities is often ignored. On top of that, a lot of these venues are not run by theatre groups or performing arts professionals. Unlike their counterparts in Europe, the US or even South Korea, where a lot of theatre buildings are run by performing arts groups.

R: How does Freespace Tech Lab, which is developed in collaboration with West Kowloon Cultural District, respond to these issues?

R: I was told that this lab consists of three parts - Wittgenstein, In Search of Lost Time and the Movement Lab.

W: We approach these issues from a few different perspectives. Firstly, is from a creative perspective, which allow us to experiment the dynamics between the stage technologies and performance, and how new technologies can impact the relationship between the audience and the artists.

W: Our lab will feature a different theme each week, encompassing the technical and creative aspects of theatre.

The other important element of this collaboration is to offer training to not only secondary and tertiary students but also those in the architecture profession. We hope to introduce to them the basic concepts of stage technologies. A lot of architects in Hong Kong have limited understanding of performing arts. Some of them have never even been to the theatre! They lack the appropriate concepts of museums, performing arts venues and various other buildings that serve the cultural purposes. For example, the size and location of the loading dock at many theatres were inaccurate. It is difficult to transfer knowledge and experiences from overseas consultants too as they might not fit in with our unique situation. Hong Kong already has 50 years of history in performing arts. We have a lot of experience, but how come we cannot produce our own specialists in designing theatre buildings? Thus we hope this “laboratory” can offer workshops for students majoring in architecture and relevant architectural design disciplines. In future, we will offer programmes on professional stage technologies for architects and surveyors. Our collaboration with the West Kowloon Cultural District is a long-term one. Many new stages will be built in this arts hub. These experiments can be great references for the professionals.

This year our focus is Sound/ Light/ Space - In this Freespace Tech Lab, technology is the lead. We will explore the appropriation of electronic music in theatre during our first week with Wittgenstein. In Search of Lost Time is the textual base for our second week experiment with vocals in relation to sound. We have invited Wei Hai-Min from Taipei and Zhang Jun from Shanghai as well as artists from Hong Kong and Paris to take part in this event, which is also an experiment of languages. Body movements is the theme of the third week. Dancers find themselves in a theatre surrounded by mirrors in order to explore the dynamics and possibilities between body movements and space. In Chinese, the word art is comprised of “craftsmanship”, which means the technical aspect of an artwork, and “possibilities”, which refers to the creative side of a piece. Without the knowledge of the technical side of art as the foundation, it is impossible to elevate artistic works to a new dimension.

實驗創新 2017合作人員

Gizem Bilgen │舞者 / Studio Oyunculari 方法訓練講師│陳浩峰│進念駐團創作演員、填詞人、樂隊假音人成員│張耀仁│赤兔樂團主唱，詞曲創作者，臺灣影視及劇場演員│ 編舞 / 舞者，Amrita Performing Arts 藝術總監

Chey Chankethya │

│ Martha Hincapié Charry │ 編舞 / 演員，

Plataforma Iberoamerican Festival 藝術總監及哥倫比亞 Bienal de Danza de Cali 策劃人 │張素宜│ 舞台燈光設計師，亦從事曼陀羅創作 │中馬芳子│ 舞者 / 編舞，The School of Hard Knocks 藝術總監 │鍾芳婷 │舞台音響設計師│ 鍾家誠 │進念駐團創作演員 │

Jitti Chompee │舞者 / 編舞，

18 Monkeys Dance Theatre 及 Unfolding Kafka Festival 藝術總監 │

Astad Deboo │舞者 / 編舞 │

夏恩蓓│舞台音響設計師及工程師│許敖山│創作別號腦科，現代音樂、聲音藝術創作人│洪天佑│ 演唱會及錄音室音響工程師│孔奕佳│音樂創作人，鋼琴及大提琴手，樂隊 HUSband 成員│高若珊│ 電視及劇場演員 │鄺雅麗 │舞台燈光設計 │

Denise Lampart │舞者 / 編舞 │劉曉文│舞台特

別效果及煙火燃放專家 │劉曉義 │實驗劇團避難階段藝術總監 │廖端麗 │從事文學創作和翻譯 │

劉祺豐│西九表演藝術主管（戲劇）│ Saar Magal │劇場導演 / 編舞│麥國輝│香港演藝學院舞台燈光系講師│梅卓燕│獨立舞者、老師、編舞│伍宇烈│編舞及舞蹈家，一舖清唱聯合藝術總監│

Clara Rousselin │ 來自巴黎的默劇及劇場演員 │ 孫陽 │ 遊走港台兩地，電視和舞台演員 │ 曾兆賢│劇場演員│ Fadi Waked

│編舞 / 舞者│黃靜婷│舞者，香港

演藝學院導師 │黃大徽 │進念資深成員，既舞且演亦編 │伍嘉雯 │進念《東宮西宮》系列原班創作演員 │吳昆達 │臺灣劇場、電視、電影演員 │

胡偉聰│西九高級技術及製作經理（表演藝術）│一舖清唱│香港首個專業無伴奏合唱劇團│楊永德│進念創團成員及資深演員│于逸堯│音樂創作

當代

人、人山人海創辦人│

又一山人 │設計師、攝影師、視覺藝術家 │區子強 │進念資深成員，

跨界

廣告導演、攝影師 │ 張叔平 │ 美術指導 │ 鄭兆良 │ 服裝及珠寶首飾設計師│鄭丞泰│洞簫 / 笛子吹奏樂師│鄭運蓮│服裝設計師│趙廣超 │設計及文化研究（香港）工作室負責人、故宮博物院資料訊息中心藝術顧問│方曉丹│數碼視覺藝術家及錄像設計師 │

Tobias Gremmler │媒體藝術家及設計師 │何怡安│敲擊樂手，四擊頭敲擊

樂團之創立人之一│許傲群│呼拉圈舞者及導師│黎達達榮│進念駐團藝術家，獨立漫畫創作人│

林灒桐│琵琶演奏樂師，香港無極樂團音樂團長│林二汶│獨立音樂人，亦涉足配音、電影、舞台劇等工作│李俊樂│口琴演奏家│李葛夫│志蓮淨苑文化部研究主任│梁冠麗│能量治療師；資深文化編輯│利志達│自由漫畫創作人、畫家│林夕│填詞人、撰稿人、傳媒人│盧聲前

@Plotz Ltd.

│時裝設計師│香港新雅詠團│唱詠團體│彭康泰│笙吹奏樂師，竹韻小集樂團副首席│畢永琴 │資深女高音、聲樂樂評，聲樂專欄作者 │釋衍空 │香港大學佛學研究中心總監及覺醒心靈成長中心住持 │釋僧徹│東蓮覺苑苑長及法雨精舍舍監 │一行禪師│詩人、學者及和平主義者，法國梅村道場創辦人│董陽孜│書法家│黃家正│鋼琴、小提琴演奏家。Music Lab 創辦人│胡海瀚│多媒體設計師│

遲凌雲│國家一級演奏員│周慎行│京劇演員，工丑行│朱勝麗│京劇演員，工花旦、刀馬旦│ 戴培德│國家一級演奏員 │龔隱雷│國家一級崑劇演員，工閨門旦、正旦 │黃毅勇│京劇演員，工淨行│柯軍│國家一級崑劇演員，工武生、兼文武老生，江蘇省演藝集團常務總經理│李超│京胡演奏家，國光劇團音樂指導及琴師 │李鴻良 │國家一級演員，崑劇丑角演員，江蘇省崑劇院院長

│劉育志│京劇演員，工淨行 │錢偉│崑劇演員，專攻丑 │錢振榮│國家一級崑劇演員，工小生 │ 石小梅 │ 國家一級崑劇演員，聯合國教科文組織非物質文化遺產傳承人 │ Erlina Pantja Sulistijaningtyas │傳統印尼舞者 │孫晶│崑劇演員，專攻花臉 │唐文華│國光劇團首席文武老生│

Didik Nini Thowok │傳統爪哇舞者 / 編舞│王安祈│國立臺灣大學特聘教授，國光劇團

藝術總監 │王斌 │國家一級演員，工小生；江蘇省歌劇舞劇院藝術指導│ 王冠強 │國光劇團導演、排練指導 │魏海敏 │國光劇團主演、當代京劇梅派首席傳人 │許建敏 │ 國家二級演奏員│徐思佳│青年崑劇演員，主攻正旦，兼學五旦│楊陽│

傳統

跨世代

青年崑劇演員，工武生 │趙堅│國家一級崑劇演員，工淨行 │張弘│國家一級編劇，為中國文化部所嘉獎的崑曲優秀主創人員│張軍│國家一級崑劇演員，聯合國教科文組織和平藝術家│

進念「創意操場」實驗劇場培訓計畫學員及實習生│ 鄭凱殷│鄭鈞澤│江清蓉│侯懿恩│呼夢雅│許民杰│郭凱盈│ 陳漢堯│葉珮君│羅凱盈│謝昊丹│徐希臨│黃嘉怡│

一桌二椅──歐亞青年表演藝術家跨文化交流及教育計畫學員│ 香港演藝學院│ Melinda Gaskin │鄭精廣國立臺灣戲曲學院│鐘家閎│林祐淵│奈諾．伊安│石竣綺│吳宗祐 Patravadi 華欣學院│ Junior Dearden 蘇黎世藝術大學│ Sophie Annen │ Sophie Bertschy │ Emmy Blein Georgia D’Amico │ Alice D’Angelo │ Giorgia Lolli │ Selene Martello Viktoria Semakaité

Experimentation and Innovation 2017 Creative Collaboration

Crossdiscipline

Design and Cultural Studies Workshop, Art Consultant of Information Department

Chi Lingyun | National Class One instrumentalist | Chou Shen-hsing | Jingju performer specializing in chou (clown) roles | Chu Sheng-li | Jingju performer specializing in huadan (young female) and daomaden (warrior female) roles | Dai Peide | National Class One instrumentalist | Gong Yinlei | National Class One Kunqu perfomer in guimendan (young female lead) and zhengdan (main femaile lead) roles | Huang Yi-yung | Jingju performer trained in jing (painted face) roles | Ke Jun | National Class One Kunqu performer, specialised in wusheng (combating hero) and wenwu laosheng (civil and military bearded old male),

of GuoGuang Opera Company

Melinda Gaskin | Cassidy Zheng

National Taiwan College of Performing Arts | Chung Chia-hung

Patravadi Hua Hin Schools |

| Lin You-yuan | Nanom Yiam |

Shi Jyun-ci | Wu Tsung-yu Junior Dearden|

Zurich University of the Arts |

Sophie Annen | Sophie Bertschy | Emmy Blein | Georgia D’Amico

Alice D’Angelo | Giorgia Lolli | Selene Martello | Viktoria Semakaité

進念．二十面體實驗香港三十五載 Zuni Icosahedron 35th Anniversary of Experimentation in Hong Kong 聯合藝術總監：榮念曾、胡恩威香港實驗劇場的先鋒，成立於1982年，為非牟利慈善文化團體，以香港為基，面向世界，專注於多元戲劇藝術創作。創團35年誌慶之際，原創劇場作品已超過二百齣，曾獲邀前往演出及交流的城市遍及歐、亞、美等地八十多個城市，多年來一直致力拓展香港文化藝術新領域。進念並一向關注香港以至於整個亞太地區的文化發展，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表演藝術團體之一，香港最具代表性的國際實驗劇團。2009年，成為香港文化中心的場地伙伴，開展系列創作及外展教育計畫。進念的劇場創作，一直以其對媒體科技發展的敏銳觸覺，詮釋多媒體創作與劇場演出的互動關係，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。

Co-Artistic Directors: Danny Yung, Mathias Woo Founded in 1982, Zuni is a pioneer in experimental theatre of Hong Kong. As a non-profit cultural organisation with a deep-rooted base in Hong Kong, Zuni also reaches out to the world with its exemplary diversified works of theatre performance and artistic creation. Into its 35th anniversary, Zuni has produced more than 200 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. Over the years, Zuni has been invited to more than 80 cities in Europe, Asia, and America for cultural exchange and performances. In recent years, Zuni has been committed to the preservation and development of Intangible Cultural Heritage (Performing Arts). Zuni is one of the nine major professional arts companies in Hong Kong, and has established itself as a premiere experimental theatre locally, regionally and internationally. Since 2009, Zuni has been the venue partner of Hong Kong Cultural Centre, launching serials of creative works and arts education projects. Zuni’s theatre has always stayed on the cutting edge of media technology in presenting the interactive relationship between multimedia and theatre, as well as 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.

進念．二十面體 Zuni Icosahedron 地址香港上環永樂街 60-66 號泰商業大廈 2 字樓 203-4 室 Address Room 203-4, 2/F., Cheong Tai Commercial Building, 60-66 Wing Lok Street, Sheung Wan, Hong Kong 電話 Tel 傳真 Fax 電郵 Email 網頁 Website

+852 2893 8704 +852 2838 7527 info@zuni.org.hk www.zuniseason.org.hk

進念．二十面體由香港特別行政區政府資助進念．二十面體為香港文化中心場地伙伴 Zuni Icosahedron is financially supported by the Government of the Hong Kong Special Administrative Region Zuni Icosahedron is a Venue Partner of the Hong Kong Cultural Centre

社聯機構會員 Member of the Hong Kong Council of Social Service 根據《稅務條例》第88條獲括免繳稅的慈善機構 A Charitable institution is exempt from tax under section 88 of the Inland Revenue Ordinance

榮念曾

胡恩威

華人實驗藝術先驅，香港最具影響力藝術家之一，進念．二十面體創團成員及聯合藝術總監。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，作品於三十多個城市演出及展出。

於香港及倫敦修讀建築，從事劇本創作、劇場編導、多媒體及舞台設計、建築設計、藝術教育、文化政策評論等工作，是跨界劇場及多媒體劇場先鋒，作品曾應邀於東京、新加坡、台北、柏林、布魯塞爾、米蘭、克拉科夫、北京、南京、上海、蘇州等世界各地演出，其創作的多媒體建築音樂劇場系列包括《路易簡的時代和生活》、《Looking for Mies》及《CORBU》等，開創香港劇場界的先河。近年舞台作品包括《半生緣》、《萬曆十五年》、《華嚴經》、《東宮西宮》系列，崑劇《臨川四夢湯顯祖》及《紫禁城遊記》等。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。

2016年獲香港藝術發展局頒予「2015香港藝術發展獎藝術家年獎（戲劇）」。 2014年獲授予「福岡亞洲文化獎 — 藝術文化獎」，以表揚他對亞洲藝術和文化的發展所作出的貢獻。 2009年獲德國聯邦總統頒授「德國聯邦十字絲帶勳章」，以誌其於推動港、德兩地文化交流的貢獻和成就。 2008年憑《荒山淚》於聯合國教科文組織國際劇協的 Music Theatre NOW比賽中奪得殊榮。

Danny Yung

Mathias Woo

An experimental art pioneer and one of the most influential artists in Hong Kong, Yung is a founding member and Co-Artistic Director of Zuni Icosahedron. In the past 40 years, Yung involved extensively in multifarious fields of the arts, including theatre, cartoon, film and video, visual and installation art which have widely toured to over 30 cities.

Mathias Woo leads a career as a scriptwriter, director, producer as well as curator, and is recognised for a portfolio of more than 60 original theatre works, which have been invited to cities around the globe including Tokyo, Singapore, Taipei, Berlin, Brussels, Krakow, Beijing, Nanjing, Shanghai and Suzhou. Woo’s theatre works explore subjects as wide-range as literature, history, architecture, religion, current political affairs. Woo is renowned for incorporating multimedia into theatre creation. The multimedia architecture music series The Life & Times of Louis I . Kahn, Looking for Mies and CORBU became the hallmark in the scene of Hong Kong theatre. His recent productions include Eighteen Springs , 1587, A Year of No Significance (an adaptation from historian Ray Huang’s book of the same title), Hua-Yen Sutra , East Wing West Wing Series , and Kunqu Tang Xianzu’s Dream on Dreams , and A Tale of The Forbidden City. In 2009, Woo initiated and curated Architecture is Art Festival, the first of its kind themed on architecture in Hong Kong.

The recipient of The Hong Kong Arts Development Awards 2015 Artist of the Year (Drama) presented by Hong Kong Arts Development Council (2016). The laureate of The Fukuoka Prize – Arts and Culture Prize for his contributions to the development of Asian arts and culture (2014). The recipient of The Cross of the Order of Merit of the Federal Republic of Germany in recognition of his contributions towards the arts and cultural exchange between Germany and Hong Kong (2009). The recipient of The Music Theatre NOW Award presented by the UNESCO’s International Theatre Institute for his theatre work Tears of Barren Hill (2008).

董事會

Board of Directors

主席利龐卓貽樂慈基金會有限公司

Chairperson Vanessa Pong Lee President, Live to Love Hong Kong

香港分部會長

副主席劉千石秘書區子強司庫郭文傑

成員蔡德才林永君黃炳培嚴志明姚永安

華欣文教基金主席

Vice-chair Lau Chin Shek Chairman, Wah Yan Cultural Foundation Secretary Johnny Au

廣告導演

香港科技大學大學發展及校友事務處高級經理（大學發展）人山人海創辦成員及董事 Anyplex 數碼點播有限公司創辦人及行政總裁八萬四千溝通事務所有限公司創辦人及創作總監香港設計委員會主席時事評論人

Treasurer Gavin Kwok

Members Jason Choi Ringo Lam

Advertising Film Director

Senior Manager (Development), Hong Kong University of Science and Technology

Founder and Director, People Mountain People Sea Productions Founder and CEO, Anyplex Hong Kong Limited

Stanley Wong Founder and Creative Director, Eric Yim Gabriel Yiu

84000 Communications Limited Chairman, Design Council of Hong Kong Current Affairs Pundit

榮譽法律顧問陳韻雲律師行

Honorary Legal Advisor Vivien Chan & Co.

職員

Staff

聯合藝術總監榮念曾

聯合藝術總監暨行政總裁胡恩威

Co-Artistic Director Danny Yung

Co-Artistic Director cum Executive Director Mathias Woo

國際交流總監黃裕偉

藝團經理（行政及財務）陳世明

助理藝術總監陳浩峰

藝團經理（節目）簡溢雅

駐團演員楊永德、鍾家誠

高級節目經理周寶儀

駐團藝術家黎達榮

經理（公關及伙伴發展）黃偉國

研究主管梁冠麗

舞台監督周俊彥

項目研究總監

助理節目經理翟桐、鄭國政、何彥羲

International Exchange Director: Wong Yuewai Asst Artistic Director: Cedric Chan Performers-inResidence: David Yeung, Carson Chung Artist-in-Residence: Lai Tat-wing Senior Researcher: Theresa Leung Research Director (Archive): Chan Pik-yu Creative Assistant (Video and Multimedia): Wing Chan Project Asst Manager (Archive and Video): Wong Sze-mei

Company Manager (Admin and Finance): Jacky Chan Company Manager (Programme): Doris Kan Senior Programme Manager: Bowie Chow Manager (PR and Partnership Development): Luka Wong Stage Manager: Gavin Chow Asst Programme Managers: Rachel Chak, Ricky Cheng, Ho Yin-hei Programme and Art Administration Trainees: Kason Chi, Stephanie Loo Project Assistant (Cultural Exchange): Orchid Hu Administrative Trainee: Dan Tse

（文獻庫）

陳碧如創作助理

（影像及多媒體）

陳穎項目助理經理

（文獻庫及影像）

王思薇

節目及藝術行政見習池家丞、盧雪雯節目助理（文化交流 ) 呼夢雅行政見習謝昊丹

實驗三十五進念海報展 Rememberance of Things PastZuni Experiment 35 Poster Exhibition

10.11-10.12 香港文化中心

Hong Kong Cultural Centre

藝術教育與青年計畫 Arts Education and Youth Programme

榮念曾實驗劇場秘笈創意操場【創意操場】是一套為青年設計的實驗劇場培訓計畫，以華人實驗藝術先驅榮念曾的創作理念為藍本。操場是一個學習，評論，創作及實驗「規矩」的地方。我們都在探索「規矩」的源頭，就如我們都在了解「社會」的源頭…… 在表演藝術的操場裡，我們由源頭開始，創造新的實驗空間及身體的遊戲，我們尋找新的規矩，探索新的組織，回應著評議著未來社會的發展。這樣，操場就成為沒有邊緣的，充滿精力面對未來的劇場。 ─ 榮念曾操場筆記 (節錄)

Danny Yung Experimental Theatre Education Programme Creative Playground “Creative Playground” is a training programme of experimental theatre for young people, using the creative concept of Danny Yung, the pioneer of Chinese experimental arts, as a blueprint. “The playground is a place for learning, commenting, creating and experimenting with ‘rules’. We are all exploring the source of ‘rules’, just like we all try to understand the origin of ‘society’ … In the playground, we play sports like football and volleyball, and training like track and field. All these games have their origins and rules. In the playground for performing arts, we start from the origin by creating new experimental spaces and bodily games, and we search for new rules by exploring new organisational modules, making responses to and commenting on the future development of society. In this way, the playground has become a theatre without boundary and is fully charged with vitality for the future.” —— Danny Yung, Playground Notes (Excerpt)

教育資源共享平台 Education Resources

www.zuni.org.hk/ education/

東宮西宮13 我的志願校園巡演計畫

進念音樂賞析系列─ 節慶唱詠香港文化中心大堂

編劇及導演：胡恩威創作演員：鍾家誠、楊永德公民教育劇場「東宮西宮」首次走進本地中學，從「我的志願」問卷調查開始，分析今日香港的教育制度與社會價值，啟發學生對「生涯規劃」的思考。第一輪巡演第二輪巡演查詢及報名

2017年6-7月 2018年1-3月 2566 9696 鄭國政 education@zuni.org.hk

East Wing West Wing 13 My Aspiration School Tour Scriptwriter & Director: Mathias Woo Creative Performers: Carson Chung, David Yeung

聲樂演出監督：畢永琴演出：香港新雅詠團香港的獨特文化結合東西─語言、宗教、生活，亦顯見於普遍節日。進念與聲樂家畢永琴合作，借「節慶」為題─復活節、中秋節、聖誕節和情人節，以歌聲介紹東西方聲樂和音樂特色。復活節經文曲月之情奧秘之事浪漫之情

2017年5月 2017年9月 2017年12月 2018年1月

Zuni Music Appreciation Series Foyer, Hong Kong Cultural Centre Vocal Performance Producer: Rosaline Pi Performers: New Chamber Choir (NCC)

For the first time, the Education Theatre “East Wing West Wing” series performed in local secondary schools. By circulating questionnaires on “My Aspiration” and analysing responses, the production reflected on today’s education system and social value in Hong Kong, and enlightened students on their “life planning”.

Hong Kong is a melting pot of both eastern and western cultures - languages, religions, life styles, as well as festivals. Collaborating with vocalist Rosaline Pi, the Music Appreciation Series in 2017 focuses on songs for different festival occasions, i.e. the Easter, the MidAutumn Festival, the Christmas and the Valentine’s Day, to introduce various vocal and music from east and west.

First Tour June-July, 2017 Second Tour January-March, 2018 Enquiry and Enrolment 2566 9696 Mr. Cheng education@zuni.org.hk

Easter Motets May 2017 The Moon September 2017 O Great Mystery December 2017 Love Songs from the Romantic Era January 2018

進念文化交流

Cultural Exchange 1982-2017

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international cultural networking, conferences and visits

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2017

RISHIKESH

ਝ჌၉೼dผᘪʥϣྦ‫৽ݠ‬

DAEGU

඀ ౝ ౗

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‫ݤ‬ Ҫ ᐈ

‫ټ‬ ᖾ

‫נ‬ ‫ע‬

ҿ ᖑ

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̠ ּ ࣟ

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進念在國際

Zuni Abroad 2017 ZUNI ICOSAHEDRON

VANCOUVER

ZUNI ICOSAHEDRON

SINGAPORE

天天文化大使

十年間，這些「天天向上」二維三維作品在歐美亞太二十多個城市展出，包括上海、台北、北京、東京、大邱、米蘭、華盛頓、密歇根州、芝加哥等，超過二百萬人次觀賞。

Danny Yung is the artist/creator of Tian Tian Xiang Shang (TTXS) conceptual comics and figures which were developed into different creative platforms invited over thousands of designers, artists, creative entrepreneurs, professionals, students and general public to participate to create their own version of TTXS. Over a decade, those cross-over TTXS artworks are for exhibitions and cultural exchanges for over 2,000,000 visitors in over 20 cities around the globe such as Shanghai, Taipei, Beijing, Tokyo, Daegu, Milan, Washington D.C., Michigan and Chicago.

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榮念曾創作的「天天向上」概念漫畫，不斷在發展，並應用在推動創意教育創意經濟創意社會的領域，邀請了過千位設計師、藝術家、創意企業家、專業人士、學生及公眾參與，創作他們每一個的「天天向上」。

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Tian Tian Xiang Shang – the Cultural Ambassador

溫哥華 Vancouver 4月 April Nelson Square Nelson Square與進念合辦 Co-presented by Nelson Square & Zuni Icosahedron 伙伴 Partners: Art Beatus, curiousandcreative

新加坡 Singapore 7-8月 July-August Raffles City, Singapore 主辦：進念．二十面體 Presenter: Zuni Icosahedron 場地伙伴 Venue Partner: Raffles City 贊助 Sponsor: Hansfort Investment

實驗傳統《夜奔》 Experiment Traditions – Flee by Night 「實驗傳統」是進念的四大藝術方向之一，促成各項在傳承創新方面的交流 ─ 創作合作、演出、研討會及培訓等。實驗傳統系列作品邀請兩岸頂尖的藝術家及藝術團體合作，榮念曾創作《夜奔》與崑劇藝術家柯軍、楊陽合作，19次海內外演出，為進念至今巡演國際次數最多的作品。

多倫多 Toronto 4月 April Robert Gill Theatre

ZUNI ICOSAHEDRON

TORONTO

夜奔 Flee by Night 多倫多大學戲劇與表演研究中心與進念合辦

Λ ࠷ Λ

“Experimenting Traditions” is one of the four major artistic directions of Zuni. The series of works promote transmission and innovation in the forms of creative collaboration, performance, seminar, and training. Top artists and art groups from mainland China and Hong Kong have been invited to the series. Flee by Night, directed by Danny Yung and in cooperation with Kunqu artists Ke Jun and Yang Yang, has been run for 19 times, which made it the most frequently performed Zuni production overseas.

香港駐多倫多 / 新加坡經濟貿易辦事處贊助香港特別行政區成立二十周年紀念活動 Sponsored by Hong Kong Economic and Trade Office in Toronto and Singapore Programme to celebrate the 20th anniversary of the establishment of the Hong Kong Special Administrative Region (HKSAR)

Co-presented by Centre for Drama, Theatre and Performance Studies, University of Toronto & Zuni Icosahedron

「操場」跨世代跨文化的創意對話 ZUNI ICOSAHEDRON ZUNI ICOSAHEDRON

ZURICH ZUNI ICOSAHEDRON

ᘣ ቭ ˖

HONG KONG ࠗ ಋ

Danny Yung has been employing the concept of “One Table Two Chairs”, the most basic setting for traditional Chinese operas, as a creative dialogue platform. Over the past 20 years, more than 160 performing artists from around the world have participated in the platform. The series started from the “Journey to the East 97 Festival”; the “Festival of Vision: Hong Kong/Berlin” in 2000 promoted cooperation between artists from Europe and Asia; and the “Toki Project”, which started in 2012, unfolded the creative combination of Asian traditional arts and contemporary theatre space. In 2017, young artists from Europe and Asia join the project “Playground” and demonstrate experimental learning through “One Table Two Chairs” workshops and performances.

台北 - 蘇黎世 - 香港 - 台北 - 香港 Taipei - Zurich - Hong Kong Taipei - Hong Kong 7、9、10、11、12月 July - September-OctoberNovember-December

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榮念曾借中國傳統戲曲基本舞台裝置「一桌二椅」作為創意對話的交流平台，二十年來超過160位來自世界各地、不同表演藝術領域的藝術家參與其中：系列從1997年「中國旅程」兩岸三地的對話開始，2000年「柏林香港當代文化節」促成歐亞藝術家的創作合作，並於2012年在「朱䴉計畫」下展開亞洲傳統藝術與當代劇場創新合作，2017年連繫歐亞青年在「操場」上展示創意文化交流學習。

TAIPEI

Playground – A Cross-generation Crossculture Creative Dialogue

一桌二椅── 歐亞青年表演藝術家跨文化文流及教學計劃

One Table Two Chairs –

Euroasia Young Performing Artists Cross-Cultural Exchange and Education Program Exchange and Education 瑞士蘇黎世藝術大學主辦 Presented by Zurich University of the Arts (ZHdK) 與進念、國立台灣戲曲學院及香港演藝學院合作 In collaboration with Zuni Icosahedron, National Taiwan College of Performing Arts and The Hong Kong Academy for Performing Arts

倫敦 London 9月 September Brunei Gallery Lecture Theatre

轉變中的香港：

倫敦大學亞非學院中國研究院與進念合辦

1997-2017亞洲城市表演藝術領域的交流與合作

Co-organised by SOAS China Institute, University of London and Zuni

Hong Kong in Transition:

Asian City-to-City Collaboration and Performing Arts Exchange 1997-2017

ZUNI ICOSAHEDRON

香港回歸二十周年之際，與會者共同回顧香港、倫敦及其他亞洲城市二十年間的文化交流歷程，並展望接下來的合作機遇、策略、方案及潛在挑戰。

The Programme included three parts: “Academic Symposium Hong Kong Theatre in Transnational Perspective: New Directions and Discourses since 1997”,“Flee By Night” demonstration performance and City-to-City Cultural Exchange Forum.

࠷ ౗

On the 20th anniversary of Hong Kong’s handover from the UK to China, the conference participants reflected on Hong Kong’s cultural exchanges with London and several Asian cities over the past twenty years, as well as discuss proposals, opportunities, strategies, and challenges for future.

LONDON

交流項目包括「專家學術會議—中國與亞洲表演藝術交流與合作」、《夜奔》藝術交流示範演出，以及公眾論壇「城市表演藝術交流」。

支持蔣經國國際學術交流基金會 | 中英獎學金基金會亞非學院中國研究院 | 亞非學院語言與文化學院江蘇藝術基金2017年度傳播交流推廣資助項目 ─「最傳統」和「最先鋒」崑曲文化交流香港駐倫敦經濟貿易辦事處 Sponsors Chiang Ching-kuo Foundation for International Scholarly Exchange Sino-British Fellowship Trust | SOAS China Institute SOAS Faculty of Language and Cultures Jiangsu Arts Fund 2017 Annual Exchange and Promotion Project: “Tradition and Avant-garde” Kunqu Cultural Exchange Hong Kong Economic and Trade Office, London.

文化交流的前言榮念曾

二十年前，香港回歸中國，大家普遍認為這個轉變，將會是一次「文化」契機，將會對中華文化，中外文化，東西文化開啓一次重要的論述；尤其是基本法明文規定香港文化經濟交流的自主，正好提供香港文化界去思考、評議文化，並推動交流文化的深層結構與文化交流的策略營運。一國兩制的多層次演譯和討論，也引發了「跨越」的概念。同時也啓發了以「城市」為單位的文化交流策略，催化了跨城市、跨領域、跨文化的三跨平台。跨越可以拓展視野，也孕育包容互動的公共空間。在 1997 年，我在香港主催了四城會議，上海深圳台北香港四個城市，輪流作莊，主題在探討四城之間共同關注的文化議題，包括文化政策、文化組織、文化挑戰與教育、經濟、社會、政治、科技、城規的互動關係。通過四城相互比較作出論述，推動理性知識基礎的評論文化。同時，對既有的「論壇 / 會議」之聚賢理念、結構、營運及評估，全面思考並實驗。二十年𥚃，進念由慕尼黑雙城文化論壇開始，至推動亞洲藝術網絡，組織世界文化論壇，至協助亞洲基金會及民間組織會議等等，累積了難得的「組織」經驗。這些論壇和會議各有形式上的實驗性，相同的是它們都在探索尋找有效的文化交流模式和機制。實驗就是實驗，有成功有失敗。成功的通常就能延續就能發展。經過了二十年，2017 年，四城會議也經歷了二十年的考驗，橫面啟動了香港帶路城市文化交流會議 2017，承接了當年世界文化論壇的概念。縱面啓動的是下一步如何建立有機的、更深層次的民間網絡智庫之挑戰。

【香港｜臺北｜上海｜深圳城市文化交流【慕尼克雙城文化論壇】在慕尼克舉辦的「文化會議】（四城會議）於 1997 年發起，是全球少數以節 97 ─香港當代藝術」的一次交流研討會中，就「文

【亞洲藝術網絡】1997 年於香港成立，進念為

城市為單位、有計畫及持續進行的華人交流項目，

化交流」這個議題所作的討論，包括如何引導都會與

組織的藝術總監，以審視各地藝術政策如何影響藝

其交流跨越政府、私營及教育機構等領域。每年發

都會間的文化對話、如何以跨領域的合作，推動普羅

術發展、如何影響藝術組織運作。參與城市包括：

表的報告將會整理香港、臺北、上海和深圳之間的

大眾的參與等等，衍生了幾年後的「香港 / 柏林當代

香港、深圳、廣州、北京、台北、東京、福崗、沖

文化交流數據、文化交流政策及資料。四城經歷 20

文化節」，為連繫歐、亞在策動文化交流藝術項目提

繩、首爾、曼谷、新加坡、新德里、澳門、馬尼拉

年交替，2017 年 12 月在香港舉行「香港｜臺北｜上

供了多個關鍵性的方向。

和耶加達。

Munich-Hong Kong Cultural Forum

Asia Arts Net Formed in 1997 in Hong Kong and Zuni is one of its founding members. Artistic directors of arts organisations from more than 10 Asian cities joint discussion on how arts policy impacts on Asia arts development and in relation with the operation of arts organisations. Participating cities included Hong Kong, Shenzhen, Guangzhou, Beijing, Taipei, Tokyo, Fukuoka, Okinawa, Seoul, Bangkok, New Delhi, Macau, Manila and Jakarta.

始創成員之一。集合十多個亞洲重要城市前線藝術

海｜深圳城市文化交流會議」20 周年會議。

Hong Kong-Taipei-ShanghaiShenzhen City-to-City Cultural Exchange Conference (4-City Conference) Established in 1997, it is one of the first exchange projects for Chinese which is city-based, welldesigned and continuous. Its exchange goes beyond governments, cooperates, educational institutions and other sectors. The reports issued every year will analyse the data, policies and budgets of cultural exchange among Hong Kong, Taipei, Shanghai, and Shenzhen. Reaching its 20th anniversary, the City-to-City Conference will be held in Hong Kong at the end of 2017.

In a symposium of the Festival of Culture 97 – Hong Kong in Munich in 1997, the discussion on “cultural exchange” set down significant directions for the Festival of Vision held few years later: e.g. how to bring cultural dialogues between cities instead of between nations; and how to through cross disciplinary collaboration to engage public members and etc.

Introduction of Cultural Exchange Danny Yung

Twenty years ago Hong Kong returned to the sovereignty of China. It was generally agreed that this change would be a "cultural" opportunity to initiate an important discourse on Chinese culture, Chinese and foreign cultures as well as Eastern and Western cultures. The Basic Law, in particular, has stipulated that Hong Kong has its own autonomy of cultural and economic exchange. Such a provision empowers Hong Kong cultural circles to reflect and critically assess culture, and to promote the deep structure of exchange culture and the strategic operation of cultural exchange. The multi-level interpretation and discussion of one country, two systems has generated the concept of "crossover". It has also led to the cultural exchange strategy using "city" as a unit, triggering a tri-cross platform of crosscity, cross-disciplinary and cross-cultural. Crossover is a way to broaden our vision, and it gives birth to public spaces that are inclusive and interactive. In 1997, I was the main figure in Hong Kong behind the organisation of the City-toCity Conference, bringing together Shanghai, Shenzhen, Taipei and Hong Kong with each of these four cities taking turns to host the Conference. The theme of the Conference has focused on cultural issues commonly faced by the four cities, including cultural policy, cultural organisation, cultural challenge and their interactive relationship with the domains of education, economics, sociology, politics, science

【世界文化論壇】2001 年在紐約福特基金會資助

and technology, and urban planning. The aim is to promote a culture of rational and knowledge-based criticism by comparing the four cities through discourse. At the same time, comprehensive thinking and experimentation are deployed to explore the ideas of talent pool, structure, operation and evaluation of the current Forum/ Conference. Over the last 20 years, Zuni has embarked on a journey of forum organising with the Munich-Hong Kong Cultural Forum, and then playing a key role in building Asia Arts Net, and later organising World Cultural Forum, as well as providing assistance to the Conference of Asian Foundations and Organisations. The experience accumulated by Zuni in “organising” is very unique. Each of these forums and conferences is experimental in terms of form. Their common goal is to explore and search for effective cultural exchange mode and mechanism. After all they are experiments, and experiments come with success and failure. Successful ones are given chance to continue and develop. In 2017, the City-to-City Conference, now having survived two decades of challenges, has launched the Hong Kong Belt-Road City-to-City Cultural Exchange Conference 2017 in a lateral way, a continuation from the concept of World Cultural Forum. The next step, in a vertical dimension, is to figure out the way to build a non-governmental think tank network that is organic and far-reaching.

【亞洲基金會及民間組織會議】成立於 1996 【香港柏林當代文化節】於千禧年協辦的香港

下成立，論壇強調公民社會的參與，著重社會、經濟

年，旨在推動跨區域性的交流、對話及發展新的合作

柏林當代文化節為香港回歸以來首個歐、亞兩地跨城

和文化發展互動的關係。

模式。組織成員來自印度、印尼、日本、南韓、馬來

市的大型文化交流計畫。整個文化節邀請了近千位來

西亞、菲律賓、新加坡、台灣、泰國、香港及中國內

自 35 個亞歐城市的藝術家及文化工作者參與。文化

地等等。

節由文化層面主動探討經濟、政治和教育領域，而且內容包含實踐的創作，向歐亞文化界和藝術界展示現代文化先鋒的實驗。

World Cultural Forum (WCF) Initiated and sponsored by the Ford Foundation and was established in New York in 2001. WCF emphasises civil societies’ economic and cultural development.

Conference of Asian Foundations and Organisations CAFO is conceived in 1996 by a small group of civil society professionals seeking new models for collaborative action among likeminded organisations across Asian countries. Its members come from India, Indonesia, Japan, South Korea, Malaysia, The Philippines, Singapore, Taiwan, Thailand, Hong Kong and mainland China etc.

Festival of Vision - Berlin / Hong Kong In the year 2000, Zuni co-presented the Festival of Vision, the first ever large-scale cultural exchange between Asia and Europe. More than 1000 artists from 35 different cities in Asia and Europe participated in that monumental event of diverse content, crossing disciplines and regions. Economic, political and education aspects are being examined and explored through the perspective of culture and creative works. The Festival demonstrates the experiment of pioneering contemporary culture.

27.11-10.12 序 Preface 榮念曾 Danny Yung 文字是文明發展的文化產品，言語也是文明發展的文化產品，行為及環境更是文化產品，然後社會結構、經濟政治、知識學問都是文化累積的文明，當中包含發展過程中互動、交流、評論和創意。今天我們在應用文化產品時，就如這裡還需借用文字去論述，論述我們共同反思文化的源頭、發展過程及前面的路，我們就不會疑惑或恐懼。就如我們通過反思在書寫、閱讀和聆聽的過程，帶動我們發展未來世界文化關的道路一樣。香港是一個經常在經驗著「永遠進行式」的城市，香港文化發展應該有如世界文化的發展，沒有絕對只有相對；也沒有局限在地區或國家既定的包袱，香港的文化論壇亦應如是。 Words are a kind of cultural product of civilisations, as are language, behaviour and environment. Social structure, economics, politics and knowledge are also aspects of civilisations accumulated by culture, and they include interaction, exchange, commentary and creativity in the process of their development. Today when we apply the use of cultural products, we still have to rely on words for discourse, just as I'm doing here, using texts to reflect jointly with you on the source of culture, its past track of development and its way forward. By doing so, we no longer feel baffled or fearful. Just as we reflect upon the process of writing, reading and listening, so it also drives us forward to pave the way ahead for a world cultural vision. Hong Kong is a city that is always in "forever continuous tense". Hong Kong's cultural development should be like the world's cultural developments, i.e. only the relative exists, and with no place for the absolute; nor should it be confined to customary burdens imposed by regions or nations. Hong Kong culture forum should also follow the same direction.

香港文化中心

Hong Kong Cultural Centre

參與藝術家

(以英文姓氏的字母次序排列)

Artists (in alphabetical order by last name)

(攝影Photograph: Esra Rotthoff)

Gizem Bilgen

「一帶一路」表演藝術大師班及「一桌二椅」 Belt-Road Performing Arts Masters Class and One Table Two Chairs

27.11-8.12 「一帶一路」沿線城市蘊藏豐厚文化歷史，同時全球現代化與通俗流行文化為這些城市的傳統帶來更新和變革。2017 年，10 名一帶一路傳統大師及當代藝術家雲集香港，以中國傳統戲曲基本舞台配置「一桌二椅」的概念交流創作，形式囊括劇場及舞蹈。一帶一路大師於設置四面鏡的黑盒劇場內進行示範展演和獨腳演出，透過環迴鏡面的無盡反射，實驗傳統遇上當代的火花。 10 多位來自蘇黎世、臺北、香港、曼谷及新加坡的青年藝術家，與大師緊貼交流，學習成果於期內展演。 The Belt and Road cities are a colourful reserve of history. Meanwhile, global modernisation and popular culture have brought renewal and transformation to these cities. In 2017, ten maestri and young artists of traditional and contemporary art forms from the Belt and Road cities convene in Hong Kong to carry out exchanges through their creative works, including theatre and dance, staged with the setup of One Table Two Chairs concept adapted from Xiqu (traditional Chinese theater/opera). These artists conduct demonstrations and solo performances in a theatre cladded with mirrors on four sides creating infinite reflections and experimentations between the traditional and the contemporary.

（伊斯坦堡 Istanbul）舞者 Dancer 方法訓練講師 Methodtraining lecturer of the Studio Oyunculari

Jitti Chompee

(攝影Photograph: Isaac Oboka)

Chey Chankethya （金邊 Phnom Penh）編舞 Choreographer 舞者 Dancer 藝術總監 Artistic Director of Amrita Performing Arts

中馬芳子 Yoshiko Chuma

（大阪 / 紐約 Osaka/New York City）（曼谷 Bangkok）編舞 Choreographer 編舞 Choreographer 當代舞者 Contemporary Dancer 舞者 Dancer 藝術總監 Artistic Director of 藝術總監 Artistic Director of the School of Hard Knocks 18 Monkeys Dance Theatre and Unfolding Kafka Festival

Astad Deboo （孟買 Mumbai）編舞 Choreographer 當代舞者 Contemporary Dancer

Martha Hincapié Charry （波哥大 / 柏林 Bogota/Berlin）編舞 Choreographer 演員 Performer 藝術總監 Artistic Director of Plataforma Iberoamerican Festival 策劃人 Curator of the Bienal de Danza de Cali, Colombia

(攝影Photograph: Wilfried Hösl)

柯軍 Ke Jun （南京 Nanjing）崑曲藝術家 Kunqu Artist 江蘇省演藝集團總經理 General Manager, Jiangsu Performing Arts Group

Saar Magal （特拉維夫 Tel Aviv）當代劇場導演 Contemporary Theatre Director 編舞 Choreographer

Over a dozen young artists from Zurich, Taipei, Hong Kong, Bangkok and Singapore, studying with the maestri in close contact in past months, present short pieces showing their learning results creatively on stage.

大師班詳情及報名 Details and Registration of Master Class

Didik Nini Thowok 一桌二椅詳情 Details of One Table Two Chairs

（日惹 Yogyakarta）傳統爪哇舞者 Classical Javanese Dancer 編舞 Choreographer

Fadi Waked （大馬士革 / 柏林 Damascus/Berlin）編舞 Choreographer 舞者 Dancer

香港｜臺北｜上海｜深圳城市文化交流會議（四城會議）二十周年

香港帶路一帶一路城市文化交流會議 2017

Hong Kong Belt-Road City-to-City Cultural Exchange Conference 2017

Hong Kong-TaipeiShanghai-Shenzhen City-to-City Cultural Exchange Conference (City-to-City Conference): 20th Anniversary

7-8.12 語言：中英雙語（提供普通話及英語即時傳譯）主題：文化交流及城市品質 Language: Bilingual in English and Putonghua with simultaneous interpretation Theme: Cultural Exchange and City Branding

9-10.12

是屆四城會議主題為文化交流及城市品質，聚焦

語言：中英雙語（提供普通話及英語即時傳譯）主題：文化交流及城市品質 Language: Bilingual in English and Putonghua with simultaneous interpretation Theme: Cultural Exchange and City Branding

1) 國際藝術活動及藝術節機構 2) 政府及立法機構 3) 大學及研究組織和 4) 基金會、公共媒體及藝術獎項機構

約七十多位多來自兩岸三地及一帶一路沿線城市的藝術文化工作者、決策者和學者薈萃香港文化中心。以分組會議形式，與會者通過跨領域、跨城市、跨文化的互動探索及對比，尋求合作方案，長遠更發展成一個智庫形式的網絡組織。 Around 70 arts and cultural practitioners, policy makers and academics from the sinophone regions and the Belt and Road cities gather at the Hong Kong Cultural Centre in December. Through cross-disciplinary, cross-city and cross-cultural explorations and comparisons, the participants look for creative collaborative models and establish a network organisation that incorporates a think tank.

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以上四類機構在提升文化交流和城市品質的角色之挑戰、評估及展望。 With the theme “Cultural Exchange and City Branding”, this year’s City-to-City Conference is homed in on four areas: a) international arts events and arts festival organisations b) governments and legislatures c) universities and research institutes, and d) foundations, public media and awarding bodies for arts awards. The City-to-City Conference assesses the roles the four types of institutions play in advancing cultural exchanges and quality of the cities, considering challenges they meet and their outlooks in these roles.

詳情及報名 Details and Registration

「香港帶路城市文化交流會議 2017」( 簡稱：香港帶路 2017) 是以一帶一路城市為基礎的網絡會議，目的是促進一帶一路城市的文化藝術交流與合作，開展未來一帶一路東西多元文化互動的新模式。 Hong Kong Belt-Road City-to-City Cultural Exchange Conference 2017 (Hong Kong Belt-Road 2017, in short) is a network conference focusing on the Belt and Road cities. Its aim is to promote arts and cultural exchanges and collaborations among the respective cities, and to provide an impetus to the new paradigm of multicultural interactions between the East and the West. 香港帶路 2017 以「文化交流及城市品質」為主題，為多個歐亞城市間的藝術文化交流「帶路」。出席的藝術家、專家和學者來自以下城市（以英文名稱的字母次序排列）： With “Cultural Exchange and City Branding” as its theme, Hong Kong Belt-Road 2017 prepares the way for arts and cultural exchanges among Eurasian cities. The participating artists, experts and academics convening in Hong Kong come from the following cities (in alphabetical order):

曼谷 Bangkok

柏林 Berlin

波哥大 Bogota

大馬士革 Damascus

河內 Hanoi

香港 Hong Kong

海德拉巴 Hyderabad 伊斯蘭堡 Islamabad 伊斯坦堡 Istanbul

雅加達 Jakarta

吉隆坡 Kuala Lumpur

拉合爾 Lahore

倫敦 London

孟買 Mumbai

南京 Nanjing

紐約 New York

大阪 Osaka

金邊 Phnom Penh

布拉格 Prague

首爾 Seoul

上海 Shanghai

深圳 Shenzhen

新加坡 Singapore

梭羅 Solo (Surakarta)

臺北 Taipei

特拉維夫 Tel Aviv

東京 Tokyo 日惹 Yogyakarta 蘇黎世 Zurich