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6-7.11.2015

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大汗直視馬哥孛羅：「你滔滔不絕『講述』的那些城市，本來就是講述同一個城市吧？」他頓一頓繼續說：

「大概在你的眼中，文化嘛就是『講述』的文化，城市嘛就是『當下』的城市。這些城市雖然名字不一樣，其實都想搶灘，都想比劃彼此的智慧，都有意圖『探討』天下城市的本質。都在探討心中理想的城市吧？有了這樣的論述，那下一步該怎樣呢？」

馬 哥 孛 羅 低 首 回 道：「 陛 下 明 見。我們目前的對話不也正在『講述當下』？正在『探討理想』？」他繼續說：

「我相信領導們只要堅持誠實地『講述當下』，才會有實在的交流互動，才會有真實的下一步。發揮這交流互動之潛力，需要平等論述評論開放的對話。有對話，才有確實的比較，才有批評和自我批評，才有人文的進步。」大汗望著問：「你真正想說的是我們的城市在退步。我們的城市缺乏批評和自我批評。我們的城市沒有用心做真正彼此的比較工作。因此我們的城市與城市之間並沒有實質人文對話。」

看不見的城市 榮念曾

馬哥孛羅道：「陛下明見。」大汗說：「什麼明見不明見？你明明在批評我在這個地位，好像什麼都見不到。我們安排的見面就是談談什麼是見不到的城市？談談什麼是見得到的城市？同時我們談談為什麼我見不到，為什麼你見得到？或許相反。」馬哥孛羅說：「這個涉及領導和群眾見解差異，以及執政和議政見解差異。」大汗聽了說：「我沒有太多時間和你談。通常我見屬下，半小時封頂。」

馬哥孛羅道：「其實說好話的半小時嫌少，說批評的話半小時嫌多。我們的聚會，也是在批評所有的聚會。我們會談形式內容，也是在批評所有會談的形式內容？」大汗笑道：「我們一年才見一次，你講我聽或我講你聽，言不及義；慢慢成為徒具形式的活動。」馬哥孛羅說：「這是你主觀看法，正好點出領導和群眾，執政和議政的問題。表面上，以往的對話，其中一部份是希望能夠創意延伸我們的對話，強化對話的平台，開放對話的形式，發展對

導演筆記

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話的內容。另外一部份涉及如何令內 容 成 為 具 體 城 市 發 展 的 議 政 執政。」大汗大笑：「對話有用嗎？對管治制度辯証的問題有用嗎？」

他繼續說：「城市發展能不能夠做到辯証，本來是政治的問題，也是經濟學的問題，更是長期累積社會文化的問題。當然也包括我們在體制內的持份者，有沒有辯証魄力的問題。」大汗跟著說：「你只不過寫了本遊記，銷售量好就成為文化交流的專家。」

馬哥孛羅並不在意大汗的熱諷：「那麼讓我們換個位置身份去處理問題怎樣？換個觀點角度去處理問題又會怎樣？另外，也讓那些城市的公民們有機地旅行交流？甚至交換移民？」

大 汗：「 倒 也 是， 文 化 交 流 的 建 設不是一朝一夕，也不一定只是旅遊消費，更不是經濟教化宣傳效益。你是希望人人都成為馬哥孛羅？你是希望人人都能和我對話。那麼我不是窮忙？你一個人扮代表不就夠

了？」馬 哥 孛 羅 答 道：「 一 個 人 講十個城市故事，和十個人講同一個城市的故事，分別在不同層次的比較。有了比較就有評議，有了評議就有改善的可能性。況且現在有互聯網，更方便大家胡說八道。」

大汗望著窗外的風麈，感嘆道：「難道你認為我們清談對話，在讀者角度也只是文化消費嗎？我戎馬天下的號令經歷，反不及得你遨遊四海的消費學問嗎？」馬哥孛羅輕輕回應：「陛下言重了。我的遊記銷售量倒是不錯的，帶動旅遊業之外，多了很多藝術節文化論壇活動；聽說一帶一路就如此這般發展出來。」

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看不見的城市

1 她不能跑。但是她可以用最慢最儀式化的方式往前一小步一小步邁進，這個速度彷彿帶領歲月回到盛唐；或許回到更早補天的地母情景，回到一個星轉月移、時空倒錯、天人合一的時代。

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我看不見東西。我什麼都看不見。我看不見東西。我為什麼看不見東西。是不是我的眼睛有問題。是不是我的腦袋有問題。我看不見前面。我什麼都看不見。我看不見前面。我為什麼看不見前面。是不是我的眼睛有問題。是不是我的腦袋有問題。我看不見未來。我什麼都看不見。我看不見未來。我為什麼看不見未來。是不是我的眼睛有問題。是不是我的腦袋有問題。

2 然後征服開始。黑洞裡出現先驅。源源不絕、層層不窮的先驅，四人一組相互扶持，尋找水源，地雷，尋找証物，捷徑，尋找新天地，尋找未來。他們是探險家墾荒者，建築師度量師。都可以。

我看不見東西。我什麼都看不見。我看不見前面。我為什麼看不見前面。我看不見未來。我什麼都看不見。我看不見未來。我為什麼看不見你。我看不見你。

我什麼都看不見。我看不見我的城市。我為什麼看不見我的城市。是不是我的眼睛有問題。是不是我的腦袋有問題。

3 垂頭未必一定喪氣，抓空未必一定咒法。跌下再爬起來，被推擠再反抗。鼓著氣未必一定是和自己作對，東張西望未必一定是沒有立場。雙手反縛沒有放棄，走方位沒有忘記方向。

我看不見自己。我看不見....自己。為什麼我看不見自己。我看不見自己。我看不見大家。我看不見....大家。為什麼我看不見大家。我看不見大家。我看不見中國。我看不見....中國。為什麼我看不見中國。我看不見中國。我看不見香港。我看不見....香港。為什麼我看不見香港。我看不見自己香港。我看不見舞台。我看不見....舞台。為什麼我看不見舞台。我看不見舞台。

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4 三步轉身四步衝前跌跌撞撞永遠只叫喊著一個名字或許是口號。那是決定她命運的名字。她的吶喊也是質疑也許是控訴。也有可能只想聽到自己的聲音。你對我的命運要有看法，對我的下場要負責。

我看不見前面。我看不見前景。我看不見前途。我看不見希望。我看不見未來。我看不見自己。我看不見下一步。我看不見歷史。我看不見你。

5 她們為了她開會，抱怨，伸冤，然後喊口號然後喊魂然後喊天，然後發現那是沒用的，喊髒話然後發現那也是沒用的。然後發現原來做什麼都是沒用的。一哄而散各歸東西各自林。

我看不見東西。我看不見東西。我什麼都看不見。我看不見東西。我為什麼看不見東西。是不是我的眼睛有問題。是不是我的腦袋有問題。我看不見前面。我

什麼都看不見。我看不見前面。我為什麼看不見前面。是不是我的眼睛有問題。是不是我的腦袋有問題。我看不見未來。我什麼都看不見。我看不見未來。我為什麼看不見未來。是不是我的眼睛有問題。是不是我的腦袋有問題。

6 當什麼事都沒有發生過。只有她，堅持跌跌撞撞往前走，然後跌倒，然後跌倒不重要。最重要是堅持再站起來，獨立自主，堅持再往前走，跌倒是絕不重要的。最重要是堅持再站起來獨立自主。

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Great Khan looked into the eyes of Marco Polo and said, “The cities you kept “presenting” actually is the same city, right?” Great Khan halted and continued, “In your eyes, culture is the one “presented”, city is the one “for the moment”. All cities are the same except their names, and all wants to be ahead of the others competing on each other’s ideas and attempting to explore the common and fundamental qualities as well as the ultimate model of all cities. Having all these said, what’s next step?

Marco Polo headed down and replied, “Absolutely, My Great Khan. Isn’t our conversation presenting the situation of the moment? Isn’t it searching for the ideal?” He continued, I believe all the leaders insist in honestly “presenting the moment”, the exchanges and interactions will be realized and next step will be followed. To bring the potential of exchanges and interactions to the full requires fair reviews and open dialogues. Having dialogues promotes comparisons in real term, then critique and self-critique followed; after that, comes the improvements in humanity.” Great Khan asked, “What you really wanted to say is our city is running behind, lacking of

critiques from the others and ourselves. We were not doing the comparisons in real terms for our city and there was not real dialogue on humanity among cities.”

Macro Polo said: “Absolutely, My Great Khan.” Great Khan said, “Absolutely about what?” Obvious enough, you are criticizing my not seeing the issues in my position. What we did in the meeting was a mere talk on what is Invisible Cities and what is Visible Cities? And why can’t I see it but you can? Or vice versa?” Macro Polo said, “It is about the differences between the leader and the general public on the idea of execution and discussion of the governance.” Great Khan responded, “I don’t have time for you. I shall usually spend no more than half an hour with my subordinates, tops.”

Macro Polo said: “Half an hour would be more than enough for critiquing, but not for pleasing remarks. The meeting between you and me was also a critique on the idea of having meetings. The form and content of our meetings were a form of critique on the same idea for all meetings, weren’t it? Great Khan laughed and said, “We meet once a year, more empty talking than communicating, it gradually turned into something without

Invisible Cities Danny Yung

Director's Notes

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content. Macro Polo said, “It is purely your subjective view that illustrated right on the problems happened between the leaders and the general public, and the idea of execution and discussion of the governance. Superficially speaking, all the dialogues in the past, part of them were meant to extend our dialogues; strengthening the platform for dialogues, opening up the form and developing the content of dialogues. On the other hand, it related to the way turning the content into valuable action for the overall development of our city in the areas of the execution and discussion of governance.” Great Khan laughed, “Is dialoguing of any use in dealing with the problems raised in governance, system reform and dialectics?”

He continued, “Actually, if the dialectic process being successfully introduced in the issues of city development is about politics, economics, social and cultural aspects? Seemingly, it related to all the stakeholders in the system and the continuous effort in carrying out dialectic discourse.” Great Khan continued, “You had just published a travelogue, and the success in its sales turned you into an expert in cultural exchange.”

Macro Polo could not care less about Great Khan’s cynicism and said, “Let’s see what will happen to our views on the same issues after swapping our positions? Let’s see what will happen to our views on the same issues after swapping our viewpoints? In addition, what about letting our people carry out exchanges and travels organically? Or even immigrate?”

Great Khan said, “That’s right. Solid cultural exchange platform is not built in a day. It could be neither the travel-for-consumption kind nor the economic returns driven propaganda. Would you hope for everyone becoming Macro Polo? Would you hope for everyone could carry out dialogues with me? Then, I will be dead busy. Having you pretended to act on my behalf is not good enough?” Macro Polo responded, “The differences between 10 city stories be told by one person and one story by 10 people are on the levels of comparison. Having comparison brings critiques that breed the possibilities of improvement. Not to mention the presence of internet that further allows bullshitting.”

Great Khan looked to the outside through the window and sighed, “Do you think

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our straight talking would become a kind of cultural consumption in the eyes of the readers? Do you think my experience in reigning my lands is not even comparable to your knowledge gained in travel-for-consumption? Marco Polo replied lightly, “Not at all, My Great Khan. The sales of my travelogue were okay, that helped promote tourism with more festivals and cultural forums launched. In fact, One Belt, One Road was probably developed in such a way.

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1. She can’t run. Yet, she could move step by step like in a ritual and that kind of slow pace reminding us the time of Tang Dynasty circa 7th or 8th century; or even earlier when nothing was in the universe except a formless chaos.

I can’t see. I can’t see anything. I can see nothing. Why I can’t see? Is it the problem of my eyes? Is it the problem of my brain? I can’t see what’s ahead of me. I can’t see anything. I can’t see what’s ahead. Why can’t I see what’s ahead? Is

it the problem of my eyes? Is it the problem of my brain? I can’t see the future. I can’t see anything. I can’t see the future. Why can’t I see the future? Is it the problem of my eyes? Is it the problem of my mind?

2. Invasion started afterward. Pioneer appeared in the black hole. Pioneers flowed in like running water; Four in a group supporting each other looking for water source and the mines; looking for evidence and shortcut; looking for a brand new world and future. They are explorers, architects and surveyors. All will do.

I can’t see. I can’t see anything. I can’t see what’s ahead of me. Why can’t I see what’s ahead? I can’t see the future. I can’t see anything. I can’t see the future. Why can’t I see you? I can’t see you. I can’t see anything. I can’t see my city. Why can’t I see my city? Is it the problem of my eyes? Is it the problem of my mind?

3. Being beat physically yet not mentally, against all odds, let’s stay strong. Being rebellious yet not necessarily being self-defeating,

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being cautious yet not without one’s stand. Being tied up yet not giving up, letting loose in one’s position yet not one’s orientation..

I can’t see myself. I can’t see … myself. What I can’t see myself. I can’t see myself. I can’t see us. I can’t see … us. Why can’t I see us? I can’t see us. I can’t see China. I can’t see … China. Why can’t I see China? I can’t see China. I can’t see Hong Kong. I can’t see … Hong Kong. Why can’t I see Hong Kong. I can’t see my Hong Kong. I can’t see the stage. I can’t see … the stage. Why can’t I see the stage. I can’t see the stage.

4. Moving around, losing ground, keep shouting the same name or slogan, that is the name of her destiny. Her cries serve both inquisition and accusation, yet, that might be heard by anyone but herself. You should have an idea of my fate, and being responsible for my future.

I can’t see what’s in front of me. I can’t see what’s ahead. I can’t see my life ahead. I can’t see hope. I can’t see the future. I can’t see myself. I can’t

see next step. I can’t see history. I can’t see you.

5. They hold a meeting complaining, appealing because of her, they shout and shout, all the filthy words but all in vain. Then realize nothing can be done, all dismisses.

I can’t see. I can’t see. I can’t see anything. I can’t see. I can’t see anything. Is it the problem of my eyes? Is it the problem of my mind? I can’t see what’s in front of me. I can’t see anything. I can’t see what’s in front of me. Is it the problem of my eyes? Is it the problem of my mind? I can’t see the future. I can’t see anything. I can’t see the future. Why can’t I see the future? Is it the problem of my eyes? Is it the problem of my mind?

6. Let’s pretend nothing had happened. She was the only one insisted in moving forward, she fell but that was not important; she stood up again, became independent and kept moving forward despite the tripping over, that is most important, to be able to stand up again and become independent.

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導演、文本、舞台設計榮念曾

Director, Text, Design

Danny Yung

華人實驗藝術先驅，香港最具影響力藝術家之一，進念．二十面體創團成員及聯合藝術總監。投入劇場、漫畫、錄像及電影、視覺藝術及裝置藝術等創作超過四十年，作品於三十多個城市演出及展出。

2014年獲授予「福岡亞洲文化獎─藝術文化獎」。

2009年獲德國聯邦總統頒授「德國聯邦十字絲帶勳章」，以誌其於推動港、德兩地文化交流的貢獻和成就。

2008年 憑《 荒 山 淚 》於 聯 合 國教 科 文 組 織 國 際 劇 協 的Music Theatre NOW 比賽中奪得殊榮。

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

In 2014, YUNG was awarded the Fukuoka Prize – Arts and Culture Prize.

In 2009, YUNG was bestowed the Cross of the Order of Merit of the Federal Republic of Germany in recognition of his contributions towards the arts and cultural exchange between Germany and Hong Kong.

In 2008, with Tears of Barren Hill YUNG garnered the Music Theatre NOW Award presented by the UNESCO’s International Theatre Institute.

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許敖山（代號 Nerve）生於香港，香港演藝學院作曲及電子音樂碩士，經常以多重身份遊走於現代音樂、聲音藝術、多媒體劇場及地下文化之間，專注混合藝術形式、跨越界別、實驗傳統及交流合作。其作品曾於香港藝術節、深圳香港城市建築雙城雙年展、新視野藝術節、及微波國際媒體藝術節等演出，並獲香港小交響樂團、香港城市大學、香港創樂團、進念.二十面體、現在音樂、城市當代舞蹈團等委約創作。近年主要作品包括胡恩威導演多媒體歌劇《利瑪竇的記憶宮殿》、邵逸夫創意媒體中心開幕節目《四象萬相》、與龔志成合作

《家．春．秋》現場電影配樂及《1984》電影歌劇，並擔任西九文化區《拾．年》音樂總監。

Steve Hui (a.k.a. Nerve) is a multidisciplinary artist whose practice mines the boundaries between contemporary music, sound art, multimedia theatre and underground subcultures. His main interests are crossing boundaries, experimenting tradition, remixing art forms, and connecting peoples. He received his master in composition and electronic music from the Hong Kong Academy for Performing Arts. His music has been presented at the Hong Kong Arts Festival, Microwave International Media Art Festival and New Vision Arts Festival. He has received numerous commissions including the City University of Hong Kong, Contemporary Musiking Hong Kong, Hong Kong New Music Ensemble, Hong Kong Sinfonietta, Zuni Icosahedron, City Contemporary Dance Company, among others. His recent works included cinematic opera 1984, digital opera The Memory Palace of Matteo Ricci, live soundtrack of 1950s films Family, Spring, Autumn, The Four Infinities for the opening of the Run Run Shaw Creative Media Centre, and served as music director of Decade for the West Kowloon Cultural District.

音樂總監、創作指導（聲音）許敖山

Sound Director, Creative Instructor (Sound)

Steve Hui

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創作指導（形體）黃靜婷

篇作品《植．聽》、《日夜沬了》、《二想天開》、《六翻自己系列》、《潛．在動》、MaD@西九之《踩過界大舞台》。

2013年 開 始 了 與 日 本 藝 術 家 的 三年合作計劃《絕對飛行機》。黃氏現為自由身工作者，同時於香港兆基書創意書院任教多媒體表演藝術課程、香港演藝學院(應用學習課程)等擔任導師。

香港演藝學院現代舞系(榮譽)學士，曾獲得演藝學院友誼社獎學金。畢業後獲「香港賽馬會音樂及舞蹈信託基金」之舞蹈獎學金，修讀由Hollins University與 美 國 舞 蹈 節(ADF)所合辦的碩士學位課程。在美期間曾獲 資 助 代 表 大 學 前 往 摩 納 哥 參 加 Monaco Dance Forum 2006。

2012年赴捷克布拉格深造戲劇及表演課程。其作品曾於世界各地發表, 包括香港、波蘭、希臘、廣州、馬來西亞、紐約、維珍尼亞州及美國舞蹈節ADF 2007。

近 年 作 品 包 括 於2014及2015於 香港藝術節「香港賽馬會當代舞蹈平台 」創 作《 默 染 》及《 人 間． 獨．白》、《風惜惜》為波蘭旋轉舞蹈劇場藝術節作交流演出、在希臘演出群舞《Fara, Performing at the Edge》以及獨舞《Tiny Hong Kong》等。長

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Wong graduated from The Hong Kong Academy for Performing Arts (APA), with honours in Contemporary Dance. She was awarded the Hong Kong Jockey Club Music and Dance Fund scholarship to study master’s degree programme jointly organised by the Hollins University & American Dance Festival (ADF) in the U.S. While studying, as a representative of Hollins University to attend the Monaco Dance Forum 2006. In 2012, she completed the Acting & Performing course “(Inter)acting with the Inner Partner & Authorial Performance” in Prague, Czech Republic.

Her choreographies have been staged in different countries in the world. Including Hong Kong, Poland, Greece, China and U.S., etc.

Her recent works include Diffusion of the Silence and Heaven Behind the Door was commissioned and produced by Hong Kong Arts Festival’s

Creative Instructor (Movement)

Chloe Wong

“Contemporary Dance Series 2014 & 2015”, Lifting Bones was performed in Poland Dance Festival 2015, an ensemble work performed in Greece Fara, Performing at the Edge and solo work Tiny Hong Kong, etc.

Full-length works include Audible Growth, The Living Split, Planet Love, Positioning Series, MaD@West Kowloon’s Cross the Line Theatre.

Since 2013, Wong has collaborated with Japanese artists in a three-years cross cultural exchange programme Absolute Airplane.

Wong is a freelance dancer, and currently teaching at HKICC Lee Shau Kee School of Creativity, HKAPA (APL course), etc.

14

創作指導（聲音）李俊樂

李俊樂為世界首位贏得國際協奏曲比 賽 (美 國)首 獎 的 青 年 口 琴 演 奏家，憑著出眾的口琴技巧，獲邀請於 國 際 知 名 的 紐 約 卡 內 基 音 樂 廳(Carnegie Hall)演出。

他的音樂領域由傳統的古典音樂到爵士樂以及現代音樂。他前往奧地利跟隨Franz Chmel深造古典半音階口琴，以及前往美國跟隨Howard Levy深造全音口琴及爵士樂。

他活躍於香港及國際樂壇作藝術交流，並多次在本地及海外的音樂節演出，其中包括世界口琴節、亞太口琴節、亞洲流行音樂節、新加坡華藝節及中國上海國際藝術節等。

近年他經常與知名歌手合作演出，如譚詠麟、盧冠廷、謝安琪、徐小鳳和李克勤等，並且以獨奏家身份與香港及海外多個管弦樂團及中樂團合作演出，讓口琴音樂推廣到不同的領域。

15

Gordon was the first Harmonica player to have won the first prize at the 2014 International Concerto Competition (U.S.) and was invited to perform at the prestigious Carnegie Hall as recognition of his excellence in classical music repertoires.

Gordon shows his potentials in a wide range of genres, from classical to jazz, world music and contemporary music. He pursued advanced studies in the Chromatic Harmonica in Austria with Austrian Chromatic Harmonica Maestro—Franz Chmel. He took advanced studies in Diatonic Harmonica and Jazz in Chicago with legendary Harmonica player Howard Levy. Gordon has collaborated with well-known singers including Alan Tam, Lowell Lo, Kay Tse, Paula Tsui, Hacken Lee, to name but a few. Gordon is also regularly invited to perform as a soloist for orchestras world widely.

Creative Instructor (Sound)

Gordon Lee

16

蔡雨田Choy Yu Tin

傳理系學生，熱愛表演藝術，包括戲劇，舞蹈。

香港對我來講是重要的。

生活在香港自然有種責任 期望它會更好更進步 。

雖然充滿未知，但我仍然會 繼續留下來。

I’m a student of the Department of Communication. I love performing arts and dance.

Hong Kong is important to me.

Living in Hong Kong naturally gives me a sense of responsibility to make it a better place.

Though the future is full of unknown, I still want to stay here.

羅凱盈Law Hoi Ying, Vicgina

世界需要更多創意空間， 我懂；

不應限制藝術發展的可能性，我懂。

原來，人生尤如鬧劇一場。

生於如此荒誕，如此動盪的世代，大概我們是懷著同一理想。

I understand that the world needs more creative space.

I understand that there shouldn’t be restrictions for arts development.

It turns out life is but a farce.

Life is absurd, and in such tumultuous times, we probably share the same ideal.

鄧佩珊Jessica Tang

灰色 看不見嗎 扭曲 看不見嗎 撕裂 看不見嗎 默染 看不見嗎 真相 看不見嗎

這 美麗 的 城市 你 看 不 見 嗎

Gray Can’t you see ? Truth Can’t you see ? Torn Can’t you see ?

This beautiful city you can’t see ?

余在司Joyce Eu

我喜歡在劇場上表演

去挑戰自己

跳出另一個世界

去做不同的東西

I love to perform on stageChallenge myselfTo jump into another worldDo different things

劉皓琳Lau Ho Lam, Phoenix

我是一名對政治冷感的人， 也不太熟悉政治。

我的家人也是對政治非常非常冷感的人。

對比起他們，我是一個對政治比較有熱情的人。

「我不希望香港會變成一個封閉的城市，變成一個不會進步的城市。」

I’m not interested in politics.

My entire family is also very impassive towards politics.

When compared to them, I’m quite passionate about politics.

“I don't want Hong Kong to become a closed city, a city with no progress.”

謝昊丹Tse Ho Dan, Daniel

在劇場一直探索自己的可能性，

如今從模仿別人走回最原點 : 由自己出發。

了解不同的思想，或是欣賞各人獨特的出發點，

更因為各人的不同而肯定自己應該所堅持的。

I have been exploring my possibilities in the theatre,

Now from imitating others, I return to the point of origin: to start off from myself.

Trying to understand different ways of thinking, or appreciating the unique starting points of everybody;

Because everyone is different.

蔡梓麟Choi Tsz Lun, Pluto

現在我是一張「白紙」，

但並不是指我甚麼也不懂，

因為身為一張「白紙」，

便可完整吸收現在新學的知識

Now, I’m a piece of “white paper”,

but that doesn’t mean I do not know anything,

because as a piece of “white paper”,

I could absorb newly learn knowledge without being restricted by former old knowledge.

莫東裕Mok Tung Yu, Kitty

創意編號：013

正接受創意訓練

還是一名新生

請多多指教！！！

Creative Number: 013First Grade student of Creative Playground currentlyNewly recruitedI’ve got a lot to learn !!!

學員筆記 Performers' Notes

17

許文壕Hui Man Ho, Ben

劇場，我們，香港， 都不存在無限可能性。

無限的錯覺， 源於我們看不見，

留守著舊有已見的 有限可能性，

探索未知的「無限」 快樂非常。

Theatre, we, Hong Kong, are all full of infinite possibilities.

Unlimited illusions, springing from what we cannot see,

Limited possibilities of holding on to old beliefs,

Extremely happy in exploring “boundless” future.

吳思琪Ng Sze Ki, Suki

我喜歡看小說，

亦喜歡每逢暑假去看不同類型的舞台劇。

我自信心雖不足，但我會鼓足勇氣做到最好。

我認為我在舞台上才是最有自信的時候。

I love reading novels,

I enjoy watching different types of drama during summer vacation. I don’t have much confidence, but I’d summon up all my courage to do the best I can.

I have most self confidence when I’m on stage.

黃美淇Wong Mei Kei, Maggie

以前的我愛在劇場尋找自己的多樣性和限制，

現時則在思考劇場背後的教育性和對社會的影響和意義。

在香港這個即食的金融社會，到底表演藝術又會如何發展和變化呢？

該不會有一天只能用普通話演出紅劇？！

I used to enjoy finding my diversity and restraints in theatre,

but now I rather ponder upon the educational nature and social influence and significance of theatre.

Hong Kong is a financial city which lives at the instance, and so how would performing arts change and develop?

Will there be a day when all performances will be in Putonghua and China oriented?

隋夢緣Tsui Mung Yuen

若有見字者精通神秘學，

民女跪求一救，

好讓民女返回神麚二年（己巳），

代父從軍，一表孝義。

I humbly bag any reader who might be well versed in mysticism,

please transport me back to the year of four hundred and twenty nine,

so I could fill my father’s place to serve in the army, as a token of my filial piety.

劉柏姸Lau Pak Yin, Staphanie

作為一個剛離開大學，

走出社會的年輕人，

生活在香港， 這個國際金融中心，

面對著種種社會問題

As a fresh grad, a young man, stepping into society in Hong Kongan international finance centre with all sorts of social problems

何嘉翹Ho Ka Kiu, Hazel

不喜歡

介紹自己，

因為自己

還在研究自己。

Don’t likeintroducing myself,Because I am still learning about myself.

蘇權威Handsome So

「四方上下曰宇， 古往今來曰宙。」

時間與空間， 是我們認知的地球。

有人想衝出地球， 探索宇宙，找片樂土。

我想成為勇者！ 我想改變世界！ 我要真普選！

The universe includes whatever is above and below, to the right and to the left; whatever is in the past, the present and the future.

Time and space, what we know of the world.

Some people want to fly away from the planet Earth

I want to be brave ! I want to change the world ! I want real universal suffrage !

關楚婷Kwan Chu Ting, Simony

一個簡單的動作，

一句簡單的句子，

兩人的協調，

就已經是表演。

One simple movement, one simple sentence, two people acting in harmony, this is performance already.

伸延閱讀 Extended Reading(頁 p. 24-40)

18

團隊The Team

導演、文本、舞台設計：榮念曾音樂總監、創作指導 （聲音）：許敖山 （腦科）

創作指導 （形體）：黃靜婷創作指導 （聲音）：李俊樂聲音演出：何秀萍

演員： 余在司 吳思琪 何嘉翹 許文壕 莫東裕 黃美淇 隨夢緣 蔡雨田 鄧佩珊 劉柏妍 蔡梓麟 劉皓琳 謝昊丹 關楚婷 羅凱盈 蘇權威

監製：黃裕偉製作監督：李浩賢燈光設計：陳焯華錄像設計 及控制：成博民音響設計：夏恩蓓創作統籌：卓翔排練統籌：李嘉隆服裝統籌：鄭運蓮舞台監督：周俊彥執行舞台監督：陳嘉儀助理舞台監督：陳安琪服裝助理：洪榮賢舞台助理： 廖令基、嚴志聰 詹文龍、麥建強

舞台實習生#：黃歷恩、陳家俊、李嘉良

錄像紀錄 #：吳婉橋、李偉泰、關文強 黃海明、劉慶聰、朱健峰

# 香港專業教育學院（李惠利） 資訊科技系 視聽娛樂科藝 高級文憑 學生

攝影：成灝志、伯伯平面設計： 郭健超、盧雪雯 呂時鵬、王瑞華英文翻譯 （宣傳品）：梁惠琪

19

Director, Text, Stage Design: Danny YungSound Director, Creative Instructor (Sound): Steve Hui (aka Nerve)

Creative Instructor (Movement): Chloe WongCreative Instructor (Sound): Gordon LeeVocal Performance: Pia Ho

Performers: Joyce EuNg Sze Ki, SukiHo Ka Kiu, HazelHui Man Ho, BenMok Tung Yu, KittyChan Lok ChingWong Mei Kei, MaggieYip Shuk Ching, VickyTsui Mung YuenChoy Yu TinJessica TangLau Pak Yin, StaphanieChoi Tsz Lun, PlutoLau Ho Lam, PhoenixTse Ho Dan, DanielKwan Chu Ting, SimonyLaw Hoi Ying, VicginaHandsome So

Producer: Wong Yue WaiProduction Manager: Lawrence LeeLighting Designer: Billy ChanVideo Designer & Operator: Oliver ShingSound Designer: Candog HaCreative Coordinator: Cheuk CheungRehearsal Master: Peter LeeCostume Coordinator: Twinny ChengStage Manager: Chow Chun YinDeputy Stage Manager: Katrina ChanAssistant Stage Manager: Chan On KiWardrobe: Teresa HungStage Crew: Liu Ling Kei, Yim Chi Chung Chim Man Lung, Mak Kin Keung

Stage Interns#: Wong Lik Yan Jireh, Chan Ka Chun, Lee Ka LeungVideo Archive#: Ng Yuen Kiu, Lee Wai Tai, Kwan Man Keung Dick, Wong Hoi Ming, Lau Hing Chung, Chu Kin Fung# Students from Higher Diplomer in

Audio-Visual Entertainment Technology (AVET), Department of Information Technology, Hong Kong Institute of Vocational Education (Lee Wai Lee)

Photographers: Vic Shing, Kwong LamGraphic Designers: Pollux Kwok, Stephanie Loo, Pangpang Lu, Glenis WongEnglish Translation (Printed Matters): Vicky Leong

20

鳴謝 Acknowledcement：

香港演藝學院戲劇學院School of Drama, HKAPA

香港兆基創意書院HKICC Lee Shau Kee School of Creativity

21

聯合藝術總監：榮念曾聯合藝術總監暨行政總裁：胡恩威

Co-Artistic Director: Danny Yung

Co-Artistic Director cum Executive Director: Mathias Woo

Zuni Icosahedron, founded in 1982, is a Hong Kong

based international experimental art company.

Zuni has produced over 200 original productions of

alternative theatre and multimedia performances,

and has been active in video, sound experimentation

and installation arts, as well as in the areas of arts

education, arts criticism, cultural policy research and

international cultural exchange. In the past decade,

Zuni has been undertaking the mission of preserving

and developing Intangible Cultural Heritage

(Performing Arts). Over the years, Zuni has been

invited to over 60 cities in Europe, Asia, and America

for cultural exchange and performances. Zuni is

one of the nine major professional performing arts

companies in Hong Kong, and has established itself

as a premier experimental theatre locally, regionally

and internationally. Since 2009, Zuni has become

a Venue Partner of the Hong Kong Cultural Centre

in where a series of theatre works and outreach

education programmes were produced.

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

世界的實驗藝團。專注於多元戲劇藝術

創作，原創劇場作品超過二百齣，曾

獲邀前往演出及交流的城市遍及歐、

亞、美等地六十多個城市。多年來一直

致力拓展香港文化藝術新領域，積極推

動國際文化交流，主催藝術評論及文化

政策研究等工作，並活躍於藝術教育和

發展電子媒體及跨媒體等新類型的藝術

模式，近年亦致力促進非物質文化遺產

(表演藝術)的傳承和發展。現為香港

九個主要專業表演藝術團體之一，香港

最具代表性的國際實驗劇團。2009年

始，成為香港文化中心的場地伙伴，開

展系列創作及外展教育計畫。

進念．二十面體Zuni Icosahedron

22

助理藝術總監：陳浩峰駐團演員：楊永德、鍾家誠駐團藝術家：黎達榮研究主管：梁冠麗創作統籌：卓翔、李嘉隆藝團經理：陳世明、簡溢雅經理：周寶儀、黃偉國助理節目經理：何彥羲節目及藝術行政見習：翟桐、賴旭輝、盧雪雯

Assistant Artistic Director: Cedric Chan

Performers-in-Residence: David Yeung, Carson Chung

Artist-in-Residence: Lai Tat Wing

Senior Researcher: Theresa Leung

Creative Coordinators: Danny Cheuk, Peter Lee

Company Managers: Jacky Chan, Doris Kan

Managers: Bowie Chow, Luka Wong

Assistant Programme Manager: Ho Yin Hei

Programme and Art Administration Trainees: Rachel Chak, Clement Lai, Stephanie Loo

Member of the Hong Kong Council of Social Service

進念．二十面體為香港文化中心場地伙伴進念．二十面體由香港特別行政區政府資助

Zuni Icosahedron is a Venue Partner of the Hong Kong Cultural Centre

Zuni Icosahedron is financially supported by the Government of the Hong Kong Special Administrative Region

23

「待用門票」是「進念公益門票計畫」中一個創新的慈善捐贈模式：您每購買一張「待用門票」，就可以捐助一個名額給綜合社會保障援助（簡稱綜援）人士及香港社會服務聯會（簡稱社聯）的服務對象觀賞進念演出。

The “Suspended Ticket” is an innovative form of donation in “Zuni Welfare Ticket Scheme”. For each “Suspended Ticket” you purchase, the ticket quota is gifted to a service target of the Hong Kong Council of Social Service (HKCSS) or a Comprehensive Social Security Assistance (CSSA) recipient for attending a Zuni Icosahedron performance.

Suspeneded Tickets Beneficiaries

• Association of Women with Disabilities Hong Kong

• Caritas Addicted Gamblers Counselling Centre

• Caritas Dr. & Mrs. Olinto de Sousa Integrated Family Service Centre

• Caritas Pelletier Hall• Chinese YMCA of Hong Kong• Concord Mutual-Aid Club Alliance• The Boys’ and Girls’ Association of Hong

Kong Jockey Club Yau Tong Children Youth Integrated Services Centre

Participating School of Zuni’s Liberal Studies & Arts-in-Education Programme

• Li Po Chun United World College of Hong Kong

• Ning Po College• Pui Tak Canossian College

《看不見的城市》待用門票受惠機構

• 香港女障協進會• 明愛展晴中心• 明愛蘇沙伉儷綜合家庭服務中心• 明愛培立中心• 香港中華基督教青年會• 康和互助社聯會• 香港小童群益會賽馬會油塘青少年

綜合服務中心

進念通識及藝術教育計畫參與學校

• 香港李寶椿聯合世界書院• 寧波公學• 嘉諾撒培德書院

進念公益門票計畫Zuni Welfare Ticket Scheme

24

傳理系學生，熱愛表演藝術，包括戲劇，舞蹈。享受舞台上的張力和與觀眾互動方式，希望可以用自己感染他人反思生活上的細節和關係。除了舞台演出，亦有參與微電影的演出。相信藝術並非只存單一模式，熱衷嘗試不一樣的體驗，發掘更多可能性。認為有藝術的生活能活得更精彩。為了達成夢想，以賣藝的方式遊歷歐洲體驗當地藝術文化，擴寬視野。

香港對我來講是重要的。生活在香港自然有種責任期望它會更好更進步 。雖然充滿未知，但我仍然會繼續留下來。

學員筆記 Performers' Notes

蔡雨田Choy Yu Tin

I'm a student of the Department of Communication. I love performing arts passionately, including theatre and dance. I enjoy the tension on stage and the interactivity between actors and audience. I hope I could make others reflect on the details and relationships on life. Besides performing on stage, I also participate in acting in short films. I believe that arts does not exist in only one form, and thus I like to experience different things to explore more possibilities. I think that arts can make life more colourful and exciting. In order to realise my dream, I'd like to travel around Europe while busking and experience different local cultures to widen my horizon.

Hong Kong is important to me. Living in Hong Kong naturally gives me a sense of responsibility to make it a better place. Though the future is full of unknown, I still want to stay here.

25

我係余在司，我喜歡在劇場上表演去挑戰自己跳出另一個世界去做不同東西去令人覺得我可以去發現多啲舞台藝術。

I'm Joyce Eu, and I love to perform on stage, and challenge myself; to jump into another world and do different things to make people realise that I could discover more theatre arts.

余在司Joyce Eu

26

曾經是一名公共行政及管理課程學生，畢業以後升讀文化管理學系。世界需要更多創意空間，我懂；不應限制藝術發展的可能性，我懂。原來，人生尤如鬧劇一場。生於如此荒誕，如此動盪的世代，大概我們是懷著同一理想。衝出操場以後，踏入人來人往的城市。沿路尋找屬於我們的烏托邦。曾經同在操場裡經歷百態風光，確信有一天您我總會回味過往遊玩光景。您，看得 見嗎？

I used to study public administration and management, and I furthered my studies in cultural management after graduation. I understand that the world needs more creative space; I understand that there shouldn't be restrictions for arts development. It turns out life is but a farce. Life is absurd, and in such tumultuous times, we probably share the same ideal. After we leave the playground, we'd step into a busy city. We'd all look for our own utopia. We have experienced various ups and downs in our playground, and I'm sure one day we'd all reminisce on our past. Can you see that ?

羅凱盈Law Hoi Ying, Vicgina

27

我係香港兆基創意書院讀書，主修設計和表演藝術。我比較喜歡Drama，因為我認為在Drama中，我是在代入了角色的人生，甚至能夠左右那個角色的一生。

我是一名對政治冷感的人，也不太熟悉政治。可能，你會跟我說：

「有沒有搞錯！這是你一直居住的城市，你怎能夠這樣子！」我的家人也是對政治非常非常冷感的人。對比起他們，我是一個對政治比較有熱情的人。有時，對他們也只是一種娛樂。例如在「等埋發叔」的這次事件中，家人總會笑他們很愚蠢，不懂得計好數才離席，卻不會深入討論這次事件。

但是，如果真的要我想我擔心香港什麼，我會答：「我不希望香港會變成一個封閉的城市，變成一個不會進步的城市。」

到香港真的是要準備發生我所擔心的事，我可能會選擇移民。因為，我對「爭取」這個詞語，實在太過模糊了。

I'm a student from Lee Shau Kee School of Creativity, and I major in design and performing arts. I prefer drama because in drama I enter the life of my character, and I could even affect its life.

I'm not interested in politics and I don't know much about politics. Perhaps, you'd say, “What the heck! This is the city you live in. How could you!” My entire family is also very impassive towards politics, and when compared to them, I'm quite passionate about politics. Sometimes, politics is just entertainment to them. For example, in the farcical incident of “Waiting for Uncle Fat” in casting votes for the electoral reform package by legislators, my family made fun of the stupidity of the pro-establishment party, laughing at their inability to count the number of their members before vacating the chamber, yet they would not discuss the matter in depth.

If you ask me what my concern for Hong Kong is, I’d say, “I don’t want Hong Kong to become a closed city, a city with no progress.”

When Hong Kong is about to become what I fear, I'd choose to leave for another place because I have no faith in the word “fight” which is all very blurry to me.

劉皓琳Lau Ho Lam, Phoenix

28

許文壕，劇場，我們，香港，都不存在無限可能性。

無限的錯覺，源於我們看不見， 留守著舊有已見的有限可能性， 探索未知的「無限」快樂非常。

「生也有涯，而知也無涯。以有涯隨無涯，殆已！」

曾為此失去動力的我找回只因快樂而學習的操場。

Hui Man Ho, theatre, we, Hong Kong, are all full of infinite possibilities.

Unlimited illusions, springing from what we cannot see,

Limited possibilities of holding on to old beliefs,

Extremely happy in exploring the “boundless” future.

Life is limited, yet knowledge is unlimited. Chasing something unlimited with limitation, that's harmful !”

Because of this, I was once despondent, but now I have found a playground where I pursue knowledge with happiness.

許文壕Hui Man Ho, Ben

29

在劇場一直探索自己的可能性，如今從模仿別人走回最原點 : 由自己出發。這幾個月與各種背景的人交流、了解不同的思想，或是欣賞各人獨特的出發點，更因為各人的不同而肯定自己應該所堅持的。由一開始的迷茫，問自己有甚麼想表達、自己是甚麼，到坦率地從自己的身體出發、最真切感受自己的身體與極限，如今我終於確確實實的站在舞 台上。

I have been exploring my possibilities in the theatre, and now from imitating others I return to the point of origin: to start off from myself. For the past few months, I have been exchanging with people with various backgrounds, trying to understand different ways of thinking, or appreciating the unique starting point of everybody; and because everyone is different, it makes me realise that I should uphold what I have been insisting. In the beginning, I was all dazed and confused, asking myself what I was trying to express, and what I really was. Then, I became frank with myself and started off with my own body, truly feeling my body and its limits. Now, I am finally standing on the stage indeed.

謝昊丹Tse Ho Dan, Daniel

30

我就讀香港兆基創意書院，除了四科主科外，還讀了視覺藝術和中國歷史。

我喜歡看小說，亦喜歡每逢暑假去看不同類型的舞台劇。我覺得最好看的是舞蹈劇和音樂劇。我自信心雖不足，但我會鼓足勇氣做到最好。

我希望香港能接納更多和DSE考出來的證書，例如:DCA等，讓其他對另類的活動有特別成就外，有更多的機會發掘自己的興趣，並發展自己的所長。

我希望自己有更多時間去參加不同類型的舞台劇工作，特別是台前，因為我認為我在舞台上才是最有自信的時候。我希望我未來也能繼續在舞台上表演，成為我的主要職業。

I'm studying in Lee Shau Kee School of Creativity, and besides four major subjects, I am also studying visual arts and Chinese history.

I love reading novels, and I enjoy watching different types of drama during summer vacation. I think dance theatre and musicals are the best. I don't have much confidence, but I'd summon up all my courage to do the best I can.

I hope Hong Kong would accept more certificates out of DSE, such as DCA, so special achievement could be obtained for other alternative activities, and we could have more opportunities to explore our own interests and develop our strengths.

I hope I could have more time to participate in different types of theatre work, especially on stage because I think I have most self confidence when I'm on stage. I also hope I could continue to perform on stage in future, and it would become my profession.

吳思琪Ng Sze Ki, Suki

31

我 看不見 你 看不見嗎我 看得見 你 看得見嗎

我 看不見 你 看得見嗎我 看得見 你 看不見嗎 看不見嗎 看得見嗎

灰色 看不見嗎 扭曲 看不見嗎 撕裂 看不見嗎 默染 看不見嗎 真相 看不見嗎

這 美麗 的 城市 你 看 不 見 嗎

I cannot see you can't see ?I can see you can see ?

I cannot see you can see ?I can see you can't see ?

Can't you see ?Can you see ?

Gray Can't you see ?Twisted Can't you see ?Torn Can't you see ?Ink stain Can't you see ?Truth Can't you see ?

This beautiful city you can't see ?

鄧佩珊Jessica Tang

32

我是黃美淇，花名教主。這名稱的原 由 是 一 段 中 學 很 無 聊 的 改 名 歷史，但或許大家都有經歷過這段清澀歲月。在此就不多提了（笑）

現時是一名無業份子，但很享受這段給自己休息和沉澱的時間。對劇場 實 在 是 又 愛 又 恨： 愛 它 的 多 變性、發掘性、實驗性；恨它的限制性、競爭性、即時性。以前的我愛在劇場尋找自己的多樣性和限制，現時則在思考劇場背後的教育性和對社會的影響和意義。恨的或許就是 劇 場 太 沒 有 準 則， 競 爭 相 當 激烈。劇場總是令人不安卻又期待：不論是觀眾的反應、和對手的交流及舞台效果和裝置，每一刻都是即時、真實而又富生命力。在香港這個即食的金融社會，到底表演藝術又會如何發展和變化呢？該不會將來有一天只能用普通話演出紅劇？但不論如何，生於斯、長於斯，我相信現時做好每一個演出，將小小的種子帶給香港觀眾永遠是重要而艱辛的任務。喜愛、嘗試、以為成功、意識不足、失敗...卻每每寄望

進步。只是希望有幸在不同的崗位中遊走，學習更多、領會更多、吸收更多，利用這些養份，成就這條路上的風景。

黃美淇Wong Mei Kei, Maggie

33

I am Wong Mei Kei , and my nickname is “commander”, which came from secondary school days when we did lame things like giving nicknames. I'm sure all of you have gone through times like that.

I’m now jobless, and I enjoy this very much because it gives me time to rest and reflect. I have a love-hate relationship with theatre. I love its versatile, explorative, experimental nature; but I hate its restrictive, competitive and spontaneous attributes. I used to enjoy finding my diversity and restraints in theatre, but now I rather ponder upon its educational nature, social influence and significance. What I hate about theatre is that it is too loose, without set criteria, and it is highly competitive. It is always very disturbing, but is most anticipated at the same time: no matter it is the reaction of the audience, exchanges of actors, stage effects and installations; every moment is the immediate, so real and so full of life.

Hong Kong is a financial city which lives at the instant, and so how would performing arts change and develop? Will there be a day when all performances

will be in Putonghua and China oriented? No matter what, I was born and raised here, and I believe that the most important and arduous task now is to do well in every performance in sowing little seeds for the audience of Hong Kong. Loving, attempting, mistaking deeds as success, lacking awareness, failing...all lead to improvement. I only hope I could engage in different posts, learn more, understand more, absorb more and use these nutrients to pave a better path for future scenic views.

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現在我是一張「白紙」，但並不是指我甚麼也不懂，因為身為一張「白紙」，便可完整吸收現在新學的知識，不被舊有的的知識束縛，不過就算是學過的知識，不同人教也有不同，化為一張「白紙」再學，便可順利更新，並且我相信，這在表演藝術外也是可能的。

Now, I'm a piece of “white paper”, but that doesn't mean I do not know anything, because as a piece of “white paper”, I could absorb newly learned knowledge without being restricted by former old knowledge. Learned knowledge would vary depending on who taught it, but if I turn into a piece of “white paper” I could learn anew and update. I also believe, it works this way as well in other things besides performing arts.

蔡梓麟Choi Tsz Lun, Pluto

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姓名:丸子

創意編號:013

現任創意操場的一年級學員

正接受創意訓練

還是一名新生

請多多指教！！！

Name: Little Balls

Creative Number: 013

First Grade student of Creative Playground currently

Under creative training

Newly recruited

I've got a lot to learn !!!

莫東裕Mok Tung Yu, Kitty

36

香港兆基創意書院的學生，

不喜歡介紹自己，

因為自己還在研究自己。

Student of Lee Shau Kee School of Creativity

Don't like introducing myself,

Because I am still learning about myself.

何嘉翹Ho Ka Kiu, Hazel

37

癸巳年六月初八，民女於樓下街角轉彎口，與隋性女子以頭撞頭，其後靈魂對掉。其實我對這個女子亦認知不深，要寫出一份簡介實在太過強人所難。另，若有見字者精通神秘學，民女跪求一救，好讓民女返回神麚二年(己巳)，代父從軍，一表孝義。

On the eighth day of the sixth month in the year 2013 After Christ, my humble self and a dame named Chu ran into each other at the corner of the street down below and my head bumped into hers, and hence an exchange of our souls took place. In fact, I know not too much about this lady, and thus it would be a Herculean task to give a brief introduction of such person. Other than that, I humbly bag any reader who might be well versed in mysticism, please transport me back to the year of four hundred and twenty nine, so I could fill my father's place to serve in the army, as a token of my filial piety.

隋夢緣Tsui Mung Yuen

38

「 四 方 上 下 曰 宇， 古 往 今 來 曰宙。」時間與空間，是我們認知的地球。有人想衝出地球，探索宇宙，找片樂土。

他說，那星在1600萬光年外，所以我們看到的光，飛了1600萬年，它應該很累吧。我們是如此想像地球外的「空間」。

星真的在那裡？我們又在何方？

我們是人類，看到星在天外，只是我們人類的閱讀，只屬於我們的思維。如世界真有外星人，

「他們」又會有不同的理解，其他狀態或者毫無狀態。那星不在1600萬年外，就只在我們的思維中。

我想成為勇者！

我想改變世界！

我要真普選！

就此改變

The universe includes whatever is above and below, to the right and to the left; whatever is in the past, the present and the future. Time and space, what we know of the world. Some people want to fly away from the planet Earth to explore the universe and find a Xanadu.

He says that the star is 16 million light years away, and so the light we see has travelled 16 million light years. It should be very tired. This is how we imagine the “space” outside our world.

Is the star really there ? And where are we ?

We are humans, and we see stars in the sky; but what we read is limited by what we think. If there were really aliens out there, “they” would have different understanding, other states of being or without any state of being. That star is not 16 million light years away, it is only in our mind.

I want to be brave !

I want to change the world !

I want real universal suffrage !

Change now

蘇權威Handsome So

39

作為一個剛離開大學，走出社會的年輕人，生活在香港，這個國際金融中心，面對著種種社會問題，我覺得這一代的香港年輕人比上一代更難找到一份稱心如意的工作，大家都想過著悠哉悠哉的生活，漸漸不禁愛上咖啡文化，不少年輕人都想開一間屬於自己的咖啡店，而我也不例外，跑去當了咖啡師一段日子，學得一門沖調咖啡技術。現在會打理裝修公司生意，亦會在赤柱一間法國小店工作。對如何將藝術融入生活有很深的體會，上年開始參與實驗性劇場的我亦對表演藝術多了一份好奇，慢慢朝著生活的藝術探索。

As a fresh grad, a young man, stepping into society in Hong Kong, an international finance centre with all sorts of social problems, I think young people of this generation have more difficulties in getting an ideal job than the previous generation. Everybody wants a leisure and carefree life, and gradually falls in love with coffee culture. A lot of young people want to have a coffee shop of their own, and I am no exception. I went to learn how to make coffee and became a barista for a while. Now, I'm running a renovation company, and work part time in a French small shop in Stanley. I have quite some understanding of how to bring art into life. I started to participate in experimental theatre last year, and my curiosity for performing arts has been growing. I am slowly exploring the arts of life.

劉柏姸Lau Pak Yin, Staphanie

40

一個簡單的動作，一句簡單的句子，兩人的協調，就已經是表演。

關楚婷Kwan Chu Ting, Simony

One simple movement, one simple sentence, two people acting in harmony, this is performance already.

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