進念．二十面體 2005/06年報 Zuni Icosahedron 2005/06 Annual Report

進念．二十面體 Zuni Icosahedron 2005-06 年度報告 Annual Report

pg.1

戲 REAL 劇 TIME的 REAL力 SPACE量 The Power of Theatre pg.2

戲劇是一種現場的體驗。在同一個空間，同一段時間， 在劇場裡面，我們一起歡笑、一起哭泣、一起想像、一起沉思， 一起體會人世間種種的悲歡離合。 進念的戲劇，以實驗作起點，探索戲劇的各種領域—— 傳統與科技、政治與娛樂、語言與動作、歷史與哲學、理性與感性。 戲劇不是人生，但人生可以因為戲劇而獲得一些啟示， 重拾失去的感覺和記憶，細說現實世界的善與惡，尋找生活與生命的不同顏色。 這就是進念的戲劇，這就是戲劇 REAL TIME REAL SPACE 的力量。

Theatre is a “real time real space” experience.

In the same space and the same period of time, we laugh, cry, think, and experience all the vicissitudes of life together in the theatre. Zuni’s Theatre starts from experiments, exploring all of the possibilities of theatre – traditions and technologies, dialogues and movements, politics and entertainment, history and philosophy, sense and sensibility. Theatre is not life, but life can be enlightened by Theatre - regaining lost feelings and memories, recounting the good and evil of the world, searching the different possibilities of living and life. This is Zuni Theatre, this is the power of real time, real space of Theatre.

pg.3

戲 REAL 劇 TIME的 REAL力 SPACE量 The Power of Theatre pg.2

戲劇是一種現場的體驗。在同一個空間，同一段時間， 在劇場裡面，我們一起歡笑、一起哭泣、一起想像、一起沉思， 一起體會人世間種種的悲歡離合。 進念的戲劇，以實驗作起點，探索戲劇的各種領域—— 傳統與科技、政治與娛樂、語言與動作、歷史與哲學、理性與感性。 戲劇不是人生，但人生可以因為戲劇而獲得一些啟示， 重拾失去的感覺和記憶，細說現實世界的善與惡，尋找生活與生命的不同顏色。 這就是進念的戲劇，這就是戲劇 REAL TIME REAL SPACE 的力量。

Theatre is a “real time real space” experience.

In the same space and the same period of time, we laugh, cry, think, and experience all the vicissitudes of life together in the theatre. Zuni’s Theatre starts from experiments, exploring all of the possibilities of theatre – traditions and technologies, dialogues and movements, politics and entertainment, history and philosophy, sense and sensibility. Theatre is not life, but life can be enlightened by Theatre - regaining lost feelings and memories, recounting the good and evil of the world, searching the different possibilities of living and life. This is Zuni Theatre, this is the power of real time, real space of Theatre.

pg.3

目錄 Table of Contents 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 HIGHLIGHTS

演出

PERFORMANCE

國際文化交流

INTERNATIONAL CULTURAL EXCHANGE

藝術教育及推廣

ARTS EDUCATION AND PROMOTION

其他活動

OTHER ACTIVITY

財務報告

FINANCIAL REPORT

組織成員

ORGANISATION MEMBERS

鳴謝

ACKNOWLEDGEMENTS

全年活動一覽表

ACTIVITY CHART

《東宮西宮4――西九龍皇帝》 East Wing West Wing 4–West Kowloon Side Story

pg.4

pg.5

目錄 Table of Contents 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 HIGHLIGHTS

演出

PERFORMANCE

國際文化交流

INTERNATIONAL CULTURAL EXCHANGE

藝術教育及推廣

ARTS EDUCATION AND PROMOTION

其他活動

OTHER ACTIVITY

財務報告

FINANCIAL REPORT

組織成員

ORGANISATION MEMBERS

鳴謝

ACKNOWLEDGEMENTS

全年活動一覽表

ACTIVITY CHART

《東宮西宮4――西九龍皇帝》 East Wing West Wing 4–West Kowloon Side Story

pg.4

pg.5

進念．二十面體

Zuni Icosahedron

香港最具代表性的國際實驗劇團

The epitome of experimental theatre in Hong Kong

進念．二十面體，1982年成立，為非牟利慈善文化團體，以香港為基，面向

主要專業藝術團體之一，也是香港最具代表性的國際實驗劇團。

Zuni Icosahedron, founded in 1982, is a Hong Kong based international experimental theatre company. 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 arts education, arts criticism, arts policy research and international cultural exchange. Over the years, Zuni has been invited to over 30 cities in Europe, Asia, and America for exchange performances. Being one of the ten major professional arts companies in Hong Kong, Zuni was given a 3-year grant by the Hong Kong Arts Development Council to facilitate its creative operation since 1999.

宗旨及目標

Missions and Objectives

建立香港為實驗戲劇的國際交流中心

To establish Hong Kong into a centre for experimental theatre and international cultural exchange

世界的實驗藝術團體。從事多元戲劇藝術創作至今，原創劇場作品超過一百 多齣，曾獲邀前往演出的城市遍及歐、亞、美等地三十多個城市。二十多年 間，一直致力拓展香港文化藝術新領域，積極推動國際文化交流，主催藝術 評論及文化政策研究等工作，並活躍於藝術教育和發展電子媒體及跨媒體等 新類型的藝術模式。1999年起獲香港藝術發展局「三年資助」，是香港十個

主辦及創作更多重要的實驗戲劇作品和藝術交流活動，與國內外的戲劇創作 和教育團體建立長期性的合作關係；並持續推動傳統表演藝術與當代劇藝的 發展、合作和交流。

To produce and create more activities for experimental theatre and exchanges of arts and culture, and to develop a long term relationship for collaborations with various theatre and creative education organisations in China and overseas; and to continue to promote the development, collaborations and exchanges on traditional performing arts and contemporary theatre arts.

普及社會對戲劇和實驗藝術的認識

To make theatre and experimental arts more extensively known to the public

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

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.

及市民大眾對戲劇和實驗藝術的認識。

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，支援香港創意產業及西九龍文娛藝術區等重 要發展項目。

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.

進念簡介 Introducing Zuni

pg.6

pg.7

進念．二十面體

Zuni Icosahedron

香港最具代表性的國際實驗劇團

The epitome of experimental theatre in Hong Kong

進念．二十面體，1982年成立，為非牟利慈善文化團體，以香港為基，面向

主要專業藝術團體之一，也是香港最具代表性的國際實驗劇團。

Zuni Icosahedron, founded in 1982, is a Hong Kong based international experimental theatre company. 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 arts education, arts criticism, arts policy research and international cultural exchange. Over the years, Zuni has been invited to over 30 cities in Europe, Asia, and America for exchange performances. Being one of the ten major professional arts companies in Hong Kong, Zuni was given a 3-year grant by the Hong Kong Arts Development Council to facilitate its creative operation since 1999.

宗旨及目標

Missions and Objectives

建立香港為實驗戲劇的國際交流中心

To establish Hong Kong into a centre for experimental theatre and international cultural exchange

世界的實驗藝術團體。從事多元戲劇藝術創作至今，原創劇場作品超過一百 多齣，曾獲邀前往演出的城市遍及歐、亞、美等地三十多個城市。二十多年 間，一直致力拓展香港文化藝術新領域，積極推動國際文化交流，主催藝術 評論及文化政策研究等工作，並活躍於藝術教育和發展電子媒體及跨媒體等 新類型的藝術模式。1999年起獲香港藝術發展局「三年資助」，是香港十個

主辦及創作更多重要的實驗戲劇作品和藝術交流活動，與國內外的戲劇創作 和教育團體建立長期性的合作關係；並持續推動傳統表演藝術與當代劇藝的 發展、合作和交流。

To produce and create more activities for experimental theatre and exchanges of arts and culture, and to develop a long term relationship for collaborations with various theatre and creative education organisations in China and overseas; and to continue to promote the development, collaborations and exchanges on traditional performing arts and contemporary theatre arts.

普及社會對戲劇和實驗藝術的認識

To make theatre and experimental arts more extensively known to the public

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

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.

及市民大眾對戲劇和實驗藝術的認識。

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，支援香港創意產業及西九龍文娛藝術區等重 要發展項目。

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.

進念簡介 Introducing Zuni

pg.6

pg.7

主席報告

――「北京香港創意產業文化工業交流聚會」；另外，分別應邀出席美國匹

靳埭強

議，和德國柏林的「China - Between Past and Future」藝術節的活動。

茲堡的「Music and Cultural Rights: Trends and Prospects」文化交流會

進念的另一重點工作是推動藝術教育。透過不同類型的藝術教育計劃向公 眾及青少年推廣各種藝術形式，致力為本地培養優質的觀眾、評論人和創 二零零五至零六年度對進念來說是既充實又令人鼓舞的一年。本年度，我們

作人。經過多年的發展，兩個由進念創辦的視覺藝術和表演藝術教育計劃

在各方面的工作，包括劇場演出、藝術教育、文化交流等項目，不但延續一

――「黑箱作業」及「多媒體戲劇教育計劃」已成為本地及國際間推動藝術

直以來的發展，亦在不同程度上取得突破，貫徹了進念著重實驗與創作的精

教育的主要民間力量之一；本年度，「黑箱作業」應邀前往印度的加爾各

神。同時，我們在普及藝術的工作上，得到社會人士的廣泛認同和肯定，本

答、孟買及新德里進行工作坊及展覽；「香香港 漫漫遊――多媒體戲劇教

年度各項計劃的本地和海外參與者、觀眾和讀者人數估計超過十一萬人次。

育計劃」則完成最後階段的聯校演出及裝置展覽；而以「進念唱好流行曲」

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，

為題的新一輪戲劇教育計劃亦在本年度展開。為了讓曾經參與進念戲劇教育

創新的思維，關注團體本身以至整個文化生態的健全發展，實踐文化工作者

計劃的青少年進一步得到實踐及創作的機會，進念繼續推行自二零零三年開

維護及發展公民社會和公共空間的義務。

展的「進念青年實驗演出計劃」，在本年度舉辦的小型演出取名為《青春浪

進念作為本地主要專業劇團之一，在戲劇創作上一直作多方面的嘗試，主辦

――實驗傳統藝術節2005」學生專場，為青少年提供一個戲劇導賞的機會，

和製作的劇場作品，不論在藝術素質、演出及製作上均達專業水平。過去一

培育他們對藝術的興趣。同時，進念出版文化刊物《E+E》探討本地文化和

年，進念策劃、創作和參與的六個本地和兩項海外演出，繼續朝著社會劇

社會議題，藉此加深公眾對文化藝術的認識。

潮青春戲》。另外，進念亦參與由康文署主辦的學校文化日，舉辦「諸神會

場、多媒體音樂劇場、實驗傳統三個戲劇系統發展，作品包括以西九龍文 娛藝術區的事件為出發點，探討香港社會政治生態的《東宮西宮4――西九

進念過往二十多年的發展，除了是進念各核心成員的努力，更是政府、商

龍皇帝》首演和加強版；論盡香港樓市各種怪現象的《樓市怪談》；結合電

界、專業人士、學術界和民間的支持和鼓勵的共同成果；而進念的董事局成

子音樂及互動影像，探索多媒體互動演出新方向的多媒體建築音樂劇場作品

員，都是以義務形式協助進念各方面的工作，同時，進念亦得到很多朋友以

《Corbu》；開創音樂會新模式的跨界別音樂會《假音人之陳浩峰爵士搖滾

義務形式協助推行各項活動。我們謹此感謝過往曾經支持進念的贊助者、合

K唱會》；探討亞太地區非物質文化保存和發展工作，結合傳統表演藝術與

辦者、會員、義務工作人員，以及各項活動的參與者和觀眾。

多媒體實驗的「諸神會――實驗傳統藝術節2005」。藝術節期間舉辦了座談 會及研究成立「非物質文化遺產中心」會議，應邀出席的嘉賓包括來自聯合

邁向二十五週年，進念將繼續其實驗精神和獨立的原則，為香港戲劇藝術注

國教科文組織（亞太區文化）地區文化顧問李察．恩格爾哈特，多位來自內

入新的元素、推動藝術教育和藝術普及的工作、建設和開拓香港與內地及國

地、台灣和香港的專家學者，討論在香港成立「世界非物質文化遺產保存和

際間文化藝術交流的橋樑、發揮藝術團體促進社會發展的力量，為香港的文

發展中心」的計劃，推動長遠承傳「非物質文化遺產」的研究和發展工作。

化藝術，以至整體社會的長遠發展而努力。

另外，進念於本年度與不同的藝術團體進行跨界別合作，《港樂vs黃耀明電 幻狂想曲》便是進念與香港管弦樂團首次合作的跨媒體音樂會。 自創團以來，進念積極策劃和參與多元化和多層次的國際文化交流活動，藉 此促進香港與其他城市的文化交流，增加彼此的認識以開拓不同的合作計 劃。本年度，進念參與的兩項海外演出包括：應新加坡濱海藝術中心之邀， 在「華藝節」中重演結合傳統表演藝術與多媒體實驗的《挑滑車》；參與由 中國信託商業銀行文教基金會主辦，非常林奕華製作，於台北上演的《戀人 絮語》，負責多媒體設計。此外，進念成員亦在港策劃及組織文化交流會議

主席報告 Chairman’s Report

pg.8

pg.9

主席報告

――「北京香港創意產業文化工業交流聚會」；另外，分別應邀出席美國匹

靳埭強

議，和德國柏林的「China - Between Past and Future」藝術節的活動。

茲堡的「Music and Cultural Rights: Trends and Prospects」文化交流會

進念的另一重點工作是推動藝術教育。透過不同類型的藝術教育計劃向公 眾及青少年推廣各種藝術形式，致力為本地培養優質的觀眾、評論人和創 二零零五至零六年度對進念來說是既充實又令人鼓舞的一年。本年度，我們

作人。經過多年的發展，兩個由進念創辦的視覺藝術和表演藝術教育計劃

在各方面的工作，包括劇場演出、藝術教育、文化交流等項目，不但延續一

――「黑箱作業」及「多媒體戲劇教育計劃」已成為本地及國際間推動藝術

直以來的發展，亦在不同程度上取得突破，貫徹了進念著重實驗與創作的精

教育的主要民間力量之一；本年度，「黑箱作業」應邀前往印度的加爾各

神。同時，我們在普及藝術的工作上，得到社會人士的廣泛認同和肯定，本

答、孟買及新德里進行工作坊及展覽；「香香港 漫漫遊――多媒體戲劇教

年度各項計劃的本地和海外參與者、觀眾和讀者人數估計超過十一萬人次。

育計劃」則完成最後階段的聯校演出及裝置展覽；而以「進念唱好流行曲」

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，

為題的新一輪戲劇教育計劃亦在本年度展開。為了讓曾經參與進念戲劇教育

創新的思維，關注團體本身以至整個文化生態的健全發展，實踐文化工作者

計劃的青少年進一步得到實踐及創作的機會，進念繼續推行自二零零三年開

維護及發展公民社會和公共空間的義務。

展的「進念青年實驗演出計劃」，在本年度舉辦的小型演出取名為《青春浪

進念作為本地主要專業劇團之一，在戲劇創作上一直作多方面的嘗試，主辦

――實驗傳統藝術節2005」學生專場，為青少年提供一個戲劇導賞的機會，

和製作的劇場作品，不論在藝術素質、演出及製作上均達專業水平。過去一

培育他們對藝術的興趣。同時，進念出版文化刊物《E+E》探討本地文化和

年，進念策劃、創作和參與的六個本地和兩項海外演出，繼續朝著社會劇

社會議題，藉此加深公眾對文化藝術的認識。

潮青春戲》。另外，進念亦參與由康文署主辦的學校文化日，舉辦「諸神會

場、多媒體音樂劇場、實驗傳統三個戲劇系統發展，作品包括以西九龍文 娛藝術區的事件為出發點，探討香港社會政治生態的《東宮西宮4――西九

進念過往二十多年的發展，除了是進念各核心成員的努力，更是政府、商

龍皇帝》首演和加強版；論盡香港樓市各種怪現象的《樓市怪談》；結合電

界、專業人士、學術界和民間的支持和鼓勵的共同成果；而進念的董事局成

子音樂及互動影像，探索多媒體互動演出新方向的多媒體建築音樂劇場作品

員，都是以義務形式協助進念各方面的工作，同時，進念亦得到很多朋友以

《Corbu》；開創音樂會新模式的跨界別音樂會《假音人之陳浩峰爵士搖滾

義務形式協助推行各項活動。我們謹此感謝過往曾經支持進念的贊助者、合

K唱會》；探討亞太地區非物質文化保存和發展工作，結合傳統表演藝術與

辦者、會員、義務工作人員，以及各項活動的參與者和觀眾。

多媒體實驗的「諸神會――實驗傳統藝術節2005」。藝術節期間舉辦了座談 會及研究成立「非物質文化遺產中心」會議，應邀出席的嘉賓包括來自聯合

邁向二十五週年，進念將繼續其實驗精神和獨立的原則，為香港戲劇藝術注

國教科文組織（亞太區文化）地區文化顧問李察．恩格爾哈特，多位來自內

入新的元素、推動藝術教育和藝術普及的工作、建設和開拓香港與內地及國

地、台灣和香港的專家學者，討論在香港成立「世界非物質文化遺產保存和

際間文化藝術交流的橋樑、發揮藝術團體促進社會發展的力量，為香港的文

發展中心」的計劃，推動長遠承傳「非物質文化遺產」的研究和發展工作。

化藝術，以至整體社會的長遠發展而努力。

另外，進念於本年度與不同的藝術團體進行跨界別合作，《港樂vs黃耀明電 幻狂想曲》便是進念與香港管弦樂團首次合作的跨媒體音樂會。 自創團以來，進念積極策劃和參與多元化和多層次的國際文化交流活動，藉 此促進香港與其他城市的文化交流，增加彼此的認識以開拓不同的合作計 劃。本年度，進念參與的兩項海外演出包括：應新加坡濱海藝術中心之邀， 在「華藝節」中重演結合傳統表演藝術與多媒體實驗的《挑滑車》；參與由 中國信託商業銀行文教基金會主辦，非常林奕華製作，於台北上演的《戀人 絮語》，負責多媒體設計。此外，進念成員亦在港策劃及組織文化交流會議

主席報告 Chairman’s Report

pg.8

pg.9

Chairman’s Report Kan Tai-keung

The year 2005 / 2006 was a good year for Zuni. Our activities last year included theatre performances, art education, cultural exchange programmes, and publications. In addition to extending our existing plan, we also tried our very best in breaking new ground in order to maintain our experimental and innovative spirit. Our work in popularising experimental art has been widely recognised by the public. Last year, the total number of participants and readers of Zuni’s activities and publications, local and overseas, amounted to 110,000.

As an organisation aiming to promote alternative arts, we would not only use numbers as a yardstick for our performance and achievement. Rather, we would seek progress and promote long-term development with a wide and visionary perspective and an innovative mind, not only for ourselves, but also for the entire cultural environment, in order to fulfil our responsibilities as a cultural group in protecting and developing a civil society and public space.

As one of the major local professional theatre groups, Zuni has always been making new creative attempts in the various aspects of theatre, and maintaining a professional standard in the performance, production and artistic quality of all its theatre works. Last year, with six local productions and two overseas performances, Zuni continued its development in the three series of social theatre, multi-media music theatre and the experimenting traditional theatre; and works included “East Wing West Wing 4 – West Kowloon Side Story”, with a re-run, a work exploring the socio-political milieu of Hong Kong with the West Kowloon Cultural District as focus;“The Agent” that examined the various bizarre phenomena of the real estate business in Hong Kong; “Corbu – A Multi-media Architectural Music Theatre”, a performance with the integration of electronic music and interactive video images; and “Gayamyan and Cedric Chan in Concert”, which was a new concert genre with cross discipline elements; “Meeting of the Gods – Festival of Experimenting Traditions 2005”, a multi-media performance that combined traditional opera with multi-media experimental theatre; as well as various works on the preservation and development of intangible cultural heritage in the Asia Pacific region. During the Festival of Experimenting Traditions, Zuni held a conference discussing the establishment of a Centre for the Preservation and Development of Intangible Cultural Heritage, and guests

invited included Richard A. Engelhardt, the UNESCO Regional Advisor for Culture in Asia and the Pacific and various experts and scholars from the Mainland, Taiwan and Hong Kong. The establishment for such a centre was discussed with the aim of promoting and developing the intangible cultural heritage. Last year, Zuni also collaborated with the Hong Kong Philharmonic Orchestra in a multimedia concert,“HKPO vs Anthony Wong Live – Bauhinian Rhapsody”.

Since our inception, Zuni has been very active in planning and participating in diverse and multi-level international cultural exchange activities so as to facilitate cultural exchange between Hong Kong and other cities in order for us to get to know each other better, and so open up more doors for various kinds of collaborations. In 2005, Zuni participated in two overseas projects.

We were invited by The Esplanade of Singapore to perform the multi-media experimental work, “The Outcast General” in the “Huayi Festival of Chinese Arts”. We also went to Taipei to participate in the performance of “Fragments d’un discours amoureux” in designing of all the multi-media aspects of the production. This performance was presented by the Chinatrust Foundation of Taipei and produced by Edward Lam Dance Theatre. We were also invited to Pittsburgh, USA, for a cultural conference on “Music and Cultural Rights: Trends and Prospects”, and to Berlin for the festival “China - Between Past and Future”.

And in Hong Kong, we planned and organised the conference of “Beijing-Hong Kong Exchange Meeting on Cultural and Creative Industry”.

Arts education has always been one of our company’s priorities. We always aim at promoting and popularising all kinds of art forms to the public and young people through various types of arts education programmes, hoping to nurture more quality audience, creative personnel and art critics. After years of development, the two visual art and performing arts education programmes, “Black Box Exercise” and “Multi-media Theatre Education Scheme” have become the major force of a NGO nature in promoting arts education locally and internationally. Last year, “Black Box Exercise” was invited to Kolkata, Mumbai and New Delhi in India to present workshops and exhibitions. In the same year, the multi-media theatre education scheme, “Come Come Comics” finished its last stage of joint-school performances and installation exhibitions, while a brand new theatre education scheme,“Zuni Tunes the Pop” started off. In order to provide the young people who had participated in our theatre education programme with more opportunities to realise their creativity, we decided to continue with the “Zuni Youth Experimental Performance” programme which began in the year 2003; and a small-scale performance “Summer Wave Summer

主席報告 Chairman’s Report

pg.10

pg.11

Chairman’s Report Kan Tai-keung

The year 2005 / 2006 was a good year for Zuni. Our activities last year included theatre performances, art education, cultural exchange programmes, and publications. In addition to extending our existing plan, we also tried our very best in breaking new ground in order to maintain our experimental and innovative spirit. Our work in popularising experimental art has been widely recognised by the public. Last year, the total number of participants and readers of Zuni’s activities and publications, local and overseas, amounted to 110,000.

As an organisation aiming to promote alternative arts, we would not only use numbers as a yardstick for our performance and achievement. Rather, we would seek progress and promote long-term development with a wide and visionary perspective and an innovative mind, not only for ourselves, but also for the entire cultural environment, in order to fulfil our responsibilities as a cultural group in protecting and developing a civil society and public space.

As one of the major local professional theatre groups, Zuni has always been making new creative attempts in the various aspects of theatre, and maintaining a professional standard in the performance, production and artistic quality of all its theatre works. Last year, with six local productions and two overseas performances, Zuni continued its development in the three series of social theatre, multi-media music theatre and the experimenting traditional theatre; and works included “East Wing West Wing 4 – West Kowloon Side Story”, with a re-run, a work exploring the socio-political milieu of Hong Kong with the West Kowloon Cultural District as focus;“The Agent” that examined the various bizarre phenomena of the real estate business in Hong Kong; “Corbu – A Multi-media Architectural Music Theatre”, a performance with the integration of electronic music and interactive video images; and “Gayamyan and Cedric Chan in Concert”, which was a new concert genre with cross discipline elements; “Meeting of the Gods – Festival of Experimenting Traditions 2005”, a multi-media performance that combined traditional opera with multi-media experimental theatre; as well as various works on the preservation and development of intangible cultural heritage in the Asia Pacific region. During the Festival of Experimenting Traditions, Zuni held a conference discussing the establishment of a Centre for the Preservation and Development of Intangible Cultural Heritage, and guests

invited included Richard A. Engelhardt, the UNESCO Regional Advisor for Culture in Asia and the Pacific and various experts and scholars from the Mainland, Taiwan and Hong Kong. The establishment for such a centre was discussed with the aim of promoting and developing the intangible cultural heritage. Last year, Zuni also collaborated with the Hong Kong Philharmonic Orchestra in a multimedia concert,“HKPO vs Anthony Wong Live – Bauhinian Rhapsody”.

Since our inception, Zuni has been very active in planning and participating in diverse and multi-level international cultural exchange activities so as to facilitate cultural exchange between Hong Kong and other cities in order for us to get to know each other better, and so open up more doors for various kinds of collaborations. In 2005, Zuni participated in two overseas projects.

We were invited by The Esplanade of Singapore to perform the multi-media experimental work, “The Outcast General” in the “Huayi Festival of Chinese Arts”. We also went to Taipei to participate in the performance of “Fragments d’un discours amoureux” in designing of all the multi-media aspects of the production. This performance was presented by the Chinatrust Foundation of Taipei and produced by Edward Lam Dance Theatre. We were also invited to Pittsburgh, USA, for a cultural conference on “Music and Cultural Rights: Trends and Prospects”, and to Berlin for the festival “China - Between Past and Future”.

And in Hong Kong, we planned and organised the conference of “Beijing-Hong Kong Exchange Meeting on Cultural and Creative Industry”.

Arts education has always been one of our company’s priorities. We always aim at promoting and popularising all kinds of art forms to the public and young people through various types of arts education programmes, hoping to nurture more quality audience, creative personnel and art critics. After years of development, the two visual art and performing arts education programmes, “Black Box Exercise” and “Multi-media Theatre Education Scheme” have become the major force of a NGO nature in promoting arts education locally and internationally. Last year, “Black Box Exercise” was invited to Kolkata, Mumbai and New Delhi in India to present workshops and exhibitions. In the same year, the multi-media theatre education scheme, “Come Come Comics” finished its last stage of joint-school performances and installation exhibitions, while a brand new theatre education scheme,“Zuni Tunes the Pop” started off. In order to provide the young people who had participated in our theatre education programme with more opportunities to realise their creativity, we decided to continue with the “Zuni Youth Experimental Performance” programme which began in the year 2003; and a small-scale performance “Summer Wave Summer

主席報告 Chairman’s Report

pg.10

pg.11

Youth” was a spin-off from the project. On top of that, Zuni also participated in the School Culture Day Scheme organised by the Leisure and Cultural Services Department, and presented especially for students “Meeting of the Gods – Festival of Experimenting Traditions 2005”, providing young people with an opportunity to appreciate drama, as well as a chance to enhance their interest in arts. At the same time, Zuni also continued the publication of “E+E”, a publication exploring local culture and social issues, aiming to widen the knowledge of the public on arts and culture.

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. 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, participants and audience in our various activities.

Heading towards its 25th Anniversary, Zuni plans to continue to strive with our spirit and principles of being both experimental and independent in infusing new elements into the local theatre arena, in promoting arts education and popularising arts, and in developing international cultural exchanges; and in so doing, fulfil our role as an arts organisation in helping the promotion of our society, and working for the future development of arts and culture in Hong Kong.

《挑滑車》The Outcast General

主席報告 Chairman’s Report

pg.12

pg.13

Youth” was a spin-off from the project. On top of that, Zuni also participated in the School Culture Day Scheme organised by the Leisure and Cultural Services Department, and presented especially for students “Meeting of the Gods – Festival of Experimenting Traditions 2005”, providing young people with an opportunity to appreciate drama, as well as a chance to enhance their interest in arts. At the same time, Zuni also continued the publication of “E+E”, a publication exploring local culture and social issues, aiming to widen the knowledge of the public on arts and culture.

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. 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, participants and audience in our various activities.

Heading towards its 25th Anniversary, Zuni plans to continue to strive with our spirit and principles of being both experimental and independent in infusing new elements into the local theatre arena, in promoting arts education and popularising arts, and in developing international cultural exchanges; and in so doing, fulfil our role as an arts organisation in helping the promotion of our society, and working for the future development of arts and culture in Hong Kong.

《挑滑車》The Outcast General

主席報告 Chairman’s Report

pg.12

pg.13

藝術總監的話

七零年代，我在美國做社區研究策劃，時常要去參加政府會議或政府舉辦的 公聽會，那些會議80%充斥些似是而非，言之無物的無聊廢話，真浪費時 間。但那是講究民主的時代，政府沒大誠意去當一名好導演，民間卻不會放

榮念曾問： 戳破語言的氣泡．戳破氣泡的文化

過三分鐘做主角的機會。也就是因為這些低檔「政治」角力和低劣的演出， 我開始討厭「言語」。我開始在開會時，在記事本或文件上畫圖畫，用另類 方式記載我的觀察，記載我的討厭。那是一批完全不用文字、胡亂的塗畫。 也可以說是我第一批關於說話及交流的塗鴉。這些塗鴉往後發展成為我關於 氣泡符號的概念漫畫系列。 我在美國開會時通常習慣用粗黑針筆在文件上作筆記，彷彿這樣才能駕馭那

上課時糊塗，開會時糊塗

些細眉細眼的文件；所以那些氣泡漫畫也習慣用針筆畫。為什麼叫氣泡漫 畫呢？因為畫的人物頭上的對話都是些氣泡符號替代他們對話的內容，有大

我唸小學的時候家住荃灣德士古道的一棟二層廠房的樓上。家裡天台很大，

有小，有各形各式，有的像一朵雲，有的如氣球一樣，像氣球般一戳就穿，

我想大概最少有七、八千尺吧，天台的地面都是尺方白邊紅磚砌成的。家裡

證明裡面都是千篇一律，空空如也的內容，像雲的轉眼成為雨水，反正都是

有一只小狗名字叫威拉，喜歡在天台的欄杆上示威似地飛跑，我則喜歡在天

「吹水」。談到用筆，反而在初中讀書的階段，我喜歡用鉛筆，寫筆記或塗

台用粉筆在四方磚格格裡畫圖畫，一格格地畫故事；畫完之後下一場大雨，

鴉，尤其喜歡用較硬的鉛筆；硬的鉛筆比較淺色，能見度低，而且很容易擦

就可以由頭再開始，再畫上新的圖畫，新的故事。我又喜歡在家裡的牆上畫

掉，萬一老師走過來，就靠其能見度低；我想數十年後，我嘗試在白布上寫

「壁畫」；後來給家裡傭人批評，於是在窗外邊緣的外牆上畫畫。家人知道

白字的底限油畫系列，大概這就是個源頭吧。

了，沒話。在那外牆畫畫，必需大膽伸身子出去，想來有些危險；但是因為 「觀眾」不同，反而可以畫得大膽。

但我覺得用鉛筆在一些課本上畫或在一些印刷品中畫，很多時侯終敵不過課 本上的印刷，因為印刷的字比鉛筆字的顏色深很多，課本印刷文字和寫筆記

我回憶，小學的教科書，好像本本差不多，封面不一樣，裡面的內容卻不斷

速寫彷彿是在打仗，在爭地盤；因此高中時，顏色鉛筆就派上用場，尤其是

在重複；因此讀教科書對我來說，實在是件大悶事。每次上課聽得悶，教科

紅色的鉛筆（老師用紅色批卷，大概也來自朱批的概念）。那些日子的老師

書的書本就順理成章成為我畫圖畫的筆記本，開始是速寫老師同學的面目

已不太管，上課時愛幹什麼，他們都不理會。我時常喜歡在書本文章的行與

（尤其是他們的後腦部份），後來畫得有些厭了，就開始作故事；每一頁胡

行之間用紅色的鉛筆發明一些另類的符型文字，嘗試「字行中另有文章」的

亂塗畫一個和該頁部份內容文字有關的故事，不同的教科書畫不同類型的故

這滋味。但也因為如此一段經歷，我對印刷字體的壓力非常敏感，尤其是大

事。有一段時間我媽媽見到這些另類筆記，覺得這些胡亂塗畫還好玩，建議

型文宣標語的壓力（比如天安門兩旁的大字）。

我把這些書本保存收藏起來；可能保存收藏得太好，現在都不知道它們保存 收藏到哪裡去了。 小學六年級時，我開始學中國畫，老師是父親的朋友；老師第一天正經地教 我，墨是可以有五種顏色，把墨磨得濃，顏色便會很黑，加些水就變灰，再 稀些就是淺灰。我在試黑到深灰到淺灰的各層次時，總想証明墨可以分出不 止五色啊。開筆時用毛筆畫線，那是個很有趣的訓練；因為要懸空握筆地畫 直線，之後畫橫線，再之後畫點，每天密密畫滿十張報紙，真好像在練功 夫一樣。後來我畫漫畫，卻很少用毛筆畫，雖然我一直都很喜歡豐子愷的 水墨漫畫，最近見到馬得的京劇速寫，非常好。去年我的身體不好，在家 中休息，朋友送來毛筆，墨和宣紙，聞到墨味，手拿毛筆，都有些似曾相識 的感慨。

藝術總監的話 Artistic Director’s Note

pg.14

pg.15

藝術總監的話

七零年代，我在美國做社區研究策劃，時常要去參加政府會議或政府舉辦的 公聽會，那些會議80%充斥些似是而非，言之無物的無聊廢話，真浪費時 間。但那是講究民主的時代，政府沒大誠意去當一名好導演，民間卻不會放

榮念曾問： 戳破語言的氣泡．戳破氣泡的文化

過三分鐘做主角的機會。也就是因為這些低檔「政治」角力和低劣的演出， 我開始討厭「言語」。我開始在開會時，在記事本或文件上畫圖畫，用另類 方式記載我的觀察，記載我的討厭。那是一批完全不用文字、胡亂的塗畫。 也可以說是我第一批關於說話及交流的塗鴉。這些塗鴉往後發展成為我關於 氣泡符號的概念漫畫系列。 我在美國開會時通常習慣用粗黑針筆在文件上作筆記，彷彿這樣才能駕馭那

上課時糊塗，開會時糊塗

些細眉細眼的文件；所以那些氣泡漫畫也習慣用針筆畫。為什麼叫氣泡漫 畫呢？因為畫的人物頭上的對話都是些氣泡符號替代他們對話的內容，有大

我唸小學的時候家住荃灣德士古道的一棟二層廠房的樓上。家裡天台很大，

有小，有各形各式，有的像一朵雲，有的如氣球一樣，像氣球般一戳就穿，

我想大概最少有七、八千尺吧，天台的地面都是尺方白邊紅磚砌成的。家裡

證明裡面都是千篇一律，空空如也的內容，像雲的轉眼成為雨水，反正都是

有一只小狗名字叫威拉，喜歡在天台的欄杆上示威似地飛跑，我則喜歡在天

「吹水」。談到用筆，反而在初中讀書的階段，我喜歡用鉛筆，寫筆記或塗

台用粉筆在四方磚格格裡畫圖畫，一格格地畫故事；畫完之後下一場大雨，

鴉，尤其喜歡用較硬的鉛筆；硬的鉛筆比較淺色，能見度低，而且很容易擦

就可以由頭再開始，再畫上新的圖畫，新的故事。我又喜歡在家裡的牆上畫

掉，萬一老師走過來，就靠其能見度低；我想數十年後，我嘗試在白布上寫

「壁畫」；後來給家裡傭人批評，於是在窗外邊緣的外牆上畫畫。家人知道

白字的底限油畫系列，大概這就是個源頭吧。

了，沒話。在那外牆畫畫，必需大膽伸身子出去，想來有些危險；但是因為 「觀眾」不同，反而可以畫得大膽。

但我覺得用鉛筆在一些課本上畫或在一些印刷品中畫，很多時侯終敵不過課 本上的印刷，因為印刷的字比鉛筆字的顏色深很多，課本印刷文字和寫筆記

我回憶，小學的教科書，好像本本差不多，封面不一樣，裡面的內容卻不斷

速寫彷彿是在打仗，在爭地盤；因此高中時，顏色鉛筆就派上用場，尤其是

在重複；因此讀教科書對我來說，實在是件大悶事。每次上課聽得悶，教科

紅色的鉛筆（老師用紅色批卷，大概也來自朱批的概念）。那些日子的老師

書的書本就順理成章成為我畫圖畫的筆記本，開始是速寫老師同學的面目

已不太管，上課時愛幹什麼，他們都不理會。我時常喜歡在書本文章的行與

（尤其是他們的後腦部份），後來畫得有些厭了，就開始作故事；每一頁胡

行之間用紅色的鉛筆發明一些另類的符型文字，嘗試「字行中另有文章」的

亂塗畫一個和該頁部份內容文字有關的故事，不同的教科書畫不同類型的故

這滋味。但也因為如此一段經歷，我對印刷字體的壓力非常敏感，尤其是大

事。有一段時間我媽媽見到這些另類筆記，覺得這些胡亂塗畫還好玩，建議

型文宣標語的壓力（比如天安門兩旁的大字）。

我把這些書本保存收藏起來；可能保存收藏得太好，現在都不知道它們保存 收藏到哪裡去了。 小學六年級時，我開始學中國畫，老師是父親的朋友；老師第一天正經地教 我，墨是可以有五種顏色，把墨磨得濃，顏色便會很黑，加些水就變灰，再 稀些就是淺灰。我在試黑到深灰到淺灰的各層次時，總想証明墨可以分出不 止五色啊。開筆時用毛筆畫線，那是個很有趣的訓練；因為要懸空握筆地畫 直線，之後畫橫線，再之後畫點，每天密密畫滿十張報紙，真好像在練功 夫一樣。後來我畫漫畫，卻很少用毛筆畫，雖然我一直都很喜歡豐子愷的 水墨漫畫，最近見到馬得的京劇速寫，非常好。去年我的身體不好，在家 中休息，朋友送來毛筆，墨和宣紙，聞到墨味，手拿毛筆，都有些似曾相識 的感慨。

藝術總監的話 Artistic Director’s Note

pg.14

pg.15

創作的堅持和創作紀律的堅持 我認為劇場創作和漫畫創作不一樣，一個是群體合作的創作行動，另一個是 極度個人化的創作行動。畫畫拿起一枝筆就可以畫，可以創作，自己事自己 負責。我當然相信人人都有表達的慾望，有表達的權益；但是權益關乎個人 權益和集體權益間平衡的問題，也關乎公民社會對社會發展責任的問題。我 對無的放矢和不學無術的表達同樣惡心，表達的方法和技術是可以用不同途 徑去培育，但不論是什麼樣的途徑，有紀律的培育是必需的。沒有紀律，就 沒有累積；沒有累積，就沒有進步。這些紀律也好，累積和進步也好，真是 得各自修行，各有說法；別人能提供的只能用作印證或支援，真正的好老師 都是我們的特級顧問。 真正的紀律都是自己訂定給自己的。換句話說，學問修行的紀律還是要靠 自己去建立和堅持，不能靠別人。我覺得懂得「說話」的人基本都懂得說 故事，話的本身就有敘事的結構和成份，問題是要說的是短故事還是長故 事呢？是說給自己聽的故事還是說給別人聽的故事？說話懂不懂得什麼是 「說」什麼是「話」？在成長的過程中，我們的父母其實不斷在跟我們「說 故事」，間接在培訓我們說故事；不斷在跟我們「說話」，間接在培訓我們說 話，然後他們不自覺地希望我們用他們的準則和方法去說話及說故事。然後 我們進了學校，環境變了，老師培訓我們說故事，是「自覺地」及理性地要 求我們用它們的準則和方法去說話及說故事。 家庭和學校的體制不一樣，父母兒女之間和老師學生之間的權力關係不一 樣。父母兒女間溝通學習經驗，轉為老師學生之間的溝通學習經驗，雙方面 的權力關係亦在轉移。學校裡老師同學的溝通其實很微妙地影響父母兒女間 的溝通。學校裡，老師同學其實在處理邁向平等互動的學習平台，學習處理 溝通學習的方法和內容，以及學習背後的理念；那就是真正的教和育，那就 是真正的成和長。教育和成長過程裡的互動，就如相互理性和積極的評議； 體制裡越多空間容許這樣的互動，就越多可能有評議的存在；越多評議，就 越有可能發展紀律性的前瞻性的創意。 當然，我們明白在互動過程中，有必要尊重同一互動的規則；然後就是對規 則訂定的方法和背後的價值觀保持開放辯證的態度。當然，由家庭環境步入 學校環境，同學們如何去回應新環境，新體制，新關係，無論對於同學，老 師和家長們都是一項挑戰；能否磨合也關乎家長和老師對教育和成長的反省 和看法；他們都年輕過，他們都曾親身經驗教育和成長的歷程，如果他們是 敏感和有反省的話，他們會有包容；他們對歷史體制的教育和成長概念一定 有評議，也一定有前瞻的期待，他們對家庭和學校的體制也一定同樣地有評 議，和前瞻的期待。

藝術總監的話 Artistic Director’s Note

pg.16

pg.17

創作的堅持和創作紀律的堅持 我認為劇場創作和漫畫創作不一樣，一個是群體合作的創作行動，另一個是 極度個人化的創作行動。畫畫拿起一枝筆就可以畫，可以創作，自己事自己 負責。我當然相信人人都有表達的慾望，有表達的權益；但是權益關乎個人 權益和集體權益間平衡的問題，也關乎公民社會對社會發展責任的問題。我 對無的放矢和不學無術的表達同樣惡心，表達的方法和技術是可以用不同途 徑去培育，但不論是什麼樣的途徑，有紀律的培育是必需的。沒有紀律，就 沒有累積；沒有累積，就沒有進步。這些紀律也好，累積和進步也好，真是 得各自修行，各有說法；別人能提供的只能用作印證或支援，真正的好老師 都是我們的特級顧問。 真正的紀律都是自己訂定給自己的。換句話說，學問修行的紀律還是要靠 自己去建立和堅持，不能靠別人。我覺得懂得「說話」的人基本都懂得說 故事，話的本身就有敘事的結構和成份，問題是要說的是短故事還是長故 事呢？是說給自己聽的故事還是說給別人聽的故事？說話懂不懂得什麼是 「說」什麼是「話」？在成長的過程中，我們的父母其實不斷在跟我們「說 故事」，間接在培訓我們說故事；不斷在跟我們「說話」，間接在培訓我們說 話，然後他們不自覺地希望我們用他們的準則和方法去說話及說故事。然後 我們進了學校，環境變了，老師培訓我們說故事，是「自覺地」及理性地要 求我們用它們的準則和方法去說話及說故事。 家庭和學校的體制不一樣，父母兒女之間和老師學生之間的權力關係不一 樣。父母兒女間溝通學習經驗，轉為老師學生之間的溝通學習經驗，雙方面 的權力關係亦在轉移。學校裡老師同學的溝通其實很微妙地影響父母兒女間 的溝通。學校裡，老師同學其實在處理邁向平等互動的學習平台，學習處理 溝通學習的方法和內容，以及學習背後的理念；那就是真正的教和育，那就 是真正的成和長。教育和成長過程裡的互動，就如相互理性和積極的評議； 體制裡越多空間容許這樣的互動，就越多可能有評議的存在；越多評議，就 越有可能發展紀律性的前瞻性的創意。 當然，我們明白在互動過程中，有必要尊重同一互動的規則；然後就是對規 則訂定的方法和背後的價值觀保持開放辯證的態度。當然，由家庭環境步入 學校環境，同學們如何去回應新環境，新體制，新關係，無論對於同學，老 師和家長們都是一項挑戰；能否磨合也關乎家長和老師對教育和成長的反省 和看法；他們都年輕過，他們都曾親身經驗教育和成長的歷程，如果他們是 敏感和有反省的話，他們會有包容；他們對歷史體制的教育和成長概念一定 有評議，也一定有前瞻的期待，他們對家庭和學校的體制也一定同樣地有評 議，和前瞻的期待。

藝術總監的話 Artistic Director’s Note

pg.16

pg.17

顛覆文字的漫畫、顛覆劇場的文字

那上下三格漫畫的概念基本上可以說包含一次寫對白的練習。作為一個對話 的結構，當然，首先是如何回應漫畫本身設計內容的對話，比如每格裡兩個

1979年香港藝術中心邀請我展出我的「氣泡」概念漫畫，我將展出分作三部

相同的人物，比如這兩個人都是手插袋，比如兩個人一左一右，面對面，比

份，第一部份是不設文字的四格漫畫，一共有三十二張。第二部份是填了文

如兩個人都沒有嘴巴；至於兩個人頭上的空間，可以提供來回「三次」填入

字二人對話的上下三格漫畫，一共有六十四張。那三格漫畫基本上是兩個相

的對白，可以是一問一答形式，也可以不是；根據如是設計內容的框架下，

同的人物手插袋，面對面，但二人都不動；我自己先在他們的頭上填了各樣

如果是一問一答形式，可以怎樣發展成一次溝通對話的經驗。在最後回合的

的文字或符號，彷彿成為二人的對話。第三部份是一百二十八張空白的二人

對話是否就是三次對白的結論？最後的回合，右邊的人物是否有最後作結論

對話的三格漫畫，是可以讓參加開幕的觀眾自由參加填入文字，他們喜歡填

的權力。對我來說，這是一次底限概念藝術的實驗，也是一次處理文字影像

什麼就填什麼。後來的十年裡有大小朋友來訪，我都會拿出一張空白的三格

互動的實驗，也是一次學問的實驗。

漫畫請他們填，結果有如紀念冊似的，累積填了很多大朋友小朋友們的筆跡 和心思。

舉一個三格一問一答形式「學問」的例子：第一格左面的小人問右面的小人 問題：「一格一格的圖畫是什麼？」右面小人答：「那肯定是電影囉！」第 二格左面小人再問：「我一句，你一句的又是什麼啊？」右面小人答：「那 當然是相聲喇！」第三格也是最後的一格，左面小人再問：「一格一格，我 頭上有一句，你頭上又有一句的，那又是什麼啊？」右面小人答左面小人： 「不會是漫畫吧？！」在這樣的實驗裡，也引發我對口字邊的中文感嘆詞及 助語字產生很大的興趣，比如喂、哦、哇、喲、噫、噯、呸、啊、呵、呀、 嘿、哈、唔、嘩，等等真是見字聞聲；比如咩、啥、咦、咁，後面都該是個 問號！比如咭，嗲等簡直可以用來做新年及父親節賀卡。

這些對白結構跟感嘆及助語字的實驗，不多不少啟發了我幾年後為進念．二 十面體排演劇作《列女傳》的實驗。在《列女傳》裡，兩個演員在沙發上來 回六次對話的結構；然後發展至三個人來回六次對話，四個人來回六次對話 等等；這裡包括非文字言語的交流，比如沉默避而不答，以笑或嘆息回應。 借了劇場，由形式角度來探討對話的各種可能性，再去處理內容和形式的互 動。最近我也在想，概念漫畫可以是從新認識文字言語交流的一個學習平 台，問題是我們需要系統的實驗，理論的支援。 談到理論，已故的老友浸會大學教授林年同很關注香港漫畫發展；他曾經勸 我繼續發展關於「概念」漫畫作品，他認為這些實驗足夠他發揮理論性的評 議，去寫一本書。他有一次勸我：「榮念曾，你別去浪費時間操作什麼概念 劇場！不如繼續做你的概念漫畫！你的實驗劇場，永遠是在發展進行中的 概念，永遠在尋找過程；而概念實驗漫畫就能概括你的思想，結論是完整 的。」林年同不知道的是作為漫畫創作，畫畫有自得其樂的時候，但也有落 單寂寞的時候；尤其是在八十年代，在實驗創作畫漫畫的前線，能相互評議 對話的朋友實在太少。實驗劇場卻提供更多的互動和合作。所以問題在於我 的「不甘寂寞」。我畫漫畫始於用畫顛覆文字，或許，我創作劇場則是以文 字顛覆劇場。

藝術總監的話 Artistic Director’s Note

pg.18

pg.19

顛覆文字的漫畫、顛覆劇場的文字

那上下三格漫畫的概念基本上可以說包含一次寫對白的練習。作為一個對話 的結構，當然，首先是如何回應漫畫本身設計內容的對話，比如每格裡兩個

1979年香港藝術中心邀請我展出我的「氣泡」概念漫畫，我將展出分作三部

相同的人物，比如這兩個人都是手插袋，比如兩個人一左一右，面對面，比

份，第一部份是不設文字的四格漫畫，一共有三十二張。第二部份是填了文

如兩個人都沒有嘴巴；至於兩個人頭上的空間，可以提供來回「三次」填入

字二人對話的上下三格漫畫，一共有六十四張。那三格漫畫基本上是兩個相

的對白，可以是一問一答形式，也可以不是；根據如是設計內容的框架下，

同的人物手插袋，面對面，但二人都不動；我自己先在他們的頭上填了各樣

如果是一問一答形式，可以怎樣發展成一次溝通對話的經驗。在最後回合的

的文字或符號，彷彿成為二人的對話。第三部份是一百二十八張空白的二人

對話是否就是三次對白的結論？最後的回合，右邊的人物是否有最後作結論

對話的三格漫畫，是可以讓參加開幕的觀眾自由參加填入文字，他們喜歡填

的權力。對我來說，這是一次底限概念藝術的實驗，也是一次處理文字影像

什麼就填什麼。後來的十年裡有大小朋友來訪，我都會拿出一張空白的三格

互動的實驗，也是一次學問的實驗。

漫畫請他們填，結果有如紀念冊似的，累積填了很多大朋友小朋友們的筆跡 和心思。

舉一個三格一問一答形式「學問」的例子：第一格左面的小人問右面的小人 問題：「一格一格的圖畫是什麼？」右面小人答：「那肯定是電影囉！」第 二格左面小人再問：「我一句，你一句的又是什麼啊？」右面小人答：「那 當然是相聲喇！」第三格也是最後的一格，左面小人再問：「一格一格，我 頭上有一句，你頭上又有一句的，那又是什麼啊？」右面小人答左面小人： 「不會是漫畫吧？！」在這樣的實驗裡，也引發我對口字邊的中文感嘆詞及 助語字產生很大的興趣，比如喂、哦、哇、喲、噫、噯、呸、啊、呵、呀、 嘿、哈、唔、嘩，等等真是見字聞聲；比如咩、啥、咦、咁，後面都該是個 問號！比如咭，嗲等簡直可以用來做新年及父親節賀卡。 這些對白結構跟感嘆及助語字的實驗，不多不少啟發了我幾年後為進念．二 十面體排演劇作《列女傳》的實驗。在《列女傳》裡，兩個演員在沙發上來 回六次對話的結構；然後發展至三個人來回六次對話，四個人來回六次對話 等等；這裡包括非文字言語的交流，比如沉默避而不答，以笑或嘆息回應。 借了劇場，由形式角度來探討對話的各種可能性，再去處理內容和形式的互 動。最近我也在想，概念漫畫可以是從新認識文字言語交流的一個學習平 台，問題是我們需要系統的實驗，理論的支援。 談到理論，已故的老友浸會大學教授林年同很關注香港漫畫發展；他曾經勸 我繼續發展關於「概念」漫畫作品，他認為這些實驗足夠他發揮理論性的評 議，去寫一本書。他有一次勸我：「榮念曾，你別去浪費時間操作什麼概念 劇場！不如繼續做你的概念漫畫！你的實驗劇場，永遠是在發展進行中的 概念，永遠在尋找過程；而概念實驗漫畫就能概括你的思想，結論是完整 的。」林年同不知道的是作為漫畫創作，畫畫有自得其樂的時候，但也有落 單寂寞的時候；尤其是在八十年代，在實驗創作畫漫畫的前線，能相互評議 對話的朋友實在太少。實驗劇場卻提供更多的互動和合作。所以問題在於我 的「不甘寂寞」。我畫漫畫始於用畫顛覆文字，或許，我創作劇場則是以文 字顛覆劇場。

藝術總監的話 Artistic Director’s Note

pg.18

pg.19

開拓香港新文化和開拓語言新空間 八零年代初期，《列女傳》的實驗之後有《舊約》、《日出前後》結構對白方 面的實驗，一直伸延至《石頭記》無厘頭對白，到了九零年代的《石頭再 現記》、《石頭備忘錄》裡開始文字閱讀的練習，是關於四字成語的實驗， 例如《石頭備忘錄》裡「莫失莫忘」、「不離不棄」、「忽隱忽現」、「三反五 反」等。那是一次分析發展並處理有兩個相同字的四字成語之實驗。有兩個 相同字的四字成語在結構上建立了一個聲勢力量；例如「是真是假」，閱讀 了兩次「是」的時候，印象變得深刻。我們中國語言文字和語句的結構，實 在充滿深層意義；如果懂得發掘實驗使用的話，我們對自己的當代文化（由 成語，標語，廣告，至俚語）就有更深入的了解，有了解就有評議，有評議 就有發展，之後就有創新。 我認為香港在言語文化的辯證，相對於內地和台灣，還是有比較大的評議和 創作的空間。我覺得台灣跟大陸的文化價值觀其實是很接近的，都是大中華 正統中心的。他們對外來文化的看法、本土文字的用法，基本態度是一樣地 單元。但在五零年代的香港，我們曾經是潮、粵、國三言平等共通；一直到 近三十年才進入一個雙文化雙語文（粵及英）的時代；我們在這樣的環境內 成長，很多時兩語交叉並用或是中英夾雜，並重視快速翻譯，這些多元文化 現象及環境都是絕佳推動評議文化的客觀條件。我覺得香港的所謂邊緣文化 對於大中華中心文化的發展是有正面的作用，中國中心文化的單元性格如果 沒有多樣性文化的存在和衝擊，將會在世界文化發展潮流中更孤立和失去辯 證和創意的力量。香港的「邊緣」文化位置很可以成為中外文化交流緩衝的 地帶，也可以成為中外文化合作評議的平台。 當然在九七前後有一個階段，香港處處充斥政治掛帥，強調中華為本的說 法；這是一種自卑倒退的觀念，亦在不知不覺中加快香港失去其本質，以致 走向文化發展上的失焦。香港本身的多元文化背景及中外歷史交叉的經歷是 沒有可能更改，在香港倡導跟隨大中華文化間接在抹殺香港這個獨特「少數 族類」文化特性和創意，抹殺了香港當代文化對中國文化督促評議的位置， 也違反了中國的文化多樣化國策。近年這種香港文化發展的失落現象，部份 理由因為香港的本地當代文化學術研究基礎的薄弱；薄弱的情況來自政府及 社會對它的忽略；如果本土當代文化研究做得好的話，一定會回饋本土當代 文化前線工作者，包括強化當代文化評論者，有香港特色的文化發展就不會 受制於政治，文化發展就不會在回歸後如此停滯不前。

藝術總監的話 Artistic Director’s Note

pg.20

pg.21

開拓香港新文化和開拓語言新空間 八零年代初期，《列女傳》的實驗之後有《舊約》、《日出前後》結構對白方 面的實驗，一直伸延至《石頭記》無厘頭對白，到了九零年代的《石頭再 現記》、《石頭備忘錄》裡開始文字閱讀的練習，是關於四字成語的實驗， 例如《石頭備忘錄》裡「莫失莫忘」、「不離不棄」、「忽隱忽現」、「三反五 反」等。那是一次分析發展並處理有兩個相同字的四字成語之實驗。有兩個 相同字的四字成語在結構上建立了一個聲勢力量；例如「是真是假」，閱讀 了兩次「是」的時候，印象變得深刻。我們中國語言文字和語句的結構，實 在充滿深層意義；如果懂得發掘實驗使用的話，我們對自己的當代文化（由 成語，標語，廣告，至俚語）就有更深入的了解，有了解就有評議，有評議 就有發展，之後就有創新。 我認為香港在言語文化的辯證，相對於內地和台灣，還是有比較大的評議和 創作的空間。我覺得台灣跟大陸的文化價值觀其實是很接近的，都是大中華 正統中心的。他們對外來文化的看法、本土文字的用法，基本態度是一樣地 單元。但在五零年代的香港，我們曾經是潮、粵、國三言平等共通；一直到 近三十年才進入一個雙文化雙語文（粵及英）的時代；我們在這樣的環境內 成長，很多時兩語交叉並用或是中英夾雜，並重視快速翻譯，這些多元文化 現象及環境都是絕佳推動評議文化的客觀條件。我覺得香港的所謂邊緣文化 對於大中華中心文化的發展是有正面的作用，中國中心文化的單元性格如果 沒有多樣性文化的存在和衝擊，將會在世界文化發展潮流中更孤立和失去辯 證和創意的力量。香港的「邊緣」文化位置很可以成為中外文化交流緩衝的 地帶，也可以成為中外文化合作評議的平台。 當然在九七前後有一個階段，香港處處充斥政治掛帥，強調中華為本的說 法；這是一種自卑倒退的觀念，亦在不知不覺中加快香港失去其本質，以致 走向文化發展上的失焦。香港本身的多元文化背景及中外歷史交叉的經歷是 沒有可能更改，在香港倡導跟隨大中華文化間接在抹殺香港這個獨特「少數 族類」文化特性和創意，抹殺了香港當代文化對中國文化督促評議的位置， 也違反了中國的文化多樣化國策。近年這種香港文化發展的失落現象，部份 理由因為香港的本地當代文化學術研究基礎的薄弱；薄弱的情況來自政府及 社會對它的忽略；如果本土當代文化研究做得好的話，一定會回饋本土當代 文化前線工作者，包括強化當代文化評論者，有香港特色的文化發展就不會 受制於政治，文化發展就不會在回歸後如此停滯不前。

藝術總監的話 Artistic Director’s Note

pg.20

pg.21

Artistic Director’s Note Danny Yung asks: Pricking and Bursting the Language Bubble Pricking and Bursting the Bubble Culture

Being silly in class, being silly in meetings When I was in primary school, I lived on the top floor of a two-storey factory building on Texaco Road in Tsuen Wan. The rooftop was huge. I think it was at least 7,000 to 8,000 sq.ft. big, floored with one-square-foot red tiles with white edges. Willy, a puppy in our family, always ran fearlessly along the railings of the rooftop. For me, I liked drawing pictures with chalk on the square tiles, shaping a story frame by frame on the rooftop. If it rained, then I could start all over again, drawing new pictures and making up new stories. I also liked to draw “murals” on the walls in my place. Then, our maid criticized my drawings, so I drew pictures on the outer wall along the edge of the windows instead. My family knew it and didn’t say anything. In order to draw on that outer wall, one had to be bold to lean out of the window. It seemed a bit dangerous, but since it would attract a different audience, it encouraged me to be bold in my work.

As I remember, there were not too many differences amongst primary school textbooks. The covers were different, but the contents were more or less the same. Therefore, reading textbooks was very boring to me. Whenever I found the class tedious, textbooks would inevitably become my drawing notebooks.

At first, I drew sketches of the faces of my teachers and classmates (especially the back of their heads). Later on, I got tired with that, and so I started drawing stories. On each page, I randomly drew a story related to the text and part of the content there; different types of stories for different textbooks. At some point, my mother saw these alternative notes and found these random drawings interesting, so she suggested that I should keep them in a safe place. Perhaps the books were too well kept, and they are nowhere to be found now.

I began learning Chinese paintings when I was in primary six. My teacher was a friend of my father’s. On the first day of my lesson, he told me properly that

there were five colours in Chinese ink. If we ground the ink very thick, the colour would be very dark, and when we added in some water, it would turn grey, and if we diluted it some more, it would become a lighter grey. When I was trying out the different levels of black to dark grey to light grey, I always wanted to prove that there could be more than five colours in Chinese ink. When I first started off, I drew lines with a brush. That was a very interesting training because I had to draw vertical lines with my arm up in the air. I drew horizontal lines afterwards, then dots. Every day, I practised this on ten pages of newspaper. It was like practising kung fu. I moved on to drawing comics. I seldom drew with brushes though I had been a big fan of Feng Zi-kai’s comics in Chinese ink. Recently, I saw Ma De’s sketches on Peking opera and they were excellent. Last year, I was often housebound because I wasn’t feeling well. A friend sent over some brushes, ink and drawing paper. The smell of ink and the holding of a brush in my hand brought back some familiar feelings.

In the 70’s, I was involved in community planning and research in the US, and very often I had to attend government meetings or public hearings organized by the government. 80% of those meetings were full of specious arguments, nonsense, and empty talks, and it was a waste of time. Nevertheless, it was an era of democracy. The government had no intention of being a good director, and the public would never miss the chance of playing the lead for three minutes.

It was because of these cheap tricks of “political” power struggle and bad performances that I began to hate “words / speeches”. I started to draw pictures on my notebooks and documents during meetings. I recorded my observations and my loathing in an alternative format. They were some random drawings without any text, and they were my first scribbles on speeches and exchanges.

These scribbles were later developed into a series of concept comics on signs of bubbles.

In those meetings in the US, I used to write notes on the documents with thick black felt pen. It seemed to be the only way to place control over those fine documents; therefore I also got used to drawing those bubble comics with a felt pen. Why is it called bubble comics ? It’s because there are bubble signs above the heads of the characters in the drawings representing the content of their conversation. The bubbles come in all shapes and sizes; some are like clouds, some are like balloons which could easily burst if pricked. This shows that the contents of the conversations are repetitive and empty, just like clouds turning into rain in a blink, so full of boloney. Speaking of pens, I liked to use pencils for writing notes or scribbling when I was in junior high, especially harder pencils.

藝術總監的話 Artistic Director’s Note

pg.22

pg.23

Artistic Director’s Note Danny Yung asks: Pricking and Bursting the Language Bubble Pricking and Bursting the Bubble Culture

Being silly in class, being silly in meetings When I was in primary school, I lived on the top floor of a two-storey factory building on Texaco Road in Tsuen Wan. The rooftop was huge. I think it was at least 7,000 to 8,000 sq.ft. big, floored with one-square-foot red tiles with white edges. Willy, a puppy in our family, always ran fearlessly along the railings of the rooftop. For me, I liked drawing pictures with chalk on the square tiles, shaping a story frame by frame on the rooftop. If it rained, then I could start all over again, drawing new pictures and making up new stories. I also liked to draw “murals” on the walls in my place. Then, our maid criticized my drawings, so I drew pictures on the outer wall along the edge of the windows instead. My family knew it and didn’t say anything. In order to draw on that outer wall, one had to be bold to lean out of the window. It seemed a bit dangerous, but since it would attract a different audience, it encouraged me to be bold in my work.

As I remember, there were not too many differences amongst primary school textbooks. The covers were different, but the contents were more or less the same. Therefore, reading textbooks was very boring to me. Whenever I found the class tedious, textbooks would inevitably become my drawing notebooks.

At first, I drew sketches of the faces of my teachers and classmates (especially the back of their heads). Later on, I got tired with that, and so I started drawing stories. On each page, I randomly drew a story related to the text and part of the content there; different types of stories for different textbooks. At some point, my mother saw these alternative notes and found these random drawings interesting, so she suggested that I should keep them in a safe place. Perhaps the books were too well kept, and they are nowhere to be found now.

I began learning Chinese paintings when I was in primary six. My teacher was a friend of my father’s. On the first day of my lesson, he told me properly that

there were five colours in Chinese ink. If we ground the ink very thick, the colour would be very dark, and when we added in some water, it would turn grey, and if we diluted it some more, it would become a lighter grey. When I was trying out the different levels of black to dark grey to light grey, I always wanted to prove that there could be more than five colours in Chinese ink. When I first started off, I drew lines with a brush. That was a very interesting training because I had to draw vertical lines with my arm up in the air. I drew horizontal lines afterwards, then dots. Every day, I practised this on ten pages of newspaper. It was like practising kung fu. I moved on to drawing comics. I seldom drew with brushes though I had been a big fan of Feng Zi-kai’s comics in Chinese ink. Recently, I saw Ma De’s sketches on Peking opera and they were excellent. Last year, I was often housebound because I wasn’t feeling well. A friend sent over some brushes, ink and drawing paper. The smell of ink and the holding of a brush in my hand brought back some familiar feelings.

In the 70’s, I was involved in community planning and research in the US, and very often I had to attend government meetings or public hearings organized by the government. 80% of those meetings were full of specious arguments, nonsense, and empty talks, and it was a waste of time. Nevertheless, it was an era of democracy. The government had no intention of being a good director, and the public would never miss the chance of playing the lead for three minutes.

It was because of these cheap tricks of “political” power struggle and bad performances that I began to hate “words / speeches”. I started to draw pictures on my notebooks and documents during meetings. I recorded my observations and my loathing in an alternative format. They were some random drawings without any text, and they were my first scribbles on speeches and exchanges.

These scribbles were later developed into a series of concept comics on signs of bubbles.

In those meetings in the US, I used to write notes on the documents with thick black felt pen. It seemed to be the only way to place control over those fine documents; therefore I also got used to drawing those bubble comics with a felt pen. Why is it called bubble comics ? It’s because there are bubble signs above the heads of the characters in the drawings representing the content of their conversation. The bubbles come in all shapes and sizes; some are like clouds, some are like balloons which could easily burst if pricked. This shows that the contents of the conversations are repetitive and empty, just like clouds turning into rain in a blink, so full of boloney. Speaking of pens, I liked to use pencils for writing notes or scribbling when I was in junior high, especially harder pencils.

藝術總監的話 Artistic Director’s Note

pg.22

pg.23

The colour of a harder pencil is lighter, less visible and very easy to erase. In case a teacher came over, my scribble could hardly be seen. I think, a few decades later, my minimal oil painting series, in which I tried to write white words on white canvases, might have actually sprung from this.

But I think drawing on textbooks or printed matters with pencils could not compete with the prints on textbooks, since printed texts are a lot darker than pencil writings. The printed texts on textbooks and the written drafts and notes seem to be in a war zone fighting for their own turfs. That’s why in my years of senior high, colour pencils were useful, particularly red pencils (teachers mark papers in red, and perhaps this comes from the concept of affixing rescripts in vermilion ink). In those days, teachers didn’t really care what we did in class, and we could do whatever we liked, and they wouldn’t bother us. I always invented some alternative words in symbols, writing them with a red pencil between the lines of the text in the books, trying to savour “a subtext between the lines”. It’s because of this experience that I have become very sensitive to the pressure in printed words, especially in major propaganda slogans (for example, the large characters on both sides of Tiananmen Square).

Persistence for creation and persistence for the discipline of creation I think theatre creation and comics creation are not the same. One is a collaborative creative effort while the other is an extremely personalized creative effort. It takes only a pen to draw and to create, and you can create on your own. I certainly believe that everyone has a desire for expression as well as the rights to express. As far as rights are concerned, however, there occurs an issue of striking a balance between personal rights and collaborative rights, and also an issue of the civil society being responsible for the development of the society at large. I find a pointless expression just as disgusting as an ignorant and incompetent expression. The methods and techniques of expression can be nurtured by various means, but a disciplined nurturing is essential in whichever means. Without discipline, nothing can be accumulated; without accumulation, no improvement can be achieved. Whether it is discipline, accumulation or improvement, different people have different ways of dealing with them, and one can but only try to do his best in his own way. Others’ opinions can only be used for verification or support. The truly good teachers are our special advisors.

Real disciplines are the ones established by oneself. In other words, discipline for the practice of knowledge must be built and maintained by one self and not others. I think articulate people are basically good storytellers, and there are narrative structure and elements in what they say. The question is whether to tell a short story or a long story, to tell a story to yourself or to others, and whether one can tell the difference between “to speak” and “to tell”. Actually, as we grow up, our parents always tell us stories, and that indirectly trains us to tell stories.

They keep “speaking” to us, and that indirectly teaches us how to speak, and unwittingly they are hoping we could use their standards and ways to speak and to tell stories. Then we go to school, and the environment changes. It is now the teachers who train us to tell stories, and “consciously” and rationally they require us to use their standards and ways to speak and tell stories.

Family system and school system are not the same. The parent-child authority structure and the teacher-student authority structure are not the same. When the communication and learning experience between parents and children is transformed into that between teachers and students, the authority structure between the two sides also changes. The communication between teachers and students at school can actually affect the communication between parents and children in a subtle manner. At school, teachers and students are in fact dealing with a platform approaching equal and interactive learning, learning to handle the ways and content of communication and learning, as well as the idea behind learning. That is what we call real teaching and nurturing; real growth and achievement. The interaction between the education and growth processes are similar to bilateral criticisms and comments of a rational and positive nature.

The more room and accommodation for this kind of interactions in the system, the higher are the chances for criticism. The more criticism, the higher are the possibilities for developing disciplined and visionary creativity.

Of course, we understand that in the process of interaction, it is mandatory to respect the same set of rules for interaction. Then, we should keep an openminded and dialectical attitude for ways of setting up rules and the values behind. Of course, for students to get into a school environment from a family environment, and for them to respond to a new environment, a new system, new relationships, is a challenge to all students, teachers and parents. Whether the parties can blend-in depends on the reflections of the parents and teachers, and how they think about education and growth. They were once young, and they had also run and experienced the course of education and growth. If they are sensitive and reflective, they would be accommodating. They must have

藝術總監的話 Artistic Director’s Note

pg.24

pg.25

The colour of a harder pencil is lighter, less visible and very easy to erase. In case a teacher came over, my scribble could hardly be seen. I think, a few decades later, my minimal oil painting series, in which I tried to write white words on white canvases, might have actually sprung from this.

But I think drawing on textbooks or printed matters with pencils could not compete with the prints on textbooks, since printed texts are a lot darker than pencil writings. The printed texts on textbooks and the written drafts and notes seem to be in a war zone fighting for their own turfs. That’s why in my years of senior high, colour pencils were useful, particularly red pencils (teachers mark papers in red, and perhaps this comes from the concept of affixing rescripts in vermilion ink). In those days, teachers didn’t really care what we did in class, and we could do whatever we liked, and they wouldn’t bother us. I always invented some alternative words in symbols, writing them with a red pencil between the lines of the text in the books, trying to savour “a subtext between the lines”. It’s because of this experience that I have become very sensitive to the pressure in printed words, especially in major propaganda slogans (for example, the large characters on both sides of Tiananmen Square).

Persistence for creation and persistence for the discipline of creation I think theatre creation and comics creation are not the same. One is a collaborative creative effort while the other is an extremely personalized creative effort. It takes only a pen to draw and to create, and you can create on your own. I certainly believe that everyone has a desire for expression as well as the rights to express. As far as rights are concerned, however, there occurs an issue of striking a balance between personal rights and collaborative rights, and also an issue of the civil society being responsible for the development of the society at large. I find a pointless expression just as disgusting as an ignorant and incompetent expression. The methods and techniques of expression can be nurtured by various means, but a disciplined nurturing is essential in whichever means. Without discipline, nothing can be accumulated; without accumulation, no improvement can be achieved. Whether it is discipline, accumulation or improvement, different people have different ways of dealing with them, and one can but only try to do his best in his own way. Others’ opinions can only be used for verification or support. The truly good teachers are our special advisors.

Real disciplines are the ones established by oneself. In other words, discipline for the practice of knowledge must be built and maintained by one self and not others. I think articulate people are basically good storytellers, and there are narrative structure and elements in what they say. The question is whether to tell a short story or a long story, to tell a story to yourself or to others, and whether one can tell the difference between “to speak” and “to tell”. Actually, as we grow up, our parents always tell us stories, and that indirectly trains us to tell stories.

They keep “speaking” to us, and that indirectly teaches us how to speak, and unwittingly they are hoping we could use their standards and ways to speak and to tell stories. Then we go to school, and the environment changes. It is now the teachers who train us to tell stories, and “consciously” and rationally they require us to use their standards and ways to speak and tell stories.

Family system and school system are not the same. The parent-child authority structure and the teacher-student authority structure are not the same. When the communication and learning experience between parents and children is transformed into that between teachers and students, the authority structure between the two sides also changes. The communication between teachers and students at school can actually affect the communication between parents and children in a subtle manner. At school, teachers and students are in fact dealing with a platform approaching equal and interactive learning, learning to handle the ways and content of communication and learning, as well as the idea behind learning. That is what we call real teaching and nurturing; real growth and achievement. The interaction between the education and growth processes are similar to bilateral criticisms and comments of a rational and positive nature.

The more room and accommodation for this kind of interactions in the system, the higher are the chances for criticism. The more criticism, the higher are the possibilities for developing disciplined and visionary creativity.

Of course, we understand that in the process of interaction, it is mandatory to respect the same set of rules for interaction. Then, we should keep an openminded and dialectical attitude for ways of setting up rules and the values behind. Of course, for students to get into a school environment from a family environment, and for them to respond to a new environment, a new system, new relationships, is a challenge to all students, teachers and parents. Whether the parties can blend-in depends on the reflections of the parents and teachers, and how they think about education and growth. They were once young, and they had also run and experienced the course of education and growth. If they are sensitive and reflective, they would be accommodating. They must have

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something to say about the old system of education and the concept of growth, and they would also have expectations for the future on these issues. They would also have something to say about family and school systems, as well as expectations for them for the future.

Subverting Texts with Comics, and Subverting Theatre with Texts In 1979, I was invited by the Hong Kong Arts Centre to showcase my conceptual comics of “bubbles”. I divided the exhibition into three parts. The first part was a total of 32 four-frame comic strips with no text. The second part was 64 pieces of double-decker three-frame comic strips with dialogues between the two characters. In those three-frame comic strips, basically, there were the same two characters with their hands in their pockets facing each other, and they didn’t move. I put down all kinds of texts or symbols above their heads as dialogues. The third part was 128 pieces of three-frame comic strips with blank bubbles for both characters. Visitors for the opening could participate by filling the bubbles with texts. They could fill in whatever they liked. In the following ten years, whenever friends of mine came over, I would bring out an empty threeframe comic strip with blank bubbles and ask them to fill in the blanks. As a result, I had gathered a lot of handwritings and ideas from my friends of all ages, and they became something like an autograph album.

The idea of the double-decker three-frame comic strip is basically an exercise for dialogue-writing. In designing the structure of a dialogue, of course, the first thing to deal with is how to respond to the predetermined content of the dialogue in the comic strip itself. For example, it could be the same two characters in each box, it could be both characters with their hands in their pockets, it could be the two characters standing face to face, one on the left and the other one on the right, it could be two characters with no mouths, etc.

The bubbles above the heads of the two characters provide “three rounds” of dialogue exchange. It can be in a question-and-answer format, or not. Under the framework of this predetermined content, if it is in a question-and-answer format, how can it be developed into an experience of communication and dialogues?

Does the dialogue in the last round conclude the three rounds of dialogues? In the last round, does the character on the right have the authority to draw the final conclusion? To me, this is an experiment of minimal conceptual art, an

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pg.27

something to say about the old system of education and the concept of growth, and they would also have expectations for the future on these issues. They would also have something to say about family and school systems, as well as expectations for them for the future.

Subverting Texts with Comics, and Subverting Theatre with Texts In 1979, I was invited by the Hong Kong Arts Centre to showcase my conceptual comics of “bubbles”. I divided the exhibition into three parts. The first part was a total of 32 four-frame comic strips with no text. The second part was 64 pieces of double-decker three-frame comic strips with dialogues between the two characters. In those three-frame comic strips, basically, there were the same two characters with their hands in their pockets facing each other, and they didn’t move. I put down all kinds of texts or symbols above their heads as dialogues. The third part was 128 pieces of three-frame comic strips with blank bubbles for both characters. Visitors for the opening could participate by filling the bubbles with texts. They could fill in whatever they liked. In the following ten years, whenever friends of mine came over, I would bring out an empty threeframe comic strip with blank bubbles and ask them to fill in the blanks. As a result, I had gathered a lot of handwritings and ideas from my friends of all ages, and they became something like an autograph album.

The idea of the double-decker three-frame comic strip is basically an exercise for dialogue-writing. In designing the structure of a dialogue, of course, the first thing to deal with is how to respond to the predetermined content of the dialogue in the comic strip itself. For example, it could be the same two characters in each box, it could be both characters with their hands in their pockets, it could be the two characters standing face to face, one on the left and the other one on the right, it could be two characters with no mouths, etc.

The bubbles above the heads of the two characters provide “three rounds” of dialogue exchange. It can be in a question-and-answer format, or not. Under the framework of this predetermined content, if it is in a question-and-answer format, how can it be developed into an experience of communication and dialogues?

Does the dialogue in the last round conclude the three rounds of dialogues? In the last round, does the character on the right have the authority to draw the final conclusion? To me, this is an experiment of minimal conceptual art, an

藝術總監的話 Artistic Director’s Note

pg.26

pg.27

interactive experiment of handling texts and visuals, as well as an experiment of knowledge.

Take a three-frame question and answer dialogue for “knowledge” as an example.

The little guy on the left in the first frame asks the little guy on the right,“What are those frames of drawings?” The little guy on the right says, “They are definitely a movie!” The little guy on the left then asks, “What about the things they say in turn?” The little guy on the right says, “That, of course, is a repartee!” In the third and the last frame, the little guy on the left asks again, “Frame after frame, a sentence above my head, and a sentence above yours. What is that?” The little guy on the right says to the little guy on the left, “Isn’t that a comic strip?”

Such an experiment also arouses my great interest in Chinese characters of exclamation and words of complement with the character “mouth” on the left, such as,“hey”,“well”,“whao”,“yo”,“eh”,“oi”,“pi”,“oh”,“ho”,“ah”,“he”,“ha”,“hmm”, “wow”. These words sound like what they look. Words like “what”, “who”, “why”, “so”, for example, should be followed by a question mark! Characters like “Gig” (咭 ) and “tei” ( 嗲 ) should be used in greeting cards for Chinese New Years and Father’s Days.

These experiments on dialogue structures and words of exclamation and complement have more or less enlightened me in the experimental drama production of “Portraits of Women” for Zuni Icosahedron a few years later. In “Portraits of Women”, the structure was at first six rounds of dialogues between two performers sitting on a sofa, then it was developed into six rounds of dialogues among three characters, and then six rounds of dialogues among four characters, etc. The dialogues included exchanges without text or language, such as staying quiet without answering, or responding with a smile or a sigh. I used theatre to explore all possibilities of dialogues from a perspective of form, and the next thing I dealt with was the interaction of content and form. Recently I have thought that conceptual comics could be used as a learning platform for new understanding of texts and language exchanges. The question is, we need systematic experiments and a theory to support this.

Speaking of theories, my good friend, the late Lin Nien-tung, professor of Baptist University, was very concerned about the development of comics in Hong Kong. He once encouraged me to continue to develop my “conceptual” comic collections. He thought these experiments were enough materials for him to develop theoretical critiques and to write a book on them. He once suggested to me,“Danny Yung, don’t waste your time in the so-called conceptual theatre! Why

don’t you continue with your conceptual comics! Your experimental theatre is always a concept in-progress, always in the process of searching; while your conceptual, experimental comics wrap up your thoughts, and, with a complete conclusion.” What Lin Nien-tung did not know was that, creating comics could be good fun, but it could be a lonely process as well, especially in the 80’s, when there were only very few friends who could exchange dialogues and criticisms in the frontline of experimental comic creation.

On the other hand, experimental theatre could provide more interactions and collaborations. Therefore the problem was my “reluctance to be lonely”.

My comic strips started with my intention of subverting texts with comics.

Perhaps, my theatre works are subverting theatre with texts.

Developing new culture in Hong Kong and developing new space for language In the early 80’s, following the experiment of “Portraits of Women”, there were experiments on structural dialogues like “The Old Testament” and “Sunrise (Pre/Post)”, extending all the way to the absurd dialogues in “Romance of the Rock”. Then in the 90’s, we started practising text reading in “Romance of the Rock ‘97” and “Memorandum of the Rock”. Those were experiments on four-word Chinese idioms. For example, in “Memorandum of the Rock”, we had “lose me not, forget me not”,“no leaving and no abandoning”,“now you see it, now you don’t”,“three evils and five evils”, etc. That experiment was to deal with, analyse, and develop four-word Chinese idioms which carry two identical words. A power of identical voice is established in the structure of a four-word Chinese idiom that carries two identical words; for instance, in “being true and being false”, the impression is made stronger when you read “being” twice. The words and sentence structure of the Chinese language are really profound and full of layers of meanings. If we know how to explore and experiment their uses, we will have a more in-depth understanding of our own contemporary culture (from Chinese idioms, slogans, advertisements to slang). If we understand, we can discuss and give critical analysis, and when we do that, we can develop, and innovation will follow.

I think the dialectics of the language culture in Hong Kong, when compared to that in mainland China and Taiwan, has more space for discussions, criticisms and creation. I think the cultural values in Taiwan and the mainland are actually very similar. Both are traditional Greater China oriented. As for

藝術總監的話 Artistic Director’s Note

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pg.29

interactive experiment of handling texts and visuals, as well as an experiment of knowledge.

Take a three-frame question and answer dialogue for “knowledge” as an example.

The little guy on the left in the first frame asks the little guy on the right,“What are those frames of drawings?” The little guy on the right says, “They are definitely a movie!” The little guy on the left then asks, “What about the things they say in turn?” The little guy on the right says, “That, of course, is a repartee!” In the third and the last frame, the little guy on the left asks again, “Frame after frame, a sentence above my head, and a sentence above yours. What is that?” The little guy on the right says to the little guy on the left, “Isn’t that a comic strip?”

Such an experiment also arouses my great interest in Chinese characters of exclamation and words of complement with the character “mouth” on the left, such as,“hey”,“well”,“whao”,“yo”,“eh”,“oi”,“pi”,“oh”,“ho”,“ah”,“he”,“ha”,“hmm”, “wow”. These words sound like what they look. Words like “what”, “who”, “why”, “so”, for example, should be followed by a question mark! Characters like “Gig” (咭 ) and “tei” ( 嗲 ) should be used in greeting cards for Chinese New Years and Father’s Days.

These experiments on dialogue structures and words of exclamation and complement have more or less enlightened me in the experimental drama production of “Portraits of Women” for Zuni Icosahedron a few years later. In “Portraits of Women”, the structure was at first six rounds of dialogues between two performers sitting on a sofa, then it was developed into six rounds of dialogues among three characters, and then six rounds of dialogues among four characters, etc. The dialogues included exchanges without text or language, such as staying quiet without answering, or responding with a smile or a sigh. I used theatre to explore all possibilities of dialogues from a perspective of form, and the next thing I dealt with was the interaction of content and form. Recently I have thought that conceptual comics could be used as a learning platform for new understanding of texts and language exchanges. The question is, we need systematic experiments and a theory to support this.

Speaking of theories, my good friend, the late Lin Nien-tung, professor of Baptist University, was very concerned about the development of comics in Hong Kong. He once encouraged me to continue to develop my “conceptual” comic collections. He thought these experiments were enough materials for him to develop theoretical critiques and to write a book on them. He once suggested to me,“Danny Yung, don’t waste your time in the so-called conceptual theatre! Why

don’t you continue with your conceptual comics! Your experimental theatre is always a concept in-progress, always in the process of searching; while your conceptual, experimental comics wrap up your thoughts, and, with a complete conclusion.” What Lin Nien-tung did not know was that, creating comics could be good fun, but it could be a lonely process as well, especially in the 80’s, when there were only very few friends who could exchange dialogues and criticisms in the frontline of experimental comic creation.

On the other hand, experimental theatre could provide more interactions and collaborations. Therefore the problem was my “reluctance to be lonely”.

My comic strips started with my intention of subverting texts with comics.

Perhaps, my theatre works are subverting theatre with texts.

Developing new culture in Hong Kong and developing new space for language In the early 80’s, following the experiment of “Portraits of Women”, there were experiments on structural dialogues like “The Old Testament” and “Sunrise (Pre/Post)”, extending all the way to the absurd dialogues in “Romance of the Rock”. Then in the 90’s, we started practising text reading in “Romance of the Rock ‘97” and “Memorandum of the Rock”. Those were experiments on four-word Chinese idioms. For example, in “Memorandum of the Rock”, we had “lose me not, forget me not”,“no leaving and no abandoning”,“now you see it, now you don’t”,“three evils and five evils”, etc. That experiment was to deal with, analyse, and develop four-word Chinese idioms which carry two identical words. A power of identical voice is established in the structure of a four-word Chinese idiom that carries two identical words; for instance, in “being true and being false”, the impression is made stronger when you read “being” twice. The words and sentence structure of the Chinese language are really profound and full of layers of meanings. If we know how to explore and experiment their uses, we will have a more in-depth understanding of our own contemporary culture (from Chinese idioms, slogans, advertisements to slang). If we understand, we can discuss and give critical analysis, and when we do that, we can develop, and innovation will follow.

I think the dialectics of the language culture in Hong Kong, when compared to that in mainland China and Taiwan, has more space for discussions, criticisms and creation. I think the cultural values in Taiwan and the mainland are actually very similar. Both are traditional Greater China oriented. As for

藝術總監的話 Artistic Director’s Note

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pg.29

their views towards foreign culture and their uses of local words, they share the same basic attitude of a singular nature. In Hong Kong, during the 50’s the Chiu Chow dialect, Cantonese and Mandarin were once equally and commonly used as the vernacular. That was the case until we entered to a bicultural, and bilingual (Cantonese and English) era in the last 30 years. As we grew up in such an environment, we often interlace the two languages when we speak, or mix Chinese and English together, and we also like quick translation. These multicultural phenomenon and environment provide excellent conditions for promoting the culture of discussion and critical analysis. I think the so-called marginal culture plays a positive role in the development of the Greater China oriented culture. If there were no impact from the existence of a diverse culture on the singular nature of the China-oriented culture, our culture would have been more isolated, and would have been much weaker in her dialectical and creative power, in the current of global cultural development. Hong Kong, with a position in “marginal” culture, can become a buffer zone for Chinese and foreign cultural exchange, as well as a platform for critical analyses for the collaboration of Chinese and foreign cultures.

There certainly was a period before and after 1997 when there were talks about politics and emphases on being China-based. This concept was backward, with a sense of inferiority. It hastened the process of Hong Kong losing its true nature, and losing the focus of cultural development without people realising it. The multicultural background of Hong Kong and its experience of mixing Chinese and foreign histories are facts. Advocating the pursuit of Greater China culture in Hong Kong is indirectly wiping out its unique “ethnic” cultural characteristics and creativity. It takes away the vantage point of Hong Kong contemporary culture in monitoring criticisms on the culture of China, and it is also against the national policy of a diverse culture in China. The collapse of cultural development in Hong Kong in the recent years is due partly to a weak foundation in the academic research on local contemporary culture in Hong Kong. This unhealthy situation sprang from the negligence from the government and the society. If we care about and put our effort in local contemporary cultural studies, the workers of local contemporary culture in the frontline would be rewarded. We should help raise the standard of our contemporary cultural critics, and so the development of Hong Kong’s unique culture will not be bound and controlled by politics, and our cultural development would have not be lagging behind after the handover.

全年活動概覽 Programme Highlights

2005–06

藝術總監的話 Artistic Director’s Note

Artistic Director’s Note

pg.30

pg.31

their views towards foreign culture and their uses of local words, they share the same basic attitude of a singular nature. In Hong Kong, during the 50’s the Chiu Chow dialect, Cantonese and Mandarin were once equally and commonly used as the vernacular. That was the case until we entered to a bicultural, and bilingual (Cantonese and English) era in the last 30 years. As we grew up in such an environment, we often interlace the two languages when we speak, or mix Chinese and English together, and we also like quick translation. These multicultural phenomenon and environment provide excellent conditions for promoting the culture of discussion and critical analysis. I think the so-called marginal culture plays a positive role in the development of the Greater China oriented culture. If there were no impact from the existence of a diverse culture on the singular nature of the China-oriented culture, our culture would have been more isolated, and would have been much weaker in her dialectical and creative power, in the current of global cultural development. Hong Kong, with a position in “marginal” culture, can become a buffer zone for Chinese and foreign cultural exchange, as well as a platform for critical analyses for the collaboration of Chinese and foreign cultures.

There certainly was a period before and after 1997 when there were talks about politics and emphases on being China-based. This concept was backward, with a sense of inferiority. It hastened the process of Hong Kong losing its true nature, and losing the focus of cultural development without people realising it. The multicultural background of Hong Kong and its experience of mixing Chinese and foreign histories are facts. Advocating the pursuit of Greater China culture in Hong Kong is indirectly wiping out its unique “ethnic” cultural characteristics and creativity. It takes away the vantage point of Hong Kong contemporary culture in monitoring criticisms on the culture of China, and it is also against the national policy of a diverse culture in China. The collapse of cultural development in Hong Kong in the recent years is due partly to a weak foundation in the academic research on local contemporary culture in Hong Kong. This unhealthy situation sprang from the negligence from the government and the society. If we care about and put our effort in local contemporary cultural studies, the workers of local contemporary culture in the frontline would be rewarded. We should help raise the standard of our contemporary cultural critics, and so the development of Hong Kong’s unique culture will not be bound and controlled by politics, and our cultural development would have not be lagging behind after the handover.

全年活動概覽 Programme Highlights

2005–06

藝術總監的話 Artistic Director’s Note

Artistic Director’s Note

pg.30

pg.31

全年活動概覽 Programme Highlights

演出

Performance

東宮西宮4──西九龍皇帝 首演及加強版

East Wing West Wing 4 – West Kowloon Side Story Premiere and Re-run

多媒體建築音樂劇場系列 3──Corbu

Multi-media Architectural Music Theatre Series III - Corbu

假音人之陳浩峰爵士搖滾K唱會 Gayamyan and Cedric Chan in Concert

諸神會──實驗傳統藝術節2005 演出及座談會

Meeting of the Gods - Festival of Experimenting Traditions 2005 Performance and Seminar

樓市怪談 The Agent

挑滑車 新加坡「華藝節」2006

The Outcast General Huayi Festival 2006, Singapore

戀人絮語 台北演出 (中國信託商業銀行文教基金會主辦、非常林奕華製作、進念多媒體舞台設計)

Fragments d’un discours amoureux Performance in Taipei (Presented by Chinatrust Foundation, China Trust Commercial Bank, produced by Edward Lam Dance Theatre, multi-media installations designed by Zuni) 《Corbu》

全年活動概覽 Programme Highlights

pg.32

總演出場數

總觀眾人數

Total No. of Performances:

Total No. of Audience:

86

44,662 pg.33

全年活動概覽 Programme Highlights

演出

Performance

東宮西宮4──西九龍皇帝 首演及加強版

East Wing West Wing 4 – West Kowloon Side Story Premiere and Re-run

多媒體建築音樂劇場系列 3──Corbu

Multi-media Architectural Music Theatre Series III - Corbu

假音人之陳浩峰爵士搖滾K唱會 Gayamyan and Cedric Chan in Concert

諸神會──實驗傳統藝術節2005 演出及座談會

Meeting of the Gods - Festival of Experimenting Traditions 2005 Performance and Seminar

樓市怪談 The Agent

挑滑車 新加坡「華藝節」2006

The Outcast General Huayi Festival 2006, Singapore

戀人絮語 台北演出 (中國信託商業銀行文教基金會主辦、非常林奕華製作、進念多媒體舞台設計)

Fragments d’un discours amoureux Performance in Taipei (Presented by Chinatrust Foundation, China Trust Commercial Bank, produced by Edward Lam Dance Theatre, multi-media installations designed by Zuni) 《Corbu》

全年活動概覽 Programme Highlights

pg.32

總演出場數

總觀眾人數

Total No. of Performances:

Total No. of Audience:

86

44,662 pg.33

東宮西宮4——西九龍皇帝 East Wing West Wing 4 – West Kowloon Side Story 《東宮西宮4―西九龍皇帝》是《東宮西宮》演出系列的第四回。《東宮西 宮》是進念於2003年首創的政治喜劇系列，每次演出均環繞香港的政治及時 事作為創作主題，在笑聲中探討社會議題。《西九龍皇帝》是對西九龍文娛 藝術區發展計劃的回應，並以此作為出發點探討香港的社會政治生態。

“East Wing West Wing” is a political comedy series first created in 2003, and “West Kowloon Side Story” is the 4th episode of the “East Wing West Wing” series. In every episode, the political situation and current affairs of Hong Kong would be discussed and explored amidst laughter and applause from the audience. In this episode of “West Kowloon Side Story”, the focal point was in the West Kowloon Cultural District, and from there the discussion reached out to the socio-political milieu of Hong Kong.

聯合編導：胡恩威、林奕華 演員：陳浩峰、陳淑莊、鍾家誠、 李子釗、伍嘉雯、楊永德、 葉燕芳、黃大徽 音樂創作及演唱：假音人 音樂創作及現場演奏：孔奕佳 Directors and Playwrights: Mathias Woo, Edward Lam Performers: Cedric Chan, Tanya Chan, Carson Chung, Angus Li, Carmen Ng, David Yeung, Shirely Yip, Dick Wong Music Composer and Vocalist: Gayamyan Music Composer and Live Music Performance: Edgar Hung

「筆者由第一輯到第四輯都入座觀賞了， 看到導演、編劇對香港政府和社會許多政 策、現象的不滿，但亦展現了導演對於改 善香港現狀的誠意，胡恩威與林奕華不是 罵了算，讓觀眾笑了算，劇中內容展現他 們對香港的承擔，希望有所改變……」

范中流

本地演出 Local Performance

《信報》，2005年5月13日

首演 Premiere

加強版 Re-run

22-30/4/2005 葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre

22/7-14/8/2005 香港演藝學院歌劇院 Lyric Theatre, Hong Kong Academy for Performing Art

pg.34

全年活動概覽 Programme Highlights

pg.35

東宮西宮4——西九龍皇帝 East Wing West Wing 4 – West Kowloon Side Story 《東宮西宮4―西九龍皇帝》是《東宮西宮》演出系列的第四回。《東宮西 宮》是進念於2003年首創的政治喜劇系列，每次演出均環繞香港的政治及時 事作為創作主題，在笑聲中探討社會議題。《西九龍皇帝》是對西九龍文娛 藝術區發展計劃的回應，並以此作為出發點探討香港的社會政治生態。

“East Wing West Wing” is a political comedy series first created in 2003, and “West Kowloon Side Story” is the 4th episode of the “East Wing West Wing” series. In every episode, the political situation and current affairs of Hong Kong would be discussed and explored amidst laughter and applause from the audience. In this episode of “West Kowloon Side Story”, the focal point was in the West Kowloon Cultural District, and from there the discussion reached out to the socio-political milieu of Hong Kong.

聯合編導：胡恩威、林奕華 演員：陳浩峰、陳淑莊、鍾家誠、 李子釗、伍嘉雯、楊永德、 葉燕芳、黃大徽 音樂創作及演唱：假音人 音樂創作及現場演奏：孔奕佳 Directors and Playwrights: Mathias Woo, Edward Lam Performers: Cedric Chan, Tanya Chan, Carson Chung, Angus Li, Carmen Ng, David Yeung, Shirely Yip, Dick Wong Music Composer and Vocalist: Gayamyan Music Composer and Live Music Performance: Edgar Hung

「筆者由第一輯到第四輯都入座觀賞了， 看到導演、編劇對香港政府和社會許多政 策、現象的不滿，但亦展現了導演對於改 善香港現狀的誠意，胡恩威與林奕華不是 罵了算，讓觀眾笑了算，劇中內容展現他 們對香港的承擔，希望有所改變……」

范中流

本地演出 Local Performance

《信報》，2005年5月13日

首演 Premiere

加強版 Re-run

22-30/4/2005 葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre

22/7-14/8/2005 香港演藝學院歌劇院 Lyric Theatre, Hong Kong Academy for Performing Art

pg.34

全年活動概覽 Programme Highlights

pg.35

Corbu

假音人之 陳浩峰爵士搖滾Ｋ唱會

多媒體建築音樂劇場系列 Multi-media Architectural Music Theatre Series

Gayamyan and Cedric Chan in Concert

《Corbu》以出生於瑞士的建築大師 Le Corbusier 的生平、其作品及 理論為主要探討議題。這個演出是由胡恩威設計及導演的多媒體建築音 樂劇場系列第三個作品，結合電子音樂及互動影像，並邀請了來自台北 的資深演員陳立華參與演出。

導演及設計：胡恩威 音樂創作：VSOP 數碼錄像： pReview（柏林）、黃志偉 演員：陳立華（台北） Director and Designer: Mathias Woo Music: VSOP Digital Images: pReview (Berlin), John Wong Performer: Chen Li –hua (Taipei)

“Corbu” is the third work from the Multi-media Architectural Music Theatre Series, after the success of “The Life and Times of Louis I. Kahn” and “Looking for Mies”. The performance is based on the life and works of the Swiss born architecture pioneer Le Corbusier, is designed and directed by Mathias Woo whose is trained as an architect himself. This is a series of works by using theatre space to explore the different theories and concepts of architects and architecture, integrating digital arts, sound, music and installation to generate a new form of theatre experiment.

《假音人之陳浩峰爵士搖滾K唱會》是一個透過劇場空間，回歸現場音樂表 創作總監：胡恩威 音樂：假音人 客席樂手：孔奕佳、徐樂心 形象設計：陳輝雄 Creative Director: Mathias Woo Music: Gayamyan Guest Musicians: Edgar Hung, Roy Tsui Styling: Ivan Chan

演基本步的演出。經過參與進念一系列多媒體劇場演出及《東宮西宮》的音 樂創作後，陳浩峰和樂隊假音人透過對不同年代的流行歌的內容、音樂形式 的重新理解、編排和演繹，融合燈光、錄像等多媒體設計，發掘和展現現場 音樂表演的動力。

“Gayamyan and Cedric Chan in Concert” attempted to bring both performers and audience back to the basics of live concerts through the space of theatre.

Both Cedric and the band Gayamyan had participated in many multi-media performances of Zuni, including the “East Wing West Wing” Series. With that experience, they tried to re-arrange and re-interpret a collection of pop songs from different eras and present them with special effects in lighting and videos in order to explore new possibilities and maximise the energy and dynamics of live concerts.

「我認為假音人/陳浩峰之值得欣賞並不 在其歌藝超群，而是整個製作把流行曲 如何假戲真做，反轉豬肚的橫放在你面

本地演出 Local Performance

「以多媒體的方式，影像及音樂，

前，達至到一種戲謔效果─可以說，自

舞台裝置等並舉，帶出叫人眼前一

有了陳浩峰的現青筋真功夫演繹之後，

亮的劇場演出。」

本地演出 Local Performance

所有情歌冧歌均可休矣！」

梁寶山

《蘋果日報》 3-6/6/2005 上環文娛中心劇院 Theatre, Sheung Wan Civic Centre 康樂及文化事務署贊助 Sponsored by LCSD

2005年5月30日

pg.36

獨立媒體，2005年9月20日

9-18/9/2005 香港藝術中心壽臣劇院 Shouson Theatre, Hong Kong Arts Centre

pg.37

Corbu

假音人之 陳浩峰爵士搖滾Ｋ唱會

多媒體建築音樂劇場系列 Multi-media Architectural Music Theatre Series

Gayamyan and Cedric Chan in Concert

《Corbu》以出生於瑞士的建築大師 Le Corbusier 的生平、其作品及 理論為主要探討議題。這個演出是由胡恩威設計及導演的多媒體建築音 樂劇場系列第三個作品，結合電子音樂及互動影像，並邀請了來自台北 的資深演員陳立華參與演出。

導演及設計：胡恩威 音樂創作：VSOP 數碼錄像： pReview（柏林）、黃志偉 演員：陳立華（台北） Director and Designer: Mathias Woo Music: VSOP Digital Images: pReview (Berlin), John Wong Performer: Chen Li –hua (Taipei)

“Corbu” is the third work from the Multi-media Architectural Music Theatre Series, after the success of “The Life and Times of Louis I. Kahn” and “Looking for Mies”. The performance is based on the life and works of the Swiss born architecture pioneer Le Corbusier, is designed and directed by Mathias Woo whose is trained as an architect himself. This is a series of works by using theatre space to explore the different theories and concepts of architects and architecture, integrating digital arts, sound, music and installation to generate a new form of theatre experiment.

《假音人之陳浩峰爵士搖滾K唱會》是一個透過劇場空間，回歸現場音樂表 創作總監：胡恩威 音樂：假音人 客席樂手：孔奕佳、徐樂心 形象設計：陳輝雄 Creative Director: Mathias Woo Music: Gayamyan Guest Musicians: Edgar Hung, Roy Tsui Styling: Ivan Chan

演基本步的演出。經過參與進念一系列多媒體劇場演出及《東宮西宮》的音 樂創作後，陳浩峰和樂隊假音人透過對不同年代的流行歌的內容、音樂形式 的重新理解、編排和演繹，融合燈光、錄像等多媒體設計，發掘和展現現場 音樂表演的動力。

“Gayamyan and Cedric Chan in Concert” attempted to bring both performers and audience back to the basics of live concerts through the space of theatre.

Both Cedric and the band Gayamyan had participated in many multi-media performances of Zuni, including the “East Wing West Wing” Series. With that experience, they tried to re-arrange and re-interpret a collection of pop songs from different eras and present them with special effects in lighting and videos in order to explore new possibilities and maximise the energy and dynamics of live concerts.

「我認為假音人/陳浩峰之值得欣賞並不 在其歌藝超群，而是整個製作把流行曲 如何假戲真做，反轉豬肚的橫放在你面

本地演出 Local Performance

「以多媒體的方式，影像及音樂，

前，達至到一種戲謔效果─可以說，自

舞台裝置等並舉，帶出叫人眼前一

有了陳浩峰的現青筋真功夫演繹之後，

亮的劇場演出。」

本地演出 Local Performance

所有情歌冧歌均可休矣！」

梁寶山

《蘋果日報》 3-6/6/2005 上環文娛中心劇院 Theatre, Sheung Wan Civic Centre 康樂及文化事務署贊助 Sponsored by LCSD

2005年5月30日

pg.36

獨立媒體，2005年9月20日

9-18/9/2005 香港藝術中心壽臣劇院 Shouson Theatre, Hong Kong Arts Centre

pg.37

諸神會―― 實驗傳統藝術節2005

Meeting of the Gods

Festival of Experimenting Traditions 2005 以「走出傳統，勇於實驗」為出發點，進念過去十年一直致力推動亞太地區 非物質文化保存和發展的策劃工作。本年度，進念主辦了「諸神會―實驗傳 統藝術節2005」，藝術總監榮念曾聯同多位內地優秀的傳統戲曲藝術家，包 括石小梅（崑劇）、周龍及劉鑫（京劇）、李小峰和張寧（秦腔），及彭蕙蘅 （河北梆子）合作創作和演出三個劇目《群英會》、《雜種實驗》及《挑滑 車》，進行傳統表演藝術與多媒體的實驗。演出以外，這次藝術節更舉辦了 座談會，由美國匹茲堡大學亞洲研究總監、音樂系教授榮鴻曾擔任主持，讓 公眾人士和參與演出的戲曲藝術家進行交流。 藝術總監 策劃：榮念曾 演出：石小梅（崑劇）、周龍（京劇）、 李小鋒、張寧（秦腔）、 彭蕙蘅（河北梆子）、 劉鑫（京劇） Artistic Director/ Curator: Danny Yung Chinese Opera Artists: Shi Xiaomei (Kun Opera), Zhou Long (Peking Opera), Li Xiaofeng, Zhang Ning (Qin-operatic style), Peng Huiheng (Hebei Bangzi), Liu Xin (Peking Opera)

Zuni has been very active in the past 10 years in the work on the preservation and development of intangible cultural heritage in Asia and the Pacific, while at the same time, being very bold in experimentations and breaking away from traditions. Last year, Zuni presented “Meeting of the Gods – Festival of Experimenting Traditions 2005”, and our Artistic Director, Danny Yung, collaborated with many distinguished artists in traditional Chinese opera to give three different performances, “Congregation of the Heroes”, “Electric Folk Concert” and “The Outcast General”. This was an experiment of merging traditional performing arts with multi-media theatre. Besides performances, the Festival also presented a seminar for exchanges between the public and the opera artists.

“Powerful Critique on Emotion, History and Technology”

Richard Engelhardt 本地演出 Local Performance

《群英會》Congregation of the Heros 《雜種實驗》Electric-Folk Concert 18-22/11/2005 香港大會堂展覽廳 Exhibition Hall, Hong Kong City Hall

pg.38 康樂及文化事務署贊助 Sponsored by LCSD

UNESCO Regional Advisor for Culture in Asia and the Pacific

《挑滑車》The Outcast General 25-27/11/2005 香港文化中心劇場 Studio Theatre, Hong Kong Cultural Centre

1

2 3 4

1: 《挑滑車》The Outcast General 2,4: 《群英會》Congregation of the Heros 3: 《雜種實驗》Electric-Folk Concert 全年活動概覽 Programme Highlights

pg.39

諸神會―― 實驗傳統藝術節2005

Meeting of the Gods

Festival of Experimenting Traditions 2005 以「走出傳統，勇於實驗」為出發點，進念過去十年一直致力推動亞太地區 非物質文化保存和發展的策劃工作。本年度，進念主辦了「諸神會―實驗傳 統藝術節2005」，藝術總監榮念曾聯同多位內地優秀的傳統戲曲藝術家，包 括石小梅（崑劇）、周龍及劉鑫（京劇）、李小峰和張寧（秦腔），及彭蕙蘅 （河北梆子）合作創作和演出三個劇目《群英會》、《雜種實驗》及《挑滑 車》，進行傳統表演藝術與多媒體的實驗。演出以外，這次藝術節更舉辦了 座談會，由美國匹茲堡大學亞洲研究總監、音樂系教授榮鴻曾擔任主持，讓 公眾人士和參與演出的戲曲藝術家進行交流。 藝術總監 策劃：榮念曾 演出：石小梅（崑劇）、周龍（京劇）、 李小鋒、張寧（秦腔）、 彭蕙蘅（河北梆子）、 劉鑫（京劇） Artistic Director/ Curator: Danny Yung Chinese Opera Artists: Shi Xiaomei (Kun Opera), Zhou Long (Peking Opera), Li Xiaofeng, Zhang Ning (Qin-operatic style), Peng Huiheng (Hebei Bangzi), Liu Xin (Peking Opera)

Zuni has been very active in the past 10 years in the work on the preservation and development of intangible cultural heritage in Asia and the Pacific, while at the same time, being very bold in experimentations and breaking away from traditions. Last year, Zuni presented “Meeting of the Gods – Festival of Experimenting Traditions 2005”, and our Artistic Director, Danny Yung, collaborated with many distinguished artists in traditional Chinese opera to give three different performances, “Congregation of the Heroes”, “Electric Folk Concert” and “The Outcast General”. This was an experiment of merging traditional performing arts with multi-media theatre. Besides performances, the Festival also presented a seminar for exchanges between the public and the opera artists.

“Powerful Critique on Emotion, History and Technology”

Richard Engelhardt 本地演出 Local Performance

《群英會》Congregation of the Heros 《雜種實驗》Electric-Folk Concert 18-22/11/2005 香港大會堂展覽廳 Exhibition Hall, Hong Kong City Hall

pg.38 康樂及文化事務署贊助 Sponsored by LCSD

UNESCO Regional Advisor for Culture in Asia and the Pacific

《挑滑車》The Outcast General 25-27/11/2005 香港文化中心劇場 Studio Theatre, Hong Kong Cultural Centre

1

2 3 4

1: 《挑滑車》The Outcast General 2,4: 《群英會》Congregation of the Heros 3: 《雜種實驗》Electric-Folk Concert 全年活動概覽 Programme Highlights

pg.39

藝術總監／編導：榮念曾 聯合導演：周龍（北京）、黃志偉 演出：劉鑫（北京） 《石榴花》填詞：陳克華 Ar t i s t i cDi r ect or /Scr i ptWr i t er / Di r ect or :Da n n yYu n g Codi r ect or s : Z h ouL on g( Be i j i n g) ,J oh nWon g Per f or mer :L i uXi n( Be i j i n g) Ly r i csofShi l uHua:Ch e nKe h h u a

藝術總監／編導：榮念曾 聯合導演：周龍（北京）、黃志偉 演出：劉鑫（北京） 《石榴花》填詞：陳克華 Ar t i s t i cDi r ect or /Scr i ptWr i t er / Di r ect or :Da n n yYu n g Codi r ect or s : Z h ouL on g( Be i j i n g) ,J oh nWon g Per f or mer :L i uXi n( Be i j i n g) Ly r i csofShi l uHua:Ch e nKe h h u a

戀人絮語

台北演出

中國信託商業銀行文教基金會主辦、非常林奕華製作、進念多媒體舞台設計

Fragments d’un discours amoureux Performance in Taipei

Presented by Chinatrust Foundation, China Trust Commercial Bank, Produced by Edward Lam Dance Theatre, Multi-media installations designed and produced by Zuni

《戀人絮語》由非常林奕華製作，進念負責多媒體設計及製作。這個演出 的編導林奕華和胡恩威以二十世紀法國最偉大的哲人羅蘭．巴特（Roland

編導：林奕華、胡恩威 舞台及多媒體設計：胡恩威 演員：黃耀明、許茹芸、陳立華、 黃大徽、陳浩峰、黃俊銘

Barthes）的同名作品作為藍本，將各式各樣的畸戀――單戀、暗戀、愛錯、 錯愛、三角戀愛、多角戀愛等無法完成的愛，重新編排，以多媒體的形式呈 現在舞台。此演出獲台灣「第四屆台新藝術獎」表演藝術類年度十大作品。

Directors and Playwrights: Edward Lam, Mathias Woo Stage and Multi-media Designer: Mathias Woo Performers: Anthony Wong, Valen Hsu, Chen Li-hua, Dick Wong, Cedric Chan, Huang Jiun-ming

“Fragments d’un Discours Amoureux” was produced by Edward Lam Dance Theatre, with its multi-media installations designed and produced by Zuni. The directors, Edward Lam and Mathias Woo, used the famous book of the same title by Roland Barthes, one of the greatest philosophers of the 20th Century, as blueprint. They re-arranged and presented the various kinds of love mentioned in the book with multi-media manifestations. This programme was awarded the top ten of 2005 in the 4th Taishin Arts Awards (Performing Arts) in Taiwan.

海外演出 + 國際文化交流 Overseas Performance + International Cultural Exchange

5-8/5/2005 台北新舞台表演廳 Auditorium, Novel Hall for Performing Arts, Taipei

全年活動概覽 Programme Highlights

pg.42

pg.43

戀人絮語

台北演出

中國信託商業銀行文教基金會主辦、非常林奕華製作、進念多媒體舞台設計

Fragments d’un discours amoureux Performance in Taipei

Presented by Chinatrust Foundation, China Trust Commercial Bank, Produced by Edward Lam Dance Theatre, Multi-media installations designed and produced by Zuni

《戀人絮語》由非常林奕華製作，進念負責多媒體設計及製作。這個演出 的編導林奕華和胡恩威以二十世紀法國最偉大的哲人羅蘭．巴特（Roland

編導：林奕華、胡恩威 舞台及多媒體設計：胡恩威 演員：黃耀明、許茹芸、陳立華、 黃大徽、陳浩峰、黃俊銘

Barthes）的同名作品作為藍本，將各式各樣的畸戀――單戀、暗戀、愛錯、 錯愛、三角戀愛、多角戀愛等無法完成的愛，重新編排，以多媒體的形式呈 現在舞台。此演出獲台灣「第四屆台新藝術獎」表演藝術類年度十大作品。

Directors and Playwrights: Edward Lam, Mathias Woo Stage and Multi-media Designer: Mathias Woo Performers: Anthony Wong, Valen Hsu, Chen Li-hua, Dick Wong, Cedric Chan, Huang Jiun-ming

“Fragments d’un Discours Amoureux” was produced by Edward Lam Dance Theatre, with its multi-media installations designed and produced by Zuni. The directors, Edward Lam and Mathias Woo, used the famous book of the same title by Roland Barthes, one of the greatest philosophers of the 20th Century, as blueprint. They re-arranged and presented the various kinds of love mentioned in the book with multi-media manifestations. This programme was awarded the top ten of 2005 in the 4th Taishin Arts Awards (Performing Arts) in Taiwan.

海外演出 + 國際文化交流 Overseas Performance + International Cultural Exchange

5-8/5/2005 台北新舞台表演廳 Auditorium, Novel Hall for Performing Arts, Taipei

全年活動概覽 Programme Highlights

pg.42

pg.43

全年活動概覽 Programme Highlights

國際文化交流 International Cultural Exchange 諸神會──實驗傳統藝術節2005 成立「非物質文化遺產中心」閉門會議

Meeting of the Gods Festival of Experimenting Traditions 2005 Internal planning session: Establishing of the Institute of Intangible Cultural Heritage

北京香港創意產業文化工業交流聚會 Beijing - Hong Kong Exchange meeting on Cultural Industry

Music and Cultural Rights: Trends and Prospects 會議 Conference

China - Between Past and Future 藝術節 Festival

總參與人數 Total No. of Participants: 全年活動概覽 Programme Highlights

pg.44

570 pg.45

全年活動概覽 Programme Highlights

國際文化交流 International Cultural Exchange 諸神會──實驗傳統藝術節2005 成立「非物質文化遺產中心」閉門會議

Meeting of the Gods Festival of Experimenting Traditions 2005 Internal planning session: Establishing of the Institute of Intangible Cultural Heritage

北京香港創意產業文化工業交流聚會 Beijing - Hong Kong Exchange meeting on Cultural Industry

Music and Cultural Rights: Trends and Prospects 會議 Conference

China - Between Past and Future 藝術節 Festival

總參與人數 Total No. of Participants: 全年活動概覽 Programme Highlights

pg.44

570 pg.45

Meeting of the Gods

諸神會 實驗傳統藝術節2005

Festival of Experimenting Traditions 2005 Internal planning session: Establishing of the Institute of Intangible Cultural Heritage

成立「非物質文化遺產中心」閉門會議 有別於將傳統表演藝術放進博物館的概念，進念一直探索實驗性的保存及發

Zuni has always been exploring experimental means to preserve and develop traditional performing arts instead of succumbing to the idea of turning it into museum pieces. We extended our concern for the development of traditional performing arts to the promotion of preservation and development of intangible cultural heritage in the Asia Pacific region, and gained recognition and support from the UNESCO. During the performance of “Meeting of the Gods – Festival of Experimenting Traditions 2005”, a conference on establishing The Institute of Intangible Cultural Heritage was held, and experts and scholars from various parts of the world were invited to participate in order to discuss and draw out some plans for some long-term work on the preservation and development of our intangible cultural heritage. Activities of such nature would be held by Zuni in the future in order to continue the plans and work discussed in this conference.

展方法。從傳統表演藝術延伸發展，進念同時致力推動亞太地區非物質文化 保存和發展的策劃工作，並得到聯合國教科文基金會的認可和支持。本年 度，進念就在「諸神會――實驗傳統藝術節2005」期間舉辦了成立「非物質 文化遺產中心」會議，邀請來自世界各地的專家學者，以期集合國際力量， 共同討論長遠推動、保存及發展非物質文化工作。延續這次會議的討論，進 念將繼續舉辦有關保存非物質文化遺產的計劃。 這次會議由進念創作及節目總監胡恩威主持，其他與會人士包括： 榮念曾先生

進念．二十面體藝術總監、 香港當代文化中心總監

李察．恩格爾哈特先生

聯合國教科文組織（亞太區文化）地區文化顧問

辜懷群女士

台灣財團法人辜公亮文教基金會執行長及 「新舞臺」表演廳館長

榮鴻曾教授

美國匹茲堡大學亞洲研究中心總監和音樂系教授

傅謹教授

中國戲曲學院特聘教授、 中山大學中國非物質文化遺產研究中心兼研究員

余少華教授

香港中文大學音樂系教授

楊惠儀博士

香港浸會大學英國語文及文學系助理教授

The internal planning session was moderated by Mathias Woo, the creative and programme director of Zuni.

Other participants included: Mr. Danny Yung Mr. Richard Engelhardt Ms. Vivien H.C. Ku Prof. Bell Yung Prof. Fu Jing

國際文化交流會議 International Cultural Exchange Conference

27/11/2005 香港文化中心劇場 Studio Theatre, Hong Kong Cultural Centre

Artistic Director of Zuni Icosahedron, Chief Executive of Hong Kong Institute of Contemporary Culture Regional Adviser for Culture in Asia/ Pacific, UNESCO D.A. Chief Executive Officer, The Koo Foundation, Managing Director, Novel Hall for Performing Arts Director of Asia Studies and Professor of Music Department, University of Pittsburgh Professor of the Chinese Opera Institute, ad hoc researcher at the Sun Yat-sen University’s Research Institute of Chinese Intangible Cultural Heritage

Prof.Yu Siu Wah

Professor, Music Department, The Chinese University of Hong Kong

Dr. Jessica Yeung

Assistant Professor, Department of English Language and Literature, Hong Kong Baptist University

全年活動概覽 Programme Highlights

pg.46

pg.47

Meeting of the Gods

諸神會 實驗傳統藝術節2005

Festival of Experimenting Traditions 2005 Internal planning session: Establishing of the Institute of Intangible Cultural Heritage

成立「非物質文化遺產中心」閉門會議 有別於將傳統表演藝術放進博物館的概念，進念一直探索實驗性的保存及發

Zuni has always been exploring experimental means to preserve and develop traditional performing arts instead of succumbing to the idea of turning it into museum pieces. We extended our concern for the development of traditional performing arts to the promotion of preservation and development of intangible cultural heritage in the Asia Pacific region, and gained recognition and support from the UNESCO. During the performance of “Meeting of the Gods – Festival of Experimenting Traditions 2005”, a conference on establishing The Institute of Intangible Cultural Heritage was held, and experts and scholars from various parts of the world were invited to participate in order to discuss and draw out some plans for some long-term work on the preservation and development of our intangible cultural heritage. Activities of such nature would be held by Zuni in the future in order to continue the plans and work discussed in this conference.

展方法。從傳統表演藝術延伸發展，進念同時致力推動亞太地區非物質文化 保存和發展的策劃工作，並得到聯合國教科文基金會的認可和支持。本年 度，進念就在「諸神會――實驗傳統藝術節2005」期間舉辦了成立「非物質 文化遺產中心」會議，邀請來自世界各地的專家學者，以期集合國際力量， 共同討論長遠推動、保存及發展非物質文化工作。延續這次會議的討論，進 念將繼續舉辦有關保存非物質文化遺產的計劃。 這次會議由進念創作及節目總監胡恩威主持，其他與會人士包括： 榮念曾先生

進念．二十面體藝術總監、 香港當代文化中心總監

李察．恩格爾哈特先生

聯合國教科文組織（亞太區文化）地區文化顧問

辜懷群女士

台灣財團法人辜公亮文教基金會執行長及 「新舞臺」表演廳館長

榮鴻曾教授

美國匹茲堡大學亞洲研究中心總監和音樂系教授

傅謹教授

中國戲曲學院特聘教授、 中山大學中國非物質文化遺產研究中心兼研究員

余少華教授

香港中文大學音樂系教授

楊惠儀博士

香港浸會大學英國語文及文學系助理教授

The internal planning session was moderated by Mathias Woo, the creative and programme director of Zuni.

Other participants included: Mr. Danny Yung Mr. Richard Engelhardt Ms. Vivien H.C. Ku Prof. Bell Yung Prof. Fu Jing

國際文化交流會議 International Cultural Exchange Conference

27/11/2005 香港文化中心劇場 Studio Theatre, Hong Kong Cultural Centre

Artistic Director of Zuni Icosahedron, Chief Executive of Hong Kong Institute of Contemporary Culture Regional Adviser for Culture in Asia/ Pacific, UNESCO D.A. Chief Executive Officer, The Koo Foundation, Managing Director, Novel Hall for Performing Arts Director of Asia Studies and Professor of Music Department, University of Pittsburgh Professor of the Chinese Opera Institute, ad hoc researcher at the Sun Yat-sen University’s Research Institute of Chinese Intangible Cultural Heritage

Prof.Yu Siu Wah

Professor, Music Department, The Chinese University of Hong Kong

Dr. Jessica Yeung

Assistant Professor, Department of English Language and Literature, Hong Kong Baptist University

全年活動概覽 Programme Highlights

pg.46

pg.47

北京香港

China - Between Past and Future

創意產業文化工業交流聚會

藝術節 Festival

合作單位：北京朝陽區文化委員會及香港當代文化中心

Beijing - Hong Kong

主辦單位：德國柏林世界文化中心 Organizer: Haus der Kulturen der Welt, Berlin, Germany

Exchange Meeting on Cultural Industry Co-organizers: Culture Committee of Chaoyang District of Beijing, Hong Kong Institute of Contemporary Culture

進念成員應邀出席由德國柏林世界文化中心舉辦的之邀參與「ChinaBetween Past and Future」藝術節活動，促進香港與柏林之間的交流 和合作。

榮念曾亦於本年度組織了「北京香港創意產業文化工業交流聚會」，為北京 與本地的創意產業專家建立交流的平台，讓他們就彼此共同關心的議題交換

Members of Zuni were invited to Berlin for the participation in the festival event of “China – Between Past and Future” held in the Haus der Kulturen der Welt of Berlin, in order to facilitate exchanges and collaborations between Hong Kong and Berlin.

意見。

Last year, Danny Yung also established the “Beijing-Hong Kong Exchange Meeting on Cultural and Creative Industry” in order to build a platform for exchanges between the workers of creative industry from Beijing and those from Hong Kong, so as to enable them to share their opinions and concerns on some common issues.

Music and Cultural Rights: Trends vand Prospects 會議 Conference 主辦單位：美國匹茲堡大學亞洲研究中心及音樂系 Organizers: Asian Studies Centre and Department of Music, University of Pittsburg 進念藝術總監榮念曾應邀到訪美國匹茲堡出席會議，就全球文化發展的未來 趨向發表意見。

Danny Yung, the Artistic Director of Zuni, was invited to Pittsburgh, USA, for a conference on “Music and Cultural Rights”, to express his views on the prospects of global cultural development.

國際文化交流會議 International Cultural Exchange Conference

國際文化交流會議 International Cultural Exchange Conference

國際文化交流會議 International Cultural Exchange Conference

31/3/2006 香港藝術中心麥高利小劇場 McAulay Studio, Hong Kong Arts Centre

7-10/4/2005 美國匹茲堡大學 University of Pittsburgh, USA

24-30/3/2006 德國柏林世界文化中心 Haus der Kulturen der Welt, Berlin, Germany

pg.48

全年活動概覽 Programme Highlights

pg.49

北京香港

China - Between Past and Future

創意產業文化工業交流聚會

藝術節 Festival

合作單位：北京朝陽區文化委員會及香港當代文化中心

Beijing - Hong Kong

主辦單位：德國柏林世界文化中心 Organizer: Haus der Kulturen der Welt, Berlin, Germany

Exchange Meeting on Cultural Industry Co-organizers: Culture Committee of Chaoyang District of Beijing, Hong Kong Institute of Contemporary Culture

進念成員應邀出席由德國柏林世界文化中心舉辦的之邀參與「ChinaBetween Past and Future」藝術節活動，促進香港與柏林之間的交流 和合作。

榮念曾亦於本年度組織了「北京香港創意產業文化工業交流聚會」，為北京 與本地的創意產業專家建立交流的平台，讓他們就彼此共同關心的議題交換

Members of Zuni were invited to Berlin for the participation in the festival event of “China – Between Past and Future” held in the Haus der Kulturen der Welt of Berlin, in order to facilitate exchanges and collaborations between Hong Kong and Berlin.

意見。

Last year, Danny Yung also established the “Beijing-Hong Kong Exchange Meeting on Cultural and Creative Industry” in order to build a platform for exchanges between the workers of creative industry from Beijing and those from Hong Kong, so as to enable them to share their opinions and concerns on some common issues.

Music and Cultural Rights: Trends vand Prospects 會議 Conference 主辦單位：美國匹茲堡大學亞洲研究中心及音樂系 Organizers: Asian Studies Centre and Department of Music, University of Pittsburg 進念藝術總監榮念曾應邀到訪美國匹茲堡出席會議，就全球文化發展的未來 趨向發表意見。

Danny Yung, the Artistic Director of Zuni, was invited to Pittsburgh, USA, for a conference on “Music and Cultural Rights”, to express his views on the prospects of global cultural development.

國際文化交流會議 International Cultural Exchange Conference

國際文化交流會議 International Cultural Exchange Conference

國際文化交流會議 International Cultural Exchange Conference

31/3/2006 香港藝術中心麥高利小劇場 McAulay Studio, Hong Kong Arts Centre

7-10/4/2005 美國匹茲堡大學 University of Pittsburgh, USA

24-30/3/2006 德國柏林世界文化中心 Haus der Kulturen der Welt, Berlin, Germany

pg.48

全年活動概覽 Programme Highlights

pg.49

全年活動概覽 Programme Highlights

藝術教育及推廣 Arts Education and Promotion 「進念唱好流行曲」多媒體音樂戲場教育計劃2005/06 “Zuni Tunes the Pop” Multi-media Music Theatre Education Scheme 2005/06

「香香港 漫漫遊」多媒體戲劇教育計劃2004/05 “Come Come Comics”

Multi-media Theatre Education Programme 2004/05

《青春浪潮青春戲》進念青年2005實驗演出計劃 “Summer Wave Summer Youth” Zuni Youth 2005 Experimental Performance

諸神會──實驗傳統藝術節2005

學生專場

Meeting of the Gods - Festival of Experimenting Traditions 2005

「黑箱作業」在印度

Performance for students

藝術裝置教育計劃

“Black Box Exercise” in India

Visual Art Education Programme

E+E 出版 Publication

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

總參與人數 Total No. of Participants: 全年活動概覽 Programme Highlights

pg.50

42,267 pg.51

全年活動概覽 Programme Highlights

藝術教育及推廣 Arts Education and Promotion 「進念唱好流行曲」多媒體音樂戲場教育計劃2005/06 “Zuni Tunes the Pop” Multi-media Music Theatre Education Scheme 2005/06

「香香港 漫漫遊」多媒體戲劇教育計劃2004/05 “Come Come Comics”

Multi-media Theatre Education Programme 2004/05

《青春浪潮青春戲》進念青年2005實驗演出計劃 “Summer Wave Summer Youth” Zuni Youth 2005 Experimental Performance

諸神會──實驗傳統藝術節2005

學生專場

Meeting of the Gods - Festival of Experimenting Traditions 2005

「黑箱作業」在印度

Performance for students

藝術裝置教育計劃

“Black Box Exercise” in India

Visual Art Education Programme

E+E 出版 Publication

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

總參與人數 Total No. of Participants: 全年活動概覽 Programme Highlights

pg.50

42,267 pg.51

多媒體戲劇教育計劃

進念唱好流行曲 多媒體音樂戲場教育計劃2005/06

Multi-media Theatre Education Programme

Zuni Tunes the Pop Multi-media Music Theatre Education Scheme 2005/06

進念自2000年開展「多媒體戲劇教育計劃」，2001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

「 進 念 唱 好 流 行 曲 」多 媒 體 音 樂 劇 場 教 育 計 劃 嘗 試 從 藝 術 創

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

作的角度，去認識、分析及發展流行曲的種種；以年輕人關

能有系統地思考舞台、演出、創作、自身、社會等各種理念和技術性

心的流行曲作切入點，從而帶出更多相關的（多媒體）知識、

的範疇。計劃的對象為中學生，每年均以不同主題在八至十間中學進

角度、評論及創作；讓同學得到一個有系統、具創意、有趣

行。計劃分為三個階段，為期約九個月，先在學校進行巡迴演出，再

味性及批判性的機會，去接觸和認識經常在自己周遭出現的

由不同界別的藝術工作者帶領學生參與多媒體藝術工作坊（劇場、戲

流行音樂，更重要的是鼓勵同學參與創作自己的音樂，及有

劇／表演、文本、聲音／音樂、錄像、視覺／裝置及舞台技術），最

機會了解音樂跟其他創作媒體的關係；最後在劇場及展覽廳

後是聯校演出及裝置展覽，讓學生得到實踐及創作的機會。

內展示自己或跟其他同學合作的創作。

Zuni started the “Multi-media Theatre Education Scheme” in 2000, and has jointly organized this project with the Leisure and Cultural Services Department since 2001. The project brings the multi-media theatre, something that Zuni has been experimenting for many years, to school.

Precise, detailed and complicated multi-media variety performances are broken down into different independent systems, in order to enable students to think about the various theoretical and technical aspects of theatre, performance, creation, self and society in a systematic way. The project targets at secondary school students, and every year they have different themes for eight to ten high schools. The project is divided into three phases over a period of nine months. In the first phase, there will be performance touring around the schools. Then, artists from different disciplines will lead the students to participate in multi-media arts workshops (theatre, drama/performance, text, sound/music, video, visual/installation and technical skills for the stage). The last phase is the joint school performance and installation exhibition, which will give the students a chance to create and put their ideas in practice.

“Zuni Tunes the Pop”, the Multi-media Music Theatre Education Scheme, tries to understand, analyze and develop the various aspects of pop music from the angle of creating arts. The plan utilizes pop music loved by young people, to bring out more related (multi-media) knowledge, perspectives, criticism and creativity, so that students can have a chance which is systematic, creative, interesting and critical to experience and understand the pop music which has been familiar to them. More importantly, it encourages students to create their own music and understand the relationship between pop music and other creative media. Finally, the music created by the students themselves or with others will be displayed in theatres and exhibition halls.

「沒有甚麼比流行音樂更適合作為訓練創作 思維的引線。它是最大多數年輕人們的共通 語言、最大多數成年教學者們的集體回憶、 最適合用來融和視像、形體等其他當代藝術 原素的接合劑，因此，它可以是尚佳的教學 橋樑。『點唱傳情，憑歌寄意』不就是利用 藝術媒體來表達自己的最佳案例嗎？」

于逸堯．計劃音樂顧問

全年活動概覽 Programme Highlights

pg.52

計劃於2004至05年度進行了第一及第二階段，參與師 生約六千八百人，十間參與學校包括仁濟醫院羅陳楚思 中學、保良局何蔭棠中學、張沛松紀念中學、中華傳道 會劉永生中學、東華三院李潤田紀念中學、中華基督教 會基協中學、保祿六世書院、東涌天主教學校、博愛醫 院八十週年鄧英喜中學、余振強紀念第二中學。

Nothing is better than pop music as an introduction to (a starting point for) the training of creative thinking. It is the common language of most young people, and the collective memory of most adult educators. It is the best means to blend contemporary arts elements like video and body/form. Thus, it can be a good teaching tool.

Isn’t “dedicating songs with messages” the best example of expressing yourself through the arts media ?

Yu Yat-yiu, Music Advisor

The first and second phases of the programme were completed in the year 2005-2006.

The total number of participating teachers and students was 6,800; and the 10 schools involved in the programme were Yan Chai Hospital Law Chan Chior Si College, Po Leung Kuk Celine Ho Yam Tong College, Chany Pui Chung Memorial School, CNEC Lau Wing Sang Secondary School, TWGHs Lee Ching Dea Memorial College, CCC Kei Heep Secondary School, Pope Paul Vi College, Tung Chung Catholic School, Pok Oi Hospital pg.53 80th Anniversary Tang Ying Hei College, Yu Chun Keung Memorial College No.2.

多媒體戲劇教育計劃

進念唱好流行曲 多媒體音樂戲場教育計劃2005/06

Multi-media Theatre Education Programme

Zuni Tunes the Pop Multi-media Music Theatre Education Scheme 2005/06

進念自2000年開展「多媒體戲劇教育計劃」，2001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

「 進 念 唱 好 流 行 曲 」多 媒 體 音 樂 劇 場 教 育 計 劃 嘗 試 從 藝 術 創

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

作的角度，去認識、分析及發展流行曲的種種；以年輕人關

能有系統地思考舞台、演出、創作、自身、社會等各種理念和技術性

心的流行曲作切入點，從而帶出更多相關的（多媒體）知識、

的範疇。計劃的對象為中學生，每年均以不同主題在八至十間中學進

角度、評論及創作；讓同學得到一個有系統、具創意、有趣

行。計劃分為三個階段，為期約九個月，先在學校進行巡迴演出，再

味性及批判性的機會，去接觸和認識經常在自己周遭出現的

由不同界別的藝術工作者帶領學生參與多媒體藝術工作坊（劇場、戲

流行音樂，更重要的是鼓勵同學參與創作自己的音樂，及有

劇／表演、文本、聲音／音樂、錄像、視覺／裝置及舞台技術），最

機會了解音樂跟其他創作媒體的關係；最後在劇場及展覽廳

後是聯校演出及裝置展覽，讓學生得到實踐及創作的機會。

內展示自己或跟其他同學合作的創作。

Zuni started the “Multi-media Theatre Education Scheme” in 2000, and has jointly organized this project with the Leisure and Cultural Services Department since 2001. The project brings the multi-media theatre, something that Zuni has been experimenting for many years, to school.

Precise, detailed and complicated multi-media variety performances are broken down into different independent systems, in order to enable students to think about the various theoretical and technical aspects of theatre, performance, creation, self and society in a systematic way. The project targets at secondary school students, and every year they have different themes for eight to ten high schools. The project is divided into three phases over a period of nine months. In the first phase, there will be performance touring around the schools. Then, artists from different disciplines will lead the students to participate in multi-media arts workshops (theatre, drama/performance, text, sound/music, video, visual/installation and technical skills for the stage). The last phase is the joint school performance and installation exhibition, which will give the students a chance to create and put their ideas in practice.

“Zuni Tunes the Pop”, the Multi-media Music Theatre Education Scheme, tries to understand, analyze and develop the various aspects of pop music from the angle of creating arts. The plan utilizes pop music loved by young people, to bring out more related (multi-media) knowledge, perspectives, criticism and creativity, so that students can have a chance which is systematic, creative, interesting and critical to experience and understand the pop music which has been familiar to them. More importantly, it encourages students to create their own music and understand the relationship between pop music and other creative media. Finally, the music created by the students themselves or with others will be displayed in theatres and exhibition halls.

「沒有甚麼比流行音樂更適合作為訓練創作 思維的引線。它是最大多數年輕人們的共通 語言、最大多數成年教學者們的集體回憶、 最適合用來融和視像、形體等其他當代藝術 原素的接合劑，因此，它可以是尚佳的教學 橋樑。『點唱傳情，憑歌寄意』不就是利用 藝術媒體來表達自己的最佳案例嗎？」

于逸堯．計劃音樂顧問

全年活動概覽 Programme Highlights

pg.52

計劃於2004至05年度進行了第一及第二階段，參與師 生約六千八百人，十間參與學校包括仁濟醫院羅陳楚思 中學、保良局何蔭棠中學、張沛松紀念中學、中華傳道 會劉永生中學、東華三院李潤田紀念中學、中華基督教 會基協中學、保祿六世書院、東涌天主教學校、博愛醫 院八十週年鄧英喜中學、余振強紀念第二中學。

Nothing is better than pop music as an introduction to (a starting point for) the training of creative thinking. It is the common language of most young people, and the collective memory of most adult educators. It is the best means to blend contemporary arts elements like video and body/form. Thus, it can be a good teaching tool.

Isn’t “dedicating songs with messages” the best example of expressing yourself through the arts media ?

Yu Yat-yiu, Music Advisor

The first and second phases of the programme were completed in the year 2005-2006.

The total number of participating teachers and students was 6,800; and the 10 schools involved in the programme were Yan Chai Hospital Law Chan Chior Si College, Po Leung Kuk Celine Ho Yam Tong College, Chany Pui Chung Memorial School, CNEC Lau Wing Sang Secondary School, TWGHs Lee Ching Dea Memorial College, CCC Kei Heep Secondary School, Pope Paul Vi College, Tung Chung Catholic School, Pok Oi Hospital pg.53 80th Anniversary Tang Ying Hei College, Yu Chun Keung Memorial College No.2.

香香港 漫漫遊

「自參與計劃後我最大的分別是從平面變得立

多媒體戲劇教育計劃2004/05

體，思想方式會從多方面去思考，上上下下左

Come Come Comics

左右右都想清。」

Multi-media Theatre Education Scheme 2004/05

鄭書琪同學，玫瑰崗學校（中學部） 「香香港 漫漫遊」多媒體戲劇教育計劃參與者

這個計劃由2004年9月開展至2005年5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」及「漫畫裝置展覽」中實踐他 們的創意，以小組形式創作多媒體演出及裝置展覽，於2004年5月 分別在牛池灣文娛中心的劇院及文娛廳演出兩場及展出。

The project was held from September 2004 to May 2005. The project entered the third phase last year. In the first two phases, students had participated in tour performances and multi-media workshops. And in the third phase, they had the chance to put their ideas into practice in the “Joint School Performance” and “Comics Installation Exhibition”.

Students in small groups presented two multi-media performances and installation exhibitions in the Theatre and the Cultural Activities Hall in the Ngauchiwan Civic Centre.

「是次計劃對本校來說是一次新的嘗試，透過示範演出， 師生皆能認識多媒體劇場，學生更加被此音樂劇深深吸 引，對戲劇的興趣大大增加。於工作坊中，學生需要自己 構思並創作一件物件裝置；由零開始，到完成作品，他們

「自參與計劃後我最大的分別是對裝置藝

能感受到空前的成功，自信心也大增。最重要的是學生學

術有了一點認識，亦學會了團隊的合作精

會用普通物件如廢物，以及本身的創意和技巧，一同努力

神。過程中，意見相互的交流，促使更有

完成製作。她們也學會用不同的角度去看事物，也能用心

效率地共同找出方向和目標。我認為創作

領會透過攝錄鏡頭所捕捉的人或事所表達的觀感和背後的

是源自靈感，有感而發。」

意思，促使他們運用豐富的想像力來創作不同的故事。作 為老師，最難忘的是見到學生於參與計劃後能勇敢團結地

陳美瑜同學，中華基督教會燕京書院 「香香港 漫漫遊」多媒體戲劇教育計劃參與者

在台上演繹由她們自己創作的短劇。」

顏嘉頌老師，保祿六世書院 「進念唱好流行曲」多媒體音樂劇場教育計劃參與學校老師

「創作人要成功，只有一個方法 ── 努力、再努力、更努力！多聽多看多 談，盡量拓闊知識領域，將腦袋變為 知識百寶袋。漫畫創作最重要的是故 事意念，畫功只是其次。就算只懂畫 火柴公仔都可以從事漫畫創作，一個 四方形可以跟一個三角形傾偈。」

“There is only one way for artists to succeed – work hard, harder and even harder! Listen more, see more and talk more, widen your territory of knowledge, turn your brain into a magic tank of knowledge. The most important part of comic creation is the idea of the story, while drawing skill is less important. You can participate in creating comics even if you only know how to draw matchstick figures. A square can talk to a triangle.”

Lai Tat Tat Wing, Creative Consultant

樂、舞台、劇本、演繹方法，甚至藝術等方面有煥然一 新的理解。在表演工作坊中，我們需要利用身體語言表 達一些訊息，當中鬧出不少笑話；而在裝置藝術工作坊

多媒體戲劇教育 計劃參與師生感想

中，我們利用了黑袋包裹物件並創作了一件獨一無二的 藝術品。總括來說，這項活動令我明白到藝術並非如一 般人所想像的沉悶及沒有一個特定的框框；文化藝術創 作與生活息息相關，一樣變化萬千，姿彩無限。」

張惠蓮同學，仁濟醫院羅陳楚思中學

黎達達榮．計劃創作顧問

整個計劃的參與師生共七千五百人，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 pg.54 院黃笏南中學、保良局八三年總理中學。

「這次活動是一次反傳統的新體驗，它令我對流行音

「進念唱好流行曲」多媒體音樂劇場教育計劃參加者

There were a total of 11 schools participating in the programme, and 7,500 teachers and students were involved. The schools taking part in the event 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.

全年活動概覽 Programme Highlights

pg.55

香香港 漫漫遊

「自參與計劃後我最大的分別是從平面變得立

多媒體戲劇教育計劃2004/05

體，思想方式會從多方面去思考，上上下下左

Come Come Comics

左右右都想清。」

Multi-media Theatre Education Scheme 2004/05

鄭書琪同學，玫瑰崗學校（中學部） 「香香港 漫漫遊」多媒體戲劇教育計劃參與者

這個計劃由2004年9月開展至2005年5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」及「漫畫裝置展覽」中實踐他 們的創意，以小組形式創作多媒體演出及裝置展覽，於2004年5月 分別在牛池灣文娛中心的劇院及文娛廳演出兩場及展出。

The project was held from September 2004 to May 2005. The project entered the third phase last year. In the first two phases, students had participated in tour performances and multi-media workshops. And in the third phase, they had the chance to put their ideas into practice in the “Joint School Performance” and “Comics Installation Exhibition”.

Students in small groups presented two multi-media performances and installation exhibitions in the Theatre and the Cultural Activities Hall in the Ngauchiwan Civic Centre.

「是次計劃對本校來說是一次新的嘗試，透過示範演出， 師生皆能認識多媒體劇場，學生更加被此音樂劇深深吸 引，對戲劇的興趣大大增加。於工作坊中，學生需要自己 構思並創作一件物件裝置；由零開始，到完成作品，他們

「自參與計劃後我最大的分別是對裝置藝

能感受到空前的成功，自信心也大增。最重要的是學生學

術有了一點認識，亦學會了團隊的合作精

會用普通物件如廢物，以及本身的創意和技巧，一同努力

神。過程中，意見相互的交流，促使更有

完成製作。她們也學會用不同的角度去看事物，也能用心

效率地共同找出方向和目標。我認為創作

領會透過攝錄鏡頭所捕捉的人或事所表達的觀感和背後的

是源自靈感，有感而發。」

意思，促使他們運用豐富的想像力來創作不同的故事。作 為老師，最難忘的是見到學生於參與計劃後能勇敢團結地

陳美瑜同學，中華基督教會燕京書院 「香香港 漫漫遊」多媒體戲劇教育計劃參與者

在台上演繹由她們自己創作的短劇。」

顏嘉頌老師，保祿六世書院 「進念唱好流行曲」多媒體音樂劇場教育計劃參與學校老師

「創作人要成功，只有一個方法 ── 努力、再努力、更努力！多聽多看多 談，盡量拓闊知識領域，將腦袋變為 知識百寶袋。漫畫創作最重要的是故 事意念，畫功只是其次。就算只懂畫 火柴公仔都可以從事漫畫創作，一個 四方形可以跟一個三角形傾偈。」

“There is only one way for artists to succeed – work hard, harder and even harder! Listen more, see more and talk more, widen your territory of knowledge, turn your brain into a magic tank of knowledge. The most important part of comic creation is the idea of the story, while drawing skill is less important. You can participate in creating comics even if you only know how to draw matchstick figures. A square can talk to a triangle.”

Lai Tat Tat Wing, Creative Consultant

樂、舞台、劇本、演繹方法，甚至藝術等方面有煥然一 新的理解。在表演工作坊中，我們需要利用身體語言表 達一些訊息，當中鬧出不少笑話；而在裝置藝術工作坊

多媒體戲劇教育 計劃參與師生感想

中，我們利用了黑袋包裹物件並創作了一件獨一無二的 藝術品。總括來說，這項活動令我明白到藝術並非如一 般人所想像的沉悶及沒有一個特定的框框；文化藝術創 作與生活息息相關，一樣變化萬千，姿彩無限。」

張惠蓮同學，仁濟醫院羅陳楚思中學

黎達達榮．計劃創作顧問

整個計劃的參與師生共七千五百人，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 pg.54 院黃笏南中學、保良局八三年總理中學。

「這次活動是一次反傳統的新體驗，它令我對流行音

「進念唱好流行曲」多媒體音樂劇場教育計劃參加者

There were a total of 11 schools participating in the programme, and 7,500 teachers and students were involved. The schools taking part in the event 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.

全年活動概覽 Programme Highlights

pg.55

《青春浪潮青春戲》

「黑箱作業」在印度

進念青年2005實驗演出計劃

藝術裝置教育計劃

“Summer Wave Summer Youth”

“Black Box Exercise” in India

Zuni Youth 2005 Experimental Performance

Visual Art Education Programme

進念青年成立於2003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。

「黑箱作業」是進念在1995年創辦的同名社區藝術活動的延續，概念是讓

進念希望透過此計劃，讓他們得到延續實踐和創作的機會。2005年，進念青年進行了《青春浪潮青春戲》，

學生從擁有一個屬於自己的30x30x30公分木製黑箱，到了解創作自由與

一共展示了四段題材不同的多媒體短劇。這個演出的各個崗位均開放予年青人參與，進念及邀約創作人從旁指

認識局限之間的微妙關係，然後在黑箱內進行創作及表達。從1999年起，

導，與他們討論並給予意見。

「黑箱作業」逐漸由本地擴展至海外，成為國際間備受重視的藝術教育計 劃。2005年1月，「黑箱作業」應印度藝術機構 India Foundation for

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 arts education programme organised by Zuni. The aim of forming this group is to let these young people have more opportunities to realise their creativity. A small-scale performance,“Summer Wave Summer Youth” which included four episodic pieces of multi-media work was held in the year 2004-05. 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.

諸神會――實驗傳統藝術節2005

the Arts 之邀前往當地三個城市――加爾各答、孟買及新德里進行工作坊 及展覽，總參與人數約四千人。

Zuni started the “Black Box Exercise” in 1995. It is a community arts activity and the concept is to have each of the participating students create a black box of his own, sized 30 x 30 x 30 cm, and so the student might learn about the freedom and limitation of creativity, and express his ideas through the process of working on the black box. Since 1999, “Black Box Exercise” has been extending from Hong Kong to the overseas, and it has become an important international arts education programme. In January 2005, “Black Box Exercise” was invited by the India Foundation for the Arts to Kolkata, Mumbai and New Delhi to present workshops and exhibitions, with a total number of 4,000 participants.

學生專場

Meeting of the Gods - Festival of Experimenting Traditions 2005 Performance for students 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「諸神會――實驗傳統 藝術節2005」學生專場，為青少年提供了一個戲劇導賞的機會，培養他們對藝術的興 趣。「諸神會――實驗傳統藝術節2005」是一個結合傳統戲曲與當代藝術的實驗演 出，於2005年11月上演。有關這個演出的詳情，請參閱演出部分（第38頁）。

“This workshop taught me the power of an idea is tremendous and you don’t have to be extraordinarily good at drawing or craftsmanship to be an artist. It also introduced me to incredible human beings who have reconfirmed belief about the innate goodness of people in general. I have been able to connect and interact with many different kinds of people and watching our black boxes being appreciated which has

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 November 2005 in the “School Culture Day Scheme”, and presented “Meeting of the Gods”, a special performance for students, providing young people with a chance of appreciating drama, and so might help enhance their interest in the performing arts. “Meeting of the Gods” was an experimental performance of traditional Chinese opera and contemporary theatre. For details of this programme, please refer to p. 38

藝術教育及推廣 Arts Education and Promotion

filled me with pride and joy.”

Shreya Sanghani, Kolkata Coordinator, The Cambridge School, India 19-20/8/2005 藝穗會O2劇院 O2 Theatre, Fringe Club

18/11/2005 香港大會堂展覽廳 Exhibition Hall, City Hall

pg.56

9/1 - 12/2/2006 印度加爾各答、孟買、新德里 Kolkata, Mumbai and New Delhi

pg.57

《青春浪潮青春戲》

「黑箱作業」在印度

進念青年2005實驗演出計劃

藝術裝置教育計劃

“Summer Wave Summer Youth”

“Black Box Exercise” in India

Zuni Youth 2005 Experimental Performance

Visual Art Education Programme

進念青年成立於2003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。

「黑箱作業」是進念在1995年創辦的同名社區藝術活動的延續，概念是讓

進念希望透過此計劃，讓他們得到延續實踐和創作的機會。2005年，進念青年進行了《青春浪潮青春戲》，

學生從擁有一個屬於自己的30x30x30公分木製黑箱，到了解創作自由與

一共展示了四段題材不同的多媒體短劇。這個演出的各個崗位均開放予年青人參與，進念及邀約創作人從旁指

認識局限之間的微妙關係，然後在黑箱內進行創作及表達。從1999年起，

導，與他們討論並給予意見。

「黑箱作業」逐漸由本地擴展至海外，成為國際間備受重視的藝術教育計 劃。2005年1月，「黑箱作業」應印度藝術機構 India Foundation for

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 arts education programme organised by Zuni. The aim of forming this group is to let these young people have more opportunities to realise their creativity. A small-scale performance,“Summer Wave Summer Youth” which included four episodic pieces of multi-media work was held in the year 2004-05. 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.

諸神會――實驗傳統藝術節2005

the Arts 之邀前往當地三個城市――加爾各答、孟買及新德里進行工作坊 及展覽，總參與人數約四千人。

Zuni started the “Black Box Exercise” in 1995. It is a community arts activity and the concept is to have each of the participating students create a black box of his own, sized 30 x 30 x 30 cm, and so the student might learn about the freedom and limitation of creativity, and express his ideas through the process of working on the black box. Since 1999, “Black Box Exercise” has been extending from Hong Kong to the overseas, and it has become an important international arts education programme. In January 2005, “Black Box Exercise” was invited by the India Foundation for the Arts to Kolkata, Mumbai and New Delhi to present workshops and exhibitions, with a total number of 4,000 participants.

學生專場

Meeting of the Gods - Festival of Experimenting Traditions 2005 Performance for students 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「諸神會――實驗傳統 藝術節2005」學生專場，為青少年提供了一個戲劇導賞的機會，培養他們對藝術的興 趣。「諸神會――實驗傳統藝術節2005」是一個結合傳統戲曲與當代藝術的實驗演 出，於2005年11月上演。有關這個演出的詳情，請參閱演出部分（第38頁）。

“This workshop taught me the power of an idea is tremendous and you don’t have to be extraordinarily good at drawing or craftsmanship to be an artist. It also introduced me to incredible human beings who have reconfirmed belief about the innate goodness of people in general. I have been able to connect and interact with many different kinds of people and watching our black boxes being appreciated which has

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 November 2005 in the “School Culture Day Scheme”, and presented “Meeting of the Gods”, a special performance for students, providing young people with a chance of appreciating drama, and so might help enhance their interest in the performing arts. “Meeting of the Gods” was an experimental performance of traditional Chinese opera and contemporary theatre. For details of this programme, please refer to p. 38

藝術教育及推廣 Arts Education and Promotion

filled me with pride and joy.”

Shreya Sanghani, Kolkata Coordinator, The Cambridge School, India 19-20/8/2005 藝穗會O2劇院 O2 Theatre, Fringe Club

18/11/2005 香港大會堂展覽廳 Exhibition Hall, City Hall

pg.56

9/1 - 12/2/2006 印度加爾各答、孟買、新德里 Kolkata, Mumbai and New Delhi

pg.57

第十四期

專題：西九解毒

西九龍文娛藝術區發展計劃自2003年公佈以來，各界的關注點只側重政治、經濟與技 術層面，卻少有專注討論針對西九龍作為文化發展計劃應被關注的地方。有見及此， 《E+E》第十四期以「西九解毒」為題，拆解西九龍所中的毒，從文化藝術工作者的需

《E+E》是進念自資出版的文化雜誌及出版計劃。《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” is a Zuni’s self-financed publication project. 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.

要、藝術區的規劃、建築，及文化政策四方面進行討論和分析，藉此喚起各界關注這些 被忽略但非常重要的問題。

The Fourteenth Issue Topic: Detoxing the West Kowloon Cultural District Ever since the development plan of the West Kowloon Cultural District was announced in 2003, all sectors have been focusing their attention on the political, financial and technical aspects of the plan, and there has been little discussion on the project regarding the actual cultural development of the district. Because of this, the topic of the 14th Issue of “E+E” is on “Detoxing the West Kowloon Cultural District” in order to analyse what kind of “toxin” has been poisoning the plan and so raise the awareness of all sectors on the issues which should be vital to the project, by discussions and analyses, such as, the needs of art and cultural workers, district planning and architecture and cultural policies.

2005至06年度的出版 The Issues Published in 2005/06 第十三期 專題：博物館

香港風格2――消滅香港 《香港風格2》延續於2005年出版的《香港風格》的發展，主編胡恩威連同多位作者將 自己對本地公共空間與建築的獨特觀察與見解，化為文字與圖片，跟讀者一起繼續尋找 「香港風格」。本書以「消滅香港」為題，環繞城市組成的重要部份――舊區、街市、 公共房屋、公共藝術、商場等，探討目前香港城市規劃政策的流弊與影響。

《E+E》第十三期以博物館為題，回應香港因西九龍文娛藝術區發展計劃而刮起的博物 館熱潮。專輯分為四個部分，從基本開始，先介紹博物館的起源、定義、分類及相關資 訊；繼而探討本地博物館的架構，再推介一系列有關博物館理論、管理與教育的書籍； 最後邀請數十位博物館迷推薦博物館心頭好，並編製《77間必去博物館》指南。

The Thirteenth Issue Topic: Museums The topic of the 13th Issue of “E+E” is museums, in response to the “museum heat wave” created by the controversy of the West Kowloon Cultural District. There are four areas of discussion, from the origin, definition and types of museums; to the examination of the structure of museums in Hong Kong; a list of books on theories, management and

Hong Kong Style 2 – Destroy Hong Kong Following up the success of the publication of “Hong Kong Style” in 2005, Mathias Woo, the Editor In Chief and a number of writers continue to express their views and opinions on some of the local public spaces and architectures in “Hong Kong Style 2”, illustrating their texts with pictures, trailing and in pursuit of some “Hong Kong Styles” with the readers. The theme of “Hong Kong Style 2” is “Destroy Hong Kong”, and the book explores the problems of the policies in the city planning of Hong Kong, covering areas like markets, housing estates, public art spaces and shopping malls.

education on museums; and finally to some outstanding museum exhibits recommended by 10 museum buffs, and a guide to “77 Must-Go Museums”.

出版 Publication

全年活動概覽 Programme Highlights

pg.58

pg.59

第十四期

專題：西九解毒

西九龍文娛藝術區發展計劃自2003年公佈以來，各界的關注點只側重政治、經濟與技 術層面，卻少有專注討論針對西九龍作為文化發展計劃應被關注的地方。有見及此， 《E+E》第十四期以「西九解毒」為題，拆解西九龍所中的毒，從文化藝術工作者的需

《E+E》是進念自資出版的文化雜誌及出版計劃。《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” is a Zuni’s self-financed publication project. 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.

要、藝術區的規劃、建築，及文化政策四方面進行討論和分析，藉此喚起各界關注這些 被忽略但非常重要的問題。

The Fourteenth Issue Topic: Detoxing the West Kowloon Cultural District Ever since the development plan of the West Kowloon Cultural District was announced in 2003, all sectors have been focusing their attention on the political, financial and technical aspects of the plan, and there has been little discussion on the project regarding the actual cultural development of the district. Because of this, the topic of the 14th Issue of “E+E” is on “Detoxing the West Kowloon Cultural District” in order to analyse what kind of “toxin” has been poisoning the plan and so raise the awareness of all sectors on the issues which should be vital to the project, by discussions and analyses, such as, the needs of art and cultural workers, district planning and architecture and cultural policies.

2005至06年度的出版 The Issues Published in 2005/06 第十三期 專題：博物館

香港風格2――消滅香港 《香港風格2》延續於2005年出版的《香港風格》的發展，主編胡恩威連同多位作者將 自己對本地公共空間與建築的獨特觀察與見解，化為文字與圖片，跟讀者一起繼續尋找 「香港風格」。本書以「消滅香港」為題，環繞城市組成的重要部份――舊區、街市、 公共房屋、公共藝術、商場等，探討目前香港城市規劃政策的流弊與影響。

《E+E》第十三期以博物館為題，回應香港因西九龍文娛藝術區發展計劃而刮起的博物 館熱潮。專輯分為四個部分，從基本開始，先介紹博物館的起源、定義、分類及相關資 訊；繼而探討本地博物館的架構，再推介一系列有關博物館理論、管理與教育的書籍； 最後邀請數十位博物館迷推薦博物館心頭好，並編製《77間必去博物館》指南。

The Thirteenth Issue Topic: Museums The topic of the 13th Issue of “E+E” is museums, in response to the “museum heat wave” created by the controversy of the West Kowloon Cultural District. There are four areas of discussion, from the origin, definition and types of museums; to the examination of the structure of museums in Hong Kong; a list of books on theories, management and

Hong Kong Style 2 – Destroy Hong Kong Following up the success of the publication of “Hong Kong Style” in 2005, Mathias Woo, the Editor In Chief and a number of writers continue to express their views and opinions on some of the local public spaces and architectures in “Hong Kong Style 2”, illustrating their texts with pictures, trailing and in pursuit of some “Hong Kong Styles” with the readers. The theme of “Hong Kong Style 2” is “Destroy Hong Kong”, and the book explores the problems of the policies in the city planning of Hong Kong, covering areas like markets, housing estates, public art spaces and shopping malls.

education on museums; and finally to some outstanding museum exhibits recommended by 10 museum buffs, and a guide to “77 Must-Go Museums”.

出版 Publication

全年活動概覽 Programme Highlights

pg.58

pg.59

全年活動概覽 Programme Highlights

其他活動 Other Activity

港樂vs黃耀明 電幻狂想曲

導演 多媒體設計：胡恩威 指揮：道世民 Simon Kenway 音樂總監：梁基爵＠人山人海 音樂顧問：趙增熹 Director/ Multi-media designer: Mathias Woo Conductor: Simon Kenway Music producer: Gaybird Leung Music consultant: Chiu Tsang Hei

香港管弦樂團主辦，進念多媒體設計及製作

HKPO vs Anthony Wong Live Bauhinian Rhapsody Presented by Hong Kong Philharmonic Orchestra, Multi-media designed and produced by Zuni

跨界別合作 Cross-discipline Collaboration

9-12/ 3/ 2006 香港體育館 Hong Kong Coliseum

pg.60

pg.61

全年活動概覽 Programme Highlights

其他活動 Other Activity

港樂vs黃耀明 電幻狂想曲

導演 多媒體設計：胡恩威 指揮：道世民 Simon Kenway 音樂總監：梁基爵＠人山人海 音樂顧問：趙增熹 Director/ Multi-media designer: Mathias Woo Conductor: Simon Kenway Music producer: Gaybird Leung Music consultant: Chiu Tsang Hei

香港管弦樂團主辦，進念多媒體設計及製作

HKPO vs Anthony Wong Live Bauhinian Rhapsody Presented by Hong Kong Philharmonic Orchestra, Multi-media designed and produced by Zuni

跨界別合作 Cross-discipline Collaboration

9-12/ 3/ 2006 香港體育館 Hong Kong Coliseum

pg.60

pg.61

財務報告

Financial Report 收入及支出表 INCOME AND EXPENDITURE ACCOUNT

資產負債表 BALANCE SHEET

直至二零零六年三月三十一日止年度 For the year ended 31 March 2006

二零零六年三月三十一日結算 As at 31 March 2006

2006 HK$

2005 HK$

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

1,934,000 --

2,022,000 89,440

門票收入 Box Office Income

5,687,212

3,707,576

收入 Income

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

固定資產 FIXED ASSETS

現金及銀行結存 Cash and bank deposits 應收賬款 Accounts receivables

4,875

4,454

454,075

966,668

預收款項 Advance received

263,680

256,752

其它應付款項 Accruals and other payables

536,320

688,832

1,259

5,033

801,259

950,617

(347,184)

16,051

--

839

(149,408)

29,992

其他機構主辦 / 合辦節目 Other Hired Engagements

991,337

1,600,031

57,316

120,300

685,266

346,281

11,029,513

9,739,332

8,272,881 1,952,536 931,693 51,803

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

長期負債 LONG TERM LIABILITIES 融資租約之承擔 Obligation under finance lease

11,208,913

9,732,175

收入及支出之累積餘額/(虧損) ACCUMULATED SURPLUS / (DEFICIT) of Income and expenditure

其它賬款 Others receivable

流動負債 CURRENT LIABILITIES

融資租約之承擔 Obligation under finance lease

流動資產/ (負債) 淨值 NET CURRENT ASSETS / (LIABILITIES)

(179,400)

7,157

29,992

22,835

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

(149,408)

29,992

相當於 Represented by:

節錄自核數師報告 Extracted from Audited Financial Statements

財務報告 Financial Report

pg.62

763,116 79,805

291,000

年度結餘 (虧損) Surplus (Deficit) for the year 結餘承上 Surplus brought forward

110,077

119,243

126,305

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

14,780

56,150

其他政府撥款及資助 Other Government Subvention

減除：支出 Less: Expenditure

197,776

282,973

預支及按金 Advance and depostits

1,114,680 448,024

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

2005 HK$

流動資產 CURRENT ASSETS

1,221,529 326,548

捐款及贊助 Donations and Sponsorship

2006 HK$

pg.63

財務報告

Financial Report 收入及支出表 INCOME AND EXPENDITURE ACCOUNT

資產負債表 BALANCE SHEET

直至二零零六年三月三十一日止年度 For the year ended 31 March 2006

二零零六年三月三十一日結算 As at 31 March 2006

2006 HK$

2005 HK$

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

1,934,000 --

2,022,000 89,440

門票收入 Box Office Income

5,687,212

3,707,576

收入 Income

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

固定資產 FIXED ASSETS

現金及銀行結存 Cash and bank deposits 應收賬款 Accounts receivables

4,875

4,454

454,075

966,668

預收款項 Advance received

263,680

256,752

其它應付款項 Accruals and other payables

536,320

688,832

1,259

5,033

801,259

950,617

(347,184)

16,051

--

839

(149,408)

29,992

其他機構主辦 / 合辦節目 Other Hired Engagements

991,337

1,600,031

57,316

120,300

685,266

346,281

11,029,513

9,739,332

8,272,881 1,952,536 931,693 51,803

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

長期負債 LONG TERM LIABILITIES 融資租約之承擔 Obligation under finance lease

11,208,913

9,732,175

收入及支出之累積餘額/(虧損) ACCUMULATED SURPLUS / (DEFICIT) of Income and expenditure

其它賬款 Others receivable

流動負債 CURRENT LIABILITIES

融資租約之承擔 Obligation under finance lease

流動資產/ (負債) 淨值 NET CURRENT ASSETS / (LIABILITIES)

(179,400)

7,157

29,992

22,835

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

(149,408)

29,992

相當於 Represented by:

節錄自核數師報告 Extracted from Audited Financial Statements

財務報告 Financial Report

pg.62

763,116 79,805

291,000

年度結餘 (虧損) Surplus (Deficit) for the year 結餘承上 Surplus brought forward

110,077

119,243

126,305

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

14,780

56,150

其他政府撥款及資助 Other Government Subvention

減除：支出 Less: Expenditure

197,776

282,973

預支及按金 Advance and depostits

1,114,680 448,024

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

2005 HK$

流動資產 CURRENT ASSETS

1,221,529 326,548

捐款及贊助 Donations and Sponsorship

2006 HK$

pg.63

組織成員

Organisation Members Board Members

董事會成員 主席

靳埭強

靳與劉設計顧問創作總監

Chairman

Kan Tai Keung

Creative Director, Kan and Lau Design Consultant Ltd

財政

楊偉新*

進念成員

Treasurer

Terence Yeung*

Zuni Member

秘書

張世耀*

進念成員

Secretary

Leo Cheung*

Zuni Member

成員

楊敏德 劉千石 譚燕玉

Members

溢達集團主席 立法會議員

Edward Yang

Film Director

Taipei

Gao Xin-jiang

Media Worker

巴黎

高行健

文化藝術工作者

Paris

Gao Xing-jian

Cultural Worker

Taipei

Hsia Chu-joe

Professor,Architecture and City Research Institute, University of Taiwan

台北

夏鑄九

台灣大學建築及城鄉研究所教授

香港

李歐梵

香港中文大學人文學教授

東京

佐籐信

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 電影導演

紐約

中馬方子 紐約舞蹈工作者

北京

林兆華

Chairperson, Hong Kong Policy Research Institute

律師 Anna Wu

Solicitor

Mike Chen

Director, Chen Mi Ji Cultural Production Co Ltd

Anthony Wong*

Director, People Mountain People Sea

Danny Yung*

Artistic Director, Zuni Icosahedron

Winky Po

Barrister

(Resigned on 1/9/05)

榮玉**

珠寶設計師/ 講師

Grace Yung**

Jewelry Designer/ Lecturer

陳偉群**

香港總商會副總裁（工會政策）

Chan W.K., JP**

Senior Director (Business Policy), Hong Kong General Chamber of Commerce

歐陽應霽** 作家

Taipei

傳媒工作者

Founder and Executive Director of East Wind Code Ltd

胡紅玉

(2005年9月1日起卸任)

電影導演

高信彊

Vivienne Tam

Founder and Director of LoveFaithHope Charitable Foundation

大律師

楊德昌

蔡明亮

Vanessa Pong

布穎琪

台北 台北

台北

愛信望慈善基金創辦人及總監

進念．二十面體藝術總監

Artistic Director, Muffahalle Arts Centre, Munich

Member of Legislative Council

龐卓貽

榮念曾*

Dietmar Lupfer

Lau Chin Shek

香港政策研究所主席

人山人海製作公司董事

Munich

Chairperson, Esquel Group

葉國華

黃耀明*

慕尼黑 雷柏迪馬 德國慕尼黑Muffathalle藝術中心總監

Marjorie Yang

Paul Yip

陳米記文化事業有限公司主席

Artistic Advisory Committee

紐約

East Wind Code Ltd 創辦人及行政總裁

陳偉明

藝術顧問委員會成員

Au Yeung Ying Chai** Writer

藝術總監

北京人民藝術劇院導演

Professor of Humanities, The Chinese University of Hong Kong

Tokyo

Makoto Sato

Artistic Director, Black Tent Performance Company/ Setagaya Public Theatre

New York

Ping Chong

Theatre Director

Taipei

Tsai Ming-liang

Film Director

New York

Yoshiko Chuma

Performance Art Director

Beijing

Lin Zhaohua

Theatre Director, Beijing People's Art Theatre

Artistic Director

榮念曾***

創作及節目總監

Hong Kong Lee Ou-fan, Leo

Danny Yung***

Creative and Programme Director

胡恩威***

Mathias Woo***

Staff List

職員名單 行政經理

簡溢雅

General Manager

Doris Kan

助理行政經理

羅嘉欣

Assistant Administrative Managers

Law Ka-yan

呂頌萱（至2005年9月）

June Lui (until September 2005) Bobo Lee

李筱怡 行政助理

丘婉萍（至2006年3月）

Administrative Assistant

Jay Yau (until March 2006)

辦公室助理

陳德美

Office Assistant

Judy Chan

市場推廣主任

黃偉國

Marketing Officer

Luka Wong

創作統籌經理

黃裕偉

Creative Managers

Wong Yue-wai

Resident Actors /Creative Coordinators

Cedric Chan

Production Assistant

Gavin Chow

John Wong (until November 2005)

黃志偉（至2005年11月） 駐團演員 /創作統籌

陳浩峰 鍾家誠

製作助理

周俊彥

註

Notes

註

Notes

* 2006年度屆滿卸任成員 ** 2006年度新增成員

* Members resigned in the year 2006

*** 義務性質

*** Voluntary Basis

Carson Chung

** New appointed members in the year 2006 組織成員 Organisation Members

pg.64

pg.65

組織成員

Organisation Members Board Members

董事會成員 主席

靳埭強

靳與劉設計顧問創作總監

Chairman

Kan Tai Keung

Creative Director, Kan and Lau Design Consultant Ltd

財政

楊偉新*

進念成員

Treasurer

Terence Yeung*

Zuni Member

秘書

張世耀*

進念成員

Secretary

Leo Cheung*

Zuni Member

成員

楊敏德 劉千石 譚燕玉

Members

溢達集團主席 立法會議員

Edward Yang

Film Director

Taipei

Gao Xin-jiang

Media Worker

巴黎

高行健

文化藝術工作者

Paris

Gao Xing-jian

Cultural Worker

Taipei

Hsia Chu-joe

Professor,Architecture and City Research Institute, University of Taiwan

台北

夏鑄九

台灣大學建築及城鄉研究所教授

香港

李歐梵

香港中文大學人文學教授

東京

佐籐信

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 電影導演

紐約

中馬方子 紐約舞蹈工作者

北京

林兆華

Chairperson, Hong Kong Policy Research Institute

律師 Anna Wu

Solicitor

Mike Chen

Director, Chen Mi Ji Cultural Production Co Ltd

Anthony Wong*

Director, People Mountain People Sea

Danny Yung*

Artistic Director, Zuni Icosahedron

Winky Po

Barrister

(Resigned on 1/9/05)

榮玉**

珠寶設計師/ 講師

Grace Yung**

Jewelry Designer/ Lecturer

陳偉群**

香港總商會副總裁（工會政策）

Chan W.K., JP**

Senior Director (Business Policy), Hong Kong General Chamber of Commerce

歐陽應霽** 作家

Taipei

傳媒工作者

Founder and Executive Director of East Wind Code Ltd

胡紅玉

(2005年9月1日起卸任)

電影導演

高信彊

Vivienne Tam

Founder and Director of LoveFaithHope Charitable Foundation

大律師

楊德昌

蔡明亮

Vanessa Pong

布穎琪

台北 台北

台北

愛信望慈善基金創辦人及總監

進念．二十面體藝術總監

Artistic Director, Muffahalle Arts Centre, Munich

Member of Legislative Council

龐卓貽

榮念曾*

Dietmar Lupfer

Lau Chin Shek

香港政策研究所主席

人山人海製作公司董事

Munich

Chairperson, Esquel Group

葉國華

黃耀明*

慕尼黑 雷柏迪馬 德國慕尼黑Muffathalle藝術中心總監

Marjorie Yang

Paul Yip

陳米記文化事業有限公司主席

Artistic Advisory Committee

紐約

East Wind Code Ltd 創辦人及行政總裁

陳偉明

藝術顧問委員會成員

Au Yeung Ying Chai** Writer

藝術總監

北京人民藝術劇院導演

Professor of Humanities, The Chinese University of Hong Kong

Tokyo

Makoto Sato

Artistic Director, Black Tent Performance Company/ Setagaya Public Theatre

New York

Ping Chong

Theatre Director

Taipei

Tsai Ming-liang

Film Director

New York

Yoshiko Chuma

Performance Art Director

Beijing

Lin Zhaohua

Theatre Director, Beijing People's Art Theatre

Artistic Director

榮念曾***

創作及節目總監

Hong Kong Lee Ou-fan, Leo

Danny Yung***

Creative and Programme Director

胡恩威***

Mathias Woo***

Staff List

職員名單 行政經理

簡溢雅

General Manager

Doris Kan

助理行政經理

羅嘉欣

Assistant Administrative Managers

Law Ka-yan

呂頌萱（至2005年9月）

June Lui (until September 2005) Bobo Lee

李筱怡 行政助理

丘婉萍（至2006年3月）

Administrative Assistant

Jay Yau (until March 2006)

辦公室助理

陳德美

Office Assistant

Judy Chan

市場推廣主任

黃偉國

Marketing Officer

Luka Wong

創作統籌經理

黃裕偉

Creative Managers

Wong Yue-wai

Resident Actors /Creative Coordinators

Cedric Chan

Production Assistant

Gavin Chow

John Wong (until November 2005)

黃志偉（至2005年11月） 駐團演員 /創作統籌

陳浩峰 鍾家誠

製作助理

周俊彥

註

Notes

註

Notes

* 2006年度屆滿卸任成員 ** 2006年度新增成員

* Members resigned in the year 2006

*** 義務性質

*** Voluntary Basis

Carson Chung

** New appointed members in the year 2006 組織成員 Organisation Members

pg.64

pg.65

鳴謝

支持及協助 Support and Cooperations

Acknowledgement

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

香港藝術中心

溢達集團

香港當代文化中心

勤力德書報發行有限公司

靳與劉設計顧問 非常林奕華

中國戲曲學院

許月媚

陳慧霞

丁新豹

劉亮之

新界喇沙中學

江蘇省崑劇院

陳靜岩

盧穎琳

葉賜權

姚巧思

鄧肇堅維多利亞官立中學

新加坡濱海藝術中心

梁美輝

李國雄

周劍鋒

達明一派

中華基督教基協中學

陳兆龍

杜明珠

明基全

楊千嬅

中華傳道會劉永生中學

袁茵妮

劉順安

陳美怡

張倩如

劉鳳霞

許超前

仁濟醫院羅陳楚思中學

鄭敏君

郭耀豐

袁浩安

于逸堯

唐詠思

林嘉欣

余振強紀念第二中學

蔡寶珍

趙淑芬

譚磊明

鄧天明

曾兆賢

伍宇烈

東涌天主教學校

陳慧華

嚴展明

盛詩惠

曾翠珊

梁倩瑜

梁冠麗

東華三院李潤田紀錄中學

黃家倫

翁德文

袁惠唐

溫樂生

李燕婷

張俊榮

保良局何蔭棠中學

許明儀

鄭德富

李卉貞

馬琼珠

蔡梓健

潘嘉文

保祿六世書院

蔡寶玲

吳仰明

黃志珊

曾劍華

甄偉榮

王瑞華

張沛松紀念中學

張君洳

葉錦元

顏嘉頌

李君豪

許張敏

Adon Ip

博愛醫院八十週年鄧英喜中學

鄧天齊

劉中元

梁采怡

鄧煒培

陳嘉成

Winter Tong

香港電子音樂節

陳清白

周羅汝珩

陳璐懿

劉細優

蕭思薇

Richard Engelhardt

新興盛世有限公司

湯君明

麥添亮

洪明慧

張展恆

鄭旭霞

Chinese Purseman

百老匯電影中心

麥嘉為

林翠雲

陳曉明

劉浩明

許俊虹

Gabriel Mendonca

亞洲影帶

黎汝遠

蔡偉文

侯偉洛

歐陽子傑

楊曉棠

Yanki Lee

香港管弦樂團

吳鴻美

黃光啟

李文英

陳偉豪

鄭炳鴻

Paul Ng

人山人海

辜懷群

曹慧

朗天

張倩瑜

許寶強

S.K. Yip

三聯書店

傅謹

馮家露

灰熊

周君祈

邵家臻

Kary Kwok

陳米記

花健

鄭嘉穎

黎達榮

何綺微

韓麗珠

Zan Ha

Felix Marketing Co Ltd.

榮鴻曾

鍾榮宇

黃大徽

譚嘉訊

魂游

Wong Kam Ling

Agnès b.

張秉權

蘇君煌

陳碧如

黎頌霖

陳澤蕾

Grace

G.O.D

余少華

黎志明

許敖山

潘德恕

洪秉文

Po Wing Kay, Winky

AllRightsReserved

楊慧儀

劉小佩

程展緯

蕭恒

羅士廉

Richard Wong

siDE Architects 是但則師樓

邁克

賴漢聲

麥敏婷

魏家欣

陳錦成

Yvonne Yao

JOIN ART

陳克華

梁崇任

麥樹榮

梁碧琪

鄧凝梅

Doris Gaw

Cannon Trustees Ltd.

胡宗華

鄧淑儀

麥樹勳

蕭競聰

陳家儀

三育中學

Fr. Francisco de las Heras

胡耀恆

李錦全

陳佩儀

莫健偉

林東鵬

九龍華仁書院

Miso Tech Co.

梁冠麗

梁佩英

龍永邦

鄒頌華

陳清僑

中華基督教會燕京書院

吳少祺

何詩詠

林少安

陳浩倫

葉蔭聰

東華三院黃笏南中學

古永康

陳楚傑

陳佩玲

林輝

劉健芝

玫瑰崗學校(中學部)

許永豪

張綺旋

蕭偉祺

黃培烽

邵健偉

佛教黃允畋中學

汪曼華

林冬虹

林榮豐

李照興

張嘉莉

保良局八三年總理中學

蘇中平

梁永達

鄭國政

陳慧

陳婉嫻

港九街坊婦女會孫方中書院

排名不分先後

鳴謝 Acknowledgement

pg.66

pg.67

鳴謝

支持及協助 Support and Cooperations

Acknowledgement

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

香港藝術中心

溢達集團

香港當代文化中心

勤力德書報發行有限公司

靳與劉設計顧問 非常林奕華

中國戲曲學院

許月媚

陳慧霞

丁新豹

劉亮之

新界喇沙中學

江蘇省崑劇院

陳靜岩

盧穎琳

葉賜權

姚巧思

鄧肇堅維多利亞官立中學

新加坡濱海藝術中心

梁美輝

李國雄

周劍鋒

達明一派

中華基督教基協中學

陳兆龍

杜明珠

明基全

楊千嬅

中華傳道會劉永生中學

袁茵妮

劉順安

陳美怡

張倩如

劉鳳霞

許超前

仁濟醫院羅陳楚思中學

鄭敏君

郭耀豐

袁浩安

于逸堯

唐詠思

林嘉欣

余振強紀念第二中學

蔡寶珍

趙淑芬

譚磊明

鄧天明

曾兆賢

伍宇烈

東涌天主教學校

陳慧華

嚴展明

盛詩惠

曾翠珊

梁倩瑜

梁冠麗

東華三院李潤田紀錄中學

黃家倫

翁德文

袁惠唐

溫樂生

李燕婷

張俊榮

保良局何蔭棠中學

許明儀

鄭德富

李卉貞

馬琼珠

蔡梓健

潘嘉文

保祿六世書院

蔡寶玲

吳仰明

黃志珊

曾劍華

甄偉榮

王瑞華

張沛松紀念中學

張君洳

葉錦元

顏嘉頌

李君豪

許張敏

Adon Ip

博愛醫院八十週年鄧英喜中學

鄧天齊

劉中元

梁采怡

鄧煒培

陳嘉成

Winter Tong

香港電子音樂節

陳清白

周羅汝珩

陳璐懿

劉細優

蕭思薇

Richard Engelhardt

新興盛世有限公司

湯君明

麥添亮

洪明慧

張展恆

鄭旭霞

Chinese Purseman

百老匯電影中心

麥嘉為

林翠雲

陳曉明

劉浩明

許俊虹

Gabriel Mendonca

亞洲影帶

黎汝遠

蔡偉文

侯偉洛

歐陽子傑

楊曉棠

Yanki Lee

香港管弦樂團

吳鴻美

黃光啟

李文英

陳偉豪

鄭炳鴻

Paul Ng

人山人海

辜懷群

曹慧

朗天

張倩瑜

許寶強

S.K. Yip

三聯書店

傅謹

馮家露

灰熊

周君祈

邵家臻

Kary Kwok

陳米記

花健

鄭嘉穎

黎達榮

何綺微

韓麗珠

Zan Ha

Felix Marketing Co Ltd.

榮鴻曾

鍾榮宇

黃大徽

譚嘉訊

魂游

Wong Kam Ling

Agnès b.

張秉權

蘇君煌

陳碧如

黎頌霖

陳澤蕾

Grace

G.O.D

余少華

黎志明

許敖山

潘德恕

洪秉文

Po Wing Kay, Winky

AllRightsReserved

楊慧儀

劉小佩

程展緯

蕭恒

羅士廉

Richard Wong

siDE Architects 是但則師樓

邁克

賴漢聲

麥敏婷

魏家欣

陳錦成

Yvonne Yao

JOIN ART

陳克華

梁崇任

麥樹榮

梁碧琪

鄧凝梅

Doris Gaw

Cannon Trustees Ltd.

胡宗華

鄧淑儀

麥樹勳

蕭競聰

陳家儀

三育中學

Fr. Francisco de las Heras

胡耀恆

李錦全

陳佩儀

莫健偉

林東鵬

九龍華仁書院

Miso Tech Co.

梁冠麗

梁佩英

龍永邦

鄒頌華

陳清僑

中華基督教會燕京書院

吳少祺

何詩詠

林少安

陳浩倫

葉蔭聰

東華三院黃笏南中學

古永康

陳楚傑

陳佩玲

林輝

劉健芝

玫瑰崗學校(中學部)

許永豪

張綺旋

蕭偉祺

黃培烽

邵健偉

佛教黃允畋中學

汪曼華

林冬虹

林榮豐

李照興

張嘉莉

保良局八三年總理中學

蘇中平

梁永達

鄭國政

陳慧

陳婉嫻

港九街坊婦女會孫方中書院

排名不分先後

鳴謝 Acknowledgement

pg.66

pg.67

全年活動一覽表（二零零五年四月一日至二零零六年三月三十一日）

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

年份

月份

活動 類別

計劃名稱

主/合辦單位

(場次/節數/印量) 2005

進念主辦

葵青劇院演藝廳 10,255 (12)

編導：胡恩威、林奕華

C/M

Music and Cultural Rights: Trends and Prospects文化交流會議

美國匹茲堡大學主辦

美國匹茲堡大學

榮念曾應邀出席及演講

P/C

戀人絮語

中國信託商業銀行 文教基金會主辦 非常林奕華製作

台北新舞台表演廳 3,453 (5)

編導：林奕華、胡恩威 舞台及多媒體設計：胡恩威

E/X

多媒體戲劇教育計劃2004/05 「香香港 漫漫遊」──裝置展覽

進念與康文署合辦

牛池灣文娛中心文娛廳 660 (1)

策劃：黃裕偉、白惠芬

E/P

多媒體戲劇教育計劃2004/05 「香香港 漫漫遊」──總結演出

進念與康文署合辦

牛池灣文娛中心劇院 491 (2)

策劃：黃裕偉、白惠芬

P

CORBU

康文署贊助 進念主辦及製作

上環文娛中心劇院 1,150 (4)

導演 舞台裝置：胡恩威

B

《E+E》第十三期

進念出版

香港 約10,000 (2,000)

主編：胡恩威

7月

P

東宮西宮4－西九龍皇帝（加強版）

進念主辦

香港演藝學院歌劇院 17,482 (21)

編導：胡恩威、林奕華

8月

E

多媒體音樂劇場教育計劃2005/06 「進念唱好流行曲」－精要工作坊

進念與康文署合辦

上環文娛中心排練廳 10間參與計劃學校老師 約12人

策劃：黃裕偉、白惠芬

進念青年實驗演出計劃2005 青春浪潮青春戲

進念主辦

藝穗會O2劇院 141 (2)

策劃：黃裕偉、白惠芬

假音人之陳浩峰爵士搖滾K唱會

進念主辦

香港藝術中心壽臣劇院 3,478 (10)

創作總監：胡恩威 音樂：假音人

多媒體音樂劇場教育計劃2005/06 「進念唱好流行曲」(第一階段) 學校巡迴演出

進念與康文署合辦

10間參與學校 4,683 (10)

策劃：黃裕偉、白惠芬

P

樓市怪談

進念主辦

香港藝術中心壽臣劇院 7,675 (23)

編導：胡恩威

E

多媒體音樂劇場教展計劃2005/06 「進念唱好流行曲」(第二階段) 校內工作坊、聯校工作坊及講座

進念與康文署合辦

10間參與學校、 上環文娛中心 1,981 (105)

策劃：黃裕偉、白惠芬

P/E

諸神會─實驗傳統藝術節2005 演出及學生專場

進念主辦

香港大會堂展覽廳、 香港文化中心劇場 918 (10)

藝術總監 策劃：榮念曾 演出：石小梅（崑劇） 周龍（京劇）、李小鋒 張寧（秦腔）、彭蕙蘅（河北梆子） 劉鑫（京劇）

C/M

諸神會─實驗傳統藝術節2005 座談會

進念主辦

香港大會堂展覽廳 30 (1)

主持：榮鴻曾

5月

6月

P

E/P 9月 9–10月

10月至 2006年 3月 11月

P E/P

2005

2006

11月

C/M

12月

B

1–2月

E/X/C

2月

P/C

3月

P

C/M

諸神會─實驗傳統藝術節2005 成立「非物質文化遺產中心」閉門會議

進念主辦

香港文化中心劇場 20 (1)

主持：胡恩威 與會： 榮念曾、李察．恩格爾哈特、 辜懷群、榮鴻曾、傅謹、 余少華、楊惠儀

《E+E》第十四期 (2005特別版《西九解毒》)

進念出版

香港 約10,000 (2,000)

主編：胡恩威

黑箱作業 工作坊及展覽

印度藝術機構 India Foundation for the Arts主辦

印度加爾各答、孟買、 新德里 約4,030人

策劃：黃裕偉、白惠芬

挑滑車 (新加坡「華藝節」2006)

新加坡濱海藝術中心 主辦

新加坡濱海藝術中心小劇場 320 (2)

藝術總監 編導：榮念曾 聯合導演：周龍、黃志偉 演出：劉鑫

港樂vs黃耀明 電幻狂想曲

香港管弦樂團主辦 進念多媒體設計及 製作

香港體育館 29,971 (4)

導演：胡恩威

北京香港創意產業文化工業交流聚會

北京朝陽區文化委員 會及香港當代文化中 心合辦

香港藝術中心麥高利小劇場 約50人 (1)

主持：榮念曾

B

《香港風格２ - 消滅香港》

進念出版

香港 約10,000 (2,000)

主編：胡恩威

C

“China - Between Past and Future”藝術節

德國柏林世界文化 中心主辦

德國柏林

黃裕偉代表出席

活動類別 P 演出

C 文化交流

M 會議/研討會

B 出版

X 展覽

E 藝術教育/講座/工作坊 全年活動一覽表 Activity Chart

pg.68

參與計劃主要成員

(場次/節數/印量)

東宮西宮4──西九龍皇帝

4月

地點 觀眾/出席人次/讀者人數

pg.69

全年活動一覽表（二零零五年四月一日至二零零六年三月三十一日）

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

年份

月份

活動 類別

計劃名稱

主/合辦單位

(場次/節數/印量) 2005

進念主辦

葵青劇院演藝廳 10,255 (12)

編導：胡恩威、林奕華

C/M

Music and Cultural Rights: Trends and Prospects文化交流會議

美國匹茲堡大學主辦

美國匹茲堡大學

榮念曾應邀出席及演講

P/C

戀人絮語

中國信託商業銀行 文教基金會主辦 非常林奕華製作

台北新舞台表演廳 3,453 (5)

編導：林奕華、胡恩威 舞台及多媒體設計：胡恩威

E/X

多媒體戲劇教育計劃2004/05 「香香港 漫漫遊」──裝置展覽

進念與康文署合辦

牛池灣文娛中心文娛廳 660 (1)

策劃：黃裕偉、白惠芬

E/P

多媒體戲劇教育計劃2004/05 「香香港 漫漫遊」──總結演出

進念與康文署合辦

牛池灣文娛中心劇院 491 (2)

策劃：黃裕偉、白惠芬

P

CORBU

康文署贊助 進念主辦及製作

上環文娛中心劇院 1,150 (4)

導演 舞台裝置：胡恩威

B

《E+E》第十三期

進念出版

香港 約10,000 (2,000)

主編：胡恩威

7月

P

東宮西宮4－西九龍皇帝（加強版）

進念主辦

香港演藝學院歌劇院 17,482 (21)

編導：胡恩威、林奕華

8月

E

多媒體音樂劇場教育計劃2005/06 「進念唱好流行曲」－精要工作坊

進念與康文署合辦

上環文娛中心排練廳 10間參與計劃學校老師 約12人

策劃：黃裕偉、白惠芬

進念青年實驗演出計劃2005 青春浪潮青春戲

進念主辦

藝穗會O2劇院 141 (2)

策劃：黃裕偉、白惠芬

假音人之陳浩峰爵士搖滾K唱會

進念主辦

香港藝術中心壽臣劇院 3,478 (10)

創作總監：胡恩威 音樂：假音人

多媒體音樂劇場教育計劃2005/06 「進念唱好流行曲」(第一階段) 學校巡迴演出

進念與康文署合辦

10間參與學校 4,683 (10)

策劃：黃裕偉、白惠芬

P

樓市怪談

進念主辦

香港藝術中心壽臣劇院 7,675 (23)

編導：胡恩威

E

多媒體音樂劇場教展計劃2005/06 「進念唱好流行曲」(第二階段) 校內工作坊、聯校工作坊及講座

進念與康文署合辦

10間參與學校、 上環文娛中心 1,981 (105)

策劃：黃裕偉、白惠芬

P/E

諸神會─實驗傳統藝術節2005 演出及學生專場

進念主辦

香港大會堂展覽廳、 香港文化中心劇場 918 (10)

藝術總監 策劃：榮念曾 演出：石小梅（崑劇） 周龍（京劇）、李小鋒 張寧（秦腔）、彭蕙蘅（河北梆子） 劉鑫（京劇）

C/M

諸神會─實驗傳統藝術節2005 座談會

進念主辦

香港大會堂展覽廳 30 (1)

主持：榮鴻曾

5月

6月

P

E/P 9月 9–10月

10月至 2006年 3月 11月

P E/P

2005

2006

11月

C/M

12月

B

1–2月

E/X/C

2月

P/C

3月

P

C/M

諸神會─實驗傳統藝術節2005 成立「非物質文化遺產中心」閉門會議

進念主辦

香港文化中心劇場 20 (1)

主持：胡恩威 與會： 榮念曾、李察．恩格爾哈特、 辜懷群、榮鴻曾、傅謹、 余少華、楊惠儀

《E+E》第十四期 (2005特別版《西九解毒》)

進念出版

香港 約10,000 (2,000)

主編：胡恩威

黑箱作業 工作坊及展覽

印度藝術機構 India Foundation for the Arts主辦

印度加爾各答、孟買、 新德里 約4,030人

策劃：黃裕偉、白惠芬

挑滑車 (新加坡「華藝節」2006)

新加坡濱海藝術中心 主辦

新加坡濱海藝術中心小劇場 320 (2)

藝術總監 編導：榮念曾 聯合導演：周龍、黃志偉 演出：劉鑫

港樂vs黃耀明 電幻狂想曲

香港管弦樂團主辦 進念多媒體設計及 製作

香港體育館 29,971 (4)

導演：胡恩威

北京香港創意產業文化工業交流聚會

北京朝陽區文化委員 會及香港當代文化中 心合辦

香港藝術中心麥高利小劇場 約50人 (1)

主持：榮念曾

B

《香港風格２ - 消滅香港》

進念出版

香港 約10,000 (2,000)

主編：胡恩威

C

“China - Between Past and Future”藝術節

德國柏林世界文化 中心主辦

德國柏林

黃裕偉代表出席

活動類別 P 演出

C 文化交流

M 會議/研討會

B 出版

X 展覽

E 藝術教育/講座/工作坊 全年活動一覽表 Activity Chart

pg.68

參與計劃主要成員

(場次/節數/印量)

東宮西宮4──西九龍皇帝

4月

地點 觀眾/出席人次/讀者人數

pg.69

Activity Chart (1 April 2005 – 31 March 2006)

Year Month

Type

Project Title

Presenter/ Co-presenter

Venue No. of Audience/ Participant/ Reader

Core Team Member

Year Month

Type

Project Title

Presenter/ Co-presenter

(No. of Performances/ Activity/ Publication)

P

East Wing West Wing 4 – West Kowloon Side Story

Presented by Zuni

Auditorium, Kwai Tsing Theatre 10,255 (12)

Directors and playwrights: Mathias Woo, Edward Lam

C/M

Conference: Music and Cultural Rights: Trends and Prospects

Presented by University of Pittsburgh, USA

University of Pittsburgh, USA

Danny Yung by Invitation

P/C

Fragments d’un discours amoureux

Presented by Chinatrust Foundation, China Trust Commercial Bank Produced by Edward Lam Dance Theatre

Auditorium, Novel Hall for Performing Arts, Taipei 3,453(5)

Directors and Playwrights: Edward Lam, Mathias Woo, Stage and Mult-media Designer: Mathias Woo

E/X

Come Come Comics Multi-media Theatre Education Scheme 2004/05 Installation Art Exhibition

Co-presented by Zuni and LCSD

Cultural Activities Hall, Ngau Chi Wan Civic Centre 660 (1)

Curators: Wong Yue-wai, Jessie Pak

Come Come Comics Multi-media Theatre Education Scheme 2004/05 (Phase IV) Joint School Performance

Co-presented by Zuni and LCSD

P

Corbu

Sponsored by LCSD Presented and Produced by Zuni

Theatre, Sheung Wan Civic Centre 1,150 (4)

Director and Designer: Mathias Woo

B

“E+E” 13th Issue

Published by Zuni

Hong Kong About 10,000 (2,000)

Chief Editor: Mathias Woo

July

P

East Wing West Wing 4 – West Kowloon Side Story (Re-run)

Presented by Zuni

Lyric Theatre, Hong Kong Academy for Performing Art 17,482 (21)

Directors and playwrights: Mathias Woo, Edward Lam

Aug

E

Zuni Tunes the Pop Multi-media Music Theatre Education Scheme 2005/06 Briefing Workshop

Co-presented by Zuni and LCSD

Curators: Rehearsal Hall, Wong Yue-wai, Jessie Pak Sheung Wan Civic Centre Teachers from 10 participating schools About 12 participants

Summer Wave Summer Youth Zuni Youth 2005 Experimental Performance

Presented by Zuni

O2 Theatre, Fringe Club 141(2)

Curators: Wong Yue-wai, Jessie Pak

Gayamyan and Cedric Chan in Concert

Presented by Zuni

Shouson Theatre, Hong Kong Arts Centre 3,478(10)

Creative Director: Mathias Woo Music: Gayamyan

Zuni Tunes the Pop Multi-media Music Theatre Education Scheme 2005/06 (Phase I) In-School Multi-media Performances

Co-presented by Zuni and LCSD

10 participating schools About 4,683 participants (10)

Curators: Wong Yue-wai, Jessie Pak

The Agent

Presented by Zuni

Shouson Theatre, Hong Kong Arts Centre 7,675 (23)

Director and playwright: Mathias Woo

May

E/P

June

Sept

P

Sept -Oct

E/P

P

Oct -Mar 2006

E

Zuni Tunes the Pop Multi-media Music Theatre Education Scheme 2005/06 (Phase II) In-school and Joint-schools Multi-media workshops and seminars

Co-presented by Zuni and LCSD

10 participating schools, Sheung Wan Civic Centre 1,981 (105)

Curators: Wong Yue-wai, Jessie Pak

Nov

P/E

Meeting of the Gods Festival of Experimenting Traditions 2005 (including one performance for students)

Presented by Zuni

Exhibition Hall, Hong Kong City Hall Studio Theatre, Hong Kong Cultural Centre 918 (10)

Artistic Director/ Curator: Danny Yung Chinese Opera Artists: Shi Xiaomei (Kun Opera), Zhou Long (Peking Opera), Li Xiaofeng, Zhang Ning (Qin-operatic style), Peng Huiheng (Hebei Bangzi), Liu Xin (Peking Opera)

C/M

Meeting of the Gods Festival of Experimenting Traditions 2005 Seminar

Presented by Zuni

Exhibition Hall, Hong Kong City Hall 30 (1)

Moderator: Prof. Bell Yung

C/M

Meeting of the Gods Festival of Experimenting Traditions 2005 Internal planning session: Establishing of the Institute of Intangible Cultural Heritage

Presented by Zuni

Studio Theatre, Hong Kong Cultural Centre 20 (1)

Moderator: Mathias Woo Participanats: Danny Yung, Richard Engelhardt, Vivien Ku, Bell Yung, Fu Jing, Yu Siu Wah, Jessica Yeung

“E+E” 14th Issue (2005 Special Edition)

Published by Zuni

Hong Kong About 10,000 (2,000)

Chief Editor: Mathias Woo

“Black Box Exercise” Workshops and Exhibitions

Presented by India Foundation for the Arts

Kolkata, Mumbai , New Delhi , India About 4,030 participants

Curators: Wong Yue-wai, Jessie Pak

The Outcast General (Huayi Festival 2006)

Presented by Esplanade, Singapore

Esplanade Theatre Studio, Singapore 320 (2)

Artistic Director/ Script Writer/ Director: Danny Yung Co-directors: Zhou Long, John Wong Performer: Liu Xin

HKPO vs Anthony Wong Live Bauhinian Rhapsody

Presented by Hong Kong Philharmonic Orchestra Multi-media designed and produced by Zuni

Hong Kong Coliseum 29,971 (4)

Director: Mathias Woo

Beijing - Hong Kong Exchange meeting on Cultural Industry

Co-organized by Culture Committe of Chaoyang District of Beijing and Hong Kong Institute of Contemporary Culture

McAulay Studio, Hong Kong Arts Centre About 50 participants (1)

Moderator: Danny Yung

B

“Hong Kong Style 2 - Destroy HK”

Published by Zuni

Hong Kong About 10,000 (2,000)

Chief Editor: Mathias Woo

C

China - Between Past and Future” Festival Presented by Haus der Kulturen der Welt, Berlin, Germany

Berlin, Germany

Representative: Wong Yue-wai by invitation

Curators: Wong Yue-wai, Jessie Pak

2006

E/P

Theatre, Ngau Chi Wan Civic Centre 491 (2)

Dec

B

Jan -Feb

E/X/C

Feb

P/C

Mar

P

C/M

Categories P Performance

C Cultural Exchange

B Publication

M Conference/ Seminar

X Exhibition

E Arts Education Programme/ Lecture/ Workshop

pg.70

Core Team Member

(No. of Performances/ Activity/ Publication)

2005

2005

Apr

Venue No. of Audience/ Participant/ Reader

全年活動一覽表 Activity Chart

pg.71

Activity Chart (1 April 2005 – 31 March 2006)

Year Month

Type

Project Title

Presenter/ Co-presenter

Venue No. of Audience/ Participant/ Reader

Core Team Member

Year Month

Type

Project Title

Presenter/ Co-presenter

(No. of Performances/ Activity/ Publication)

East Wing West Wing 4 – West Kowloon Side Story

Presented by Zuni

Auditorium, Kwai Tsing Theatre 10,255 (12)

Directors and playwrights: Mathias Woo, Edward Lam

C/M

Conference: Music and Cultural Rights: Trends and Prospects

Presented by University of Pittsburgh, USA

University of Pittsburgh, USA

Danny Yung by Invitation

P/C

Fragments d’un discours amoureux

Presented by Chinatrust Foundation, China Trust Commercial Bank Produced by Edward Lam Dance Theatre

Auditorium, Novel Hall for Performing Arts, Taipei 3,453(5)

Directors and Playwrights: Edward Lam, Mathias Woo, Stage and Mult-media Designer: Mathias Woo

E/X

Come Come Comics Multi-media Theatre Education Scheme 2004/05 Installation Art Exhibition

Co-presented by Zuni and LCSD

Cultural Activities Hall, Ngau Chi Wan Civic Centre 660 (1)

Curators: Wong Yue-wai, Jessie Pak

Come Come Comics Multi-media Theatre Education Scheme 2004/05 (Phase IV) Joint School Performance

Co-presented by Zuni and LCSD

P

Corbu

Sponsored by LCSD Presented and Produced by Zuni

Theatre, Sheung Wan Civic Centre 1,150 (4)

Director and Designer: Mathias Woo

B

“E+E” 13th Issue

Published by Zuni

Hong Kong About 10,000 (2,000)

Chief Editor: Mathias Woo

July

P

East Wing West Wing 4 – West Kowloon Side Story (Re-run)

Presented by Zuni

Lyric Theatre, Hong Kong Academy for Performing Art 17,482 (21)

Directors and playwrights: Mathias Woo, Edward Lam

Aug

E

Zuni Tunes the Pop Multi-media Music Theatre Education Scheme 2005/06 Briefing Workshop

Co-presented by Zuni and LCSD

Rehearsal Hall, Curators: Sheung Wan Civic Centre Wong Yue-wai, Jessie Pak Teachers from 10 participating schools About 12 participants

Summer Wave Summer Youth Zuni Youth 2005 Experimental Performance

Presented by Zuni

O2 Theatre, Fringe Club 141(2)

Curators: Wong Yue-wai, Jessie Pak

Gayamyan and Cedric Chan in Concert

Presented by Zuni

Shouson Theatre, Hong Kong Arts Centre 3,478(10)

Creative Director: Mathias Woo Music: Gayamyan

Zuni Tunes the Pop Multi-media Music Theatre Education Scheme 2005/06 (Phase I) In-School Multi-media Performances

Co-presented by Zuni and LCSD

10 participating schools About 4,683 participants (10)

Curators: Wong Yue-wai, Jessie Pak

The Agent

Presented by Zuni

Shouson Theatre, Hong Kong Arts Centre 7,675 (23)

Director and playwright: Mathias Woo

May

P

E/P

June

Sept

P

Sept -Oct

E/P

P

Oct -Mar 2006

E

Zuni Tunes the Pop Multi-media Music Theatre Education Scheme 2005/06 (Phase II) In-school and Joint-schools Multi-media workshops and seminars

Co-presented by Zuni and LCSD

10 participating schools, Sheung Wan Civic Centre 1,981 (105)

Curators: Wong Yue-wai, Jessie Pak

Nov

P/E

Meeting of the Gods Festival of Experimenting Traditions 2005 (including one performance for students)

Presented by Zuni

Exhibition Hall, Hong Kong City Hall Studio Theatre, Hong Kong Cultural Centre 918 (10)

Artistic Director/ Curator: Danny Yung Chinese Opera Artists: Shi Xiaomei (Kun Opera), Zhou Long (Peking Opera), Li Xiaofeng, Zhang Ning (Qin-operatic style), Peng Huiheng (Hebei Bangzi), Liu Xin (Peking Opera)

C/M

Meeting of the Gods Festival of Experimenting Traditions 2005 Seminar

Presented by Zuni

Exhibition Hall, Hong Kong City Hall 30 (1)

Moderator: Prof. Bell Yung

C/M

Meeting of the Gods Festival of Experimenting Traditions 2005 Internal planning session: Establishing of the Institute of Intangible Cultural Heritage

Presented by Zuni

Studio Theatre, Hong Kong Cultural Centre 20 (1)

Moderator: Mathias Woo Participanats: Danny Yung, Richard Engelhardt, Vivien Ku, Bell Yung, Fu Jing, Yu Siu Wah, Jessica Yeung

“E+E” 14th Issue (2005 Special Edition)

Published by Zuni

Hong Kong About 10,000 (2,000)

Chief Editor: Mathias Woo

“Black Box Exercise” Workshops and Exhibitions

Presented by India Foundation for the Arts

Kolkata, Mumbai , New Delhi , India About 4,030 participants

Curators: Wong Yue-wai, Jessie Pak

The Outcast General (Huayi Festival 2006)

Presented by Esplanade, Singapore

Esplanade Theatre Studio, Singapore 320 (2)

Artistic Director/ Script Writer/ Director: Danny Yung Co-directors: Zhou Long, John Wong Performer: Liu Xin

HKPO vs Anthony Wong Live Bauhinian Rhapsody

Presented by Hong Kong Philharmonic Orchestra Multi-media designed and produced by Zuni

Hong Kong Coliseum 29,971 (4)

Director: Mathias Woo

Beijing - Hong Kong Exchange meeting on Cultural Industry

Co-organized by Culture Committe of Chaoyang District of Beijing and Hong Kong Institute of Contemporary Culture

McAulay Studio, Hong Kong Arts Centre About 50 participants (1)

Moderator: Danny Yung

B

“Hong Kong Style 2 - Destroy HK”

Published by Zuni

Hong Kong About 10,000 (2,000)

Chief Editor: Mathias Woo

C

China - Between Past and Future” Festival Presented by Haus der Kulturen der Welt, Berlin, Germany

Berlin, Germany

Representative: Wong Yue-wai by invitation

Curators: Wong Yue-wai, Jessie Pak

2006

E/P

Theatre, Ngau Chi Wan Civic Centre 491 (2)

Dec

B

Jan -Feb

E/X/C

Feb

P/C

Mar

P

C/M

Categories P Performance

C Cultural Exchange

B Publication

M Conference/ Seminar

X Exhibition

E Arts Education Programme/ Lecture/ Workshop

pg.70

Core Team Member

(No. of Performances/ Activity/ Publication)

2005

2005

Apr

Venue No. of Audience/ Participant/ Reader

全年活動一覽表 Activity Chart

pg.71

進念．二十面體２００５-０６年度報告 Zuni Icosahedron Annual Report 2005-06 設計 Design Pollux Kwok 照片攝影 Photos Fung Wai Sung, The Esplanade Co Ltd, Yu Yat-yiu@PMPS, Carson Tam, Liou Jen-shiang (Taipei), Bobby Shum, Donmic Wong, Keith Sin, Jesse 進念．二十面體 Zuni Icosahedron 通訊地址

香港灣仔港灣道2號香港藝術中心1106及1107B室

Postal Address 電話 Tel

Room 1106 & 1107B, Hong Kong Arts Centre, 2 Harbour Road, Wan Chai, Hong Kong

852-2893-8704

傳真 Fax 電郵 Email

852-2838-7527 info@zuni.org.hk

網址 Website

www.zuni.org.hk

© 2006 Published in Hong Kong, Zuni Icosahedron Ltd.

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