導演 / 文本 / 舞台設計：
Director / Text / Stage Designer:
榮念曾
Danny YUNG
華人實驗藝術先驅，香港最具影響力
An experimental art pioneer and one of the most influential artists in Hong Kong, YUNG is a founding member and CoArtistic 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.
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。 2014 年獲授予「福岡亞洲文化獎—— 藝術文化獎」 。 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。
In 2014, YUNG was awarded the Fukuoka Prize – Arts and Culture Prize. In 2009, YUNG was bestowed 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. In 2008, with Tears of Barren Hill YUNG garnered the Music Theatre NOW Award presented by the UNESCO’s International Theatre Institute.
演員：
Performer:
柯軍 ( 南京 )
KE Jun (Nanjing)
江蘇省演藝集團常務副總經理，國家
Deputy General Manager of Jiangsu Performing Arts Group Co. Ltd., National Class One performer, specialised in wusheng (combating hero) and wenwu laosheng (civil and military bearded old male) roles in Kunqu opera. He has studied with Zheng Chuanjian, Zhang Jinlong, Zhou Chuanying, Bao Chuanduo. He is also devoted to Kunqu opera experimentation. Winner of Meihua Award, Wenhua Award and Lanhua Award. KE has been invited to Korea, Japan, India, UK, Finland, Sweden, Norway, Belgium and Taiwan for exchanges and performances.
一級演員，工武生、兼文武老生。師 從 鄭 傳 鑑、 張 金 龍、 周 傳 瑛、 包 傳 鐸，擅演《夜奔》 、 《別母亂箭》 、 《沉 江》 、 《雲陽法場》 、 《九蓮燈》 、 《看 錢奴》 、 《武松》等傳統劇目。近年來 潛心探索實驗崑劇，在國內外劇壇引 起反響。榮獲中國戲劇梅花獎、文華 獎等。曾獲邀出訪世界各地區包括台 灣、 韓 國、 日 本、 印 度、 芬 蘭、 瑞 典、挪威、英國及比利時等地作藝術 交流。
演員：
Performer:
楊陽 ( 南京 )
YANG Yang (Nanjing)
江蘇省演藝集團崑劇院優秀青年演
YANG Yang is an outstanding young performer from the Jiangsu Performing Arts Group Kun Opera House. In 2004, he graduated from Jiangsu Drama School. He specialises in wusheng (martial arts male lead) roles. He has studied under great masters Bai Dongmin, Chen Shaolou, Ke Jun, Shan Xiaoming, Huang Qifeng, etc. In 2013, he started to study elderly male role under master Huang Xiaowu. For his distinguished performances, he was awarded the Bronze Award and Gold Award in the 4th & 6th Red Plum Chinese Opera Awards.
員。2004 年畢業於江蘇省戲劇學校， 崑劇科，專攻武生。師從白冬民、陳 少 樓、 柯 軍、 單 曉 明、 黃 齊 峰 等。 2013 正式拜師黃小午學習老生。曾獲 江蘇省第四屆戲曲紅梅獎銅獎及第六 屆的金獎。
現場敲擊：
演員：
李立特 ( 南京 )
楊永德
畢業於江蘇省戲劇學校崑劇科。崑劇
進 念 創 團 成 員 之 一。 曾 參 與 創 作 及
司鼓專業，國家三級演奏員。師從戴
演出之作品包括《百年孤寂》 、 《華麗
培德、蘇明、張金寶。在近百齣經典
緣》等數十齣劇目。近年演出作品包
折子戲擔任司鼓指揮。江蘇戲曲紅梅
括《華嚴經》 、 《萬曆十五年》 、卡通兒
獎器樂大賽銀獎得獎者。
童音樂劇《魔笛》 、 《東宮西宮》系列、 榮念曾實驗劇場系列——《荒山淚》
Live Percussion:
及《夜奔》等。
LI Lite (Nanjing) Graduated from the Kunqu Division in Jiangsu Drama School and Nanjing Arts Academy. A percussionist of Kunqu opera and a National Class Three musician. LI has studied under the guidance of Dai Peide, Su Ming and Zhang Jinbao. He has acted as percussion director in nearly 100 performances. Winner of the Silver Award in Red Plum Blossom Instrumental Music Competition.
Performer:
David YEUNG One of the founding members of Zuni, has participated in most of Zuni’s theatre works as actor and creative team member. Recent works included East Wing West Wing series, 1587, A Year of No Significance, Hua-Yen Sutra, God Came to China, Tears of Barren Hill, and Flee By Night.
音樂：
許敖山 ( 腦科 ) 音 樂 創 作 人， 遊 走 於 現 代 音 樂、 聲 音 藝 術、 多 媒 體 劇 場 及 地 下 文 化 之 間，近年主要作品有多媒體歌劇《利 瑪竇的記憶宮殿》及《1984——電影 歌劇》等。
Music:
Steve HUI (Nerve) Composer, devotes in contemporary music, sound art, multimedia theatre and underground subcultures. Recent commissioned works include digital opera The Memory Palace of Matteo Ricci (2010) and 1984 – Cinematic Opera (2014).
《夜奔》筆記 榮念曾
檢場也是觀眾也是演員
革命之前之後
當我們翻閱這份場刊，翻到這頁，讀
我常常在想「革命尚未開始」 ，是否相
到這篇文章，我們是否為了方便閱讀
同 於「 革 命 尚 未 完 結 」 。革命之前和
劇 場， 因 此 尋 覓 註 腳？ 還 是 在 閱 讀
革命之後的差異在哪裡？或許革命尚
「閱讀」的本質（如果場刊值得閱讀的
未完結，意味著我們已認同革命的存
話）？還是在閱讀場刊文字的結構？
在，亦認同革命的意義。革命尚未開
如果我們研究一下場刊文字的結構，
始這詞所帶有的是哀矜和悲情，彷彿
來來去去總是工作人員表、贊助單位
我們只能用局外人的身份，在看戲，
表 及 組 織 者 的 開 場 白。 我 們 或 許 會
在閱讀，在旁觀，在分析，當然仍有
問，這些千篇一律的開場白用了多少
人觀看革命像觀看電視劇，在評頭品
篇幅、開場白怎樣用字、組織者及官
足，或在偷窺。革命，干卿底事。
員們的獻辭置於前頁的背後意義。為 什麼場刊結構獻辭千篇一律？為何藝 術場刊內容沒有辯證？為何場刊如此 平板？為何場刊不能更有創意？為什 麼場刊不能是藝術？
當我們觀察著檢場安置桌椅，清理舞 台，忽然問，檢場和演員的身份模糊 起來時會怎樣？革命成功前和革命成 功後，搞革命的人的身份有沒有變？ 看戲之前和看戲之後，我們的態度有
當我們閱讀或觀看面前的劇場，我們
沒有變？檢場在場外觀察和我們作為
閱讀及觀看的方法會否更感性，會否
觀 眾 的 身 份 觀 察， 有 哪 裡 不 一 樣？
天馬行空？會否有若閱讀場刊時的心
戲，是不是同時在演給場外人看？演
態？在不斷尋覓舞台上註腳？在閱讀
給台上人看？演給自己看？
「閱讀」？
誰是林冲 在問誰是林冲之前，一定先問誰創造 林 冲？ 是 施 耐 庵？ 是 李 開 先？ 是 上 帝？是觀眾？是導演？是演員？是林 冲的父母？林冲是社會集體構思的投 射？林冲怎樣看自己？林冲怎樣看大 家怎樣看他？先有《夜奔》的概念才有 林冲的身份？先有林冲的故事才有《夜 奔》的概念？李開先自己是一名失勢 的官員，他怎會去寫一名反動人物的
關崑劇、劇場、身段、唱腔的問題。 這些問題帶出更多問題，這些問題發 展成《夜奔》的軸線，也同時成為探 討表演藝術各種引子。之後我問資深 崑曲演員柯軍，傳統《夜奔》的唱詞 中哪一句最能帶出他個人的認同和感 受。他說了。然後我請他即興清唱， 一面反覆唱，一面與這一句唱詞建立 關係，他唱了七分半鐘，是我一生所 聽過崑曲中最入味的一次。
故事？寫這樣的故事，政治是否不正
我請柯軍的學生楊陽用心聆聽他老師
確？寫這樣的角色，政治是否正確？
的那七分半鐘，然後請他說說他聽到
寫這樣的戲，政治是否不正確？藝術
什麼。楊陽說，他聽到先是柯軍在為
節如果不支持這樣的活動，政治是否
別人唱，慢慢地在為自己唱，最後已
不正確？什麼是政治？什麼是正確？
經忘記自己，為唱而唱。我聽了他這 些話樂了半天。
內容和形式是學習的開始 工作坊是我學習的最佳的場合。 《夜
問答
奔》的工作坊是我學習傳統戲曲最佳
三十年前，我開始學習劇場的創作。
的平台。我在《夜奔》工作坊中向合
我 非 常 好 奇 劇 場 的 結 構， 觀 劇 的 結
作的年輕崑曲演員楊陽請教了無數有
構，當然亦包括台上台下台前台後觀
眾演員的結構。我常常認為，觀劇前 和觀劇後的行為和活動與觀劇同樣重 要。有些朋友喜歡吃飽後去看戲，有 些朋友喜歡看完戲找個地方聊和吃 東西。在劇場裡，演後座談是順理成 章，演前座談彷彿有導讀之嫌。有些 朋友喜歡觀劇前讀場刊，有些喜歡觀 劇後讀場刊。有些乾脆不讀，認為場 刊的藝術與舞台的藝術不相干。 三十年前，我設計各種和觀眾溝通的 工具，包括多樣性的問答表格，推動 另類溝通；曾幾何時，劇場裡所見的 問答表已成為市場研究的工具，失去 了包含平等互動，創意對話平台的活 力。可見，經濟的力量三十年中滲入 文化活動有多厲害；怪不得大家認為 劇場稍不辯證，就淪為文化消費的平 台；稍有妥協，就成為政治的工具。
Flee by Night – Director’s Note Danny Yung
Stagehands can be Spectators and Performers When we read this article, are we searching for references for the performance you are about to see? Or, are we reading for the sake of “reading” (that is, if programme note is worthy to read)? When we read the programme note, are we aware of its standardised structure and arrangement? Programme note usually contains the credit lists of artists, crew, staff, sponsors at the back; and prefaces and speeches of the organisers and political leaders at the front. We may study such arrangement and inner meaning and deeper structure of such arrangement. I often wonder why programme notes are so mundane? Why is there no dialectic in the programme note? Why are the prefaces so boring? Why can’t programme note be more creative? Will our sensibility be enhanced when we watch and read the theatre work in front of us? Will we be extremely imaginative? Will we have the same state of mind as
when we read the programme notes? Are we constantly in search of footnotes on the stage? Are we reading “reading”? Before and After the Revolution I always wonder if “the revolution is yet to start” the same as “the revolution is not yet over”. What is the difference between before the revolution and after the revolution? Or, are we acknowledging the existence of a/the revolution and its meaning when we say the revolution is not yet over? There is a sense of sorrow and pity in the expression “the revolution is yet to start”, as if we are only outsiders, watching, reading, observing, analysing. Of course, there are people who watch a revolution in the same way they watch a television drama, critical or voyeuristic. Revolution – what has that to do with you? As we watch the stagehands setting up and cleaning the stage, we suddenly ask, What would happen if the identities of the stagehands and the performers become
blurred? Will our attitude change before and after watching the performance? What is the difference between the observation by the stagehands offstage and ours as spectators? For whom is the drama staged? Who is Lin Chong? Before we ask who is Lin Chong, we have to ask who created Lin Chong. Is it the novelist, Shi Naian? Is it the Ming playwright Li Kaixian? God? The audience? The Director? The actor? Lin Chong’s parents? Is Lin Chong a collective idea and projection of our society? What does Lin Chong think of himself? What does Lin Chong think of the way we look at him? Which came first, the story of Lin Chong or the concept of Flee by Night? Li Kaixian himself was a court official who lost both favour and power, so why did he write a story of a rebel? Was it politically incorrect to write such a story? Was it politically correct to create such a character? Is it politically incorrect if the Arts Festival
does not support such activities? What is politics? What is correct? Content and Form are the Starting Point of Learning The workshop for Flee by Night was the best platform for me to learn traditional Chinese opera. During that workshop, I asked Yang Yang, the young Kunqu opera actor, numerous questions about Kunqu opera, theatre, body movements, postures and singing. These questions brought along more questions, and they developed into the axis of Flee by Night, as well as the prelude to explore performing arts. Then, I asked the veteran Kunqu opera actor Ke Jun which line he identified with most in the lyrics of the original play Flee by Night. I then asked him to sing the line repeatedly, impromptu and a cappella, to establish a relationship with it. He sang for seven and a half minutes, and that was the most sublime experience of listening to Kunqu opera in my life.
I asked Ke Jun’s student Yang Yang to listen to the seven-and-a-half-minute singing of his master, and tell me what he heard. Yang Yang said at first he heard Ke Jun singing for somebody else; then he gradually started to sing for himself; and finally, he lost himself in the act and sang for the sake of singing. I felt very happy for a long time after hearing his words. Q&A I started to engage in creating theatre works thirty years ago. I was very curious about the structure of theatre and theatregoing, and that of course, included the structure of the audience and performers onstage and offstage. I feel the behaviour and activities before and after going to the theatre are just as important as going to the theatre itself. Some of my friends like to eat before going to the theatre, and some other friends of mine like to find a place to eat and chat after the performance. The meet-the-audience or the Q & A session after the performance has become a matter
of course. If the session is arranged before the performance, it can be suspected that that was a hint to read the programme notes before. Some people like to read programme notes before watching the performance, while some enjoy reading the notes afterwards. Some simply do not read the programme notes at all, believing that the art of programme notes and the art of the stage are irrelevant. Thirty years ago, I started designing all sorts of tools to communicate with the audience, including diverse questionnaires advocating alternative communication. Then, some time ago, theatre questionnaires turned into tools for market analysis, losing its dynamic of being a platform for equal, creative and interactive dialogue. From this, we can see how deeply business and economic power has infiltrated into cultural activities in the past thirty years. No wonder people think the theatre will become a platform for cultural consumption if it is not dialectical enough, and would become a political tool even if it compromises just a little.
文本
第一幕：檢場也可以是演員 （一桌二椅．書房）
書房本是所有崑劇創作的起源點，緊 接一幕可以是任何朝代的書房，也可 以是革命前或革命後的舞台。台上亮 相的可以是李開先或林冲，最能用心
第二幕：舞台也可以是監牢
看戲的可以是出台入台的檢場。這作 品獻給所有的檢場們。
（一桌二椅．排練場）
第四幕：他們都是林冲 第三幕：演出介紹
檢場怎樣觀望舞台？舞台如何觀望林
進念．二十面體主辦及製作，榮念曾
冲？林冲怎樣觀望觀眾？觀眾如何觀
實驗劇場 —《夜奔》 。
望演員？演員怎樣觀望傳承？傳承如
改編自明朝戲曲作家李開先《寶劍記》 的第三十七齣， 《夜奔》原作內容講述 宋朝教頭林冲為朝政逼害轉投梁山泊 為寇。李開先在身受政治打擊而辭官
何觀望歷史？歷史怎樣觀望公眾？公 眾 如 何 觀 望 政 治？ 政 治 怎 樣 觀 望 藝 術？藝術如何觀望林冲？林冲怎樣觀 望體制？體制如何觀望檢場 ?
回鄉後寫成《寶劍記》 ，夜奔發生於林 冲決定連夜投奔梁山的晚上。
第五幕：他們都是劇場
香港文化中心大劇院 — 2012。讓我
你以為站在外面能看到全面，你不用
們想像眼前是李開先的書房。
再給我寫家書。我要懂得你，然後忘
記什麼是懂得。你以為在旁邊就沒需 要負責，你不用擔憂我的沉默。我要 包容你，然後忘記什麼是包容。你以 為不斷問問題就沒問題，你沒有聽見 我的聲音。我要擁抱你，然後忘記什 麼是擁抱。你以為在觀察就能代表客 觀，你感覺不到我的感覺。我要離開 你，然後要忘記你。
第六幕：他們都是革命 這個動作有沒有正確的名稱？這個動 作的名稱是否政治正確？這個動作和 下一個動作有什麼關係？銜接兩個動 作之間的是什麼？動作態度和政治正 確有什麼關係？這個動作的內在意義 和位置有什麼關係？這個動作的深層 結構和權力有什麼關係？內在意義和
他站在這位置四百五十年，見證著故
深層結構有什麼關係？這個動作是怎
事不斷演變。他聽見自己在問問題，
樣發展出來的？四百五十年前的傳統
我有改造思想的衝動。他站在這位置
和當今的傳統有分別嗎？做這個動作
四百五十年，不斷聽自己喃喃自語，
的時候你和它有什麼關係？這裡動作
歸納著劇場裡外變化，我有改造歷史
如果快些會不會影響你的位置？你的
的衝動。
位置和我們的歷史有什麼關係？
我 站 在 那 裡， 前 面 什 麼 都 沒 有。 我
這個動作有沒有正確的名稱？這場運
發 現 自 己 什 麼 都 不 能 做， 怎 會 有 如
動有沒有正確的名稱？這場運動的名
此 決 絕 的 晚 上。 我 政 治 正 確 地 站 在
稱是否政治正確？這場運動和下一場
那 裡， 發 現 已 經 沒 有 可 能 回 去。 前
運動有什麼關係？銜接兩場運動之間
面 什 麼 都 是 空 的， 革 命 已 經 結 束。
的是什麼？銜接兩場革命之間的是什
革命即將開始。
麼？革命的文化和創作的文化有什麼
關係？這場革命的內在意義和創作有
去博得個斗轉天回，高俅！管教你海
什麼關係？這場革命的深層結構和運
沸山搖。
動有什麼關係？內在意義和深層結構 有什麼關係？這場革命是怎樣發展出 來的？這場演出是如何發展下去的？
第八幕：林冲家書 他會不會不夠主動？他是不是看得不
第七幕：他們都是戲子
夠？他會不會有些悲觀？他是不是想 得不足？他會不會有些自溺？他是不
數盡更籌，聽殘銀漏。逃秦寇，好叫
是自以為是？他會不會有些犬儒？他
俺有國難投。那搭兒相求救？欲送登
是 不 是 不 夠 積 極？ 他 會 不 會 有 些 軟
高千里目，愁雲低鎖衡陽路。魚書不
弱？他是不是不夠自信？
至雁無憑，幾番空作悲秋賦。回首西 山日又斜，天涯孤客真難度。丈夫有 淚不輕彈、只因未到傷心處。按龍泉 血淚灑征袍，恨天涯一身流落。專心 投水滸，回首望天朝。急走忙逃，顧 不得忠和孝。俺指望封侯萬里班超生 逼做叛國紅巾，做了背主黃巢。欲便 似脫鞲蒼鷹，離籠狡兔，摘網騰蛟。 救國難誰誅正卯，掌刑法難得皋陶。 只這鬢髮蕭蕭，我的行李蕭條，此一
他會不會是在逃避？他是不是不夠果 斷？他會不會有些無能？他是不是不 夠自覺？他會不會是在妥協？他有沒 有失去自己？他有沒有忘了自我？他 會 不 會 過 份 主 觀？ 他 是 不 是 不 夠 聰 明？他有沒有過份傷感？他是不是不 夠坦白？他是不是不夠坦然？ 他會不會過份政治？他會不會過份計 算？他是不是不夠進步？他會不會過份
自卑？他會不會過份自大？他是不是不 夠勇氣？他會不會是放不開？他是不是 不肯放手？他是不是不肯放心？他會 不會不肯放下？他是不是不能放下？
第九幕：林冲是怎樣投奔梁山的 文人是什麼時候走出書房的？ 藝術家是什麼時候走出劇場的？ 知識份子是什麼時候走出辯論的？ 藝術家是什麼時候成為知識份子的？ 知識份子是什麼時候成為革命份子的？ 革命份子是什麼時候成為反革命份子的？ 我知道，當我知道要去那裡； 我知道，已經沒戲了。
Script/ Text
Scene One: Stagehand can be Performer (The Study – One table two chairs) Scene Two: Stage can be a Jail (The Rehearsal Room – One table two chairs) Scene Three: Credits A Zuni Icosahedron Production Danny Yung Experimental Theatre – Flee By Night Flee by Night is an act 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 108 famous Liangshan heroes from the Chinese classic novel Water Margin. Lin Chong, an honorable and loyal instructor
of the Imperial Guards, was persecuted by malicious court officials and forced to join the outlaws of Liangshan. Li Kaixian was himself purged by the court and he wrote The Legend of the Precious Sword while in exile. The scene is set in the evening when Lin Chong decides to flee and to join the outcasts. Grand Theatre, Hong Kong Cultural Centre – 2012. Let us imagine this is the study of Li Kaixian. The study was the starting point of all Kunqu opera. The following scene could take place in any study in any dynasty throughout history. It might well be a stage before or after the revolution. The protagonist entering could be Li Kaixian or Lin Chong. The most attentive spectators could be the stagehands. This performance is dedicated to all stagehands.
Scene Four: I am Lin Chong
Scene Five: I am the Stage
How would the Stagehands observe the Stage?
You think you could see everything by standing outside. You don’t have to write to me any more. I have to get to know you, and then forget what it is to know. You think it doesn’t concern you as long as you are a bystander, and you need not concern yourself with my silence. I have to accommodate you, and then forget what it is to accommodate. You think there will not be any problems if you keep on asking questions. You didn’t hear me. I have to embrace you, and then forget what it is to embrace. You think to observe and to be objective are the same. You can’t feel what I feel. I have to leave you, and then, forget you.
How would the Stage observe Lin Chong? How would Lin Chong observe the Observers? How would the Observer observe the Performer? How would the Performer observe the Heritage? How would Heritage observe History? How would History observe the Public? How would Public observe Politics? How would Politics observe the Arts? How would the Arts observe Lin Chong? How would Lin Chong observe the System? How would the System observe the Stagehands?
He has been standing here for four hundred and fifty years, witnessing the unfolding and the changes of the story. He hears himself asking questions, and I have the impulse to change the way I think. He has been standing here for four
hundred and fifty years, listening to his own voice, whispering to himself, trying to recap all the changes that took place on and off stage, and I have the impulse to rewrite history.
a frame the frame? What makes a form the form? What makes a relationship the relationship? What makes an expression the expression? What makes a line the line?
I stand over there, and there is nothing before me. I realise there is nothing I can do. How can the night be filled with such despair? I stand there looking politically correct, and find there is no way to turn back. There is nothing before me. The revolution is over. The revolution is about to begin.
What is the name of the movement? What is the relationship between these movements? What is the relationship between the gestures? What is the relationship between texts and subtexts? What is the relationship between these two men? What is the relationship between titles and subtitles? What is the difference between actors and activists? What is the difference between need and desire? What is the relationship between you and me?
Scene Six: I am the Activist What makes a gesture the gesture? What makes a brand the brand? What makes a projection the projection? What makes a connection the connection? What makes a meaning the meaning? What makes an emotion the emotion? What makes a protagonist the protagonist? What makes a concept the concept? What makes
Scene Seven: I am the Performer I count the watches through the night. The water clocks are ticking away. Having escaped from the Qin bandits, I have no land to return. Nowhere to
seek help. From the hilltop, one can see far ahead. Down below, the road to Hengyang is locked in a mist of sadness. I know not if the wild geese will deliver my messages. My autumnal laments come to naught. The sun is setting again. With a heavy heart, I wander alone in this land. A man sheds no easy tears, save in his deepest despair. Tears and blood stain my battle cape, I wander adrift and alone. Determined to join the Water Margin brothers, I took a last look backwards at my King. Hurrying, hurrying in exile, I can no longer bother with filial piety or loyalty. I had hoped for honor and glory, but now I am forced to be a rebel. I’m like an eagle breaking loose from its shackle, a rabbit sneaking out of its cage, a snake fleeing from the net. How difficult it is to save my country and to defend the law! All I have are these locks of hair blown wild, with little in my possession. I chose this path, fighting to change the world; Gao Qiu, I vow that you’ll see the ocean boils and the mountains shake!
Scene Eight: Letter from home Is he not proactive enough? Does he not see enough? Is he pessimistic? Does he not think enough? Is he self-indulgent? Is he conceited? Is he cynical? Is he not active enough? Is he feeble? Does he not display enough selfconfidence? Is he trying to escape? Is he not determined enough? Is he incapable? Is he self-conscious? Is he compromising? Has he lost himself? Has he forgotten himself? Is he too subjective? Is he not intelligent enough? Is he too melancholic? Is he not honest enough? Is he not at ease?
Is he being too political? Is he too calculative? Is he not progressive enough? Does he feel too inferior? Is he too arrogant? Is he not brave enough? Is he not able to forget? Is he not willing to let go? Does he worry too much? Is he not willing to let it rest? Is he not able to let it rest? Scene Nine: Lin Chong steps out of his position He steps out of his study... He steps out of the theatre... He steps out of the debate... He steps out of his role... He steps out of the revolution... He steps out of himself... I know, when I know where I am going. I know, there is no more show.
團隊
導演 / 文本 / 舞台設計：榮念曾 演員：柯軍 ( 南京 )、楊陽 ( 南京 )、楊永德 現場敲擊：李立特 ( 南京 ) 音樂：許敖山 ( 腦科 )
監製：黃裕偉 服裝設計：鄭兆良 燈光設計：張素宜 錄像設計及操作：胡海瀚 音響設計：夏恩蓓 創作統籌：卓翔 排練統籌：李嘉隆 製作監督：李浩賢 舞台監督：周俊彥 執行舞台監督：曹安然 助理舞台監督：陳安琪 助理舞台設計：王梓駿 服裝助理：陳偉兒 舞台助理：鄧偉傑
舞台實習生 *： 俞世豪、歐嘉鴻、陳卓康、陳子豪 錄像紀錄 ( 觀眾訪問 )*： 魏朗、何雅榕、陳家俊、鄭銘樂 實習生統籌 *：張浩軒 * 香港專業教育學院 ( 李惠利 ) 資料科技系 視聽娛樂科藝 高級文憑 學生
平面設計：郭健超、王瑞華
The Team
Director/ Text / Stage Designer: Danny Yung Performers: Ke Jun (Nanjing), Yang Yang (Nanjing), David Yeung Live Percussion: Li Lite (Nanjing) Music: Steve Hui (aka Nerve)
Producer: Wong Yue Wai Costume Designer: Barney Cheng Lighting Designer: Zoe Cheung Video Designer & Operator: Benny Woo Sound Designer: Candog Ha Creative Coordinator: Cheuk Cheung Rehearsal Master: Peter Lee Production Manager: Lawrence Lee Stage Manager: Chow Chun Yin
Stage Interns*: Yu Sai Ho, Au Ka Hung Edward, Chen Cheuk Hong, Chan Chi Ho Video Documentation* (Audience Interview): Ngai Long Joseph, Ho Nga Yung, Chan Ka Chun, Cheng Ming Lok Interns Coordination*: Cheung Ho Hin *Students from Higher Diploma in Audio-Visual Entertainment Technology (AVET), Department of Multimedia and Internet Technology, HKIVE (Lee Wai Lee)
Deputy Stage Manager: Julie Tso Assistant Stage Manager: Chan On Ki Assistant Set Designer: Isaac Wong Costume Assistant: Bonnie Chan Stage Crew: Tang Wai Kit
Graphic Design: Pollux Kwok, Glenis Wong
進念．二十面體 Zuni Icosahedron
聯合藝術總監： 榮念曾
Co-Artistic Director: Danny Yung
聯合藝術總監暨行政總裁： 胡恩威
Co-Artistic Director cum Executive Director: Mathias Woo
進 念． 二 十 面 體，1982 年 成 立， 為 非 牟
Zuni Icosahedron, founded in 1982, is a Hong Kong based international experimental art company. Zuni has produced over 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 areas of arts education, arts criticism, cultural policy research and international cultural exchange. In the past decade, Zuni has been undertaking the mission of preserving and developing Intangible Cultural Heritage (Performing Arts). Over the years, Zuni has been invited to over 60 cities in Europe, Asia, and America for cultural exchange and performances. Zuni is one of the nine major professional performing arts companies in Hong Kong, and has established itself as a premier experimental theatre locally, regionally and internationally. Since 2009, Zuni has become a Venue Partner of the Hong Kong Cultural Centre in where a series of theatre works and outreach education programmes were produced.
利慈善文化團體，以香港為基，面向世界 的實驗藝團。專注於多元戲劇藝術創作， 原創劇場作品超過二百齣，曾獲邀前往演 出及交流的城市遍及歐、亞、美等地六十 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表演藝術團體之一， 香港最具代表性的國際實驗劇團。2009 年 始，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。
社聯機構會員 Member of the Hong Kong Council of Social Service
助理藝術總監：陳浩峰 駐團演員：楊永德、鍾家誠 駐團藝術家：黎達榮 研究主管：梁冠麗 創作統籌：卓翔、李嘉隆 藝團經理：陳世明、簡溢雅 經理：周寶儀、黃偉國、李嘉祺 助理節目經理：何彥羲 節目及藝術行政見習：翟桐、賴旭輝、盧雪雯
進念．二十面體為香港文化中心場地伙伴 進念．二十面體由香港特別行政區政府資助
Assistant Artistic Director: Cedric Chan
Zuni Icosahedron is a Venue Partner of the Hong Kong Cultural Centre
Performers-in-Residence: David Yeung, Carson Chung
Zuni Icosahedron is financially supported by the Government of the Hong Kong Special Administrative Region
Artist-in-Residence: Lai Tat Wing Senior Researcher: Theresa Leung Creative Coordinators: Danny Cheuk, Peter Lee Company Managers: Jacky Chan, Doris Kan Managers: Bowie Chow, Kaki Li, Luka Wong Assistant Programme Manager: Ho Yin Hei Programme and Art Administration Trainees: Rachel Chak, Clement Lai, Stephanie Loo
進念公益門票計畫 Zuni Welfare Ticket Scheme
「待用門票」是「進念公益門票計畫」中一 個 創 新 的 慈 善 捐 贈 模 式： 您 每 購 買 一 張 「待用門票」 ，就可以捐助一個名額給綜合 社會保障援助 ( 簡稱綜援 ) 人士及香港社 會服務聯會 ( 簡稱社聯 ) 的服務對象觀賞 進念演出。
《夜奔》待用門票受惠機構 • 香港女障協進會 • 明愛展晴中心 • 康和互助社聯會
進念通識及藝術教育計畫參與學校 • 寧波公學
The “Suspended Ticket” is an innovative form of donation in “Zuni Welfare Ticket Scheme”. For each “Suspended Ticket” you purchase, the ticket quota is gifted to a service target of the Hong Kong Council of Social Service (HKCSS) or a Comprehensive Social Security Assistance (CSSA) recipient for attending a Zuni Icosahedron performance.
Suspeneded Tickets Beneficiaries • Association of Women with Disabilities Hong Kong • Caritas Addicted Gamblers Counselling Centre • Concord Mutual-Aid Club Alliance Participating School of Zuni’s Liberal Studies & Arts-in-Education Programme • Ning Po College