ಋᖚ he Hong Kong Arts Festival is a prominent ࠗຝ̯ܰ Tarts event in the cultural calendar of Hong Δʥԓʪਂ Kong and the Asia Pacific region. Proudly ؿʼʝଞ stepping into its 33rd year, the Festival ಳም continues its vigorous pursuit of innovativeסԑe ɃɍɊɍ՚ development; the presentation of new works αc˚ፒዀ and the provision of quality arts. ٻ࿚ᆅʘুұณcɺᒾ˞၀ ࠷ؿຝ͌ȹณᜮଠϦ͌e In terms of the number and diversity of programmes, the 2005 Festival is one of the ʌαᖚຝʑࢀҡᔔఒΛۜcஃ largest festivals to date, offering a wide variety ᅡɾɣዃαӢӮcݯࣵʑ̔Ρ of inspiring art, music and cultural ԞਝΊࡼၤ̯Δ၀ߜᐰϳᖚ programmes by prestigious international ࠭Ͳؿ൚ɓˮcผ˥ࠗಋ artists and leading local talents. I am sure that ਝʼʝผࠛቤɈe the Festival will further enhance Hong Kong’s status as an international cultural metropolis. ΈϽᖚࡼၤܰωଞٴᔑϊᚭ d I extend our warmest welcome to allผcԎूࣵʑ̔ᜮଠʶ̈́ သጙϤᓊe participating artists and wish all local and overseas members of the audience a most enjoyable time. ւٽܧϷਂܧࠗಋऋПϷ
TUNG Chee Hwa Chief Executive Hong Kong Special Administrative Region ˚ᘆᖽ Message from the Chairman
.ၤɍɊɍ։ࠗಋᖚ warmly welcome you to the 33rd Arts Festivalٴ ᚭ ຝcܰࠗಋʼʝވʥԓʪΔ IAs a premier event in the Hong Kong cultural ؿࠇ߬ʼʝଞԑcමၙਝԓʪ calendar as well as the Asia Pacific region, theਂ ᖚ၀ߜc˞ʥ̯Δ෮ݗึؿᖚ Festival presents the finest international andਂ ɮАّe regional artists in an intense series of concerts and performances, as well as showcases the creativity ̯Ɂটʶᑢ༦ᅥʥʼʝԑ৻ອ of artistic talent in Hong Kong. c˞ʥࠗಋᑩ֚ܧ༅Х҈ࠨؿࠗಋ ԭɣ˚߬༅Хዀ࿚c Appreciation and thanks are due to our mainټপਥڌผ෯ഁ ˢࠨΛαԞྦྷࠗಋᖚຝؿྐྵషʻ subventing organisations – the Hong Kong ܛc҈ࠨ૯ߎᑢ҃e Government, through the Leisure and Cultural Services Department, and the Hong Kong Jockey ϊ̔cࠗಋᖚຝྦྷֺτᖳХዀ࿚d Club Charities Trust. Their long and continued ᖚ྆˞ʥɁ༅Хc͛ߎ˞টʶ patronage are what make these cultural ᑢ෮e presentations possible. In addition, we gratefully acknowledge the ,ȹΣ˞֡cࠗಋᖚຝ༦˸ძነ́ generous support of many corporate sponsors .ʭαɾʤི߮cߎɈ arts institutions and individualsڇయ˞ʥ རነ́ʥαႦᜮଠઅᘩΈᗘᖚe ɐ߸ི߮ΛαԞᏵଠΛዀ࿚ʥɁ༅ The Festival has always made our programmes Хcɻነʥɣነነ́ɖʦᎶᆅईe accessible to students and young audiences through half-price student tickets and our Young 2005αࠗಋᖚຝຝ͌ᔔఒd˳ᖓ Friends Scheme. These schemes are funded by the ɺᜮଠؿ௩ΡʥɟՈc generous donations from numerous corporateٴຒτc .փe and individual donorsڻϢ̢ c౨શၤ੬Ε The 2005 Festival offers a rich and stimulatingܛωᑢჇɎؿʻʹ 2005αࠗಋᖚຝɻӮࠍe programme, with a variety of captivating performances and choices, presenting a diverse range of tastes with artistic excellence. We hope to offer something enjoyable and of interest to everyone. Above all, I would like to thank you, our patrons, for your support and participation in the 2005 Festival.
ңพᄤ Charles Lee
:ࠗಋᖚຝؿ༅ХԞϬ The Hong Kong Arts Festival is made possible with the funding support of Ϸܧᐢဟᘆᖽ Message from the Executive Director
005αࠗಋᖚຝؿຝ͌˞ he starting point for the programming of this 2005 ݯ˚ᕀeु T Festival was the idea of contrasting opposites – ‘sacredڙ˖2ुັၤ ԭඖʏॖcܰΈိ and profane’. Both of these elements are rich sources ofڙ˖dັ ᖚѼβؿӮᕀҥၤݖ creative impulses for the performing arts in most cultures cʌ։ຝ͌గऋПॶਪʦܮ and this thematic link is evident in much of our ᗐ programming. We hope these connections and contrastsޚܫ෮֨e҈ࠨѴશԭඖ Ɍྦྷ͓ؿʏॖcॶݯɣࡼొԜҡ will make your Festival experience more engaging and .৽Ɂdҡᗒѿؿᜮሌe memorable ࿘۾ȿࣵ̔ᖚɮАّc҈ࠨ Alongside all of our international artists, we are proud to ॶᑼᇼ̯Δᖚ၀ߜcΣࠗಋ֗ present many outstanding Hong Kong artists. For example, ဳ֞ᅥ྆dࠗಋჱ྆d̯Δ ˮαႦ፡ೄۗࡼਜ਼ᆼdࠓ the Hong Kong Philharmonic Orchestra and the Hong Ⴛဳʄࠇۗᘆᖚeԯˢၤˮ Kong Repertory Theatre, as well as the fine young Hong ຣჱΊД Kong musicians, pianist Rachel Cheung and the Fresh Airܢ˳ؿ̯Δᖚ၀ߜ ுʥң᎘d7AऒᎻჱୂdɻߜ Brass Quintet. Other important Hong Kong artists taking ɩմdࠗಋ part include Cantonese opera stars Mui Suet-see and Leeټܖჱ྆d89268d ϐcᑹτɈݵႇ Lung; Class 7A Drama Group; Chung Ying Theatre; Groupܬᇁၦࡼฦ лؿྡྷɈݢୂ ңᔪ 89268; the Material Girls; choreographer Daniel Yeungؒ ,ݘdષഥࠦdңɻͲʥ֍e and the remarkable combined talents of Lee Chun-chow Faye Leong, Gabriel Lee and Chong Mui-ngam in The ᖚຝᘗᙩዶรկ̯Δၤࣵ̔ French Kiss. ܢ˳ˮϳؿАɁc̯։ณА In addition, our commitment to commissioning new work קdէᚗdʌէၦރು ਝ࠭ᅥdཫ҈ from Hong Kong and around the world continues, withټܖd̡ dؒлd pieces such as Amber, The Nightingale, All That Shanghai̟ےᅚؿȹ ˚τ௩ʥɩ˔ɥనʊতe Jazz, Material Girls, i-City, The French Kiss, Come Out & Play and Little Prince Hamlet. 2005αࠗಋᖚຝݯᜮଠᘆɐȹ ྆ٲϛɀɊ̒ˮcၤ The 2005 Festival will offer a total of 124 performances ༠̒Ɋɀ˳ܢɍɊɀࣵ̔ with 42 performing groups (32 overseas and 10 local), two ʥɊ̯Δ྆cᑹτԭࢄ ,ᙴc˞ʥɺࢀ፟༦ؿᖚຝ˱ࢿ exhibitions and our Festival Plus programme of talks ຝ͌iᑟdᇹผʥᖚɁᇹe seminars and meet-the-artist sessions.
ΛۜcࠓࣟΛʏ This is one of our largest Festivals to date, in terms of theٻ։ຝ͌Λ̯ ʝcܰࠗಋዃԞஃᅡɣd˥ number and the diversity of programmes. I am sure too, Ɂሌʶࢧ͌dԮઢೕֲؿᖚ that it will be one of our most enjoyable and inspiring. We .ၤe are delighted that you could join usيຝɾȹcᑢჇɎ
ঢ়ᄨᓤ Douglas Gautier 18 Amber 5
ɻߜʼΥྭڃౝˮc Performed in Putonghua with Chinese and English surtitles ɻਝჱdࠗಋᖚຝၤณ˱գᖚຝᐲկ 2ɩࣂ20ʗᘸcٽcommissioned by the National Theatre Company of China, ˮ Hong Kong Arts Festival and Singapore Arts Festival ɺஉɻͤࢠ Running time: ɻਝਝࡼჱၤࠗಋᖚຝᐲႇАcณ˱գᖚຝԾႇ Co-produced by the National Theatre Company of China and the Hong approximately 2 hour and 20 minutes Kong Arts Festival in association with the Singapore Arts Festival with no interval
ࠗಋʼʝɻʶɣჱ Grand Theatre, Hong Kong Cultural Centre 3 - 8.3.2005
ᗐઌʹdಲᇃཋʥඨՓዀؿᚊባکݯȿᜑɣࡼྦྷωˮजɎΡͿോcᇼʘতΕຝ͌ ສeผʑᇼʜኞϬᙘᄧd፣ࠑֶ፣ᄧc͛ɺ˿ඝࠕмํcΛᑢАk To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your ALARM WATCHES, MOBILE PHONES and PAGERS. Eating, drinking, smoking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your cooperation. 10 ႇАʥˮ Credit List
ڋɁ Ⴁτۂˮ ဟႇ ᗲუೇ ႇАɁ ʷɣ͓ АɁࡗ ᇁჱ ྱȹ ኒ սԕሣ ࠑᅥᐢဟ ۢᑞ ܱټ ၦᑰஉ߮ ၦ̎உ߮ ਜ਼ Λఌஉ߮ ᔔϐϱ ͮஉ߮ ᖭგႩ dஹρɁɁڈஉ߮ ஹێ உ߮ Ⴁᝉר ഼ᘨஉ߮ ஹρɁɁ ع˔Ѽஉ߮ ರࡄd ࡗ ঢ়ᑵ ჳⴴ ҵɩ ঠݖ צעα ஹڇؿ܅ᄺ ѝѝ ਜ਼ѻۢ ३ɥ ჳኮኰ ᄧၦّ ರࡄ Ϣᒓ Ⴁ ᔢ́ ਜ਼ቧȹ ɡ ჳɽ ᙶɡ Ⴁᑈ ॺ͊; ˔ኮᴀ ع˔ ၦّ ނ ң්් क ˔㘥 তّ ഠᗫ ႇАɁࡗ ႇАᘐ ಾ ၦ̎ဟ ࡸԓӘ ၦ̎ဳଉ আᚁ֍dʼͮ ၦ̎ဟХଉ ਜ਼ᗸ ڋၦஉ߮Хଉ ஹ ࠑᚊஉ߮ ᗲൔ ʝїஉ߮ ਜ਼ྒࠑ χ୧ણר ʝї ჳඈ ႇАʥˮ Credit List 11
༜dሳʼdʿೈۺdਜ਼׳ͮ ᙬኮ ສ ५ຒӪ ሣۺჱ৻ ਭ
צע৹ኒ ჳኮኰdஹ ٠׳ ኒХଉ ᄧːᙘ ᔔϐϱ dʷሣdφജٯᏟdඖೞˬdಝȹڰΛఌႇА ያ ɥڠ ࠑᚊႇА
ჱ̯ᓺᘭ Ӻg˺ऋ
ল৻ဳଉ ˔ዷ ̔ԑဳଉ ჳዷ Ϸܧဳଉ ς̳၊dஈᏟ ژႇАХଉ ❽ዘdңૠ ̡ࠍஉ߮ ᓼᘏϜ ࡗɁཫᙘᄧ ੌ࢈
ၦ̎ᙘᄧ ஹρɁɁ ᙘᄧХଉ ዸ྇̚dဈеdᚋʔ ᙘᄧԾሁ ᒚ♶ ࠑᅥ ࠑᅥᐢဟ ۢᑞ ࠑᅥႇА ၘቊdᗲɥൗ ɣొೄ কࡑ
ς ುރɾ ς ஈᙕ ീ ྱȹþۢᑞ ჳⴴ ԅͧရӔؿɩԑ̉ෲੱ ς ˔ଢ଼ɾ ീ ˔ଢ଼ɾþྱȹ ঠݖ Σ҈ࠨׂभଉ ς ᗲɥൗ ീ ۢᑞ Ͳࡗ ುރ ȹࢋ ീ ۢᑞ սໆ׳ ς
ᖚʼʝೕࢄτࠉʔ̇מსᑢ ࣵᅼɝ ԕ෯ʼʿᖚτࠉʔ̇˵
4.3.2005ʄ Fri ܃ᖚɁᇹMeet-the-Artist (Post-Performance) जүcၤАɁʥࡗӮࠍ܃ᜮଠˮٴᚭ If you would like to meet the artists, please stay behind in the auditorium after the performance
ࠍdჱ๑dАɁࡗdჳⴴʥঠݖ๑ː © ஹρɁɁ ԯˢࡗɁཫ๑ © ੌ࢈۬ 14 ႇАʥˮ Credit List
Chief Producer Zhao Youliang Producer Yan Fengqi Executive Producer Ge Dali Creative Team Playwright Liao Yimei Director Meng Jinghui Orginal Music Concept Yao Chien Choreographer Jin Xing Set Designer Zhang Wu Multi-media Designer Feng Jiangzhou Lighting Designer Tan Shaoyuan Image Designer Chen Fei, Chen Xu Renren Costume Designer Zhao Yan Visual Designer Chen Xu Renren Movement Designer Jiao Gang and Wang Mei ႇАʥˮ Credit List 15
Cast Gao Yuan Liu Ye Shen Xiaoyou Yuan Quan Angry Youth Chen Minghao Yao Yaoyao Zhang Tong Rat Liu Xiaoye Shadow Dancer Jiao Gang Woman Shopkeeper Zhao Rui Doctor Zhang Luyi Professor Liu Dan Nurse Zhao Hongwei Smelly Tanner Wang Xiaoshen Dancer Wang Mei Jeanne Li Yuanyuan Pearl Wang Xin Reporter Rossella Ferrari Production Team Production Manager Guo Qi Stage Manager Sun Yanan Stage Management Jing Tieyan and Ma Wengguang Stage Manager Assistant Zhang Dengbao Assistant Stage Designer Chen Liang Sound Designer Yan Guihe Make-up Designer Zhang Mengyin Costume Zhu Limin Make-up Liu Yang Lighting Lan Xiaolin, Zhang Jianyun Deng Wen, Fang Kunhao Installation Geng Wanliang Stage Assistant Lou Jianhui Assistant Directors Liu Xiaoye and Chen Minghao Director’s Assistant Lin Zhi Film Making Feng Jiangzhou Multi-media Production Lu Jintao, Xiang Yandong Tang Yihu, Ge Hui, Pu Hua Sound Production Yu Zibo Translator Cindy Carter Budget Management Wang Ying External Affairs Management Liu Ying Administrative Management Qu Zhenggang and Xu Tao Production Assistants Jin Yan and Li Shujun Graphic Designer Nie Jingzhu Cast Portrait Photographer Cui Jun ႇАʥˮ Credit List 17
Stage Photographer Chen Xu Renren Assistant Photographers Mu Tatu, Xi Cheng, Gu Gong Photographic Coordinator Han Xiao Music
Music Director Yao Chien Music Production Tony Wen and Ed Yen Cello Kenneth Kuo Songs Amber’s Song Music Xu Wei Lyrics Liu Yimei / Yao Chien Vocals Liu Ye That Craziest Little Thing Called Love Music White Wang Lyrics White Wang and Liu Yimei Vocals Yuan Quan If We Reject the Truth Music Ed Yen Lyrics Yao Chien Vocals All cast Amber Music Chet Lam Lyrics Yao Chien Vocals Mai Meng
৻רيݯɻਝਝࡼჱιࡗొԜॾيಋ᎘ॾ Members of the National Theatre Company of China are flown in by
Cover, production shots, creative team, Liu Ye and Yuan Quan portraits © Chen Xu Renren Other cast portraits © Cui Jun 18 ܨԑ About the Story ܨԑ About the Story 19
ضȹωӮࠍcঢ়ᑵ˞ݯܰϬɯ႖ఫȿɩcྡྷɐˢܰɩ႖ఫȿeАݯȹ ȹᒨeЎˢؿᆢڌޚcঢ়ᑵɺٛذɺ࢞dτϬɯȹࡨɁ́ࡑነؿࡌዠβɁ˖ cᐢܰߵΕˢॳɟᚹˢؿʶ༐e܃২ෲکмʵȿcΕ২ෲۦၤଠɺؿɤ
Ɏᒔᔀ㠥Σٲᎂؿ႓ࡗcኬˀၤ࢜᎘АЂc̡፷ؿ̔ذɩܰȹϬಳዃ̌ قcȹ܃ԑᔴթϤɌᓯ௰cΕ̰ʩϋܨؿोeؿكؿውੱȹɺݯɁˌ ҂ɺϾ߬˾႖ఫˢcඩඩܰݯȿΕˢؿॳɟᚹȹᚹ܃Εᗐ؇ԅ̉ঢ়ᑵؿӘɁc ̰ʩؿʶ༐e
ᅚؿԭɁcȹᒛʶடΕȹcΕय़ඤᙒdᇻ಄Ⴗؿ́ݠɻɐˢࠨؿෲ ߬Εॲؿ́՜㛾ೕଊթᔚeˢڈh̊ȹڌޚԑeȹටྺಲ࢛cʇფɺܨੱ җዱcЎԗಳ૯૯ΔாɃෲޚࠨӰɺͅটcˢࠨ༢ʦȿϬɯؿ̯෮cˢࠨʃ ੱe
When they first met, Gao Yuan thought he seduced Xiaoyiu. Actually, he was the one being seduced. A light-hearted man who toyed with others affections, someone with a Don Juan outlook on life, Gao Yuan was unwilling to accept this impression of himself. Yet he was truly attracted by this unusual girl. Before and after making love, she would always sprawl on his chest, listening to his heart beat.
Xiaoyiu is a guide at a museum of natural history. She spends her days with dinosaurs as her companions. Her tranquil appearance hides a churning inferno of emotions and a never-to-be-revealed secret. Her story is a strange yet simple one. After her fiancé died, she has been keeping a close eye on a man named Gao Yuan. Finally, she cannot resist seducing him, all for the sake of listening at his chest, listening to the beating of the heart of her late fiancé.
These two people, united by a single heart, play out their love story in a life of chaotic clamour and absurd cruelty. The one is arrogant and unfeeling, entirely bereft of belief; the other is persistent in finding a miracle in a fragile life. They both speak with words that come not from the heart; they both go against their own natures and torment each other. Nevertheless, they fall deeply in love. ᇁჱؿ Playwright’s Notes 21
˾ΐݯБc҈ࡻְϋ ྱȹ
㠥ٓɣؿԉፍࢂ̔ޮقԑcӸɐȹܨؿރᄘುکؿࣂ࠰c҈ђΕཋܬα͓˾ ϸe҈དԷ҈̳Εնȹိ૯ԳϤᆅईؿੱc҈̰༦ؿෲc̋ܰ̚ࢡࢡ ࣩؿᛌ৽c̦̚ੀԷԞc̦ੀҐ҈ંcيԅိکԞᐽچc҈ɰԷȿᅘࠓٶቌ c҈೩㠥c೩㠥Ɂ́Ґ҈ׇΉԅಜc೩㠥́՜Ή҈ࢄᚉ̚ณȹረؿ܈Ԏɺ㠥҈ cࢄ͐̚૯ɺ˿ಡؿɈ൴e׃٦
ؿࣂ࠰ผຑɺϾท͌ફe˾ޜȹdҰɁܰȹ૯૦c҈ࠨࠝӸ
מԑ㛾c҈ᑟ߸Ɂᗘੱᇲᔵؿȹࠍe௰क़ϤਨടؿੱܰࢀܨؿރΕು ੱΣكΕᛞෲؿಸ˒ɻԅᅚcЎܰ҈ɖ૯עעଐܷ́Ɉؿcగཫ༏ ᅵˋcȹଶҳɥໃ൬ˋ㛾ɖผҝᛰˋϽcቱဳ̚ޜԞ̡፷ԗᓿ ௰क़ ؿੱɖτ̚૯ɺ˿ಡؿȹࠍe
ᄗ഼Ϭɯؿੱc҈τᅚؿဘఫiܰʇფΕᄧᚊ҈ࠨؿෲᄷjውೕ҈ࠨؿ ʇფjʇფᅚؿɁdכશj̞́҈ࠨؿ഼ᇃjʵೕ҈ࠨؿෲੱjိɈ൴્ ʇფᅚؿࣩࢠdʇფᅚؿॐ෮dʇფᅚؿใ۹Ꮶ۹dʇფᅚؿ႒ผ̝dʇფ ಲ˜ՈhБႏݯڳᅸϒjБ˞ݯϬɯ௩ᚭؿcڋ˂ᅚؿϨრdʇფᅚؿ ૯ԮቤɈeਐᕀcཫɁֺ́τؿਥ̯ਐᕀȹᅚc̷ႩӀτڳϬɯཱུబؿc ༠eٲ߸ಲᅕ৽Ɂؿٲଐ́ȿಲᆯؿڳ೮࣐c
ȹ̏ᓯ௰ؿੱi҈ʶෲؿeכԑܨؿރು ᇁჱؿ Playwright’s Notes 22
Λਐᕀc҈ȹȹΑ೮ȿeԯɻȹΑ೮ෳˢ۾ɀdࡗࠨᚾჱ̯ؿࣂ࠰cਐȿ҈ ਦɣॐcԅΑ೮ܰi҈௩ᚭ٦٦ʔɥeۃࠨ
ෲੱɺ̷ܰؿcুෲੱ̷ܰؿcԅԒੱັcֶّ႓ԅԒੱັcԅԒ௩ eಳc҈̋ৱෲԅԒᄯඬؿcদཱུذጙመؿɁ҈ܰقᚭ႖ఫؿɥcȹ ࠷ؿࡌዠܰ҈ɻነࣂˤ௩ᚭؿ࣊cϭʌᑹতˢؿܖԅԒ෮ݗݗؿe ɺॶਿʶෲБeڏcΐݯෲɐȿɁᗘ܍Б ؿෲగܰྦྷɁᗘؿྦྷ҈ ̏
ഁࠓੱܰȹိʨልcሌʶࢧ͌eЎ߬Εˢࠨʶ㛾ఖұभෲcగΣΕҳɻ ಞϋΕ༏ɐeڏൔcҒɺԷcނҒˋcҒԷȿᎴӷ
༞ؿΡؿԑeكcԗಳܰ҈ࠨڷؿc˿ቱဳభڷֺτؿෲੱܰభ
ɍdΕჱɻঢ়ᑵᕤටྺΔ႓í՜ܰȹ༝Ꮋc҈ɺᗙࠍྦྷ˖ވc҈߬། ɻcכಲ৽ܛړکcΕ̚ࠍވ˖൝ᔴc҈߬ཫȹᆃᆻؿϢʹԅᅚుోܛړ̚ ؿԔᅥ˚ຮکคʇფ٦ᅚe ˢϬီܰϋəࠍکɺ̖ଉౣcಲሃ́ݠΕ҈ࠍ ౘؿڭಲϤ̦ੀӶΉၛυؿ́՜cˢႏݯටྺܰˢֺॶઔՅؿכcྦྷّ eܰ҈ݯঢ়ᑵ২ˮؿፕእeྸۜ
ֺᗙϤԞcӀτ͌҈ڈభᜮ˚ຮّcྦྷ́՜ྸ۹ಳcႏݯΉܰقȹ҈ ॐؿᐾ৽eࠍྦྷ́ݠcࠍྦྷ՜˿ܰٴؿcɌॠ˜෮ຮؿ́՜দΡᘆఊcς෮ ܛړɖȹᅚಲॶݯɈeȹ˿২ؿగܰသɈ܃˞ಲॶݯɈؿcܰک˞༜c҈ࠨ يᗒcɺಞશ֗ါҡܰȹ̏۾́՜ɺΦਫұވ˖ȹᒨకᗲeಳcᜑϬɯྦྷ ৈྌ֛c২Ɂɖผτȹᒨࠓ۹e״cЎτȿభᜮ
Ўܰc˾αؿޭʨնc҈ࠓ۹Ͳ̖cཫɩ̵̟ȹᅚୄˀኝኝcɩʶ ԑᒀܨؿࠍcభ྾ؿຸ϶ޜᐮᐮcᕤਫશe҈ׂᚹɺ֗ؿࣱࢠcׂ ɥႩᔴᒀబߕۦࠊؿѼോҡɺΕɎe҈ɺʘྡྷΔѴશϬɯЩੀˮ˖ؿ ంफ़ཋ഼cΐݯޜʹᗒcɺʘྡྷΔѴશˢܰȹ֗༜ԫeᕤ̙c҈ɺ ᖓؿᕶݴdඣྠਯؿనʊdነ࣎ؿڜॶီɐณၘؿࣱࢠΛ˸ܰӎᗒzz dȹؿᘊᗒdਆؿɣˌdࠇᄪؿʂᄂdͿ۹ؿˌӹˮ߷dရ˒ञd ߎɁϋ՜ؿຓݚdณαɥէּ͠Кؿৈ֙㛾ᕶݴcϬֲᚻᎾdɎݓdമ ؿ̵˚ፕᐾdΔݞ㛾ˮԞؿᔁ༠ճdϝঢ়gዶႫؿᑖԫ೧࣐d҈ࡼࣀᖾ ෑᅢؿͬ྇ϬّdȹωɌȹωؿֲᒀၘd͂ቡАؿᔣؖdτݓؿˌၠࠗ gࠏಞશˢΌؿɀϛ̳Ɂc҈̉עځdΌɁؿཋɮೡື ᅚɷ့܉ވ˖ᗰ㠥ᜑࡼɁᗐɐཋ഼cɏʩЊʹࢱϾ҈ؿଡcΕᅚȹ ༜ԫj֗ܰ
ѧιȿ̚২ȿکɥˮ́ȿé՜Ε҈ؿӸ㛾cΕ҈ؿଡۦࡧؿࣂ࠰c҈ؿٱ 㠥̡ɺ༦ޜcکɥcኬʨђΕฎᘑۦɐყωؿɩᚓe҈ཫвؿ ༞c༞كcଊΕ҈ฟΔۮ࿚ȹ༞ۺ҈ɾංވ˖ؿթᔚe҈౦ЦɈΕ ؿߎ՜ॠɟˮଊȿcɩɩؿॠɟผʵԞ่ʨݙˋᗚᔍ҈ؿɁ́cҐ҈ۮ ȹϬͅϬΕؿֲͨɤɁcᛰιȹ૾ືӨؿ̴ጱe ᇁჱؿ Playwright’s Notes 23
ȹωc҈ྦྷϋəଐ́ȿ࢜ᙖe҈ಳଐ́ȿ̷߬Ⴉݠ㠥ؿ෭ᙯ֨ć̡ ɺܰΐݯஓᛞcϤܰΐݯ֨e҈౦˞ݯෲੱܰɺଉౣؿੱcࡈԞᑹτ Пؿe
՜ܰȹթᔚcΉӀτዃ༦թᔚؿɁᘷ̚cగΣΉӀτΌ༦ૉؿɁ́ ᘷૉɥؿಥՈé՜ܰȹթᔚcЩԚ̚ॲಲcЩԚ̚ॠ˜ᘷc̚ԗಳ ܰթᔚe
ؿ҈ȹᅚeکԷȿթᔚcగΣฎᘑޜɩᜑঢ়ᑵ
dΕᎻؿѮcঢ়ᑵ႓iΐݯБc҈ࡻְϋ˾e̒
ɻcᎶܰᅥᜮؿѫeۂΕ҈ؿА
ԕ˵כܬ2005α͓ ᇁჱؿ Playwright’s Notes 25
Because of You, I am afraid of Dying Liao Yimei
At the end of winter last year, wearing a bulky anti-radiation coat, I sat at the computer writing Amber. I had the feeling that I was beginning some sort of heated affair of the heart, that I was experiencing a never-before-felt love. It was coming closer and I was already feeling the quivering in the air that foretells the arrival of a violent storm. It was bound to come; it was sure to sweep me up. But I was not worried. I waited, waited for life to draw me into the whirlwind, for life to reveal something new to me – its immeasurable force.
1. Every person is an abyss. When we lean over to take a look, we cannot but grow dizzy.
In Amber I wanted to portray the complexity of human feelings. Pure and tightly held emotion is easily infectious. Yet I also know that emotion is like water in a pond; a single grain of sand will change it even though it may still look the same. The purest emotion also has this unfathomable aspect. ᇁჱؿ Playwright’s Notes 26
When I examine my own emotions, this doubt often arises: What is it that arouses my love or hate? That instigates our desire? That interferes with our line of vision? That leads us to love? From where does this force come? What sort of person, what kind of smell, what joke, what temperature and humidity, what misunderstanding or coincidence, what type of physical being or soul, what phase of the moon? You think that what you like is actually aimless and boring, and that what you dislike is full of magical charm. And this, just like all basic issues of humanity, can never have an answer, yet it creates unbounded expression and countless moving examples. Amber stems from the most simple of endearments: My beloved. 2. Love is not eternal; the pursuit of love is eternal. Those Don Juans, or perhaps those false Don Juans, those inveterate seducers – I’ve always been interested in these personalities. Of course, I tend to like the vulnerable ones and dislike the braggers and boasters. Don Juan was one of my favourite books as a schoolgirl. To this very day I remember him saying that his love was no more than hatred for mankind, because love for humanity meant that he could not concentrate love onto a single beloved. Shedding the ties of love is a pleasing talent. But to seek true love from those with this talent is like finding water in the desert. If you find it, it’s extremely precious; if you don’t, then you die of thirst. So it is that love is sorrowful, and sorrowful though it may be, it is still the best story we know. 3. In the play, Gao Yuan arrogantly claims that life is a game. He says that when he faces the world, he wants to keep his distance. He wants to grasp the world like an old-timer and face it impassively whichever way it takes him. He claims to be a hedonist even in the face of death or the inevitable decay of life. He feels that arrogance is the bravest stance he can take. This is the choice that I made for Gao Yuan. I’ve always been a pessimist and been lukewarm in my attitude towards life. I did not come into this life voluntarily with its purposelessness. Meaningless life is ingratiating; to go out of your way to welcome it is laughable. We are powerless to influence life and fate; we have always been powerless to influence them. All we can do is maintain some dignity. Of course, it’s difficult to keep desires and demands in check; not to hope for good fortune. Yet, with pessimism as our bottom line, that is good enough for life. However, starting from last autumn I changed. I became just like everyone else – fearful, cautious, full of wild hopes. I refused to listen to bad news, look at bloodstains, or hear sad stories, still less to glance at ugly images. I unrealistically hoped that this would keep my newborn infant at a distance from the ugly and the suffering. I wanted the child to have that luck. From the time I was pregnant, I stopped reading the newspapers or watching television, because anything that merits being called news mostly involves ᇁჱؿ Playwright’s Notes 27
disasters or distressing news. I shouted for the television to be turned off, or my husband would use his hand to hide the screen from my eyes. How could my child be considered fortunate in a world like this? In early summer, my child was born. In my body, before my eyes, millions of tiny miracles occurred. I was like a stunned child, sitting all day beside the cradle, looking at the very ordinary miracle. I tried to set up a screen between myself and the world. I now know clearly that there was a fissure in the screen. This tiny opening brought floodwaters to drown my life and changed an independent, headstrong woman into a hamstrung mother.
For the first time in my life, I grew fearful of death. I started to think that I wanted to live forever in ignorance, not for the sake of change but through solicitude. I have always thought that love is the most irrational of feelings, but there are other things involved. Life is a sort of miracle. To try to explain this to someone who has never experienced a miracle is like trying to explain the taste of a pear to someone who has never eaten one. Life is a miracle. Even if it is fragile and ordinary, even if it cannot be explained, it is still a miracle.
Xiaoyou makes Gao Yuan see this miracle, just like I saw the miracle of life sitting in front of the cradle.
4. At the end of the play, Gao Yuan says that because of her, he fears dying. This work of mine, this must be the most optimistic of endings.
In Beijing on the first day of Spring 2005 28 ീ Lyrics
ುރɾ Аീ ྱȹþۢᑞ Аς ஈᙕ ჳⴴ
ي~㠥Б~ؿʨ ൬Ƀ҈~ؿଡ~ Փм~Бؿ~Փм҈ Ў҈ɺϾ~Εԅ~㛐 τӀτɁॶཫ҈ࠨ ιݯϘᓔ܃ෲಳޚ Σպᗙ෮ Σպᗙ෮ պᗙ෮
ࠍ ϤԞٴ~́ݠ ɺં㠥~҈ࠨ چ 㠥ۿॶਪ೩̋ ໃԷঃঃྈɠ ɐʿ ѿতࠔം ȹҶҶဣ˾ ௫ Σպᗙ෮ ௫ Σպᗙ෮ պᗙ෮
గᜑ҈ ཫȹૈ ไ༦ȿ БؿΊΥ ᜑ҈Εԅ~ज ᜑ҈Εԅ~ࢠ Σպᗙ෮ Σᗙ෮ Σպᗙ෮ Σᗙ෮ ҈ᗙ෮
ي~㠥Б~ؿʨ ൬Ƀ҈~ؿଡ~ Փм~Бؿ~Փм҈ ΕպΊΥ~ࢠ
Σ҈ࠨׂभଉ ς ᗲɥൗ ീ ۢᑞ Ͳࡗ
Եˑݟᐻȹʨն Ұȹʨ ɐӹɎӹԞ˾ ΛಲcʨʨΣϊ ሂ҈ȹᒨԶው ሂగτ༞ଉ ؿ֗ါ ̚Ε࡚㛾҈ ཋ഼ంफ़ᔵႌֶ၉༏ؿࣱࢠ㛐
Coffee or teaፕእն Ұȹʨ यଡᆙޛՓм ΛಲcʨʨΣϊ ሂ҈ȹᒨԶው ሂగτ༞ଉ ؿ֗ါ ̚Ε࡚㛾҈ ཋ഼ంफ़ᔵႌֶ၉༏ؿࣱࢠ㛐 ീ Lyrics 29
ঢ়ᑵi Бؿթᔚכᜑ҈Ԟႇˮᙔ ౣᄫႇभଉעᜑ҈˞ᐱ ѝѝiۢ ˮБֺ߬ؿᗫඨթ˞˿҈ ɩʶ ވ˖ΕɁʁ͛ʁؿᔒ
ؿ֗ါ ̚Ε࡚㛾҈ ཋ഼ంफ़ᔵႌֶ၉༏ؿࣱࢠ㛐
ਈਈਈਈਈ
ԅͧရӔؿɩԑ̉ෲੱ Аീ ˔ଢ଼ɾþྱȹ Аς ˔ଢ଼ɾ ঠݖ
You and me under the tree You looked innocent I looked too naive We’re holding hands indeed Silent because the sky was raining hard Leaves kept falling down Both hearts were shivering Was your mind really that empty? Only if you knew why we’re lost in this black hole of mine I can’t see But I saw your face before everything went astray Maybe I should tell you what really happened, okay
Summer days all flowers bloomed You asked me for an afternoon Carried away a drink or two and lay down talked about your blushing thing I was lovely and sweet So attracted to you For a lifetime you’d wanted me So hiding in the backyard we did what we’d wanted in our dreams Words of love and promises Cherishing moments were all I had to make myself carry on
ྞؿԑܰڋʨޜ ࣱᆕྺྺڏᛞෲࣂ҈ БᐢܰΉ㠥҈ॐ㠥 ɺᎷෲܰߕؿԑ БΉ҈߬ʇფՙ ใ̷ֶܹܰ ΛფရӔؿʲ ~τိရӔԑ ɺࠤȹొɩԑΊΥ̉ෲੱ గᅚէէޜ㠥 Ԟڋʨ~ྺྺؿ 㠥Бɺࠤȹొؿෲੱ ჱʍଽ Company Profile 33
ɻਝਝࡼჱ
ڇᖚ྆e2001α12˂25ˀcͅɻਝٲɻਝਝࡼჱܰɻജɁ̵ͳਝؿਝࡼ αᖚჱɻ̕ྡྷჱԡϤιe
ɻਝਝࡼჱඑɻȿȹғӞؿჱၦ̎ᖚɁɷᄧ഼ᖚɁɷcܰȹᘗֻඨ ؿჱeۂᖚcჱᖚ၀ٲॗcুұঢ়ˋๅჱכdЦɈ൬Յdఒ
ݯɯͨcɺۂϽؿɻ̔ӞჱᖚАۂɻਝਝࡼჱ˞Аˮঢ়ሔ൴dঢ় ̵પؿͱ൬ʼʝιeވ˖ᒾুұᎻჱၦ̎ؿֲྡྷֲcնୄଊ
ᘣᐲdᔁּճؿɤک፷ࢡࢡע2002αcჱАˮȿʄ̎ɣᎻi㛾ؿቭ ෲੱᓊ਼ؿณᜮ֨d̉҈ȹᐰࡐcԎכѳਝdϢਯᑹ൰ɡdᗐ dˀ̯೩Δˮcన˱ਝᖚຝؿࢄپजჱ͌߳ɐࣵdࠗಋdዌړᓱͫୂ ɻ̔Ꮋჱؿ͚ݚݠ৽e
ѧഁȹࡨఒτޫነֲdֲؿᖚ༜ᏪዀԹcЦɈݯτ͓ۺɻਝਝࡼჱੀ ؿАɣၦ̎cߎɈׅჱᖚೕࢄؿณѼβdיɷജؿᎻჱᖚࡼొԜȹ eۂณეਟcɈұˮณɁdˮณᎻdˮ၀
ٽ࠹ᙉկ৹࣊তᗲუೇc৹ٽc৹ڋ࠹ᙉկ࣊তႡτٽɻਝਝࡼჱଊͨ ࡑcᖚᐢဟฦրᗂeעኮᜡd݅˔ The National Theatre Company of China
The premier national performing arts theatre group of the People’s Republic of China, the National Theatre Company of China, was formed on 25 December 2001 by the amalgamation of the China Youth Arts Theatre and the Central Experimental Theatre. The company brings together superior artists of the stage, and talents from the visual and film arts. It continues tradition, strives for progress, and is intent on exploration to achieve the highest standards and to create excellence in the dramatic arts. The National Theatre Company of China’s mission is to create and perform high quality and highly regarded drama. It unceasingly pursues both the classical and the experimental in stage drama, so as to display both native Chinese and worldwide progressive culture. In 2002, the Company mounted five major productions, and also took its established repertory to international arts festivals and cultural exchange performances in Shanghai, Hong Kong, Macau and Japan. The Company has set up a systematic and creative mode of operations that works hard to provide an open stage for the creativity of dramatic artists. The aim is to open up new forms and new territory for the development of the dramatic arts and to produce new talent, new dramas and excellent productions. The present President and Party Secretary of the National Theatre Company of China is Zhao Youliang. The Vice President and Deputy Party Secretary is Yan Fengqi. Wang Xiaoying and Cha Mingzhe are Vice Presidents, and the Artistic Director is Yang Zhongjing. АɁࡗʍଽ Creative Team Biographies 35
ྱȹ ᇁჱ ɻ̕כαԞௐՇ͌ؿαႦᇁჱАࡼeଓพٶȹܰɻਝྱ Ꮋჱነcଊݯɻਝਝࡼჱᇁჱe1999αАؿჱ ᛞෲؿಸ˒1999αɻ̕ྡྷჱˮc2003ʥ2004αɻ ؿАٴਝਝࡼჱᇲખˮܰɻਝɩჱᎻჱ̌ɐՇᚭ ɾȹcˮ༩ϛeۂ ᇁჱؿཋᄧཫᔸˉȹᅚࠔᏵΛਝཋᄧຝፕᘏᑩ༅ ࣟcɌᏵࠗಋਝཋᄧຝਝᄧിɁɣᆉdያ˺ጻਝཋᄧຝ ᆵɩ႓భٽᆉeടτټαിկผऋПᆉhȹςܹੱᏵਝսഥਯɤཋᄧຝڇ ᜮ˚ຮؿ٦ψc̊τྦྷᒔӝd᎘ਦ೩Λཋ഼ჱඑe
Liao Yimei Playwright Liao Yimei is a graduate of the Central Theatre Academy and the resident playwright of the National Theatre Company of China. Her 1999 drama Rhinoceros in Love (premiered by the Central Experimental Drama Theatre and re-staged in 2003 and 2004 by the National Theatre Company of China) was the most popular play in the history of China’s small theatre productions. Her film The Chicken Poet was accepted for screening at numerous international film festivals and won the International Film Critics Federation Award at the Hong Kong International Film Festival, and the special prize awarded by the Youth Panel at the Locarno International Film Festival.
Liao’s A Tender Song won the Gold Medal at the Memphis Women’s Film Festival in the US.
She has also written novels and scripts for television dramas. 36 АɁࡗʍଽ Creative Team Biographies
սԕሣ ኒ αͱቂᎻჱኒdڇɻਝჱኋԮᄧᚊɈؿടΊکսԕሣܰ ɻ̕Ꮋჱነኒӡcଊݯɻਝਝࡼჱכཋᄧኒeଓพ ɊడٶͱቂᎻჱؿॗcכኒeϬɄɊαˤcˢնߎɈ ۿcΣiӟɤd೩ۂαԞcઐˮȿɣ൴ӞؿᎻჱА Qҁdෲੱጨځɓdඈ̎d҈ෲXXXd܆ʷΛd خຮّؿ෮̔ϋədᛞෲؿಸ˒d˚֚ܧᖠdȹಲ ෲੱᓊ਼ؿณᜮ֨࠹ͨᇁჱdใѷdɊɀכࣺɡᄨdॺᔋdᗐ էdྡྷଡ଼ɡˈԓɾңဍ˔d়ࡾ೩e ˢਨኒؿཋᄧཫᔸˉȹᅚࠔᏵΛਝཋᄧຝፕᘏᑩ༅ࣟcనᏵࠗಋਝཋᄧ αിկผऋПᆉeڇຝਝᄧിᐲᆉcያ˺ጻਝཋᄧຝ Ί۹ؿɻਝᎻჱኒcսԕሣ̍Ώɻਝჱኋc˞ዟԮֲؿɈdΛكАݯรԮ ʏʝؿᖚࠓࣟcɺඩׅȿɻਝˤᎻჱؿณѫࠍcϤ˘ɰιݯ͌ؿͱቂʼ ۂຮّؿ෮̔ϋədᛞෲؿಸ˒೩А˚֚ܧɓdȹಲ܆ʝଊോeˢਨኒؿ ʵȿੜईؿʦᚊcԚɻਝͱቂྡྷᎻჱΕነؿঢ়۹ɐˀጘѧഁcࣂɖቔ ȿɣғؿᆅෲᎻჱؿᜮଠcݯɻਝᎻჱၦ̎Λʏʝؿณѫࠍ؇ɃȿݠɈe
Meng Jinghui Director The most influential among the young vanguard of Chinese theatre and film directors since the 1980s, Meng Jinghui is a graduate of the Central Theatre Academy where he studied directing. His most recent work includes The Bald Soprano, Waiting for Godot, Si Fan, The Balcony, I Love XXX, Comrade Ah Q, Love Ants, Accidental Death of an Anarchist, Rhinoceros in Love, Bootleg Faust, Bedbug, Twelfth Night and Labyrinth. He directed the film of The Chicken Poet, which was invited to numerous film festivals and won the International Film Critics Federation Award at the Hong Kong International Film Festival, as well as a special award at the Locarno International Film Festival. Meng Jinghui is renowned in Chinese dramatic circles for his creative and versatile arts identity, which has opened up new aspects to contemporary Chinese drama. His direction of the plays Si Fan, Accidental Death of an Anarchist and Rhinoceros in Love aroused vehement reactions exposing audiences to experimental theatre in China. At the same time, he has injected new vitality and versatility into China’s theatre. АɁࡗʍଽ Creative Team Biographies 37
ᑞ ࠑᅥᐢဟۢ Ί۹ؿࠑᅥࡼdිീɁࠑᅥဟႇcଊكᑞܰԭɍΔรԮۢ ၐԕࠑᅥ̎˵ʗʔ̇࿒˵ԕʗʔ̇ᐢଉeˢԑݚϷࠑᅥͨ ኙ׳τۂАٲɀɊαcᄘȿஈΛcగȿஈΛʹeˢؿˤ ؿظᇘؿϭʭᑹτБdጣԓশ೩ؿෲؿ˚̨dң dጣԓশ೩ʹΣʌܰജظDiDaDi೩eͅˢ˳ઐˮؿң ˢȹωͲܰރȿɍɊαჱcುޜeذႍᅥኋؿʨज़Ɂ ӸҙɃɾ୮ɤАcኝኝcЎʑʶው৽e
Yao Chien Original Music Concept Well-known as a musician, lyricist and music director throughout Chinese communities in Asia, Yao Chien is the managing director of both the Beijing and the Taipei office of Virgin Music. Active in popular music for 20 years, he has created many tunes and lyrics for numerous singers including Sandy Lam and Coco Lee.
ၦᑰஉ߮ ܱټ כܱټঢ়ᐰશe۾ɻਝଊˤၦᑰࡼcΕਝၦኋԔτܱܰټ ଊˤၦ྆eΕਝʑܱ̔ټ͓܃߶ᖚነၦᑰӡଓพcי ྨᏵᆉඖcԎ߳ख़ነୌଊˤၦc౦ͨਝၦᑰຝࠖᇁၦd ࡼၦᑰነઠଊˤޒСࣂˈכ෮ɣСཋ഼ȹ̎ᇁၦcԎ યۂࠓଊˤၦ྆c౦ᐾፒԭωɁА͉ۺၦeΕˈСࣂ ɻജɁ̵ͳਝʼʝcᐾፒͲਝၦכผe 1993αcՇາ ᑰᇁኒਥফऒʥͲਝଊˤၦࡗফᆻऒe ܃ؿˮၤྭۂଊˤၦʥᎻჱၦᑰჱؿೕࢄc౦ၤΛᎻჱАכߎɈقȹܱټ ଊˤၦ྆૾ϭɐࣵcԎၤߜdᄨ೩ΛਝАၦᑰАeܱټАɮАe2000αੀ ᖚຝˮe׳݇˱ੀכᗐۂ2005α۹А
Jin Xing Choreographer Chinese contemporary dance specialist Jin Xing is a graduate of the Liberation Army Arts Academy’s in dance. She set up the Jin Xing Contemporary Dance Company and has toured throughout China and abroad. She also studied contemporary dance in New York and was the principal choreographer of the American Dance Festival. Jin Xing has served as resident choreographer for RAI-uno, the Italian television company. She taught contemporary dance at the Royal Dance Academy in Belgium, where she also established the White Wind Dance Company and her works were twice performed in dedicated dance recitals. For China’s Cultural Ministry, she has held training classes in choreography and modern dancing. A strong advocate of contemporary dance and dance in drama, Jin Xing has taken part in many dramatic performances. In 2000, she took the Jin Xing Contemporary Dance Company to Shanghai. She has also cooperated in creating dances with companies in other countries, including England and Germany. In 2005, she will be taking her new work About Beauty to the Berlin Arts Festival. АɁࡗʍଽ Creative Team Biographies 39
ၦ̎உ߮ ਜ਼ α഼ᘨᖚڇᎻჱˮၦ̎உ߮ؿӞכαߎɈٶܰਜ਼ ɻ̕ᎻჱነcଊͨɻਝᎻςነၦ̎ӡኒכࡼcଓพ ෲੱᓊכଈԑdᗐڈτۂeˢ˚߬ؿၦ̎உ߮А ؿณᜮ֨dᛞෲؿಸ˒d়ࡾ೩eཋᄧ҈ɊȾ਼ܰ eۂАٲˢΕཋᄧஉ߮ؿˤ
Zhang Wu Set Designer Zhang Wu is a graduate of the Central Theatre Academy and is currently an instructor at the Chinese Opera Academy. His main contributions to stage design have been for Rhinoceros in Love and Labyrinth. His artistic designs for I,19 is representative of his work for films.
ᔔϐϱ Λఌஉ߮ ࣶϐነcכᔔϐϱܰɻਝടΊΛఌஉ߮ᖚࡼcଓพ τͶɤඨdۂ౦ୂၵᖡᅥඅcኪͨ˚eˢؿ˚߬ၦ̎А ෲੱᓊ਼ؿณᜮ֨dᛞෲؿಸ˒d়ࡾ೩eכᗐ
Feng Jiangzhou Multi-media Designer A noted multi-media artist in China, Feng Jiangzhou is a graduate of the Zhejiang Art Institute, and the founder and lead singer of the band, The Fly. His major works for the stage include Rhinoceros in Love and Labyrinth.
ᖭგႩ ͮஉ߮ αڇᎻჱˮၦ̎ͮஉ߮ؿӞכαԞߎɈٶᖭგႩܰɻਝ ͰജᎻჱɮА۩׳ɻ̕Ꮋჱነcଊͨ˵ԕכᖚࡼcଓพ τᛞෲؿۂၦ̎þͮஉ߮eˢؿ˚߬ၦ̎ͮஉ߮Аͨ ௌੀdᙜ්࣠࠹ͨၦ̎உ߮hၦ̎ʥڈಸ˒d τᒉ∭dణֺΕԫd˿˞ဣڬۂЗౡஉ߮ʿࠍؿА ᘨdᏢɤࠂ೩e
Tan Shaoyuan Lighting Designer Tan Shaoyuan is a graduate of the Central Theatre Academy and currently serves as the resident stage/lighting designer of the Beijing Lin Xiaohua Theatre Workshop. His recent lighting designs were for Rhinoceros in Love and The Cherry Orchard. As a set designer, he was also responsible for Can Sleep Now and Bitter Woman. АɁࡗʍଽ Creative Team Biographies 41
உ߮ێ ڈஹ cɀɊɄัcɩୌೋcଓพɊαc౦ၤɺఌʍؿڈஹ உ߮hࠑᅥ፣ێ38۹dൣࢪ༞ؿۂᄧ഼Аܢ˳ɮАcێ உێʤ೩ؿשбc״Σʹˉԓણd̈́ቊৡۂཫА உێݠ৽ؿێ߮ɮАeˢᑹၤΛᄧ഼̡ࠍᄤйc˞ʥɣ ߮ɮАe
Chen Fei Image Designer Twenty-eight year old, Chen Fei learned painting at an early age. He has participated in creating images in different media, including films, music videos, graphic design for films and television, and gala events.
உ߮ר Ⴁᝉ αᖚࡼcɻڇஉ߮ეਟؿӞרႡᝉܰɻਝʑΔᎻჱၦ̎ רஉ߮ነଓพcଊݯɻਝਝࡼჱרᎻჱነʥࠗಋ̕ உ߮Ծผผרஉ߮dɻਝၦ̎ࡼԾผผࡗcʥɻਝ உ߮ᔁּճؿɤѳᏵɻਝɀ։ၦ̎רࡗeؿၦ̎Ꮋჱ உ߮ؿჱಲ gɤ΄ʨɐɁרᆉhͨټۂࢄА ංʗПᏵɊ̒։ᖓਝྡྷᎻჱຝͲࠍɣᆉɄ։ɻਝ உ߮ᆉeרᎻჱຝɩჱˮտၦᆉɾ
Zhao Yan Costume Designer Zhao Yan graduated from the Central Theatre Academy and the Hong Kong Fashion Design Institute. She is currently the costume designer for the National Theatre Company of China and is a member of both the Chinese Stage Artists Association and the Chinese Costume Designers Association. Her costumes designs have won numerous awards including the Gold Medal at the 2nd Stage Art Exhibition; and top awards at the 14th Cairo Experimental Theatre Festival and at the 8th Chinese Theatre Festival.
ஹρɁɁ ഼ᘨஉ߮ ۂஹρɁɁܰɻਝടΊࣂֆᙘᄧcˤ഼ᘨᖚࡼeˢؿА עɁʼ၀ुੜई഼ᘨՇeɻਝʑΔడ˝ֺτᖚ˨ d˚ݚࣂֆఌ౦ˢАeܰωၤսԕሣኒؿА̳ܱ ˢࣂֆ഼ᘨؿͲณྡྷeܰ
Chen Xu Renren Visual Art Designer A noted fashion photographer in China and an acclaimed visual artist, Chen Xu Renren is known for works that are full of humanity and create a strong visual impact. He had worked with almost all of China’s top performing stars and fashion idols. 42 АɁࡗʍଽ Creative Team Biographies
ರࡄ Ѽஉ߮þᄧၦّ ರࡄܰɻਝʑΔؿӞၦ̎ჱʥࠑᅥჱࡗcࣂ࠹ͨΛᎻ ɻ̕Ꮋჱነኒӡࠑכኒʥၦᑰஉ߮ɮАeˢଓพܞჱѼ ᅥჱऒc౦ͨˀ̯̒տჱ྆ࡗcଊݯɻਝਝࡼჱࡗe ኒʥþֶၦᑰஉ߮cɖ౦ਨኒᎻჱeܞ౦ˮͨΛᙌჱؿѼ
Jiao Gang Movement Designer / Shadow Dancer An actor, Jiao Gang has also been the movement instructor and choreographer for many plays. After graduating from the Central Theatre Academy, where he specialised in the performance of musical theatre, he was a member of the Japanese Shiki Theatre Group before joining the National Theatre Company of China. He also directs plays.
Ѽஉ߮þၦّ ع˔ ԕၦჱc˵ԕၦᑰነᇁኒӡଓพc˚߬˵כଊͨᓻع˔ ଉ݅ܢ˳ۂෞ৺ʨᖾd̽ைh˚߬ᎻჱАܢ˳ۂၦჱА ؿࠑᅥʥၦᑰپɍ˖dॺᔋdࣺɡᄨe౦˱ࠗಋʥዌ ᅥdᏢeۂჱ೩ˮcԎι͓ᅥᏢၦᑰɮА۩c˚߬А Wang Mei Movement Designer / Dancer Wang Mei is a graduate of the choreography department of the Beijing Dance Academy and a member of the Beijing Song and Dance Theatre Company. She has appeared in the dance dramas Ma and Le Visiting the Sky and Jade Bird, and in the stage productions of Bedbug, Richard III and Faust. She has danced in productions in Hong Kong and Macau. Wang has her own dance workshop and has produced Happiness, Bitter. ࡗʍଽ Cast Biographies 43
ჳⴴ ঢ়ᑵ ɻ̕ᎻჱነכαࡗcଓพڇჳⴴݯɻਝਝࡼჱӞ αᄧ഼ࡗcڇΊ۹ঢ়ؿكαԞٶӡeˢܰɻਝٲ 1998ᏵၬऋСဍشؿȹཋᄧԅɁdԅɬdԅ˚ ንᔂΧ࿘Ᏽ܃ԑːᆉeԯܨٴਝཋᄧຝՇᜮଠᚭ ᆉԙӘ˚ӯᆉcɌንɁউᏵټɍɊɄ։̎ᜪ ᔸᆉԙӘ˚ӯᆉc˚ΛཋᄧАټɀɊ̒։ɻਝཋᄧ ʥཋ഼ჱඑeۂ
Liu Ye Gao Yuan Liu Ye is a graduate of the Central Theatre Academy where he specialised in performance. Probably the best known film and television actor in China, his first film Postman in the Mountain, made in 1998, was chosen as the audience favourite at the Montreal International Film Festival. His acting in Lan Yu won him the Best Actor Award at the 38th Golden Horse Awards in Taiwan, and his role in The Foliage won him the Best Actor Award at the 24th Golden Rooster Awards in China. He has appeared in numerous feature and television film dramas.
ঠݖ ҵɩ ٲαࡗcɻ̕ᎻჱነڇঠݖݯɻਝਝࡼჱӞ ˥ɁͿٲӡଓพeၦ̎ᔔఒcΕჱӔ㒷ɻؿ ؿᆏᏹณܱcވαԞݠᙺΕɻਝᄧ഼ٶോ૯Գe͛ܰ ᔸᆉԙɤټʨؿӔᏵɊȾ։ܬ1999αንཋᄧ ᔸᆉټӯᆉh2002αንཋᄧᗫؿɣ຺ᏵɀɊɀ։ ԙɤӯᆉe
Yuan Quan Shen Xiaoyou A graduate of performing arts at the Central Theatre Academy, Yuan Quan is an acclaimed and experienced young stage and film actress. Her performance in the theatre production Strong Wind was critically acclaimed. In 1999, she was named Best Supporting Actress at the 19th Golden Rooster Awards for her work in the film The Spring Rhapsody. In 2002, she won the same honour for her acting in The Big Foot. ࡗʍଽ Cast Biographies 45
αڇؿ܅ᄺ צעஹ ӡٲαࡗcɻ̕ᎻჱነڇݯɻਝਝࡼჱӞצעஹ ෲੱᓊ਼ؿณᜮכॺᔋdᗐܢ˳ۂଓพc˚߬ᎻჱА d়ࡾ೩e֨
Chen Minghao Angry Young Man A graduate of the Central Theatre Academy in acting, Chen Minghao is a member of the National Company of China. He has appeared in Bedbug and Labyrinth.
ਜ਼ѻ ۢѝѝ ˚ӡଓพcٲαࡗcɻ̕Ꮋჱነڇਜ਼ѻݯɻਝʑΔӞ dྦྷᒔڌɣࡌੱ̌d߱߱d281۬ܢ˳ۂ߬ᄧ഼А ӝdϭకᔿdᑹඦ೩e
Zhang Tong Yao Yaoyao A graduate of the Central Theatre Academy, Zhang Tong has appeared in a number of film and television productions.
ჳኮኰ ३ɥ Ӡ́cɻ̕Ꮋჱነኒޢӡဨɡٲჳኮኰݯɻ̕Ꮋჱነ ॺᔋdɊȼඣฦdܢ˳ۂӡଓพeˢؿ˚߬ᎻჱА ᛞෲؿಸ˒d়ࡾ೩e
Liu Xiaoye Rat A candidate for a Master’s degree at the Central Theatre Academy, Liu Xiaoye received his undergraduate degree in directing from the same institution. He has appeared in Bedbug, Rhinoceros in Love and Labyrinth.
Ⴁ Ϣᒓ ӡଓพeٲαࡗcɻ̕ᎻჱነڇႡݯɻਝਝࡼჱӞ ผѼോdɊȼඣฦdمdܢ˳ۂؿ˚߬ᎻჱА ፷ࢡࢡdႡˊվԫ೩eעɊɀէdΕ༏ɐd㛾 ؿቭ
Zhao Rui Woman Shopkeeper Zhao Rui is a graduate of the Central Theatre Academy where she studied performance. Her recent stage appearances include Horse, Twelfth Night, On the Road and Mr Zhao’s Orphan. 46 ࡗʍଽ Cast Biographies
ਜ਼ቧȹ ᔢ́ αᎻჱࡗcɻ̕Ꮋჱነኒӡଓڇਜ਼ቧȹݯɻਝʑΔӞ d܃߇پΪձˀতdᙜ්࣠dܢ˳ۂพeˢؿ˚߬ᎻჱА ೩e܃ɓɾ܆ຮّؿ෮̔ϋədயΪಾԫd˚֚ܧȹಲ
Zhang Luyi Doctor A graduate of the Central Theatre Academy, Zhang Luyi has appeared in The Diary of Anne Frank, The Cherry Orchard, Behind the Door, Accidental Death of an Anarchist and Wild Angel.
ჳɽ ɡ ӡଓٲαࡗc˵ԕཋᄧነڇჳɽݯɻਝਝࡼჱӞ Υdࠍྦྷࠍdɍˉ፠ܢ˳ۂพeؿ˚߬ᎻჱА ჱd˵ԕᔂʨdˋɾኝ2೩e
Liu Dan Professor A graduate of the Beijing Film Academy, Liu Dan is considered an outstanding young actress. Her major appearances have been in The Scarlett Letter, Face to Face, The Threepenny Opera and Blue Skies over Beijing.
Ⴁᑈ ᙶɡ ӡٲαࡗcɻ̕ᎻჱነڇႡᑈݯɻਝਝࡼჱӞ ɣᚭޑଝɥdעdچཊܢ˳ۂଓพeؿ˚߬ᎻჱА ௩dʬȺɯ̳ඨdᛞෲؿಸ˒೩e
Zhao Hongwei Nurse Zhao Hongwei is a graduate of the Central Theatre Academy. Her main appearances have been in The Storm, Happy Together and Rhinoceros in Love.
˔ኮᴀ ॺ͊; ӡଓพcٲαࡗcɻ̕ᎻჱነڇኮᴀݯɻਝʑΔӞ˔ dᛞෲؿڀʷΛʷΛಋᘭۿ100Ɂ೩ܢ˳ۂ߬ჱА˚ ಸ˒೩e
Wang Xiaoshen Smelly Tanner A graduate of the Central Theatre Academy, this young actor has appeared on stage in 100 People Waiting for Godot and Rhinoceros in Love. ࡗʍଽ Cast Biographies 47
ң්් ނ αࡗc౦ͨˀ̯̒տჱ྆ڇң්්ݯɻਝԫ೧ᖚჱӞ ைdɤၤயᕺdɥڇۂࠑᅥჱࡗc˚߬ࠑᅥჱА ۴ؿณϸdፅdࠗࣟԈּ೩eޒd˔ Li Yuanyuan Jeanne A member of the Chinese Children’s Arts Theatre Company, Li Yuanyuan has also appeared in musicals with the Japanese Shiki Theatre. Her major appearances in musicals have been Beauty and the Beast, Lion King, The Emperor’s New Clothes and Cats. ˔㘥 क
αᎻჱࡗcɻ̕Ꮋჱነଓพc˚߬ڇ㘥ݯɻਝʑΔӞ˔ ೩eڀʷΛʷΛಋᘭۿࡾd100Ɂ೩়ۂᎻჱА Wang Xin Pearl A graduate of the Central Theatre Academy, this young actor has appeared in Labyrinth and 100 People Waiting for Godot. ഠᗫ তّ
כӠ́cଓพޢӠነؿɡޢݘڈഠᗫݯ࠷ɣነʿʥ ΛᆵٲӠɻਝˤͱቂᎻჱc౦ೕޢپɣነɻʼӡcਿ̛ۤ ɻਝଊˤdˤᎻჱؿിሃʼeכᗐ Rossella Ferrari Reporter A doctoral candidate at the School of Oriental and African Studies at London University, Rossella Ferrari is a graduate of the Department of Chinese at the University of Venice, where she studied the avant-garde theatre in China. 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Δэ Address: ࠗಋᜪˠಋᜪ༞ɀ໔ࠗಋᖚɻʶɊɀᅢ 12th Floor, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong ཋ Telephone: 2824 3555 ඨभ Fax: 2824 3798 / 2824 3722 ၉ࠒ Website: http://www.hk.artsfestival.org ཋ൯ Email: [email protected] ᓻࡗ Staff ᓻࡗ Staff (contract) Ϸܧᐢဟ ([HFXWLYH'LUHFWRU ຝ͌ Programme ଉ /RJLVWLFV0DQDJHUۿঢ়ᄨᓤ Douglas Gautier અ ነ֦ Elvis Kingټ ຝ͌ Programme ႇАଉ 3URGXFWLRQ0DQDJHUV ຝ͌ᐢဟ 3URJUDPPH'LUHFWRU ̝ۢ̽ Tiffany Yiu ષు☜ Grace Lang ષᜮ Roy Leung ຝ͌ଉ 3URJUDPPH0DQDJHUV ̔ࢄᘐ 2XWUHDFK&RRUGLQDWRU Andrew Chan ڭᘣਝඔ So Kwok-wan ஹҁ ՚⌿ Mio Margarit Chow ̔ࢄХଉ 2XWUHDFK$VVLVWDQW ჳϐ૯ Eva Lau ຝ͌ᘐ 3URJUDPPH&RRUGLQDWRU ຝ͌Хଉ 3URJUDPPH$VVLVWDQW ່৪༻൬࠳ͤ Linda Yip (on study leave) ңણต Christina Lee ອଉຝ͌ᘐ $FWLQJ3URJUDPPH&RRUGLQDWRU Ҍᘐ 7HFKQLFDO&RRUGLQDWRUV ፠Ї Eddy Zee ஹ⍱ജ Billy Chan ሲᅳშ Cat Cheng ઐᄤ Marketing ඟ֗Σ Rufina Fung̟ Nancy Lam׳ ଉ 0DUNHWLQJ0DQDJHU̟ ሲֆ࿘ Katy Cheng ңཽᗸ Kathy Lee ષᘚੜ Gary Leung Хଉ̟ଉ $VVLVWDQW0DUNHWLQJ0DQDJHUV ࠑᚊᘐ 6RXQG&RRUGLQDWRU ՚ֱ Alexia Chow ஹ৪ Joey Chan ॐ࣠ Chris Lam׳ Publication خಌ༠ᑞ Andy Yau ˮ ᇁፎ (GLWRU ೕࢄ Development χ㠒ෲ Daisy Chu ೕࢄଉ 'HYHORSPHQW0DQDJHU ߜʼᇁፎ (QJOLVK(GLWRU ஈዷඓ Angela Hui Mya Kirwan Mya Kirwan Хଉᇁፎ $VVLVWDQW(GLWRU Хଉೕࢄଉ $VVLVWDQW'HYHORSPHQW0DQDJHU ඡฑΪ John Wong ஹ᜔ᙀ Eunice Chan ̟ઐᄤ Marketing ผ߮ Accounts Хଉ̟ଉ $VVLVWDQW0DUNHWLQJ0DQDJHU ผ߮ $FFRXQWDQW ЄయᎩ Agatha Ho ࣨუށ June Yun ̟˚ͨ 0DUNHWLQJ2IILFHU ฦዤ Michelle Yeung ผ߮ʼࡗ $FFRXQWV&OHUN ৻Хଉ 7LFNHWLQJ$VVLVWDQW Bonia Wong ඡਝෲ ோுജ Ada Mak ৻˚ͨ &XVWRPHU6HUYLFHV2IILFHUVרAdministration ۪ʸ ܧϷ Ϸܧो࣊ ([HFXWLYH6HFUHWDU\ ᘣϤ Alfee So Wu Kai-yin ۽χ༠⍖ Carmen Chu ͢ԙ ႚ Pang Leoژధ ज़ो࣊ 5HFHSWLRQLVW-XQLRU6HFUHWDU\ ೕࢄ Developmentٱࡗþۿઅ ң Virginia Li Хଉೕࢄଉ $VVLVWDQW'HYHORSPHQW0DQDJHU ೡણֱ Michelle Ching ፒʔ۩Хଉ 2IILFH$VVLVWDQW Administration ܧTony Cheng Ϸ ټሲ ፒʔ۩Хଉ 2IILFH$VVLVWDQW Dicky Chan ̵ژஹ
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