6-7.11.2015 1
導演筆記
看不見的城市
榮念曾
大 汗 直 視 馬 哥 孛 羅： 「你滔滔不絕 馬哥孛羅道： 「陛下明見。」大汗說： 『講述』的那些城市，本來就是講述 「什麼明見不明見？你明明在批評我 同一個城市吧？」他頓一頓繼續說： 在這個地位，好像什麼都見不到。 「大概在你的眼中，文化嘛就是『講 我們安排的見面就是談談什麼是見 述』的文化，城市嘛就是『當下』的 不到的城市？談談什麼是見得到的 城市。這些城市雖然名字不一樣，其 城市？同時我們談談為什麼我見不 實都想搶灘，都想比劃彼此的智慧， 到，為什麼你見得到？或許相反。」 都有意圖『探討』天下城市的本質。 馬哥孛羅說： 「這個涉及領導和群眾 都在探討心中理想的城市吧？有了這 見解差異，以及執政和議政見解差 樣的論述，那下一步該怎樣呢？」 異。」大汗聽了說： 「我沒有太多時 間和你談。通常我見屬下，半小時 馬 哥 孛 羅 低 首 回 道： 「 陛 下 明 見。 封頂。」 我 們 目 前 的 對 話 不 也 正 在『 講 述 當 下』 ？正在『探討理想』 ？」他繼續說： 馬 哥 孛 羅 道： 「其實說好話的半小 「我相信領導們只要堅持誠實地『講 時嫌少，說批評的話半小時嫌多。 述當下』 ，才會有實在的交流互動， 我們的聚會，也是在批評所有的聚 才會有真實的下一步。發揮這交流 會。我們會談形式內容，也是在批 互動之潛力，需要平等論述評論開 評 所 有 會 談 的 形 式 內 容？」大 汗 笑 放的對話。有對話，才有確實的比 道： 「我們一年才見一次，你講我聽 較，才有批評和自我批評，才有人 或我講你聽，言不及義；慢慢成為 文的進步。」大汗望著問： 「你真正 徒具形式的活動。」 馬哥孛羅說： 「這 想說的是我們的城市在退步。我們 是你主觀看法，正好點出領導和群 的城市缺乏批評和自我批評。我們 眾，執政和議政的問題。表面上， 的城市沒有用心做真正彼此的比較 以往的對話，其中一部份是希望能 工作。因此我們的城市與城市之間 夠創意延伸我們的對話，強化對話 並沒有實質人文對話。」 的平台，開放對話的形式，發展對 2
話的內容。另外一部份涉及如何令 內容成為具體城市發展的議政執 政。」大汗大笑： 「對話有用嗎？對 管治制度辯証的問題有用嗎？」 他繼續說： 「城市發展能不能夠做到 辯証，本來是政治的問題，也是經 濟學的問題，更是長期累積社會文 化的問題。當然也包括我們在體制 內的持份者，有沒有辯証魄力的問 題。」大汗跟著說： 「你只不過寫了 本遊記，銷售量好就成為文化交流 的專家。」 馬哥孛羅並不在意大汗的熱諷： 「那 麼讓我們換個位置身份去處理問題 怎樣？換個觀點角度去處理問題又 會怎樣？另外，也讓那些城市的公 民們有機地旅行交流？甚至交換移 民？」 大 汗： 「 倒 也 是， 文 化 交 流 的 建 設 不是一朝一夕，也不一定只是旅遊 消費，更不是經濟教化宣傳效益。 你是希望人人都成為馬哥孛羅？你 是希望人人都能和我對話。那麼我 不是窮忙？你一個人扮代表不就夠
了？」馬 哥 孛 羅 答 道： 「一個人講 十個城市故事，和十個人講同一個 城市的故事，分別在不同層次的比 較。有了比較就有評議，有了評議 就有改善的可能性。況且現在有互 聯網，更方便大家胡說八道。」 大汗望著窗外的風麈，感嘆道： 「難 道你認為我們清談對話，在讀者角 度也只是文化消費嗎？我戎馬天下 的號令經歷，反不及得你遨遊四海 的 消 費 學 問 嗎？」馬 哥 孛 羅 輕 輕 回 應： 「陛下言重了。我的遊記銷售量 倒是不錯的，帶動旅遊業之外，多 了很多藝術節文化論壇活動；聽說 一帶一路就如此這般發展出來。」 =========================== 看不見的城市 1 她不能跑。但是她可以用最慢最 儀式化的方式往前一小步一小步 邁進，這個速度彷彿帶領歲月回 到盛唐；或許回到更早補天的地 母情景，回到一個星轉月移、時 空倒錯、天人合一的時代。 3
我 看 不 見 東 西。 我 什 麼 都 看 不 見。我看不見東西。我為什麼看 不見東西。是不是我的眼睛有問 題。是不是我的腦袋有問題。我 看不見前面。我什麼都看不見。 我看不見前面。我為什麼看不見 前面。是不是我的眼睛有問題。 是不是我的腦袋有問題。我看不 見未來。我什麼都看不見。我看 不 見 未 來。 我 為 什 麼 看 不 見 未 來。是不是我的眼睛有問題。是 不是我的腦袋有問題。
2 然 後 征 服 開 始。 黑 洞 裡 出 現 先 驅。 源 源 不 絕、 層 層 不 窮 的 先 驅，四人一組相互扶持，尋找水 源，地雷，尋找証物，捷徑，尋 找新天地，尋找未來。他們是探 險家墾荒者，建築師度量師。都 可以。
4
我 看 不 見 東 西。 我 什 麼 都 看 不 見。我看不見前面。我為什麼看 不見前面。我看不見未來。我什 麼都看不見。我看不見未來。我 為什麼看不見你。我看不見你。
我什麼都看不見。我看不見我的 城 市。 我 為 什 麼 看 不 見 我 的 城 市。是不是我的眼睛有問題。是 不是我的腦袋有問題。 3 垂頭未必一定喪氣，抓空未必一 定咒法。跌下再爬起來，被推擠 再反抗。鼓著氣未必一定是和自 己作對，東張西望未必一定是沒 有立場。雙手反縛沒有放棄，走 方位沒有忘記方向。
我 看 不 見 自 己。 我 看 不 見 .... 自 己。為什麼我看不見自己。我看 不見自己。我看不見大家。我看 不 見 .... 大 家。 為 什 麼 我 看 不 見 大家。我看不見大家。我看不見 中國。我看不見....中國。為什麼 我看不見中國。我看不見中國。 我 看 不 見 香 港。 我 看 不 見 .... 香 港。為什麼我看不見香港。我看 不見自己香港。我看不見舞台。 我 看 不 見 .... 舞 台。 為 什 麼 我 看 不見舞台。我看不見舞台。
4 三步轉身四步衝前跌跌撞撞永遠 只叫喊著一個名字或許是口號。 那是決定她命運的名字。她的吶 喊也是質疑也許是控訴。也有可 能只想聽到自己的聲音。你對我 的命運要有看法，對我的下場要 負責。
我看不見前面。我看不見前景。 我看不見前途。我看不見希望。 我看不見未來。我看不見自己。 我 看 不 見 下 一 步。 我 看 不 見 歷 史。我看不見你。
5 她們為了她開會，抱怨，伸冤， 然後喊口號然後喊魂然後喊天， 然後發現那是沒用的，喊髒話然 後發現那也是沒用的。然後發現 原來做什麼都是沒用的。一哄而 散各歸東西各自林。
什麼都看不見。我看不見前面。 我為什麼看不見前面。是不是我 的眼睛有問題。是不是我的腦袋 有問題。我看不見未來。我什麼 都看不見。我看不見未來。我為 什麼看不見未來。是不是我的眼 睛有問題。是不是我的腦袋有問 題。 6 當 什 麼 事 都 沒 有 發 生 過。 只 有 她，堅持跌跌撞撞往前走，然後 跌倒，然後跌倒不重要。最重要 是堅持再站起來，獨立自主，堅 持 再 往 前 走， 跌 倒 是 絕 不 重 要 的。最重要是堅持再站起來獨立 自主。
我看不見東西。我看不見東西。 我 什 麼 都 看 不 見。 我 看 不 見 東 西。我為什麼看不見東西。是不 是我的眼睛有問題。是不是我的 腦袋有問題。我看不見前面。我 5
Director's Notes
Invisible Cities
Danny Yung
Great Khan looked into the eyes of Marco Polo and said, “The cities you kept “presenting” actually is the same city, right?” Great Khan halted and continued, “In your eyes, culture is the one “presented”, city is the one “for the moment”. All cities are the same except their names, and all wants to be ahead of the others competing on each other’s ideas and attempting to explore the common and fundamental qualities as well as the ultimate model of all cities. Having all these said, what’s next step? Marco Polo headed down and replied, “Absolutely, My Great Khan. Isn’t our conversation presenting the situation of the moment? Isn’t it searching for the ideal?” He continued, I believe all the leaders insist in honestly “presenting the moment”, the exchanges and interactions will be realized and next step will be followed. To bring the potential of exchanges and interactions to the full requires fair reviews and open dialogues. Having dialogues promotes comparisons in real term, then critique and selfcritique followed; after that, comes the improvements in humanity.” Great Khan asked, “What you really wanted to say is our city is running behind, lacking of 6
critiques from the others and ourselves. We were not doing the comparisons in real terms for our city and there was not real dialogue on humanity among cities.” Macro Polo said: “Absolutely, My Great Khan.” Great Khan said, “Absolutely about what?” Obvious enough, you are criticizing my not seeing the issues in my position. What we did in the meeting was a mere talk on what is Invisible Cities and what is Visible Cities? And why can’t I see it but you can? Or vice versa?” Macro Polo said, “It is about the differences between the leader and the general public on the idea of execution and discussion of the governance.” Great Khan responded, “I don’t have time for you. I shall usually spend no more than half an hour with my subordinates, tops.” Macro Polo said: “Half an hour would be more than enough for critiquing, but not for pleasing remarks. The meeting between you and me was also a critique on the idea of having meetings. The form and content of our meetings were a form of critique on the same idea for all meetings, weren’t it? Great Khan laughed and said, “We meet once a year, more empty talking than communicating, it gradually turned into something without
content. Macro Polo said, “It is purely your subjective view that illustrated right on the problems happened between the leaders and the general public, and the idea of execution and discussion of the governance. Superficially speaking, all the dialogues in the past, part of them were meant to extend our dialogues; strengthening the platform for dialogues, opening up the form and developing the content of dialogues. On the other hand, it related to the way turning the content into valuable action for the overall development of our city in the areas of the execution and discussion of governance.” Great Khan laughed, “Is dialoguing of any use in dealing with the problems raised in governance, system reform and dialectics?” He continued, “Actually, if the dialectic process being successfully introduced in the issues of city development is about politics, economics, social and cultural aspects? Seemingly, it related to all the stakeholders in the system and the continuous effort in carrying out dialectic discourse.” Great Khan continued, “You had just published a travelogue, and the success in its sales turned you into an expert in cultural exchange.”
Macro Polo could not care less about Great Khan’s cynicism and said, “Let’s see what will happen to our views on the same issues after swapping our positions? Let’s see what will happen to our views on the same issues after swapping our viewpoints? In addition, what about letting our people carry out exchanges and travels organically? Or even immigrate?” Great Khan said, “That’s right. Solid cultural exchange platform is not built in a day. It could be neither the travelfor-consumption kind nor the economic returns driven propaganda. Would you hope for everyone becoming Macro Polo? Would you hope for everyone could carry out dialogues with me? Then, I will be dead busy. Having you pretended to act on my behalf is not good enough?” Macro Polo responded, “The differences between 10 city stories be told by one person and one story by 10 people are on the levels of comparison. Having comparison brings critiques that breed the possibilities of improvement. Not to mention the presence of internet that further allows bullshitting.” Great Khan looked to the outside through the window and sighed, “Do you think 7
our straight talking would become a kind of cultural consumption in the eyes of the readers? Do you think my experience in reigning my lands is not even comparable to your knowledge gained in travel-forconsumption? Marco Polo replied lightly, “Not at all, My Great Khan. The sales of my travelogue were okay, that helped promote tourism with more festivals and cultural forums launched. In fact, One Belt, One Road was probably developed in such a way. -----------------------1. She can’t run. Yet, she could move step by step like in a ritual and that kind of slow pace reminding us the time of Tang Dynasty circa 7th or 8th century; or even earlier when nothing was in the universe except a formless chaos.
8
I can’t see. I can’t see anything. I can see nothing. Why I can’t see? Is it the problem of my eyes? Is it the problem of my brain? I can’t see what’s ahead of me. I can’t see anything. I can’t see what’s ahead. Why can’t I see what’s ahead? Is
it the problem of my eyes? Is it the problem of my brain? I can’t see the future. I can’t see anything. I can’t see the future. Why can’t I see the future? Is it the problem of my eyes? Is it the problem of my mind? 2. Invasion started afterward. Pioneer appeared in the black hole. Pioneers flowed in like running water; Four in a group supporting each other looking for water source and the mines; looking for evidence and shortcut; looking for a brand new world and future. They are explorers, architects and surveyors. All will do.
I can’t see. I can’t see anything. I can’t see what’s ahead of me. Why can’t I see what’s ahead? I can’t see the future. I can’t see anything. I can’t see the future. Why can’t I see you? I can’t see you. I can’t see anything. I can’t see my city. Why can’t I see my city? Is it the problem of my eyes? Is it the problem of my mind?
3. Being beat physically yet not mentally, against all odds, let’s stay strong. Being rebellious yet not necessarily being self-defeating,
being cautious yet not without one’s stand. Being tied up yet not giving up, letting loose in one’s position yet not one’s orientation..
I can’t see myself. I can’t see … myself. What I can’t see myself. I can’t see myself. I can’t see us. I can’t see … us. Why can’t I see us? I can’t see us. I can’t see China. I can’t see … China. Why can’t I see China? I can’t see China. I can’t see Hong Kong. I can’t see … Hong Kong. Why can’t I see Hong Kong. I can’t see my Hong Kong. I can’t see the stage. I can’t see … the stage. Why can’t I see the stage. I can’t see the stage.
4. Moving around, losing ground, keep shouting the same name or slogan, that is the name of her destiny. Her cries serve both inquisition and accusation, yet, that might be heard by anyone but herself. You should have an idea of my fate, and being responsible for my future.
I can’t see what’s in front of me. I can’t see what’s ahead. I can’t see my life ahead. I can’t see hope. I can’t see the future. I can’t see myself. I can’t
see next step. I can’t see history. I can’t see you. 5. They hold a meeting complaining, appealing because of her, they shout and shout, all the filthy words but all in vain. Then realize nothing can be done, all dismisses.
I can’t see. I can’t see. I can’t see anything. I can’t see. I can’t see anything. Is it the problem of my eyes? Is it the problem of my mind? I can’t see what’s in front of me. I can’t see anything. I can’t see what’s in front of me. Is it the problem of my eyes? Is it the problem of my mind? I can’t see the future. I can’t see anything. I can’t see the future. Why can’t I see the future? Is it the problem of my eyes? Is it the problem of my mind?
6. Let’s pretend nothing had happened. She was the only one insisted in moving forward, she fell but that was not important; she stood up again, became independent and kept moving forward despite the tripping over, that is most important, to be able to stand up again and become independent. 9
導演、文本、舞台設計
Director, Text, Design
榮念曾
Danny Yung
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。
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.
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。
10
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.
音樂總監、創作指導（聲音）
Sound Director, Creative Instructor (Sound)
許敖山
Steve Hui
許敖山（代號 Nerve）生於香港， 香港演藝學院作曲及電子音樂碩 士，經常以多重身份遊走於現代 音樂、聲音藝術、多媒體劇場及 地下文化之間，專注混合藝術形 式、跨越界別、實驗傳統及交流 合作。其作品曾於香港藝術節、 深圳香港城市建築雙城雙年展、 新 視 野 藝 術 節、 及 微 波 國 際 媒 體藝術節等演出，並獲香港小交 響 樂 團、 香 港 城 市 大 學、 香 港 創樂團、進念 . 二十面體、現在 音樂、城市當代舞蹈團等委約創 作。近年主要作品包括胡恩威導 演多媒體歌劇《利瑪竇的記憶宮 殿》 、邵逸夫創意媒體中心開幕 節目《四象萬相》 、與龔志成合作 《 家． 春． 秋 》現 場 電 影 配 樂 及 《1984》電 影 歌 劇， 並 擔 任 西 九 文化區《拾．年》音樂總監。
Steve Hui (a.k.a. Nerve) is a multidisciplinary artist whose practice mines the boundaries between contemporary music, sound art, multimedia theatre and underground subcultures. His main interests are crossing boundaries, experimenting tradition, remixing art forms, and connecting peoples. He received his master in composition and electronic music from the Hong Kong Academy for Performing Arts. His music has been presented at the Hong Kong Arts Festival, Microwave International Media Art Festival and New Vision Arts Festival. He has received numerous commissions including the City University of Hong Kong, Contemporary Musiking Hong Kong, Hong Kong New Music Ensemble, Hong Kong Sinfonietta, Zuni Icosahedron, City Contemporary Dance Company, among others. His recent works included cinematic opera 1984, digital opera The Memory Palace of Matteo Ricci, live soundtrack of 1950s films Family, Spring, Autumn, The Four Infinities for the opening of the Run Run Shaw Creative Media Centre, and served as music director of Decade for the West Kowloon Cultural District. 11
創作指導（形體）
黃靜婷 香港演藝學院現代舞系(榮譽)學士， 曾獲得演藝學院友誼社獎學金。畢 業後獲「香港賽馬會音樂及舞蹈信託 基金」之舞蹈獎學金，修讀由 Hollins University 與 美 國 舞 蹈 節 (ADF) 所 合辦的碩士學位課程。在美期間曾 獲資助代表大學前往摩納哥參加 Monaco Dance Forum 2006。 2012 年赴捷克布拉格深造戲劇及表 演課程。其作品曾於世界各地發表 , 包括香港、波蘭、希臘、廣州、馬來 西亞、紐約、維珍尼亞州及美國舞蹈 節 ADF 2007。 近 年 作 品 包 括 於 2014 及 2015 於 香 港 藝 術 節「 香 港 賽 馬 會 當 代 舞 蹈 平 台 」創 作《 默 染 》及《 人 間． 獨． 白》 、 《風惜惜》為波蘭旋轉舞蹈劇場 藝術節作交流演出、在希臘演出群 舞《Fara, Performing at the Edge》 以及獨舞《Tiny Hong Kong》等。長 12
篇作品《植．聽》 、 《日夜沬了》 、 《二 想天開》 、 《六翻自己系列》 、 《潛． 在動》 、MaD@ 西九之《踩過界大舞 台》 。 2013 年 開 始 了 與 日 本 藝 術 家 的 三 年合作計劃《絕對飛行機》 。黃氏現 為自由身工作者，同時於香港兆基 書創意書院任教多媒體表演藝術課 程、香港演藝學院 ( 應用學習課程 ) 等擔任導師。
Creative Instructor (Movement)
Chloe Wong
Wong graduated from The Hong Kong Academy for Performing Arts (APA), with honours in Contemporary Dance. She was awarded the Hong Kong Jockey Club Music and Dance Fund scholarship to study master’s degree programme jointly organised by the Hollins University & American Dance Festival (ADF) in the U.S. While studying, as a representative of Hollins University to attend the Monaco Dance Forum 2006. In 2012, she completed the Acting & Performing course “(Inter)acting with the Inner Partner & Authorial Performance” in Prague, Czech Republic. Her choreographies have been staged in different countries in the world. Including Hong Kong, Poland, Greece, China and U.S., etc.
“Contemporary Dance Series 2014 & 2015”, Lifting Bones was performed in Poland Dance Festival 2015, an ensemble work performed in Greece Fara, Performing at the Edge and solo work Tiny Hong Kong, etc.
Full-length works include Audible Growth, The Living Split, Planet Love, Positioning Series, MaD@West Kowloon’s Cross the Line Theatre. Since 2013, Wong has collaborated with Japanese artists in a threeyears cross cultural exchange programme Absolute Airplane. Wong is a freelance dancer, and currently teaching at HKICC Lee Shau Kee School of Creativity, HKAPA (APL course), etc.
Her recent works include Diffusion of the Silence and Heaven Behind the Door was commissioned and produced by Hong Kong Arts Festival’s 13
創作指導（聲音）
李俊樂 李俊樂為世界首位贏得國際協奏曲 比賽 (美國)首獎的青年口琴演奏 家，憑著出眾的口琴技巧，獲邀請 於國際知名的紐約卡內基音樂廳 (Carnegie Hall) 演出。 他的音樂領域由傳統的古典音樂到 爵士樂以及現代音樂。他前往奧地 利 跟 隨 Franz Chmel 深 造 古 典 半 音 階口琴，以及前往美國跟隨 Howard Levy 深造全音口琴及爵士樂。 他活躍於香港及國際樂壇作藝術交 流，並多次在本地及海外的音樂節 演出，其中包括世界口琴節、亞太 口琴節、亞洲流行音樂節、新加坡 華藝節及中國上海國際藝術節等。
14
近年他經常與知名歌手合作演出， 如譚詠麟、盧冠廷、謝安琪、徐小 鳳和李克勤等，並且以獨奏家身份 與香港及海外多個管弦樂團及中樂 團合作演出，讓口琴音樂推廣到不 同的領域。
Creative Instructor (Sound)
Gordon Lee
Gordon was the first Harmonica player to have won the first prize at the 2014 International Concerto Competition (U.S.) and was invited to perform at the prestigious Carnegie Hall as recognition of his excellence in classical music repertoires. Gordon shows his potentials in a wide range of genres, from classical to jazz, world music and contemporary music. He pursued advanced studies in the Chromatic Harmonica in Austria with Austrian Chromatic Harmonica Maestro—Franz Chmel. He took advanced studies in Diatonic Harmonica and Jazz in Chicago with legendary Harmonica player Howard Levy. Gordon has collaborated with well-known singers including Alan Tam, Lowell Lo, Kay Tse, Paula Tsui, Hacken Lee, to name but a few. Gordon is also regularly invited to perform as a soloist for orchestras world widely.
15
學員筆記 Performers' Notes
余在司
鄧佩珊
蔡梓麟
莫東裕
Joyce Eu
Jessica Tang
Choi Tsz Lun, Pluto
Mok Tung Yu, Kitty
我喜歡在劇場上表演
灰色 看不見嗎 扭曲 看不見嗎 撕裂 看不見嗎 默染 看不見嗎 真相 看不見嗎
現在我是一張「白紙」 ，
創意編號：013
但並不是指我甚麼也不懂，
正接受創意訓練
因為身為一張「白紙」 ，
還是一名新生
便可完整吸收現在新學的知識
請多多指教！！！
這 美麗 的 城市 你 看 不 見 嗎
Now, I’m a piece of “white paper”,
Creative Number: 013
Gray Can’t you see ? Truth Can’t you see ? Torn Can’t you see ?
but that doesn’t mean I do not know anything,
去挑戰自己 跳出另一個世界 去做不同的東西 I love to perform on stage Challenge myself To jump into another world Do different things
This beautiful city you can’t see ?
Newly recruited I’ve got a lot to learn !!!
I could absorb newly learn knowledge without being restricted by former old knowledge.
蔡雨田
羅凱盈
劉皓琳
謝昊丹
Choy Yu Tin
Law Hoi Ying, Vicgina
Lau Ho Lam, Phoenix
Tse Ho Dan, Daniel
傳理系學生，熱愛表演藝術， 包括戲劇，舞蹈。
世界需要更多創意空間， 我懂；
我是一名對政治冷感的人， 也不太熟悉政治。
在劇場一直探索自己的可能性，
香港對我來講是重要的。
不應限制藝術發展的可能性， 我懂。
我的家人也是對政治非常非常 冷感的人。
原來，人生尤如鬧劇一場。
對比起他們，我是一個對政治 比較有熱情的人。
生活在香港自然有種責任 期望它會更好更進步 。 雖然充滿未知，但我仍然會 繼續留下來。 I’m a student of the Department of Communication. I love performing arts and dance. Hong Kong is important to me. Living in Hong Kong naturally gives me a sense of responsibility to make it a better place. Though the future is full of unknown, I still want to stay here.
16
because as a piece of “white paper”,
First Grade student of Creative Playground currently
生於如此荒誕，如此動盪的 世代，大概我們是懷著同一 理想。 I understand that the world needs more creative space. I understand that there shouldn’t be restrictions for arts development.
「我不希望香港會變成一個封 閉的城市，變成一個不會進步 的城市。」 I’m not interested in politics. My entire family is also very impassive towards politics.
It turns out life is but a farce.
When compared to them, I’m quite passionate about politics.
Life is absurd, and in such tumultuous times, we probably share the same ideal.
“I don't want Hong Kong to become a closed city, a city with no progress.”
如今從模仿別人走回最原點 : 由自己出發。 了解不同的思想，或是欣賞各 人獨特的出發點， 更因為各人的不同而肯定自己 應該所堅持的。 I have been exploring my possibilities in the theatre, Now from imitating others, I return to the point of origin: to start off from myself. Trying to understand different ways of thinking, or appreciating the unique starting points of everybody; Because everyone is different.
何嘉翹
隋夢緣
關楚婷
劉柏姸
Ho Ka Kiu, Hazel
Tsui Mung Yuen
Kwan Chu Ting, Simony
Lau Pak Yin, Staphanie
不喜歡
若有見字者精通神秘學，
一個簡單的動作，
作為一個剛離開大學，
介紹自己，
民女跪求一救，
一句簡單的句子，
走出社會的年輕人，
因為自己
好讓民女返回神麚二年 （己巳） ，
兩人的協調，
還在研究自己。
代父從軍，一表孝義。
就已經是表演。
生活在香港， 這個國際金融中心，
Don’t like
I humbly bag any reader who might be well versed in mysticism,
One simple movement,
please transport me back to the year of four hundred and twenty nine,
this is performance already.
introducing myself, Because I am still learning about myself.
one simple sentence, two people acting in harmony,
面對著種種社會問題 As a fresh grad, a young man, stepping into society in Hong Kong an international finance centre with all sorts of social problems
so I could fill my father’s place to serve in the army, as a token of my filial piety.
吳思琪
黃美淇
蘇權威
許文壕
Ng Sze Ki, Suki
Wong Mei Kei, Maggie
Handsome So
Hui Man Ho, Ben
我喜歡看小說，
以前的我愛在劇場尋找自己的 多樣性和限制，
「四方上下曰宇， 古往今來曰宙。」
劇場，我們，香港， 都不存在無限可能性。
亦喜歡每逢暑假去看不同類型 的舞台劇。 我自信心雖不足，但我會鼓足 勇氣做到最好。 我認為我在舞台上才是最有自 信的時候。 I love reading novels, I enjoy watching different types of drama during summer vacation. I don’t have much confidence, but I’d summon up all my courage to do the best I can. I have most self confidence when I’m on stage.
現時則在思考劇場背後的教育 性和對社會的影響和意義。
時間與空間， 是我們認知的地球。
無限的錯覺， 源於我們看不見，
在香港這個即食的金融社會， 到底表演藝術又會如何發展和 變化呢？
有人想衝出地球， 探索宇宙，找片樂土。
留守著舊有已見的 有限可能性，
我想成為勇者！ 我想改變世界！ 我要真普選！
探索未知的「無限」 快樂非常。
該不會有一天只能用普通話演 出紅劇？！ I used to enjoy finding my diversity and restraints in theatre,
but now I rather ponder upon the educational nature and social influence and significance of theatre. Hong Kong is a financial city which lives at the instance, and so how would performing arts change and develop? Will there be a day when all performances will be in Putonghua and China oriented?
The universe includes whatever is above and below, to the right and to the left; whatever is in the past, the present and the future. Time and space, what we know of the world. Some people want to fly away from the planet Earth I want to be brave ! I want to change the world ! I want real universal suffrage !
Theatre, we, Hong Kong, are all full of infinite possibilities. Unlimited illusions, springing from what we cannot see, Limited possibilities of holding on to old beliefs, Extremely happy in exploring “boundless” future.
伸延閱讀 Extended Reading ( 頁 p. 24-40)
17
團隊 The Team
導演、文本、舞台設計：榮念曾 音樂總監、創作指導（聲音）：許敖山（腦科） 創作指導（形體）：黃靜婷 創作指導（聲音）：李俊樂 聲音演出：何秀萍
演員： 余在司 吳思琪 何嘉翹 許文壕 莫東裕 黃美淇 隨夢緣 蔡雨田 鄧佩珊 劉柏妍 蔡梓麟 劉皓琳 謝昊丹 關楚婷 羅凱盈 蘇權威
18
監製：黃裕偉 製作監督：李浩賢 燈光設計：陳焯華 錄像設計 及控制：成博民 音響設計：夏恩蓓 創作統籌：卓翔 排練統籌：李嘉隆 服裝統籌：鄭運蓮 舞台監督：周俊彥 執行舞台監督：陳嘉儀 助理舞台監督：陳安琪 服裝助理：洪榮賢 舞台助理： 廖令基、嚴志聰 詹文龍、麥建強
舞台實習生 #： 黃歷恩、陳家俊、李嘉良 錄像紀錄 #： 吳婉橋、李偉泰、關文強 黃海明、劉慶聰、朱健峰 # 香港專業教育學院（李惠利） 資訊科技系
視聽娛樂科藝 高級文憑 學生
攝影：成灝志、伯伯 平面設計： 郭健超、盧雪雯 呂時鵬、王瑞華 英文翻譯（宣傳品）：梁惠琪
Director, Text, Stage Design: Danny Yung Sound Director, Creative Instructor (Sound): Steve Hui (aka Nerve) Creative Instructor (Movement): Chloe Wong Creative Instructor (Sound): Gordon Lee Vocal Performance: Pia Ho
Performers: Joyce Eu
Ng Sze Ki, Suki
Ho Ka Kiu, Hazel
Hui Man Ho, Ben
Mok Tung Yu, Kitty Chan Lok Ching
Wong Mei Kei, Maggie Yip Shuk Ching, Vicky Tsui Mung Yuen Choy Yu Tin
Jessica Tang
Lau Pak Yin, Staphanie Choi Tsz Lun, Pluto
Lau Ho Lam, Phoenix Tse Ho Dan, Daniel
Kwan Chu Ting, Simony Law Hoi Ying, Vicgina Handsome So
Producer: Wong Yue Wai Production Manager: Lawrence Lee
Lighting Designer: Billy Chan Video Designer & Operator: Oliver Shing
Sound Designer: Candog Ha Creative Coordinator: Cheuk Cheung
Rehearsal Master: Peter Lee Costume Coordinator: Twinny Cheng Stage Manager: Chow Chun Yin
Deputy Stage Manager: Katrina Chan
Assistant Stage Manager: Chan On Ki Wardrobe: Teresa Hung
Stage Crew: Liu Ling Kei, Yim Chi Chung Chim Man Lung, Mak Kin Keung
Stage Interns#: Wong Lik Yan Jireh, Chan Ka Chun, Lee Ka Leung Video Archive#: Ng Yuen Kiu, Lee Wai Tai, Kwan Man Keung Dick, Wong Hoi Ming, Lau Hing Chung, Chu Kin Fung # Students
from Higher Diplomer in Audio-Visual Entertainment Technology (AVET), Department of Information Technology, Hong Kong Institute of Vocational Education (Lee Wai Lee)
Photographers: Vic Shing, Kwong Lam
Graphic Designers: Pollux Kwok, Stephanie Loo, Pangpang Lu, Glenis Wong
English Translation (Printed Matters): Vicky Leong
19
鳴謝 Acknowledcement：
20
香港兆基創意書院
香港演藝學院戲劇學院
HKICC Lee Shau Kee School of Creativity
School of Drama, HKAPA
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
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.
牟利慈善文化團體，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。
21
助理藝術總監：陳浩峰 Member of the Hong Kong Council of Social Service
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 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, Luka Wong Assistant Programme Manager: Ho Yin Hei Programme and Art Administration Trainees: Rachel Chak, Clement Lai, Stephanie Loo
22
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。
《看不見的城市》待用門票受惠機構 • 香港女障協進會 • 明愛展晴中心 • 明愛蘇沙伉儷綜合家庭服務中心 • 明愛培立中心 • 香港中華基督教青年會 • 康和互助社聯會 • 香港小童群益會賽馬會油塘青少年 綜合服務中心
進念通識及藝術教育計畫參與學校 • 香港李寶椿聯合世界書院
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 • Caritas Dr. & Mrs. Olinto de Sousa Integrated Family Service Centre • Caritas Pelletier Hall • Chinese YMCA of Hong Kong • Concord Mutual-Aid Club Alliance • The Boys’ and Girls’ Association of Hong Kong Jockey Club Yau Tong Children Youth Integrated Services Centre Participating School of Zuni’s Liberal Studies
• 寧波公學
& Arts-in-Education Programme
• 嘉諾撒培德書院
• Li Po Chun United World College of Hong Kong • Ning Po College • Pui Tak Canossian College
23
學員筆記 Performers' Notes
蔡雨田 Choy Yu Tin
傳理系學生，熱愛表演藝術，包 括戲劇，舞蹈。享受舞台上的張 力和與觀眾互動方式，希望可以 用自己感染他人反思生活上的細 節和關係。除了舞台演出，亦有 參與微電影的演出。相信藝術並 非只存單一模式，熱衷嘗試不一 樣的體驗，發掘更多可能性。認 為有藝術的生活能活得更精彩。 為了達成夢想，以賣藝的方式遊 歷歐洲體驗當地藝術文化，擴寬 視野。 香港對我來講是重要的。生活在 香港自然有種責任期望它會更好 更 進 步 。 雖 然 充 滿 未 知， 但 我 仍然會繼續留下來。
24
I'm a student of the Department of Communication. I love performing arts passionately, including theatre and dance. I enjoy the tension on stage and the interactivity between actors and audience. I hope I could make others reflect on the details and relationships on life. Besides performing on stage, I also participate in acting in short films. I believe that arts does not exist in only one form, and thus I like to experience different things to explore more possibilities. I think that arts can make life more colourful and exciting. In order to realise my dream, I'd like to travel around Europe while busking and experience different local cultures to widen my horizon. Hong Kong is important to me. Living in Hong Kong naturally gives me a sense of responsibility to make it a better place. Though the future is full of unknown, I still want to stay here.
余在司 Joyce Eu
我係余在司，我喜歡在劇場上表 演去挑戰自己跳出另一個世界去 做不同東西去令人覺得我可以去 發現多啲舞台藝術。
I'm Joyce Eu, and I love to perform on stage, and challenge myself; to jump into another world and do different things to make people realise that I could discover more theatre arts.
25
羅凱盈 Law Hoi Ying, Vicgina
曾經是一名公共行政及管理課程 學生，畢業以後升讀文化管理學 系。世界需要更多創意空間，我 懂； 不 應 限 制 藝 術 發 展 的 可 能 性，我懂。原來，人生尤如鬧劇 一場。生於如此荒誕，如此動盪 的世代，大概我們是懷著同一理 想。 衝 出 操 場 以 後， 踏 入 人 來 人往的城市。沿路尋找屬於我們 的烏托邦。曾經同在操場裡經歷 百 態 風 光， 確 信 有 一 天 您 我 總 會回味過往遊玩光景。您，看得 見嗎？
26
I used to study public administration and management, and I furthered my studies in cultural management after graduation. I understand that the world needs more creative space; I understand that there shouldn't be restrictions for arts development. It turns out life is but a farce. Life is absurd, and in such tumultuous times, we probably share the same ideal. After we leave the playground, we'd step into a busy city. We'd all look for our own utopia. We have experienced various ups and downs in our playground, and I'm sure one day we'd all reminisce on our past. Can you see that ?
劉皓琳 Lau Ho Lam, Phoenix
我 係 香 港 兆 基 創 意 書 院 讀 書， 主 修 設 計 和 表 演 藝 術。 我 比 較 喜 歡 Drama，因為我認為在 Drama 中， 我是在代入了角色的人生，甚至能 夠左右那個角色的一生。 我 是 一 名 對 政 治 冷 感 的 人， 也 不 太熟悉政治。可能，你會跟我說： 「有沒有搞錯！這是你一直居住的 城市，你怎能夠這樣子！」我的家 人也是對政治非常非常冷感的人。 對比起他們，我是一個對政治比較 有熱情的人。有時，對他們也只是 一種娛樂。例如在「等埋發叔」的 這次事件中，家人總會笑他們很愚 蠢，不懂得計好數才離席，卻不會 深入討論這次事件。 但是，如果真的要我想我擔心香港 什麼，我會答： 「我不希望香港會 變成一個封閉的城市，變成一個不 會進步的城市。」 到香港真的是要準備發生我所擔心 的事，我可能會選擇移民。因為， 我對「爭取」這個詞語，實在太過 模糊了。
I'm a student from Lee Shau Kee School of Creativity, and I major in design and performing arts. I prefer drama because in drama I enter the life of my character, and I could even affect its life. I'm not interested in politics and I don't know much about politics. Perhaps, you'd say, “What the heck! This is the city you live in. How could you!” My entire family is also very impassive towards politics, and when compared to them, I'm quite passionate about politics. Sometimes, politics is just entertainment to them. For example, in the farcical incident of “Waiting for Uncle Fat” in casting votes for the electoral reform package by legislators, my family made fun of the stupidity of the pro-establishment party, laughing at their inability to count the number of their members before vacating the chamber, yet they would not discuss the matter in depth. If you ask me what my concern for Hong Kong is, I’d say, “I don’t want Hong Kong to become a closed city, a city with no progress.” When Hong Kong is about to become what I fear, I'd choose to leave for another place because I have no faith in the word “fight” which is all very blurry to me. 27
許文壕 Hui Man Ho, Ben
許文壕，劇場，我們，香港，都 不存在無限可能性。
Hui Man Ho, theatre, we, Hong Kong, are all full of infinite possibilities.
無限的錯覺，源於我們看不見，
Unlimited illusions, springing from what we cannot see,
留守著舊有已見的有限可能性， 探索未知的「無限」快樂非常。
「生也有涯，而知也無涯。以有 涯隨無涯，殆已！」 曾為此失去動力的我找回只因快 樂而學習的操場。
Limited possibilities of holding on to old beliefs, Extremely happy in exploring the “boundless” future.
Life is limited, yet knowledge is unlimited. Chasing something unlimited with limitation, that's harmful !” Because of this, I was once despondent, but now I have found a playground where I pursue knowledge with happiness.
28
謝昊丹 Tse Ho Dan, Daniel
在劇場一直探索自己的可能性， 如今從模仿別人走回最原點 : 由 自己出發。這幾個月與各種背景 的人交流、了解不同的思想，或 是欣賞各人獨特的出發點，更因 為各人的不同而肯定自己應該所 堅持的。由一開始的迷茫，問自 己有甚麼想表達、自己是甚麼， 到 坦 率 地 從 自 己 的 身 體 出 發、 最真切感受自己的身體與極限， 如今我終於確確實實的站在舞 台上。
I have been exploring my possibilities in the theatre, and now from imitating others I return to the point of origin: to start off from myself. For the past few months, I have been exchanging with people with various backgrounds, trying to understand different ways of thinking, or appreciating the unique starting point of everybody; and because everyone is different, it makes me realise that I should uphold what I have been insisting. In the beginning, I was all dazed and confused, asking myself what I was trying to express, and what I really was. Then, I became frank with myself and started off with my own body, truly feeling my body and its limits. Now, I am finally standing on the stage indeed.
29
吳思琪 Ng Sze Ki, Suki
我就讀香港兆基創意書院，除了 四科主科外，還讀了視覺藝術和 中國歷史。 我喜歡看小說，亦喜歡每逢暑假 去看不同類型的舞台劇。我覺得 最好看的是舞蹈劇和音樂劇。我 自信心雖不足，但我會鼓足勇氣 做到最好。 我 希 望 香 港 能 接 納 更 多 和 DSE 考 出 來 的 證 書， 例 如 :DCA 等， 讓其他對另類的活動有特別成就 外，有更多的機會發掘自己的興 趣，並發展自己的所長。 我希望自己有更多時間去參加不 同類型的舞台劇工作，特別是台 前，因為我認為我在舞台上才是 最有自信的時候。我希望我未來 也能繼續在舞台上表演，成為我 的主要職業。
30
I'm studying in Lee Shau Kee School of Creativity, and besides four major subjects, I am also studying visual arts and Chinese history. I love reading novels, and I enjoy watching different types of drama during summer vacation. I think dance theatre and musicals are the best. I don't have much confidence, but I'd summon up all my courage to do the best I can. I hope Hong Kong would accept more certificates out of DSE, such as DCA, so special achievement could be obtained for other alternative activities, and we could have more opportunities to explore our own interests and develop our strengths. I hope I could have more time to participate in different types of theatre work, especially on stage because I think I have most self confidence when I'm on stage. I also hope I could continue to perform on stage in future, and it would become my profession.
鄧佩珊 Jessica Tang
我 看不見 你 看不見嗎 我 看得見 你 看得見嗎 我 看不見 你 看得見嗎 我 看得見 你 看不見嗎 看不見嗎 看得見嗎 灰色 扭曲 撕裂 默染 真相
看不見嗎 看不見嗎 看不見嗎 看不見嗎 看不見嗎
I cannot see you can't see ? I can see you can see ? I cannot see you can see ? I can see you can't see ? Can't you see ? Can you see ? Gray Twisted Torn Ink stain Truth
Can't you see ? Can't you see ? Can't you see ? Can't you see ? Can't you see ?
This beautiful city you can't see ?
這 美麗 的 城市 你 看 不 見 嗎
31
黃美淇 Wong Mei Kei, Maggie
我是黃美淇，花名教主。這名稱的 原由是一段中學很無聊的改名歷 史，但或許大家都有經歷過這段清 澀歲月。在此就不多提了（笑） 現時是一名無業份子，但很享受這 段給自己休息和沉澱的時間。對劇 場 實 在 是 又 愛 又 恨： 愛 它 的 多 變 性、發掘性、實驗性；恨它的限制 性、競爭性、即時性。以前的我愛 在劇場尋找自己的多樣性和限制， 現時則在思考劇場背後的教育性和 對社會的影響和意義。恨的或許就 是 劇 場 太 沒 有 準 則， 競 爭 相 當 激 烈。 劇 場 總 是 令 人 不 安 卻 又 期 待： 不論是觀眾的反應、和對手的交流 及舞台效果和裝置，每一刻都是即 時、真實而又富生命力。在香港這 個即食的金融社會，到底表演藝術 又會如何發展和變化呢？該不會將 來有一天只能用普通話演出紅劇？ 但不論如何，生於斯、長於斯，我 相信現時做好每一個演出，將小小 的種子帶給香港觀眾永遠是重要而 艱辛的任務。喜愛、嘗試、以為成 功、意識不足、失敗 ... 卻每每寄望 32
進步。只是希望有幸在不同的崗位 中遊走，學習更多、領會更多、吸 收更多，利用這些養份，成就這條 路上的風景。
I am Wong Mei Kei , and my nickname is “commander�, which came from secondary school days when we did lame things like giving nicknames. I'm sure all of you have gone through times like that. I’m now jobless, and I enjoy this very much because it gives me time to rest and reflect. I have a love-hate relationship with theatre. I love its versatile, explorative, experimental nature; but I hate its restrictive, competitive and spontaneous attributes. I used to enjoy finding my diversity and restraints in theatre, but now I rather ponder upon its educational nature, social influence and significance. What I hate about theatre is that it is too loose, without set criteria, and it is highly competitive. It is always very disturbing, but is most anticipated at the same time: no matter it is the reaction of the audience, exchanges of actors, stage effects and installations; every moment is the immediate, so real and so full of life.
will be in Putonghua and China oriented? No matter what, I was born and raised here, and I believe that the most important and arduous task now is to do well in every performance in sowing little seeds for the audience of Hong Kong. Loving, attempting, mistaking deeds as success, lacking awareness, failing...all lead to improvement. I only hope I could engage in different posts, learn more, understand more, absorb more and use these nutrients to pave a better path for future scenic views.
Hong Kong is a financial city which lives at the instant, and so how would performing arts change and develop? Will there be a day when all performances 33
蔡梓麟 Choi Tsz Lun, Pluto
現 在 我 是 一 張「 白 紙 」 ，但並不 是指我甚麼也不懂，因為身為一 張「白紙」 ，便可完整吸收現在新 學的知識，不被舊有的的知識束 縛，不過就算是學過的知識，不 同人教也有不同，化為一張「白 紙」再學，便可順利更新，並且 我相信，這在表演藝術外也是可 能的。
34
Now, I'm a piece of “white paper”, but that doesn't mean I do not know anything, because as a piece of “white paper”, I could absorb newly learned knowledge without being restricted by former old knowledge. Learned knowledge would vary depending on who taught it, but if I turn into a piece of “white paper” I could learn anew and update. I also believe, it works this way as well in other things besides performing arts.
莫東裕 Mok Tung Yu, Kitty
姓名 : 丸子
Name: Little Balls
創意編號 :013
Creative Number: 013
現任創意操場的一年級學員
First Grade student of Creative Playground currently
正接受創意訓練
Under creative training
還是一名新生
Newly recruited
請多多指教！！！
I've got a lot to learn !!!
35
何嘉翹 Ho Ka Kiu, Hazel
香港兆基創意書院的學生，
Student of Lee Shau Kee School of Creativity
不喜歡介紹自己，
Don't like introducing myself,
因為自己還在研究自己。
36
Because I am still learning about myself.
隋夢緣 Tsui Mung Yuen
癸巳年六月初八，民女於樓下街 角 轉 彎 口， 與 隋 性 女 子 以 頭 撞 頭，其後靈魂對掉。其實我對這 個女子亦認知不深，要寫出一份 簡介實在太過強人所難。另，若 有見字者精通神秘學，民女跪求 一 救， 好 讓 民 女 返 回 神 麚 二 年 ( 己巳 )，代父從軍，一表孝義。
On the eighth day of the sixth month in the year 2013 After Christ, my humble self and a dame named Chu ran into each other at the corner of the street down below and my head bumped into hers, and hence an exchange of our souls took place. In fact, I know not too much about this lady, and thus it would be a Herculean task to give a brief introduction of such person. Other than that, I humbly bag any reader who might be well versed in mysticism, please transport me back to the year of four hundred and twenty nine, so I could fill my father's place to serve in the army, as a token of my filial piety.
37
蘇權威 Handsome So
「 四 方 上 下 曰 宇， 古 往 今 來 曰 宙。」時間與空間，是我們認知 的地球。有人想衝出地球，探索 宇宙，找片樂土。 他 說， 那 星 在 1600 萬 光 年 外， 所 以 我 們 看 到 的 光， 飛 了 1600 萬年，它應該很累吧。我們是如 此想像地球外的「空間」 。 星真的在那裡？我們又在何方？ 我們是人類，看到星在天外，只 是我們人類的閱讀，只屬於我們 的 思 維。 如 世 界 真 有 外 星 人， 「 他 們 」又 會 有 不 同 的 理 解， 其 他狀態或者毫無狀態。那星不在 1600 萬 年 外， 就 只 在 我 們 的 思 維中。 我想成為勇者！ 我想改變世界！ 我要真普選！ 就此改變
38
The universe includes whatever is above and below, to the right and to the left; whatever is in the past, the present and the future. Time and space, what we know of the world. Some people want to fly away from the planet Earth to explore the universe and find a Xanadu. He says that the star is 16 million light years away, and so the light we see has travelled 16 million light years. It should be very tired. This is how we imagine the “space” outside our world. Is the star really there ? And where are we ? We are humans, and we see stars in the sky; but what we read is limited by what we think. If there were really aliens out there, “they” would have different understanding, other states of being or without any state of being. That star is not 16 million light years away, it is only in our mind. I want to be brave ! I want to change the world ! I want real universal suffrage ! Change now
劉柏姸 Lau Pak Yin, Staphanie
作為一個剛離開大學，走出社會 的年輕人，生活在香港，這個國 際金融中心，面對著種種社會問 題，我覺得這一代的香港年輕人 比上一代更難找到一份稱心如 意的工作，大家都想過著悠哉悠 哉的生活，漸漸不禁愛上咖啡文 化，不少年輕人都想開一間屬於 自己的咖啡店，而我也不例外， 跑去當了咖啡師一段日子，學得 一門沖調咖啡技術。現在會打理 裝修公司生意，亦會在赤柱一間 法國小店工作。對如何將藝術融 入生活有很深的體會，上年開始 參與實驗性劇場的我亦對表演藝 術多了一份好奇，慢慢朝著生活 的藝術探索。
As a fresh grad, a young man, stepping into society in Hong Kong, an international finance centre with all sorts of social problems, I think young people of this generation have more difficulties in getting an ideal job than the previous generation. Everybody wants a leisure and carefree life, and gradually falls in love with coffee culture. A lot of young people want to have a coffee shop of their own, and I am no exception. I went to learn how to make coffee and became a barista for a while. Now, I'm running a renovation company, and work part time in a French small shop in Stanley. I have quite some understanding of how to bring art into life. I started to participate in experimental theatre last year, and my curiosity for performing arts has been growing. I am slowly exploring the arts of life.
39
關楚婷 Kwan Chu Ting, Simony
一個簡單的動作，一句簡單的句 子，兩人的協調，就已經是表演。
One simple movement, one simple sentence, two people acting in harmony, this is performance already.
40
41
42