進念．二十面體 2004/05年報 Zuni Icosahedron 2004/05 Annual Report by Zuni Icosahedron

Zuni Icosahedron

Annua l Report 2004-05

進念．二十面體二零零四至零五年度報告

《東宮西宮２００４之開咪封咪》 East Wing West Wing - Mic On!!! Mic Off!!!

目錄 CONTENTS P.04 P.05 P.08 P.10 P.14 P.16 P.20 P.22 P.36 P.44 P.58 P.62 P.68 P.72 P.74 P.76

進念簡介 INTRODUCING ZUNI 主席報告 CHAIRMAN’S REPORT 藝術總監的話 ARTISTIC DIRECTOR’S NOTE 全年活動概覽 PROGRAMME 2004-2005 演出 PERFORMANCE 國際文化交流 INTERNATIONAL CULTURAL EXCHANGE 創意教育 CREATIVE EDUCATION 其他活動 OTHER ACTIVITIES 各方評論 REVIEWS AND NOTES 核數師報告 AUDITOR’S REPORT 組織架構 ORGANISATION STRUCTURE 鳴謝 ACKNOWLEDGEMENTS 全年活動一覽表 ACTIVITY CHART 2004-2005

進念．二十面體為香港非牟利慈善文化團體。自一九八二年成立以來，一直致力拓展香港文化藝術新領域，積極推動藝術教育及國際文化交流，並主催藝術評論與及文化政策研究等工作。多年來，在會員的經濟支持下，已發展為香港其中最具代表性的國際藝術團體，曾獲邀前往演出的城市遍佈及歐、亞、美等地三十多個城市。至今，進念製作了超過一百多齣各種形式的劇場原創作品，並活躍於發展電子媒體及跨媒體等新類型的藝術模式。一九九九至二零零五年，進念先後獲得香港藝術發展局兩個三年資助，致使它的行政運作能更全面地支持其創作活動。二零零零年與柏林和香港的文化團體及政府組織合辦的「香港／柏林當代文化節」，更為首個歐、亞兩地跨城市的大型文化交流活動，開展了國際文化交流的新視野。二零零五年，進念獲藝發局邀請提交二零零六至零九年度第三個三年計劃書。宗旨及目標建立香港為實驗戲劇的國際交流中心－主辦、合辦或協辦更多重要的實驗戲劇和藝術交流活動，邀請中港台、歐美及其他國家的藝術工作者參與；－持續推動中國傳統戲曲，以及媒體藝術工作者的發展合作和交流；－與國內外的戲劇創作和教育團體建立長期性的合作關係。普及社會對戲劇和實驗藝術的認識透過多元化的學校藝術教育工作、公開講座、出版計劃等，繼續提升青少年及市民大眾對戲劇和實驗藝術的認識。成為藝術水平達世界級的實驗戲劇團體深化專業營運、鞏固及加強創作班底，以及建立固定演出場地，都能大大幫助藝術水平的提升。培訓多方面的藝術專業人才多元化的演出和教育活動，提供了一個理想的平台去發掘和培訓更多年青的創作、策劃、技術和管理人才，支援香港創意產業、西九龍文娛藝術區等重要發展項目。

進念簡介

Zuni Icosahedron, founded in 1982, is an independent cultural collective. In the past twenty three years, this membership-supported organisation has played a vital role in developing new frontiers for the cultural scene in Hong Kong and abroad. Zuni has produced more than 100 original productions of alternative theatre and multi-media performances, and has been active in video, sound experimentation and installation arts, as well as in the area of art education, art criticism, art policy research and international cultural exchange. From 1999 to 2005, Zuni was given two 3 Year Grants by the Hong Kong Arts Development Council to facilitate its creative operation. Entering the new millennium, in liaison with other cultural organisations and city governments, Zuni co-produced the cross-city cultural festival â&#x20AC;&#x153;Festival of Visionâ&#x20AC;? held in both Hong Kong and Berlin. In 2005, Zuni was invited to submit the third 3 Year Proposal to the Hong Kong Arts Development Council. Missions and Objectives: To establish Hong Kong into a centre for experimental theatre and international cultural exchange - To produce, present and co-present more activities for experimental theatre and exchanges of arts and culture - To continue to promote Chinese traditional operas, and to develop cooperation and exchanges with artists of different media - To develop a long term relationship for collaborations with various theatre and creative education organisations in China To make theatre and experimental arts more extensively known to the public To continue to increase the knowledge of young people and the public on theatre and experimental arts through pluralistic creative education in schools, talks and publications To turn Zuni into an experimental theatre group with a world-class artistic level To establish a stronger professional operation in our company; to consolidate and reinforce our creative team; and to secure a permanent venue for our group so as to enhance our creative standards To nurture professional creative talents in various fields To present more diversified performances and education programmes in order to provide an ideal platform for discovering and fostering more young talents in the areas of creativity, planning, technical expertise, and management; and in so doing, give support to the creative industry in Hong Kong as well as important developing plans like the West Kowloon Cultural District.

Introducing Zuni

Introducing ZUNI

《２００４：香港漫遊》 2004: A Hong Kong Odyssey 06

Richard A Engelhardt

林懷民

UNESCO Regional Advisor for Culture in Asia and the Paciﬁc

雲門舞集創辦人及藝術總監

“Zuni Icosahedron is an important cornerstone in the strategy to promote Hong Kong SAR’s role as a centre of excellence for art development, in China, around Asia and across the globe.”

「進念二十面體的戲劇作品代表了香港中西文化交流的實驗及原創性精神，而且風格獨特，成績已獲國際上無數的藝術節和評論的讚譽，既是香港首屈一指的實驗劇團，也是當代藝文發展重要參與者。」

趙有亮中國國家話劇院院長

「進念二十面體是香港戲劇界重要的實驗創作團體，受到了國內外實驗戲劇界的重視。進念的戲劇作品代表了香港中西文化交流的實驗及原創性精神，對國內觀眾及實驗戲劇界都極具啟發性。」

Mary Lee Turner

Executive Director, Asia Society Hong Kong Center

“Over the years, Zuni Icosahedron have established themselves as one of Hong Kong’s most innovative theatre and experimental arts groups.Zuni have also played an important role in promoting cultural exchange, arts education, and cultural policy awareness in Hong Kong and the region.”

JP Nathan

Director of Programming, Esplanade, Singapore

“Zuni’s active drive in the pursuit of artistic excellence and ground-breaking work has been one of the contributing factors for Hong Kong’s progressive and dynamic arts environment.”

榮廣潤上海戲劇學院院長

「多年來，進念致力推動香港與國內建立長期性的創作及合作交流關係，其專業的多媒體創作及跨文化戲劇教育及交流計劃，在香港及中國內地的戲劇發展過程中，扮演著非常重要的角色。」

主席報告靳埭強

進念．二十面體自一九八二年成立至今，經歷

在實驗戲劇演出方面，進念近年發展出四個

了不同階段的成長。我們已經由二十多年前一

專門系列──社會劇場、多媒體音樂劇場、

個實驗藝術合作社的形式，發展成為今日這個

實驗傳統及普通話劇場。本年度，進念策

專業並全面的藝團，既專注於高質量的藝術創

劃和製作的五個本地演出製作及三項外地

作，也關注整個文化生態的健全發展，實踐文

演出，繼續朝著這四個藝術方向發展，包

化工作者維護公民社會和公共空間的義務。進

括：緊貼時代脈博，以社會時事及現象為

念從一九九九年起先後兩次獲得香港藝術發展

主題的社會劇場系列《東宮西宮之開咪封

局的三年計劃資助，致使我們的行政運作能更

咪》；以劇場為本，透過數碼影像、音樂和

全面地支持我們的創作活動。二零零四至零五

舞台裝置為觀眾創造全新劇場經驗的多媒

年度，正值進念完成藝發局第二個三年資助，

體音樂劇場《2004：香港漫遊》；探索中國

並獲藝發局邀請提交第三個三年計劃書之際，

傳統戲曲與當代藝術結合的實驗傳統系列

我們在回顧過去一年的工作之餘，亦正好趁此

《浮士德 vs 浮士德》，及應邀在挪威奧斯

機會總結過往六年的經驗與成績，以促進未來

陸音樂廳舉辦的「中國文化周」中演出的

的發展。

《夜奔》；及與中國國家話劇院合作的多媒體音樂普通話劇《半生緣》。這個演出繼二零

進念以實驗精神為創團基礎。實驗的目的，

零三年在香港上演後，本年度分別前往台北

在於改革與創新。進念的創作以不同藝術類

及北京重演。這次跨越兩岸三地的突破性交

型作為實驗起點，逐漸綜合為多媒體的原創

流演出，有助進念日後進一步拓展國內及外

舞台演出，近年更配合以多層次的藝術教育

地市場。另外，進念更於本年度與不同的藝

及國際文化交流活動，文化政策研究及出版

術團體進行跨界別合作，其中《四季》就是

評論雜誌。本年度，進念各項計劃的本地和

進念與香港小交響樂團合作的跨媒體音樂演

海外參與者、觀眾和讀者人數估計超過十萬

出；至於《大娛樂家》則是由進念主辦，非

人次，其中尤以演出觀眾的人數增長幅度最

常林奕華製作的喜劇演出。

高。不過，我們並不單以參與人數來評估自己的工作表現，更以前瞻性的視野，創新的思維，為團體本身以至社會整體文化環境，謀求進步並推動長遠的發展。

主席報告

自創團以來，進念積極策劃和參與多元化和

進念普及藝術的工作，同時藉著出版文化雜誌

多層次的國際文化交流活動，目的不限於

《E+E》進行。《E+E》旨在建立一個知識的平

提升本身的藝術和創意水平，也嘗試在中華

台，每期均專題研究一個與本土文化與社會有

文化的未來發展方面貢獻力量。本年度，進

密切關係的課題，加深公眾對文化藝術認識之

念主要從三方面進行文化交流計劃，在海外

餘，更讓作者和讀者在這個平台上就不同的課

演出的同時，亦在香港藝術發展局的委約

題進行交流和討論。為了進一步開拓發展空

支持下，完成兩個促進本地與內地藝術家

間，《E+E》從第九期起將發行網擴闊至書報攤

進行交流與合作的計劃──「尋找新中國／

及書店，讓更多朋友有機會閱讀這本雜誌。另

新香港－中港實驗戲劇發展交流計劃」及

外，進念亦於本年度繼續與１ａ空間合作舉辦

「藝術家訪港計劃」。此外，進念成員更先後

「牛棚書展」，推廣閱讀風氣。

應邀到不同城市參與不同類型的外訪活動和國際文化交流會議，包括「世界文化論壇」、

進念過往二十多年的發展成果，除了是進念

「文化多樣性國際網絡」和「城市文化交流

各核心成員的努力外，更有賴政府、商界、

會議」等。

專業人士、學術界和民間的支持和鼓勵。而進念的董事局成員，也是以義務形式協助進

創意教育是進念的另一重點工作。進念一直

念各方面的工作。同時，進念亦得到很多朋

透過不同類型的創意教育計劃向公眾及青少

友以義務形式協助推行各項活動。因此，我

年推廣各種藝術形式，更針對啟發青少年

們謹在此感謝過往曾經支持進念的贊助者、

的創意發展，創辦了兩個分別以視覺藝術

合辦者、會員、義務工作人員，以及各項活

和表演藝術為主導的「黑箱作業」及「多媒

動的參與者和觀眾。

體戲劇教育計劃」。前者的發展已由本地擴展至海外，成為國際間備受重視的藝術教育

展望將來，進念將繼續其實驗精神和獨立的原

計劃，本年度進念成員就應邀往日本福岡進

則，為香港戲劇藝術注入新的元素、推動藝術

行工作坊及展覽；後者已在中學推行了五

教育和藝術普及的工作、建設和開拓香港與內

年，每年均以不同主題帶領中學生參與戲劇

地及國際間文化藝術交流的橋樑，發揮藝術團

創作，曾參與學校超過六十間。本年度，

體促進社會發展的力量，為香港的文化藝術以

以「張愛玲愛看的」為創作主題的計劃完成

至整體社會的長遠發展而努力。

最後階段的聯校演出，而以「香香港漫漫遊」為題的新一輪計劃亦在本年度展開。為了讓曾經參與進念工作坊的青少年進一步得到實踐及創作的機會，進念繼續推行自去年開展的「進念青年實驗演出計劃」，並在本年度舉辦了兩次小型演出。另外，進念亦參與由康文署主辦的學校文化日，舉辦《浮士德 vs 浮士德》學生專場，為青少年提供一個欣賞戲劇的機會，培養他們對藝術的興趣。

Chairman’s Report

CHAIRMAN’S REPORT Kan Tai-keung

Since its inception in 1982, Zuni Icosahedron has experienced different stages of development. Zuni was once a form of experimental arts co-op more than 20 years ago, today we have evolved into a professional and all rounded arts organisation. We focus on high-quality arts performances, and we also address to the robust development of the cultural environment as a whole, taking up responsibilities as a cultural worker in maintaining public space and a civil society. Since 1999, Zuni has been funded twice by the 3-YearGrant of the Hong Kong Arts Development Council; our administrative operations were therefore able to provide more extensive support to our creative activities. The year 2004 / 2005 happened to be the year that Zuni completed the second 3-Year-Grant supported by the Arts Development Council, and at the same time, we were invited by the Arts Development Council to submit the third 3-Year-Grant proposal. While reviewing our work in the past year, we also take this chance to summarize our experience and achievements in the last six years, so as to further our development in the future. Zuni was founded on the basis of being experimental in spirit. The aim of experiment is to reform and be innovative. Using various art forms as a starting point in the process of experimentation, the works of Zuni have gradually evolved into genres of original multi-media stage performances. In recent years, multi-level arts education, international cultural exchange

主席報告

activities, cultural policy studies and publishing commentary magazine, have also been used to complement our strategies. Last year, the total number of participants and readers of Zuni’s activities and publications, local and overseas, amounted to 100,000, in which the highest growth was seen in the audience number in performances. Nevertheless, we would not use numbers as a yardstick for measuring our performances and achievements. Rather, we would seek progress and promote long-term development with a visionary perspective and an innovative mind. In the area of experimental theatre performances, Zuni has developed four speciﬁc series in recent years – the social theatre series, the multimedia music theatre series, the experimenting traditional Chinese operas series, and the Pu Tong Hua drama series. Last year, Zuni planned and created ﬁve local productions and three overseas performances, and continued to progress towards these four directions in arts. These include “East Wing West Wing – Mic On!!! Mic Off!!!”, an episode of the social theatre series based on current affairs and happenings in the society which grasped the pulse of the era; “2004: A Hong Kong Odyssey”, a theatre-based multimedia music performance that brought brand new theatre experience to audiences through digital images, music and stage installation creation; “The Little Little Faust”, an experiment on the merging of traditional Chinese opera and contemporary arts. “Fleeing by Night” was invited to be staged

in Norway’s Oslo Concert Hall for the Norway Chinese Festival presented by the Kinesisk Kultur Festival; while “18 Springs”, a multi-media music performance in Putonghua, was a collaboration of Zuni and the National Theatre of China. After its Hong Kong performances in 2003, last year, re-runs of this performance were held in Taipei and Beijing respectively. This ground-breaking exchange performance across the strait helped Zuni further develop both the Mainland China and overseas market. On the other hand, Zuni had carried out cross-sector collaborations with various arts organisations last year. “The Four Seasons” was a cross-media music performance co-presented by Zuni and the Hong Kong Sinfonietta; while “The Great Entertainer” was a comedy performance presented by Zuni and produced by Edward Lam Dance Theatre. Since our inception, Zuni has been very active in planning and participating in diversiﬁed and multi-level international cultural exchange activities. Our aim is not only to enhance our art and creative level, but also to attempt to contribute to the future development of Chinese culture. Last year, Zuni carried out cultural exchange programmes in three aspects, besides overseas performances, with the support of the Hong Kong Arts Development Council, we completed “In Search of Modern China / Hong Kong” and “Artist in Residence”, the two programmes that facilitated exchanges among the local artists and those from China. In addition, Zuni’s members were invited to different cities to participate in various overseas visits and international cultural exchange conferences, including “World Cultural Forum”, “International Network for Cultural Diversity” and “City-to-city Cultural Exchange Conference”.

Creative education has always been one of our company’s priorities. Zuni has been popularising and promoting all kinds of art forms to the public and youth through various types of creative education programmes. In order to enlighten the creative development of the youth, we started “Black Box Exercise” and “Multi-media Theatre Education Programme”, two programmes that are visual arts oriented and performing arts oriented respectively. In the former, we had expanded from local to overseas, and became an internationally recognized arts education programme. Last year, Zuni’s members were invited to present workshops and exhibitions in Fukuoka, Japan. In the latter, we carried out the programme in secondary schools for five years. Each year a different subject matter was used to lead the secondary school students to participate in drama creations, and the number of participating schools amounted to 60. Last year, the programme with the topic “Eileen CHANG Loved to See” finished its last stage as joint-school performances; and the “Come Come Comics” programme also started its new season. To provide the young people who had participated in our workshops with more opportunities to realise their creative dreams, we continued to carry out the “Zuni Youth Experimental Performance Programme” we started the year before, and presented two smallscale performances. On top of that, Zuni also participated in the School Culture Day presented by the Leisure and Cultural Services Department, and presented one performance of “The Little Little Faust” specifically for students, providing an opportunity for the young people to appreciate drama, as well as enhancing their interests in arts. While carrying out our work in popularising arts, Zuni also publishes a culture magazine, “E+E”. “E+E” aims at providing the public with

Chairman’s Report

a platform of knowledge, with a featured topic in each issue that is closely related to local culture and society, widening the knowledge of the public on arts and culture, as well as giving a space for both writers and readers to exchange discussions on various topics. Starting from the 9th issue, “E+E” expanded its distribution to newsstands and bookstores, enabling more people to read the magazine. In addition, Zuni continued to co-present “Cattle Depot Book Fair” with “1a space” to promote a tendency and an ambience for reading. What contributed to the development and success of our company for more than 20 years were the continuous support of our members as well as the encouragement and assistance from the various sectors including the government, the commercial sector, the professionals and academics and the various civil supports. And every member of the board is contributing voluntarily in different aspects of Zuni’s work. Meanwhile, there are also great supports from the friends and partners of Zuni in promoting all our programmes on a voluntary basis. Thus, we would like to take this chance to thank all our sponsors, co-presenters, members, voluntary workers, and participants and audience in our various activities. Looking ahead into the future, Zuni plans to continue to strive with our spirit and principles of being both experimental and independent in infusing new elements into the experimental theatre arena, in promoting arts education and popularising arts, and in developing international cultural exchanges in order to work for the arts and cultural development of Hong Kong in the future.

主席報告

《半生緣》 18 Springs

Chairman’s Report

藝術總監的話榮念曾

在七十年代回到香港後，我自覺到自己的大學

在國際文化交流中，要真正推動文化多元，

本科──建築和城市設計工作的舞臺太狹窄太

首先文化策略應超越政治，由下而上，平等

規限，而文化藝術的舞臺能引發的空間相對比

互動地向公民社會邁進；這樣才能避免在過

較自由和辯證；但是，如果我沒有建築和城市

程中出現霸道的強勢文化形像。一國兩制的

設計的專業教育和實踐這些經歷的話，我想我

出現本應是確認文化多元的機會，但是香港

就不會對自由和辯證這麼嚮往。其實所有行業

的政客們對文化無知，只會一面卑躬屈膝用

都是一樣，如果沒有自由和辯證，只會墨守成

一本多元討好中央文化以示效忠，浪費了一

規的話，那就永遠沒有跨越和創新、發展和進

國兩制的創意和實驗精神。

步，更別談文化視野和社會承擔的探索。另外，我們可能更該自問的是，自己對世界在進行多媒體藝術創作的時候，多媒體往往

文化多元發展的真正瞭解和對未來世界文化

被看成是工具，而藝術工作者所要表達與探

發展的確實承擔，例如世界文明衝突的問

索的藝術思考才是創作的主體。實在，多

題。我們也要提醒自己別單純由經濟角度、

媒體本身就是內容，它的出現和我們對它的

政治角度、民族主義、民粹主義、保護主

辯證，都是今天我們在文化上要面對及必要

義出發，對歐美強勢文化只作被動對抗的回

思考的問題。多媒體和文字及言語一樣，

應。要處理歐美強勢文化首先要做的工作是

是主體也是工具。如果只當多媒體文字言

用功瞭解分析所謂歐美強勢文化發展的來龍

語為工具而忽視它的本質，那就和穿名牌衣

去脈、機制的來源、運作的問題和背後的核

服只為名牌一樣，太後現代了。我比較接近

心價值；更重要的是發掘這強勢文化內部和

現代。「多」媒體這名詞的出現本身就是對

邊緣的另類辯證力量。

「單」媒體和媒體的一種評議。深入地看，也是對「單」媒體本質（的霸道）開始有看

在問這些問題的時候，其實我們也在問自己

法。同樣，多媒體藝術創作這名詞的出現

同樣的問題，譬如我們的政府對文化交流合

其實也是對藝術創作的評議，是對藝術創作

作的觀念和立場、它們的看法是否有世界文

本質開始有看法。無可置疑，有評議才有討

化視野、對多元文化能作甚麼承擔、文化交

論、才有發展的可能。不去學問問題就沒有

流合作是否已淪為政治花瓶的功能、我們的

「學問」這回事。

文化政策是否仍局限在政治短線利益和技術的層面。歸根究底，我們的政策訂定者，對多元文化互動發展要有充分研究和瞭解，才能跟上時代。

藝術總監的話

二零零四年九月底，進念在挪威奧斯陸，

從其歷史及發展的角度來看，進念很像一棵

「中挪建交五十年文化節」活動中作壓軸表

樹。有許多成員紛紛成立了自己的創作團體，

演──《夜奔》。我們是應挪威文化單位的邀

從不同的層面和角度對香港的文化發展貢獻著

請，緊跟在那些技術一流的內地傳統藝術家

自己的力量。而進念自八十年代中，便開始不

後，作具探索性的表演藝術；這樣的安排和

斷的拓展創意教育，因為這對培育我們下一代

組合實在是一次非常有意義的對比經驗。《夜

的創意實在太重要、太重要了。拓展創意教育

奔》是進念在崑曲基礎上解構崑劇，同時探

的工作離不開教育制度和政策的改革。今年年

討「革命」的問題、政治正確和劇場反思的

頭我們和聯合國教科文組織合作為亞太地區開

問題；因此，崑劇再不只是純技術的顯現。

了三天交流研討會，就是談這個問題。但是，

放在這樣的場合，就是要讓全世界知道，中

我們已不能再只是紙上談兵；要改善教育制度

國的表演藝術並非如2004奧運閉幕典禮出現

那麼龐大的機制，一定要從具體實驗開始。目

那些只有賣弄中國傳統技巧、充滿堆砌、缺

前我們在香港統籌建立一所直資、富實驗性

乏對傳統藝術反思的作品。當然，我們都知

的創意中學 1；雖然已經得到政府初步大力支

道要發揮中國表演藝術的當代性和前瞻性，

持，但還得在社會做大量的籌募款項工作，那

首先是文化管理階層要對文化當代性和前瞻

才真具挑戰性。

性有真正的認識。沒有反思辯證的文化，就沒有進步的文化；沒有反思辯證的文化，管理階層就沒有進步的文化管理階層。另外，進念和國家話劇院的五年合作計劃已展開。改編自張愛玲原著的《半生緣》已在二零零四年六月及二零零五年年初在台北和北京上演，這是開拓中港台三地合作創作的重要平台。同時，在文化網絡方面，進念正積極協助統籌二零零五年十二月在約旦舉行的世界文化論壇。

1 由香港當代文化中心創辦的香港當代文化中心李兆基創意書院，將於二零零六年九月正式開學。榮念曾為該創意書院的籌備委員會成員，進念亦計劃與書院進行合作，實踐各類型實驗創意課程，以推廣藝術文化。

Artistic Director’s Note

ARTISTIC DIRECTOR’S NOTE Danny Yung

After my return to Hong Kong in the 70’s, I found the scope of my studies, architecture and urban planning, too conﬁned and limited, while the arena of arts and culture could provide relatively a freer and more dialectic space. However, if I hadn’t acquired those professional trainings and practice, I think I would not have been so keen on freedom and dialectics. I think this applies to all other professions. If there were no freedom and dialectics, there would never be transcendence, innovation, development and improvement, not to mention the explorations of cultural vision and social responsibilities. In the making of multi-media arts, the multimedia are often being treated as a tool while the explorations and expressions of the artists would be considered as the content. Actually, the multi-media themselves are the content. The emergence of multi-media arts and its dialectic analysis are the exact issues we all have to deal with in culture. Just as texts and languages, the multi-media are both the content and the tool. If we consider them only as tools while neglecting its nature, then it would be like wearing the branded clothes for the sake of the brands only. It would be too postmodern. I relate myself more with modernism. The emergence of the term ‘multi-media’ is a comment on ‘single’ medium and the media in general. In a deeper level of understanding, the term ‘multi-media’ is also a comment or counter

藝術總監的話

measure for the domineering nature of ‘singlemedium’. At the same time, the emergence of the term ‘multi-media art’ is also a comment on arts and creativity. Undoubtedly, criticism brings forth discussions and the possibilities of development. If we do not learn how to ask questions, there will be no knowledge. On the front of international cultural exchange, in order to promote cultural diversity, first of all, cultural strategies should override politics, leading to a civil society through a bottomup, fair and interactive process. Hence, the situation of a domineering image could be avoided during the process. The existence of ‘One Country Two Systems’ should be a fine opportunity for affirming cultural diversity; however, the politicians in Hong Kong are very inadequate in culture, and only put forward the demeaning ‘Diversity with Identity’ cultural policy in order to demonstrate loyalty to the Central Government, squandering the creative and experimental spirit of ‘One Country Two Systems’ as a result. On top of that, we should ask ourselves how much we do know about the development of global cultural diversity, and how willing we are to take up the responsibilities of promoting global cultural development’, for instance, on the issue of global civilisation conflicts. We should also remind ourselves not to confine our perspectives on only the issues

of economics, politics, nationalism, populism and protectionism, and deal the domineering US/Euro culture with responses of a passive resistant nature. In order to deal with the domineering US/ Euro culture, the first step is to analyse and understand its origin, mechanism, operation and core values. What is more important is to find out more alternatives for dialectics within and around the culture. When we ask these questions about US/ Euro culture, we are asking the same questions about ourselves, such as ‘What are the Hong Kong Government’s ideas and stance on cultural exchange collaborations?’, ‘Is there any vision on global culture in their ideas?’, ‘What are their responsibilities for cultural diversity?’, ‘Are cultural exchange collaborations reduced to serving the function of being only a political decoration?’, ‘Are we still confining our cultural policies to the level of short-term political interest and technicality?’. After all, only when our policy makers actually fully understand the interactive development of cultural diversity, could we keep pace with our times. At the end of September 2004, Zuni was invited to present ‘Fleeing by Night’ in Oslo, Norway, as the finale performance in the Chinese Cultural Festival – A celebration of establishing 50 years of Chinese-Norwegian diplomatic relations. ‘Fleeing by Night’ was a performance with a spirit for exploration, and a collaboration of Zuni and a National Class performer of traditional opera from China. This juxtaposition of traditional and contemporary arts was a valuable experience and exploration. ‘Fleeing by Night’ was an attempt to de-construct Kun Opera on the basis of Kunqu (Kun songs). At the same time, the performance was an

examination of ‘revolution’, political correctness and the theatre art, demonstrating that Kun Opera was not only a pure presentation of techniques. The purpose of presenting ‘Fleeing by Night’ on such an occasion was to let the world know that Chinese performing arts is not only a showcase of techniques as shown in the Closing Ceremony of the Olympic Games 2004, where works of staged conventional Chinese acrobatic skills, lacking consciousness and reflections on traditional arts were presented. We all understand that in order to develop and enhance the contemporary and visionary nature of Chinese performing arts, it requires a true understanding of the meaning of ‘being contemporary’ and ‘being visionary’ in our cultural management. Without a reflective and dialectic culture, there will be no progressive culture or progressive cultural management. At the same time, the five-year plan between the National Theatre Company of China and Zuni commenced with the performance ‘18 Springs’, an adaptation of the novel of the same title by Eileen Chang, which was shown in Taipei and Beijing in Jun 2004 and Jan 2005 respectively. This performance set up a platform for the further development of creative collaborations among China, Hong Kong and Taiwan. On the side of cultural network, Zuni is working closely with the World Culture Forum to coordinate the 2005 December Meeting in Jordan. Looking at its history and development, Zuni seems like a tree that branches out its contributions to various aspects of local cultural development through different individual forces set up by its members throughout the years. Starting from the mid 80s, with the care of nurturing a creative young generation, Zuni

Artistic Director’s Note

has been dedicating itself to the development of creative education. At the beginning of this year, collaborating with UNESCO, we coordinated a 3-day seminar for the Asia Paciﬁc region on the issue of ‘Developing creative education via the reforms of educational system and policy’. However, we need more actions than words. If we want to improve such a huge mechanism like the education system, we have to start with experimentations. At the moment, we are engaged in the plan of building the experimental School of Creativity operating under the Direct Subsidy Scheme of Education and Manpower Bureau1. Though we have secured tremendous support from the HKSAR Government, we are still carrying out huge amount of fund raising activities in the community, and that is the most challenging of all.

Established by Hong Kong Institute of Contemporary Culture, the Hong Kong Institute of Contemporary Culture, Lee Shau Kee School of Creativity, will commence operating in September 2006. Danny Yung is one of the Executive Committee members. Zuni is working closely with the School on the development of an experimental creative curriculum, with the aim of promoting arts and culture.

藝術總監的話

《２００４：香港漫遊》 2004: A Hong Kong Odyssey

Artistic Director’s Note

全年活動概覽 PROGRAMME 2004–2005 演出

國際文化交流

２００４：香港漫遊

戲劇深化交流計劃──出訪文化交流計劃：「尋找新中國/新香港── 中港實驗戲劇發展交流計劃」

Performance

International Cultural Exchange

2004: A Hong Kong Odyssey

浮士德 vs 浮士德 The Little Little Faust

東宮西宮2004之開咪封咪 East Wing West Wing – Mic On!!! Mic Off!!!

Theatre Exchange Programme Touring Cultural Exchange Programme: "In Search of Modern China/ HK an Exchange Project on Experimental Theatre"

戲劇深化交流計劃──藝術家訪港計劃 Theatre Exchange Programme - Artist-in-Residence

四季 Plus Four Seasons Plus

世界文化論壇聯盟首次亞太區籌備會議及首次全球性文化論壇

大娛樂家（重演） The Great Entertainer (Rerun)

半生緣

World Culture Forum Alliance (WCFA) The first Asia Pacific Regional Consultation Programme and the first World Culture Forum

文化多樣性國際網絡上海年會

18 Springs 台北、北京演出 Taipei and Beijing

International Network for Cultural Diversity Annual Meeting in Shanghai

夜奔

城市文化交流會議2004香港年會 City-to-city Cultural Exchange Conference 2004 (HK)

Fleeing by Night ２００４挪威奧斯陸音樂廳「中國文化周」

Asialink Arts Forum 2004 總演出場數 Total No. of Performances

= 71

總觀眾人數 Total No. of Audience

= 48,019

全年活動概覽

Res Artis 2004

總參與及觀眾人數 Total No. of Participants & Audience

= 11,950

創意教育

其他活動

多媒體戲劇教育計劃2004 「香香港漫漫遊」

候鳥──多媒體聲音裝置展（台北）

Creative Education

Multi-media Theatre Education Programme 2004 "Come Come Comics"

Other Activities

"Migrating Birds" Multi-media Sound Installion (Taipei)

重按霓裳歌遍徹任劍輝女士逝世十五周年紀念慈善演出

多媒體戲劇教育計劃2003 「張愛玲愛看的」 Multi-media Theatre Education Programme 2003 "Eileen CHANG Loved To See"

"Dress Up Again for the Opera" A Charity Performance Commemorating the 15th Anniversary of the Death of Ms. Yam Kim Fai

進念青年2004實驗演出計劃《進念青年暑期演出2004》《秋天不是讀書天？》

總參與及觀眾人數 Total No. of Participants & Audience

Zuni Youth 2004 Experimental Performance "Zuni Youth Summer Performance 2004" "Autumn, not a season for studying?"

《浮士德 vs 浮士德》學生專場 "The Little Little Faust" (performance for students)

藝術裝置教育計劃「黑箱作業」在日本福岡 Installation Art Education Programm "Black Box Exercise" in Fukuoka, Japan

牛棚書展 2004 Cattle Depot Book Fair 2004

《E+E》文化雜誌 - 第十至十二期 "E+E" Cultural Magazine - Tenth to Twelfth Issues

總參與人數 Total No. of Participants

= 23,990

Programme 2004-05

= 5,000

演出進念的戲劇作品是對時代和社會的評論和回應，也是對常規和體制的質疑，跨越領域、衝破界限、不斷的破舊立新，這就是辯證創作，是擴展新視野、促成新的對話平台、啟發新的思想空間，以及提升人文素質的必要過程。進念的戲劇作品逐漸發展出四個專門系列——社會劇場、多媒體音樂劇場、實驗傳統及普通話戲劇，有系統地對藝術類型、文化傳統、社會狀況、科技的影響、大中華文化的傳承與更新，以及全球化的進程不斷地反思和探索，為觀眾帶來新的啟發，發揮戲劇的力量，建構人文社會。進念在二零零二至零五年進行的第二個三年計劃，無論在演出數目、場數、觀眾人數及平均入座率方面都較第一個計劃（一九九九至二零零二年）大幅上升，其中三年合共觀眾人數超過五萬人次，觀眾層面亦大大拓闊。這除了證明愈來愈多市民大眾因透過進念戲劇而對戲劇藝術增加了認識和興趣外，也顯示認同進念戲劇價值和意義的觀眾是來自不同的社會階層，經傳媒傳遞來自四方八面的評價和議論可見一班。二零零四至零五年度，進念製作了五個本地及三項外地演出，合共71場，得到海內外觀眾的熱烈支持，觀眾人數超過四萬七千人次，平均入座率超過85%，與二零零三至零四年度的全年入座人數相比，增長超過三成。若單以本地觀眾數字計算，則較去年增長超過一倍。本年度，進念延續一貫的實驗精神，創作了不同形式和題材的劇目，其中三個全新創作包括由胡恩威及林奕華聯合編導的政治喜劇《東宮西宮2004之開咪封咪》、胡恩威導演的多媒體音樂劇場《2004：香港漫遊》及由榮念曾擔任藝術總監的實驗傳統戲曲系列《浮士德vs浮士德》。進念亦於本年度再次與香港小交響樂團合作，聯手製作跨媒體音樂演出《四季》。此外，進念更開始主辦其他本地劇團的節目，《大娛樂家》（重演）由進念主辦，非常林奕華製作，其成功有助進念日後繼續與不同藝術團體／工作者合作，主辦多元化的戲劇演出。進念於本年度進行了三項海外演出，其中多媒體音樂普通話劇《半生緣》，自二零零三年十一月在香港首演後，分別於零四年六月及零五年一月往台北及北京重演。至於由榮念曾導演的《夜奔》，則是進念應邀參與在挪威奧斯陸音樂廳舉辦的「中國文化周」的演出。

全年活動概覽：演出

PERFORMANCE The performances of Zuni are a critique and a response to our times and society, and they also question and challenge our rules and systems. They see no confines or boundaries and are always innovative. The creative process is dialectic, and thus broadens the horizon of our vision. The performances provide a new platform for dialogues and open up new channels for thoughts and imagination, and so help improve the humane quality of our age. Through these years, the performances of Zuni have gradually developed into four main categories – the social theatre series, the multi-media music theatre series, the experimenting traditional Chinese operas series, and the Pu Tong Hua drama series. These drama series constantly reflect and explore systematically the various aspects of life and the arts, such as, cultural heritage, social environment, art genres, the influence of technology, the transformation of Chinese culture and the progress of the whole world. All these enlighten the audience, empower the theatre and help build a better humane society. We are now in the term of Zuni’s second three-year-plan (2002-05), and there has been a considerable increase in the number of our audience, productions and performances as compared to the previous three years (1999-2002). The total number of our audience of the second three-year plan is over 50,000, and the range of the audience base has widened to a much greater extent. This tells us that more and more members of the public come to know of and become more interested in the theatre art through the performances of Zuni. From the responses we received through the various media, we also realise that people who identify with our ideas and values come from many different social strata. In the year 2004 / 2005, Zuni staged five local productions and three overseas ones, with a total of 71 performances. With the enthusiastic support from audiences local and abroad, the total number of attendance in the audience is over 47,000 with an attendance rate of 85%, and an increase of 30% when compared to the rate of last year. If we look at the numbers of only the local audience, the growth is more than 100%. Zuni has continued its spirit of being experimental, and has explored with different subjects and genres in their theatre productions. The three original programmes we staged last year were, “East Wing West Wing – Mic On!!! Mic Off!!!”, the political comedy co-directed by Mathias Woo and Edward Lam; “2004: A Hong Kong Odyssey”, a multi-media music theatre piece by Mathias Woo; and “The Little Little Faust”, an experimental Chinese opera series supervised by our Artistic Director, Danny Yung. Last year, Zuni continued its collaboration with Hong Kong Sinfonietta, and produced the multi-media concert, “Four Seasons Plus”. Besides presenting and producing its own programmes, Zuni started to present performances by other local theatre companies, for example, “The Great Entertainer” was a production by Edward Lam Dance Theatre, and was presented by Zuni. The great success of the programme encourages the company to initiate more collaboration of this kind with other artists and arts organisations in the future, and so in this way would generate more versatile and pluralistic theatre productions in the days to come. Last year, Zuni presented three overseas productions. One of these was “18 Springs”, the multi-media music Pu Tong Hua drama, which was premiered in Hong Kong in November 2003, and continued to be restaged in Taipei and Beijing in June 2004 and January 2005 respectively. As for Danny Yung’s “Fleeing by Night”, it was an invitation performance and was part of the programme of the “Norway Chinese Festival” in Oslo.

Programme 2004-05: Performance

《２００４：香港漫遊》 2004: A Hong Kong Odyssey

全年活動概覽：演出

《東宮西宮之開咪封咪》

《半生緣》

張翠容

《北京青年報》

《經濟日報》，2004年8月26日

2005年1月7日

「處境政治喜劇不易為，香港一直缺乏，進念終於從過去走出來，並走入群眾，為香港人帶來了話題。⋯⋯《東宮西宮》已填補了香港的不足，用劇場藝術來開啟香港一個全新的討論空間，這足以向胡恩威、林奕華和全體演員喝采。」

「舞台上時時散發著時間的氣息，掛鐘的現在時與故事的過去時形成了鮮明對比，而這種疏離感也正是導演所追求的。『 1 分鐘有 6 0 秒、 1小時有60分、1天有24小時、1年有 365天、10年有5256000分鐘』這種時間概念的推算方式也成為曼楨最終說出『我們回不去了』的有力依據。靜放的黃菊、飄零的落葉、燃燒的火焰，每一個細節都代表主人公的一種情感，對情緒的營造也正是該劇區別於其他張愛玲改編的巧妙之處。」

馬傑偉《明報》，2004年8月28日

「演員唱功戲功俱佳，觀眾笑出眼淚，由頭到尾沒有冷場。然而，難得是爆笑之餘，說理言情的知性活力強勁，是智力與劇力結合，文化干預的火力旺盛，笑得有腦，癲喪而有情。」

《四季Plus》

魏紹恩《明報周刊》，2004年10月23日

「Innovative地將古典樂章溶合本地劇場和音樂創作生命力，《Four Seasons PLUS》沒有驚世，但跨出了十分具意義的一步。」

顏榴國家話劇院評論員

「劉若英扮演著顧曼楨同時也誦讀著角色的心理活動，從少女初戀時的心旌搖蕩到已為人婦重逢時的依然癡情，這一切都是憑藉語言文字（而不只是台詞）本身的力量來表達的。同台的人也都是坐在桌前用平靜的聲調念著書，盡量克制地、客觀地念著。這可以看作久違的『話』劇以一種新的方式重現舞台，因為近來的話劇越來越無『話』，往往是肢體大於語言，有得看沒得聽抑或有得聽又聽不懂。不過看話劇《半生緣》有時不妨閉一會眼睛，劇中人的心潮起伏借文字直擊過來，引領一片超出舞台之外更大的想象空間。」

Programme 2004-05: Performance

２００４：香港漫遊

本地演出 Local Performance

2004: A Hong Kong Odyssey

6-8 & 13-15/5/2004

多媒體音樂劇場《2004：香港漫遊》是香港二三事系列作品之一，以聲

葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre

音和影像表達探索香港的歷史與身份。這個演出由胡恩威導演及負責多

導演／舞台裝置：胡恩威音樂總監：伊慧能、于逸堯現場音樂演出：盧凱彤＠at17 特邀演出：楊淇、黃大徽音樂創作：蔡德才、Digilick、假音人、Nerve、PixelToy、四方果、于逸堯電子影像：pReview（柏林）、黃志偉、林子邦

Digilick、Nerve、PixelToy等多個本地音樂創作單位、及柏林的電子影像組

Director/ Muti-media Stage Installation: Mathias Woo Music Directors: Evi Yang, Yu Yat-yiu Live Music Performance: Ellen Joyce Loo @ at17 Special Guest Artists: Kate Yeung, Dick Wong Sound & Music Creation: Jason Choi, Digilick, Gayamyan, Nerve, PixelToy, Square Fruit, Yu Yat-yiu

Digital Images: pReview (Berlin), John Wong, Pong Lam

全年活動概覽：演出

媒體舞台裝置，並邀請了at17的盧凱彤、女演員楊淇、蔡德才、假音人、合pReview參與演出；透過電子影像、歌曲、聲音實驗、文字與舞台裝置的互動，在劇場內表達對香港的感覺，展現有關香港的故事。

“2004: A Hong Kong Odyssey” was part of the “Two or three things you want to know about Hong Kong” series. It was a work governed mainly by sounds and images, without a traditional narrative, exploring the identity and history of Hong Kong. Mathias Woo was the director and he was also responsible for the other aspects of the performance like the multi-media presentation and stage design. In this performance, various talents were invited to contribute: Ellen Joyce Loo of at17 gave a live music performance, and the actress Kate Yeung played a leading role. The sound and music creation was by Jason Choi, Digilick, Nerve and PixelToy; and a video unit from Berlin, pReview, was invited to participate in the production of digital images. In this performance, stories and impressions about Hong Kong were told through the various media, including the stage, the set, text, sounds, music, songs, and images.

本地演出 Local Performance

浮士德 vs 浮士德 The Little Little Faust

24-27/6/2004

《浮士德 vs 浮士德》的創作靈感來自德國小說《浮士德》，藝術總監榮念

香港大會堂高座演奏廳 Recital Hall, High Block, Hong Kong City Hall

曾邀請來自南京的崑曲藝術家柯軍及日本的多媒體舞蹈家松島誠參與導演

藝術總監／創作概念：榮念曾導演／演出：柯軍（南京）、松島誠（東京）導演／錄像演出：陳浩峰創作演出：李鴻良（江蘇省崑劇院）劉磊（四川省青年川劇團）

劉磊、江蘇省崑劇院國家級演員李鴻良、和進念成員陳浩峰，重新變奏演

Artistic Director/ Concept: Danny Yung Directors/ Performers: Ke Jun (Nanjing), Makoto Matsushima (Tokyo) Co-director: Cedric Chan Performers: Li Hongliang (Jiangsu Kun Opera House), Liu Lei (Youth Sichuan Opera House)

和演出，嘗試透過舞蹈、音樂、歌唱及錄像、將傳統戲曲與當代劇場互相對照，作跨地域跨文化的交流。同台演出的還有來自四川省青年川劇團的繹這個經典故事。

“The Little Little Faust” was a work inspired by the German tragedy, “Faust”, by Goethe. Our Artistic Director, Danny Yung invited Makoto Matsushima, the choreographer and dancer from Tokyo, and Ke Jun, the Kun Opera artist from Nanjing, as guest directors and performers for the piece. The worked aimed at bringing about cross-region and cross-cultural exchanges with the comparison between traditional Chinese opera and contemporary theatre through the media of dance, music and video. Joining the performance from China were Liu Lei from The Sichuan Opera Academy, and Li Hong Liang, the national class actor of Jiangsu Kun Opera House. These two artists from the mainland collaborated with Cedric Chan and other Zuni members for a new interpretation of the classic story of Faust.

Programme 2004-05: Performance

東宮西宮2004之開咪封咪

本地演出 Local Performance

13/8 – 19/9/2004

《東宮西宮》是進念於二零零三年首創的政治喜劇系列，每次演出均環

香港藝術中心壽臣劇院 Shouson Theatre, Hong Kong Arts Centre

繞香港的政治及時事作為創作主題。香港經歷過二零零三年的非典型肺

編導：胡恩威、林奕華音樂創作：假音人創作演員：伍嘉雯、陳浩峰、陳淑莊、葉燕芳、楊永德、鍾家誠

《問責制唔制》後，於零四年創作《開咪封咪》，主題是本地傳媒氣候和

炎事件和七一遊行後，在二零零四年則有電台名嘴封咪事件和立法會議員選舉相繼發生。導演胡恩威和林奕華繼首兩集《2046特首不見了》及立法會議員應擔當之角色，藉以探討香港民主發展的出路。這次演出獲得空前成功，由原先二十一場加開至三十二場，入座率高達99.5%。各方好評令《東宮西宮》成為一個「智慧娛樂」的劇場品牌。

Co-directors and script writers: Mathias Woo, Edward Lam Music: Gayamyan Performers: Carmen Wu, Cedric Chan, Tanya Chan, Shirely Yip, David Yeung, Carson Chung

全年活動概覽：演出

East Wing West Wing–– Mic On ! ! ! Mic Off ! ! ! “East Wing West Wing” is a political comedy series ﬁrst created in 2003. The theme of very episode evolves around Hong Kong’s political situation and current affairs of the time. In 2003, the people of Hong Kong experienced the devastating effects of the SARS incident, as well as the democracy rally of July 1st; and in 2004, there were the events of talk show hosts stepping down and the Legco election. In reaction to all the turmoil, Mathias Woo and Edward Lam produced and directed a series of “East Wing West Wing” productions. In succession to “2046 CE Bye Bye”, and “East Wing West Wing Reloaded”, the two directors created “East Wing West Wing –– Mic On !!! Mic Off !!!” in 2004. This production discussed how the mass media were behaving in reaction to the big political and social climate, as well as explored the possibilities of the development of democracy in Hong Kong. The performance was very well received, and the demand for re-staging was so great that many additional shows were put on in order to answer the earnest request of the audience. The total number of shows staged increased from the original 21 to 32, and the attendance rate was 99.5%. The raving reviews and excellent word of mouth, making the “East Wing West Wing” series a brand name for theatre that is both enlightening and entertaining.

Programme 2004-05: Performance

四季 Plus

本地演出 Local Performance

Four Seasons Plus

15-16/10/2004

《四季》是進念與香港小交響樂團攜手合作的多媒體音樂演出。香港小交

葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre

響樂團結合進念的電子影像及舞台裝置，重新演繹了韋華第的經典名作

音樂總監／指揮：葉詠詩音樂統籌：于逸堯＠人山人海多媒體與舞台設計：胡恩威數碼影像：黃志偉、Digilick（「秋」）

籌，胡恩威負責多媒體與舞台設計，並分為上下兩場。上半場由小提琴家

《四季》。這個演出由葉詠詩擔任音樂總監／指揮，于逸堯擔任音樂統李傳韻帶領樂團以傳統手法演奏；下半場進念與香港小交響樂團特別邀請了四組來自本地不同界別的音樂創作人，注入爵士、電子、民歌、流行等元素，重新編排和創作《四季》，讓觀眾一同觀看聆聽兩次不一樣的

Music Director/ Conductor: Yip Wing-sie Music Coordinator for the new arrangements: Yu Yat-yiu@PMPS Multi-media Stage Design: Mathias Woo Digital Images/ Video: John Wong, Digilick (“Autumn”)

全年活動概覽：演出

「春、夏、秋、冬」。

“Four Seasons Plus” was a multi-media music performance collaborated by Zuni and Hong Kong Sinfonietta. The concert was a reinterpretation of Vivaldi’s “The Four Seasons” with Hong Kong Sinfonietta providing the performance with their orchestra while Zuni participated in the digital image and stage design. There were two parts in the programme, with the ﬁrst part being a traditional rendition of Vivaldi’s “The Four Seasons” by the orchestra with a violin solo by Li Chuan-yun; and the second part being a “reinvention” of “The Four Seasons” by ﬁve Hong Kong composers / arrangers giving the audience two different experience of “The Four Seasons”.

《四季》小提琴協奏曲，作品8之1至4 小提琴獨奏：李傳韻

The Four Seasons, Op 8, Nos 1-4 Violin solo: Li Chuan-yun

《春》音樂編排及創作：黎正剛、陳浩然小提琴獨奏：李傳韻

Spring New arrangement: Lai Ching-kong, Edward Chan Violin solo: Li Chuan-yun

《夏》音樂編排、創作及演奏：梁基爵＠人山人海（電腦及類比組件式合成器：EMS-Synthi AKS Analogue System – RS8000）中國敲擊樂獨奏：周展彤

Summer (When the Bird Feels Hot…) New arrangement and music performance : Gaybird@PMPS (instruments: computer and analogue modular synthesizers: EMS-Synthi AKS, Analogue System – RS8000) Chinese percussion solo: Chau Chin-tung

《秋》音樂編排、創作及演奏：Nerve/ lo4 （Power Book G4）

Autumn New arrangement and music performance : Nerve/ lo4 (instruments: Power Book G4)

《冬》音樂編排及創作：李端嫻@人山人海歌詞：陳珊妮演唱：at17@人山人海結他：盧凱彤（at17@人山人海） Cajon：林二汶（at17@人山人海）低音結他：李澤民

Winter New arrangement: Veronica Lee@PMPS Lyrics: Sandee Chan Vocal: at17@PMPS Guitar: Ellen Joyce Loo (at17@PMPS) Cajon: Eman Lam (at17@PMPS) Electric Bass Guitar: Leonard CM Lee

本地演出 Local Performance

首演 Premiere

29-31/10/2004 香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre

大娛樂家（重演）

The Great Entertainer (Rerun) 《大娛樂家》由非常林奕華製作，林奕華和胡恩威聯合編導，梁詠琪、詹瑞文、陳立華、藍奕邦攜手演出。這個演出於二零零四年十一月舉行的「新視野藝術節」中成功公演五場後，因觀眾反應熱烈，於二零零五年一月由進念主辦重演八場。《大娛樂家》包含三十段不同形式演出：有

「新視野」藝術節，康樂及文化事務署主辦 “New Vision” Arts Festival, Presented by LCSD

舞蹈、歌唱、戲劇、相聲、錄像等，從演員和觀眾角度展現論述不同的

21-30/1/2005

價值。

香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre 非常林奕華製作進念二十面體主辦 Produced by Edward Lam Dance Theatre Presented by Zuni Icosahedron 編導：林奕華、胡恩威創作演員：梁詠琪、詹瑞文、陳立華、黃大徽、藍奕邦、陳浩峰、鍾家誠、伍嘉雯、盧志新、王耀光、曾兆賢、麥俊元、李子釗 Directors and script writers: Edward Lam, Mathias Woo Performers: Gigi Leung, Jim Chim, Chen Li-hua, Dick Wong, Pong Nan, Cedric Chan, Carson Chung, Carmen Wu, Johnson Lo, Denny Wong, Albert Tsang, William Mak, Angus Li

娛樂方式。劇本和演出的元素，是以演員自身的經驗，透過工作坊和遊戲集體創作而來，讓觀眾在欣賞富娛樂性的演出時，思考娛樂的意義與

“The Great Entertainer” was produced by Edward Lam Dance Theatre, and co-directed by Mathias Woo and Edward Lam, with the participation of the popular artists, Gigi Leung and Jim Chim.The performance was premiered in November 2004 as part of the programme of the “New Vision” Arts Festival. Because of the enthusiastic response and demand from the audience, its rerun was presented by Zuni in January 2005. “The Great Entertainer” contained 30 different forms of performances, including singing, dancing, drama, talk show, quiz show and video, illustrating and demonstrating their various perspectives on entertainment. The script and nature of “The Great Entertainer” evolved from the games in the workshops held before the performance as rehearsals, and in these workshops the performers shared their diverse personal experience. The audience was provided a chance to ponder on the different meanings and values of entertainment while being greatly entertained at the same time.

Programme 2004-05: Performance

海外演出 Overseas Performance

半生緣

首演Premiere

改編自張愛玲女士同名小說的多媒體音樂普通話劇《半生緣》，於二零零

13-16/11/2003

三年十一月在香港首演後，分別於二零零四年六月及二零零五年一月往台

葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre

北及北京重演。《半生緣》是中國國家話劇院及進念首次跨地域合作演

「中國傳奇」藝術節，康樂及文化事務署主辦 “Legends of China” Festival, Presented by LCSD

演出的反應相當熱烈，兩次演出共十六場皆座無虛席，觀眾人數達一萬七

出，標誌著中港台三地在創作上的突破性交流。兩個城市的觀眾對於這個千人，而兩城的媒體亦爭相報導。這次跨越兩岸三地的演出合作，將有助進念日後進一步拓展國內及外地市場。

9-13/6/2004 台北國家戲劇院 National Theatre, Taipei

《半生緣》由中國國家話劇院院長趙有亮及進念．二十面體藝術總監榮念曾共同擔任藝術總監，由進念成員胡恩威及林奕華聯合編

6-10/1/2005 北京首都劇院 Capital Theatre, Beijing

導，特別邀請中國國家話劇院演員和影視明星劉若英參與演出。

藝術總監：趙有亮、榮念曾聯合編導：胡恩威、林奕華創作顧問 / 聲音及錄像演出：張艾嘉戲劇指導：孟京輝領銜主演：劉若英、廖凡聯合演出：韓青、丁乃箏、陳立華、海青特邀演出：徐蕾、李蘊杰、王楠、果靜林（台北演出）、林熙越（北京演出）

反覆驗證。小說對於戀愛中男女的心理描寫異常細膩，也道出了中國倫理

「沒有遺憾的愛情就不是完美的愛情」，這矛盾在《半生緣》中被張愛玲對追求愛情自由的人如何造成羈絆。劇中透過新穎的時空調度，把張愛玲的文字意境立體地呈現在舞台上；劉若英更以蕩氣迴腸的歌聲，唱出劇中人顧曼楨內心世界的春、夏、秋、冬。多媒體與演員的互動，動人的歌曲與演出交錯穿插，《半生緣》為兩岸三地觀眾帶來視聽饗宴。

Artistic Directors: Zhou Youliang, Danny Yung Co-directors and script writers: Mathias Woo, Edward Lam Creative Advisor, Video and Vocal Performance: Sylvia Chang Dramaturg: Meng Jinghui Leading Actors: René Liu, Liao Fan Performers: Han Qing, Ting Naichang, Chen Lihua, Hai Qing Guest Performers: Xu Lei, Li Yunjie, Wang Nan, Guo Jinglin (performance in Taipei), Lin Xiyue (performance in Beijing)

全年活動概覽：演出

18 Springs “18 Springs”, a multi-media music Pu Tong Hua drama adapted from the novel of the same title by the famous writer Eileen Chang, was premiered in November 2003 in Hong Kong, and toured Taipei and Beijing in June 2004 and January 2005 respectively. “18 Springs” was the ﬁrst cross-region collaboration between the National Theatre Company of China and Zuni, and it was a ground-breaking cultural exchange across the Strait. The performance was very warmly received in both Taipei and Beijing with full houses and great applauses; and there were totally 16 performances, and 17,000 tickets sold. Press reviews were both numerous and highly complimentary, and we strongly believe the great success of this cultural event across the Strait would help Zuni explore the market overseas in the future. “18 Springs” was co-directed by Mathias Woo and Edward Lam; with Zhou Youliang, the director of the National Theatre Company of China and Danny Yung working together as the artistic directors. Actors from the National Theatre Company of China and the famous performing artist René Liu from Taiwan were invited to participate in this performance. Eileen Chang showed us in this story that love without regrets could never be perfect love. The novel was written with very ﬁne details, displaying the intricate working of the psychology of men and women involved with the entanglement of love. At the same time, the novel also illustrated the “mind forged manacles” created by the morals and ethics of China and their effects on the people who were in pursuit of free love. The directors translated the powerful language of Eileen Chang into a vivid stage experience; and René Liu’s rendition of the theme song gave voice and expression to the complex pattern of the tapestry in the heroine’s heart and mind. The multi-media presentation, with poignant songs interwoven between its text, turned “18 Springs” into a sumptuous feast for the audiences on both sides of the Strait.

Programme 2004-05: Performance

海外演出 Overseas Performance

夜奔 Fleeing by Night

25/9/2004

二零零四年九月，進念特別應由挪威奧斯陸音樂廳舉辦之慶祝中國挪威建

挪威奧斯陸音樂廳 Oslo Concert Hall, Norway

邦交五十周年的邀請，在「中國文化周」中演出《夜奔》。這個演出由榮

導演：榮念曾執行導演／演員：柯軍演員：孫晶

化跨界別的演出不但讓挪威的觀眾接觸到中國傳統戲曲與多媒體藝術結合

念曾導演，並邀請來自南京的崑曲藝術家柯軍參與創作及演出。這次跨文的實驗性演出，更促進本地與內地藝術家在劇藝創作上的交流和實踐。進念計劃將類似的合作模式延續到未來的實驗傳統計劃中。

Director: Danny Yung Executive Director / Performer: Ke Jun Performer: Sun Jin

In September 2004, Zuni was invited to Oslo to perform in the Norway Chinese Festival in celebration of the 50th anniversary of the establishment of diplomatic relations between Norway and China. Danny Yung brought the production “Fleeing by Night” to the Festival, and it was a work he co-directed with Ke Jun, the Kun Opera artist from Nanjing. This crosscountry and cross-cultural performance did not only enable the audience in Norway to gain access to an experimental experience of merging traditional Chinese opera with contemporary multi-media arts, but also facilitated cultural partnership and enhanced artistic creativity among the artists in Hong Kong and China. Zuni is planning to employ this mode of collaboration for the programmes of experimenting traditional art forms in the future.

全年活動概覽：演出

《半生緣》 18 Springs

國際文化交流文化交流對創作絕對重要，信息的流動和互動是發展創意的先決條件。交流有很多層次，常見的是文藝產品的交換，也有技術上的交流、全面基建發展的交流，而最高層次的，就是概念和創意的交流。因此，進念參與和策劃的文化交流活動向來都是多元化和多層次的，目的不限於提升本身的藝術和創意水平，也嘗試在中華文化的未來發展方面貢獻力量。透過參與和策劃長期的文化交流活動，亦可培養更多具國際視野和經驗的藝術創作、策劃和管理人才，既提升本地藝術人才的專業水平，也可幫助香港提高在國際上的文化形象。一九九九至二零零五年，進念組織及參與的各類型文化交流計劃接近四十項。其中，進念於二零零零年參與協辦的「香港柏林當代文化節」為首個歐、亞兩地跨城市的大型文化交流計劃。二零零四至零五年度，進念成員先後往慕尼黑、蘇黎世、新德里、維也納、首爾、聖保羅、墨爾本、紐約、上海、南京、深圳等城市參與不同類型的文化交流活動，項目包括演出、工作坊、訪問活動，及國際文化交流會議等。此外，進念亦在香港藝術發展局的委約支持下，籌辦了兩個促進香港與內地文化藝術界進行文化交流的計劃──「尋找新中國／新香港－中港實驗戲劇發展交流計劃」及「藝術家訪港計劃」。

全年活動概覽：國際文化交流

INTERNATIONAL

CULTURAL EXCHANGE Cultural exchange is absolutely essential for creativity. The passing on and interactions of messages are the preconditions for developing creativity. There are many levels of exchanges, and the most common is the exchange of art products. There are also exchanges on the technical side and on the development of the infrastructure. Above these all, is the level where concepts and ideas are exchanged. Zuni has always engaged itself in cultural exchange activities which are pluralistic and operate in different levels. The purpose of Zuni to participate in these activities is not only to enhance itself in artistic and creative achievements, but also to contribute to the future development of Chinese culture. Through the participation and planning of these activities, Zuni hopes to nurture more talents, with more international experience and vision, for the creative and managerial areas. In this way, the professional skills of the local artists could be heightened, and the cultural image of Hong Kong would be raised in the international platform. In the years 1999 to 2005, Zuni organised and participated in almost 40 exchange programmes of various natures. One of the programmes, “The Festival of Vision: Berlin – Hong Kong” presented by Zuni in 2000, was the ﬁrst ever large-scale cross-cultural and cross-regional venture between Asia and Europe. In 2004-2005, members of Zuni were invited to cities including Munich, Zurich, New Delhi, Vienna, Seoul, Sao Paulo, Melbourne, New York, Shanghai, Nanjing, and Shenzhen to attend various performances, seminars, visits, and international cultural exchange conferences. Commissioned by the Hong Kong Arts Development Council, Zuni organised two projects “In Search of Modern China/ HK – an Exchange Project on Experimental Theatre” and “Artist-In-Residence” to promote cultural exchange between Hong Kong and the Mainland.

Programme 2004-05: International Cultural Exchange

戲劇深化交流計劃 Theatre Exchange Programme

出訪文化交流計劃── 尋找新中國／新香港──中港實驗戲劇發展交流計劃「尋找新中國／新香港──中港實驗戲劇發展交流計劃」由香港藝術發展局委約主辦，從二零零二年下半年起開展，已於本年度完滿結束。這個計劃以公開形式招募本地實驗戲劇作品，六個獲選的演出隊伍（廿豆．盒子畫、黑龍會、朱秀雯／湯時康、月白戲臺、兄弟班、無人地帶）前往上海、南京及深圳進行巡迴演出及交流，更於六月份在牛棚書院舉行分享會與本地劇界及公眾分享有關經驗。進念希望透過本身與內地藝術團體的網絡及籌辦演出和文化交流活動的經驗，藉著這個計劃培養本地的實驗戲劇創作人才，同時將本地的實驗戲劇作品介紹給內地觀眾，並進一步促進內地與香港實驗戲劇創作人的交流，開拓日後的發展和合作。計劃結束後，其中一個演出隊伍再次獲邀前往上海演出。

藝術家訪港計劃「藝術家訪港計劃」同樣是由香港藝術發展局委約主辦的文化交流計劃。這個計劃邀請了四位內地不同界別（演員／導演／劇作家、戲劇藝術評論家／學者、中國傳統戲曲工作者、戲劇藝術教育工作者）的藝術家訪港，主持講座、工作坊、進行演出並到訪本地藝術團體，藉以增加市民大眾對不同類型藝術的認識，同時亦促進內地與本地藝術家之間的交流。繼上海戲劇學院副教授曹路生、國家一級演員周龍及清華大學美術學院的史論系教授島子後，本年度訪港藝術家是上海話劇藝術中心的市場部經理及編劇喻榮軍。他為牛棚書院主持了兩節以「中國當代文化藝術管理」為題的講座，並訪問多個本地藝術機構。

全年活動概覽：國際文化交流

Touring Cultural Exchange Programme In Search of Modern China/ HK an Exchange Project on Experimental Theatre

With a commission from the Hong Kong Arts Development Council, Zuni organised an exchange project on experimental theatre, “In Search of Modern China/ HK”, which started in the latter half of the year 2002, and was successfully completed in 2005. The six local experimental theatre groups (20beans + a box, Black Dragon, Virginia Chu Sau-man/ Tom Tong Sze-hong, Atomic Cantonese Opera, Xiong Di Ban, No Man’s Land) were selected in an open audition to perform and participate in various cultural exchange activities in the cities of Shanghai, Nanjing and Shenzhen in China. After the touring performance, participants from the six groups shared their experience with some Hong Kong artists and the public in a gathering held at the Cattle Depot Artists Village in June 2005. With its connection and network with the performing arts groups in China, and its experience in organising cultural exchange programme, Zuni hoped to introduce some outstanding experimental theatre works from Hong Kong to the audience in the Mainland. With this project, Zuni also hoped to enhance exchanges among the creative personnel between the two places through this kind of activities and thus more opportunities for future collaboration and development could be explored.

Artist-in-Residence “Artist-in-Residence”, another programme commissioned by the Hong Kong Arts Development Council. In this programme, four artists from different ﬁelds in China were invited to Hong Kong, and they included an actordirector-playwright, a scholar-art-critic, a Chinese traditional opera artist, and an education worker in theatre art. These artists from China presented performances, held talks and workshops and visited various art organisations in Hong Kong, and through these activities Zuni wanted to enhance the knowledge of the public in various forms of art. This kind of activities would also facilitate exchanges between the artists in Hong Kong and those from China. In the year of 2002-2004, Cao Lusheng, the assistant professor from the Shanghai Theatre Academy; Zhou Long, the ﬁrst class national actor; Dao Zi, the professor from the Academy of Arts and Design of Tsinghua University were invited to participate in this programme. This year, Nick Yu, the playwright and marketing manager from the Shanghai Dramatic Arts Centre was invited. He hosted a talk on arts management in contemporary China, and visited some performing art groups and artists in Hong Kong.

Programme 2004-05: International Cultural Exchange

世界文化論壇聯盟

國際文化交流會議

International Cultural Conference

首次亞太區籌備會議及首次全球性文化論壇

World Culture Forum Alliance (WCFA)

The first Asia Pacific Regional Consultation Programme and the first World Culture Forum 世界文化論壇聯盟於二零零一年六月在福特基金會的主催和支持下在紐約成立，進念藝術總監榮念曾被選為董事局副主席。WCFA強調從文化發展的角度反思政治、經濟、教育、媒體和社會制度，透過推行各種發展和研究項目協助本土、地域以至全球的文化發展。榮念曾作為WCFA亞洲地區統籌，親自設計了一個長期的地區性諮詢計劃，並與三十個亞太城市的文化領袖組成了WCFA－亞太聯盟，於二零零四年六月三至四日在韓國首都首爾舉行了首次WCFA亞太地區會議，就亞太地區的文化發展進程達成合作和交流。而第一屆世界文化論壇亦於同年六月二十九至七月三日在巴西聖保羅市舉行，榮念曾組織約三十位亞太區代表於論壇發表了多項有關亞太地區文化發展的報告和建議。

Founded in New York, June 2001, WCFA was initiated and supported by the Ford Foundation. Danny Yung was elected as the Vice-chairman of the Board of Directors of WCFA. Through various initiatives and forums targeting the review and reform of the systems of politics, economy, education, public media and social infrastructure from a cultural perspective, WCFA aims at the empowerment of the cultural sector from local to global levels. Danny has been leading a long-term consultation programme in the region of Asia Pacific and the formation of WCFA-Asia Pacific consisting of cultural delegates from around 30 cities. Danny has successfully organised the first Regional Meeting held in Seoul on 3-4 June 2004 and led the regional delegation to the first World Culture Forum in Sao Paulo on 29 June – 3 July, in which around 3,000 participants from all over the world participated. 網址 / Website: www.wcfalliance.org

全年活動概覽：國際文化交流

國際文化交流會議

International Cultural Conference

城市文化交流會議2004

香港年會

City-to-city Cultural Exchange Conference (CTC) 2004 (Hong Kong)

一九九七年由藝術總監榮念曾主催的城市文化交流會議，每年依次序在四個華語城市（香港－深圳－上海－台北）輪流舉辦年會，提供四城文化工作者一個回顧與前瞻全球/地區以及討論本土文化及發展的交流機會。第七屆年會，於二零零四年十二月十七至十九日假香港完滿舉行。是年年會以「設計城市品牌」為主題，把四城作為研討對象，分別比較她們在政府和商界中「城市品牌」規劃的成功個案，為四城提供一個觀摩討論的平台，以幫助各城創意工業尋找下一階段發展的新路向。下一屆會議將由深圳市特區文化研究中心舉辦，預計於二零零五年十月舉行。

City-to-city Cultural Exchange Conference is a cultural network initiated by Danny Yung in 1997. It is for cultural practitioners of the four Chinese cities (Hong Kong, Shanghai, Shenzhen and Taipei) to meet every year with alternate hosting cities. The forum has provided front-line cultural practitioners an opportunity to review current global, regional and local cultural development and issues, and to participate in profound discussion of mutually concerned topics. The seventh annual conference was successfully held in Hong Kong on 17-19 December 2004, exploring the insights on “City Branding” addressed by experts from the four cities. Danny conducted the closing session by evaluating CTC and discussing the way forward. The next conference is scheduled to be held in Shenzhen in October 2005.

Programme 2004-05: International Cultural Exchange

文化多樣性國際網絡

國際文化交流會議

International Cultural Conference

上海年會

International Network for Cultural Diversity (INCD) Annual Meeting in Shanghai 文化多樣性國際網絡由多位來自世界各地的藝術工作者及文化組織組成，旨在對抗全球化對文化造成的影響。榮念曾是該網絡的聯合主席，透過他的安排，二零零四年年會於十月十一至十五日在中國上海舉行，主題為「傳統文化與現代化」。

The International Network for Cultural Diversity (INCD) is a worldwide network of artists and cultural groups dedicated to countering the homogenising effects of globalisation and trade on culture. Danny Yung is one of the Co-Chairs of the Network. With his networking efforts in China, Shanghai was chosen as the hosting city for the annual meeting of 2004, from 11 to 15 October with the topic “Traditional Cultures and Modernisation”. 網址 / Website: www.incd.net/

藝術總監出訪交流 The Artistic Director in Cultural Visits 藝術總監榮念曾不但代表進念積極參與並組織以上各項國際性交流會議，亦應邀參與各項國際文化交流和外訪活動，包括於二零零四年五月出訪德國，瑞士和奧地利；七月及八月分別被邀到訪墨爾本及悉尼出席Asialink Arts Forum 2004及Res Artis 2004，討論文化交流和藝術村事宜，並和Asialink達成人才交流計劃協議；九月應邀往紐約哥倫比亞大學主講舞台創作經驗等。同時，他亦為推動中國傳統戲曲與當代藝術的發展和合作不遺餘力，與全國八個劇種建立合作計劃，和聯合國教科文組織商談傳統戲曲保存和發展合作方案，包括在香港建立「非物質文化遺產中心」的建議。

Danny Yung, the Artistic Director of Zuni, has been very active in participating and organising international cultural exchange programmes such as the above. He was invited to all corners of the world to take part in various cultural visits and exchange activities. In May 2004, Danny visited Germany, Switzerland and Austria; and in July and August he was invited to visit Melbourne and Sydney for the Asialink Arts Forum 2004 and Res Artis 2004, to discuss the possibility of an art village. In that trip, Danny came to an agreement with the representatives of Asialink for an artist exchange programme. The same year, he received an invitation to visit Columbia University, New York in September to share his creative experience in theatre. At the same time, Danny is giving his utmost in promoting contemporary Chinese arts and traditional Chinese opera. In order to realise his vocation, Danny has drawn up plans to collaborate with 8 theatre groups in China, and submitted proposals to the UNESCO for the preservation of the heritage of traditional Chinese operas; and one of the proposals is to establish the “Institute of Preservation and Development of Intangible Cultural Heritage” in Hong Kong.

全年活動概覽：國際文化交流

城市文化交流會議2004 43 City-to-city Cultural Exchange Conference 2004

創意教育「創意」已成為香港近年的時麾用語，彷彿只要提及創意，許多問題就能迎刃而解。至於如何發掘創意的源頭，並令創意能持續發展，最終能令人文素質提升，則未必是每個人都能夠深思的問題。進念自一九八七年成立了藝術教育小組，設計了多個創意教育的項目，包括：多元化的學校藝術教育、牛棚書院創意人文課程、出版文化雜誌《E+E》，以及分別適合大、中、小學生及普羅市民的展覽、演出、工作坊、演後座談會、本地及海外交流活動等，以培育香港未來的藝術工作者、觀眾和評論人。二零零四至零五年度，進念舉辦了多項創意教育活動，表演藝術方面分別有延續上年度，及於二零零四年九月開展的「張愛玲愛看的」及「香香港漫漫遊」多媒體戲劇教育計劃。進念亦同時舉辦了兩個由進念青年組織的小型演出《進念青年暑期演出2004》和《秋天不是讀書天？》；及參與由康文署主辦的學校文化日，舉辦《浮士德vs浮士德》學生專場，為青少年提供一個欣賞戲劇的機會，培養他們對藝術的興趣。視覺藝術教育方面，九五年創辦的「黑箱作業」藝術裝置教育計劃應邀於二零零四年四月在日本福岡進行講座和工作坊。至於文化雜誌《E+E》則於本年度出版了第十至十二期。而旨在推廣本地閱讀風氣的「牛棚書展2004」亦於本年度舉行。總括進念於二零零四至零五年度在本地及海外進行的創意教育活動，總參與人數超過二萬三千人次。

全年活動概覽：創意教育

CREATIVE EDUCATION The word “creativity” has become a hip term in Hong Kong in recent years, as if it was a magic word that can bring solutions to all sorts of problems. As for the ways to explore sources of creativity, and further more, the ways to allow a sustainable development of creativity which will eventually enhance the quality of humanities, however, may not be an issue that stirs up serious thinking for everyone. In 1987, Zuni established the Art Education Unit and has since designed many creative education projects, including the diversiﬁed school art education programmes, the Cattle Depot Creative Humanities Programme, and the publishing of the cultural magazine, “E+E”; as well as exhibitions, performances, workshops, meet-the-artist sessions, local and overseas cultural exchange activities, which are all suitable for the primary, secondary schools and universities in Hong Kong. These programmes aim at nurturing more audience, artists and critics for our future. In the year of 2004-2005, Zuni organised a number of creative education activities. In performances, there were two productions from the Multi-media Theatre Education Programme, namely, the sequel to last year’s “Eileen CHANG Loved To See”, and “Come Come Comics” which was started in September 2004. At the same time, Zuni also presented two small-scale productions “Zuni Youth Summer Performance 2004” and “Autumn, Not a Season for Studying?”, organised by “Zuni Youth”. On top of that, Zuni also participated in the School Culture Day presented by the Leisure and Cultural Services Department, and gave one performance of “The Little Little Faust” exclusively for students, providing an opportunity for young people to appreciate drama, as well as enhancing their interests in arts. On the education on visual arts, “Black Box Exercise – Installation Art Education Programme” that started in 1995, was invited by Japan to present talks and workshops in Fukuoka in April 2004. Besides, the cultural magazine, “E+E”, published its tenth to the twelfth issues last year. And “Cattle Depot Book Fair 2004” which aims at future developing reading culture in Hong Kong was also held last year. The number of participants involved in the Creative Education Programme in the year of 2004-2005 was over 23,000.

Programme 2004-05: Creative Education

「香香港漫漫遊」多媒體戲劇教育計劃 Multi-media Theatre Education Programme “Come Come Comics”

全年活動概覽：創意教育

多媒體戲劇教育計劃參與師生感想節錄

李浩銘順德聯誼總會胡兆熾中學「張愛玲愛看的」多媒體戲劇教育計劃參加者

「不停地接觸不同的接觸，不停地感覺不同的感覺，生活變得異常充實。我認為創作是 From nothing to anything 從沒有到所有。」

蘇君煌老師九龍華仁書院「香香港漫漫遊」多媒體戲劇教育計劃參與學校老師

「多媒體、多元化、自由發揮、自由空間任創意飛揚。最怕不是沒選擇，而是不知如何去選擇；無盡機會任你發揮，只恨時間太短，要學的太多。」

唐麗萍同學保良局八三年總理中學「香香港漫漫遊」多媒體戲劇教育計劃參加者

「自參與計劃後我最大的分別是對於一齣戲劇背後的製作有了不同方面的了解。而且令我更了解自己的興趣，以及培養了獨立的思考和組織能力。我認為創作是大膽創新，突顯個人風格。」

郭耀豐校長佛教黃允畋中學「香香港漫漫遊」多媒體戲劇教育計劃參與學校校長

「此計劃既豐富了學生對多媒體戲劇的認識，亦提供不少創意空間，讓學生自由創作。」

Programme 2004-05: Creative Education

多媒體戲劇教育計劃

Multi-media Theatre Education Programme

進念自二零零零年開展「多媒體戲劇教育計劃」，二零零一年起與康樂及文化事務署合辦。這個計劃把進念多年來一直在實驗的多媒體劇場帶到學校去。精密細緻的多媒體綜合演出被拆解成不同的獨立系統，讓同學能以有系統的方式，思考舞台、演出、創作、自身、社會等各種理念和技術性範疇。計劃的對象為中學生，每年均以不同主題在十間中學進行約九個月，分為三個階段的計劃，先在學校進行巡迴演出，再由不同界別的藝術工作者帶領學生參與多媒體工作坊，最後是聯校演出，讓學生得到實踐戲劇創作的機會。過去五年的主題包括「實驗青年」、「諸子百家」、「百年典範──少壯努力篇」、「張愛玲愛看的」及「香香港漫漫遊」，參與學校超過六十間，參與師生人數超過四萬人次。

運作模式計劃初期提供一節為老師而設的多媒體劇場精要工作坊，目的在給予老師們有關多媒體劇場及計劃的精要，使其有效地於校內推行計劃。而整個計劃以中三或以上級別的學生為對象，分三個階段進行。

第一階段：學校巡迴演出及演後討論會讓學生從欣賞開始，接觸多媒體劇場及引發他們對多媒體創作的興趣。

第二階段：媒體工作坊（漫畫劇場*、戲劇／表演、文本、錄像、聲音／音樂、視覺／裝置及舞台技術）媒體介紹：讓學生認識上述各個媒體的定義與特性媒體進階工作坊：學生對各個媒體有了初步了解後，他們便可選擇主修科目，進一步了解不同媒體的創作性與基本技術的培訓。

第三階段：多媒體戲劇演出及裝置展覽* 經過不同媒體的學習後，學生以小組形式進行集體創作，透過討論、資料搜集把創作意念融匯與整合，然後展示於舞台或展覽中。 *「香香港漫漫遊」多媒體戲劇教育計劃加入漫畫劇場工作坊及漫畫裝置展覽。

全年活動概覽：創意教育

Multi-media Theatre Education Programme Zuni started the “Multi-media Theatre Education Programme” in 2000, and went on to co-present this programme with the Leisure and Cultural Services Department from 2001. Through this programme, Zuni brings the multi-media theatre that we have been experimenting all these years to various schools. In the process, a sophisticated multi-media performance is broken down into different individual parts, and with a systematic approach, the instructors help the participating students ponder upon the various ideas and technical aspects of the stage, performance, creation, their own selves, and the society. The target of this programme is secondary school students. Every year, with a different topic, the programme would be carried out in 10 secondary schools in three stages for about 9 months. First, it would be the in-school multi-media performance; then, artists from various ﬁelds would then lead students to participate in multi-media workshops, followed by the last stage of joint-school performance, giving students an opportunity to realise their creativity in drama. Topics in the last ﬁve years include “Experimenting Youth”, “School of Thoughts”, “Classics Re-invented: The Youth Version of One Hundred Years of Solitude”, “Eileen CHANG Loved To See”, and “Come Come Comics”. There were totally 60 schools participating in these programme, and the number of teachers and students involved was more than 40,000.

The Logistics The ﬁrst part of the programme involved a workshop on the highlights of multi-media theatre designed for teachers. The aim of this workshop was to introduce to the teachers the principal ideas about multi-media theatre so that they could effectively carry out the programme in their schools. The whole programme was designed for students of Form Three and above, and was divided into three phases:

The First Phase: In-school Multi-media Performance Tour and After-performance Discussion This process enabled students to be exposed to multi-media theatre and so they would learn to appreciate the art form; and thus their interest in multi-media creation would be enhanced.

The Second Phase: Media Workshops (Comics Theatre*, Drama/Performance, Text, Video, Sound/Music, Visual/Installation and Stage Techniques) • Introduction to the Media: introduced and deﬁned to the students each of the above media, and explained to them their characteristics • Media Advanced Workshop: as students had already had a preliminary understanding of each medium, they could then choose to major in a particular subject. This helped them further understand the creative possibilities of each medium and be trained in its basic techniques

The Third Phase: Multi-media Theatre Performance and Installation Exhibition* After the learning process in various media, students were divided into small groups to work on collaborative creation. Through discussion and research, they digested, absorbed and integrated their creative ideas, and displayed the ﬁnal product on stage or in an exhibition. * “Come Come Comics” – Comics Theatre Workshops and Comics Installation Exhibition were part of the Multi-media Theatre Education Programme

Programme 2004-05: Creative Education

「香香港漫漫遊」

多媒體戲劇教育計劃

Multi-media Theatre Education Programme

「香香港漫漫遊」多媒體戲劇教育計劃的主題是漫遊香港──發現、發展香港故事，運作理念是以年輕人感興趣及熟悉的「漫畫」作為「媒體介面」──引入點；以本地獨立漫畫創作人黎達達榮及其作品中「自我推動、自力更新、有志者成」的奮鬥故事作為「內容介面」，幫助參與學生進入整個計劃的研習重心──香港特色。故此，這個計劃除了戲劇／表演、文本、錄像、聲音／音樂、視覺／裝置及舞台技術五個多媒體藝術工作坊外，更加入漫畫劇場工作坊。計劃於二零零四至零五年度進行了第一及第二階段，參與師生約七千五百人，十一間參與學校包括三育中學、新界喇沙中學、港九街坊婦女會孫方中書院、保良局顏寶鈴書院、九龍華仁書院、佛教黃允畋中學、玫瑰崗學校(中學部)、中華基督教會燕京書院、鄧肇堅維多利亞官立中學、東華三院黃笏南中學、保良局八三年總理中學。

「張愛玲愛看的」這個計劃由二零零三年九月開展至二零零四年五月，於本年度進行的計劃是第三階段。同學們經過了首兩個階段的校內巡迴演出和多媒體工作坊，得以在第三階段的「聯校演出」中實踐他們的創意，以小組形式創作多媒體演出，於二零零四年四月在牛池灣文娛中心劇院演出兩場。整個計劃的參與師生共六千七百人，十二間參與學校包括英華書院、德愛中學、德仁書院、寶血女子中學、潮州會館中學、賽馬會官立中學、樂善堂梁植偉紀念中學、聖瑪加利男女英文中小學、順德聯誼總會胡兆熾中學、地利亞修女紀念學校（月華）、香港四邑商工總會陳南昌紀念中學及香港管理專業協會李國寶中學。

全年活動概覽：創意教育

Come Come Comics The theme of “Come Come Comics” of the Multi-media Theatre Education Programme was cruising around Hong Kong. It was a story of discovering and developing Hong Kong, using comics as a medium, since it is a very familiar subject in which local young people are interested. With comics as a starting point, the programme used the works of the local independent comics artist, Lai Tat Tat Wing, as an illustration, introducing to the participating students a story of struggle and success. In this story, they were told and taught how to be selfmotivated, to be re-inventing all the time, and ﬁnally to achieve one’s goal through perseverance. On top of the usual topics of drama/performance, text, video, sound/music, visual/installation and stage techniques in the past year, there was an addition of comics theatre in the series of media workshops this year. The ﬁrst and second phases of the programme were completed in the year 2004-2005. The total number of participating teachers and students was about 7,500; and the 11 schools involved in the programme were Sam Yuk Middle School, De La Salle Secondary School NT, HK & KLN Kaifong Women’s Association Sun Fong Chung College, Po Leung Kuk Ngan Po Ling College, Wah Yan College, Kowloon, Buddish Wong Wan Tin College, Rosaryhill School (Sec. Sect.), CCC Yenching College, Tang Shiu Kin Victoria Government School, TWGHS Wong Fut Nam College and PLK 1983 Board of Director’s College.

Eileen CHANG Loved To See The 3rd stage of the programme was presented last year. After the ﬁrst two stages of in-school touring performance and multi-media workshops, the participants started to realise their creativity in the “Joint-School Finale Performance” held in Ngau Chi Wan Civic Centre. There were a total of 12 schools participating in the programme, and 6,700 teachers and students were involved. The schools taking part in the event were Ying Wa College, Tak Oi Secondary School, Tak Yan School, Precious Blood Secondary School, Chiu Chow Association Secondary School, Jockey Club Government Secondary School, Lok Sin Tong Leung Chik Wai Memorial School, St. Margaret’s Co-Education English Secondary & Primary School, STFA Sesward Woo College, Delia Memorial School (Yuet Wah), HKSYC & IA Chan Nam Chong Memorial College and HKMA David Li Kwok Po College.

Programme 2004-05: Creative Education

進念青年2004實驗演出計劃

進念青年

《進念青年暑期演出2004》、《秋天不是讀書天？》

Zuni Youth

進念青年成立於二零零三年，是由一群熱愛表演藝術的年輕人組合而成，他們過往都曾參與進念的戲劇教育計劃。進念希望透過此計劃，讓他們得到延續實踐和創作的機會。為了推動他們的主動性，並讓他們有機會嘗試參與不同崗位，進念開放整個計劃的各方面予他們參與，因此無論是統籌、創作、演出、宣傳、製作等工作都由他們負責，進念及邀約創作人則從旁指導，與他們討論並給予意見。二零零四至零五年度，進念青年分別進行了《進念青年暑期演出2004》及《秋天不是讀書天？》兩個小型實驗演出。前者於二零零四年九月在牛棚舉行，一共展示了三段題材不同的短劇和多媒體作品；後者則透過問卷、討論等方式思考他們對讀書、學習、教育和知識的看法，再利用牛棚的空間作為舞台，於二零零四年十一月「牛棚書展2004」舉行期間進行環境表演及裝置藝術。

《浮士德 vs 浮士德》學生專場進念一直都透過不同的途徑將實驗戲劇推廣予學生和年青人。除了上述藝術教育計劃外，進念亦於本年度參與由康文署主辦的學校文化日，舉辦了《浮士德vs浮士德》學生專場，為青少年提供一個欣賞戲劇的機會，培養他們對藝術的興趣。《浮士德 vs 浮士德》是一個結合傳統戲曲與當代劇場的實驗演出，於二零零四年六月上演。有關這個演出的詳情，請參閱演出部分（第27頁）。

全年活動概覽：創意教育

Zuni Youth 2004 Experimental Performance Zuni Youth Summer Performance 2004 Autumn, Not a Season for Studying?

Established in 2003, “Zuni Youth” is a group of young people who share a great passion for performing arts, and they have previously been involved with the art education programme organised by Zuni. The aim of forming this group is to let these young people have more opportunities to realise their creativity. In order to allow the members to learn more about every aspect of a theatre performance, Zuni assigns them to different posts in a theatre production, such as, planning, promotion, performance and creative work. Along the whole process, these members practise under guidance, and their performance is reviewed with advice from instructors. Two small-scale performances, “Zuni Youth Summer Performance 2004” and “Autumn, Not a Season for Studying?”, were held in the year 2004-05. Three episodic pieces of multi-media work were given of the former, which was held in September 2004; while participants’ comments on studying and reading were expressed in the latter, an outdoor performance which was held in the “Cattle Depot Book Fair 2004”.

The Little Little Faust Performance for students Zuni has been introducing experimental theatre to students and young people in Hong Kong through various media and different means. Besides the above mentioned creative education programmes, Zuni collaborated with the Leisure and Cultural Services Department in June 2004 in the School Culture Day, and presented “The Little Little Faust”, a special performance for students, in the hope of providing young people with a chance of appreciating drama, and so might help enhance their interest in the performing arts. “The Little Little Faust” was an experimental performance of traditional Chinese opera and contemporary theatre. For details of this programme, please refer to p.27

Programme 2004-05: Creative Education

裝置藝術教育計劃

Installation Art Education Programme

黑箱作業

Black Box Exercise

「黑箱作業」是進念在一九九五年創辦的同名社區藝術活動的延續，概念是讓學生擁有一個屬於自己的 30x30x30 公分木製黑箱，然後在黑箱內進行創作及表達。從一九九九年起，「黑箱作業」逐漸由本地擴展至海外，成為國際間備受重視的教育計劃。進念成員不但曾應邀在聯合國教科文組織（UNESCO）亞洲教育專家交流會議中，以「黑箱作業」作為成功個案與席間各專家分享心得；「黑箱作業」更於2003年起成為丹麥的正式藝術教育課程之一。過往六年，進念在本地舉行了六項「黑箱作業」活動，參與學校約50間，人數超過 28,000人。海外方面，進念曾獲邀往東京、福岡、澳門及丹麥多個城市舉辦「黑箱作業」工作坊及展覽，參與及參觀人數高達76,000人。

“Black Box Exercise” began operating in the year 1995, and the concept of Black Box Exercise is to have each of the participating students to have a black box of his own, sized 30 x 30 x 30 cm; and they are to create something inside the box as their creative expressions. In 1999, “Black Box Exercise” started to extend from Hong Kong to overseas, and gradually became an important and internationally known education programme. The organisers and members of “Black Box Exercise” were invited to participate in an exchange conference held by the UNESCO for educators in Asia, and “Black Box Exercise” was used as an example showcase for the participants in sharing their experience in education. In 2003, “Black Box Exercise” ofﬁcially became part of the school curriculum in art education in Denmark. In the past 6 years, Zuni hosted six “Black Box Exercise” activities in Hong Kong, with the participation of more than 50 schools and over 28,000 people. As for overseas, Zuni was invited to cities including Tokyo, Fukuoka, Macau, and Copenhagen to present workshops and exhibitions on “Black Box Exercise”, and the number of participants was more than 76,000.

「黑箱作業」在日本福岡 “Black Box Exercise” in Fukuoka, Japan 二零零四年四月，「黑箱作業」應邀參加由日本福岡Society of Children's Theater works & Community Development in Kyushu-Okinawa Region主辦的年度Haki國際兒童劇藝節，是次工作坊及展覽以介紹「黑箱作業」的概念及運作模式作序。在過程中，參加者的小型黑箱裝置作品在藝術節的會場內展出，參與總人數約五千。

In April 2004, “Black Box Exercise” was invited by the Society of Children’s Theater works & Community Development in Kyushu-Okinawa Region to hold creative workshops and an exhibition for children, young people, educators and the general public in the Haki International Children Theatre Arts Festival. The total number of participants exceeded 5,000.

全年活動概覽：創意教育

牛棚書展

Cattle Depot Book Fair

牛棚書展２００４

Cattle Depot Book Fair 2004

「牛棚書展」創辦於二零零三年，是一個由民間策劃和組織的書展，旨在為愛書人在商業書展以外提供另類選擇，推廣深層閱讀文化。二零零四年，「牛棚書展」以「香港生活價值」為題，特設主題書展及邀得三位著名作家李歐梵教授、陳雲博士及莫昭如先生擔任駐節作家，與大家探討及分享他們對香港生活價值的參與經驗和研究成果。另外，本年書展亦舉辦多項周邊活動，包括：展覽、講座、研討會、學校遊讀團及工作坊、音樂會、創意地攤等，以吸引讀者及熱愛文化藝術的朋友參與。「牛棚書展2004」由進念．二十面體及1a空間主辦，於二零零四年十一月四至八日在九龍土瓜灣牛棚藝術村舉行，全部活動皆免費開放給市民參與。在為期五天的書展中，參展單位共二十六個，舉辦了逾三十項相關活動，吸引到約一萬多名市民入場。在有限的資源下，書展全賴各界人士以義務的形式支持和協助才得以順利舉辦。

The “Cattle Depot Book Fair” was a book exhibition organised by non-government organisations. It provided an alternative for book lovers in Hong Kong, in addition to the major local commercial book fairs. The theme of this year book fair was “The Practice of HongKongness”, and the three Authors-in-Residence, Prof. Leo Lee Ou-fan, Dr Chan Wan and Mr. Gus, Mok Chiu-yu took different approaches to lead the discussions on the theme. Other activities related to the Book Fair included an exhibition, talks, seminars, workshops, school tours and workshops, concerts and a creative ﬂea market. “Cattle Depot Book Fair 2004” was co-presented by Zuni and 1a space. It was held on 4 to 8 November 2004 at the Cattle Depot Artists Village. All activities were open to the public and free of charge. During the ﬁve days of the Book Fair, there were 26 exhibitors, over 30 related activities, and more 10,000 visitors. Since there were only limited resources, a lot of work of the Book Fair was supported by voluntary helpers.

Programme 2004-05: Creative Education

E+E

文化雜誌

Cultural Magazine

《E+E》是進念自資出版的文化雜誌，自二零零一年九月份創辦以來，已經出版到第十二期。《E+E》的宗旨是建立一個知識的平台讓有質素的文章得以發表，透過文字擴大市民大眾對社會現象和文化藝術的認識和關注，並讓作者與讀者在這個平台上進行交流和討論。《E+E》以本土文化為本位，每期均以專輯形式研究一個與本土文化有密切關係的課題，本年度出版的第十至十二期就分別以「跨境文化人」、「香港生活價值」及「香港的電視」為主題。專題以外，《E+E》同時邀請不同界別的專業人士和學者撰寫有關電影、電視、人物、政策、政治、都市、藝術、社會現象等的評論文章；另外更設有書短和專題書短，為讀者推介一系列書籍，鼓勵讀者作更廣闊和深入的閱讀。展望將來，為了回應香港逐步邁向知識型社會，及未來教育改革著重多元思考的發展方向，尤其是通識教育科將成為新高中課程的核心課程，《E+E》將繼續以認真的態度，深入淺出的形式為中學生，及有興趣認識與討論各種文化與社會議題的公眾，帶來不同類型的知識與研究。

二零零四至零五年度的出版第十期

專題：跨境文化人

一個城市的出版業發展與興盛是政府、出版商、作者、讀者等多方面互動的成果。目前，中國大陸是兩岸三地中出版業發展最快，最有潛力的市場。在大量需求人才的情況下，不少香港文化人也紛紛離港發展，究竟他們是抱著什麼心態北上？「跨境文化人專訪」特別訪問了五位香港文化人，邀請他們與讀者分享各自的跨境經驗。第十一期

專題：香港生活價值

「牛棚書展2004」以「香港生活價值」為題，這個專輯則是書展主題的延續，不但邀請到不同作者書寫生活感言，更輯錄書展期間由陳雲、梁款、關啟文及馬國明主持的三場論壇的撮要內容作延伸討論。第十二期

專題：香港的電視

專題探討香港的電視行業，從歷史回顧開始，這個專輯先整理過去數十年電視台的更迭情況，繼而討論廣播政策的不足，再輔以目前的香港電視架構圖，讓讀者對電視行業的發展與政府的監管架構有初步的概覽。從宏觀到微觀，專輯最後透過電視節目分類和統計及觀眾訪問，將關注點拉近至每天播放的電視節目與觀眾的意見。

全年活動概覽：創意教育

Since its publication in September 2001, “E+E” has been Zuni’s self-financed cultural magazine, and is now in its twelfth issue. The aim of “E+E” is to provide an intellectual platform for quality articles to get published; and, through the use of text, to expand the general public’s knowledge and concern in social phenomena, arts and culture; as well as to allow writers and readers to participate in exchange and discussions on this platform. Oriented towards the local culture, “E+E” features a topic that is closely related to the local culture in each issue. For the tenth to the twelfth issues published last year, the featured topics were “Interstate Cultural Workers”, “The Practice of HongKongness” and “Television in Hong Kong” respectively. Apart from presenting feature topics, “E+E” also invites professionals and scholars in various fields to write columns on films, television, personal profiles, policies, politics, urban city, art, social phenomenon and the like. In addition, there are excerpts and feature excerpts with a list of recommended books to encourage readers to widen their scope in reading and do more in-depth reading. Looking ahead into the future, as Hong Kong is gradually changing into a knowledge-based society, and that our future education reformers are focusing their development on the direction of diversified thinking, and particularly with Liberal Studies becoming a core subject in senior secondary education, “E+E” will earnestly continue to offer different types of knowledge and insights, in a comprehensive manner, to secondary school students and the public who are interested in learning and discussing various cultural and social issues.

The Issues Published in 2004-2005 The Tenth Issue Topic: Interstate Cultural Workers The development and prosperity of a city’s publication industry are the results of the interaction between the government, publishers, writers and readers. For the publication industry, mainland China currently has the fastest growing market with the highest potentials among the places across the Strait. In view of the large demand of talents there, many Hong Kong cultural workers left Hong Kong for China to pursue their career. What was in their mind when they went northbound? In the “Interviews of Interstate Cultural Workers”, ﬁve Hong Kong cultural workers are interviewed to share their interstate experience with the readers.

The Eleventh Issue

Topic: The Practice of HongKongness

“The Practice of HongKongness” was the topic of the “Cattle Depot Book Fair 2004”, and this feature is an extension of the book fair topic. Various writers are invited to write down their outlooks on life; and on top of that, the content of the three forums held during the Book Fair, hosted by Chan Wan, Leung Foon, Kwan Kaiman and Ma Kwok-ming, is summarized for further discussion.

The Twelfth Issue

Topic: Television in Hong Kong

This topic focuses on the television industry in Hong Kong. Starting from a retrospective into the history of the industry, this feature ﬁrst takes a look at the changes in the television industry over the past few decades. It then goes on to discuss the inadequacy in the policies of broadcasting, complemented with a chart on the current structure of the television industry in Hong Kong. Readers can therefore have a preliminary overview on the development of the television industry and the regulatory structure in the government. From a macroscopic view to a microscopic view, through television programme classiﬁcations and statistics, together with audience interviews, the feature zooms in to focus on the daily television programmes and audience’s opinion.

Programme 2004-05: Creative Education

其他活動 Other Activities 進念於二零零四至零五年度，除了舉辦和參與演出、國際文化交流活動、創意教育計劃及出版文化雜誌外，亦與本地及海外不同的文化藝術機構合辦及製作了兩個活動，包括在台北舉行的《候鳥──多媒體聲音裝置展》，及為紀念任劍輝女士逝世十五周年而舉行的慈善演出《重按霓裳歌遍徹》，以發揮文化藝術團體促進社會發展的力量。 In the year 2004-2005, besides the usual activities of performances, cultural exchange, creative education and publication, Zuni also engaged in two other projects which were collaborations with other arts organisations, and they were “Migrating Birds – A MultiMedia Sound Installation” in Taipei, and “Dressed Up Again for the Opera”, the charity performance commemorating the 15th anniversary of the death of Ms. Yam Kim Fai. These events were organised in order to enhance the development of collaborations among various arts and cultural groups and thus help the growth of society at large.

全年活動概覽：其他活動

其他活動 Other Activities

候鳥──多媒體聲音裝置展

Migrating Birds ── Multi-media Sound Installation

進念在多媒體裝置設計方面累積了多年經驗，得到本地及海外人士的欣賞。過去數年，進念便曾應邀參與海外演出的多媒體創作，包括二零零二年在北京上演的《關於愛情歸宿的最新觀念》，及二零零三年在台北上演的《亂民全講》。本年度，跨越舞台的框架，進念首次應邀參與製作由誠品書店主辦，於二零零四年五月在台北誠品畫廊舉行的《候鳥──多媒體聲音裝置展》。《候鳥──多媒體聲音裝置展》是一個關於情感旅程的聲音影像經驗。這個展覽由張艾嘉擔任策展人／聲音演出、胡恩威設計多媒體裝置／導演、黃韻玲創作音樂。在畫廊空間裡面，設置了四台投影機，擴音器、半透明白紗幕與及一個書架。透過這個裝置組合，隨著聲音／影像／燈光的變化，帶領觀眾體驗一次十二分鐘關於「候鳥」的經驗，再藉此牽動他們的記憶和想像。

Having accumulated years of experience, Zuni is highly acclaimed locally and overseas in multi-media installations. During the past few years, Zuni had been invited many times to participate in multi-media performances overseas, like “Head Without Tails” performed in Beijing in 2002 and “All Talks” performed in Taipei in 2003. This year, breaking grounds in theatre and installations, Zuni was invited for the ﬁrst time by Eslite Book Store to participate in “Migrating Birds, - A Multi-Media Sound Installation”, held in the Gallery of Eslite Book Store, Taipei. “Migrating Birds – A Multi-media Sound Installation” was an audio and visual experience of a journey of emotions. Ms. Sylvia Chang was the organiser and sound performer of the show, with Mathias Woo acted as the multi-media setting designer and director, and Ms. Kay Huang as the music director. Within the space of the Gallery, there were four projectors, an ampliﬁer, a piece of semi-transparent gauze and a bookshelf. Through this set-up, the audience underwent a 12-minute experience of “migrating birds”, through the changes in sounds, visions, and lighting, and their memory and imagination were carried away by the emotions brought about by the concept of “Migrating Birds”.

Programme 2004-05: Other Activities

重按霓裳歌遍徹

其他活動 Other Activities

任劍輝女士逝世十五周年紀念慈善演出

Dressed Up Again for the Opera

A Charity Performance Commemorating the 15th Anniversary of the Death of Ms. Yam Kim Fai

多媒體設計以外，進念亦以豐富的舞台製作經驗，參與本地慈善活動的製作，發揮文化藝術團體促進社會發展的力量。二零零四年十一月，進念便應邀參與製作《重按霓裳歌遍徹》，一個為紀念任劍輝女士逝世十五周年而舉行的慈善演出。這個演出由白雪仙女士發起，為任白慈善基金會籌款，於香港文化中心大劇院演出。

Apart from multi-media design, Zuni has also participated in local charity activities by utilizing its vast experience in theatre productions, setting an example of how cultural and arts organisations can help promote social development. In November 2004, Zuni was invited to participate in the production of “Dressed Up Again for the Opera”, a charity performance commemorating the 15th anniversary of the death of Ms. Yam Kim Fai. Advocated by Ms. Pak Suet Sin, the performance in the Grand Theatre of the Hong Kong Cultural Centre was to raise fund for the Yam Kin Fai & Pak Suet Sin Charitable Foundation.

全年活動概覽：其他活動

各方評論 Reviews & Notes

《大公報》Ta Kung Pao (1/11/2004) 62

《信報》Hong Kong Economic Journal (24/8/2004)

感覺團塊

張小虹 #

張愛玲總是叫人又愛又恨，碰不得卻又想要碰，所以絕

六年前的舊作《十八春》。箇中道理恐怕不是「我們回

大多數的改編重寫都成了災難。

不去了」，而是不斷魂縈夢牽地回去，一而再再而三的回去，而這種反覆衝動的本身，才是無法真正回去的殘

不信邪的林奕華，這次看上的仍是張愛玲，還是早就

酷，回不去了所以才一再嘗試回去。

被電影和電視劇演爛的《半生緣》。他和胡恩威共同執導，找了香港進念與中國國家話劇院搭檔演出。表面上

然而這次林奕華和胡恩威的《半生緣》，溢出了上述

他們的《半生緣》很不進念，舞台上沒有任何廣東腔國

我們熟悉的精神分析模式，他們讓「回不去」不再只

語的演員，只有台灣表演工作坊和大陸舞台劇的風格雜

是「回憶」的徒勞無功，而是一種感覺團塊，一種文

揉，但他們的《半生緣》又非常進念，進念的概念化舞

字、聲音、影像、音質、畫素的組構，一種後精神分

台，進念的疏離式演出，進念的語言操作，只是這一次

析、反伊底帕斯的慾望機器，「任何一件藝術品都是

的進念出奇感性、易常通俗。

一個紀念碑，但這裡的紀念碑不是紀念一段過去，而是數個現時感覺所構成的團塊，而這些現時感覺就只

要去想像「以庸俗反當代」的張愛玲，當然可以用偶

靠它們自己完成自我保存，而且賦予事件那將之頌

像明星、用主題歌曲、用文字、音樂、投影畫面來營造

揚的組成物。紀念碑的行為不是回憶，而是編構。我

強烈情感的氛圍，但這些流行通俗元素卻沒有讓他們的

們不是用童年回憶來書寫，而其實是以現在變成－兒

《半生緣》淪為情緒的災難。一方面當然是獨特的演出

童的童年團塊來書寫」。愛情不是回憶，愛情是現時

方式，對張愛玲原著展現的死心踏地，逐字逐句照本宣

當下的感覺編構，「回不去了」不是回憶，「回不去

科，沒有任何對手戲，演員都是個別面對觀眾將對話轉

了」是劇場裡的事件。「回不去了」的感覺團塊，甚至

為獨白，在第一人稱與第三人稱之間跳接轉換，讓一齣

讓「我們」作為回憶的主體，都開始變得模糊曖昧、

可以輕易淪為媚俗濫情的多媒體音樂話劇，有了「深情

杳渺茫茫，誰是誰又不是張愛玲，誰是誰又不是顧曼

的疏離」。另一方面則是抓穩了《半生緣》中最動人的

楨，誰是誰又不是張艾嘉／劉若英。「回不去了」就

時間母題「我們回不去了」，不論是用張愛玲的文字直

時間流變而言是滄桑，但就情感強度而言卻是襲湧而

接投影、用張艾嘉成熟有韻致的畫外音穿插、用韋瓦第

來、流灌全身的當下此刻，不能自己。在情感團塊中

的《四季》與火車聲做音效、還是用順走與倒走的計時

沒有我、沒有我們、沒有過去、也沒有未來。舞台上的

器做影像合成，《半生緣》的強烈感性就在時間消逝、

《半生緣》用文字、聲音、影像慢慢鋪陳一個敘事，卻

人事全非的無情。

在最後幾分鐘將敘事擊潰，化成一句一句「我們回不去了」的絕望吶喊，在劇場中瞬間爆發，當下立即、滅頂

所以當朋友輕輕抱怨道，為何長達三個半小時的表演

而來。

沒有中場休息時間，我機巧地代答，休息打斷情緒，中場過後誰回得去呀，既然要談「我們回不去了」，當然

城市、愛情、童年、青春、純潔，只要有時間，什麼都

不能有中場休息。但話才出口，就發現自己的矛盾，既

回不去了。放大的情感，錯亂而迷失，在劇場裡重度撞

然要談「我們回不去了」，為什麼那麼多的倒敘，那

擊著分解而又重組、碎裂而又漂浮的感覺，回不去了。

麼多的回憶，就連當年張愛玲的《半生緣》也是重寫十

# 張小虹為台灣大學外文系教授 # Chang Hsiao-hung is the Professor of Foregin Language and Literature of National Taiwan University 64

上海《藝術世界》 Art World, Shanghai (02/2005) 65

核數師報告 AUDITOR’S REPORT 致進念．二十面體有限公司各會員 (於香港註冊成立及被擔保書限制)

TO THE MEMBERS OF ZUNI ICOSAHEDRON LIMITED

本核數師（以下簡稱「我們」）已完成審核於第69頁至71頁按照香港公認會計原則編制之財務報表。

We have audited the ﬁnancial statements on pages 69 to 71 which have been prepared in accordance with accounting principles generally accepted in Hong Kong.

董事及核數師各自的責任

Respective responsibilities of directors and auditors

(incorporated in Hong Kong with liability limited by guarantee)

公司董事須負責編制真實而公正之財務報表。在編制該等財務報表時，董事必須貫徹採用合適之會計政策。我們之責任是根據審核工作之結果，對該等財務報表

The Companies Ordinance requires the directors to prepare ﬁnancial statements which give a true and fair view. In preparing ﬁnancial statements which give a true and fair view it is fundamental that appropriate accounting policies are selected and applied consistently.

作出獨立意見，並將此意見向會員報告。

It is our responsibility to form an independent opinion, based on our audit, on those ﬁnancial statements and to report our opinion to you.

意見的基礎

Basis of opinion

我們乃按照香港會計師公會所頒布之核數準則進行是

We conducted our audit in accordance with Statements of Auditing Standards issued by Hong Kong Institute of Certified Public Accountants. An audit includes examination, on a test basis, of evidence relevant to the amounts and disclosures in the financial statements. It also includes an assessment of the significant estimates and judgments made by the directors in the preparation of the financial statements, and of whether the accounting policies are appropriate to the Association’s circumstances, consistently applied and adequately disclosed.

次審核工作。審核工作範圍包括以抽查方式審查與財務報表內所載各數額及披露事項有關之憑證，亦包括評估董事於編制該等財務報表時所作出之重大估計及判斷，及衡量究竟其所釐定之會計政策是否適合貴公司之情況，貫徹地被運用及有否足夠地予以披露。我們在策劃和進行審核工作時，均以取得一切我們認為必須之資料及解釋為目標，使能獲得充分之憑證，就該等財務報表是否存有重大錯誤陳述，作出合理之確定。於作出核數意見時，我們亦衡量該等財務報表內所載之資料在整體上是否足夠。我們相信，我們之審核工作已為核數意見建立合理之基礎。

意見我們認為上述財務報表在各重要事項上均真實及公平地反映貴公司於二零零五年三月三十一日結算時之財政狀況及財政結餘狀況，並已按照香港公司條例之披露要求而適當編制。

李綺華會計師事務所香港執業會計師香港，二零零五年九月廿九日

核數師報告

We planned and performed our audit so as to obtain all the information and explanations which we considered necessary in order to provide us with sufficient evidence to give a reasonable assurance as to whether the financial statements are free from material misstatement. In forming our opinion we also evaluated the overall adequacy of the presentation of information in the financial statements. We believe that our audit provides a reasonable basis for our opinion.

Opinion In our opinion, the ﬁnancial statements give a true and fair view of the state of the Association’s affairs as at 31 March 2005 and of its surplus for the year ended 31 March 2005 and have been properly prepared in accordance with the Companies Ordinance.

Laura Lee Yee Wah & Co. Certiﬁed Public Accountants Hong Kong, 29 September 2005

收入及支出表 INCOME AND EXPENDITURE ACCOUNT 直至二零零五年三月三十一日止年度 For the year ended 31 March 2005 附註 Note 收入 Income 減除：支出 Less: Expenditure 年度結餘 (虧損) Surplus (Deﬁcit) for the year 結餘承上 Surplus brought forward

3 4

餘額 (虧損) 結轉 Surplus/ (Deﬁcit) carried forward

2005 HK$

2004 HK$

9,739,332 9,732,175 7,157 22,835

6,834,610 6,742,869 91,741 (68,906)

29,992

22,835

本年度之餘額是確認收益及虧損報表中唯一之組成部份。 The only component of a statement of recognized gains and losses is the surplus for the year.

資產負債表 BALANCE SHEET 二零零五年三月三十一日結算 As at 31 March 2005 附註 Note 固定資產 FIXED ASSETS 流動資產 CURRENT ASSETS 現金及銀行結存 Cash and bank deposits 應收賬款 Accounts receivables 預支及按金 Advance and depostits 相關機構之結欠 Amount due from a related society 其它賬款 Others receivable 流動負債 CURRENT LIABILITIES 預收款項 Advance received 其它應付款項 Accruals and other payables 融資租約之承擔 Obligation under ﬁnance lease

流動資產/(負債)淨值 NET CURRENT ASSETS / (LIABILITIES) 長期負債 LONG TERM LIABILITIES 融資租約之承擔 Obligation under ﬁnance lease 相當於 Represented by: 收入及支出之累積餘額/(虧損) ACCUMULATED SURPLUS / (DEFICIT) of Income and expenditure

2005 HK$

2004 HK$

14,780

11,325

763,116 79,805 119,243 -4,454 966,668

210,086 84,062 95,182 48,591 21,978 459,899

256,752 688,832 5,033 950,617

329,500 107,564 5,033 442,097

16,051

17,802

839

6,292

29,992

22,835

Auditor’s Report

財務報告附註 NOTES TO THE FINANCIAL STATEMENTS 直至二零零五年三月三十一日止年度 For the year ended 31 March 2005

1. 現況 STATUS 機構乃是根據香港公司註冊條例而成立及受限於其擔保書，並無股本。 The Association was incorporated under Hong Kong Companies Ordinance and is limited by guarantee not having a share capital.

2. 主要會計準則摘要 PRINCIPAL ACCOUNTING POLICIES (a) 收入確認 Revenue recognition 撥款、資助、贊助、票房收入及會員費收入按現金收入予以確認。 Grant, subvention, sponsorship, box ofﬁce income and membership fee received are recognized on cash receipt basis.

(b) 符合採用標準會計準則 Statement of Compliance 編製本財務報表已採用由香港會計師公會頒布之標準會計準則及釋義，與香港普遍採納之會計政策符合一致，並符合香港公司條例。 These ﬁnancial statements have been prepared in accordance with all applicable Statements of Standard Accounting Practice (“SSAP”) and Interpretations issued by the Hong Kong Institute of Certiﬁed Public Accountants, accounting principles generally accepted in Hong Kong and the requirements of the Hong Kong Companies Ordinance.

(c) 折舊 Depreciation 固定資產乃採用直線法按下列年率於其估計可使用年期計算折舊以撇銷成本： - 傢俬及設備 20% Depreciation of ﬁxed assets is calculated to write off the cost of each asset over its estimated useful life on a straight line basis. The principal annual rates used for this purpose are as follows: - Furniture and equipment 20%

(d) 融資租約 Finance lease 在融資租約之條款下所運作之資產，包括公司就其所有之損失及獎賞之持有權，均根據有關融資租約條款中之折減後現值之最低繳付款項及相等之債務，被記錄為固定資產及融資租約之承擔。 Assets operated under the terms of finance lease where substantially all the risks and rewards of ownership of the assets remain with the company are recorded as fixed assets by reference to the discounted present value of the minimum lease payments and the corresponding liabilities are recorded as obligations under finance lease.

核數師報告

3. 收入 INCOME 2005 HK$

2004 HK$

香港藝術發展局資助 Hong Kong Arts Development Council’s subvention 三年資助撥款 - 第三年資助 3-Year Grant - 3rd year grant 主導性計劃撥款 Proactive Project Grant

2,022,000 89,440

2,096,000 434,499

門票收入 Box Ofﬁce Income

3,707,576

1,377,249

康樂及文化事務署 Leisure and Cultural Services Department 計劃資助 Project Subvention 場地補助 Venue Subsidy

1,114,680 448,024

1,553,010 --

130,000

200,000

1,600,031

836,448

捐款及贊助 Donations and Sponsorship

120,300

158,618

工作坊收費、會員費、租借設置、售賣紀念品及雜項收入 Workshop fee, Membership, facilities hire, merchandise & miscellaneous income

507,281

178,786

9,739,332

6,834,610

2005 HK$

2004 HK$

7,514,310 1,574,891 642,974 --

4,337,376 1,688,775 697,718 19,000

9,732,175

6,742,869

民政事務局藝術發展基金 Arts Development Fund of Home Affairs Bureau 其他機構主辦 / 合辦節目 Other hired engagements

4. 支出 EXPENSES

製作費 Production Cost 全職工作人員酬金 Personal Emoluments 經常性及其它開支 General Overheads And Others 特別開支 Special Expenditure

5. 稅項 TAXATION 根據稅務條例第八十八條，本公司因屬認可的慈善團體而豁免於利得稅。 The Association is exempted from Hong Kong Proﬁts Tax in accordance with Section 88 of the Inland Revenue Ordinance.

Auditor’s Report

組織架構 ORGANISATION STRUCTURE 成員 Members

Board Members

董事會成員主席財政秘書成員

靳埭強楊偉新張世耀葉國華黃耀明榮念曾楊敏德胡紅玉陳偉明布穎琪

靳與劉設計顧問創作總監進念成員進念成員香港政策研究所主席人山人海製作公司董事進念．二十面體藝術總監溢達集團主席律師陳米記文化事業有限公司主席大律師

Chairman

Kan Tai Keung

Treasurer Secretary Members

Terence Yeung Leo Cheung Paul Yip Anthony Wong Danny Yung Marjorie Yang Anna Wu Mike Chen Winky Po

藝術顧問委員會成員慕尼黑台北台北巴黎台北香港東京紐約台北廣東紐約

雷柏迪馬楊德昌高信彊高行健夏鑄九李歐梵佐籐信

德國慕尼黑Muffathalle藝術中心總監電影導演傳媒工作者文化藝術工作者台灣大學建築及城鄉研究所教授香港中文大學人文學教授東京黑帳幕劇團藝術總監/ 東京世田谷民會館藝術總監張平劇場導演蔡明亮電影導演楊美琦廣東亞視演藝專修學院副院長中馬方子紐約舞蹈工作者

Creative Director, Kan and Lau Design Consultant Ltd Zuni Member Zuni Member Chairperson, Hong Kong Policy Research Institute Director, People Mountain People Sea Artistic Director, Zuni Icosahedron Chairperson, Esquel Group Solicitor Director, Chen Mi Ji Cultural Production Co Ltd Barrister

Artistic Advisory Committee Munich

Dietmar Lupfer

Taipei Taipei Paris Taipei

Edward Yang Gao Xin-jiang Gao Xing-jian Hsia Chu-joe

Hong Kong Lee Ou-fan, Leo Tokyo

Makoto Sato

New York Ping Chong Taipei Tsai Ming-liang Guangdong Yeng Mei-qi

Artistic Director, Muffathalle Arts Centre, Munich Film Director Media Worker Cultural Worker Professor, Architecture and City Research Institute, University of Taiwan Professor of Humanities, The Chinese University of Hong Kong Artistic Director, Black Tent Performance Company/ Setagaya Public Theatre Theatre Director Film Director Vice President, Guangdong ATV Performance Academy, Guangzhou Performance Art Director

藝術總監

榮念曾

New York

節目總監

胡恩威

Artistic Director

Danny Yung

Programme Director

Mathias Woo

職員名單行政經理助理行政經理行政助理創作統籌經理創作統籌製作統籌製作助理

簡溢雅羅嘉欣呂頌萱丘婉萍黃裕偉黃志偉陳浩峰郭健超（至2004年9月1日）譚適美（至2004年8月1日）周俊彥

組織架構

Yoshiko Chuma

Staff List General Manager Assistant Administrative Manager Administrative Assistant Creative Manager Creative Coordinator Production Coordinator Production Assistant

Doris Kan Law Ka-yan June Lui Jay Yau Wong Yue-wai John Wong Cedric Chan Pollux Kwok (until 1 September 2004) Tam Sik-mei (until 1 August 2004) Gavin Chow

架構圖 Organisation Chart

會員大會 Members

董事會

※ 義務

Voluntary Basis

Board of Directors

藝術總監# Artistic Director #

節目總監# Programme Director #

藝術部

行政部

技術部

Artistic Department

Administrative Department

Production Department

創作統籌經理

行政經理

製作統籌

Creative Manager

General Manager

Production Coordinator

創作統籌助理

助理行政經理

製作助理

Creative Coordinator

Assistant Administrative Manager

Production Assistant

行政助理 Administrative Assistant

# 藝術總監及節目總監目前是義務性質擔任，並無支取薪金。 # The Artistic Director and Programme Director of Zuni is now working on a voluntary basis without any form of payment.

Organization Structure

鳴謝 ACKNOWLEDGEMENTS 進念．二十面體謹向以下機構及朋友於過去一年在財政、服務及精神上的支持，致以衷心感謝： We would like to express our gratitude to the following organisations and patrons for their continuous ﬁnancial, service and spiritual support:

特別鳴謝 Special Thanks

民政事務局 Home Affairs Bureau

中國國家話劇院

國立中正文化中心

靳與劉設計顧問

上海戲劇學院

香港藝術中心

溢達集團

南京藝術學院

香港當代文化中心

陳米記

深圳大學藝術學院

非常林奕華

人山人海

江蘇省崑劇院

香港小交響樂團

勤力德記書報發行有限公司

四川省川劇學校

任白慈善基金

皇冠出版社（香港）有限公司

四川省青年川劇團

Kinesisk Kultur Festival, Norway

鳴謝

支持及協助 Support and Cooperations 趙有亮黃英琦黃宇鵬榮廣潤陳雲馮美華張庭秀莫昭如彭家榮熊源偉何婷婷盧文旭王建元朗天嚴惠英許張敏范和生黎健強梁廣福吳熙小西黃家麟陳嘉興楊光歐贊年廖泉仁侯珈琪蔣維國陳嘉銘楊冠倫黃清霞梁文道陳珍珠茹國烈陳沛浩王嘉莉陳韜文張秉權蔡仞姿梁惠嫻練美兒林克歡黎蘊賢余詠誼李立峯呂時鵬石美婷陳智翠馬傑偉陳詠茜

胡綺汶何嘉慧陳智德崔堃穎鄭敏君吉光野徐嘉榮何綺微范中流余德銘黎樂敏孔誥烽葉正斌葉潔馨梁寶山蔡倩兒李照興黃大徽羅展鳳海潮俞若玫史慧敏陳碧如王君寧林一峰龍永邦莫逸風許敖山葉坤儀徐焯賢小草張偉雄喻榮軍麥敏婷潘國靈劉浩明島子蔡潔鈴李智偉祝雅妍鄭政恆楊永德鄺榮基藍奕邦羅錦萍麥樹榮盧銘深甄麗嫦伍嘉豪細優

黎明輝林偉文陳迹鄭敏君沈嘉豪劉子健林子詠陳嘉成盧銘深周伽然劉子健黃振輝鍾琬媛蕭思薇黃銘源莫健偉魏紹恩沈旭暉顏佩琪陳智遠李世昌張志偉灰熊黃小燕黎達榮趙文宗程展緯謝曉虹麥樹勛區惠蓮潘德恕陳佩儀趙來發龍永邦江瓊珠林少安呂大樂許俊虹智海蕭偉祺鄧佩仙林榮豐鄭國政陳慧霞盧穎琳李國雄馬德騏杜明珠莘莘學子張倩如

三三孫澎林輝陳浩倫黎可倫曾兆賢邵國華李佩莎葉華添劉振祥鍾坤馮巽君舒琪莊麗真張錦賢陳輝虹梁納施賴聲川陳寶愉楊凡黃碧民嚴小慧邱歡智伍仲衡林錦強陳少琪林嘉欣張小虹 Rebecca Yip Mandy Chan Wong Chi-fai Ivy Ma aniDa James Chong Van Tjia Kay Hung Ying K.K. Dixon Tsang Pollux Kwok Hung Lam Rachel Li Ivy Ho Lui Siu-yin S.K. Yip Chris Mak Dorothy Shu Rocky Shum Carmen Tsang Wong Chun-wing

Paul Ng Stanley Wong Choi Suet Mui Tommy Ng Gabriel Mendonca Yanki Lee Oriana Reich Ranee K Stephanie Chan Alvina Lee Bobo Leung Candice Chen Miranda Szeto josephine@ lamalex.net 英華書院德愛中學德仁書院三育中學寶血女子中學潮州會館中學九龍華仁書院玫瑰崗學校賽馬會官立中學新界喇沙中學聖瑪加利男女英文中小學順德聯誼總會胡兆熾中學樂善堂梁植偉紀念中學地利亞修女紀念學校(月華) 中華基督教會燕京書院東華三院黃笏南中學佛教黃允畋中學保良局八三年總理中學港九街坊婦女會孫方中書院鄧肇堅維多利亞官立中學牛棚書展籌委會牛棚藝術村委員會 1a 空間瘋祭舞台香港青年藝術節無人地帶劇場組合錄影太奇進劇場藝術公社前進進戲劇工作坊香港話劇團香港芭蕾舞樂會表演工作坊靈活聯繫市場推廣有限公司和平紙業（香港）有限公司

九龍城區議會展藝印刷有限公司千井制作工程有限公司書節回響製作耀基娛樂音響製作香港教育城漢設計通利工程有限公司香港大學研究生堂蒙娜麗莎婚紗攝影設計佳星實業有限公司新力唱片（香港）有限公司百代唱片（香港）年代影視傳訊有限公司維他奶國際集團有限公司魯氏美術製作有限公司新浪娛樂搜狐娛樂信報大公報藝術世界 MILK Magazine Beauty Square Red on Red Yuri and company danciNg Sony/ ATV Music Publishing (Hong Kong) Ltd. Handmade Films Ltd. Esquire and HMC MUJI Blanc de Chine Agnès b. O4 Orient 4 Sky Lounge and Icy @King’s Hotel Shya-la-la Nightmare Café Chemical Suzy Triple-O’s Afterimage Kubrick 89268 Fat Lab John Swire & Sons

（排名不分先後）

Acknowledgement

全年活動一覽表 (二零零四年四月一日至二零零五年三月三十一日) 年份

月份

活動類別

計劃名稱

主/合辦單位

地點觀眾/出席人次/讀者人數

參與計劃主要成員

(場次/節數/印量) 2004

4月

E/X

黑箱作業

Performing Arts Festival 主辦

日本福岡約5000人 (4)

策劃：黃裕偉

多媒體戲劇教育計劃2003 「張愛玲愛看的」──總結演出

進念與康文署合辦

牛池灣文娛中心 544 (2)

策劃：黃裕偉、白惠芬

戲劇深化交流計劃 ── 出訪文化交流計劃「尋找新中國/新香港 ── 中港實驗戲劇發展交流計劃」

藝發局委約進念主辦

上海戲劇學院、南京藝術學院、深圳大學約4,500人 (6場演出、 3個講座、6節探訪交流、 800份出版、1項錄像製作)

藝術總監：榮念曾演出：廿豆盒子畫、黑龍會、朱秀文/湯時康、月白戲臺、兄弟班、無人地帶

候鳥──多媒體聲音裝置展

台北誠品書店主辦進念設計製作

台北誠品畫廊約5,000人 (1)

多媒體裝置／導演：胡恩威

2004香港漫遊

康文署贊助進念主辦及製作

葵青劇院演藝廳 1,800 (7)

導演／舞台裝置：胡恩威

多媒體戲劇教育計劃2004 「香香港漫漫遊」── 多媒體劇場精要工作坊

進念與康文署合辦

牛池灣文娛中心 10間參與計劃學校老師約10人

策劃：黃裕偉、白惠芬

藝術總監出訪交流

德國Muffathalle及進念組織

德國慕尼黑、瑞士蘇黎世

藝術總監：榮念曾

E 4–5月

C/P

(內地交流及演出)

C/X 5月

(德國Muffathalle及進念研究及發展項目)

5–6月

M/C

世界文化論壇聯盟(WCFA) 文化交流會議

世界文化論壇聯盟主辦

印度 Chennai 及新德里、奧地利維也納、韓國首爾、巴黎聖保羅約5,000人 (9)

董事委員會副主席：榮念曾

6月

P/C

半生緣海外演出

台灣國立中正文化中心主辦進念與中國國家話劇院聯合製作

台北國家戲劇院約8,342人 (6)

編導：胡恩威、林奕華

C/E

戲劇深化交流計劃－藝術家訪港計劃喻榮軍〈中國當代文化藝術管理〉講座及交流訪問

藝發局委約進念主辦

牛棚書院及本地藝團約200人

訪港藝術家：喻榮軍 (上海話劇藝術中心市場部經理／編劇)

C/M

戲劇深化交流計劃－出訪文化交流計劃「尋找新中國/新香港── 中港實驗戲劇發展交流計劃」

藝發局委約進念主辦

牛棚書院約50人 (1)

藝術總監：榮念曾

(外訪後分享會)

P/E

浮士德vs 浮士德演出及學生專場

康文署贊助進念主辦及製作

香港大會堂高座演奏廳 410人 (6)

藝術總監／概念：榮念曾導演／演出：柯軍（南京）、松島誠（東京）

7月

C/M

Asialink Arts Forum 2004

Asialink主辦

澳洲墨爾本約1000人 (1個會議、3節工作坊)

榮念曾應邀出席

8月

C/M

Res Artis 2004會議

Res Artis主辦

澳洲墨爾本約300人 (4)

榮念曾應邀出席

東宮西宮2004之開咪封咪

進念主辦非常林奕華聯合製作

香港藝術中心壽臣劇院 13,119 (32)

編導：胡恩威、林奕華

全年活動一覽表

年份

月份

活動類別

計劃名稱

主/合辦單位

地點觀眾/出席人次/讀者人數

參與計劃主要成員

(場次/節數/印量) 2004

9月

E/P

進念青年2004實驗演出計劃進念青年暑期演出2004

進念主辦

牛棚書院約50人(1)

策劃：黃裕偉、白惠芬

p/c

夜奔 (挪威「中國文化周」)

Kinesisk Kultur Festival 主辦

挪威奧斯陸音樂廳約800人(1)

導演：榮念曾創作／演出：柯軍（南京）

《E+E》第十期

進念出版

香港約10,000 (2,000)

主編：胡恩威

b 9– 10月

e/p

多媒體戲劇教育計劃 2004 「香香港漫漫遊」(第一階段) 學校巡迴演出

進念與康文署合辦

10間參與學校約5,000人(10)

策劃：黃裕偉、白惠芬

10月

c/m

文化多樣性國際網絡 (INCD) 上海年會

INCD及上海文聯主辦

上海約300人 (1)

文化多樣性國際網絡聯合主席：榮念曾

四季Plus 跨媒體音樂演出

進念及香港小交響樂團合辦

葵青劇院演藝廳 1,596 (2)

音樂總監／指揮：葉詠詩音樂統籌：于逸堯＠人山人海多媒體與舞台設計：胡恩威

牛棚書展2004

進念與1a空間合辦

牛棚藝術村約10,600人

籌委會成員：朗天、黎建強、小西、歐贊年、陳嘉銘、梁文道、陳沛浩、蔡仞姿、羅嘉欣

進念青年2004實驗演出計劃秋天不是讀書天

進念主辦

牛棚藝術村約200人 (2)

策劃：潘德恕

重按霓裳歌遍徹 (任劍輝女士逝世十五周年紀念慈善演出)

任白慈善基金主辦進念合作製作

香港文化中心大劇院

多媒體戲劇教育計劃 2004 「香香港漫漫遊」(第二階段) 校內工作坊及聯校工作坊

進念與康文署合辦

10間參與學校、牛池灣文娛中心、香港藝術中心、上環文娛中心 2,543 (88)

策劃：黃裕偉、白惠芬

城市文化交流會議周年會議香港年會

香港當代文化中心主辦

香港約100人

城市文化交流會議（四城）主席：榮念曾

《E+E》第十一期

進念出版

香港約10,000 (2,000)

主編：胡恩威

半生緣海外演出

中國國家話劇院主辦進念與中國國家話劇院聯合製作

北京首都劇院 9,000 (10)

編導：胡恩威、林奕華

大娛樂家 (重演)

進念主辦非常林奕華聯合製作

香港文化中心大劇院 12,995(8)

編導：林奕華、胡恩威

《E+E》第十二期

進念出版

香港約10,000 (2,000)

主編：胡恩威

11月

e/p

11月至 2004年 3月

12月

c/m b

2005

1月

3月

p/c

活動類別

p 演出

C 文化交流

E 藝術教育/講座/工作坊

B 出版

M 會議/研討會

Activity Chart 2004-2005

X 展覽

ACTIVITY CHART 2004 - 2005

(1 Apr 2004 - 31 Mar 2005)

Venue Year Month

Type

2004

Project Title

Presenter/ Co-presenter

No. of Audience/ Participant/ Reader (No. of Performances/ Activity/ Publication)

Black Box Exercise

Presented by Performing Arts Festival

Fukuoka, Japan About 5000 participants (4)

Curator: Wong Yue-wai

Eileen CHANG Loved To See Multi-media Theatre Education Programme 2003 (Phase IV) Joint School Performance

Co-presented by Zuni and LCSD

Ngau Chi Wan Civic Centre 544 (2)

Curators: Wong Yue-wai, Jessie Pak

C/P

In Search of Modern China/ HK – an Exchange Project on Experimental Theatre Cultural Exchange and Performance

Shanghai Theatre Academy, Nanjjng Arts Institute, Shenzhen University About 4500 participants (6 performances, 3 talks, 6 cultural exchange activities, 800 publications, 1 video production)

Artistic Director: Danny Yung Performers: 20 Beans+a box, Black Dragon, Virginia Chu Sau-man/ Tom Tong Sze-hong, Atomic Cantonese Opera, Xiong Di Ban, No Man’s Land

C/X

Migrating Birds – Multi-media Sound Installation

Presented by Eslite Books, Taipei Designed and Produced by Zuni

Gallery, Eslite Books, Taipei 5,000 (1)

Multi-media Installation/ Director: Mathias Woo

2004: A Hong Kong Odyssey