Real Time Real SpaceThe Power of Theatre

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戲劇是一種現場的經驗。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，探索戲劇各種可能 ─ 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，細說論述現實世界的善與惡，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 theatre, we laugh, cry, think, and experience all the vicissitudes of life together in the same space and in the same period of time.

Zuni’s Theatre starts with experience in exploring all of the possibilities in the 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 the theatre – regaining lost feelings and memories, recounting the good and the bad of the world, searching for various possibilities of living and life.

This is Zuni’s theatre, this is the power of real time, real space of theatre.

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進念．二十面體 2008-09年度報告Zuni Icosahedron Annual Report 2008-09©2009 Published in Hong Kong, Zuni Icosahedron Ltd.

英文翻譯 : 梁惠琪 , 慕容玉蓮English Translation : Vicky Leong , Moyung Yuk-lin

平面設計 : LOL design ltd.Graphic Design : 樂樂設計有限公司

照片攝影 PhotosKeith Sin, Johnny Au, Carson Tam, Yu Yat Yiu@PMPS, Cheung Chi Wai, Isabella

進念．二十面體 Zuni Icosahedron地址 香港跑馬地荷塘道15號地下Address 15 Hawthorn Road, Happy Valley, Hong Kong電話 Tel 852-2893-8704傳真 Fax 852-2838-7527電郵 Email info@zuni.org.hk網址 Website www.zuni.org.hk

進念‧二十面體為香港文化中心場地伙伴Zuni Icosahedron is the Venue Partner of the Hong Kong Cultural Centre

進念．二十面體由香港特別行政區政府資助Zuni Icosahedron is financially supported by the Government of the Hong KongSpecial Administrative Region

Contents進念簡介 Introducing Zuni進念願景 Zuni Vision總結 Summary 2008-09

主要劇場演出 Performance Highlights榮念曾實驗劇場《錄鬼簿》Danny Yung Experimental Theatre“Book of Ghosts”多媒體生命劇場《華嚴經(2.0版本)之心如工畫師》Multimedia Life Insight Theatre“Hua-yen Sutra - Mind as a Skilful Painter”大歷史話劇《萬曆十五年》History Theatre“1587, A Year of No Significance”社會劇場《東宮西宮 7 香港公務員死亡筆記》Social Theatre “East Wing West Wing 7: Hong Kong Civil Servant Death Note”歷史劇場《上帝來到中國》History Theatre“God Came to China”多媒體崑曲《臨川四夢湯顯祖》Multimedia Kunqu“Tang Xianzu’s Dream on Dreams”榮念曾實驗劇場《荒山淚》Danny Yung Experimental Theatre“Tears of Barren Hill”

進念創作團隊及容席藝術家 Creative Team and Guest Artists

主席報告 Chairman’s Report黄炳培：實驗精神開拓多元創作空間Stanley Wong | Experimentation and Creativity

進念藝術教育回應高中學制 Zuni Arts Education in Response to the New Academic Structure for Senior Secondary Education

(附：訪問黃裕偉〈進念從藝術教育到通識劇場〉)(Appendix: An Interview with Wong Yuewai, the curator of Zuni Art-in-Education Programme)

多元化多層次的文化交流 Zuni Cultural Exchange(附：訪問榮念曾〈香港須成為世界文化大都會〉)(Appendix: An Interview with Danny Yung)

榮念曾：跨越與互動Danny Yung | Crossovers and Interactivity

胡恩威：在這個城市從事藝術創作Mathias Woo | Art and the City

組織成員 Organisation

財務 Financial Highlights

鳴謝 Acknowledgement

全年活動年表 Activity Chart

進念．二十面體，一九八二年成立，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，原創劇場作品超過一百六十齣，曾獲邀前往演出及交流的城市遍及歐、亞、美等地三十多個城市。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。

現為香港九個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。二零零八年獲選為香港文化中心的場地伙伴團體，進念將在二零零九至二零一二年間進駐香港文化中心，開展系列創作及外展教育計劃。

Zuni Icosahedron, founded in 1982, is a Hong Kong based international experimental theatre company. Zuni has produced more than 160 original productions of alternative theatre and multimedia performances, and has been act ive in v ideo, sound experimentation and installation arts, as well as in the area of arts education, arts crit icism, cultural policy research and international cultural exchange. Over the years, Zuni has been invited to more than 30 cities in Europe, Asia, and America for cultural exchange and performances.

Zuni is one of the nine major professional arts companies in Hong Kong, and has established itself as a premiere experimental theatre locally, regionally and internationally. In 2008, Zuni was chosen by the Hong Kong Cultural Centre as one of the groups participating in the Venue Partnership Scheme introduced by the Leisure and Cultural Services Department (LCSD). In the years 2009 to 2012, Zuni becomes a partner of Hong Kong Cultural Centre, and produce a series of theatre works and outreach education programmes.

Zuni Icosahedron進念．二十面體

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優質實驗藝術創作，建立具香港特色的實驗戲劇進念透過發展多媒體、跨越文化界別的實驗戲劇創作， 普及戲劇和實驗藝術，提升社會以致國際間對實驗戲劇藝術的認識

培訓多方面的藝術專業人才為社會提供一個平台去發掘和培訓更多創作、藝術專業和管理人才，以及文化軟件，支援香港創意產業及西九龍文化區等重要發展項目；深化和推動藝術教育，培養下一代對文化藝術的認識

建立國際文化交流平台推動跨文化跨地域的合作和交流，促進香港成為一個文化藝術交流的平台，一個重視深入交流和探索的平台

持續發展香港在促進中華文化多元發展的角色與內地的戲劇創作和教育團體建立長期性的合作關係；持續推動中國傳統表演藝術的承傳、合作和發展

建構知性公民社會及文化藝術的多元性發展多元文化、提升人文素質，推動社會對文化藝術的多容性

進念

願景

To establish experimental theatre with unique Hong Kong characteristics and create quality experimental arts

In promoting experimental theatre, Zuni is trying to enhance the interest and knowledge of the community and raise the international awareness on experimental arts through creation in multimedia, cross cultural, and cross disciplinary experimental theatre.

To nurture professional creative talents in various fields

To provide the community with a platform to explore and foster more talents in the areas of creativity and cultural management; and in so doing, give support to the creative industries and other important development projects in Hong Kong, like the West Kowloon Cultural District; and to promote arts education and nurture cultural awareness for the next generation.

To establ ish and consolidate Hong Kong as a hub for international cultural exchange

To promote cross cultural and cross region collaborations and exchange to establish

Hong Kong as a hub for international arts and cultural exchange, and as a platform for in-depth explorations in related fields.

To sustain an active role of Hong Kong in promoting the development and diversity of Chinese culture

To establish a long-term relationship of collaboration with various cultural and education organisat ions in mainland; and continue to preserve the heritage of traditional Chinese performing arts, and promote collaborations and development in the area.

To create a knowledgeable civil society and promote arts and culture with diversity

To provide an enriching and multicultural diversity for our community in order to enhance the quality of our people and to nurture our society for the embracement of pluralism in arts and culture.

Zuni Vision

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Summary 2008-09

製作項目No. of Productions

演出場數No. of Performances

總觀眾人數Total No. of People in Audience

8

45

21,473

原創劇場作品 Theatre Productions全新作品 New Works 榮念曾實驗劇場《錄鬼簿》香港藝術節聯合委約 Danny Yung Experimental Theatre - Book of Ghosts Co-commissioned by Hong Kong Arts Festival

歷史劇場《上帝來到中國》新視野藝術節聯合委約 Zuni History Theatre - God Came to China Co-commissioned by New Vision Arts Festival

多媒體崑曲《臨川四夢湯顯祖》 Multimedia Kunqu - Tang Xianzu's Dream on Dreams 東宮西宮7《香港公務員死亡筆記》 East Wing West Wing 7 - Hong Kong Civil Servant Death Note

海外邀請 / 舊作新編Overseas Invitation / Rerun with New Arrangement 第十屆台北藝術節邀請及香港重演《華嚴經 (2.0版本) –心如工畫師》 Rerun in Hong Kong and invited by the 10th Taipei Arts Festival Hua-yen Sutra - Mind as a Skilful Painter

第十屆台北藝術節邀請《這一夜，路易康說建築》 Invited by the 10th Taipei Arts Festival - The Life and Times of Louis I. Kahn

新加坡2009華藝節邀請《荒山淚》 Invited by Huayi - Chinese Festival of Arts, 2009 Tears of Barren Hill

重演 Rerun 大歷史話劇《萬曆十五年》 History Theatre - 1587, A Year of No Significance

活動項目 (節數) No. of Programs (Sessions)

到訪城市No. of City Visited

參與及受惠人次No. of Participants

33(122)

38,159

國際文化交流及合作

International CulturalExchange and Collaboration 國際性網絡會議 Conferences and Network「城市文化交流會議」2008年會 (台北) City-to-City Cultural Exchange Conference 2008 (Taipei)

Music Theatre Now (柏林 Berlin)第九屆會議 The 9th triennial meeting

Asia-Europe Foundation (ASEF) (新加坡 Singapore)交流會議 Exchange Conference

主要交流活動 Major Exchange Activities德國「聯邦十字絲帶勳章」榮念曾受勳典禮 (香港) Bestowal of the Merit Cross of the Order of Merit of the Federal Republic of Germany for Danny Yung (Hong Kong)

「傳統與當代對話」專家交流會議、大師工作坊及交流演出 (香港)A Dialogue Between the Tradition and the Contemporary – Expert Exchange Meeting, Workshop and Performance (Hong Kong)

第十一屆威尼斯建築雙年展「文化工房」揭幕演出及參展項目 (威尼斯) The 11th International Architecture Exhibition of Venice BiennaleHong Kong Exhibition –“Culture Fabricate” Opening Performanceand Exhibition (Venice)

南洋藝術學院專題研討會(新加坡) Nanyang Academy of Fine Arts (NAFA) Symposium 2008:New Asian Imaginations (Singapore)

「天天向上」講座、展覽、揭幕活動 (新加坡及台北)Tian Tian Xiang Shang Talk, Exhibition and Opening Ceremony (Singapore and Taipei)

國際性藝術人員進修計劃 (合作：台北當代藝術基金會)Internship program at art institutions in and outside Taiwan(Cooperation: Contemporary Art Foundation, Taipei)

其他合作發展、會議及探訪 (首爾、曼谷、台北、嘉義、橫濱、東京及雅加達)Other activities and visiting (Seoul, Bangkok, Taipei, Chiayi, Yokohama, Tokyo and Jakarta)

10

(估計Approx.)

總結

非物質文化遺產 (表演藝術) 發展計劃Development Project onIntangible Cultural Heritage (Performing Art)

「傳統戲曲創作實驗室」(南京 / 上海 / 香港)Experimenting Traditional Creative Lab (Nanjing/ Shanghai/ Hong Kong)

考察及會議 (蘇州、徐州、杭州)Visiting and Meeting (Suzhou, Xuzhou, Hangzhou)

上海戲劇學院戲曲學院 戲曲導演班講座邀請Lecture at School of Xiqu, Shanghai Theatre Academy

上海世博（信息通訊館）籌備會議Shanghai Expo (Hall of Communication) Project Meeting

南京文化創意產業協會講座邀請Talk invited by Nanjing Cultural Industry Association

內地合作及交流Mainland-HK Exchangeand Collaboration

活動項目 (節數) No. of Programs (Sessions)

參與及受惠人次No. of Participants

10(46)

104

創意教育網絡 Creative Education Network 藝術教育日營及創意工作坊* Art Day Camp and Creative Workshop* 學生專場及導賞活動* Student Drama Appreciation Programme and Guided Tour*

崑劇藝術公開座談、講座、學校巡迴工作坊及示範演出* Public Seminar, Talk, School Touring, Workshop and Demonstration - The Art of Kunqu

「香港兆基創意書院」多媒體表演藝術課程發展和通識教育工作坊* HKICC Lee Shau Kee School of Creativity (HKSC) – Planning of Multimedia Performing Arts Programme and Liberal Studies Workshop*

「陽光計劃」創意作品展示暨頒獎禮* Project Sunshine Award

香港文化中心大堂示範演出、藝術導賞活動和展覽Demonstration, Guided Tour and Exhibition inthe Hong Kong Cultural Centre Foyer * 該活動以本地中學 / 專上學院學生為主要對象Programs target participates are local Secondary Schoolsand University students

藝術文化教育 Arts and Cultural Education活動項目 (節數)

No. of Programs (Sessions)

參與及受惠人次No. of Participants

參與學校No. of Schools Participated

16(204)

13,226

77

(估計Approx.)

E+E香港文化出版系列 Publications

「中國是個大花園」榮念曾劇場藝術 China is a Big Garden - Theatre Art of Danny Yung

「香港漫遊」 Hong Kong Odyssey

「華嚴經」特刊 Hua-yen Sutra Booklet

第十一屆威尼斯建築雙年展香港館回應展Response Exhibition of the 11th International Architecture Exhibition of Venice Biennale Hong Kong Exhibition

「重塑香港」揭幕演出及參展項目 “Re-making Hong Kong” Opening Performance & Exhibition

香港文化中心大堂專題展覽Hong Kong Culture Centre Foyer Exhibition

九龍海旁文化規劃實驗室「香港漫遊」 Hong Kong Odyssey – Kowloon Cultural Seafront Planning Lab

演後座談會Post Performance Discussion / Seminar(總節數Total No. of Sessions 18)

文化出版及公民教育Cultural Publication and Civic Education

項目總數No. of Items / Programs

閱覽及參與人次Circulations / Outreach

8

56,119 (估計Approx.)

劇場新作 Theatre New Productions

香港藝術節聯合委約《錄鬼簿》新視野藝術節聯合委約《上帝來到中國》江蘇省崑劇院聯合製作《臨川四夢湯顯祖》社會劇場東宮西宮7《香港公務員死亡筆記》Hong Kong Arts Festival Co-commissions,“Book of Ghosts”New Vision Arts Festival Co-commissions,“God Came to China”Jiangzu Kunqu Opera House Co-production, “Tang Xianzu's Dream on Dreams”Social Theatre“East Wing West Wing 7 - Hong Kong Civil Servant Death Note”

國際文化交流 International Cultural Exchange

藝術總監榮念曾獲德國「聯邦十字絲帶勳章」Danny Yung was awarded the Merit Cross of the Order of Merit of the Federal Republic of Germany

國際性藝術節演出邀請：第十屆台北藝術節 及 新加坡華藝節By Invitation to the 10th Taipei Arts Festival and Huayi – Chinese Festival of Arts, Singapore

本地推廣 Local Outreach

在「場地伙伴計劃」下，於香港文化中心進行之推廣及宣傳工作接觸人次估計達A series of outreach and promotion works were held under “Venue Partnership Scheme” at Hong Kong Cultural Centre. No. of people approx. reached 140,000.

年度計劃 / 項目總數 Total No. of Programs / Items 75受惠及參與總人次超過 Total No. of Participants / Outreach over

129,000

對話互動

文化跨越

《錄鬼簿》

榮念曾實驗劇場

香港藝術節及進念‧二十面體聯合委約及製作‧第37屆香港藝術節節目

13-15 / 2 / 2009 香港演藝學院戲劇院Drama Theatre, Hong Kong Academy for Performing Arts 藝術總監及舞台設計：榮念曾創作及演出：柏蒂娜華狄（泰國古典舞劇 / 曼谷）李寶春（京劇 / 台北）柯軍（崑曲 / 南京）沙多諾 ·庫斯摩（爪哇古典舞 / 雅加達）

Co-commissioned and co-produced by the Hong Kong Arts Festival and Zuni Icosahedron.Presented by the 37th Hong Kong Arts Festival

Artistic Director and Set Designer: Danny YungCollaborating Artists / Performers:Patravadi Mejudhon (Classical Thai Dance / Theatre – Bangkok)Li Baochun (Peking Opera – Taipei)Ke Jun (Kunqu Opera – Nanjing)Sardono W. Kusumo (Classical Javanese Dance – Jakarta)

Interactive DialoguesTrans-Cultural Crossovers

Danny Yung Experimental Theatre

Book of Ghosts

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「示範了傳統表演如何在當代舞台找到了重生的脈動——不亢不卑、不帶東方主義式的假惺惺。」《文匯報》

「這次讓亞洲劇壇四位『未死之鬼』聯合登台扮鬼，相當難得，正是戲鬼演鬼戲，妙在四鬼脫下鬼戲服，仍然是『鬼』。」石琪《明報》

靈感來自元朝戲曲作家鍾嗣成的同名書卷。《錄鬼簿》匯聚了四位來自亞洲不同城市的崑劇、京劇、泰國古典戲劇/舞蹈及古典爪哇舞的國寶級藝術家，借鬼為題交流創作，於舞台上分享異類空間。除演出外，《錄鬼簿》也是一項跨區域、跨範疇的交流和研究計劃，集合不同城市的傳統及當代表演藝術家、評論人、製作人、策劃人及文化組織，系統地共同發展出一個亞太地區交流互動網絡平台，評議文化政策、文化體制、文化組織等。榮念曾堅信，舞台既可以是對話互動、文化跨越合作的地方，也可以是跨越「現世」和「另世」靈性的橋樑，也還可以是推動「自我」和「另我」溝通對話的橋樑。

“A demonstration of how traditional performance re-discovers its life pulses in contemporary theatre – just the right touch no more nor less, and without the ostentatious oriental exoticism.” Wen Wei Po

“It’s a rare chance for the four ‘living ghosts’ of the Asian theatrical arts to gather on stage to play ‘ghosts’ among themselves.” Shek Ki, Ming Pao

Inspired by a book of the same title written by playwright Zhong Sicheng of the Yuan Dynasty, the show features four great performing arts masters of distinguished national standards from four different Asian cities. Under the theme of “Ghosts”, they carry out creative exchanges and shared the different dimensions on the stage. “Book of Ghosts” is also an exchange and research project that provides crossovers in terms of regions as well as disciplines. It gathers the traditions of various cities, their contemporary artists, critics, producers, curators and cultural organizations in order to establish an interactive exchange network in the Asia-Pacific area where cultural policies, cultural systems and organizations can be reviewed. Danny Yung firmly believes that the stage is a place where interactive dialogues and cross-cultural collaboration can be facilitated. The stage also functions like a spiritual bridge that crosses over between the “present” and “other” worlds, and encourages dialogues between “the Self” and “the other Self”.

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二零零八年載譽重演並應邀於第十屆台北藝術節演出

25 / 7-3 / 8 / 2008 香港文化中心大劇院Grand Theatre, Hong Kong Cultural Centre29-31 / 8 / 2008 台北社教館城市舞台Metropolitan Hall, Taipei Cultural Centre 文本：一行禪師創作顧問及文本創作：釋衍空法師 創作顧問 (華嚴字母唱誦)：釋僧徹法師學術顧問：李葛夫博士 編導及設計：胡恩威音樂總監及創作：于逸堯@人山人海形象設計：張叔平動作設計：伍宇烈書法創作(數碼影像) ：董陽孜文字創作：林夕

演出：單曉明 (南京)、陳浩峰、楊永德、黃大徽、潘德恕 現場演奏：孔奕佳 (鋼琴)、何怡安 (敲擊)、鄭旭 (笛子)、林灒桐 (琵琶)、彭康泰(笙)特邀演出 (華嚴字母唱誦) ：釋僧徹法師、釋性觀法師、釋智德法師、釋偉航法師、釋法祥法師、釋寶泉法師、釋廣榮法師、釋楚賢法師、釋永堅法師、釋果定法師、釋月和法師、釋如淨法師、釋傳皓法師、釋恆慧法師

「是香港演藝史上的一座豐碑…接續了，體現了中國兩千年來『寫意』這一美學傳統。」覺真法師（香港佛教聯合會）

「深沉又奪目地展現心與世界相容自在的境界。」周倩漪《表演藝術》(台灣)

「 佛 典 精 粹 深 入 淺 出 ， 表 現 手 法 高 品味。」張錦滿《亞洲時報》

華嚴世界

佛光再現

梵音唱誦

十方一念

《華嚴經(2

.0

版本)

之心如工畫師》

多媒體生命劇場

Rerun upon popular demand, and was invited to the 10th Taipei Arts Festival 2008

Original Text: Venerable Thich Nhat HanhAdvisor (Script and Text): Venerable Sik Hin HungAdvisor (Hua-yen Sutra Chanting): Venerable Sik Tsang ChitAcademic Advisor: Dr Li Kwok-fuPlaywright, Director and Designer: Mathias WooMusic Director and Composer: Yu Yat Yiu @ PMPSCostume Designer: William ChangMovement Designer: Yuri NgChinese Calligraphy Artist (Digital Images): Tong Yang-tzeCreative Writing: Lin Xi

The Performers: Shan Xiaoming (Nanjing) Cedric Chan, David Yeung Dick Wong, Puk Tak Shu

The World of Hau-yen The Return of the Buddha’s Light Sanskrit Chanting The Ten Directions are but One Thought

Multimedia Life Insight Theatre

“A significant milestone in Hong Kong’s performing arts history…continuing and manifesting the 2000 years old legacy of Chinese aesthetics of “Xie Yi”, an expression of the inner nature and spirit of the subject.”Venerable Sik Jue Zhen, The Hong Kong Buddhist Association, Hong Kong

“The show reveals a state of compatible ease between the mind and world.” Zhou Qian-yi, Performance Art, Taiwan

“Ingeniously bringing forth the world of ‘Dharma’, ‘Sanskrit chanting’ and ‘Buddha light’.” Shek Kei, Ming Po Daily News, Hong Kong

Hua-yen Sutra - Mind as a Skilful Painter

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Live Musicians: Edgar Hung (Piano) Ho Yi On (Percussion) Cheng Yuk (Dizi) Lam Tsan-tong (Pipa) Pang Hong Tai (Sheng)

Special Appearance (Hua-yen Syllabes Chanting) Venerable Sik Tsang Chit Venerable Sik Sing Kwun Venerable Sik Chi Tak Venerable Sik Wai Hong Venerable Sik Fat Cheung Venerable Sik Po Chuen Venerable Sik Kwong Wing Venerable Sik Chor Yin Venerable Sik Wing Kin Venerable Shi Guo Ding Venerable Shi Yue He Venerable Shi Ru Jing Venerable Shi Chuan Hao Venerable Shi Heng Hui

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藝術和宗教本來是一體，宗教以藝術手法提昇人對宗教精神的體會，藝術也憑藉宗教的情操，才能發揮不停超越的動力。二零零七年進念首演《華嚴經》，通過佛教唱頌多媒體表演劇場藝術，讓觀眾在劇場空間感受以光和聲音構成的「華嚴世界」。二零零八年的《華嚴經之心如工畫師》在演出和音樂上作出新編排，進一步以舞台燈光、數碼影像投射等不同光源，與語言、書法、音樂、裝置的現場互動，營造「佛光」。同時，一眾法師帶領演員，在台上一同唱誦「華嚴字母」；配合現場音樂，演奏出華藏世界的寬廣熾盛。

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Art and religion used to be inseparable from each other. With art as a means, spiritual experiences can be elevated, and by the same token, artistic creation must be driven by a similar sense of spiritual commitment from which the ever-transcending force of aspiration is sprung and nourished. In 2007, Zuni explored art and religion as well as the spiritual space with chanting, live music and multimedia design in the first performance of Life Insight Theatre Series “Hua-yen Sutra”. In 2008, the show was re-run under the title “Hua-yen Sutra – Mind as a Skilful Painter” with new arrangements on performance and music. The show further created “the Buddha’s Light” using various sources of lights including stage lighting and digital image projection, which were then put into live interaction with language, calligraphy, music and installation. The Sanskrit chanting, conducted by a group of venerable Buddhist monastics together with other performers and accompanied by live music, vividly rendered the broadness and vastness of the World of Hua-yen.

拉寬凝視歷史的闊度，從而審思今天的處境

《萬曆十五年》

大歷史話劇

Contemplations on the broadness ofhistory in order to reflect uponour present predicament

History Theatre

1587, A Year ofNo Significance

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26-30 / 4 / 2008 香港文化中心劇場Studio Theatre, Hong Kong Cultural Centre 編劇、導演、設計：胡恩威改編：張建偉 (北京)形象設計：張叔平音樂總監： 于逸堯@ 人山人海 多媒體動畫：趙廣超 設計及文化研究 (香港)工作室演員：楊永德、黃大徽、陳浩峰、鍾家誠、伍嘉雯特邀崑曲演出 (南京)：石小梅、胡綿芳、單曉明

Playwright / Director / Designer: Mathias WooPlaywright: Zhang Jiangwei (Beijing)Costume Design: William ChangMusic: Yu Yat Yiu @ PMPSMultimedia Animation Design: Chiu Kwong-chiu Design and Cultural Studies (HK) Workshop

Performers: David Yeung, Dick Wong, Cedric Chan, Carson Chung, Carmen WuGuest Artists (Nanjing): Shi Xiaomei, Hu Jinfang, Shan Xiaoming

「萬曆，是一齣極少看到，有內蘊，富警世意識的實驗劇場。」 徐克

「內容有份量，既有國民教育意義，又有舞台藝術價值，是香港一項文化成就。」張錦滿

萬曆十五年，即西曆的一五八七年。中國正值明朝年間，對於一般史學家來說，這年並無事可記；其實這年是中國由盛轉衰的分水嶺。本劇借六位明朝人物：張居正、戚繼光、申時行、海瑞、萬曆皇帝和李贄的遭遇，揭示中國往後數百年的命運如何逆轉。《萬曆十五年》是導演胡恩威二零零六年創作劇目，承蒙原作者黃仁宇先生的兒子Jefferson Huang 授權改編，聯同歷史劇《走向共和》編劇張建偉，將此劇發展成最貼近原著的舞台劇劇本。並邀請南京崑曲藝術家石小梅、胡綿芳和單曉明特別演出。

“A rare experimental performance full of meanings and cautionary reminders.”Hark Tsui

“Substantial contents that are imbued with significance for national education and values of theatrical excellence, the show is a cultural achievement of Hong Kong.” KM Cheung

The year 1587 was the 15th year of the reign of the Wan-li Emperor in the late Ming Dynasty of China. To most historians, 1587 was an uneventful year, without any occurrences of historical significance. However, the year marked a watershed in China that divided the country’s history into the glorious days of the past and the years of decline thereafter. The performance evolves around the stories of six central characters of the Ming Dynasty namely Zhang Juzheng, Qi Jiguang, Shen Shihang, Hai Rui, Emperor Wan Li and Li Zhi. The changing fate of China in the coming few hundred years was revealed through their six soliloquies. “1587, A Year of No Significance” had its premiere in 2006. It is a performance adapted from the book of the same title by Ray Huang. With authorization from his son Jefferson Huang, a script corresponding closely to the original book was developed by Mathias Woo in collaboration with Zhang Jianwei, the screenplay writer of the historical television drama “For the Sake of the Republic”. The performance also featured renowned kunqu operatic artists Shi Xiaomei, Hu Jinfang, Shan Xiaoming.

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理想公務員點死

立法會議員想點

問責制局長老點

香港小市民點算

東宮西宮七

《香港公務員死亡筆記》

社會劇場

How do the ideal civil servants meet their deaths?What do Legislative Councillors want?

The Principal Officials Accountability System is a scam.What should Hong Kong people do?

Social TheatreEast Wing West Wing 7 Hong Kong Civil Servant Death Note

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27-30/11/2008 葵青劇院演藝廳Auditorium, Kwai Tsing Theatre

編導及設計：胡恩威 創作演出：陳浩峰、黃大徽、楊永德、鍾家誠、伍嘉雯、葉燕芳、孔奕佳、曾兆賢 音樂創作：于逸堯@人山人海、孔奕佳、陳浩峰

Playwright/Director/Designer: Mathias WooCreative Performers: Cedric Chan, Dick Wong, David Yeung,Shirley Yip, Carson Chung, Carmen Wu, Edgar Hung, Albert Tsang Music: Yu Yat Yiu @ PMPS, Edgar Hung, Cedric Chan

「東宮西宮」是進念自二零零三年開始發展的戲劇系列，以社會政治及民生議題為中心，透過喜劇形式與市民大眾多角度分析各種社會現象和時事問題，開拓了通識和公民教育的新類型。第七集的「東宮西宮」，以探討公務員制度為軸心議題。

“East Wing West Wing”, a drama series begun in 2003, focuses on topics of current social and political interest in Hong Kong. The series employs the form of satire to engage the audience in an analysis of all kinds of social phenomena and current issues using a multi-angle approach, creating a new genre for general and civic education in Hong Kong. The seventh episode Hong Kong Civil Servant Death Note probes the civil service system in Hong Kong.

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七幕上帝推動中國改革開放的悲喜劇

《上帝來到中國》

歷史劇場

A Tragicomedy in 7 Acts on God Reforming and Opening Up China

History Theatre

God Came to China

「我們着實都應該上一堂這樣的歷史課，不再是聽人講故事，而是建構自己的歷史書。」《大公報》余一之 「楊永德的表演可圈可點……節奏和氛圍，一直都在他的控制之內。……這是一部精彩的戲，舞台處理、劇本結構、演員表演都很好。」New Express Daily 李蝴蝶

《上帝來到中國》是進念繼《萬曆十五年》後，胡恩威與張建偉再度合作的新劇目。上帝來到中國，隨行的不只是聖經與傳教士，還有火炮、數學、天文、醫學、教育，以及無數的血案與暴力。在一八四零年 鴉片戰爭前後，上帝有兩個臉孔：一個溫柔慈祥，一個狠毒可惡，這背後與中國人怎樣看歷史有甚麼關係？舞台上炮聲隆隆，歷史課講師登上講壇，前後追溯「上帝來到中國」的歷史：利瑪竇、崇禎、湯若望、康熙、馬禮遜、林則徐、洪秀全、慈禧、義和團…上演七幕上帝推動中國改革開放的悲與喜。

“We should really attend a history lesson like this one. No more listening to stories being told, but to construct our own history books” Yu Yat Ji, Ta Kung Po “The performance by David Yeung is remarkable. The pace and the atmosphere – everything is under his control. It’s a brilliant show with fantastic stage management, well-constructed script and outstanding performance”Li Hudie, New Express Daily

Co-commissioned Programme of the New Vision Arts Festival

「新視野藝術節」聯合委約節目

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Playwright/ Director/ Designer: Mathias WooPlaywright: Zhang Jianwei (Beijing)Leading Performer: David YeungSupporting Performer: Cedric ChanAnimation: Lai Tat-tat WingCostume and Styling: Tomas ChanMusic: Yu Yat Yiu@PMPS / Edgar Hung

“God Came to China” is Zuni's latest work in the History Theatre series, another collaboration between Mathias Woo and Zhang Jianwei following their first co-operation in “1587, A Year of No Significance”. God came to China, and accompanying him were, besides the Holy Bible and missionaries, artillery, mathematics, astronomy, medicine, education and an endless series of killings and violence. There were two different faces of God, one before the Opium War in 1840, and one after. The first one was kind and gentle, and the other one vicious and horrible. You hear a rumbling sound of battle on stage. You see a lecturer standing on the platform ready to start a talk on history. What have all these got to do with how the Chinese see history? “God Came to China” sets out to trace the stories of Matteo Ricci, the Italian Jesuit priest; the Chongzhen Emperor of the Ming Dynasty; Johann Adam Schall von Bell, the German Jesuit missionary; the Kangxi Emperor of the Qing Dynasty; Robert Morrison, the Scottish missionary; Official Lin Zexu and his campaign against opium; Hong Xiuquan, the leader of the Taiping Rebellion; Empress Dowager Cixi; the Boxer Rebellion, an attempt to overthrow the Qing Government... all contained as a tragicomedy in seven acts on how God helped reforming and opening up China.

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31 / 10 - 02 / 11 / 2008 香港大會堂劇場Hong Kong City Hall Theatre

編導及設計：胡恩威故事及編劇: 張建偉 (北京)主演：楊永德客串演出：陳浩峰動畫創作：黎達達榮造型設計：陳裕光音樂：于逸堯@人山人海/ 孔奕佳

復古情懷

創新精神

《臨川四夢湯顯祖》

多媒體崑曲

24-27/4/2008 香港文化中心劇場Studio Theatre, Hong Kong Cultural Centre 導演及策劃：胡恩威編劇 (南京)：張弘 藝術指導 (南京)：石小梅 演出：(南京) 柯軍、石小梅、胡錦芳、趙堅、龔隱雷、李鴻良； (香港) 陳浩峰音樂設計及指揮 (南京)：戴培德 唱腔整理及司笛 (南京)：王建農 演奏 (南京)：許建敏（中阮、小鑼）、張亮（笙、大鑼）、 戴培德（鼓）

「好就好在一種純然現代的趣味，選擇了一個橫斷面，呈現出一種張力與思考，但是我更喜歡的，是它這裡面的形式與聲腔，保留了一種原汁原味，一種純粹的意韻。這種純粹，我覺得是崑曲的魂魄。」于丹

「把崑曲的簡約美學和表演上的人的美學體現和示範出來了。」《藝術評論》劉華平

《臨川四夢湯顯祖》在二零零七年於南京江蘇省崑劇院預演，為進念與江蘇省演藝集團崑劇院共同擬定的創作合作及交流計劃，是一齣集合中國優秀崑劇藝術家及多媒體創作人的全新崑劇演出，以復古情懷創新精神演繹明朝戲曲作家湯顯祖的《臨川四夢》，展示作者的俠、情、佛、道四種思想。本劇由晚年的湯顯祖在暮色籠罩的山徑上為自己尋覓一方墓田為開始，及至尋覓到一大樹下累得睡著了，在夢中，年老的湯顯祖在遇上了年青的湯顯祖，遇上了《臨川四夢》的各個人物：《紫釵記》的霍小玉和李益、《牡丹亭》的杜麗娘和柳夢梅、《南柯記》的淳于棼和瑤芳、《邯鄲夢》的盧生和崔氏…在夢境中經歷了一次創作藝術旅程。

進念‧二十面體策劃及委約創作，江蘇省演藝集團崑劇院聯合製作

二零零九年分別應蘇州第四屆中國崑劇藝術節及

比利時歐羅巴利亞‧中國藝術節 (Europalia.China)邀請演出

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Director and Producer: Mathias WooPlaywright: Zhang Hong (Nanjing)Creative Advisor: Shi Xiaomei (Nanjing)Performers: Nanjing: Ke Jun, Shi Xiaomei, Hu Jinfang, Zhao Jian, Gong Yinlei, Li Hongliang;Hong Kong: Chan Ho-fungMusic Design and Conductor: Dai Peide (Nanjing)Score Master and Flute: Wang Jiannong (Nanjing)Instruments (Nanjing): Xu Jianmin (zhongruan, small gong), Zhang Liang (sheng, large gong), Dai Peide (percussion)

A retro mood in the spiritof innovation

Multimedia Kunqu Opera

Tang Xianzu’sDream on Dreams

“What’s good is its pure modern touch. It has chosen a cross section to present a kind of tension and reflection. What I like most are the forms and tunes contained within which have retained a kind of natural flavour attuned to a kind of pure rhymes. This purity is, I think, the soul of Kunqu.” Yu Dan

“Expressing and demonstrating Kunqu’s aesthetics of simplicity as well as the aesthetics brought forth by the performers in their performance.” Liu Huaping, Arts Criticism

In 2007, the preview of “Tang Xianzu’s Dream on Dreams” was held at Jiangsu Kunqu Opera House in Nanjing. As a creative collaboration and exchange project jointly developed by Zuni and Jiangsu Kunqu Opera House of the Jiangsu Performing Arts Group, the performance was a new attempt bringing together distinguished Kunqu opera artists and multimedia artists to give a retro innovative interpretation of “The Four Dreams at Lin Chuan”, a play by the Ming Dynasty playwright Tang Xianzu exploring four thoughts of the writer – chivalry, sentiments, Buddhism and Taoism. The play is about Tang Xianzu in his old age. He is looking for a grave site for himself in twilight along a mountain trail shrouded by mist. As he is searching, he becomes tired and falls asleep under a tree whereupon he dreams of continuing his search and comes across himself in his former youth. Incidents take place with backdrops from his own stories, as in “The Four Dreams at Lin Chuan”. He meets characters from his stories in the four scenes of “The Story of the

Conceived and commissioned by Zuni Icosahedron Co-produced by Zuni and Jiangsu Kunqu Opera House of the Jiangsu Performing Arts Group.

Purple Hairpin” (Scholar Li and his wife Huo Xiaoyu); “The Peony Pavilion” (Lady Du Liniang and her lover Liu Mengmei); “The Dream of Nan Ke” (Chun Yufen and the Princess); and “The Han Dan Dream” (Lu Sheng and Madam Cui)…through these dreams he has made a creative journey during the process.

In 2009, the programme was invited by the 4th China Kunqu Arts Festival in Suzhou, and Europe’s largest cultural festival Europalia.China in Belgium.

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usicTheatre N

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獎項

《荒山淚》

榮念曾實驗劇場

Danny Yung Experimental TheatreTears of Barren Hill

“With Tears of Barren Hill, Zuni Icosahedron has achieved a significant milestone on their extensive Traditional Operas – Experimental Theatre – Cultural Concerns exploration.” 21st Century Business Review (China)

“Visually sleek and dramatically thought-provoking” The Nation (Thailand)

導演榮念曾借中國京劇大師程硯秋 (1904-1958)同名作品《荒山淚》為起點，融入大師西游歐洲追求藝術的經驗，讓角色在不同的空間轉換中進行實驗創作與思想碰撞，對傳統藝術作跨文化跨時代的探索。演出邀得著名崑曲藝術家石小梅，青年京劇演員藍天與董洪松參與演出。

Danny Yung used “Tears of Barren Hill”, the acclaimed work of Peking opera master Cheng Yanqiu, as a starting point for his performance of the same title. In this production, the experience of Cheng travelling in Europe in pursuit of art was merged into the experience of the characters, so experiments in thoughts and creativity in work collided in different times and spaces, resulting in explorations of cross-cultural and time transporting nature. In this performance, renowned Kunqu artist Shi Xiaomei was invited to perform with young Peking opera artists Lan Tian and Dong Hongsong.

香港藝術節二零零八年聯合委約作品Co-commissioned by the Hong Kong Arts Festival

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3-5 / 2 / 2009 新加坡濱海藝術中心小劇場 Esplanade Theatre Studio, Singapore 編導/舞台設計：榮念曾演出：石小梅，藍天，董洪松，楊永德藝術顧問：徐幸捷，辜懷群創作顧問：田蔓莎歌詞：陳克華音樂：Nerve，潘德恕錄像：黃志偉

Director/Script Writer/ Set Designer: Danny YungPerformers: Shi Xiaomei, Lan Tian, Dong Hongsong, David YeungArtistic Consultants: Xu Xingjie, Vivien KuCreative Advisor: Tian ManshaLyrics: Chen Ko-huaMusic: Nerve and Pun Tak- shuVideo: John Wong

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Awarded by Music Theatre NOW

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1 榮念曾 進念‧二十面體藝術總監 Danny Yung Artistic Director, Zuni Icosahedron2 胡恩威 進念‧二十面體行政總裁導演及多媒體設計 Mathias Woo Executive Director, Zuni Icosahedron Director and Multimedia Design3 于逸堯 音樂創作人及進念藝術教育小組成員 Yu Yat Yiu Composer and Member of Zuni Arts Education Unit4 黃大徽 編舞 / 演員及進念藝術教育小組成員 Dick Wong Choreographer / Performer, Member of Zuni Arts Education Unit5 陳浩峰 進念駐團演員 Cedric Chan Zuni Resident Performer6 楊永德 進念駐團演員 David Yeung Zuni Resident Performer7 伍嘉雯 進念駐團演員 Carmen Wu Zuni Resident Performer 8 黎達達榮 漫畫創作人及進念藝術教育小組成員 Lai Tat Tat Wing Comic Artist and Member of Zuni Arts Education Unit9 黃裕偉 進念藝術教育小組策劃人 Wong Yue-wai Curator of Zuni Arts Education Unit

進念創作團隊

客席藝術家

GuestArtists

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21 沙多諾‧庫斯摩 (雅加達) 爪哇古典舞者 Sardono W Kusumo (Jakarta) Classical Javanese Dance Master22 石小梅 (南京) 崑曲演員 (國家一級演員) Shi Xiaomei (Nanjing) Kunqu Opera Performer (National Class One Performer of the PRC) 23 柯軍 (南京) 崑曲演員 (國家一級演員) Ke Jun (Nanjing) Kunqu Opera Performer (National Class One Performer of the PRC)24 張弘 (南京) 崑曲編劇 (國家一級編劇) Zhang Hong (Nanjing) Kunqu Opera Playwright (National Class One Playwright of the PRC) 25 胡錦芳 (南京) 崑曲演員 (國家一級演員) Hu Jinfang (Nanjing) Kunqu Opera Performer (National Class One Performer of the PRC) 26 趙堅 (南京) 崑曲演員 (國家一級演員) Zhao Jian (Nanjing) Kunqu Opera Performer (National Class One Performer of the PRC)27 龔隱雷(南京) 崑曲演員 (國家一級演員) Gong Yinlei (Nanjing) Kunqu Opera Performer (National Class One Performer of the PRC)28 李鴻良(南京) 崑曲演員 (國家一級演員) Li Hongliang (Nanjing) Kunqu Opera Performer (National Class One Performer of the PRC)

10 潘德恕 音樂創作人及演員 Pun Tak Shu Composer and Performer11 孔奕佳 音樂創作人及演員 Edgar Hung Composer and Performer12 甘國亮 編劇及演員 Kam Kwok Leung Playwright and Performer13 伍宇烈 編舞家 Yuri Ng Choreographer 14 蔡德才 音樂創作人 Jason Choi Composer15 Nerve 音樂創作人 Composer16 鍾家誠 演員 Carson Chung Performer17 葉燕芳 演員 Shirley Yip Performer18 曾兆賢 演員 Albert Tsang Performer19 柏蒂娜華狄 (曼谷) 泰國古典舞劇藝術家 Patravadi Mejudhon (Bangkok) Classical Thai Dance / Theatre Artist 20 李寶春 (台北) 京劇演員 Li Baochun (Taipei) Peking Opera Performer

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張建偉(北京)編劇Zhang Jianwei (Beijing) Scriptwriter

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董陽孜 (台北) 書法藝術家

林夕填詞人 / 文字創作

陳克華 (台北) 作家

爾超軍錄像 / 創意紀錄

沈嘉豪攝影 / 創意紀錄

客席藝術家

Guest Artists

Tong Yang-tze (Taipei) Calligraphy Artist

Lin Xi Lyricist / Creative Writing

黃志偉 錄像John Wong Video

Chen Ko-hua(Taipei) Writer

Bobby Sham Photography / CreativeDocumentary

Yi Chiu-kwan Video / Creative Documentary

29 單曉明 (南京) 崑曲演員 (國家一級演員) Shan Xiaoming (Nanjing) Kunqu Opera Performer (National Class One Performer of the PRC)30 戴培德 (南京) 作曲 / 樂手 (國家一級演奏員) Dai Peide (Nanjing) Composer / Musician (National Class One Musician of the PRC)31 王建農 (南京) 樂手 (國家一級演奏員) Wang Jiannong (Nanjing) Musician (National Class One Musician of the PRC)32 許建敏 (南京) 樂手 (國家二級演奏員) Xu Jianmin (Nanjing) Musician (National Class Two Accompaniment Performer of the PRC)33 張亮 (南京) 樂手 Zhang Liang (Nanjing) Musician34 田蔓莎(上海) 戲曲表演藝術家 / 導演 (國家一級演員) Tian Mansha (Shanghai) Chinese Opera Artist / Director (National Class One Performer) 35 趙廣超 設計及文化研究 (香港) 工作室 / 影像 Chiu Kwong-chiu Design and Cultural Studies (HK) Workshop / Animation36 Tobias Gremmler (慕尼黑) 數碼影像 Tobias Gremmler (Munich) Digital Images37 朴豪杉 (首爾) 編舞家 / 舞者 Park Hobin (Seoul) Choreographer / Dancer38 曼諾普‧美詹拉特 (曼谷) 編舞家 / 舞者 Manop Meejamrat (Bangkok) Choreographer / Dancer39 黃宇琳 (台北) 京劇演員 Huang Yu-lin (Taipei) Beijing Opera Performer40 藍天 (上海) 戲曲演員 Lan Tian (Shanghai) Chinese Opera Performer41 董洪松 (上海) 戲曲演員 Dong Hongsong (Shanghai) Chinese Opera Performer

42 蔡智揚 數碼影像 Lawrence Choi Digital Images43 葉曉丹 數碼影像 Dan Ip Digital Images44 何怡安 樂手 Ho Yi On Musician45 鄭旭 樂手 Dennis Cheng Musician46 林灒桐 樂手 Mavis Lam Musician47 彭康泰 樂手 Pang Hong Tai Musician48 胡海瀚 裝置 Benny Woo Installation49 廖啟賢 特別演出 Liu Kai Yin Special Appearance50 何岱容 特別演出 Heather Ho Special Appearance51 釋衍空法師 香港大學佛學研究中心講師 (《華嚴經》創作顧問 / 文本創作) Sik Hin Hung Lecturer, the Centre of Buddhist Studies of The University of Hong Kong (Creative Advisor and Script Writer of “Huayen Sutra”)52 釋僧徹法師 東蓮覺苑苑長 (《華嚴經》創作顧問) Sik Tsang Chit Abbot, Tung Lin Kok Yuen (Creative Advisor of “Huayen Sutra”)

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陳裕光造型及服裝設計

潘達培錄像 / 創意紀錄

關本良錄像 / 創意紀錄

張叔平美術指導 / 服裝設計

Tomas Chan Styling and Costume Designer

Poon Tat-pui Video / Creative Documentary

William Chang Imaging and Costume Designer

Kwan Pun-leung Video / Creative Documentary

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實驗精神開拓多元創作空間

主席報告

黄炳培

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黃炳培又名又一山人。一九六零年出生於香港，從事廣告創作，先後於多間跨國廣告公司擔任要職。黃氏之設計、攝影及廣告作品屢獲香港、亞洲及國際獎項四百多項。過去十年間，黃氏視設計教育為其下半生重要工作，穿梭客席各大本地及海外院校。除設計及廣告創作外，黃氏亦十分熱衷及積極於攝影及藝術範疇，尤專注人權及社會狀況之題材。作品多次於香港及海外展出及獲獎。其「紅白藍」系列藝術作品得到香港本地及國際關注，二零零五年代表香港參加威尼斯藝術雙年展展出。

實驗精神開拓多元創作空間本人很榮幸於二零零九年一月起獲推選接任進念董事會主席，肩負督導劇團向前邁進和發展的責任，但我更相信，這是一個互相影響、互為啟發的關係。進念多年來在有限的資源人力時間空間中尋求可能性，努力尋求打破局限，一直堅持實驗的創作路線，殊不容易。此外，在進念的作品和整體活動的組織裡，我能強烈感覺進念對社會的關懷和承擔。團體是由人組成的，傑出的作品也是需要一群人協力製作，很明顯這個團隊的向心力、視野和信心互相一直得到極好的配合，才有今天的成就。

締結場地伙伴，專業化更進一步藝團要專業化，最重要是具備專業精神，這點我對進念是毫無懷疑的。進念的架構和運作能夠不斷專業化，也是我喜見的。二零零八年起，進念與香港文化中心締結為場地伙伴，未來三年將透過此計劃推行專業劇團駐場的安排。進念將實驗以文化中心為創作基地，進行多元藝術創作及推廣工作，讓市民接觸一些人民哲學歷史議題的戲劇作品，促進藝術家與公眾的對話，提升香港的人文環境。進念亦將以此作為一個平台去發掘和培訓更多創作、表演、策劃、市場推廣、技術和管理人才，長遠來說要建立一個人才庫，為香港創意產業及西九龍文化區等重要發展項目作好準備。

國際文化交流獲殊榮進念一直致力推動國際性的文化交流活動，也是香港其中接獲最多海外邀請前往表演、講學、交流和展出的實驗團體。今年，藝術總監榮念曾因推動香港、德國兩地在文化、藝術兩方面的交流，獲德國聯邦政府頒贈象徵對德國有特殊貢獻的「聯邦十字

絲帶勳章」。榮氏在千禧年策劃了首個歐亞兩地跨文化跨地域的《香港柏林當代文化節》，是為一時之盛。榮氏跨地域、跨文化創作的成就可見一斑。

與此同時，進念啟動了一系列實驗傳統戲曲的計劃，發掘傳統戲曲及當代劇場融合的可能性。二零零八至零九年度，進念就委約創作了兩個以傳統實驗與創新為方向的劇場項目。除了實驗性交流創作外，同時也系統化地去評議論述亞太地區的文化交流機制和非物質文化的保存及發展等。今年，進念亦獲邀前往台北、新加坡和威尼斯等地演出和交流。

探索戲劇的各種可能 在二零零八至零九年度，進念上演的原創製作秉承一貫的實驗作風，探索戲劇的各種可能— —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。劇目有榮念曾實驗劇場作品《錄鬼簿》、全新崑劇演出《臨川四夢湯顯祖》、歷史劇場《萬曆十五年》和《上帝來到中國》，社會劇場《東宮西宮7之香港公務員死亡筆記》和多媒體劇場《華嚴經之心如工畫師》。

新添「通識劇場」迎教改二零零九年，為配合新高中學制和通識教育的推行，進念將推出「通識劇場」，幫助青少年學習從多角度剖析本地社會時事及現象。「通識劇場」以戲劇為媒介，為青少年提供接觸表演藝術的機會，以不同的角度去認識我們的文化、歷史和社會，提升他們的藝術觀賞經驗和對有關議題的討論和關注。

信、進、念、定、慧無 論 個 人 或 是 社 會 ， 只 要 是 追 求 進 步 和 超 越 ，「信、進、念、定、慧」是必須的五種正能量。在二十七年來，進念謹守創作上的實驗精神，以高質量的藝術作品前瞻未來的藝術視野，促進社會和文化的整體進步。本人將與進念同人攜手，繼續努力不懈地自我提升，在專業化的管理和營運架構下，帶動改革與創新，開拓更廣闊的多元創作空間，實踐建構知性公民社會的理想。

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Stanley Wong, also known as anothermountainman, was born in Hong Kong in 1960. Stanley has been professing in the advertising industry for many years, and had held several key positions in very prominent multinational advertising agencies. Throughout his career, Stanley has won more than 400 awards, excelling in design, photography and advertising. Educating the next generation in design has been his mission in the past 10 years as well as for the rest of his life, and he tours around institutions both in Hong Kong and around the world to fulfill this vocation of his. Stanley also engages in photography and fine arts passionately, and has a calling for raising awareness in human rights and various social issues. His talents have been recognized both at home and abroad, and his art works of the “redwhiteblue series” presented at the Venice Biennale in 2005 have gained him great international renown.

I am very honoured to be elected as Chairman of the Board of Zuni Icosahedron in January 2009, and from then on, I have taken up the responsibility of steering the wheel for the Company for its development and advancement. I am convinced it is a two way and mutually inspiring relationship. Over the years, Zuni has always been working with limited resources in respects to manpower, time and space. Yet, it has always remained steadfast to its objectives in thinking outside the box and in promoting the spirit of experimentation in their creativity. It is something that could be achieved easily. On top of that, I can always feel the concern and sense of commitment of Zuni for the society in its works and activities. A group is made up of individuals, and outstanding works are results of efforts of collaboration. Evidently, Zuni is a company with excellent rapport in vision, cohesion and mutual trust in order to attain such achievements that they have today.

Venue Partnership Brings Professionalism One Step Further

For an arts group to go professional, the most essential is to have a spirit of professionalism, which I am sure Zuni possesses. I am very delighted to see that the structure and operation of Zuni is getting more and more professional everyday. In 2008, Zuni has become the venue partner of the Hong Kong Cultural Centre, and in the coming three years, through this Venue Partnership Scheme, Zuni would use the Cultural Centre as a base to promote diverse artistic creativity in order to enhance the cultural environment of the community. Zuni will also make good use of this chance to introduce to the public some theatre works with topical interests on philosophy and history, facilitating more dialogues between artists and the public, and encouraging more involvement of the community in the development of arts. This would also be a platform for Zuni to nurture more local talents for the performing arts industry as artists and personnel in the technical, management and marketing aspects; and in the long run, build up a talent pool for the creative industry of Hong Kong and help contribute to the healthy development of the performing arts scene in preparation for the future development of the West Kowloon Cultural District.

Merits for International Cultural Exchange

Zuni has always been very committed to promoting international cultural exchange, and is one of the arts organizations which have received most invitations from overseas for performances, lectures, exhibitions and cultural exchange in Hong Kong. In February this year, Danny Yung was awarded the Merit Cross of the Order of Merit by the German Federal Government in recognition of his contributions towards the

Experimentation and CreativityChairman’s Report

Stanley Wong

arts and cultural exchange between Germany and Hong Kong. In the year 2000, Danny Yung curated the ground-breaking cultural event, “Festival of Vision: Berlin / Hong Kong Festival” in Hong Kong and Berlin. More than a thousand artists participated in that event of diverse content, crossing disciplines and regions. Over the years, Danny Yung has made outstanding contribution to the arts and cultural scene in Hong Kong, and his efforts are recognised both in Hong Kong and abroad.

In these last years, Zuni has launched a series of programmes experimenting on traditional Chinese opera, exploring the possibilities of integrating contemporary theatre with traditional Chinese performing arts. In 2008/09. Zuni commissioned two theatre projects on the innovation of experimenting traditional arts. In addition to the experimental exchange and creative programmes, a systematic discourse on the facilitation of cultural exchange in the Asia-Pacific region, as well as on the development and preservation of the cultural heritage of Asian performing arts, is carried out. This year, Zuni is being invited to Taipei, Singapore and Venice for performances and exchange programmes.

Exploring the Various Possibilities of the Theatre

In 2008/09, all the original productions staged by Zuni adhered to the principle of experimentation, exploring the various possibilities of the theatre with reference to tradition and technology, politics and entertainment, language and movement, history and philosophy, sense and sensitivity. The body of theatre works produced last year include Danny Yung’s Experimental Theatre “Book of Ghosts”, the Kun Opera performance of “Tang Xianzu’s Dream on Dreams”, two works of History Theatre “1587, A Year of No Significance”

and “God Came to China”, Social Theatre “East Wing West Wing 7 – Hong Kong Civil Servant Death Note” and Multi-media Theatre “Hua-yen Sutra – Mind as a Skilful Painter”.

Liberal Studies Theatre – In Touch with Education Reform

I n 2 0 0 9 , i n o rd e r k e e p a b re a s t o f t h e implementation of liberal studies in the new academic structure, Zuni launches the “Liberal Studies Theatre” in order to help young people analyse various local social issues and phenomena from various perspectives. “Liberal Studies Theatre” provides a platform for young people to get to know performing arts with theatre as the medium, allowing them to get to know our culture, history and society from different perspectives, and to enhance their interest and appreciation for arts and raise their consciousness and concern for relevant issues.

Faith, Effort, Mindfulness, Concentration and Wisdom

When we are in pursui t of progress and excellence, regardless of being on a personal or social level, there are five essential qualities, “faith, effort, mindfulness, concentration and wisdom”. For 27 years, Zuni has steered with a spirit of experimentation, contributing to the cultural development of the community with innovative and quality works of art. I will go forward with Zuni, hand in hand, with continuous effort to improve ourselues, in hope of bringing reform and innovation under professional management and operation, opening up a brave new world of pluralistic creativity, and fulfilling the ideal of building an intellectual civil society.

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Since 1987, Zuni’s arts education unit has organized many kinds of visual and performing arts education activities for students including art camps, exhibitions, performances, lectures, workshops, post-performance discussions, as well as local and overseas exchange activities. In 1999, Black Box Exercise started. In 2000, the Multimedia Theatre Education Scheme kicked off, and starting from 2001, the Scheme has collaborated with the Leisure and Cultural Services Department on a diversity of projects. With more than 20 years of rich experiences gathered from processes of transformation, qualitative changes, expansion and optimization, Zuni has shown its long-term commitments in promoting arts education and making strategic developments. In 2009, Zuni continues to respond to the changing needs of society by rolling out a new series of “Liberal Studies Theatre” and its corresponding arts education in order to meet the new needs generated under the implementation of New Academic Structure for Senior Secondary Education and Liberal Studies.

自一九八七年起，進念的教育小組為學生組織不同類型的視覺及表演藝術教育活動，包括藝術營、展覽、演出、講座、工作坊、演後座談會、本地及海外交流活動等。一九九九年開始「黑箱作業」，二零零零年開展「多媒體戲劇教育計劃」，二零零一年起與康樂及文化事務署合辦多項計劃，超過20多年的轉型、蛻變、擴展、優化，進念顯示了對推廣藝術教育的長遠承擔，以及進行策略性發展的成績。二零零九年，進念繼續回應時代的需求，推出全新「進念通識劇場」及相應的藝術教育活動，以配合新高中學制和通識教育的推行。

「通識劇場」是近年主要演出系列「社會劇場」之延伸，以本地社會時事和現象，以致有關於歷史、哲學、文化、藝術概念等為主題，透過劇場演出回應及探討社會文化議題。隨著新高中學制的推行，學生有更大的空間參與藝文活動，進念將增強藝術教育的推廣，與通識劇場配套，幫助青少年掌握事實、理解現象、澄清概念，以達致培養識見，及批判反思、獨立思考的能力。通識劇場設專為中學團體的學生導賞場，在觀賞演出以外，即場與老師同學進行導賞、專題分析和討論。

進念於二零零九年成為香港兆基創意書院的駐校藝團，來年將與該校院通識科緊密合作，發展一系列深入探討社會文化議題的工作坊，讓同學將思維從舞台擴展至社會與人生。

Zuni Arts Education in response to the New Academic Structure for Senior Secondary Education

進念藝術教育回應新高中學制

The “Liberal Studies Theatre” is an extension of the “Social Theatre Series” whose themes cover topics from local social issues and current affairs, to concepts related to history, philosophy, culture and art, and so on, and use the form of theatre to make responses and explore issues that are of social and cultural concern. With the latest implementation of the New Academic Structure for Senior Secondary Education, students will be given more chances for participation in arts and cultural activities. Zuni will strengthen its work in the promotion of arts education for integration into its “Liberal Studies Theatre” with the aim of fostering students’ ability in the grasping of facts, understanding of phenomena and clarifying concepts in order to nurture and enhance their capability of developing insights, conducting critical reflections as well as independent thinking. Guided viewing sessions are specially arranged for secondary students in the Liberal Theatre series. Besides viewing the performance, students and teachers are encouraged to engage in one-site analysis and discussion. In 2009, Zuni has become the resident arts group for HKICC Lee Shau Kee School of Creativity. In the coming year, Zuni will work closely with the School’s Liberal Studies Team to develop a series of workshops to investigate social-cultural issues, with the aim of stimulating students to expand their thinking from theatre to life and society.

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　作為香港本土頗具影響的實驗性劇團，「進念．二十面體」一直給人的印象都是先鋒的、特立獨行的，光是「二十面體」這個名字，就已經夠「未來」了吧？團體早在建立初期，就聚集了一批「文藝青年」，而那在香港第一個播放Pina Bausch、 Robert W i l s o n 作 品 錄 像 ， 頻 頻 展 示 前 衛 電 影 的 「 進 念 會所」，更是當時對文化藝術抱持想像的年輕人的朝聖之所。

　劉索拉就曾說過，進念很「頹廢」—「因為懂得自由藝術，所以很頹廢。就像頹廢浪漫主義詩人藍波的詩。」而有了進念的香港是不一樣的，在簡單的商業文化之外，呈現出香港年輕人的另一種面貌。

　要先鋒實驗就要耐得住寂寞？進念大概不相信這種框框。在劇團的網站上它這樣解釋自己的名字：「進念．二十面體，英稱 Zuni Icosahedron。進念 ZUNI 是介乎藍與綠的顏色，並是北美洲以創作手工藝著名的少數民族；二十面體是 Icosahedron的意譯，也是傳播力強的細菌的基本形狀。」

　 極 強 的 傳 播 力 ， 乃 是 從 年 輕 的 頭 腦 開 始 。 今 天來 看 進 念 的 藝 術 教 育 策 略 ， 多 少 讓 人 想 像 ， 學 校「三三四」改制後，通識教育風行時，劇場藝術教育是不是提供了一個好的可能？

二十多年來不斷進步

　自1987年起，進念的教育小組便開始主動策劃教育推廣，為學生組織不同類型的視覺及表演藝術教育活動，其中包括藝術營、展覽、演出、講座、工作坊、演後座談會、本地及海外交流活動等。

　「初初到學校做推廣，只是作為純粹的課外活動，幾個藝術家在周會一兩個小時的時間裡面對整個禮堂的學生作很少的表演。當時上台，介紹經常說錯，誰

知道你是『十二面體』還是『二十面體』。」黃裕偉自 1987 年加入進念，一直負責藝術教育項目至今，說起初時的經驗仍有些莞爾。

　 「二十多年過去，在不同的時間段內，我們都有不同的策略去推進，用很少的人力去接觸更多的學生。」黃裕偉說，「剛開始的時候沒有辦法整個演出帶過去，我們就放錄像帶，有我們自己的演出，也有其他的不同類型的藝術。表演藝術很多時候會接觸到身份問題，當時 80 年代，又是殖民時期，很多學校不大考慮這個問題。 但是這和學生是有很多關係的：他們會問自己是甚麼、自己和社會的關係、自己和家庭的關係、和國家的關係。那時已經開始從表演藝術的本質引申出其他的討論。」

　後來，劇團開始將小型演出搬到學校，讓平時少有機會看演出的學生接觸現場表演，也了解表演藝術與電視的分別。

　「但我們擔心在一個禮堂的設備下演出會變成一個純粹的表演。音樂的音色達不到一個音樂廳的效果，會變成只是看你去怎麼演奏。特別對於進念，多媒體的表演更加遇到這種問題。這讓我們反思：其實這樣的方式是不是一個足夠好的接觸藝術的機會呢？如果他們以為這樣就是表演藝術的話，會不會反而是好心做了壞事？」

　後期的進念，發展出更多的推廣模式，如邀請學生來看公開綵排，為學生設導賞專場，或讓學生完整地參與一個表演由無到有的發展過程。這些模式在今日的劇場界已經廣為各劇團所運用，甚至發展出更多樣的活動，如圍讀劇本，或參觀後台等。隨着「三三四」學制的轉變，學生將有更大的空間去發展課外活動。黃裕偉說，這正是一個契機，去做多一些藝術教育的推廣。

進念從藝術教育到「通識劇場」轉載自《文匯報》，二零零九年四月二十六日

　「成本自然越來越高。不過最重要的是，很多劇團沒有辦法去這樣做，因為他們的團員很多不是全職演員。我們既然能做就盡量去做。」

劇場是一個 life / live experience

　進念的藝術推廣活動中，為人津津樂道的不能不說「黑箱作業」計劃。這是進念在 1995年創辦的同 名 社 區 藝 術 活 動 的 延 續 ， 讓 每 個 學 生 擁 有 一 個30×30×30公分木製黑箱，各自在黑箱內進行創作。香港理工大學設計系副教授蕭競聰所主持的工作坊，加上學生自己動手的親身體驗，一個並不複雜的概念，卻讓「裝置藝術」這個看似高深的當代藝術詞彙進入了學生視野。更重要的是，從1999年起，「黑箱作業」逐漸擴展至海外，到多個城市舉辦工作坊及展覽，參與機構超過200間，參觀人數約28萬人，儼然成為國際間備受重視的教育計劃，更於 2003年起成為丹麥的正式藝術教育過程之一。由一個點開始擴展成網，這又一次顯現出進念觀念的超前與超強的「擴散速度」。

　另一個難以繞過的標誌性活動，則是進念自2001年開始和康文署合作了七年的多媒體劇場教育計劃，對於黃裕偉來說，它體現出進念教育推廣策略的又一次轉型。

　 「90年代中後期，有了另外一個討論點，那就是許多活動學校做過以後，都是一次性的。這樣下去，同學只是蜻蜓點水接觸一下，沒有延續性。但延續性與了解過程是十分重要的，不然就只能是一個消費者。我們開始覺得應該和同一班同學長時間地做一個計劃，就和康文署合作，每年用八到九個月的時間和同一班學生來進行活動。第一個階段，帶上我們自己的儀器、麥克風、好的投影儀等等，到學校做一個簡單的多媒體劇場，和學生作一個初步的接觸。完了以後就有討論，讓大家填問卷，看哪些有興趣去多接觸進

念或者多媒體劇場。10間學校，每間500-1000人，最後剩下來的學生並不多。藝術家會去每個學校，精要地告訴他們每個媒體的特點，最後進入對綜合多媒體劇場的介紹。之後進入到『聯校』的階段，學生去到康文署的場地，和其他學校的學生接觸、合作，再挑選一個媒體作深入了解，上工作坊，最後做一個演出。劇場是一個比較完整的學習過程，與別人相處、做決策、處理問 題、達致目標，這其實是一個 li fe experience。」

　這個計劃同樣開啟了「做兩場」的模式。「一定要兩場。表演藝術不是一次過的。一個演員是專業的，是因為他要練習到每場都可以做到同樣的東西，這個概念對表演者很重要。通常學生的演出，第一場都會做出很多能量，第二場我們則預計是失敗的。但希望通過這個讓大家經驗到，台上的功夫多麼重要，反過來也明白做觀眾時可以如何去欣賞和尊重台上的表演。我們解釋這個原理解釋了十多年，好在政府有這個系統，只要你開了先例就可以繼續做下去。同年代其他團體的做法中都沒有注意到這個東西。只是拿了同樣的形式去做，沒有了解後面的理念。一點不同已經差很遠。」

　藝術教育推廣，裡面其實大有文章。表面看來只是做做表演，開開工作坊，但如何設置不同環節同樣包含劇團的理念。更重要的是，其終極目的並非教人如何看懂表演，而是如何將思維由舞台上延伸至社會與人生。進念「通識劇場」新劇《香港電視終極檢討》的教育推廣計劃，便試圖引導學生思考電子傳媒與現實的關係。在與兆基創意書院合作的工作坊中，學生在資深研究員 Patrick Mok的帶領下學習通過設計問卷來了解自己的想法和與別人就同一問題進行溝通。（計劃同時包括6場學生導賞場，門票僅30元。）通過一個劇場表演將個人與社會議題相聯繫，這大概正是進念「社會劇場」，乃至現在的「通識劇場」的創作理念所在。

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文化交流是香港文化發展最重要的命脈，沒有文化交流，香港文化沒有發展空間。跨越任何疆界的交流都可能啟發創作和辯證。只有跨越，才會促進新的視野、新的感覺和新的學問。

進念參與和策劃的文化交流活動向來都是多元化和多層次的，目的不限於提升本身的藝術和創意水平，也嘗試在中華文化的未來發展方面貢獻力量。透過參與和策劃長期的文化交流活動，亦可培養更多具國際視野和經驗的藝術創作、策劃和管理人才，既提升本地藝術人才的專業水平，也可幫助香港提高在國際上的文化形象。近年的交流活動大多已超越演出節目的層面，交流探討的是尋找文化交流新模式、建立文化互動網路的基建和文化視野的對話。

多元化多層次的文化交流Zuni Cultural Exchange

Cultural exchange is the life-blood most vital to the cultural development of Hong Kong. Cross-boundary exchanges can generate creativity and dialectics. Only with transcending crossovers can new vision, new feelings as well as new knowledge be nurtured and promoted.

The cultural exchange activities that Zuni engaged and organized over the years have always been diversified and multi-leveled. The goal is not only to enhance the group’s artistic and creative excellence, but also to contribute to the development of Chinese culture. Through participation and organization of long-term cultural exchange projects, it is feasible to nurture more specialists, who possess international perspectives and experiences in positions including artistic creation, curatorship and management, thus to raise professional standards of local artists as well as enhance the international image of Hong Kong as a cultural hub. In recent years, cultural exchange activities have already gone beyond the arena of arts programming. Exchange projects now explore new modes of cultural exchanges, the set-up of an infrastructure of interactive cultural networks and facilitation of dialogues on cultural visions.

A：榮念曾 Q：祝雅妍

毫無意義的公關姿態

Q：在與內地的交流中，香港最大的核心價值是甚麼？

A：過去香港官方與內地探討文化交流的水平很低，往往只有經濟考量、形式主義和官樣文章，並沒有實質具體的研發，沒有延續性的創意平台去支持推動兩地文化藝術界的前線工作者之間長遠文化交流和合作，更別談甚麼核心價值。

有國內高層官員曾私下對我嘲笑香港官方只懂組織一些儀式，簽署一些毫無意義的合約。我認為如果想建

立真正的文化交流，首先要有長遠的文化視野，要有具體文化交流的政策，然後要有實質的基建規劃，要有平實的文化交流運作體制。香港政府一直並沒有文化藍圖概念，沒有文化交流軟件概念，過去政府主催的活動很多浪費資源，成為假大空的公關活動。這就是問題徵結。

Q：你認為交流的方式比較重要？

A： 文化交流不單是些表演展覽活動，表演展覽活動只是最基本、表面、初步的文化「交流」，是更接近文化消費的交流活動。高一層次的文化交流是雙方藝術家藝術團體的全面「合作」，在合作中有溝通、認識和互動，在合作中自然會發展出有評議和學習。第三個層次就是雙方合作伸展至團體內外的討論和檢

香港須成為世界文化大都會

原文刊於2009年7月號《文化現場》

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討，進而發展成雙方長遠文化交流合作方案。第四個層次就是將合作經驗累積分析，為發展雙方文化大環境為己任，協助未來宏觀文化交流合作配套的發展。真正文化交流的功能，應該不只停留在合作文化生產上，更應該在推動協助雙方文化組織的發展和進步，同時是在發展推動雙方文化環境裡，文化機制、文化管理、文化研究和文化理念的進步。第一、二層次的是短線交流、第三層次是中線交流，第四層次是長線交流。四個層次都必須注重發展的持續性，和對文化交流機制發展的回饋。目前香港政府文化交流資助大都停留在第一層次。

Q：是否香港的資助並沒有長遠計劃？

A：香港對文化交流的資助是沒有長遠計劃的；政府對文化交流發展的支持是單靠被動地資助一些活動；我們更需要的是支持民間去建立更長遠的文化交流機制。香港的問題是政府根本缺乏一套對外交流政策，更遑論交流的知識、運作及執行方法。香港《基本法》明文規定，香港擁有對外文化經濟及第三部門交流的自主，問題在香港沒有這方面的基建概念；政府缺乏經驗，卻又沒有用心做好研發、評核、人才培育及策劃工作，所以在對文化交流的支持全是片面的、短線的、被動的。

就是因為領導們沒有魄力和視野，執行官員們沒有足夠的經驗和學識，文化交流基建的建設一直拖延到今天就連影子都沒有。我們今天面對西九文化區策劃，建設文化大都會的宏偉大計，文化交流合作的軟件基建已經是急至眉睫，文化交流的政策卻從缺，怎不令大家焦慮。

沒有綜合經驗

Q：如果我們將焦點放在中國，對香港文化的發展有沒有幫助？

A：發展文化交流要有清晰的目標，要有內部現況的評鑑，世界文化交流的走勢，足夠的研發，然後才能發展完整的藍圖，藍圖中要羅列的不單是軟硬件人才培育，而是建設及強化文化交流的民間前線組織，這裡包括文化網絡及智庫建設。只有打好知識的基礎，才能有分析能力，才能有策劃工具的學習，才能有行動的開始。

我們將初步的文化交流策略焦點對象先放在中國，是合理的。這樣的策略對香港文化的發展，對香港在世界文化的定位，絕對有幫助。但初步的策略並不代表我們厚此薄彼，我們明白香港文化界和亞洲及第三國家文化界的文化交流同樣重要；焦點先放在中國只是時間策略性的考慮。

推動香港和內地的文化界交流合作策略的大方向是對的，但是中國這麼大，怎樣下手？我建議我們可以分階段作試點推動。比如先集焦在大台北區、京津區、長三區及珠三區，再者就是成都—重慶、長沙—武漢、昆明、西安、長春—瀋陽等。同時我認為我們應該將文化交流定位於「民間文化組織」間的互動合

作，這會節省很多表面文章的外交式文化交流活動。具體工作該怎麼樣做，那就回到怎樣推動策略性的研究及規劃。

現在最的大危機是文化界是一個弱勢的界別，並不一定能駕馭背後的巨大局勢。要回顧中國與香港過去15、20年的交流，當中的挑戰與問題。問政府機構，問藝發局，問大學，會發現沒有人在研究這方面的情 況，在研究以外，更重要的是實際經驗。各人有各人的經驗，但如何綜合這些經驗呢？

Q：歷史因素曾使香港作為中國的窗口，可是回歸後，這種身份已漸漸模糊，要如何突顯香港最珍貴的文化土壤？

A：要去突顯這這種身份只是增加港人信心，但要改變整個文化政策，則要有更清晰的目標。香港的優勢是一直存在的，同時也存在資源分配、人才流通、培 43

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育、網絡建設、智庫的問題，如何解決這些問題才是根本重心，不應只糾纏在名義上的討論。

香港一向是和世界流通無阻，香港是匯集式的海港。海港文化有它的優勢，要保持這優勢才能繼續成為中國的窗口；保持這優勢就要解決內部策劃，建設智庫。

香港是移民城市，如何保持移民文化帶給我們的靈活性及適應能力，如何發展移民文化帶給我們的邊緣辯證及評議精神，是根本重心。回歸後，香港仍是海港，香港仍是移民城市，我們仍有我們的靈活性及適應能力，我擔心的是我們慢慢失去了邊緣辯證及評議精神。這才是文化界應該好好思索的問題，也是文化界在建設文化過程 中最大的挑戰。

面向大陸政策

Q：你的文章曾經說過，香港本來可作為亞洲的文化中心，可是卻沒有好好把握，這算不算是卻失去了先機？

A：香港政府的確反應慢，常常沒有把握好時機，前九七在八九後時期是一個機會；後九七香港政府的亞洲都會口號是有的，但也只停留在口號的階段，具體研究計劃、策略及配套從缺。現在我們有西九文化區計劃，是建設亞洲文化中心的契機，可惜香港政府好像還是慢了半拍，連建立文化網絡的軟件及人才整合培育藍圖都是蝸牛速度。

要成為真正亞洲文化中心，除了香港內在的自我意願，亞洲怎樣看香港也很重要；亞洲的文化界怎樣看香港更重要。在亞洲文化網絡基建最成熟的是日本，最努力策劃的是新加坡。它們怎樣看香港，其實可以是很好的度量器，當它們再不關注香港動向時，那才糟糕。

目前的外圍看香港情況，我並不悲觀，舉一個例子，日本商務部長6月6日在上海隆重宣佈上海世博會日本館請來自香港的我做導演，明年在館中特別設計高科技劇場，進行總共6400場演出，估計有320萬觀眾。我們不談日本在上海世博聰明的跨文化策略，但他們一直密切注意香港並注重香港文化發展動態是事實。世博的消息內地和日本都在熱炒報道，可是香港好像一點報道也沒有，這是不是反映了香港政府和香港傳媒的觸角問題？還是它們在坐井觀天？

以亞洲來說，日本了解香港，但香港又是否了解日本。以半官方組織來說，例如藝發局，他們與日本的東京或亞洲其他城市有多少溝通和交流，有多少了解對方的文化環境和政策？我們的基本工夫做得實在不夠。亞洲地區研究做得最好的是新加坡政府。香港就如二世祖般糊裡糊塗過日子。當鄰近國家花很多時間精力在研究文化都會策略，香港的政府、半政府機構卻還在走「即食」路線。

Q：是否這類工作需要太多資源，而且缺乏短期回報？

A：過去的20年，政府對本地文化發展的支持，只側重活動，忽略研發及策劃人才的培育，政府坐井觀天，對全球文化發展形勢缺乏了解。民間文化組織在沒有任何資源下，努力推動進行文化政策研究工作，以及對外文化交流及網絡建設的工作。民間文化組織因為沒有資源，工作極為艱辛。當我們直接和建制開始互動，建制內又有人會用陰謀論，酸溜溜地說我們互動是為了爭取資源給自己，這種小心眼心態令人啼笑皆非。努力工作的人，卻被不會做事兼沒有安全感的人刁難。於是很多努力工作的人，難免灰心，不再想再留在香港做事，香港人才流失，罪魁禍首是政府內部保守的文化。這是香港的悲劇。

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Q：人才流失，已有不少人開始北上，社會的創意力量便因此減弱？

A：其實北上也不是壞事，北上服務可以協助擴展香港及國內的網絡，強化香港與國內的關係；可以學習國內文化組織的管理文化，這些經驗遲早會帶回香港。長線地看，香港文化工作者去了國內，社會的創意力量不會便因此減弱。

媒體是文化發展的持份者

Q：有沒有一些更積極的做法去推動香港文化的發展？

A：公共媒體是香港文化發展的重要持份者，公共媒體對文化如果沒有自覺和辯證，肯定影響香港文化的發展。公共媒體沒有公共意識，沒有公民社會概念，公共媒體就只淪為商業行為。公共媒體不能負起文化發展，部份理由就是因為香港公共媒體政策的落後。要推動香港文化，首先要整頓香港公共媒體政策。

另一個影響香港文化的是香港政府中層管理官員的AO（行政官）。特首需要手下四百多個AO的合作才能做事；但如果那些AO沒有文化視野，沒有工作魄力，不尊重專業，不注重研發，他們就有可能成事不足，敗事有餘。我們有太多經驗，目擊AO們用盡行政手法延遲政策的落實。尤其是當AO們自覺你能比他們做得更多、更快、更有能力，他們就用程序消磨你的精力，直至你筋疲力盡；不為甚麼，只為了證明給他們的上司看，他們的高薪身價沒有浪費。這問題在教育局最嚴重。所以如果沒有全面具體的一套培育計劃去更新政府中層官員的心態及文化，香港文化發展將繼續艱辛。

Q：香港內部有太多關卡和架構的限制，是不是時候轉而面向大陸。香港官方在國內的情況如何？

A：香港官員到了國內，尤其是在北京講官階的地方，簡直沒有站的位置，還比不上九品芝麻官。我和香港很多文化界人士在國外，在內地，在不同場合，常常和國內高層黨委書記等接觸，討論文化現象，探討文化政策，可是香港的官員根本見不到這些人。更糟的是，在國內官員眼中，覺得我們很多官員的文化水平實在太低，沒有外交涵養，真難為情。我建議我們的官員們「放下身段」，多些學習，更應該克服自卑自大心理；或許更重要的是，政府該為他們提供文化外交的培訓。

沒有文化藍圖

Q：香港會不會發展成一個文化轉口港，面向中國，同時面向世界，好像你的文章所說，成為實驗與傳統的交流平台。

A：在西九會議中，我多次提議，我們要有計劃有策略去吸引世界各地的文化機構將總部設放到西九文化區，令香港成為全球頂級文化人才匯聚的城市，這是建立文化都會最速成的捷徑。

長遠來說，香港要成為世界文化大都會，便要對世界文化發展的挑戰有所承擔；香港要成為世界文化大都會，就必要建立世界級前瞻性的文化交流制度、支援、軟硬件配套；香港要成為世界文化大都會，就要能夠不斷匯集全球文化領袖精英來港留港，共同探討全球文化問題，包括文化和經濟，實驗與傳承，教育及傳媒，科技與藝術，保存和發展等等的題目；香港要成為名副其實的世界文化大都會，就要能夠不斷舉行全球重要的文化討論會議，令全世界的文化界都覺得不得不來香港取經。

Q：香港有甚麼吸引世界各地的組織來西九設總部？

A：中國，全世界都在看中國，實際的人會說中國是全世界最大的市場，有些則視中國擁有世界上最大的潛力。可是進入中國不是易事，國內的監管很厲害，這便是香港的機遇。但中國的發展很快，要看香港能否把握這個機遇。

西九要成為世界文化大都會，回到最根本的問題，就是本身要有文化藍圖。2002年文化委員會出了一個服務性的、妥協性的文化「藍圖」。宣佈了這文化「藍圖」 之後，文化委員會便自動消失，八年過去了，我們要問，有哪些建議成為政策？那些建議完成？哪些沒有完成？沒有完成的誰在跟進？我們都不知道該問誰？

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榮念曾是進念創辦人之一暨藝術總監，新類型藝術的倡導者，策劃、製作及導演的作品已逾百部。他一向強調辨證思維，並以舞台為交流平台，廣邀不同地域和文化傳統的知名藝術家以及年輕劇場工作者，共同探索戲劇，且於歐、美、亞的不同舞台發表。因為其在推動香港、德國兩地間的文化藝術交流的成就，於2009年2月獲德國聯邦政府頒贈象徵對德國有特殊貢獻的聯邦十字絲帶勳章。近年，榮念曾漸轉向於思考傳統表演藝術的承傳及跨越創作，以承傳亞洲地區傳統表演藝術文化，及為區內傳統表演藝術建立跨文化對話平台。

他一向關注香港以至於整個亞太地區的藝文發展，多年來曾就香港政府的文化藝術政策進行系統討論及作出獨立研究，並就創意教育、創意經濟、創意城市以及創意交流等事項的向政府提供意見。現為西九文化區管理局成員。

跨越與互動近年我嘗試實驗崑曲，同時也嘗試實驗巴哈和貝多芬的音樂。我用當代的角度、目前的方法，去演繹這些經典；通過創作去瞭解那個時代的文化，尋找在那個歷史階段的創作方法，溝通現在。創作就是「跨越」空間和時間，讓過去和現在建立「互動」關係。

創作本來就是「另類」的評議。能夠先走出習慣性的框框，真正地「看」或「觀察」不熟識的東西，大膽地跨出去「看」或「觀察」過去的人和事，然後再反過來「看」或「觀察」自己，才可以拓展自己的世界觀。

我們有須要瞭解傳統藝術是在怎樣的社會歷史背景出現，瞭解它的概念如何衍生後，便會瞭解當下的創作和現代社會環境是如何互動衍生，就能避免簡化地用標籤去框住自己。「標籤」是為文化理論學方便討論分析的須要而發展，作為實踐者，我只是用我的方法去直接和身處的文化及社會環境動力建立「互動」。這些「互動」可以是批判性的，也可以是開放性的，更多是跨越性的實驗。巴哈和崑曲啟發我重新認識聲音和劇場，認識建築和歷史。我就嘗試讓兩者跨越「結婚」，結婚了就可以生孩子，也理不了生的孩子好歹；創作不講好歹，重要的是對自己的挑戰。

我和任何人合作，都是合作一同跨越，一同尋找藝術的未來定位，尋找創作的深層意義。傳統藝術家累積了很豐厚的身體實踐經驗，我很想瞭解他們究竟如何思考創作、反思學習；就如從小用繁體字閱讀的，是怎樣處理簡體字的世界。國家級的演員常說做國寶很慘，被框在籠子裏，像熊貓一樣，沒有自由，只能重複再重複。傳統藝術家當然有權利去創作，更重要的是他們也是活生生的人！他們怎麼做人，怎麼做創作，怎樣處理傳承，都同樣重要。「標籤」是目前很多做創作工作朋友們必須面對的挑戰。所謂「藝術家」或「傳統藝術家」，都是經濟生產體系分門別類的結果。創作是不斷的跨越，超越門類，就如文藝復興時代，藝術家是建築師、哲學家、科學家，在不同領域遊走，尋找學問的真正定位和深層意義，建造各式各樣的橋樑。

榮念曾

跨越與互動

Danny Yung is one of the founding members of Zuni Icosahedron, as well as the Artistic Director of the group. He advocates experimental arts and new art forms, and he has curated, produced and directed over 100 stage productions. He champions dialectical thinking has contributed significantly to the provision of a platform for both acclaimed and budding artists to explore and practice theatre art in Hong Kong, as well as across Europe, Asia and the United States. Danny Yung was awarded the Merit Cross of the Order of Merit by the German Federal Government in February 2009 in recognition of his contributions towards the arts and cultural exchange between Germany and Hong Kong. In recent years, Yung is dedicating himself to promoting traditional performing arts, particularly in the development and preservation of the cultural heritage of Asian performing arts, providing a platform for cross-cultural dialogue in the region.

Danny Yung has always been very concerned about the arts and cultural development in Hong Kong and the entire Asia Pacific region. Over the years, he has made substantial contribution in facilitating discussions and independent studies in arts and cultural policy for the Hong Kong Government, and has offered perceptive advice to the Government on matters such as creative education, creative economy, creative city and creative exchange. At the present, Yung is a Board Member of the West Kowloon Cultural District Authority.

Crossovers and Interactivity

In recent years, I attempt experimenting on Kunqu (Kun opera), as well as on the music of Bach and Beethoven. I try to interpret these classics with contemporary perspectives and current methods; and try to understand the cultures of those times through creativity, and to communicate with the present through looking for the method of creativity of those eras in history. To create is to cross over time and space, establishing an interactive relationship between the past and the present.

Creativity is a kind of alternative critique. In order to expand our world view, we have to think outside the box, to “look at” and “observe” things unfamiliar, and to be bold and step out of the box to “look at” and “observe” people and things in the past. Only then could we “look at” and “observe” ourselves, and expand our world view.

We need to understand the social and historical background of the emergence of traditional art, and also how its concept came into being, then, we could understand how creativity and the modern social environment interact and derive nowadays, and thus avoid the foibles of over-simplifying things by confining ourselves with labels. “Labels” are created for the convenience of discussion and analysis of cultural theories. As a practitioner, I want to use my own approach to interact directly with my cultural and social environment. These interactive activities could be critical, or they could be open, but more often they are experiments boundary-crossing in nature. Bach and Kunqu inspire me to get to know the theatre and sound, architecture and history, from a totally new perspective. I would try to let them cross over and “get married”, and then to have children. It is not up to us if the children turn out to be good or bad. With creativity, we don’t think in terms of good and bad, what is important is that we challenge ourselves.

When I collaborate with others, we collaborate in crossing boundaries / over together. We go hand in hand in search of the future positioning of arts, in search of the deep meaning and significance of creativity. Traditional artists have accumulated a lot of practical experience of the body, and I want to understand how they think during their creative process, and how they learn upon reflection. For example, for a person who has been reading in Traditional (Complex) Chinese from when he was small, how does he deal with a world of Simplified Chinese? National first class actors always say that being a national treasure is a misery because it is like a panda being confined to a cage without freedom, and what they do all the time is to repeat what they are doing, and keep on repeating. Of course, traditional artists should have their rights to create, but what is more important is that they are real people leading a life! As to how they lead their lives as men, how they create, and how they handle heritage, these issues are just as equally important. “Labelling” is a challenge most creative practitioners have to face these days. What we label as “artists” or “traditional artists” are results of categorisation under an economic system. To create is to cross boundaries, cross disciplines, just like it was in the Renaissance when artists were architects, philosophers, scientists at the same time, roaming from one discipline to another freely, in search of the real position, deep meaning and significance of knowledge, and building a wide range of bridges of various natures.

Danny YungCrossovers and Interactivity

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香港跨媒體文化人，一九八八年加入進念，現為行政總裁。劇場作品逾五十齣；其中，尤以運用舞台空間、文字、錄像及現代多媒體科技等元素而創作的多媒體音樂劇場系列，開創香港劇場界的先河。作品主題涵蓋文學、歷史、時政、建築、宗教等，二零零八 / 零九年度的主要舞台導演作品包括：大歷史話劇《萬曆十五年》、多媒體生命劇場《華嚴經》、社會劇場《東宮西宮》系列、歷史劇場《上帝來到中國》及與江蘇省崑劇院合作的新編崑劇《臨川四夢湯顯祖》。他多年來同時積極從事社會文化、時事政治、經濟民生、城市建築方面的評論工作。二零零八 / 零九年間獲委任為香港經濟機遇委員會成員。

在這個城市從事藝術創作我們正身處天主教和基督教衍生的文明，這個文明帶來了人類的進步，也帶來了目前的困局。全球暖化、窮富差距擴大，慾望成為了這個文明的核心價值。自私和偽善的「娛樂」成為了新的精神科藥物，藝術也被市場和娛樂事業污染了。隨著近年各宗教的老化和激進化，宗教在建制內的影響力逐漸消失。在強大的經濟力量支持下，娛樂正式取代了宗教，成為人類精神文明道德價值的主導體制。

上世紀六、七十年代藝術作為批評建制的角色已經幻滅，藝術成為高消費市場的新產品。在這個年代這個地方從事藝術創作，應有著怎樣的意義？這是我一直在思考的。

我決定創作《華嚴經》，來自對美學的尋求，也是創作一個藝術儀式。二千多年來，佛教發展了很多不同的儀式，都是一種藝術的創作，是一種創作者自我超越的追求。一般人認為巴哈的音樂是藝術，佛教音樂是宗教；西方藝術彷彿擁有了特權，成為藝術的標準。其實巴哈的音樂既是藝術，也是宗教，因為藝術就是人類尋找非物質層次的一種成果。

香港人的困局是不能選擇自己人生的「遺憾」。殖民教育重視的是一種自我制約：為了「呢份工」，為了生存，便違背自己的本質，做自己不想做或者不適合做的事；自由是用來批評別人，而不是選擇命運，所以香港的負能量很強，充斥著陰謀論或者是沒必要的涼薄，不相信道德，道德只是一種包裝。這個城市有太多迷信，沒有多少宗教。宗教的最高表現是藝術，因為只有藝術才能感動人、才能令人有信念，但在這個城市，藝術和宗教都成為了一種心靈卡拉OK，為的是發洩、是尋找藉口。

在這個城市創作要高度的自覺和自省，才不會隨波逐流、被庸俗化。創作《華嚴經》的過程裡，我一直在辯證以前自己的宗教經驗和藝術經驗，當不斷在細心聽著華嚴字母的唱誦，腦海湧現很多遺忘了的經驗，有痛苦的，有快樂的，都是文字不能說明的，好像唸完聖母經一百遍之後那種狀態。馬克斯說宗教是鴉片，但馬克斯主義的「理想」也已經成為了另一種鴉片，人類也因為這樣失去了自己的靈魂。

胡恩威

在這個城市

從事藝術創作

Mathias Woo is a cross-media cultural practitioner. He joined Zuni in 1988, and is now the Executive Director of the group. Over the years, he has created more than 50 theatre works. He is particularly outstanding in his creation of the multi media music theatre series, which is a conglomeration of dexterous uses of theatre space, texts, video images and cutting-edge multi-media technologies. His endeavours in the multi-media music theatre series are groundbreaking, and his attempt in such theatre productions is the first of its kind in Hong Kong. Mathias Woo’s theatre works cover a wide range of topics, such as literature, history, politics and current affairs, architecture and religion. His major works of the last few years include History Theatre “1587, A Year of No Significance” and “God Came to China”, Life Insight Theatre “Hua-yen Sutra”, Social Theatre “East Wing West Wing”, and the Kun opera “Tang Xianzu’s Dream on Dreams”, a collaboration with Jiangsu Kunqu Opera House. Over the years, Mathias Woo has engaged himself actively in the critique of cultural, social and political fields, as well as in urban planning and architecture, and he was appointed to be a member of the Hong Kong Task Force of Economic Challenges in 2008-2009.

Art and the City

We are living in a civilisation derived from Christianity, and this civilisation has brought progress to mankind, but on top of that, it has also brought present predicaments like global warming, the widening gap between rich and poor, and desires becoming the core values of the world. Self-seeking and hypocritical “entertainment” has become the new psychiatric drugs, and art is contaminated by the market and the entertainment industry. With various religions getting more and more ancient and radical these recent years, religion is gradually beginning to lose its influence on the establishment. With great economic support, the entertainment industry has taken over religion, and has become the dominant system of human spirituality and moral values.

During the 60’s and the 70’s of the last century, arts used to play the role of a critic censuring the system, but it is no longer the case now. Art has become new products of the high-end consumer market. What is the meaning and significance of

professing in art in this age and in this place? This is the question I have been asking myself.

I decided to work on “Hua-yen Sutra” because of my pursuit in aesthetics, and I was also creating an artistic ritual. A lot of different rituals have been developed in Buddhism over the past 2000 years, and they are all artistic creations, a kind of pursuit in self-transcendence for the creators. It is generally accepted that Bach’s music is art, and Buddhist music is religion. It seems as if western art is having some privilege, and has become the standard of art. Actually, Bach’s music is both art and religion because art is the result of man seeking the intangible.

The predicament of Hong Kong people is that they cannot choose their own “regrets”. What Colonial education stresses on is self-restraint – in order to “do your job” and survive, one has to go against his own nature, and do something that he does not want to do or something that is not appropriate for him. Freedom is for criticising others, and not for choosing your own fate. Thus, there are a lot of bad vibes and negative energy in Hong Kong, full of conspiracy theories and unnecessary meanness and cold-heartedness. People have no sense of morality and ethics is only a kind of package. The city is too superstitious, and not religious enough. The highest expression of religion is art because only art could move people and give them faith. But in this city, both art and religion have become a kind of spiritual karaoke, a means to blow some steam off and a way to find excuses.

One has to have a high degree of self-awareness and self-reflection in order to avoid following the crowd or being commonplace and conventional when he creates artistically in this city. During the creative process of “Hua-yen Sutra”, I was dialectical with myself regarding the religious and artistic experiences that I had before. When I listened to the chanting of Sanskrit syllables in the Siddham alphabets, a lot of forgotten experience emerged in my mind, some of them were painful, and some of them happy, but they were all indescribable. It was like the state of mind after reciting “Hail Mary” for one hundred times. Karl Marx said, “Religion is the opium of the people”, but the “ideal” of Marxism has also become a type of opium, and in the course people lose their souls.

Mathias WooArt and the City

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Organisation組織成員

主席 黃炳培 八萬四千溝通事務所創作總監副主席 龐卓貽 愛信望慈善基金創辦人及總監司庫 楊偉新 花旗銀行環球企業及金融交易副總裁秘書 王瑞華 ** 進念成員 / 鐘錶設計師成員 歐陽應霽 作家 陳偉明 * 陳米記文化事業有限公司主席 甘國亮 亮劍影畫總裁 靳埭強 * 靳與劉設計顧問有限公司創作總監 辜懷群 ** 新舞臺表演廳館長 劉千石 華欣文教基金主席 潘楚穎 溢達楊元龍教育基金董事會成員 譚燕玉 East Wind Code Ltd創辦人及行政總裁 胡紅玉 * 律師 葉國華 * 香港中國商會創會會長及董事會執行主席 楊志超 「住好啲」創辦人及行政總裁 榮玉 珠寶設計師 / 講師

慕尼黑 雷柏迪馬 德國慕尼黑Muffathalle藝術中心總監台北 高信彊 傳媒工作者巴黎 高行健 文化藝術工作者台北 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北京 林兆華 劇場導演東京 佐籐信 東京座．高円寺藝術會館藝術總監紐約 張平 劇場導演台北 蔡明亮 電影導演紐約 中馬方子 舞蹈 / 表演藝術工作者

* 二零零九年卸任成員 ** 二零零九年新增成員

董事會

藝術顧問委員會成員

榮譽法律顧問陳韻雲律師行

Chairperson Stanley Wong Creative Director and Founder, 84000 CommunicationsVice-chair Vanessa Pong Founder and Director of LoveFaithHope Charitable FoundationTreasurer Terence W. S. Yeung Vice President, Global Transaction Services, Citibank, N.A. Secretary Glenis Wong ** Zuni Member / Watches DesignerMembers Au Yeung Ying Chai Writer Mike Chan * Director, Chen Mi Ji Cultural Production Co Ltd Kam Kwok Leung President, Citizen K Films Limited Kan Tai Keung, BBS * Creative Director, Kan and Lau Design Consultant Ltd Vivien Ku ** Managing Director, Novel Hall for Performing Arts Lau Chin Shek Chairman, Wah Yan Cultural Foundation Dee Poon Board Member, Esquel - Y.L. Yang Education Foundation Vivienne Tam Founder and Executive Director, East Wind Code Ltd Wu Hung Yuk, Anna * Solicitor Paul Yip * Founding President and Executive Chairman of Board of Directors of Hong Kong China Chamber of Commerce Douglas Young Founder and C.E.O., G.O.D Limited Grace Yung Jewelry Designer / Lecturer

Munich Dietmar Lupfer Artistic Director, Muffahalle Arts Centre, MunichTaipei Gao Xin-jiang Media WorkerParis Gao Xing-jian Cultural WorkerTaipei Hsia Chu-joe Professor, Architecture and City Research Institute, University of TaiwanHong Kong Lee Ou-fan, Leo Professor of Humanities, The Chinese University of Hong KongBeijing Lin Zhaohua Theatre DirectorTokyo Makoto Sato Artistic Director, Za-Koenji Public TheatreNew York Ping Chong Theatre DirectorTaipei Tsai Ming-liang Film DirectorNew York Yoshiko Chuma Performance Art Director

2009 Cessation2009 Newly Appointed

Board of Directors

Artistic Advisory Committee

Honorary Legal AdvisorVivien Chan & Co.

Staff全職工作人員

總監藝術總監 榮念曾行政總裁 胡恩威

藝術部職員駐團演員 / 創作統籌 陳浩峰、楊永德、伍嘉雯藝術總監助理 盧術賓創作研究員 李嘉慧創作助理 (劇本及研究) 徐沛筠創作助理 (多媒體) 宋崢創作實習生 鄭敏君，杜翰煬

節目及行政部職員藝團經理 (行政及財務) 陳世明藝團經理 (節目) 簡溢雅助理經理 (節目及票務) 周寶儀助理經理 (公關及推廣) 黃偉國節目及行政助理 鄭國政、劉秀群

技術及製作部職員舞台監督 周俊彥

(二零零九年十一月 As at November 2009)

DirectorsArtistic Director Danny YungExecutive Director Mathias Woo

Artistic StaffResident Performers / Creative Coordinators Cedric Chan, David Yeung, Carmen WuAssistant to Artistic Director Kaya LoCreative Researcher Waillis LeeCreative Assistant (Script & Research) Pamela TsuiCreative Assistant (Multimedia) Cleo SongCreative Interns Charmaine Cheng, Leumas To

Programme and Administrative StaffCompany Manager (Administration & Finance) Jacky ChanCompany Manager (Programme) Doris KanAssistant Manager (Programme & Ticketing) Bowie Chow Assistant Manager (PR & Promotions) Luka WongProgram & Admin Assistants Ricky Cheng, Cathy Lau

Technical & Production StaffStage Manager Gavin Chow

52

整體收入分佈 Distribution of Income 收入項目 08/09年度總額 佔總收入比例 Income Items Total (港幣 HK$) % Over Total Income

政府撥款 Government Subvention

綜合撥款 Consolidated Grants 7,438,000 52.4%

附加撥款 Supplementary Subvention 1,558,506 11.0%

非政府收入 Non-government Income

門票收入 Box Office Income 3,409,517 24.0%

應約主辦 / 合辦節目收入 1,262,900 8.9% Revenues from Other Hired Engagements

捐款及贊助 Donations and Sponsorship 64,005 0.5%

其他收入 Other Income 458,264 3.2%

總收入 Total Income 14,191,192 100%

整體支出分佈 Distribution of Expenditure 支出項目 08/09年度總額 佔總收入比例 Expenditure Items Total (港幣 HK$) % Over Total Expenditure

製作費用 Production Cost 7,800,264 56.6%

全職工作人員酬金 Personal Emoluments 4,539,460 32.9%

經常性及其他開支 General Overheads and Others 1,260,695 9.2%

特別開支 Special Expenditure 181,002 1.3%

總支出 Total Expenditure 13,781,421 100%

製作費用分佈 Distribution of Production Cost 製作費用項目 08/09年度總額 佔總收入比例 Production Cost Items Total (港幣 HK$) % Over Total Expenditure

場地費用 Venue Rental 1,668,177 21.4%

委約創作、演出及節目人員酬金 2,069,328 26.5% Commission New Works, Artists and Direct Labour

佈景、道具及製作雜項 2,710,950 34.8% Set, Props and Production Miscellaneous

宣傳及公關 Marketing and Public Relations 1,351,809 17.3%

總製作費用 Total Production Cost 7,800,264 100%

財務分析Financial Highlights

摘錄自經李綺華會計師事務所審核之財務報告Extracted from Financial Statements audited by Luara Lee Yee Wah & Co.

政府撥款Government Subvention

非政府收入Non-government Income

綜合撥款Consolidated Grants

應約主辦 / 合辦節目收入Revenues from OtherHired Engagements

經常性及其他開支General Overheads and Others

特別開支Special Expenditure

門票收入Box Office Income

全職工作人員酬金Personal Emoluments

其他收入 Other Income

附加撥款Supplementary Subvention

製作費用 Production Cost

52.4%

8.9%

9.2%

1.3%

24%

32.9%56.6%

捐款及贊助Donations and Sponsorship

0.5%

3.2%

11%

整體收入分佈Distribution of Income

整體支出分佈Distribution of Expenditure

53

54 55

香港特別行政區政府民政事務局

康樂及文化事務署

合作及支持上海戲劇學院戲曲學院

上海京劇院德國駐香港領事館

香港大學佛學研究中心 香港城市大學中國文化中心

香港中文大學建築學院香港兆基創意書院

香港演藝學院濱海藝術中心 (新加坡)

新視野藝術節香港藝術節臺北藝術節

華藝節中國‧江蘇省演藝集團江蘇省崑劇院

人山人海歌德學院

香港佛教聯合會 東蓮覺院

覺醒心靈成長中心 法雨精舍

圓通寺溫暖人間

八萬四千溝通事務所AV策劃推廣有限公司

寶覺小學

香港星巴克咖啡

模擬城市

蓮園粥麵小廚

榮鴻曾教授鄭炳鴻教授

靳與劉設計顧問崔少明區二連冼家弘

釋慧峰法師釋淨因博士

姚仁祿陳瑞憲林谷芳魏淑美遲凌雲

朱英楊凡

梁冠麗

The Government of the Hong Kong Special Administrative RegionHome Affairs Bureau

Leisure and Cultural Services Department

Supported byShanghai Theatre Academy School of Chinese OperaShanghai Peking Opera TheatreGerman Consulate General Hong KongCentre of Buddhist Studies, the University of Hong KongChinese Civilisation Centre, the City University of Hong KongSchool of Architecture, the Chinese University of Hong KongHKICC Lee Shau Kee School of CreativityThe Hong Kong Academy for Performing ArtsThe Esplanade Co. Ltd. (Singapore)New Vision Arts FestivalHong Kong Arts FestivalTaipei Arts FestivalHuayi - Chinese Festival of ArtsChina Jiangsu Performing Arts Group Co. Ltd., Jiangsu Kunqu Opera HousePeople Mountain People SeaGoethe-Institut Hong KongThe Hong Kong Buddhist AssociationTung Lin Kok YuenAwareness Spiritual Growth CentreFat Yu Buddhist MonasteryYuen Tong TempleBuddhist Compassion84000CommunicationsAV Promotions Ltd.Po Kok Primary SchoolEPSONCoffee Concepts (Hong Kong) Ltd.Lam Alex WorkshopMoNiChengShiCatching Digital ArtLotus GardenJefferson HuangProfessor Bell YungProfessor Wallace ChangKan and Lau Design Consultants S.M. TsuiAu Yee LinKeith SinVenerable Shi HuifengDr Shi Jing YinYao Ren LuRay ChenLin Gu FangWei Shu MeiChi LingyunZhu YingYang FanTheresa Leung

Acknowledgement

安南特．那克剛艾歷斯．甸亞

曼洪普．美詹拉特露芙．龐斯達鋒

符鳳瓏郭漢城

鄭培凱教授于丹教授

倪國棟魏紹恩廖端麗何秀萍李浩賢陳焯華蕭慧敏鄭慧瑩魏婉意羅國豪洪天佑鄺雅麗鄭敏君郭佩欣陳楚儀陳偉儀麥浩鈞孫國華郭敏邦張展恆胡嘉倫馮詩韻鄭凱欣蔡奇真馮耀輝李國雄曾曉燕 余樂寧張嘉穎陳嘉怡袁溢彤陳嘉怡林綸詩梁虹易李超然

各傳媒機構

Anant NarkkongAlex DeaManop MeejamratRuth PongstaphoneFu Feng LongGuo HandongProfessor Cheng Pei KaiProfessor Yu DanNi GuodongJimmy NgaiDiana LiaoPia HoLawrence LeeBilly ChanTennison SiuCarmen ChengGloria NgaiLaw Kwok HoHung Tin YauAlice KwongCharmaine ChengKwok Pui YanChan Cho YeeBonnie ChanJames MakSuen Kwok WahKwok Man PongCheung Chin HangWu Ka LunYvonne FungKarry ChengVo ChoiAddis FungLee Kwok HungVivi Ann Tsang Hiu-yinJocelyn YuKaren CheungCathy ChanIvan YuenChan Ka YeeLam Lun SzeLeung Hung YikLee Chiu YinMyke Cheng

捐助

陳祖澤葉劉淑儀

葉成傑王祖寶基金會

楊敏德

Donation

Mr. John ChanMrs. Regina Ip Lau S.Y.

Wong Tsu Pao FoundationLiu Kai Yin AndrewSuwan Tung & Paul ChiuMarjorie Yang

鳴謝

排名不分先後

下葵涌官立中學大埔官立中學

中華基督教會方潤華中學中華基督教會何福堂書院

中華基督教會基協中學中華基督教會馮梁結紀念中學

中華傳道會安柱中學仁愛堂田家炳中學

元朗公立中學校友會鄧兆棠中學天水圍官立中學天水圍香島中學

伊利沙伯中學舊生會中學伊斯蘭脫維善紀念中學佛教慧因法師紀念中學

余振強紀念中學妙法寺劉金龍中學

沙田蘇浙公學明愛胡振中中學

東華三院呂潤財紀念中學東華三院辛亥年總理中學東華三院邱子田紀念中學

東華三院邱金元中學東華三院黃笏南中學

金文泰中學青年學院

保良局羅氏基金中學保祿六世書院

迦密愛禮信中學香島中學

香海正覺蓮社佛教正覺中學香港小童群益會 賽馬會慈雲山青少年

綜合服務中心香港兆基創意書院

香港真光中學香港神託會培敦中學

香港專業教育學院 多媒體及互聯網科技系

香港道教聯合會青松中學香港管理專業協會李國寶中學

學生輔助會馬可紀念之家馬錦明慈善基金馬可賓紀念中學

馬錦明慈善基金馬陳端喜紀念中學基督教中國佈道會聖道迦南書院

基督教正生書院培英中學崇真書院

張祝珊英文中學救恩書院

梁文燕紀念中學(沙田)

HA KWAI CHUNG GOVERNMENT SECONDARY SCHOOLTAI PO GOVERNMENT SECONDARY SCHOOLCCC FONG YUN WAH SECONDARY SCHOOLCCC HOH FUK TONG COLLEGECCC KEI HEEP SECONDARY SCHOOLCCC FUNG LEUNG KIT MEMORIAL SEC SCHCNEC CHRISTIAN COLLEGEYAN OI TONG TIN KA PING SECONDARY SCHOOLYLPMSAA TANG SIU TONG SECONDARY SCHOOLTIN SHUI WAI GOVERNMENT SECONDARY SCHOOLHEUNG TO MIDDLE SCHOOL (TIN SHUI WAI) QES OLD STUDENTS' ASSOCIATION SEC SCHISLAMIC KASIM TUET MEMORIAL COLLEGEBUDDHIST WAI YAN MEMORIAL COLLEGEYU CHUN KEUNG MEMORIAL COLLEGEMADAM LAU KAM LUNG SEC SCH OF MFBMKIANGSU-CHEKIANG COLLEGE (SHATIN)CARITAS WU CHENG-CHUNG SECONDARY SCHOOLTWGH LUI YUN CHOY MEMORIAL COLLEGETWGH SUN HOI DIRECTORS' COLLEGETWGH YAU TZE TIN MEM COLLEGETWGH YOW KAM YUEN COLLEGETWGH WONG FUT NAM COLLEGECLEMENTI SECONDARY SCHOOLYOUTH COLLEGEPO LEUNG KUK LAWS FOUNDATION COLLEGEPOPE PAUL VI COLLEGECARMEL ALISON LAM FOUNDATION SECONDARY SCHOOLHEUNG TO MIDDLE SCHOOLHHCKLA BUDDHIST CHING KOK SECONDARY SCHOOLBGCA JOCKEY CLUB TSZ WAN SHAN CHILDREN AND YOUTH INTEGRATED SERVICES CENTREHKICC LEE SHAU KEE SCH OF CREATIVITYTRUE LIGHT MIDDLE SCHOOL OF HONG KONGSTEWARDS POOI TUN SECONDARY SCHOOLHONG KONG INSTITUTE OF VOCATIONAL EDUCATION DEPARTMENT OF MULTIMEDIA AND INTERNET TECHNOLOGYHKTA CHING CHUNG SECONDARY SCHOOLHKMA DAVID LI KWOK PO COLLEGEHONG KONG STUDENT AID SOCIETY MARK MEMORIAL HOMESMKMCF MA KO PAN MEM COLLEGEMKMCF MA CHAN DUEN HEY MEM COLLEGEECF SAINT TOO CANAAN COLLEGECHRISTIAN ZHENG SHENG COLLEGEPUI YING SECONDARY SCHOOLTSUNG TSIN COLLEGECHEUNG CHUK SHAN COLLEGEKAU YAN COLLEGEHELEN LIANG MEMORIAL SEC SCH (SHATIN)

2008 / 09 School List of Participation in Zuni Arts-in-Education Programme

梁式芝書院惠僑英文中學港青基信書院港島民生書院

順德聯誼總會鄭裕彤中學新亞中學

新界西貢坑口區鄭植之中學聖公會白約翰會督中學

聖公會呂明才中學聖公會李福慶中學

聖公會林護紀念中學聖公會梁季彝中學

聖母玫瑰書院聖保祿中學聖貞德中學聖羅撒書院

葵涌循道中學德雅中學德蘭中學

樂善堂顧超文中學衛理中學

鄧肇堅維多利亞官立中學龍翔官立中學

嶺南中學賽馬會毅智書院

職業訓練局邱子文高中學校藝術與科技教育中心

寶血女子中學寶血會上智英文書院

耀中國際學校（中學）

LEUNG SHEK CHEE COLLEGEWAI KIU COLLEGEYMCA OF HONG KONG CHRISTIAN COLLEGEMUNSANG COLLEGE (HONG KONG ISLAND)STFA CHENG YU TUNG SECONDARY SCHOOLNEW ASIA MIDDLE SCHOOLCHENG CHEK CHEE SEC SCH OF SK&HH DIST NTSKH BISHOP BAKER SECONDARY SCHOOLSKH LUI MING CHOI SECONDARY SCHOOLSKH LI FOOK HING SECONDARY SCHOOLSKH LAM WOO MEMORIAL SECONDARY SCHOOLSKH LEUNG KWAI YEE SECONDARY SCHOOLOUR LADY OF THE ROSARY COLLEGEST PAUL'S SECONDARY SCHOOLST JOAN OF ARC SECONDARY SCHOOLST ROSE OF LIMA'S COLLEGEKWAI CHUNG METHODIST COLLEGETAK NGA SECONDARY SCHOOLST TERESA SECONDARY SCHOOLLOK SIN TONG KU CHIU MAN SEC SCHMETHODIST CHURCH HK WESLEY COLLEGETANG SHIU KIN VICTORIA GOVT SEC SCHLUNG CHEUNG GOVERNMENT SECONDARY SCHOOLLINGNAN SECONDARY SCHOOLJOCKEY CLUB EDUYOUNG COLLEGEVTC YEO CHEI MAN SENIOR SECONDARY SCHOOLARTS & TECHNOLOGY EDUCATION CENTREPRECIOUS BLOOD SECONDARY SCHOOLHOLY TRINITY COLLEGEYEW CHUNG INTL SCH - SECONDARY

二零零八/零九年度

參加進念藝術教育活動學校名單

全年活動年表 活動類別

日期 節目名稱 主 / 合辦機構 場地觀眾 / 出席 參與人數 (場次 / 節數)

參與計劃主要成員

2008年L 17/4 從《臨川四夢湯顯祖》

看崑劇藝術的傳承與創新城大中國文化中心220 (2)

講者：石小梅，胡錦芳，張弘 (南京) / 胡恩威，陳浩鋒

D 27/4 《臨川四夢湯顯祖》崑曲沙龍

香港文化中心劇場97 (1)

主持：鄭培凱講者：于丹 (北京) / 柯軍，張弘 (南京) /胡恩威

P 24-27/4 多媒體崑曲《臨川四夢湯顯祖》

進念主辦江蘇省崑劇院聯合製作

香港文化中心劇場1047 (4)

導演及策劃：胡恩威編劇：張弘 (南京)

P 26/4-4/5 大歷史話劇《萬曆十五年》公開演出及學生導賞場

進念主辦香港文化中心劇場2922 (10)

編導：胡恩威改編：張建偉 (北京)

R 2/ 6 喜瑪拉雅藝術中心合作計劃 (討論會議)

--- 上海 出席：榮念曾

R 10-11/6, 6/9 台北 / 香港文化交流機制 (討論會議) --- 台北市文化局 出席：榮念曾L 15/6 《這一夜，路易康說建築》

建築劇場講座第十屆台北藝術節 台北誠品信義店

視聽室 201 (1)主持：姚仁祿 (台北)講者：胡恩威 / 陳瑞憲 (台北)

O 29/ 6 「陽光計劃」頒獎禮 愛信望基金會 香港兆基創意書院多媒體劇場180 (1)

主禮嘉賓：范徐麗泰

L 5/ 7 創意產業講座 南京文化創意產業協會 南京創意東8區30 (1)

講者：榮念曾

P / L 19/ 7 《華嚴經》唱誦 – 佛教音樂藝術導賞及示範

進念 香港文化中心大堂舞台700* (1)

唱誦示範：釋僧徹及眾法師講者：釋衍空

E 22/7-3/8 華嚴字母裝置展覽 進念 香港文化中心大堂5200*

設計：胡恩威書法：董陽孜 (台北)

P / D 25/7-3/8 多媒體生命劇場《華嚴經(2.0版本)之 心如工畫師》

進念主辦(為香港設計中心「設計體驗營」演出欣賞活動)

香港文化中心大劇院6812 (8)

編導：胡恩威文本創作：釋衍空音樂總監：于逸堯

E 31/7-29/8 「天天向上」概念漫畫展 陳家毅建築師事務所 陳家毅藝術空間 (新加坡)300*

創作：榮念曾

L 31/7-2/8 南洋藝術學院專題研討會2008: New Asian Imaginations

南洋藝術學院 新加坡南洋藝術學院320 (1)

出席：榮念曾

O / L 2/ 8 「天天向上」新書發表會「現代亞洲城市與文化」講座

葉一堂 葉一堂(新加坡)100 (1)

出席：榮念曾

C 7, 22/8 Asia-Europe Foundation (ASEF) 交流會議

ASEF 新加坡2 (2)

出席：榮念曾

L 19-21/8 創意教育網絡藝術教育日營

進念 香港文化中心排練室20 (12)

統籌及主持：進念創作及藝術教育小組

L 19/ 8 多媒體劇場講座 台北西門紅樓93 (1)

主持：黎煥雄 (台北)講者：胡恩威 / 薩卡爾 (智利)

L 20/ 8 文學與劇場講座 台北西門紅樓69 (1)

主持：鴻鴻 (台北)講者：胡恩威 / 薩卡爾 (智利)

L 21-23 / 8 進念多媒體的藝術─多媒體工作坊「影像，文字，聲音，空間」

台北偶戲館5 (5)

講者及導師：胡恩威

P / D 29-31 / 8 多媒體生命劇場《華嚴經(2.0版本)之心如工畫師》

第十屆台北藝術節 台北城市舞台2395 (3)

編導：胡恩威文本創作：釋衍空音樂總監：于逸堯

L 1/ 9 文化觀察講座 第十屆台北藝術節 台北西門紅樓57 (1)

講者：甘國亮，胡恩威

P / D 5-7 / 9 多媒體建築音樂劇場《這一夜，路易康說建築》

第十屆台北藝術節 台北中山堂光復廳1061 (3)

編導：胡恩威特邀演出：甘國亮音樂總監：蔡德才

C 12-13 / 9 城市文化交流會議年會 (台北) 台北市文化局 / 表演藝術聯盟 台北中山堂光復廳160 (1)

出席：榮念曾

P / E 14/9 - 23/11 第十一屆威尼斯建築雙年展「文化工房」揭幕演出及參展項目

香港建築師學會、香港藝術發展局合辦

威尼斯Arsenale, Campo della Tana 32,913

創作：胡恩威影像及製作：進念演出：鄭旭

C 8-10 / 10 Conference on Social Invention Enhanced and Illuminated by Cultural Creativity主講邀請

The Hope Institute 韓國銀行聯合會大廈（首爾）200* (1)

主講及出席：榮念曾

P / D 30/10-2/11 歷史劇場《上帝來到中國》公開演出及學生導賞場

進念主辦新視野藝術節聯合委約

香港大會堂劇院2413 (7)

編導：胡恩威主演：楊永德

L 2, 8-9, 29 / 11 創意教育網絡進念創意基本功

香港大學通識教育合辦 香港大學、香港大會堂劇院、葵青劇院 25 (10)

統籌及主持：進念創作及藝術教育小組

C 2-9 / 11 “Creative Cities’Present State and Future Outlook”會議

橫濱市開港150．創造都市事業本部創造都市推進課

橫濱330 (1)

出席：榮念曾

P / L 3 - 10 / 11 傳統表演藝術工作坊及示範演出「崑曲」

江蘇省崑劇院合作項目 中學巡迴3600* (8)

主持及示範：江蘇省崑劇院團員

香港城市大學中國文化中心合辦

第十屆台北藝術節

56

活動類別

日期 節目名稱 主 / 合辦機構 場地觀眾 / 出席 參與人數 (場次 / 節數)

參與計劃主要成員

O 15/ 11 「天天向上」新舞台巷揭幕活動 台北新舞台 台北新舞台300* (1)

出席：榮念曾

C 20-23 / 11 Music Theatre Now 第九屆會議 The International Theatre Institute 柏林Radial system V - New Space for the Arts in Berlin300* (1)

講者及出席：榮念曾

P / D 27-30/11 《東宮西宮7香港公務員死亡筆記》公開演出及學生導賞場

進念 葵青劇院5758 (8)

編導：胡恩威

L 30/ 11 中國企業家俱樂部文化沙龍 辜公亮文教基金 台北圓山飯店30

出席：榮念曾

C 30/ 11 文化多樣性國際網絡組織 (INCD) 籌備會議

INCD 台北竹圍工作室2 (1)

出席：榮念曾

L 1/ 12 講座邀請《知識份子的創意》 台大社科院 台大社科院36 (1)

主講：榮念曾

L / O 2/ 12 嘉義創意中學講座及文化園區參觀 嘉義創意中學 嘉義創意中學450* (1)

主講及出席：榮念曾

2009年R 13-16/ 1 徐州 / 香港文化交流機制

(探訪及討論會議)--- 徐州 出席：榮念曾

C 18 / 1 城市文化交流會議(籌備會議) 進念 香港文化中心會議室10 (1)

統籌：進念

R 21-26/ 1 杭州 / 香港文化交流機制 (探訪及討論會議)

--- 杭州 出席：榮念曾

P / D 3-5 / 2 榮念曾實驗劇場《荒山淚》

2009華藝節 新加坡濱海藝術中心小劇場 491 (3)

編導：榮念曾特邀演出：石小梅 (南京)

O 5 / 2 文化界交流會 香港經濟及貿易辦事處 新加坡濱海藝術中心57 (1)

出席：榮念曾及演員

R 8-12 / 2 傳統與當代對話─大師工作坊 進念 香港文化中心排練室8 (10)

參加者：柏蒂娜華狄，曼諾普‧美詹拉特 (曼谷) / 李寶春，黃宇琳 (台北) / 柯軍 (南京) / 沙多諾‧庫斯摩 (雅加達) / 朴豪杉 (首爾) / 楊永德 (香港)

C 11, 14, 16 / 2 非物質文化遺產 (表演藝術) 專家交流會議

進念 香港演藝學院 / 進念25 (3)

出席學者：傅謹 (北京) / 內野儀 (東京) / 沈甫宣 (首爾) / 波華特‧曼哈沙林南

P / D 12-15/2 榮念曾實驗劇場《錄鬼簿》公開演出及學生導賞場

香港藝術節聯合委約 香港演藝學院劇院1221 (5)

藝術總監：榮念曾創作及演出：柏蒂娜華狄 (曼谷) / 李寶春 (台北) / 柯軍 (南京)/ 沙多諾‧庫斯摩 (耶加

O 13 / 2 德國「聯邦十字絲帶勳章」榮念曾受勳典禮

德國駐港領事館與進念合辦 香港演藝學院戲劇院149 (1)

主禮嘉賓：唐英年榮譽主禮嘉賓：Hans-Georg Knopp

P 15 / 2 傳統與當代對話─《錄鬼簿》回應演出

香港藝術節聯合委約 香港演藝學院戲劇院203 (1)

創作及演出：朴豪杉 (首爾) / 曼諾普‧美詹拉特 (曼谷) / 黃宇琳 (台北) / 楊永德 (香港)

P / E 28/2 - 29/4 第十一屆威尼斯建築雙年展香港館回應展「重塑香港」揭幕演出及參展項目

香港建築師學會、香港藝術發展局合辦

香港文物探知館30,352

創作：胡恩威影像及製作：進念演出：鄭旭

E 10-20 / 3 九龍海旁文化規劃實驗室「香港漫遊」

進念主辦中文大學建築學院合辦

香港文化中心大堂10,000*

策劃：胡恩威，鄭炳鴻研究：中文大學建築學院學生

P 15 / 3 「香港漫遊」音樂演出 進念 香港文化中心大堂舞台300* (1)

音樂統籌：于逸堯演出：鄭旭及學生

L 26 / 3 通識教育工作坊「電子傳媒」 香港兆基創意書院合辦 香港兆基創意書院17 (1)

統籌及主持：進念創作及藝術教育小組

L 30 / 3 上海戲劇學院戲曲學院戲曲導演班講座邀請

上海戲劇學院戲曲學院 上海戲劇學院戲曲學院30 (1)

主講：榮念曾

R 3-5月 國際性藝術人員進修計劃 財團法人當代藝術基金會 (台北) 主辦及贊助

香港 / 台北1

交流人員：黃鐘瑩 (台北)

R 全年進行 「傳統戲曲創作實驗室」創作發展 進念主催 香港/南京/台北/首爾/東京/雅加達(72)

藝術總監：榮念曾

R 全年進行 「香港世界非物質文化遺產 (表演藝術) 中心」發展工作

進念主催 上海 / 首爾 / 蘇州 / 曼谷(13)

藝術總監：榮念曾

R 全年進行 多媒體表演藝術課程發展 香港兆基創意書院合辦 香港兆基創意書院220 (160)

統籌及主持：進念創作及藝術教育小組

活動類別 - P 演出 L 講座/工作坊 C 會議 D 公開座談 E 展覽 R 研究發展 O 其他公開活動

E+E香港文化出版系列 (進念出版)8 / 2008 《華嚴經》特刊2 / 2009 「中國是個大花園」榮念曾劇場藝術3 / 2009 「香港漫遊」

* 估計人次

57

Activity ChartType Date Project Title Presenter / Co-presenter Venue

No. of Audience / Participant (No. of Performance/ Activity)

Core Team Member

2008

L 17/4 Tradition and Innovation for Kunqu Opera: Tang Xianzu’s Dream on Dreams

Chinese Civilization Centre, City University220 (2)

Speakers: Shi Xiaomei, Hu Jinfang, Zhang Hong(Nanjing) / Mathias Woo, Cedric Chan

D 27/4 Public Seminar: Tang Xianzu’s Dream on Dreams Studio Theatre, Hong Kong Cultural Centre97 (1)

Host: Cheng Pei-kaiSpeakers: Yu Dan (Beijing) / Ke Jun,，Zhang Hong (Nanjing) / Mathias Woo

P 24-27/4 Multimedia Kunqu - Tang Xianzu's Dream on Dreams

Presented by Zuni (Appreciation Program for “Discover Design 2008”, Hong Kong Design Centre)

Studio Theatre, Hong Kong Cultural Centre 1047 (4)

Director and Producer: Mathias Woo Playwright: Zhang Hong (Nanjing)

P 26/4-4/5 History Theatre - 1587, A Year of No SignificancePublic Performance + Student Matinee

Presented by Zuni Studio Theatre, Hong Kong Cultural Centre2922 (10)

Director: Mathias WooPlaywright: Zhang Jianwei

R 2/ 6 Himalayas Foundation Meeting --- Shanghai, China Representative: Danny Yung

R 10-11/6, 6/9

Taipei / Hong Kong Cultural Exchange Meeting --- Department of Cultural Affairs, Taipei City Government

Representative: Danny Yung

L 15/6 The Life and Times of Louis I. KahnArchitecture & Theatre Lecture

The 10th Taipei Arts Festival Audio Visual Hall of Eslite Xinyi Store201 (1)

Host: Eric Yao (Taipei)Speaker: Mathias Woo, Ray Chen (Taipei)

O 29/ 6 Project Sunshine Award LoveFaithHope Charitable Foundation Muiltmedia Theatre, HKICC Lee Shau Kee School of Creativity180 (1)

Officiating Guest: Rita Fan

L 5/ 7 Talk on Creative Industries Nanjing Cultural Industry Association East 8 Creative Zone, Nanjing 30 (1)

Speaker: Danny Yung

P / L 19/ 7 Introduction and Demonstration - The Art of Buddhist Chanting

Zuni Foyer Stage, Hong Kong Cultural Centre700* (1)

Chanting Performance: Sik Tsang Chit with monks Speaker: Sik Hin Hung

E 22/7 – 3/8 Installation - Hua-yen Characters Zuni Foyer, Hong Kong Cultural Centre5200*

Designer: Mathias WooCalligraphic: Tong Yang-tze (Taipei)

P / D 25/7-3/8 Life Insight Theatre Hua-yen Sutra 2.0 Mind as a Skilful Painter

Presented by Zuni (Appreciation Program for “Discover Design 2008”, Hong Kong Design Centre)

Grand Theatre, Hong Kong Cultural Centre 6812 (8)

Director and Designer: Mathias Woo Script: Sik Hin Hung Music: Yu Yat Yiu

E 31/7-29/8 Tian Tian Xiang Shang – Danny Yung Conceptual Comic Exhibition

Presented by Kay Ngee Tan Architects Kay Ngee Tan Architects Gallery, Singapore300*

Creation: Danny Yung

L 31/7-2/8 NAFA Symposium 2008: New Asian Imaginations Nanyang Academy of Fine Arts Nanyang Academy of Fine Arts, Singapore 320 (1)

Representative: Danny Yung

O / L 2/ 8 Tian Tian Xiang Shang – Book LaunchModern Asia City and Culture talk

Page One Page One, Singapore100 (1)

Representative: Danny Yung

C 7, 22/8 Asia-Europe Foundation (ASEF) Planning Section ASEF Singapore 2 (2)

Representative: Danny Yung

L 19-21/8 Creative Education Network – Art Day Camp Zuni Rehearsal Room, Hong Kong Cultural Centre20 (12)

Coordinator and Host: Zuni Creative and Arts Education Unit

L 19/ 8 Multimedia Theatre Talk Red Playhouse, Taipei93 (1)

Host: Michael Li (Taipei)Speakers: Mathias Woo / Juan Carlos Zagal (Chile)

L 20/ 8 Talk on Literature and Theatre Red Playhouse, Taipei69 (1)

Host: Hung Hung (Taipei)Speakers: Mathias Woo / Juan Carlos Zagal (Chile)

L 21-23 / 8 Zuni's Art of Multi Media - Multi Media Workshop "Image, Wards, Sound and Space"

Puppetry Art Center of Taipei5 (5)

Speaker: Mathias Woo

P / D 29-31 / 8 Life Insight Theatre Hua-yen Sutra 2.0 - Mind as a Skilful Painter

Metropolitan Hall, Taipei Cultural Center2395 (3)

Director and Designer: Mathias Woo Script: Sik Hin Hung Music: Yu Yat Yiu

L 1/ 9 Talk on Cultural Observation Red Playhouse, Taipei57 (1)

Speakers: Kam Kwok Leung, Mathias Woo

P / D 5-7 / 9 Multimedia Architecture Music Theatre The Life and Times of Louis I. Kahn

Guangfu Auditorium Zhongshan Hall, Taipei1061 (3)

Director and Designer: Mathias Woo Guest Performer: Kam Kwok LeungMusic: Jason Choi

C 12-13 / 9 City-to-City Cultural Exchange Conference 2008 Cultural Affairs Bureau of Taipei / Performing Arts Alliance

Guangfu Auditorium Zhongshan Hall, Taipei160 (1)

Representative: Danny Yung

P / E 14/9 - 23/11

The 11th International Architecture Exhibition of Venice Biennale Hong Kong Exhibition –“Culture Fabricate” Opening Performance and Exhibition

Co-presented by The Hong Kong Institute of Architects, Hogn Kong Art Development Council

Arsenale, Campo della Tana, Venice32,913

Creator: Mathias WooVideo and Production: Zuni Live Music: Dennis Cheng

C 8-10 / 10 Conference on Social Invention Enhanced and Illuminated by Cultural Creativity

The Hope Institute Convention Hall, the Korea Federations of Banks (KFB), Seoul200* (1)

Representative and Speaker: Danny Yung

P / D 30/10-2/11 History TheatreGod Came to ChinaPublic Performance + Student Matinee

Presented by Zuni Co-commissioned by New Vision Arts Festival

Theatre, Hong Kong City Hall 2413 (7)

Director and Designer: Mathias Woo Leading Performer: David Yeung

L 2, 8-9, 29 / 11

Creative Education Network – Zuni Creative Foundation Course

Co-presented by General Education Unit, University of Hong Kong

University of Hong Kong; Theatre , Hong Kong City Hall; Kwai Tsing Theatre25 (10)

Coordinator and Host: Zuni Creative and Arts Education Unit

C 2-9 / 11 Creative Cities’ Present State and Future Outlook Government of City of Yokohama Yokohama330 (1)

Representative: Danny Yung

Co-presented by Chinese Civilization Centre, City University

The 10th Taipei Arts Festival

58* Approximated Number

Type Date Project Title Presenter / Co-presenter VenueNo. of Audience / Participant (No. of Performance/ Activity)

Core Team Member

P / L 3 - 10 / 11 Workshop and Demonstration: Kunqu Cooperation with Jiangsu Kunqu Opera House School Touring3600* (8)

Demonstration and Host: Member of Jiangsu Kunqu Opera House

O 15/ 11 Unveiling of Statue “Tian Tian Xiang Shang” Unveiling of Statue Taipei Novel hall300* (1)

Creator: Danny Yung

C 20-23 / 11 The 9th triennial meeting of Music Theatre Now The International Theatre Institute Radial system V - New Space for the Arts in Berlin300* (1)

Representative and Speaker: Danny Yung

P / D 27-30/11 East Wing West Wing 7 - Hong Kong Civil Servant Death Note Public Performance + Student Matinee

Zuni Auditorium, Kwai Tsing Theatre5758 (8)

Director and Designer: Mathias Woo

L 30/ 11 China Entrepreneur Club Cultural Salon The Koo Foundation Taipei Grand Hotel30

Representative: Danny Yung

C 30/ 11 International Network for Cultural Diversity (INCD) Preparation Meeting

INCD Taipei Bamboo Culture International2 (1)

Representative: Danny Yung

L 1/ 12 Creative China: the Propaganda and Therapeutics in Film

Social Sciences Faculty, National Taiwan University

Social Sciences Faculty, National Taiwan University 36 (1)

Speaker: Danny Yung

L / O 2/ 12 Talk and Visit: The Cultural District in National Singang Senior High School of Arts

National Singang Senior High School of Arts National Singang Senior High School of Arts 450* (1)

Representative and Speaker: Danny Yung

2009

R 13-16/ 1 Xuzhou / Hong Kong Cultural Exchange Meeting and Visiting

--- Xuzhou Representative: Danny Yung

C 18 / 1 City-to-City Cultural Exchange Conference Preparation Meeting

Zuni Conference Room, Hong Kong Cultural Centre10 (1)

Coordinator: Zuni

R 21-26/ 1 Hangzhou / Hong Kong Cultural Exchange Meeting and Visiting

--- Hangzhou Representative: Danny Yung

P / D 3-5 / 2 Danny Yung Experimental TheatreTears of Barren Hill

Huayi-Chinese Festival of Arts Esplanade Theatre Studio, Singapore491 (3)

Playwright and Director: Danny YungGuest Performer: Shi Xiaomei (Nanjing)

O 5 / 2 Meet-the-Artist and Reception Hong Kong Economic and Trade Office Esplanade, Singapore57 (1)

Representative: Danny Yung and Performers

R 8-12 / 2 A dialogue between the tradition and the contemporary – Master’s Workshop

Zuni Rehearsal Room, Hong Kong Cultural Centre8 (10)

Participant: Manop Meejamrat (Bangkok) / Li Baochun, Huang Yulin (Taipei) / KeJun (Nanjing) / Sardono W. Kusumoz (Jakarta) / Park Hobin (Seoul) / David Yeung (Hong Kong)

C 11, 14, 16 / 2

Development Project on Intangible Cultural Heritage (Performing Art) Experts Meeting

Zuni Hong Kong Academy for Performing Art / Zuni25 (3)

Scholars: Fu Jin (Beijing), Tadashi Uchino (Tokyo), Shim Boseon (Seoul), Pawit Mahasirinand

P / D 12-15/2 Danny Yung Experimental TheatreBook of GhostsPublic Performance + Student Matinee

Co-commissioned by Hong Kong Arts Festival Drama Theatre, Hong Kong Academy for Performing Art1221 (5)

Artistic Director: Danny YungPerformers:Manop Meejamrat (Bangkok) / Li Baochun, Huang Yulin (Taipei) / Ke Jun (Nanjing) / Sardono W. Kusumoz (Jakarta)

O 13 / 2 Bestowal of the Merit Cross of the Order of Merit of the Federal Republic of Germany for Danny Yung

Co-presented by German Consulate General Hong Kong

Drama Theatre, Hong Kong Academy for Performing Art149 (1)

Officiating Guest: Henry TangHonorable Officiating Guest: Hans-Georg Knopp

P 15 / 2 A dialogue between the tradition and the contemporary – Responding Performance of Book of Ghosts by Contemporary Artists

Co-Commissioned by Hong Kong Arts Festival Theatre, Hong Kong Academy for Performing Art203 (1)

Artist and Performer: Park Hobin (Seoul) / Manop Meejamrat (Bangkok) / Huang Yu-lin (Taipei) / David Yeung (Hong Kong)

P / E 28/2 - 29/4 Response Exhibition of the 11th International Architecture Exhibition of Venice Biennale Hong Kong Exhibition - “Re-making Hong Kong” Opening Performance & Exhibition

Co-presented by The Hong Kong Institute of Architects and Hong Kong Arts Development Council

Hong Kong Heritage Discovery Centre30,352

Creator: Mathias WooVideo and Production: ZuniLive Music: Dennis Cheng

E 10-20 / 3 Hong Kong Odyssey – Kowloon Cultural Seafront Planning Lab

ZuniCollaborates: School of Architecture, The Chinese University of Hong Kong (CUHK)

Foyer, Hong Kong Cultural Centre10,000*

Curator: Mathias Woo, Wallace ChangResearch: Students from School of Architecture, CUHK

P 15 / 3 Hong Kong Odyssey Music Event Zuni Foyer Stage, Hong Kong Cultural Centre300* (1)

Music Coordinators: Yu Yat YiuLive Music: Dennis Cheng and Students

L 26 / 3 Liberal Studies Workshop: Electronic Media Co-Presented by HKICC Lee Shau Kee School of Creativity

HKICC Lee Shau Kee School of Creativity 17 (1)

Coordinator and Host: Zuni Creative and Arts Education Unit

L 30 / 3 Lecture on Xiqu School of Xiqu, Shanghai Theatre Academy School of XiQu, Shanghai Theatre Academy30 (1)

Speaker: Danny Yung

R 3-5， Internship program at art institutions in and outside Taiwan

Presented and Sponsored by National Culture and Art Foundation (Taipei)

Hong Kong / Taipei1

Intern: Huang Chung Ying (Taipei)

R Mar - May Experimenting Traditional - Creative Lab Initiated Zuni Hong Kong / Nanjing / Taipei / Seoul / Tokyo / Jakarta(72)

Artistic Director: Danny Yung

R All Year Establishment Work for the Institute of Intangible Cultural Heritage (Performing Arts) in Hong Kong

Initiated Zuni Shanghai / Seoul / Suzhou / Bangkok (13)

Artistic Director: Danny Yung

R All Year Planning of Multimedia Performing Arts Programme

Co-presented by HKICC Lee Shau Kee School of Creativity

HKICC Lee Shau Kee School of Creativity220 (160)

Coordinator and Host: Zuni Creative and Arts Education Unit

E+E Cultural Publication8 / 2008 Hua-yen Sutra Booklet2 / 2009 China is a Big Garden - Theatre Art of Danny Yung 3 / 2009 Hong Kong Odyssey

Event Category P = Performance L = Lecture / Workshop C = Conference D = Public Seminar E = Exhibition R = Research and Development O = Other Public Event 59

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