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黑 天 鵝編劇 一　休導演 彭鎮南Playwright Yat YauDirector Victor Pang

黑天鵝

B l a c k S wa n

香港藝術節委約及製作Commissioned and produced by

the Hong Kong Arts Festival

20 -22.2.2009香港藝術中心壽臣劇院Shouson Theatre Hong Kong Arts Centre

7-8.3.2009元朗劇院演藝廳Auditorium Yuen Long Theatre

06 創作及演出 Credits

09 角色、故事及分場 Cast, Synopsis and Scenes

11 歌曲 Songs

12 編劇的話 Playwright’s Notes

16 導演的話 Director’s Notes

18 特稿

22 藝術創作顧問的話 Artistic Advisor’s Notes

簡歷 Biographies 28 演員 Cast 32 創作及製作人員 Creative and Production Team

為了讓大家對這次演出留下美好的印象，請切記在節目開始前關掉手錶、無綫電話及傳呼機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙，多謝合作。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 and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation.

粵語演出，附英文字幕演出長約2小時10分鐘，不設中場休息Performed in Cantonese with English surtitles Running time: approximately 2 hours and 10 minutes with no interval

香港藝術節委約及製作Commissioned and produced by

the Hong Kong Arts Festival

20 -22.2.2009香港藝術中心壽臣劇院Shouson Theatre Hong Kong Arts Centre

7-8.3.2009元朗劇院演藝廳Auditorium Yuen Long Theatre

06 創作及演出 Credits

09 角色、故事及分場 Cast, Synopsis and Scenes

11 歌曲 Songs

12 編劇的話 Playwright’s Notes

16 導演的話 Director’s Notes

18 特稿

22 藝術創作顧問的話 Artistic Advisor’s Notes

簡歷 Biographies 28 演員 Cast 32 創作及製作人員 Creative and Production Team

為了讓大家對這次演出留下美好的印象，請切記在節目開始前關掉手錶、無綫電話及傳呼機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙，多謝合作。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 and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation.

粵語演出，附英文字幕演出長約2小時10分鐘，不設中場休息Performed in Cantonese with English surtitles Running time: approximately 2 hours and 10 minutes with no interval

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創作及演出 credits

藝術創作顧問 毛俊輝Ø Artistic Advisor Fredric MaoØ

編劇 一休 Playwright Yat Yau

導演 彭鎮南# Director Victor Pang#

音樂總監及作曲 于逸堯@人山人海 Music Director/Composer Yu Yat-yiu@PMPS

填詞 岑偉宗 Lyricist Chris Shum

舞台設計 阮漢威 Set Designer Yuen Hon-wai

服裝設計 鄭文榮 Costume Designer Cheng Man-wing

燈光設計 鄺雅麗 Lighting Designer Alice Kwong

音響設計 劉穎途 Sound Designer Stoa Lau

錄像設計 陳文進 Video Designer Chris Chan

編舞及形體指導 趙浩然 Choreographer/Movement Coach Rex Chiu

監製 香港藝術節 Producer Hong Kong Arts Festival

協助製作 7A班戲劇組 Associate Producer Class 7A Drama Group Limited

# 承蒙演戲家族批准參與是次製作 By kind permission of the Actors’ Family

Ø 2009香港藝術節「友導」計劃導師 Mentor in HKAF’s Mentorship Scheme 2009

創作人員Creative Team

執行監製 林沛力 Executive Producer Alex Lam

技術總監／製作經理 楊福全* Technical Director/Production Manager Frank Yeung*

製作人員Production Team

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投影器材由M SQUARE提供Projection equipment supported by

加料節目 FESTivAl PluS 19.1.2009 (一) 講座唱尋真愛反轉經典《黑天鵝》香港城市大學

20.2.2009 (五) 演後藝人談歡迎觀眾演出後留步，與《黑天鵝》台前幕後見面。

詳情請參閱藝術節加料節目指南，或瀏覽藝術節 網站：www.hk.artsfestival.org

19.1.2009 (Mon) TalkBlack Swan — A modern twist on an old fairy taleCity University of Hong Kong

20.2.2009 (Fri) Meet-the-Artist (Post-Performance)If you would like to meet the artists of Black Swan, please remain in the auditorium after the performance.

For details please refer to the Festival Plus Booklet or go to the Festival website: www.hk.artsfestival.org

助理製作經理／舞台監督 程美彤 Assistant Production Manager/Stage Manager Kathy Ching

執行舞台監督 孔稜斯 Deputy Stage Manager Carmen Hung

助理舞台監督 倪嘉偉、林宛鈴 Assistant Stage Managers Carvid Ngai, Cherry Lam

舞台設計助理 丁凱盈 Stage Design Assistant Heidi Ting

總電機師 伍穎雯 Production Electrician Ng Wing-man

音響控制 馬卓忠 Sound Operator Joel Ma

服裝統籌 李敏婷 Wardrobe Supervisor Noelle Li

化粧統籌 鄭蓮花 Make-up Coordinator Ada Cheng

英文字幕翻譯 張敏儀 English Surtitles Margaret Cheung

英文字幕操作 周淑盈 English Surtitles Operator Chow Shuk-ying

攝影 紀實攝影會、凌濛、何沚箋 Photographers Documentary Photography Club Ling Meng, Eunice Ho

佈景製作 迪高美術製作公司 Set Production Dick Ko Arts Production Co

* 承蒙香港演藝學院批准參與是次製作 By kind permission of The Hong Kong Academy for Performing Arts

中英劇團、阿盧製作、工力二人、茹國烈 劉銘鏗、鄧耀銘、陳慧芝、Theatre Noir、香港各大傳媒

鳴謝Acknowledgement

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cast, Synopsis and Scenes 角色、故事及分場

Prince 陳健豪 Chan Kin-ho

Nanny 陳楚鍵 Chan Cho-kin

Barbie 文傑聰 Man Kit-chung

Devil 張繼聰（特邀演出）Louis Cheung (guest actor)

Queens 陳　康 Johnny Tan

Beauty 葉榮煌 Guthrie Yip

Swan 林鴻怡 Brenda Lam

Player 林可嘉 Angela Lam

Cygnets 劉玉翠、馮夏賢、余菁華（嘉賓演出） Lau Yuk-Chui, Eli Fung, Fiona Yee (guest appearance)

偶像歌手Prince被逼在直播節目中，挑選其永不分離的合唱另一半，然而他卻在直播的前一晚，遇上Swan，一個能和他在心靈深處用音樂接觸的人。然而，Prince卻發現Swan只有在夜裏才能做回自己、唱自己的歌，因為他們是一群受到詛咒的「黑天鵝」⋯⋯Pop singer Prince is forced to find the perfect singer to perform with him in a live show. Then, on the eve of the live broadcast, Prince meets Swan and falls in love. He realises that with Swan, he could believe in heartfelt music again. But Prince discovers that Swan is cursed and can only sing her favourite songs at night …

第一幕 The Palace 直播前一晚

第二幕 The Lake 之後約一小時

第三幕 The Palace 直播當天日間

第四幕 The Lake 直播當晚

Act 1 The Palace The night before the live show

Act 2 The Lake One hour later

Act 3 The Palace The day of the live show

Act 4 The Lake The night of the live show

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Songs 歌曲

《雛菊與藍玫瑰》（《黑天鵝》插曲）

作曲：于逸堯填詞：岑偉宗

主唱：Cygnet（劉玉翠）

你我似經過無盡的禁閉，唱盡怨曲卻不得寬慰，

愛得情深，過日才無白費。滿眼風雪，亦都轉季，赤地有花，綻開於春季。

有天湖水，也油油然綠了，忘了現世。如今，即使眼淚缺堤，

臨別藉着抱擁，代替勸慰言辭的勉勵。赤地雛菊與藍玫瑰，終一天再現眼前，

在明媚夏季，再度連繫。

《人間愛》（《黑天鵝》主題曲）

作曲：于逸堯填詞：岑偉宗

主唱：Devil（張繼聰）

愛令人動魄顫膽驚心！更令人快樂甜蜜去眷戀光陰！真愛令一個甜吻，激發內心有餘震。

愛是無價令你不悔恨，還活得豐富淋漓認真。

既是濃霧裏最閃的燈，也是人渴望寒夜裏抱緊的心。不見面天天着緊，心裏話充滿餘韻，

每滴時間就似鐘乳石，流盡一生也情無異心。啊⋯⋯尋覓到涯岸無盡，都渴望尋獲愛。

不怕年華漸老，一生有你的慰問。能赴湯或撲火甚至傷神。

誰沒缺陷？但多得愛臨近，成全以後浪漫裏的吻。

人在世存在華麗，一切亦成絕世。一切莫名限制，都因愛已經破例。

為愛生為愛死為愛執迷，成就壯麗，肉身不怕年月，隨時流逝。

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編劇的話 Playwright’s notes

文：一休「真愛」還是「真愛」？

想了好久，戲中人常常提在嘴邊的「真愛」，到底應該用Real Love，還是True Love？

「正確」來說，應該是說True Love的。但是，打從第一稿開始，我就下意識的一直用了Real Love。事後想想，也許就是因為，我們常常都說要追求「真愛」，可是大家不妨看看現今世界，這個連「考試成績」和「男女朋友關係」都可以當商品來訂價及出售的世界，我們想追求的「真愛」，其實可能連Real都不是。連「真愛」（Real Love）都不是，竟還想追求「真愛」（True Love）？

天鵝湖

對天鵝湖，我最深刻的印象，一個是一群穿純白舞衣的美麗少女，另一個是韓國樂隊 「神話」幾年前的當代版搖滾天鵝湖音樂《T.O.P.》（Twinkling of Paradise）。

白色天鵝舞衣，今天幾乎已經變成「芭蕾舞」的等同符號。外行人說起芭蕾舞，就會想起那種既純、又美、又性感的白色天鵝舞衣，而且還是一大群的美麗年輕女孩，不禁覺得這是很多男性心目中的慾望投射。然而，當結合了當代版的音樂，不期然就會想，除了投射那種對「既純、又美、又性感」的嚮往，是不是還可以從「既冷、又醜、又複雜」的角度去說這個簡單的故事？於是，某天決定要寫一個關於「一群黑黑的醜陋少年」的故事。最好還是沒有性別的。

在香港，劇場編劇是一個「人」嗎？

導演跟設計師「傾設計」，很自然的，不會假設了出來的第一稿就是完美可用，而是要透過反覆討論、修改、微調⋯⋯，然後最好的作品才有機會出現。其實其他行業都一樣，研發手電、編寫教案⋯⋯都一樣要經歷反覆優化的過程，成品才會優秀。

然而，香港的劇場生態，一直以來都不會讓編劇成長，如果第一稿不是卓越的作品，導演和演員便唯有群起幫手「救亡」，透過集體的努力把演出做好。請大家退一步想一想，編劇也是一個人，我們以往讀到的大師作品，其實都是他們歷經長時間孕育修訂而成的。如果我們繼續以過去那種「只為求完成一個製作」的心態，很短時間內就要不斷創作和排演，第一稿不夠好，不夠時間討論，也沒有時間去等編劇修改，那麼我們便永遠都不會有真正具水準的本土劇作。

今次，香港藝術節希望走出第一步，把編劇當成一個「有機」的「人」（而不是一個產品）。很早，我已經拿着一個（尚未成熟的）初稿，然後在這「友導計劃」裏，跟毛老師一次又一次的探討劇中邏輯、人物設定和發展等，然後，每一次都幾乎是完全重新寫過，寫了幾稿。到最後，我自己也覺得，我真的感到劇本在這過程中成長了，我也成長了。要有這個過程，首先就必須要有充裕的時間（香港通常都沒有），以及相應的支援。謝謝藝術節的嘗試，也謝謝毛老師的指導，導演的諒解，以及演員和工作人員們的信任。

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Text: Yat Yau

“Real Love” or “True Love”?

I have been thinking for a long time about the authenticity of the words so easily spoken by the characters in Black Swan. Are they talking about “Real love” or “True love”?

Properly speaking, “True love” is the phrase I meant. But I have used “Real love” since the first draft, perhaps subconsciously substituting it for “True love”. Upon reflection, I think this replacement is probably very sound. People often say they are looking for “Real love”. But if we look at our world today, a world where even “examination results” and “man-and-woman relationships” can be priced and sold as commodities, the “Real love” we look for is probably not “real” at all. When “Real love” is false, how do we search for “True love”?

Swan Lake

The most impressive image from Swan Lake is a swarm of beautiful young girls dressed in pure-white dancing costumes. Another image I envision is a contemporary rock-and-roll version of T.O.P. (Twinkling of Paradise), performed by the Korean musical group Shinhwa.

The swan’s costumes are viewed as the equivalent of “ballet”. When non-ballet aficionados talk about ballet, what comes to mind is a large crowd of beautiful young girls in white swan costumes who are perceived as pure, beautiful and sexy. One cannot help see this as a projection of many men’s desire. But when Swan Lake fuses with modern music, I could not help wondering, apart from a projection about the eagerness for “purity, beauty and sexiness”, could this simple story be told with “coldness, ugliness and complexity”? And so I decided to write a story about “a group of ugly young guys” made up of no gender.

In Hong Kong, is a theatre playwright “human”?

It is natural for directors and designers to discuss designs and they do not expect the first draft to be flawless or ready for the stage after the discussion. Instead, they expect to continue to discuss, revise and fine tune. Then there is a chance for the finest quality performance possible. Other businesses are no different, cell phone invention, course planning … all have to go through the process of improvement, time after time, before producing an excellent result.

But Hong Kong’s theatre scene does not help the playwright to mature. If the first draft is considered subpar, the director and actors have no choice but to offer helping hands, hoping to produce a good performance through a collective effort. We look back and think: playwrights are human beings as well. The masterpieces we read are creations worked on and improved over time. If we continue to have the mentality that it is good merely to complete a production, every performance will be created and rehearsed in haste. We must discuss the drafts and allow the playwright to revisit the writing. If we do not, quality local productions will never be produced.

The Hong Kong Arts Festival aims to take one step forward, treating a playwright’s creativity as organic instead of a mere product. Nurturing the playwright through the process allows for a richer creation. Through the Mentorship Scheme, I brought an immature first draft of Black Swan to my mentor, Mr Mao, and discussed with him over and over again the logic of the play, the characters, the development and more. Several drafts have been written and each revision was close to a complete rewriting. Ultimately I really feel that the script has grown in the process, and so have I. The prerequisite for this process is a generosity of time (usually unavailable in Hong Kong) and corresponding support. Thank you to the Arts Festival for making this attempt. Thanks also go to Mr Mao for his instruction, to the director for his understanding and to the actors and the backstage staff for their trust.

Translator by Irene Cheng

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導演的話 Director’s notes

文：彭鎮南對經典文學，舞台巨著及童話故事，我一向愛不釋手。喜歡此類作品含意深寬廣闊，見解精闢。提及的道德與價值觀極具永恆性永不過時；閱讀過程往往如尋幽探秘，令我暫時忘記繁瑣的生活。但過後，總能擴闊我的視野，豐富我的心靈。引導我再次掌握生命與愛的熱情，勇敢前進。

對於今次能夠執導改編自《天鵝湖》的 戲 劇 作 品 《 黑 天 鵝 》， 我 深 感 榮幸，過程同樣趣味盎然。除了創作思維得到更多更新的啟發，更重要的是對於存在的價值和生存的態度，都令我有更深刻的領悟。

在傳統的《天鵝湖》裏，在白色的芭蕾舞衣與舞蹈員優雅的舞姿下，幻化出段段動人的愛情故事，每每令人看得陶醉，但背後卻存在着惡毒的詛咒。日間是一隻天鵝，晚間才可變回人類。在《黑天鵝》裏，也存在着同樣的詛咒。這羣游離於禽鳥與人類間的黑天鵝承受着巨大的心靈痛楚，日間的醜陋使他們成為被人類排擠、嘲笑和歧視的一族。詛咒使他們失去了自由，明明是人卻不能融入社會，使他們像跌進了無盡深淵，生活步伐突然停頓只留下迷惘，孤獨。其實這些感覺在我們的日常生活中也經常 遇到。難道我們也中了詛咒嗎？是的！對我來說生活中到處存在詛咒，大自然的災難，疾病、死亡，天生的殘缺或是因自私和貪婪，妒嫉所引起的各種是非、歧視、搶掠、戰爭，都會令我們感到失去自由、迷失、孤獨的⋯⋯在童話中，魔法施展，一切安然無恙，但現實的詛咒卻如影隨形伴我們度過一生！詛咒解不開，我們仍可自由地過活？仍可找快樂的泉源

Text: Victor PangI have always loved literary classics, great theatre works and fairy tales. I like these kinds of works because they are meaningful, profound and full of deep insights. The moral sense and values in these works are timeless. I find myself completely absorbed in the intricate labyrinths of these fascinating worlds when I read them; they take me far away from this tedious life and render me temporarily oblivious of its trifles. After such journeys, my perspective is broadened, and my heart and soul feel cleansed and enriched, rekindling a passion for love and life.

I am indeed very honoured to have the chance to direct Black Swan, an adaptation of Swan Lake. The whole process was immensely interesting. I was inspired to be more innovative in my ideas, and, more importantly, I was enlightened about my attitude towards the meaning of existence.

In the traditional Swan Lake, everyone in the audience is intoxicated by the beautiful scenes, the romantic and touching love story and the elegant dancers in exquisite white ballet costumes. Behind it all, of course, is a vicious curse. In Black Swan, there is a similar malicious curse. This flock of black swans is forced to transform back and forth between swans and humans, never able to fit in and living their lives under enormous mental pain. During the day, they are ridiculed and discriminated against by humans because of their ugly appearances. The spell robs them of their freedom, and thus, they lead a marginalised existence. They are segregated from the community of men since they cannot integrate, though they are actually humans. Their lives become stagnant and they feel lost and lonely. It is like falling into a bottomless pit. Actually, we all feel this at some points of our life.

Are we all cursed? Yes! To me, our life is full of curses: natural disasters, death and diseases, troubles and calamities caused by selfishness, greed or jealousy, discrimination, plundering and war. These deprive us of our freedom, and leave us lost and lonely.

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嗎？什麼是真正的自由？什麼是真正的快樂？也許種種的問題正是解開詛咒的鑰匙吧！

另一點令我感動的是劇本裏提及的真愛。編劇一休想寫的真愛不單是真摰甜蜜的愛情，而是一種被提升的愛，一種推己及人，無私奉獻的大愛。這令我想起王爾德的《快樂王子》。他以自己的身驅去惠及窮人，最後終變成一堆廢土。這種以血肉奉獻的犧牲精神怎不能令人感動。在《黑天鵝》裏的王子Prince充滿人類的劣根性，自戀，驕橫，霸道，這種劣根性甫一開場便給表露無遺。人往往很容易被勝利沖昏頭腦。在得意之時意氣風發不可一世。通常在受到挫折的時候才會深刻反省，大概也是這種原因，編劇不得不能將Prince置於險地，讓他事業下滑，讓他進退兩難，忐忑不安。這樣才能使他的內心響起警號，讓靈魂有機會甦醒，並呼喚他追尋愛的真諦與價值。

最後我要衷心感謝所有設計師、編舞、作曲、填詞、行政及幕後製作人員，他們的創作熱情及專業態度，令我敬佩，欣賞，感動。多謝藝術節同人給予的協助，令一切順利進行。多謝所有演員的努力付出，與他們一起排練是一件開心愉快的事情。更多謝蘇國雲先生、毛俊輝老師和一休對我的信任。特別是毛Sir，自演藝畢業後已經再沒有機會上他的課。今次能夠合作，心裏覺得非常興奮。他的魄力依然，對戲劇藝術的堅持絲毫未減。睿智與準確無誤的分析再一次敲醒了我這愚昧的腦袋，令我茅塞頓開。能與他和一休攜手創作《黑天鵝》是我導演生涯裏一個重要的課堂，多謝！

In fairy tales, the curses can be removed by magic, and everything ends happily. But in the real world, curses follow us everywhere, often remaining with us for life. Can we still lead a free existence if the spell cannot be undone? Can we find true happiness? What does it mean to be entirely free? What is true happiness? Maybe, all these questions are the key to unlock the spell.

Another aspect of this project that really touched me is the true love mentioned in the script. The sort of true love that the playwright Yat Yau wants to describe is not only love that is sweet and innocent, but a kind of elevated and sublime love, a kind of selfless love, extended to others. This reminds me of The Happy Prince by Oscar Wilde. He sacrifices himself for the good of the poor, and is eventually discarded on a dust-heap. How could this kind of sacrifice, not be touching? The Prince in Black Swan is a character full of human weaknesses and shortcomings. He is narcissistic, arrogant and overbearing; his innate weaknesses and wicked ways are fully exposed to us in the beginning of the play. It is easy to be vain and full of ourselves when circumstances are favourable. But when we are in adverse situations and suffer setbacks, we tend to engage in soul-searching and reflect on our shortcomings. This is the very reason why Yat Yau chose to put the Prince in hostile and antagonistic circumstances. He forced him to fail in order to have him be caught in a dilemma. With this anxiety he can reflect upon his alarming lack of character. Only after this can his soul be awakened and can he begin his quest for the true meaning and value of love.

I would like to thank the designers, the choreographer, the composer, the lyricist and all the staff and crew of our administration and production teams. Their enthusiasm and professionalism deeply touched me. I appreciate, respect and admire them. I would also like to give a big thanks to the staff of the Hong Kong Arts Festival for all the assistance they have given in order to make sure that everything goes well. I want to thank all the performers for their great efforts — working and rehearsing with them was an absolute delight. I’m most grateful to Mr. So Kwok-wan, our mentor Fredric Mao and our playwright Yat Yau for their trust in me. I greatly benefited and enjoyed the opportunity of working with Fredric Mao.

Translated by Vicky Leong

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特稿 Feature

一休和彭鎮南談《黑天鵝》

文：陳國慧一休說多年前已想寫一個有關《天鵝湖》的故事：「其音樂令我印象深刻，當中描述的愛是很『大力』的」。後來當他聽到另一演繹《天》的跳舞音樂時，其混雜令他想到改編的可行性。然可行卻不無困難，「《天》的故事簡單、情感純粹，不容易改成戲劇」。於是便要賦予新的演繹點子：「要將情感、情節複雜化，令其不再純真」。不再純真是一休要言說的當代社會的狀態，然而更複雜的還在後頭。

進一步想法是「全男班」，正來自對「一群穿芭蕾舞裙的美麗女孩」的逆向呈現。然而這種單一處理卻要合理化：「作品主題是真愛⋯⋯我想抹掉世俗種種因愛而產生的問題，只是探討 ── 你愛不愛，再沒有其他影響因素」。一眾燻着張愛玲的鴉片煙大的男女，沉淪在越複雜卻越快感的處境中；令人不禁懷疑一休會否過於一廂情願？

然而經過反覆推敲，這矛盾一休早已面對過：「我不過是自打嘴巴，因為無可能抹走一切」，於是他要令劇中人「難為」，而難題正是來自其身份。「王子／Prince的愛是真愛嚮往的標準⋯⋯如果他們都不成功，我們就慘了，原著力量正源於此」。然而王子亦往往是身不由己的：於是流行音樂的巨星，就成了真實世界的對照。

要說愛卻架空當代固有設定，一休選擇以音樂作為表達：「愛一個人便為他唱歌這個設定曾改了多次」。導演原覺得此設定太死板，目前的處理經過不少磨合，一休說：「想保留愛人的外化行為由音樂去處理，這比真實童話化，但會令現實的人質疑」。劇本的弔詭正是要現實又要幻覺，目前是保持「兩分距離，令觀眾在合理情況下去審視，而非太計較事情是否真實」。

解決了劇本重點課題，但「無性別」、「獨立自成的世界」寫得出卻未必做得出；和導演和設計師找尋劇本中的共識，是一休的另一體會。「年少時會寫一些扮荒誕的作品，後來掌握了一點藝術技巧便開始沉澱；再寫一些寫實作品，的確感到是札實了，但漸漸覺得無突破，又想試試架空一點，寫《大笑喪》這些帶超自然感覺的作品。這不一定是技巧上的圓熟，卻是不斷希望在藝術上探索的野心」。

一休坦言寫《黑》非常痛苦，有兩三次不想寫，「因為寫不到，戲中設定的世界可以支撐我的參考太少」。當劇中世界是超越現實時，「以前編劇的基本功完全用不上，試過用技巧去救，卻是越弄越別扭；但我有一定要求，我仍然要劇中世界有邏輯，同時也要令觀眾見到角色生活的邏輯，但我卻不知道是什麼」。

毛老師的安慰是鼓勵：「『磨』了大半年才交劇本給導演，處理的方式是我以角色當下的行動去反映他是一個怎樣的人，和以往透過過去建構目前很不同」。一休說，最重要的，是導演對劇本的閱讀。彭鎮南亦同意，超現實不代表「做什

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麼都可以，反而更要找到其邏輯」；而這正是他覺得有趣的。

直 言 劇 中 真 愛 是 很 昇華的Victor，「覺得是很靈性的追求；但我未遇上並不代表這不存在和 沒 價 值 ， 這 種 追 尋很令我感動」。對於一休 給 他 的 「 無 性 別 」難題，Victor說很喜歡這個想法；原來的全男班因容易轉移議題的重點；於是有了目前「現實世界全是男，但黑暗世界全是女」的想法：「可以和同性的相愛，亦可以愛另一邊的人 ── 比較詮釋到無性別的狀態」。

參與過不少音樂劇的彭鎮南，在面對《黑》的超現實世界音樂時亦說有困難： 「有什麼音樂是超現實的？很難，只能給觀眾類似的感覺。例如劇中現實世界的音樂，可能會電子味道重一點，而另一面，當初想過是以無伴奏合唱的方式；目前雖有限制，但感覺卻是對的」。

Victor說以往亦有處理原創劇的經驗，但通過這次藝術「友導」計劃，卻有新發現：「我是否有從編劇的角度去看呢？毛Sir卻很樂於理解一休；以往我多以導演口味去處理」，但今次創作的連繫卻很緊密。他最希望未來有更多資源投放在類似創作中，這亦是一休所冀望的：「不是導演不尊重編劇如此簡單，核心在於大家不知如何處理；製作時間趕，令導演要作決定，並沒有空間去理解編劇的想法，更別說修訂和改進」。

他說Victor對着充滿問題的第一稿亦無從入手：「我需要一些令我可以想像得到應該如何去修改的建議，非關製作，劇本邏輯，文字才是重點」。一休說毛Sir的意見令他找到通向二、三稿的路徑；這一點亦令《黑天鵝》最終沒有為一休所棄。初步觀察「友導」經驗，編劇和導演兩者之間的協調和「既創作又批評」（評論家林克歡語）的有機連繫，明顯便是本地最為缺乏的戲劇文學指導的角色。「友導」計劃走了重要一步；不論《黑天鵝》的最終呈現是如何，其創作過程應該是本地原創劇最值得借鑑的。

陳國慧，英國列斯大學劇場研究碩士，劇場評論人。

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藝術創作顧問的話 artistic advisor’s notes

我為什麼要做「友導計劃」？Why Did I Start the Mentorship Scheme?

文：毛俊輝我記得以前在紐約工作的時候，經常會在New Dramatists這類的地方與編劇家們一起研究劇本，然後待劇本發展到某一階段時，我們就去做圍讀或工作坊測試完成的作品，明白只有像樣的劇本才會有人或劇團願意投資製作。但是在香港的編劇一般都很少有已經創作出來的劇本，大多數都是有演出需求時才開工，更不必說有人與他（她）一起研究的過程。往往到了排練的時候，劇本是寫出來了甚至感覺不錯，但是一個新創作亦同時可能有一百個問題未曾解答。導演與演員在面對演出的壓力下就努力「救 戲」，但就算製造出一個比較順暢、似乎完整的演出成果也未必真正解决了劇本原本存在的問題。這也不一定是劇作家的不濟，只是他根本未有機會「煮熟」他的劇本。如果這樣的創作方式不斷延續下去，又怎能產生有質素、有份量的劇本呢？又怎樣會培養出成熟的香港劇作家？

香港藝術節作為一個展示國際視野的表演藝術平台，近年來也越來越重視本地作品的發展。若對本地作品質素上的提升有所要求，金錢上的支持固然重要，但創作上的投資和關注亦非常重要。所以我就與藝術節合作推行一個藝術「友導」計劃。我負責擔任第一個「友導者」，在連續的三年裏每年與一位編劇或一位導演共渡他 （她）的創作過程。而今年第一位創作人我選擇了《黑天鵝》的編劇 一休。

Text: Fredric MaoI recall that when I was working in New York, I would meet with playwrights in places like New Dramatists to study scripts in a group. When the script had developed to a certain stage, we read the script together or tested our completed work in a workshop. We understood that only a well-developed script would attract potential investors. But generally, playwrights in Hong Kong do not go through a similar creative process. Most of them start working on a script only after the production is guaranteed. Thus, the process of having somebody with whom to discuss the script is a luxury. At the time of rehearsal, the script that is produced may be considered to be acceptable. However, there are often a hundred unanswered questions hidden in the script. With the performance date drawing close, the director and the actors must work hand in hand to “save the play”. But even though a performance with a smooth outcome is delivered, it does not solve the original problems in the script. Blame does not necessarily lie in the incapability of the playwright because he indeed is not given the opportunity to “stew” over his script. If the creative operation continues in this fashion, where can we hope to find a script with quality and weight? How are we going to have full-grown local playwrights?

As a platform for the performing arts, the Hong Kong Arts Festival has recently been giving increasing attention to the development of local productions. Demand for a raise in the quality of local production must first backed up by financial support, but equally, investment and attention to the creative process are important. This is what drew me to work together with the Festival to launch a “Mentorship Scheme” for creative works. I took the role of the first mentor for three years, accompanying a playwright or a director in his or her creative process. And for this year, the creative practitioner I chose was Yat Yau, the playwright of Black Swan.

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Yat Yau is a playwright endowed with talent, experience and vision, as can be seen by the thoughtfulness and uniqueness of the entire concept and story of Black Swan. As to the creation of Black Swan, what has the Mentorship Scheme contributed? As a mentor, I provided Yat Yau with a space that allowed him to re-examine his own creative work in an orderly manner. In the process of responding to the questions and suggestions I raised, Yat Yau had a clearer picture of his own creation. As he rewrote one draft after another, he had a better grasp of scriptwriting's professional benchmark. I confidently believe that at the completion of the entire creating process, Yat Yau will see the play he envisioned creating. I also hope that the Mentorship Scheme will spark more inspiration for local creations.

Translated by Irene Cheng

一休是一位有才華、有經驗的編劇，可以看到他是有更大的發展空間，例如今次的《黑》劇整個構思和故事都是別出心裁，另有一格。那麼今次我們的「友導」計劃做了些甚麼呢？簡單地說，我作為「友導者」提供了編劇一休一個有步驟地審視自己創作的空間。通過回應我提出的問題和建議，他更清楚認識自己的作品，在一稿一稿的改寫過程中他依靠的不單是「靈感」，而是對劇本創作的專業準繩有更好的掌握。我深信一休在 《黑》劇的整個創作過程完畢時會看見自己寫的戲；也希望今次藝術節的「友導」計劃能為本地創作起到一點啟發的作用。

左起：一休、毛俊輝及彭鎮南與演員討論劇本(Left) Yat Yau, Fredric Mao and Victor Pang during rehearsal.左起：一休、毛俊輝及彭鎮南與演員討論劇本(Left) Yat Yau, Fredric Mao and Victor Pang during rehearsal.

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演員簡歷 cast Biographies

2002年於香港演藝學院戲劇學院畢業，並獲藝術學士(榮譽)學位。2005-2007迪士尼音樂劇全職演員。陳氏現為Theatre-Noir半職戲劇教育工作者，以及修讀戲劇教育碩士課程。Chan Cho-kin graduated from the Drama School of The Hong Kong Academy for Performing Arts with a Bachelor’s Degree. He was a full-time actor for Disney Musical from 2005-07. Chan is now a part-time drama educator for Theatre-Noir and studying for a master’s degree in drama education.

陳楚鍵 Chan Cho-kinNanny

香港演藝學院戲劇學院（榮譽）學士，主修表演。憑《哈姆雷特》榮獲2007年度香港舞台劇獎最佳男主角（悲／正劇）提名。現為香港有線電視公司藝人。Chan Kin-ho graduated from The Hong Kong Academy for Performing Arts with a Bachelor’s Degree, majoring in Acting. He was nominated for the Best Actor Award at the 2007 Hong Kong Drama Awards. He is now an artist at Cable TV Hong Kong.

陳健豪 Chan Kin-hoPrince

自五歲起開始參與超過百齣電視節目、電影和廣告演出。在香港演藝學院修讀戲劇。2002年被發掘成為J10 Music Ltd.音樂創作人，推出個人大碟，並為其他歌手創作歌曲逾90首，包括鄭秀文、陳奕迅、郭富城、古巨基及何韻詩等。同時亦參與電影配音工作。此外，亦為電影及電台節目主持。曾獲加拿大全國推崇唱作人、叱咤樂壇作曲人大獎，以及本港及海外電台頒發創作歌手多個音樂獎項。Louise Cheung started acting at age five and has now participated in over 100 television, film and advertising productions. He studied drama at The Hong Kong Academy for Performing Arts. He was engaged by J10 Music Ltd in 2002 as a singer and composer, and has since written over 90 songs for singers including Sammi Cheng and Eason Chan. During his music career, he has won music awards in Hong Kong and Canada.

張繼聰 Louis CheungDevil (特邀演出 Guest Appearance)

香港演藝學院戲劇學院畢業，獲藝術學士（榮譽）學位，主修表演。近期演出 有「劇團工力二人」《葉問傳 ── 問手》。現為自由身演員、中小學及青年中心之戲劇、默劇、形體及毯子功導師。Man Kit-chung graduated from the Drama School of The Hong Kong Academy for Performing Arts, with a Bachelor’s Degree. Recent productions include Ip Man by action3actors. He is now a freelance artist and teaches drama, mime and physical movement.

文傑聰 Man Kit-chungBarbie

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香港演藝學院畢業，主修表演。在校期間，畢業後赴英國倫敦，應邀演出當地黃土地劇團的作品《夜鶯》。該劇在倫敦及英國多個主要城市巡迴超過200場。近期主要演出包括Office 30《杏仁豆腐的心裏話》、7A班戲劇組《天奴的美「荔」樂團》、前進進戲劇工作坊《哈奈馬仙》。Johnny Tan graduated from The Hong Kong Academy for Performing Arts, majoring in Acting. After graduating, Tan toured with the London theatre group, Yellow Earth, to perform Nightingale. Recent work includes Hamlet Maxhine by On and On Theatre Workshop.

陳康 Johnny TanQueens

香港演藝學院戲劇學院表演系畢業，獲藝術學士（榮譽）學位。憑畢業作品《賣花女》亨利．希金斯一角獲傑出演員獎。現時為自由身演員及「劇團工力二人」創團人之一。近期之舞台演出有創團作《葉問傳 ── 問手》、2008香港藝術節 《改造情人》。Guthrie Yip graduated from the Drama School of The Hong Kong Academy for Performing Arts with a Bachelor’s Degree in Acting. Yip received an Outstanding Actor Award for his graduation production, Pygmalion. He is now a freelance artist and the co-founder of action3actors theatre group. His most recent work includes Ip Man and The Shape of Things in 2008 Hong Kong Arts Festival.

香港中文大學文化管理碩士，香港演藝學院戲劇學院表演系（榮譽）藝術學士。積極參演本地舞台製作，於2008年第17屆香港戲劇頒獎典禮獲頒「傑出年青演員獎」。除舞台演出外，亦曾為有線電視兒童台擔任主持。Brenda Lam earned a Master of Arts in Cultural Management from the Chinese University of Hong Kong and a Bachelor of Fine Arts from The Hong Kong Academy for Performing Arts, School of Drama, majoring in Acting. She has performed in various local productions, and was awarded the Outstanding Young Actress at the 17th Hong Kong Drama Awards in 2008. She was also a TV host of children channel of Cabel TV Hong Kong.

香港演藝學院音樂劇舞系高級文憑畢業，常參與跳舞、唱歌和演戲工作，同時是舞蹈教師及排舞員。最近參與演出的有眾劇團《四季人》。Angela Lam graduated from The Hong Kong Academy for Performing Arts, majoring in Musical Theater Dance. Lam has worked as a dancer, singer, actor, dance teacher and choreographer. Her most recent performance was A Man For All Seasons with TNT Theatre.

葉榮煌 Guthrie Yip

林鴻怡 Brenda Lam

林可嘉 Angela Lam

Beauty

Swan

Player

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香港演藝學院戲劇學院畢業，現為電視廣播有限公司全職演員。Lau Yuk-chui graduated from the Drama School of The Hong Kong Academy for Performing Arts. She is now a full-time actress for Television Broadcasts Limited.

劉玉翠 Lau Yuk-chui*Cygnet (嘉賓演出 Guest Appearance)

香港演藝學院音樂學院畢業，主修聲樂，師承著名女高音江樺女士。馮夏賢曾為多個劇團擔任聲樂指導及演出。現為香港演藝學院戲劇學院之兼職聲樂導師。Eli Fung graduated from The Hong Kong Academy for Performing Arts, School of Music. She studied voice under the tutelage of renowned soprano Ella Kiang. Fung has been the singing coach for many productions of major theatre companies in Hong Kong. She is currently a part-time singing tutor at The Hong Kong Academy for Performing Arts, School of Drama.

香港演藝學院舞蹈學院音樂劇舞蹈系高級文憑畢業。畢業後，余菁華曾參與不同的舞台表演，包括《Othello樂與怒》及原創踢躂舞表演《的的得得屋簷下》。現為自由身表演者及舞蹈教師。Fiona Yee graduated from The Hong Kong Academy for Performing Arts with an Advanced Diploma in Musical Theatre Dance. She has been involved in various stage performances, including Othello, the Rock Show and the original tap show, Under the Hood. Yee is now a freelance performer and dance teacher.

馮夏賢 Eli Fung

余菁華 Fiona Yee

Cygnet (嘉賓演出 Guest Appearance)

Cygnet (嘉賓演出 Guest Appearance)

* 承蒙電視廣播有限公司批準參與製作 By kind permission of Television Broadcasts Limited

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創作及製作人員簡歷 creative and Production Team Biographies

毛俊輝早年赴美修讀戲劇藝術碩士課程，並在紐約追隨著名演技導師Sanford Meisner學習。留美十數載，長期參與美國職業劇團演與導的工作及電影、電視製作。1985年香港演藝學院成立之始返港執教，出任戲劇學院表演系主任，為香港演藝界培育眾多出色的接班人。2001-2008年出任香港話劇團藝術總監，製作多齣具香港文化色彩並叫好叫座的劇目，出外巡演更贏取國內、海外觀眾高度的評價。毛俊輝為亞洲演藝研究的創辨人及總監。Fredric Mao obtained his Master of Fine Arts degree in Theatre Arts, and pursued his acting/directing career with professional theatre companies as well as film and television works in the US. When The Hong Kong Academy for Performing Arts was established in 1985, Mao joined its School of Drama as Head of Acting, responsible for training a new generation of local talents. Mao was the Artistic Director of the Hong Kong Repertory Theatre from 2001 to 2008, and he saw it as his mission to produce plays showcasing the “unique flavour” of Hong Kong. His many award-winning productions received not only great applause from local audiences but also met with resounding success when they toured to Mainland China and abroad. He is the founder/director of Performing Arts Asia, a non-profit organization focus on the research and practice of performing arts.

毛俊輝 Fredric Mao藝術創作顧問Artistic Advisor

劇場研究碩士、香港演藝學院戲劇學院編劇系專業文憑（優異）及中文大學榮譽理學士。7A班戲劇組藝術總監。編劇作品超過50部，近作包括：《幸福太太》、《大笑喪》等。曾於1997-1999連續三年獲得戲劇匯演之劇本獎及整體演出獎，2000年獲第九屆香港舞台劇獎「傑出青年編劇 獎」，2003年獲香港藝術發展局頒發「藝術新進獎」。現職香港中文大學香港教育研究所優質學校改進計劃學校發展主任。近期出版個人劇本集【十年一戲：一休劇本選】及【幸福太太】。Yat Yau received a Bachelor of Science Degree from the Chinese University of Hong Kong and a Master of Arts in East/West Theatre Studies from Middlesex University, UK. He has studied at The Hong Kong Academy for Performing Arts’s School of Drama, receiving a Professional Diploma in 1998, majoring in Playwriting with Distinction. He is currently Artistic Director of the Class 7A Drama Group. An active theatre practitioner, Yat Yau has written over 50 plays and has directed more than 10 theatrical productions. He received the Outstanding Young Playwright Award at the 9th Hong Kong Drama Awards in 2000 and was awarded the Rising Artist Award by the Hong Kong Arts Development Council in 2003.

香港演藝學院戲劇學院表演系畢業，並獲英國倫敦密德薩斯大學表演藝術學士及舞台導演碩士學位。留英期間曾隨法國戲劇大師菲利普．高利耶(Philippe Gaulier)進修演技。1997年赴俄羅斯莫斯科藝術學院研習契詞夫戲劇。2008年獲英國文化協會選為60Alumil，表揚其在舞台界的傑出成就。1991年與其他演藝學生創立演戲家族，致力推動香港戲劇。現為演戲家族藝術總監，統籌劇團的藝術發展，亦全力參與創作及演出。近年專注導演工作，執導本地原創音樂劇《邊城》及 《四川好人》，兩劇分別獲第十一及十三屆香港舞台劇獎最佳整體演出。近期作品包括香港港藝術節委約作品《白蛇新傳》，以及《花far世界》等。Victor Pang graduated from The Hong Kong Academy for Performing Arts, School of Drama, and earned his Bachelor of Arts in Performing Arts and a Master of Arts in Theatre Directing at Middlesex University, UK. During his stay in the UK, he studied acting with Philippe Gaulier, and in 1997 went to Moscow to study Chekhov’s plays at the Moscow Art Theatre School. He was selected as 60 Alumil (by the British

一休 Yat Yau

彭鎮南 Victor Pang

編劇 Playwright

導演 Director

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于逸堯畢業於香港中文大學，主修地理，副修音樂，曾接受多種中西樂器的傳統演奏訓練。于氏曾於亞洲電視配樂組任職，現全職從事創作、音樂及唱片監製。于氏曾隨進念二十面體、非常林奕華、糊塗戲班及個人名義多次應邀到海外參加藝術活動及演出。于逸堯憑《越快樂越墮落》獲提名香港電影金像獎最佳原創音樂，憑《玉女添丁》獲提名香港舞台劇獎最佳原創音樂。Yu Yat-yiu graduated from the Chinese University of Hong Kong, majoring in Geography and minoring in Music. He was Music Director for a television drama series at Asian Television Limited and is now a full-time composer and music director for movies, television commercials, stage performances and music records. Yu has been invited to participate in overseas arts festivals and performances. He was nominated for Best Original Film Score at the Hong Kong Film Awards for Hold You Tight. His score for the play, The Comedy of Taboo, was also nominated for Best Original Music by the Hong Kong Drama Awards.

填詞人。作品遍及舞台劇、音樂劇、電視劇和電影等範疇。曾獲香港舞台劇獎頒發「香港戲劇傑出青年獎」、台灣金馬獎最佳原創電影歌曲獎及香港CASH金帆音樂獎最佳另類作品獎。近期作品包括，香港話劇團原創音樂劇《頂頭鎚》、演戲家族原創音樂劇《雪后》等。Chris Shum has written lyrics for theatre, musicals, television drama and films. He has won several awards including the Outstanding Youth Award by the Hong Kong Drama Awards and the Best Original Film Score by the Taipei Golden Horse Film Awards. Recent works include Field of Dreams by Hong Kong Repertory Theatre and Snow Queen by the Actors’ Family.

香港演藝學院科藝學院畢業，主修佈景及服裝設計。他的舞台設計作品無數，並憑《四川好人》獲第十三屆香港舞台劇最佳服裝設計獎。現為自由舞台工作者、舞台攝影師及香港演藝學院客席講師。其舞台攝影作品曾分別在台灣及日本隨藝團展覽。本年度開始個人攝影計劃《劇場自拍》。Leo Yuen graduated from The Hong Kong Academy for the Performing Arts, School of Technical Arts, majoring in Scenic Art and Costume Design. He has designed for various arts group and won the Best Costume Design Award at the 13th Hong Kong Drama Awards for The Good Person of Szechwan. He is currently a freelance stage worker, theatre photographer and guest lecturer for The Hong Kong Academy for the Performing Arts.

于逸堯@人山人海 Yu Yat-yiu@PMPS

岑偉宗 Chris Shum

阮漢威 Yuen Hon-wai

音樂總監及作曲 Music Director/ Composer

填詞Lyricist

舞台設計Set Designer

Council for his outstanding performance in the theatre world). In 1991, Pang founded the Actors’ Family with other HKAPA graduates to give impetus to the local theatre scene. He is currently the Artistic Director of the company. He has focused on theatre directing; The Border Town and The Good Person of Szechwan won the Best Production Awards at the 11th and 13th Hong Kong Drama Awards respectively. Recent works include The Legend of the White Snake commissioned by the HKAF.

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鄭文榮主修純藝術織物及布料印花技術。曾先後於巴黎I’Ecole Supérieure des Arts Appliqués Duperré，I’ Université de la Sorbonne及英國森新賞藝術教育學院進修。回港後，建立自己的設計工作室「拾一路車」。同時熱衷於探索時裝與劇場關係，亦定期於巴黎展出其個人時裝系列；而為劇場演出設計服裝的近作包括進劇場《花魂》、《樓城》；前進進戲劇工作坊《哈奈馬仙》、《鯨魚背上的欲望》；天邊外劇場的《焚城令》及演戲家族的《雪后》。Cheng Man-Wing graduated from L’Ecole Supérieur des Arts Appliqués Duperré in Paris majoring in Fine Art Textile, L’Université de la Sorbonne majoring in French and Civilization, and The Somerset College of Arts and Technology in UK majoring in fabric printing technology . He set up his design workshop “Route Onze” after returning to Hong Kong. Cheng explore in the realms of fashion and theatre. He periodically present his fashion collection in Paris, besides which, his recent works for theatre include Hanako’s Pillow, The Will to Built of Theatre du Pif; Hamlet Maxhine, In the Solitude of Cotton Fields of On and On Theatre Workshop; Defiance of Theatre Horizon, and Snow Queen of Actors’ Family.

鄭文榮 Cheng Man-wing服裝設計Costume Designer

香港演藝學院畢業，獲藝術學士(榮譽)學位，主修舞台燈光設計。畢業後為不同表演媒介作燈光設計，作品越百。近年作品有前進進戲劇工作坊《天工開物．栩栩如真》、進念二十面體《上帝來到中國》。舞蹈作品有香港芭蕾舞團《羅密歐與朱麗葉》。Alice Kwong graduated from The Hong Kong Academy for Performing Arts in 1996 with a Bachelor of Fine Arts, majoring in Theatre Lighting Design. After graduation, she designed lighting for dance, drama, musicals, concerts and Chinese operas. Her works include Tin Gong Kai Wu by On and On Theatre Workshop, God Came to China by Zuni Icosahedrons and Romeo and Juliet by Hong Kong Ballet.

香港演藝學院畢業。憑《千禧瑪莉亞》獲第九屆香港舞台劇獎之最佳音響設計；曾任音樂劇《一個人的婚禮》、《細鳳》、《白毛女》之作曲、編曲及音樂總監；獲提名香港舞台劇獎之最佳音樂創作有《老竇》、《體育時期　青春．歌．劇》及《粉紅天使》。Stoa Lau graduated from The Hong Kong Academy for Performing Arts. Lau won the Best Sound Design Award for Milleninium Maria at the 9th Hong Kong Drama Awards. He has been the composer and music director for several local musicals.

朱凌凌人。2004年畢業於演藝學院音樂劇舞系。畢業後決定發展錄像業務。2008年創建Blink Brain Creative(B.B.C)主力發展舞台錄像設計。Chris Chan graduated from The Hong Kong Academy for Performing Arts, Musical Theatre Dance, in 2004. He is a video designer and created Blink Brain Creative (B.B.C) to develop stage video design.

鄺雅麗 Alice Kwong

劉穎途 Stoa Lau

陳文進 Chris Chan

燈光設計Lighting Designer

音響設計Sound Designer

錄像設計Video Designer

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演藝學院舞蹈學院畢業，主修音樂劇舞。2000年考獲英國皇家教師協會踢躂舞高級證書，並被評為最高榮譽等級。2005-06年間遠赴日本，加入四季劇團，成為全職音樂劇演員。趙浩然現為自由身編舞、演員及導演。Rex Chiu graduated from The Hong Kong Academy for Performing Arts, majoring in Musical Theatre Dance. In 2000, he attained the ISTD Advanced Tap Certificate. During 2005-06, Chiu was a full-time actor for the Shiki Theatre Company, Japan. He has been involved in many local performances as a performer, director and choreographer.

趙浩然 Rex Chiu編舞及形體指導Choreographer / Movement Coach

香港中文大學文化管理碩士。現為7A班戲劇組節目經理，擔當劇團行政管理及表演節目監製等工作，並策劃及統籌多個社區及藝術教育計劃。Alex Lam earned a Master’s Degree in Cultural Management from the Chinese University of Hong Kong. He is now the programme manager of Class 7A Drama Group Limited, and is responsible for the art management, theatre productions, community and art education programmes.

香港演藝學院舞台管理系畢業。在學期間曾多次獲頒獎學金，曾先後到美國參加學術交流、演出及實習。近作有《劉德華Wonderful World 演唱會2007香港站》及《男磨坊》。Kathy Ching graduated from The Hong Kong Academy for Performing Arts, Stage Management Department. She has won several scholarships and been to the US for academic exchange, performance and the internship programme at Walt Disney World in Florida. Her most recent work is Andy Lau Wonderful World Concert 2007 World Tour, Hong Kong Station and ART.

香港演藝學院畢業，主修舞台管理。畢業後於香港藝穗會任職舞台監督。其後以自由職業舞台工作者身份為不同類型的演藝團體擔任舞台管理及製作管理，於香港藝術節及前市政局文化節目辦事處為訪港演藝團體擔任技術統籌工作多年，如保羅泰勒舞蹈團（美國）、翩娜包殊舞蹈劇場（德國）、蠢貨（日本）、加拿大歌劇院、洛杉磯歌劇院等。楊氏近年出任技術總監／製作經理的製作包括2006年非常林奕華於台北國家戲劇院製作《水滸傳》及2008年初該劇的亞洲巡迴。2008年香港藝術節委約作品鄧樹榮導演《泰特斯》，《男磨坊》以及非常林奕華《華麗上班族之生活與生存》中國內地首輪及新加坡巡迴演出。楊氏自2000年任職香港演藝學院製作經理，為學院首位香港本土培育之華人製作經理。Frank Yeung graduated from The Hong Kong Academy for Performing Arts majoring in Stage Management. He was Technical Director/Coordinator for various visiting groups in the Hong Kong Arts Festival. His recent productions include The Water Margins by Edward Lam Dance Theatre in Taipei 2006 and its Asian tour in 2008, Design for Living China Tour by Edward Lam Dance Theatre in 2008, the 2008 Hong Kong Arts Festival commissioned work Titus Andronicus directed by Tang Shu-wing. Yeung is Production Manager at The Hong Kong Academy for Performing Arts.

林沛力 Alex Lam

程美彤 Kathy Ching

楊福全 Frank Yeung

執行監製Executive Producer

助理製作經理／舞台監督Assistant Production Manager/Stage Manager

技術總監／製作經理Technical Director/Production Manager

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成立於1997年的非牟利劇團，製作以簡約寫意見稱。2002年獲藝術發展局行政資助，以專業劇團模式發展。我們深信戲劇最重要的是「戲」，因而省去不必要的劇場修飾，將焦點集中於人與人的「戲味」之上。因此我們將竭力奉行「簡約寫意」，讓劇場觀眾發揮更大的想像空間，產生其他媒體無可比擬的觀劇經歷。在強調文本下，劇團過往創作包括：《天奴的美「荔」樂園》、《夏日煙雲》、《幸福太太》、 《體育時期　青春．歌．劇》、《大笑喪》、《拼出那年的初夏》、2006新視野藝術節《飆．櫻桃園》、《博士熱愛的算式》、2005年國際綜藝合家歡《美人魚手記》、2005年香港藝術節 《像我這樣的一個城市》、《7》、《都巿狂徒》、《情思》、《十個該死的少年》、【花火六月】── 小說劇場三部曲及《公路三部曲》等。簡約寫意的表現手法亦得到業界的認同，如《想死》一劇於2003年獲韓國釜山亞洲話劇節邀請作演出嘉賓。除演出外，本團致力推廣「薈藝教育」，把戲劇手法融入正規課堂，教授語文、歷史、通識及德育科等。教師與戲劇導師協作授課，直接了解及掌握戲劇教學的技巧，達致「教師賦能」的效果。網址： http://www.7a.org.hkTo reiterate the importance of creating, performing and of the text is our belief. Stressing the importance of creativity, acting and scripts, our productions are well-known by their stylistic performance, simplicity and live musical effects, all of which generate an enjoyment that cannot be replaced by any other form of art. The Class 7A Drama Group is now a professional theatre company supported by the Hong Kong Arts Development Council.

7A班戲劇組 Class 7A Drama Group協助製作Associate Producer