www.newvisionfestival.gov.hk

藝術節工作人員 Festival Staff節目統籌 Programme Co-ordination

高級經理 徐秀妍 Senior Manager Shirley Tsui

經理 侯韻旋 Managers Wendy Hau 林芳婷 Venus Lam 李敏怡 Karen Lee

副經理 薛銘基 Assistant Managers Sit Ming-kay 羅嘉恩 Law Ka-yan 巫麗斐 Gorie Mo 楊可嘉 Abby Yeung 黎嘉華 Julia Lai

節目主任 白頌麒 Programme Officers Dustin Pak 巫敏星 Maria Mo

助理節目主任 黎錦珊 Assistant Programme Officer Kathryn Lai

編輯 吳君玉 Editor May Ng

編輯助理 李裕隆 Editorial Assistant Will Lee

宣傳 Publicity

高級市場推廣主任 黃潔玲 Senior Marketing Co-ordinator Elsa Wong市場推廣主任 孔寶雲 Marketing Co-ordinator Karen Koong助理市場推廣主任 黃婉君 Assistant Marketing Co-ordinator Prudence Wong

場地管理 (香港文化中心) Venue Management (Hong Kong Cultural Centre)

高級經理/場地管理 蔣偉文 Senior Manager / Venue Elida Chiang高級經理/市場推廣 蔡淑娟 Senior Manager / Marketing Shirley Choi

歡迎你對所觀看的節目或「新視野藝術節」發表意見，好讓我們在未來安排節目時，能精益求精！請登入網址www.newvisionfestival.gov.hk，在「意見」一欄留言，又或者把觀後感連同聯絡資料傳真（2371 4171）或郵寄九龍尖沙咀梳士巴利道10號香港文化中心行政大樓5樓藝術節辦事處收。你的寶貴意見，我們深予重視。You are welcome to send us your comments on the programme(s) attended or the New Vision Arts Festival in general to enhance our future programming. Share your views with us by filling in our “feedback” form at www.newvisionfestival.gov.hk or send your opinion by fax (2371 4171) or by mail to the Festivals Office, Level 5, Administration Building, Hong Kong Cultural Centre, 10 Salisbury Road, Tsim Sha Tsui, Kowloon with your contact information. Your opinion is much appreciated.

如遇特殊情況，主辦機構保留更換演出者及節目的權利。The presenter reserves the right to substitute artists and change the programme should unavoidable circumstances make it necessary.

本節目內容並不反映康樂及文化事務署的意見。The content of this programme does not represent the views of the Leisure and Cultural Services Department.

場刊回收Recycling of House Programmes我們歡迎閣下閱後保留此場刊。若不欲保留，請將場刊留在座位或交回場地入口，以作循環再用。多謝合作。We hope you enjoy reading this house programme and wish to retain it. If you do not want to keep it, please leave it on your seat or return it to the admission point after the performance for recycling. Thank you.

場地規則

各位觀眾：

為了令大家對今次演出留下美好

印象，我們希望各位切勿在場內攝

影、錄音或錄影，亦請勿吸煙或飲

食。在節目進行前，請關掉手提電

話、其他響鬧及發光的裝置。多謝

各位合作。

House RulesDear Patrons,In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording, filming, taking photographs, and also from smoking, eating or drinking in the auditorium. Please ensure that your mobile phones and any other sound and light emitting devices are switched off before the performance. Thank you for your kind co-operation.

29-30.10.2010 31-10.2010五Fri-六Sat 8pm 日Sun 3pm

香港文化中心劇場Hong Kong Cultural Centre Studio Theatre

節目全長約1 小時10 分鐘，不設中場休息Approx 1 hour and 10 minutes without intermission

10月29及30日設演後藝人談，歡迎觀眾留步參與。There will be meet-the-artists sessions after the performances on 29 and 30 October. All are welcome to participate.

廣東現代舞團 及 香港創樂團

Guangdong Modern Dance Company & Hong Kong New Music Ensemble

獻辭 Message

歡迎蒞臨參與第五屆「新視野藝術節」。

康樂及文化事務署主辦的「新視野藝術節」，自二零零二年首

次舉行以來，一直廣受觀眾、藝術界和媒體支持，現已成為兩

年一度令人期盼的藝壇盛事，不單為觀眾獻上以亞洲藝術為焦

點、新穎獨特的優質跨文化演藝節目，同時也為本地和訪港藝

術家提供文化合作交流的平台。

今屆藝術節將呈獻十五項精彩的舞台表演節目，其中多項更屬國際著名藝術家的世界

首演新作。這些跨越文化和地域疆界的作品極具創意，包括殿堂級歌后朱哲琴聯同民

族音樂和中西樂器演奏家震撼人心的表演，以及來自英國、日本、南非和紐約的勁量

級鼓手和樂手同台演出的《翼動：跨文化鼓樂激奏》等。藝術節還為觀眾獻上本地和

訪港藝術家／藝團的合作成果，當中包括由非常林奕華匯集中港台演藝精英所製作的

委約作品《命運建築師之遠大前程》。此外，藝術節亦對傳統藝術進行探索，呈獻包

括日本歌舞伎大師坂東玉三郎的中日版崑劇《牡丹亭》、台灣心心南管樂坊的首齣南

管現代歌劇《羽》、台灣國光劇團的新編京劇《金鎖記》、以及八十後新疆樂隊融合

世界音樂與傳統木卡姆音樂的創意演出。這些突破界限的節目，為本地藝壇帶來多元

色彩，並突顯香港作為亞洲國際都會的地位。

除了舞台演出外，藝術節還安排了各式各樣的延伸活動，包括藝評寫作導領計劃、新

媒體藝術展，以及一系列的工作坊、講座、學校巡迴演出和戶外音樂會等，務求把藝

術節的氛圍帶到社會每個角落。

我熱切期待大家踴躍參與這個豐富多采的藝術節，與我們一同體驗跨文化藝術的獨特

魅力，開拓藝術新視野。

康樂及文化事務署署長

馮程淑儀

Welcome to the 5th New Vision Arts Festival.

Thanks to the support of our audience, the arts circle and the media, the New Vision Arts Festival,

presented by the Leisure and Cultural Services Department since 2002, has become a highly

anticipated biennial event. Distinctive in its presentation of innovative and unique cross-cultural

performances with an Asian focus, the Festival also provides a platform for cultural exchange and

cooperation between local and visiting artists.

The Festival this year showcases a colourful line-up of 15 performing arts programmes, including a

number of world premieres of exciting cross-boundary artistic pursuits by internationally renowned

artists from different parts of the world, such as the rapturous musical encounter of legendary diva

Dadawa with ethnic and contemporary musicians, and the percussion extravaganza The Butterfly

Effect: East-West Percussive Parade featuring top drummers and instrumentalists from the United

Kingdom, Japan, South Africa and New York. Local artists/arts groups will present their artistic

creation in collaboration with overseas counterparts, including the commissioned theatre production

Grand Expectations by Edward Lam Dance Theatre featuring artists from the Mainland, Taiwan and

Hong Kong. Furthermore, there are also new explorations of the traditional arts, ranging from

the phenomenal Sino-Japanese version of Kunqu opera The Peony Pavilion starring the Japanese

Kabuki master Bando Tamasaburo, the first contemporary Nanguan opera Feather by the Xinxin

Nanguan Ensemble of Taiwan, and the innovative Peking Opera production The Golden Cangue by

the Guoguang Opera Company of Taiwan, the refashioning of traditional Muqam as a genre of world

music by a post-80s band from Xinjiang. These boundary-breaking programmes not only bring

diversity to the local arts scene but also exemplify Hong Kong’s status as Asia’s world city.

Apart from stage performances, the Festival also offers a rich array of extension activities, including

an arts criticism mentorship programme, a new media exhibition, a series of workshops and talks,

school touring programmes and outdoor concerts, which all serve to bring the festival ambience to

the community.

I sincerely invite all of you to take part in the Festival and experience the charm and new vision of

cross-cultural artistic creation.

Mrs Betty Fung

Director of Leisure and Cultural Services

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藝術總監手記：《月亮光光》說事六則

之一：

William，一個漂洋過海的浪蕩音樂人，忽發奇想，起用香港八十年代開搞笑靈異之先

的《殭屍先生》作題材，撮合我和美麗與才華都爆燈的鄧樂妍合作，製成當代音樂、

動作、錄影和裝置的怪異奇觀。或者說，在港樂拉琴拉得很悶的William，找上攞獎攞

到手軟的鄧樂妍，再接上做人做到好悶的我，來搞活悶得可以的香港文化圈。

之二：

電影《殭屍先生》中的道士林正英說，人死時心中有氣，閉結胸中，自不能安然而

逝，又不能死而復生，便成了死不死，生不生，迷走於陰陽界的殭屍。身體死了，心

思卻仍為未完的事而惴惴不安，或要報仇雪恨，或要戀戀不捨，生死相隨。八十年

代，港人面迎九七，惶惶不可終日，去抑或留。先走，留下家庭；抑或家人先去，自

己留下。愛人去了，夕陽退了，月亮光光，伊人憔悴，鬱結難舒，終日行屍走肉，恍

恍惚惚。八十年代，港人都是殭屍。

之三：

波蘭斯基的《天師捉妖》最後一幕，少女莎拉，嫣然一笑便猛向愛人的項間咬下去，

殭屍的基因，如瘟疫般瞬間傳遍全身。哥普拉的《吸血殭屍．驚情四百年》為殭屍咬

人提供了愛成恨的注腳。而恨最終又因愛而化解。反觀香港的《殭屍先生》，殭屍只

是殺人機器，怨氣積結，就或連兒子、孫女都通殺無赦，義無反顧！東西殭屍之別，

可在於有情無情之間？但愛恨因咬而傳播則成「屍」片的基調。

之四：

八十年代是個怪異的年代。香港從貧困走向富裕，大陸文革結束，社會制度優劣立

見，卻又面向回歸。港人自視高，自信爆棚，但身份含糊不清。說是中國人，又不屑

與十億同胞為伍；說是英國人，連二等公民的資格也撈不上，狂躁、混亂，自我優

越，積怨而來，就成了一個上下沸騰的壓力煲。《殭屍先生》中的殭屍猶如港人心中

的恐懼，死不死，生不生，面目含糊，猙獰恐怖，殺人如麻，所向披靡。

之五：

《月亮光光》用了六口棺材砌成坤卦的圖案，棺為死人安息之地，也是盛載回憶，安

頓是非的地方。殭屍遊走於陰陽界，執迷於未了的事，放不下，走不了。目下香港人

人心中也有許多鬱結：天水圍家庭倫常慘案、負資產、雷曼證券、天星碼頭、五區公

投、短椿、跳層、見死不救、倒樹、二十元最低工資，三十年改革洪流，菲律賓八條

人命，沙士298人……氣在喉頭，今天你和我都是殭屍。

之六：

《月亮光光》的創作班底也十分怪異：鬼佬號召，美女說題，埋班才找來八十年代還

年輕的我，然後Priman、Domting及Karen的加入，年來大家客客氣氣，又時有堅持，希

望這拉雜成軍的團隊，做得出一個好玩而又有思考的演出。至少，我們都有一個共同

的願望，把心放下，把回憶和理想安頓好。

―潘少輝

Artistic Director’s Notes: Six Footnotes on Mr. Vampire

IAfter hitting upon the idea of reviving the theme of Mr. Vampire, a Hong Kong first of comic horror movies in the 1980s, William, an expat music-maker with a wanderlust who has crossed many oceans to come to this part of the world, engaged me and the super talented, very beautiful Tang Lok-yin, to create a contemporary believe-it-or-not spectacle of music, action, video and installation. In other words, a William bored with playing his viola found an award-laden Tang Lok-yin and a jaded me to rouse the unbearably boring Hong Kong culture scene.

IIIn Mr. Vampire, Lam Ching-ying who plays the Taoist priest, points out that if a person has pent-up fury clogging his mind when he dies, he would not die in peace. But since he cannot come to life again, he belongs with neither the living nor the dead, and thus becomes a vampire that plies between the two realms. The body is dead, but the mind is still mindful of unfinished business, such as getting back at someone, or lingering around loved ones, even in death. In the 1980s, Hong Kong people did not have one moment’s peace, mulling over whether to leave or not to leave. Should he set off first and leave the family behind? Or let the family leave first, and stay behind himself? When he finds his loved one gone and the sunset disappears, in the bright moon he withers. His pent-up feelings not finding escape, he walks the streets, in a trance, like a zombie. In the 1980s, Hongkongers were all vampires.

IIIIn Roman Polanski’s The Fearless Vampire Killers, the last shot is the young girl Sara flashing a ravishingly sweet smile before she suddenly sinks her teeth into her lover’s neck. The vampire’s genes spread throughout the body like an epidemic. In Dracula, Francis Ford Coppola puts vampire bites down to love turning into hate, which in the end is resolved by love itself. In contrast, in Hong Kong’s Mr. Vampire, the vampire is a killing machine, his ire so vehement and relentless that even his son and granddaughter are not spared. Now is this the main difference between vampires of the East and vampires of the West – to have love or no love in the heart? Yet at the end of the day, the proliferation of love/hate through the vampire’s bites has become a common keynote for all the “vampire” cult movies.

IVThe 1980s were weird times. Hong Kong was prospering and getting rich, while the Cultural Revolution had ended on the Mainland. The disparity between the two social systems was just too obvious, yet the handover was imminent. Hongkongers were proud and confident but their identity remained ambiguous. Were they Chinese? They were loath to be grouped together with their one billion cousins. Were they British? They were not even close to being qualified as second-class citizens. Manic, confused, and arrogant, their ire was trapped in a boiling pressure cooker. The vampire in Mr. Vampire came to personify Hong Kong people’s fears – neither living nor dead, faceless yet hideous, ready to gun down anything in their path, and unstoppable.

4 5

VIn Mr. Vampire, the kun divinity symbol is formed using six coffins. The coffin is a place for the dead to find peace, for memories to be stored and disputes to be settled. Vampires ply between the living and the nether worlds, bogged down by unfinished business, not being able to let go nor depart. Currently Hong Kong people have a huge mass of pent-up fury: the Tin Shui Wei family tragedy, negative equity, Lehman bonds, the Star Ferry, the de facto referendum, short piles, mislabeling of flats in skyscrapers, refusal to help the dying, collapsed trees, the $20 minimum wage, the 30-year reform onslaught, eight lives lost in the Philippines, 298 lives lost during SARS….. This fury is choking us. Today both you and I are vampires.

VIEqually weird is the group behind this production: a gweilo carries the flag, a beauty tells the story, with me, a mere kid back in the 1980s, joining at the last minute before Priman, Domting and Karen also pitched in. During the past year, we have been on most amicable terms while at times we did stick to our guns, all in the hope that this assortment of humanity called “the creative team” would come up with a fun yet thought-provoking production. To say the least, all of us have a common wish: to find ultimate peace by giving a proper resting place to our memories and dreams.

―Pun Siu-fai

分場

序 閉氣，從這一刻開始！

第一場 頂氣

「但凡人死時，頂氣，谷氣，翳氣，

就有一口氣留在喉嚨，死唔斷氣，就

會變成殭屍。」

―《殭屍先生》道士林正英

第二場 先生咬你

愛恨的情感都可以用口咬來表達。一

口咬下去，是快樂還是憎恨？不論是

激烈的情感抑或是惡毒屍血，都瞬即

傳遍全身，傳遍世界。

第三場 打鬼

東歐古法，對付殭屍秘方如下：見光

死；木∕銀樁兜心插；蒜頭塞腦；梟

首；挫骨揚灰……

但在《殭屍先生》一片中，新攻略包

括：用糯米雞血困之；靈符加額定

之；吞聲忍氣避之；再嘴對嘴吸出它

的一口「死唔斷氣」以滅之，死未？

第四場 唔順氣！

三個令你唔順氣的理由：

I

II

III

尾聲 《月亮代表我的心》

List of Scenes

Prologue Keep Your Breath, Now!

Scene 1 Choking My Middle Air“For those who kept a breath in throat when died because of anger, sorrow or great grievances, they will become vampires.”

– Daoist priest Lam Ching-ying in Mr. Vampire

Scene 2 The Kiss of Mr. VampireThe decent sort of vampires tends to feel bad about what they must do to their victims, so they want to make the blood donor pleasurable.

– Postmodernist interpretation

on the vampire’s “personality”

Scene 3 Beating the Vampire!The sure way to beat a vampire of Eastern European origin is first to expose the vampire to direct sunlight, pierce its heart with either wood or silver stake, stuff the head with garlic cloves, and then sever it from the body. The head and body have to be burnt in separate places, and the ashes scattered in separate locations.

But the film Mr. Vampire has the following means: to hinder its move you use sticky rice and threads with cock blood ink, mind you, not garlic: to subdue or to freeze it you stick paper spell on its forehead; to hide from its chase, you hold your breath; to kill it, you siphon the studded breath from its month,

dare you?

Scene 4 Wu Shun Qi!Put up three reasons that make you mad:

I

II

III

Epilogue My Heart Is Yours!

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廣東現代舞團

廣東現代舞團（原名廣東實驗現代舞團）是中國第一個現代舞專業表演團體，於1992年由廣東省文化廳批准正式成立。創團團長楊美琦女士，歷任藝術總監曹誠淵先生(1992-1998)、楊美琦女士(1998-2000)、高成明先生(2000-2004)、曹誠淵先生(2004-2007)，現任藝術總監潘少輝先生，副藝術總監劉琦女士。

舞團成立至今排演了不少國際著名現代舞大師及舞團的作品，更創作了大量優秀的現代

舞作品。舞團演員亦多次在國內外重要舞蹈比賽中獲得殊榮，其中包括第四屆法國巴黎

國際舞蹈比賽、雙人舞金獎第一大獎、中國首屆現代舞大賽表演、創作一等獎、第六屆

法國巴黎國際舞蹈比賽男子獨舞金獎、第七屆法國巴黎國際舞蹈比賽男子獨舞一等獎及

女子獨舞二等獎（一等獎空缺）等。多年來，舞團培養了不少優秀舞者，如喬楊、邢

亮、桑吉加、沈偉、楊雲濤、施璿、周念念等，現已成為國際知名的現代舞藝術工作

者。

舞團在國際上享有盛譽，多次應邀赴美國、法國、德國參加國際藝術節及巡迴演出，並

應邀參加瑞士、荷蘭、英國、新加坡、南韓、印尼、菲律賓、日本、香港、澳門、台灣

等國家及地區的國際藝術節的演出，向世界展示現代中國的面貌。舞團亦向多元化發

展，表演以外，還設有小劇場及培訓中心，每年主辦廣東現代舞周和舞蹈營，成績斐

然。《紐約時報》稱舞團是「國際舞蹈界成功典範」。舞團所到之處，無不受到觀眾和

媒體的高度讚賞和評價。1997年11月以及2002年3月在美國華盛頓州和休斯頓市首演當日，兩地最高長官分別將當日定為「廣東現代舞團欣賞日」，並頒發紀念證書。

香港創樂團

香港創樂團成立於2008年，由多位本地及國際著名演奏家組成，當中包括來自香港管弦樂團、香港小交響樂團及龢鳴樂坊的成員。自成立以來，香港創樂團致力演出本地和來

自亞洲的作曲家，以及國際級作曲家的最佳當代音樂創作。樂團亦著重促進各類型音樂

單位之間的合作，並定期為香港聽眾推介高質素的當代音樂。

在2008年10月，香港創樂團成員進駐上海音樂學院。自2009年開始，樂團定期在香港舉行音樂會。此外，樂團亦曾在內地和新加坡作巡迴表演，以及獲邀到馬來西亞當代音樂

節演出。2011年，樂團將前往澳洲、台灣、新加坡、泰國和柬埔寨等地演出。

Guangdong Modern Dance CompanyThe Guangdong Modern Dance Company (GDMDC), the Mainland’s first professional modern dance company, is internationally renowned for its exquisite and captivating performances. The Company was founded in 1992 under the auspices of the Department of Culture of Guangdong Province. Willy Tsao was invited to be the first Artistic Director for the Company. Tsao served his term till 1998 and again from 2004 to 2007. In 2007, Pun Siu-fai succeeded the artistic directorship of the Company.

The GDMDC is based in one of the fastest growing regions of the fastest growing economy in the world. Its vision of modern dance as a tool for self-expression has attracted some of the most talented dancers and choreographers in China, paving the way for the development of contemporary dance informed by the unique social and cultural history of China. Works created by its dancers, resident choreographers, artistic directors and international guest artists have been staged at home and abroad, winning critical acclaim around the world. The GDMDC has nurtured many sparkling stars. The company’s former dancers and choreographers Qiao Yang, Xing Liang, Sang Ji-jia, Shen Wei, Yang Yun-tao, Shi Xuan and Zhou Niannian have gained international recognition with their outstanding accomplishments in dance.

The company tours extensively and has appeared at the India International Dance Festival, the Singapore International Arts Festival, Korea’s Chang-Mu International Dance Festival, England’s Edinburgh Festival, Millennium Moves of Germany, Holland Dance Festival, Japan’s Tokyo Tiny Alice International Theatre Festival, Hong Kong Festival of Asian Arts, the International Festival of Contemporary Dance in Venice, and the Festival of China in Washington D.C.. The New York Times described the Company as “one of the big success stories of international dance”. Apart from giving performances, the company has also set up its own training centre and presents the Guangdong Modern Dance Festival annually.

Hong Kong New Music EnsembleThe Hong Kong New Music Ensemble (HKNME) is a chamber ensemble formed in 2008 by some of the best local and international instrumentalists living in Hong Kong, including members of the Hong Kong Philharmonic Orchestra, Hong Kong Sinfonietta and Chinese Music Virtuosi. The HKNME presents the best new music in Hong Kong by local Hong Kong composers, Asian composers and also by important international figures. It intends to foster interesting interdisciplinary collaborations, and to present the highest quality contemporary music to Hong Kong audiences on a regular basis.

In October 2008 members of the HKNME were resident at the Shanghai Conservatory of Music. Since 2009 the HKNME has presented regular concerts in Hong Kong. The group has also toured to the Mainland and Singapore, and has appeared at the Malaysian Contemporary Music Festival. In 2011, the HKNME will tour to Australia, Taiwan, Singapore, Thailand and Cambodia.

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製作成員

藝術總監∕編舞： 潘少輝

音樂總監∕作曲： 鄧樂妍

監製： 凌威廉

佈景及燈光設計： 李衛民

錄像設計： 丁裕軒

服裝設計： 張月娥

助理編舞： 陳謝維

廣東現代舞團： 余麗君、高晶、回廣磊、陸雅慧、張聰斌、譚遠波、

李翩翩、萬詩銘、劉卿羽、黎家寶、曾亮、烏宏志、

吳卉

香港創樂團：

雙簧管： 關尚峰

大提琴： 詹蔚雯

單簧管∕低音單簧管： 梁志承

小提琴： 凌威廉

敲擊： 冼宏基

笙： 邱丹青

古琴： 王悠荻

揚琴： 關芷琪

演唱（預錄）： 鄧卓斌

舞台監督： 劉詩豪

助理監製： Lam Lai

技術總監： Anther Lam

技術監督： 陳穗中

音響工程： 夏恩蓓

Production Team

Artistic Director / Choreographer: Pun Siu-fai

Music Director / Composer: Tang Lok-yin

Producer: William Lane

Scenic & Lighting Designer: Priman Lee

Video Designer: domting

Costume Designer: Karen Cheung

Assistant Choreographer: Chen Xiewei

Guangdong Modern Dance Company: Yu Lijun, Gao Jing, Hui Guanglei, Lu Yahui, Zhang Congbin, Tan Yuanbo, Li Pianpian, Wan Shiming, Liu Qingyu, Lai Ka-bo, Zeng Liang, Wu Hongzhi, Wu Hui

Hong Kong New Music Ensemble:

Oboe: Kwan Sheung-fung

Cello: Jim Wai-Man

Clarinet / Bass clarinet: Leung Chi-shing

Violin: William Lane

Percussion: Vicky Shin

Sheng: Chiu Tan-ching

Guqin: Wang You-di

Yanqin: Kwan Tsz-ki

Vocals (recorded): Francis Tang

Stage Manager: Low Shee-hoe

Assistant Producer: Lam Lai

Technical Director: Anther Lam

Technical Manager: Chen Suizhong

Sound Engineer: Ha Yan-pui

10 11

潘少輝 藝術總監∕編舞

潘少輝曾為香港舞蹈團成員，1985年加入城市當代舞蹈團。1987年獲亞洲文化協會獎學金和國際扶輪社獎學金赴紐約進修舞蹈，並在當地

參與表演及編舞工作，委約機構包括翠柏絲演藝中心、拉瑪瑪實驗劇

場、紐約國際藝術節及紐約州藝術局等。

潘氏於1993年重返城市當代舞蹈團，主力拓展舞蹈教育工作，期間成立了城市當代舞蹈團二團及在大專院校開展「平台舞蹈工程」，開啟了香港的環境舞蹈先

河。他為城市當代舞蹈團編舞的主要作品包括《九龍城狂人某日記》、《狂人某日記之花

花世界》、《鬼屋驚情一百年》等。潘氏的作品曾被邀請參加1996年柏林的香港藝術節及1997年慕尼克的香港當代文化藝術節，演出備受好評。1998年他創作了「潘少輝環境舞蹈系列」，先後排演 《忘情列車八十年》、《祖宗眼下的花花世界》及《忘情列車（文化

中心版）》。2000年更獲邀為慶祝香港文化博物館開幕，在「港藝匯萃：千禧頌」排演《後獅子山下的遊園荊夢》。

潘氏於2007年出任廣東現代舞團藝術總監至今，為舞團創作的舞碼如《藍色畢卡索》、《旋轉木馬》及《說女》，均引起廣大迴響。2008年，潘氏獲委約創作、與德國大提琴演奏家法蘭克．渥爾夫合作的《千面格林》，成為「德中同行廣州站」重點節目。2009年新作《米．辣．禪．色》獲邀參加2009法蘭克福書展及台灣關渡藝術節。2008年，潘少輝獲委任為香港藝術發展局藝術範疇代表（舞蹈）。此外，他亦是城市當代舞蹈團舞

蹈中心總監。

Pun Siu-fai Artistic Director / Choreographer

Pun Siu-fai was a dancer of Hong Kong Dance Company before joining City Contemporary Dance Company (CCDC) in 1985. He then received an Asian Cultural Council Fellowship and a Rotary International Scholarship to study dance in New York. In the USA, he was commissioned by the Triplex Performing Arts Center, La MaMa E.T.C., the New York International Festival of the Arts and the New York State Arts Council to create new works.

Pun returned to CCDC in 1993 to further develop CCDC’s education and outreach work. During this period, he established the Second Company of CCDC and launched five series of Podium Dance Project for various universities and colleges in Hong Kong. His major works for CCDC include Notes from a Schizophrenic City, Lost in a Melodramatic City and Haunted House at High Street. His works have been presented at the Hong Kong Festival in Berlin in 1996, and at the Festival of Cultures, Contemporary Art and Culture of Hong Kong, China in Munich in 1997. In 1998, he embarked on a new project entitled “Environmental Dance Series by Pun Siu-fai” to transform historical sites into performance space. In 2000, Pun was commissioned to create Journey to the Lion Rock: A Marco Polo Adventure to celebrate the opening of the Hong Kong Heritage Museum.

Since Pun was appointed the Artistic Director of the Guangdong Modern Dance Company (GDMDC) in 2007, he has created numerous environmental works, including Blue Picasso (2007) and Merry-Go-Round (2008). He was commissioned by the Deutschland und China – Gemeinsam in Bewegung to create Thousand Faces of Grimm, a performance in collaboration with German Cellist Frank Wolff, in 2008. In 2009, his latest work with the GDMDC, Rice, Spice, Zen, Colour, was invited to tour to Germany and Taiwan. Pun was appointed as the Representative of Arts Interest (Dance) of the Hong Kong Arts Development Council in 2008. He is also the Director of CCDC Dance Centre.

鄧樂妍 音樂總監∕作曲

作曲家鄧樂妍，活躍於藝術創作，不但獲獎無數，更常獲世界各地團

體委約創作。2006年10月，鄧氏的中樂作品《熔》贏得新加坡華樂團作曲大賽青年作曲家創作獎。2007年2月，室樂作品《The Giving Tree II》代表香港參與亞洲作曲家同盟音樂節，贏得青年作曲家比賽第一名。同年六月，鋼琴作品《閃爍》在北京獲「帕拉天奴杯」作曲比賽

優秀獎。另外亦於同年十二月贏得亞洲作曲家同盟音樂節的入野義朗紀念獎。2007至08年，獲富布賴特獎學金到美國哥倫比亞大學進行為期十個月學術研究和交流。

鄧氏的作品融合中、西音樂，經常在世界各地演出。其管弦樂作品《匯I》被選在2003年日本國際現代音樂節演出，其後《匯II》在2005年於由Orchestre National de Lorraine在法國Acanthes Festival首演。另一管弦樂作品《激峙》為2004年以色列國際現代音樂節的開幕作品。最近委約作品包括香港中樂團的《鄉情》及《龍燈》；新加坡中樂團的

《潮》及《龍燈II》；美國著名樂隊Bang on a Can All-Stars的《Distorted Indulgence》；香港舞蹈團的舞劇《印象嶺南》。鄧氏更獲比利時克拉勒國際音樂節委約創作

《Falling up》和《Suona Septet》；並奪得蘇海文博士紀念海頓逝世二百週年之作曲大獎，獲委約創作二十分鐘管弦樂作品《Movements》，此作品在2009年由維也納的安東．韋伯恩管弦樂團首演。

鄧樂妍分別於香港演藝學院及香港中文大學取得作曲系學士，及碩士和博士學位。

Tang Lok-yin Music Director / ComposerTang Lok-yin is an active composer who has received numerous commissions around the world, with a brilliant track record of awards to her credit. In 2006, her sheng concerto Volcanicity brought her the Young Composer Award at the International Competition for Chinese Orchestral Composition in Singapore. In February 2007, her chamber ensemble piece The Giving Tree II won the first prize at the Asian Pacific Festival Young Composer Composition Competition of the Asian Composers’ League Conference in New Zealand. She also won an Outstanding Award at the “Palatino” Piano Composition Competition in June 2007, China. In December of the same year, she was awarded the ACL Yoshiro Irino Memorial Prize by the Asian Composers’ League. Tang was a recipient of Fulbright Scholarship, chosen as a visiting scholar of the Columbia University in New York City in 2007-08.

Tang’s compositions often blend Chinese and Western music and are performed around the world. Her chamber work Voluble Dispersion for chamber orchestra was selected and performed at the 2003 ACL held in Japan. Voluble Dispersion for Orchestra was also selected and premièred by the Orchestre National de Lorraine at the 2005 Acanthes Festival. Another orchestral work, Emulation was chosen as the opening music for the International New Music Festival in Israel in 2004. Her recent commissioned works include: A day in the village and Dragon Lantern for Hong Kong Chinese Orchestra; Chao and Dargon Lantern II for Singapore Chinese Orchestra; Distorted Indulgence commissioned by American’s renounced ensemble Bang on a Can All-Stars; Lingnan Impressions of the Hong Kong Dance Company. Tang’s two pieces Falling up for suona and string quartet and Suona Septet were commissioned by Klara Festival 2009 in Brussels. She was also awarded and commissioned by “Dr. Helmut Sohmen composition prize” for a symphony orchestral work. The new work Movements-homage to Joseph Haydn was performed by the Anton von Webern Orchestra of the Universität fur Müsik und darstellende Kunst Wien in Vienna in November 2009.

Tang received her Bachelor degree in Composition at The Hong Kong Academy for Performing Arts. She acquired her Master and Doctor degree in Composition at the Chinese University of Hong Kong.

12 13

凌威廉 監製

來自澳洲的中提琴家凌威廉是香港創樂團的藝術總監，曾獲取多項重

要獎學金和國際性獎項，以獨奏、室樂團樂手身份，走遍澳紐、亞

洲、歐洲和北美洲各地表演。他曾跟隨楊．薛迪夫卡、布魯諾．喬朗

納及嘉夫．諾克斯等大師學習，亦曾在德國國際現代合奏學院攻讀。

他曾取得的獎項及獎學金包括亞爾科索獎學金、亞洲連繫研究生獎學

金、塔斯曼尼亞大學藝術獎章、盧埃林獎、塔斯曼尼亞青年藝術年獎、澳洲音樂藝術獎

學金等，更兩度獲提名競逐聲譽極隆的悉尼費德曼學會獎。

凌氏曾出任德國漢堡回響室樂弦樂團首席中提琴手，又以自由樂人身份與參與德國現代

室內樂團和西班牙薩拉曼卡SMASH樂團的演出。曾任澳洲青年交響樂團首席中提琴手，並經常參與塔斯曼尼亞交響樂團的演出。現為香港管弦樂團成員。

凌氏提倡新音樂，是無界限基金會的藝術總監。此外，他亦曾在多間大學及學院擔任客

席講師及演出，包括愛爾蘭科克大學學院、英國紐卡素大學、悉尼澳洲音樂學院、美國

普林斯頓大學及倫敦英皇學院等。2007年，他獲墨爾本大學亞洲連繫中心授予研究與演出獎學金，到印度孟買的ORKA-M國際創新音學會以受駐會學人身份，進行多個月的演出和研究。

William Lane Producer

Australian violist William Lane is Artistic Director of the Hong Kong New Music Ensemble. Recipient of a number of large scholarships and prize-winner at various international competitions, he has performed as a soloist and chamber musician all over Australasia, Asia, Europe and North America. He studied under Jan Sedivka, Bruno Giuranna and Garth Knox, as well as in Germany at the International Ensemble Modern Akademie. He has been recipient of a number of awards and scholarships, including the Alcorso Scholarship, Asialink Fellowship, University of Tasmania Medal for the Arts, Llewelyn Award, Young Tasmanian of the Year for the Arts and an Ars Musica Australis Scholarship. He has twice been a finalist in the prestigious Freedman Fellowship Award (Sydney).

William has been Principal Viola of the string orchestra Resonanz Chamber Orchestra (Hamburg, Germany), as well as working on a freelance basis with Ensemble Modern (Frankfurt), the SMASH Ensemble (Salamanca, Spain). As an orchestral musician he has worked as Principal Viola with the Australian Youth Orchestra and casual player with the Tasmanian Symphony Orchestra. He currently plays with the Hong Kong Philharmonic Orchestra.

As a new music advocate, William is Artistic Director of the Grenzenlos Foundation. He has also appeared as a guest lecturer and performer at University College Cork (Ireland), University of Newcastle (UK), Australian Institute of Music (Sydney), Princeton University (USA) and King’s College (London). In 2007 William also spent several months in India performing and researching as resident fellow of the ORKA-M International Institute of Innovative Music in Mumbai, on a research/performance scholarship from the Asialink Centre, The University of Melbourne.

李衛民 佈景及燈光設計

紐約大學Tisch藝術學院舞台及電影製作設計系碩士，主修燈光及佈景設計。留美期間曾獲奧利花．史密夫獎和Worldstudio Foundation Award。畢業後設計作品見於紐約外百老滙劇場、茱莉亞音樂學院及紐約州社區劇場。現為英國燈光設計師協會專業會員，從事燈

光和佈景設計。

近年參與的劇場作品包括廿豆．盒子畫的《雙生．蛻》、丁劇坊的《威尼斯商人》，香

港影視劇團之《西關風情》、眾劇團的《拉硬柴之夢遊騎士》和《推銷員之死》、糊塗

戲班的《靚太作死》、大中華文化全球協會的《王子復仇記》，以及紐約外外百老匯

Gallery Players的《心靈的謊言》等。憑香港戲劇協會的《野鴨》獲2007香港舞台劇獎最佳舞台設計，此作品更獲選代表香港參與布拉格2007年國際舞台設計四年展，以及入選加拿大舉辦的世界舞台設計展。與眾劇團合作的《四季人》亦獲提名2008年香港舞台劇獎最佳燈光設計。

此外，李氏亦到世界各地，包括內地、新加坡、德國、瑞典、南非、澳洲等地，擔任設

計工作。其作品曾被國際刊物《Lighting Dimensions Magazine》報導。李氏亦為專業攝影師，並曾導演13部戲劇作品。

Priman Lee Scenic and Lighting Designer

Priman Lee received his MFA degree from the Department of Theatre Design of the Tisch School of Arts, New York University. During his stay in the USA, he received the Oliver Smith Award and Worldstudio Foundation Award, and his design works were seen in Off-Off Broadway, Julliard School of Music, and New York Regional Theatre. A Professional Member of Association of Lighting Designers of the UK, Lee is a scenic and lighting designer actively working for Hong Kong theatre.

His theatre design credits include Transformation Double by 20 Bean & A Box; Merchant of Venice by Ding Theatre; Romance in West Gate by Hong Kong Movie and Television Theatrical Society; Musical Man of La Mancha and Death of a Salesman by TNT Theatre; The Open Couple by The Nonsensemakers; Hamlet by Greater China Cultural Global Association, and A Lie of the Mind by Gallery Players in Off-Off Broadway, etc.. Lee’s design for Wild Duck of Hong Kong Drama Association has won him the Best Stage Design at the 2007 Hong Kong Drama Awards. This work was also selected to represent Hong Kong to participate in the International Theatre Design Exhibit Quadrennial 2007 in Prague, and was featured at the World Stage Design Exhibition in Canada. Lee’s lighting design for A Man For All Seasons by TNT Theatre Production was also nominated for Best Lighting Design of the Hong Kong Drama Awards 2008.

Besides working in Hong Kong, his design credits have been seen in the Mainland, Singapore, Germany, Sweden, South Africa, and Australia. Lee’s work was featured in Lighting Dimensions Magazine. He is also a professional photographer, and has directed 13 theatre works.

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丁裕軒 錄像設計

丁裕軒曾先後在1997和2001年取得香港獨立短片及錄像比賽的青年組傑出獎及公開組銅獎。他在2001年畢業於美國加洲藝術學院，隨後從事媒體工作，擔任過不同崗位，包括電影宣傳、電台、拍攝宣傳

片和製作特輯。他亦經常為多間唱片公司的藝人製作錄像，又以藝名

「Shelf Index」發表音效主導的素材創作作品。

domting Video Designer

domting received the Distinguished Award of Youth Category, and the Bronze Prize of Open Category at the Hong Kong Independent Film and Video Awards in 1997 and 2001 respectively. In 2001 domting graduated from California Institute of the Arts. Since then he has been working in different positions within the media industry, including film promotion, radio stations and TVC /making-of feature tte productions. Occasionally he makes videos for Re-Records/Lona Records artists, and creates sonic manipulation material under the alias “Shelf Index”.

張月娥 服裝設計

張月娥曾於荷蘭修讀視覺文化。2004年加入廣東現代舞團擔任舞團經理及節目監製。偶為舞蹈製作設計服裝。曾參與的大型舞台作品包括

的《米．辣．禪．色》（2009）和的《格林迷宮》（2010）。

Karen Cheung Costume Designer

Karen Cheung studied Visual Culture in Holland. She has been working as manager and producer with the Guangdong Modern Dance Company since 2004. She started designing costumes for dance as a hobby. The productions she has participated in include Rice, Spice, Zen, Colours (2009) and Grimm’s Labyrinth (2010).

陳謝維 助理編舞

陳謝維畢業於廣東舞蹈學校芭蕾舞專業。1999年加入廣州芭蕾舞團，演出作品包括《玄風》、《安烈卡娜麗娜》、《羅密歐與茱麗葉》

等。2000年加入廣東現代舞團。曾多次隨團參加國際藝術節和文化交流演出，包括華盛頓甘迺迪中心的中國文化節、休斯頓匯粹藝術節

和赴意大利、丹麥、波蘭、白俄羅斯、加拿大的文化交流及巡演。在

團期間曾參演：《風林火山》、《臨池》、《般若湯》、《天上人間》、《前進．前進

進》、《火柴人》、《藍色畢卡索》等。個人創作作品包括《Dance》和《原》。

Chen Xiewei Assistant Choreographer

Chen Xiewei graduated from the ballet programme at the Guangdong Dance School. He joined the Guangzhou Ballet Company in 1999 and performed in Romeo and Juliet, Anna Katerina, and Phoenix. He joined the Guangdong Modern Dance Company in 2000. Since then he has toured with the company to many international arts festivals and cultural exchange performances, including the Festival of China at the Kennedy Center, Dance Salad in Houston, Texas, and tours to Italy, Denmark, Poland, Belarus and Canada. He has performed in numerous works with the company, including Upon Calligraphy, and Blue Picasso. His choreographic work The Story of O was premièred in 2010.

AD

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GT/HKCC 香港文化中心大劇院 Hong Kong Cultural Centre Grand TheatreCH/HKCC 香港文化中心音樂廳 Hong Kong Cultural Centre Concert HallST/HKCC 香港文化中心劇場 Hong Kong Cultural Centre Studio TheatreT/HKCH 香港大會堂劇院 Hong Kong City Hall TheatreCH/HKCH 香港大會堂音樂廳 Hong Kong City Hall Concert HallA/KTT 葵青劇院演藝廳 Kwai Tsing Theatre AuditoriumBBT/KTT 葵青劇院黑盒劇場 Kwai Tsing Theatre Black Box TheatreA/STTH 沙田大會堂演奏廳 Sha Tin Town Hall AuditoriumSIC 九龍聖依納爵小堂 St. Ignatius Chapel, Kowloon

節目 Programme 日期Date 時間Time 場地Venue

開幕節目《「世界聽．見．朱哲琴」2010樂匯．香港》朱哲琴

Opening Programme“Hear the World • DADAWA” in Concert 2010 • HKDadawa

15-16.10 7:30pm GT/HKCC

《命運建築師之遠大前程》非常林奕華

Grand ExpectationsEdward Lam Dance Theatre

22-24.1023-24.10

7:30pm2:30pm

GT/HKCC

《羽》台灣心心南管樂坊及

漢柏斯(法國)

FeatherXinxin Nanguan Ensemble of Taiwan & Lukas Hemleb (France)

22-23.10 8pm T/HKCH

《賣命引擎》出奇舞(澳洲)

Mortal EngineChunky Move (Australia)

22-23.10 8pm A/KTT

《薩滿與精靈》香港中樂團

The Mystic RealmHong Kong Chinese Orchestra

29-30.10 8pm CH/HKCC

《月亮光光》廣東現代舞團及香港創樂團

Mr. VampireGuangdong Modern Dance Company & Hong Kong New Music Ensemble

29-30.1031.10

8pm3pm

ST/HKCC

《郭文景的第二笛子協奏曲》香港管弦樂團

Guo Wenjing’s Dizi Concerto No. 2Hong Kong Philharmonic Orchestra

5-6.11 8pm CH/HKCC

《沙．月：維族木卡姆愛情遺歌》五人新疆樂隊JAM & JY

Sand • Moon: Jamming MuqamJAM & JY

5-7.116-7.11

8pm3pm

BBT/KTT

《利瑪竇的記憶宮殿》進念．二十面體

The Memory Palace of Matteo RicciZuni Icosahedron

5-6.118-9.11

8pm8pm

SIC

《翼動：跨文化鼓樂激奏》Budgie(英國)．Leonard Eto(日本)．Mabi(南非)．Sugizo(日本)．Knox Chandler(美國)

The Butterfly Effect: East-West Percussive ParadeBudgie (UK) • Leonard Eto (Japan) • Mabi (South Africa) • Sugizo (Japan) • Knox Chandler (USA)

6.117.11

8pm3pm

A/STTH

《火星紀事樂隊》竇唯．張楚．王勇．王凡．

朱文．半野喜弘(日本)．李勁松及其他樂手

Mars News EnsembleDou Wei • Zhang Chu • Wang Yong • Wang Fan • Zhu Wen • Yoshihiro Hanno (Japan) • Dickson Dee & other musicians

12-13.11 8pm CH/HKCH

閉幕節目《牡丹亭》坂東玉三郎(日本)及

江蘇省蘇州崑劇院

Closing ProgrammeThe Peony PavilionBando Tamasaburo (Japan) & Suzhou Kunqu Opera Theatre of Jiangsu Province

19-20.1121.11

8pm3pm

A/KTT

《金鎖記》台灣國光劇團

The Golden CangueGuoGuang Opera Company of Taiwan

19-20.11 7:30pm A/STTH

《後代》鄧樹榮戲劇工作室及

戲劇盒(新加坡)

The Next GenerationsTang Shu-wing Theatre Studio & Drama Box (Singapore)

19-20.1121.11

8pm3pm

ST/HKCC

《into珠三角》德國現代室內樂團

into Pearl River DeltaEnsemble Modern (Germany)

20.11 8pm CH/HKCH

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