臨川四夢湯顯祖

2008-03-26T01:55:00.000-07:00

「凸現的都是崑曲特有生命力的東西。」
城市畫報

「巧妙的譬喻發人深省。」
鳳凰生活週刊

"Groundbreaking."
China Daily (Beijing)

「這就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

演出介紹 Synopsis

湯顯祖被譽為十六世紀中國晚明時期偉大的戲曲家，聞名海內。傳世之作包括《紫釵記》、《牡丹亭》、《南柯記》和《邯鄲記》，世稱《臨川四夢》。崑曲《臨川四夢湯顯祖》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，湯顯祖進入自己的夢中，在夢中繼續尋覓墓田，年老的湯顯祖在夢中遇上了年青的湯顯祖，遇上了《臨川四夢》的情節……在「釵圓」、「尋夢」、「盡情」、「生悟」四個場景中，遇到了《臨川四夢》中的各個人物，並從與各個人物在夢境的對話中經歷了一次藝術創作歷程。

Tang Xianzu is the greatest and the most gifted Chinese playwright. He lived in the 16th Century, in the late Ming Dynasty, and his hometown was Lin Chuan. Though his name is recorded in the Ming chronicles as a government official, he is best remembered for his plays collectively known as The Four Dreams at Lin Chuan. Generally, The Peony Pavilion is considered to be his masterpiece, and the other legends are The Story of the Purple Hairpin, The Dream of Nan Ke, and The Han Dan Dream.

This 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. In his sleep he dreams of continuing his search and comes across himself in his former youth, and incidents take place with backdrops of his own stories as in The Four Dreams at Lin Chuan, and he meets characters from his stories in the four scenes of “Pin Reunion”, “Dream Revisited”, “End Passion” and “Life Awakening”.

《臨川四夢湯顯祖崑曲沙龍》
主持：鄭培凱教授香港城市大學中國文化中心主任
嘉賓講者：于丹教授影視傳媒學博士，北京師範大學藝術與傳媒學院教授、博士生導師、副院長
講者：胡恩威《臨川四夢湯顯祖》導演及策劃
柯軍江蘇省崑劇院院長、《臨川四夢湯顯祖》主演
張弘《臨川四夢湯顯祖》編劇
策劃：香港城市大學中國文化中心進念‧二十面體

2008.4.27
上午10時至中午12時30分
憑《臨川四夢湯顯祖》門票免費入場
(只限《臨川四夢湯顯祖》觀眾報名留座，一票限留一個座位)
留座可致電2566 9696或電郵至info.zuni.org.hk
座位有限，先到先得
普通話主講

演出介紹 Synopsis

2008-03-26T01:54:00.000-07:00

湯顯祖被譽為十六世紀中國晚明時期偉大的戲曲家，聞名海內。傳世之作包括《紫釵記》、《牡丹亭》、《南柯記》和《邯鄲記》，世稱《臨川四夢》。崑曲《臨川四夢湯顯祖》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，湯顯祖進入自己的夢中，在夢中繼續尋覓墓田，年老的湯顯祖在夢中遇上了年青的湯顯祖，遇上了《臨川四夢》的情節……在「釵圓」、「尋夢」、「盡情」、「生悟」四個場景中，遇到了《臨川四夢》中的各個人物，並從與各個人物在夢境的對話中經歷了一次藝術創作歷程。

《紫釵記》
在尋覓墓田的山徑上，夢中的湯顯祖首先經歷《紫釵記》中霍小玉與李益的曲折的愛情遭遇及黃衫客藐視權貴，成人之美的俠義風範，折射出湯顯祖曾為營救狂生李至清的徒勞奔波和憤書《論輔臣科臣疏》的某種內在因果。

《牡丹亭》
在尋覓墓田的山徑上，叮咚的泉水，無聲的落葉，撥動著湯顯祖心中的情弦，《牡丹亭》中杜麗娘和柳夢梅的夢中奇遇及生生死死、至情至愛的場景出現了…，他似乎聽到了馮小青的悲吟；冷雨幽窗不可聽，挑燈夜讀《牡丹亭》…湯顯祖心中掠過一絲悲涼，同時也品嘗到一種欣慰。

《南柯記》
在尋覓墓田的山徑上，他歇息在槐樹下，螞蟻爬在他的腿上，他輕輕將它們拂去，他重溫了《南柯記》夢中淳于棼超度大槐安國萬眾螞蟻升天的場面，尤其是淳於棼和瑤芳公主人間天上，雖欲盡情盡意而意不盡的無奈，最終驚悟，原來人世之事和夢中蟻穴天地竟無差異，這究竟是淳於棼的佛學理念還是湯顯祖的人生感悟呢？在尋覓墓田的山徑上，湯顯祖仿佛悠蕩在邯鄲道上…

《邯鄲記》
《邯鄲記》中的盧生，一介寒儒，平步青雲，歷盡宦海沉浮，終於大富大貴，位極中樞，可謂一人之下，萬人之上。盧生在臨終前，貪欲更烈，一旦醒來，竟是黃粱一夢，現實和夢境的巨大落差，猛地使盧生大徹大悟。盧生入道了，湯顯祖還在頻頻回首，他還在留戀著什麼呢…

這不算太長的山道上，湯顯祖整整地走了一輩子，尋了一輩子，留下了他的一串串腳印…

這時他筆下的精靈、戲中的人物：杜麗娘、柳夢梅、盧生、淳於棼、黃衫客、契玄禪師都在告訴他：墓田不是永久的家，您是無需墓田，也無需墓碑的。

杜麗娘告訴他：您的墓田在《牡丹亭》的後花園中；
霍小玉告訴他：您的墓田在《紫衩記》的灞橋河柳邊；
淳於棼告訴他：您的墓田在《南柯記》的大槐樹下；
盧生告訴他：您的墓田在《邯鄲記》中的邯鄲道上；
世人告訴他：《臨川四夢》便是您永恆的墓碑了。

湯顯祖在山徑上茫然了…

《臨川四夢湯顯祖》追求的是崑曲藝術的精緻，沒有大佈景大舞臺，演員和樂隊不用揚聲器，純以最細膩的演出和簡潔的舞臺，還原傳統崑曲藝術的神髓。《臨川四夢湯顯祖》是一次崑曲藝術的入門示範，又是一次經典的藝術欣賞，編劇張弘巧妙地將生、旦、淨、末、丑五個崑曲主要行當融入在演出當中，並需要演員一人分飾多角，編劇張弘表示：「這個演出要求的是演員紮實的基本功，豐富的想像力，對角色的分析和塑造力，沒有這等創作能力的，是不能把不同的角色表現出來。」參與創作演出的國家一級崑曲表演藝術家包括三位「梅花獎」、「文華獎」雙獎得主：柯軍、石小梅、胡錦芳，與及趙堅、龔隱雷、李鴻良，及來自香港的演員陳浩峰，音樂設計及指揮由著名崑曲鼓師、國家一級演奏員戴培德負責，唱腔整理及司笛由王建農擔任。

Tang Xianzu is the greatest and the most gifted Chinese playwright. He lived in the 16th Century, in the late Ming Dynasty, and his hometown was Lin Chuan. Though his name is recorded in the Ming chronicles as a government official, he is best remembered for his plays collectively known as The Four Dreams at Lin Chuan. Generally, The Peony Pavilion is considered to be his masterpiece, and the other legends are The Story of the Purple Hairpin, The Dream of Nan Ke, and The Han Dan Dream.

This 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. In his sleep he dreams of continuing his search and comes across himself in his former youth, and incidents take place with backdrops of his own stories as in The Four Dreams at Lin Chuan, and he meets characters from his stories in the four scenes of “Pin Reunion”, “Dream Revisited”, “End Passion” and “Life Awakening”.

The Story of the Purple Hairpin
Along his way of searching in the mountain path, Tang encounters the Yellow Robe Man, a character in The Story of the Purple Hairpin and the tale unfolds before him. It is the love story between Scholar Li and his wife Huo Xiaoyu. The course of their love had some very rough turns, including the anecdote about the Yellow Robe Man, who was a champion for justice, and a chivalrous man. The actions of the Yellow Robe Man are a reflection on the author himself, who once made a sacrifice in a noble act of courage, and submitted a petition to the emperor reprimanding the conduct of some court officials in order to save the life of an innocent man.

The Peony Pavilion
Along the path in his search for a grave site, Tang’s heart is stirred by the sound of water in the spring and the silence of the falling leaves. The wonderful dream of The Peony Pavilion appears before his eyes. He sees the amorous adventures, the death and the return from the netherworld of Lady Du Liniang and her lover Liu Mengmei. The playwright seems to be able to hear the melancholic reciting of the poetess Feng Xiaoqing on one of her poems in the collection of The Peony Pavilion. Tang Xianzu feels a slight sense of desolation in his heart, but he is also savouring a taste of comfort and gratification at the same time.

The Dream of Nan Ke
Along his trail for a grave site, Tang sits down under an acacia tree to take a rest. Some ants crawl up his feet and he brushes them off gently. He revisits Nan Ke Story and sees in a trance the scene where Chun Yufen, the Emperor’s son-in-law was trying to save the souls of the ants in the burial ground of his wife, the Princess, in Huai An Kingdom. He sees the vanity and futility of life in the unfulfilled love between Chun and the Princess. Life is but a dream after all. Is this the epiphany of Chun in his understanding of Buddhism, or is this the realisation of Tang Xianzu about life?
In his search for a grave site along the trail, Tang Xianzu seems to have wandered into the road to Han Dan...

The Han Dan Dream
In The Han Dan Dream the poor scholar Lu Sheng passed the imperial examinations and became a court official. He rose to prosperity and became premier. He enjoyed great power and great privileges, second only to the emperor. He turned over indulgent towards the end of his life and grew insatiable. One day, he woke up and found it was only a dream, and he was still a man of poverty. He realised the enormous disparity between his dream and reality, and had a kind of awakening.
Lu Sheng had obtained enlightenment while Tang Xianzu is still lingering in his path, looking back frequently as if there is something he finds hard to part with...

This is not too long a mountain path, but it seems it has taken Tang a lifetime to finish walking it, leaving behind him a trail of footprints...

By this time, all the characters and spirits in his plays, including Lady Du and her lover, Lu Sheng, Chun Yufen, Yellow Robe Man, and the Zen Master, come to him to tell him, “A grave is not a permanent home. You don’t need a grave, and you don’t need a tombstone. It is too small.”

Lady Du tells him, “Your grave site is in the back garden of The Peony Pavilion.”

The Scholar’s wife, Huo Xiaoyu tells him, “Your grave site is by the side of ‘The Bridge of No Return’ in the Story of the Purple Hairpin.

Chun Yufen, the emperor’s son-in-law, tells him, “Your grave site is under the acacia tree in The Dream of Nan Ke. ”

Lu Sheng tells him, “Your grave site is on the road to Han Dan in The Han Dan Dream.”

People tell him, “The Four Dreams at Lin Chuan is your permanent resting place.”

Tang Xianzu seems lost in the mountain path...

What Tang Xianzu’s Dream on Dreams sets out to do is be in pursuit of and in praise of the artistry of Kunqu (Kun Opera). We want to do away with big stages and big sets, and the actors and musicians perform without using microphones. We want to return to the essence of traditional Kunqu with pure and meticulous acting and a simple stage. Tang Xianzu’s Dream on Dreams is an illustrative beginner’s guide to the art of Kunqu, as well as an appreciation on a genre of classical art.

The Playwright Zhang Hong has dexterously merged the five main role types of Kunqu, sheng (male role), dan (female role), jing (painted face), mo (old male role) and chou (comic role) into the characters, and each of the actors has to play several roles. What this performance requires from the actors are a good command of the fundamentals of Kunqu acting, wild imagination, and a comprehensive understanding of the roles to generate a good interpretation. Without these creative qualities, it would be impossible to bring out the characters.

(Translated by Vicky Leong)

創作團隊 creative team

2008-03-26T01:52:00.000-07:00

導演及策劃 Director and producer
胡恩威 Mathias Woo

生於香港，曾在香港大學和倫敦學習建築，從事舞臺導演、編劇、多媒體藝術、空間設計和文化建築評論；《E+E》雜誌編輯；其社會文化、時事政治、經濟民生、城市建築方面的評論常見於眾多報章雜誌上；他導演的作品主要有：《2001香港漫遊》、多媒體建築音樂劇場系列《The Life and Times of Louis I. Kahn》和《Looking for Mies》、《戀人論語》、《我愛宋詞之好風如水》、《香港風格》（改編自其同名著作）、《萬曆十五年》、《華嚴經》等；多媒體及舞臺設計作品《張愛玲·請留言》及《十八相送》；編劇作品《快樂王子》，《東宮西宮》系列及《半生緣》(與林奕華聯合編導)。電影劇本作品《生曰快樂》(與張艾嘉聯合編劇)。以探討香港建築美學和城市規劃的著作《香港風格》系列、《香港漫遊》等。

Mathias Woo was born in Hong Kong. He studied architecture at the Architectural Association, London and the University of Hong Kong. Woo joined Zuni Icoashedron in 1988, and has produced and directed more than 50 theatre works. His multi-media architecture music theatre series is the very first in Hong Kong, series titles include: Corbu (2005), Looking for Mies (2002), and TheLife and Times of Louis I. Kahn (2001). Other theatre works include: history theatre 1587, a Year of No Significance (2006); 18 Springs (2003) and social theatre East Wing West Wing series (2003-07). His publication HK Style series records the urban scenery of Hong Kong.

編劇 Playwright
張弘(南京) Zhang Hong (Nanjing)
江蘇省崑曲院國家一級編劇。其改編創作的崑劇有：《白羅衫》、《桃花扇》、《唐伯虎傳奇》、《西施》、《牡丹亭》（精華版）等。其中《桃花扇》獲第八屆“文華新劇碼獎”。還創作了錫劇《瞎子阿炳》、《紙船》、《泥人》和越劇《柳毅傳書》等。為文化部所嘉獎的昆曲優秀主創人員。

Zhang Hong is a National Class One playwright of the PRC. His adaptation works included: The White Silk Shirt, The Peach Blossom Fan, The Legend of Tang Bohu, Xi Shi, and The Peony Pavilion (abridged version), among which, The Peach Blossom Fan was awarded Best New Work of the 8th Wenhua Award. Zhang has also created new pieces in local dialects - Xiqu and Yuqu. He is honoured as “Distinguished Kunqu Artist” by Ministry of Culture.

柯軍(南京) Ke Jun (Nanjing)
飾演：年老湯顯祖、年老盧生、年少盧生
Roles: Old Tang Xianzu, Old Lu Sheng, Young Lu Sheng

國家一級演員，現為江蘇省崑劇院院長，中國戲曲學院研究生，工武生兼文武老生。師從張金龍、侯少奎先生、崑曲「傳字輩」周傳瑛和包傳鐸先生，一九九三年拜崑曲「傳字輩」鄭傳鑒先生為師。曾獲第廿二屆戲劇「梅花獎」、第十一屆「文華表演獎」，文化部中國崑劇「蘭花最佳表演獎」等。

Kejun, director of the Jiangsu Kunqu Opera Troupe, is a National Class One Performer of the PRC in wusheng (martial) role. His mentors include Zhang Jinlong, Hou Shaokui, and renowned Kunqu artists of the Chuan generation - Zhou Chuanying, Bao Chuanduo and Zheng Chuanjian. Along with other awards, he won the “Plum Blossom Prize” at the 22nd Chinese Drama Awards, the Class One Award of the Second Young Operatic Actors Competition, the Orchid Prize for Best Performance and the Outstanding Performance Award of the Second Provincial Opera Festival.

石小梅(南京) Shi Xiaomei (Nanjing)
飾演：年少湯顯祖、李益、柳夢梅、淳於棼、呂洞賓
Roles: Young Tang Xianzu, Li Yi, Liu Mengmei, Chun Yufen, Lu Dongbing

著名崑曲表演藝術家，國家一級演員。現為江蘇戲劇家協會副主席、中國戲劇家協會理事、中國表演藝術學會理事。工小生，拜俞振飛、周傳瑛、沈傳芷為師。石小梅是「梅花獎」、「文華獎」獲得者，名字被載入美國傳記協會編輯委員會出版的《五千世界名人錄》和《世界名人錄》兩書中，二零零二年獲聯合國教科文組織和文化部聯合授予「長期潛心崑曲藝術事業成績顯著的藝術家」稱號。

Shi, a male impersonator, is a National Class One Performer of the PRC specializing in xiaosheng (young male) roles. She was a disciple of the famous Yu Zhenfei, Zhou Chuanying and Shen Chuangzi. She is the winner of the Plum Blossom Award for Chinese Theatre, the first Literary Arts Award of Jiangsu and Wenhua Award etc.

胡錦芳(南京) Hu Jinfang (Nanjing)
飾演：霍小玉、杜麗娘
Roles: Huo Xiaoyu, Du Liniang

著名崑曲表演藝術家，國家一級演員，現為中國戲劇家協會會員、江蘇省戲劇家協會理事。工閨門旦，並習貼旦、刀馬旦、刺殺旦，師從崑曲名家姚傳薌、沈傳芷、劉傳蘅。胡錦芳是「梅花獎」、「文華獎」獲得者，曾被載入《世界名人錄》。二零零二年獲聯合國教科文組織和文化部聯合授予「長期潛心崑曲藝術事業成績顯著的藝術家」稱號。

Hu is a National Class One Performer of the PRC and was trained in various sub-genres of dan (female) roles. Her mentors include Yao Chuanxiang, Shen Chuanzhi and Liu Chuangheng. She is the winner of the Plum Blossom Award for Chinese Theatre, the Wenhua Award (Best Performance) and the Literary Arts Award of Jiangsu etc.

趙堅(南京) Zhao Jian (Nanjing)
飾演：黃衫客、契玄
Roles: Yellow Robe Man, Qi Xuan

著名崑曲表演藝術家，國家一級演員，現為中國戲劇家協會會員。師從崑曲名家沈傳錕、薛傳鋼先生，工淨行。曾獲江蘇第二屆「紫金」優秀表演獎、首屆中國崑劇藝術節「榮譽表演獎」及多次獲江蘇省戲劇「優秀表演獎」。

A National Class One Performer of the PRC, Zhao specialized in jing (painted-face) roles. He was trained by Kunqu virtuosi Shen Chunakun and Xue Chuangang. The awards he has won include the Performance of Distinction Award at the first China Kunqu Arts Festival and the Outstanding Performance Award at the Theatre Festival of Jiangsu.

龔隱雷(南京) Gong Yinlei (Nanjing)
飾演：商小玲、瑤芳
Roles: Shang Xiaoling, Yao Fang

國家一級演員，工閨門旦、正旦。師從張嫻、張繼青、胡錦芳。曾獲首屆中國崑劇青年演員交流演出「蘭花優秀表演獎」、第二屆江蘇省「紅梅獎」戲曲大獎賽金獎、文化部全國首屆「梨園杯」園丁一等獎。

Gong Yinlei is a National Class One Performer of the PRC in guimendan (young female lead) and zhengdan (main female lead) roles. Her mentors include Zhang Xian, Zhang Jiqing and Hu Jinfang. Her performances have earned her the Orchid Blossom Prize for Performance. In 2004 she also received first prize in the national “Pear Garden Cup”. In her hometown, Jiangsu, she has also received the Red Plum Prize for Performance.

李鴻良(南京) Li Hongliang (Nanjing)
飾演：羅章二、高公公
Roles: Luo Zhanger, Eunuch Gao

國家一級演員，現為江蘇省崑劇院副院長。工丑、付。師從周傳滄、範繼信、姚繼蓀、劉異龍、王世瑤、張寄蝶先生。曾獲聯合國教科文組織和國家文化部頒發的「促進崑曲藝術獎」、江蘇省第五屆戲劇節「優秀表演獎」等。

Li Hongliang is a National Class One Performer of the PRC in the chou (clown) role. His mentors include Zhou Chuancang, Fan Jixin, Yao Jisun, Liu Yilong, Wang Shiyai and Zhang Jidie. His artistry has been recognized with the Performing Prize of the National Kunqu Opera Festival and the UNESCO Prize for Kunqu Promotion, alongside with many other awards.

陳浩峰(香港) Chan Ho-fung (Hong Kong)
飾演：御醫、店小二
Roles: Court Physician, Helper

進念全職創作演員。近年演出作品包括《東宮西宮》系列、《萬曆十五年》、《華嚴經》、《香港電視風雲》等。

Chan Ho-fung is currently a full time performer of Zuni. His recent works include East Wing West Wing series, 1587, A Year of No Significance and Hua-yen Sutra.

戴培德(南京) Dai Peide (Nanjing)
音樂設計、指揮及演奏(鼓)
Music Design, Conductor and Music Performance (Percussion)

著名昆劇鼓師，國家一級演奏員。他不僅繼承昆劇鑼鼓的傳統，並致力於從傳統中求創新，作曲、配器、指揮等樣樣均能。曾參加《趙五娘》的音樂設計獲江蘇省第二屆「紫金獎」的音樂獎，並憑參加《牡丹亭》的音樂設計獲全國戲曲音樂「孔三傳獎」的開托獎。為文化部嘉獎為昆曲優秀主創人員。曾先後隨團出訪義大利、德國、法國、西班牙、日本、香港、臺灣等地。

Dai Peide is a famous percussionist in the field of Kunqu Opera and a National Class One
Musician. He is not only an exponent of the traditional percussion techniques of the genre, but also constantly seeking breakthroughs. A versatile musician, Dai writes, arranges and conducts. His creation, Zhao Wuniang, won a Music Award at the Purple Gold Award of Jiangsu. The Peony Pavilion, another creation of his won the Innovation Award at the “Kong San Chuan” Awards for Chinese Operatic Music. He is honored as “Distinguished Kunqu Artist” by Ministry of Culture. He has toured to Italy, Germany, France, Spain, Japan, Hong Kong and Taiwan together with the troupe.

王建農(南京) Wang Jiannong (Nanjing)
唱腔整理及演奏(笛、嗩呐、鐃鈸)
Score Master and Music Performance (Flute, Suona, Cymbals)

江蘇省昆劇院昆曲笛子演奏家, 國家一級演奏員。受教于昆曲名師高慰伯、李錦泉、徐振民，又得著名笛子大師趙松庭、林克仁親授指導。把名師傳授的現代笛子演奏技巧，融合在昆曲的伴奏中。在演奏風格上形成了自己獨特的昆曲韻味，音色純正，灑脫飄逸，技藝精湛。曾先後主奏《桃花扇》、《十五貫》、《牡丹亭》、《繡襦記》等大戲及百餘出昆曲折子戲。一九八九年應邀參加了《中國戲曲音樂集成·江蘇卷》編撰初審工作、二零零二年出版的《中國昆曲大辭典》中，首創了七支昆曲名段笛譜，填補了昆曲沒有笛譜的空白。

Wang Jiannong is a National Class One Ac companiment Pe r forme r of the PRC, specializing in the sheng, a mouth-blown free reed instrument. His mentors included Gao Weibo, Li Jinquan, Xu Zhenmin and the master flautists Zhao Songting and Lin Keren. He has successfully blended modern flute techniques into Kunqu accompaniment thus developing his own unique style. He has provided lead accompaniment for full-scale performances of Copper Coins, The Peony Pavilion, The Peach Blossom Fan and The Embroidered Robe and countless individual scenes.
In 1989 he was invited to do editorial work on the Jiangsu section of ‘Collected Chinese Performance Music’. In the 2002 edition of the Chinese Kunqu Dictionary, he was named as one of the top seven flutists, it was added that in the world of Kunqu there is nothing lacking in the realm of the flute.

許建敏(南京) Xu Jianmin (Nanjing)
演奏(中阮、小鑼)
Music Performance (Zhongruan, Small Gong)

江蘇省昆劇院國家二級演奏員。一九四八年出生于江蘇省蘇州市，一九六七年畢業于江蘇省戲曲學校昆曲表演專業，一九六八年任江蘇省昆劇院揚琴演奏員至今。曾為俞振飛、周傳瑛等老一代昆曲表演藝術家錄製過大量的，珍貴的聲像資料，與張繼青、石小梅、胡錦芳、柯軍等「梅花獎」獲得者合作至今。所擔任演奏的昆曲《桃花扇》和《看錢奴》分別獲得江蘇省第二屆、第三屆戲劇節「優秀伴奏獎」。

Xu J i a nmi n i s a Na t i o n a l Cl a s s Two
Accompaniment Performer of the PRC. Xu was graduated in 1967 from the Kunqu Music
Course offered by the Jiangsu Chinese Opera School. She has been a Yangqin performer for the Jiangsu Kunqu Opera House since 1968. She has recorded a large amount of audio documentation for Kunqu masters such as Yu Zhenfei and Zhou Chuanying, and in constant collaborations with “Plum Blossom Award” winners Zhang Jiqing, Shi Xiaomei, Hu Jinfang, Ke Jun. The Kunqu pieces The Peach Blossom Fan and The Miser, which she was performing, was awarded respectively the 2nd and 3rd drama festival with “Distinguished Accompaniment Award”.

張亮(南京) Zhang Liang (Nanjing)
演奏(笙、大鑼)
Music Performance (Sheng, Large Gong)

江蘇省昆劇院笙演奏員，中國民族管弦樂學會笙專業委員會會員。一九九八年考入江蘇省戲劇學校昆劇科主修笙專業，後進南京市藝術學院深造，師從笙演奏家潘中琦。畢業後分配至江蘇省昆劇院工作。在《1699•桃花扇》、《牡丹亭》、《小孫屠》、《綠牡丹》等大戲中擔任主奏。曾在中國青少年藝術教育成果展評江蘇賽區榮獲笙專業青年組一等獎。多次隨劇院出訪德國、香港等國家
和地區。

Zhang Liang is a musician at the Jiangsu Province Kunqu Theatre specializing in sheng, a mouthblown free reed instrument. He is also a member of the Sheng Profession Committee at the Chinese Ethical Orchestra Association. He was admitted to the Jiangsu Province Theatre School majoring in Sheng at the Kunqu Department, later advancing his study at the Nanjing City Art School after the Sheng artist Pan Zhongqi. After his graduation he was assigned to work at the Jiangsu Province Kunqu Opera House as the lead accompaniment at major productions such as 1699.Peach Blossom Fan, The Peony Pavilion, The Butcher and Green Peony. He received Class One Award in the Sheng profession, Jiangsu contest area of the Evaluation
Demonstration of China Youth Arts Education.

湯顯祖 Tang Xianzu

2008-03-26T01:50:00.000-07:00

中國晚明時期戲曲劇作家、文學家。字義仍，號海若、清遠道人，晚年號若士、繭翁，臨川(今江西)人。早年兩次進京赴考因不肯接受宰相張居正的拉攏而落第。直到萬曆十一年(1583年)考中進士，但仍不肯趨附新任宰相申時行，故僅能在南京任虛職。於萬曆十九年(1591年)寫成《論輔臣科臣疏》，揭發時政積弊，抨擊朝廷，彈劾大臣而被謫遷廣東。後又調任浙江遂昌知縣。湯顯祖最終因不滿朝政腐敗，於萬曆二十六年(1598年)棄官回鄉，在臨川建了一座閒居，號「玉茗堂」，從此致力於戲劇和文學創作活動，終其一生。著有《紫簫記》(後改為《紫釵記》)、《牡丹亭》(又名還魂記)、《南柯記》、《邯鄲記》(合稱為「臨川四夢」)；詩文《玉茗堂四夢》、《玉茗堂文集》及小說《續虞初新志》等。

Tang Xianzu was a native of Linchuan, Jiangxi and his career as an official consisted principally of low-level positions. He failed his first two imperial examinations because he refused to join the camp of the prime minister Chang Chu-cheng. In 1583, he became a successful candidate in the imperial exams. But he still would not ingratiate himself with the new prime minister. As a result, he was only given a nominal post in Nanjing. In 1591, he wrote a petition exposing the long-standing abuses of the government and criticizing the imperial court and officials, which led to his demotion and transfer to Guangdong. Later, he was transferred to Zheqiang and became a county magistrate. In the end, disillusioned with the corrupt court, Tang resigned and returned to his hometown. He retired in 1598 and focused on writing. His major plays are collectively called The Four Dreams, because of the decisive role dreams play in the plot of each one. All of them are still performed (in scenes, or in adapted full versions) on the Chinese Kun opera (kunqu) stage.

崑曲 Kunqu Opera /崑曲表演的行當 Role Types in Kunqu Opera

2008-03-25T21:16:00.003-07:00

崑劇原稱崑曲(又稱崑山腔)，起源於元末江蘇的崑山和蘇州一帶，明代中葉，戲曲音樂家魏良輔吸收了「海鹽腔」、「餘姚腔」、「戈陽腔」的精華，對崑山腔進行了改革，同時代的戲曲家梁伯龍創作了《浣沙記》，並以改革後的崑山腔譜曲，使崑曲的影響迅速傳播海內。崑曲集文學、歌舞、繪畫、雕塑等多種藝術於一體，是中國乃至世界，現成的、最古老的、俱有悠久藝術傳統的戲曲劇種，二零零一年，聯合國教科文組織公佈崑曲為「口述非物質人文遺產傑作」。

Kunqu has a history of more than five hundred years. As early as the late Yuan to early Ming Dynasty, a southern singing style – Kunshan style – was already enjoying immense popularity. Later it assimilated and the merits of other singing styles and developed into its own, and this was Kunqu. Kunqu incorporates singing, dance, martial arts and literature and is a showcase of a variety of performing art forms. It is unique in that “there is no song that does not go with dance, and no dance that does not go with a song”. In 2001, UNESCO declared Kunqu Opera as one of the “Masterpieces of the Oral and Intangible Heritage of Humanity”.

崑曲腳色行當主要分為生、旦、淨、末、丑五種：

生 - 一般是扮演年輕、未及蓄鬚的男子，又叫小生。生行主要分為官生、巾生、窮生、雉尾生。官生是做官的小生。巾生指未做官或未及冠的風流書生，頭戴方巾、必正巾，故稱巾生。巾生是崑曲男角中最重要的，如潘必正、張君瑞、柳夢梅等都是。窮生是落泊的讀書人。雉尾生為年輕的將帥，如周瑜、呂布等。

旦 - 戲曲中所有女性人物都屬旦。崑曲旦行分為老、正、作、四、五、六，而多以正、五、六為主體。正旦一般扮演已婚女子，如《琵琶記》中的趙五娘、《癡夢》中的崔氏。五旦一般扮演淑女或千金，又稱閨門旦，如崔鶯鶯、西施等。六旦一般扮演近身丫頭，也叫貼旦。

淨- 俗稱大花面。淨大體分為淨和副淨(俗稱白面)二種，凈一般扮演性格粗獷豪邁的人物，如魯智深、張飛等，副淨一般扮演地位較高、性格奸險的人物，如嚴嵩、曹操等。

末 - 專門扮演中年以上、蓄鬚帶髯的角色。

丑 - 分為副和丑二種。副一般多扮演性格奸險的角色 ; 丑常扮演沒性格樸實敦厚的小人物。

The role types in Kun opera could be divided into the following five specialized types:

Sheng – the leading male characters without beard. There are sub-categories of sheng roles, including guansheng, jinsheng, qiongsheng and zhiweisheng.
Guansheng are young male characters wearing hats, and they are either officials or aristocrats. Jinsheng are young male actors with head-coverings and fans in hands, and they are usually young, romantic scholars who are not mature enough to become government officials, such as Liu Mengmei in The Peony Pavilion. Qiongsheng are young male characters with humble status, and they are usually poor and distressed scholars. Zhiweisheng are young male warriors with pheasant tail feathers in their helmets.

Dan – are female roles which can be divided into six sub-categories of lao, zheng, zuo, si, wu, liu. The main roles are usually zheng, wu, liu. Zhengdan are usually middle-aged, married female characters; wudan are elegant young ladies who are mostly beautiful girls from rich families; and liudan, also named tiedan are vivacious young lady characters who are very often servant girls.

Jing
Jing are male roles with painted faces. The role is subdivided into the jing and fujing, also named baimian (whiteface) categories. Jing are great-hearted masculine roles with striking personalities. They are what we now call “tough guys”, such as some of the rough heroes in Tales from the Water Margin. Meanwhile, Fujing are usually men in high position with slyand cunning characters, such as notorious villains in history.

Mo – are middle-aged or old male characters.

Chou – are comedy characters. The sub-categories are fu and chou. Fu are characters with sinister and treacherous personalities; and chou are kind, lively, humorous, and quick-witted males like clowns and court jesters.

照片集 Photo Album

2008-03-24T00:37:00.000-07:00

留言區 Message

2008-03-23T23:27:00.000-07:00

有關報導 News

2008-03-22T23:27:00.000-07:00

溫暖人間

戲曲之旅

號外

戲曲品味

票務資料 Ticketing Info

2008-03-21T22:27:00.000-07:00

香港文化中心劇場
Hong Kong Cultural Centre Studio Theatre
24-27/4/08 7:45pm

票價: / Ticket Prices:
$180 ,$400,$800

節目查詢/ Programme Enquiries: 2566 9696 http://www.zuni.org.hk/
票務查詢及留座/ Ticketing Enquiries & Reservation: 2734 9009
信用咭電話購票/ Credit Card Telephone Booking: 2111 5999
網上訂票/ Internet Booking: http://www.urbtix.hk/

1. 設有高齡、殘疾人士及全日制學生半價優惠票 (所有優惠先到先得，額滿即止) (只限$400及$180門票)
2. 進念．二十面體會員可獲八五折優惠
3. 中英之友、CCDC特級會員、香港芭蕾舞團之友，及PIPPIES(劇場組合會員)可獲九折優惠 (只限$480及$280門票，每場限購門票兩張)
4. 以上優惠不可同時使用，請於購票前通知票務人員欲享有之優惠

1. 15% discount for members of Zuni
2. Half price tickets for senior citizens, people with disability and full-time students ($400 and $180 tickets only, limited tickets available on a first-come-first served basis)
3. 10% discount for Friends of Chung Ying, Premium Members of CCDC Dance Generation, Friends of HK Ballet and PIPPIES of Theatre Ensemble ($800 and $400 tickets only, maximum 2 tickets per performance)
4 Only one of the above discount schemes is applicable for each purchase, please inform the ticketing staff when purchasing tickets.

附中英語字幕 /Performed with Chinese and English subtitles

觀眾務必準時入場，遲到者需待節目適當時候方可進場，及未必能返回原座位
Audiences are strongly advised to arrive punctually. Latecomers will not be admitted until a suitable break or the interval.

演出約長三小時，返中場休息
Running time approximately 3 hours with intermission

進念‧二十面體有限公司有權增減、更換演出者或更改公佈的節目及座位安排事宜。 Zuni Icosahedron Limited reserves the right to add, withdraw or substitute artists and / or vary advertised programmes and seating arrangements.

演出介绍

2008-03-20T00:58:00.000-07:00

汤显祖被誉为十六世纪中国晚明时期伟大的戏曲家，闻名海内。传世之作包括《紫钗记》、《牡丹亭》、《南柯记》和《邯郸记》，世称《临川四梦》。昆曲《临川四梦汤显祖》由晚年的汤显祖在暮色笼罩的山径上为自己寻觅一方墓田为开始，及至寻觅到一大树下累得睡着了，汤显祖进入自己的梦中，在梦中继续寻觅墓田，年老的汤显祖在梦中遇上了年青的汤显祖，遇上了《临川四梦》的情节……在「钗圆」、「寻梦」、「尽情」、「生悟」四个场景中，遇到了《临川四梦》中的各个人物，并从与各个人物在梦境的对话中经历了一次艺术创作历程。

《紫钗记》
在寻觅墓田的山径上，梦中的汤显祖首先经历《紫钗记》中霍小玉与李益的曲折的爱情遭遇及黄衫客藐视权贵，成人之美的侠义风范，折射出汤显祖曾为营救狂生李至清的徒劳奔波和愤书《论辅臣科臣疏》的某种内在因果。

《牡丹亭》
在寻觅墓田的山径上，叮咚的泉水，无声的落叶，拨动着汤显祖心中的情弦，《牡丹亭》中杜丽娘和柳梦梅的梦中奇遇及生生死死、至情至爱的场景出现了…，他似乎听到了冯小青的悲吟；冷雨幽窗不可听，挑灯夜读《牡丹亭》…汤显祖心中掠过一丝悲凉，同时也品尝到一种欣慰。

《南柯记》
在寻觅墓田的山径上，他歇息在槐树下，蚂蚁爬在他的腿上，他轻轻将它们拂去，他重温了《南柯记》梦中淳于棼超度大槐安国万众蚂蚁升天的场面，尤其是淳于棼和瑶芳公主人间天上，虽欲尽情尽意而意不尽的无奈，最终惊悟，原来人世之事和梦中蚁穴天地竟无差异，这究竟是淳于棼的佛学理念还是汤显祖的人生感悟呢？在寻觅墓田的山径上，汤显祖仿佛悠荡在邯郸道上…

《邯郸记》
《邯郸记》中的卢生，一介寒儒，平步青云，历尽宦海沉浮，终于大富大贵，位极中枢，可谓一人之下，万人之上。卢生在临终前，贪欲更烈，一旦醒来，竟是黄粱一梦，现实和梦境的巨大落差，猛地使卢生大彻大悟。卢生入道了，汤显祖还在频频回首，他还在留恋着什么呢…

这不算太长的山道上，汤显祖整整地走了一辈子，寻了一辈子，留下了他的一串串脚印…

这时他笔下的精灵、戏中的人物：杜丽娘、柳梦梅、卢生、淳于棼、黄衫客、契玄禅师都在告诉他：墓田不是永久的家，您是无需墓田，也无需墓碑的。

杜丽娘告诉他：您的墓田在《牡丹亭》的后花园中；
霍小玉告诉他：您的墓田在《紫衩记》的灞桥河柳边；
淳于棼告诉他：您的墓田在《南柯记》的大槐树下；
卢生告诉他：您的墓田在《邯郸记》中的邯郸道上；
世人告诉他：《临川四梦》便是您永恒的墓碑了。

汤显祖在山径上茫然了…

《临川四梦汤显祖》追求的是昆曲艺术的精致，没有大布景大舞台，演员和乐队不用扬声器，纯以最细腻的演出和简洁的舞台，还原传统昆曲艺术的神髓。《临川四梦汤显祖》是一次昆曲艺术的入门示范，又是一次经典的艺术欣赏，编剧张弘巧妙地将生、旦、净、末、丑五个昆曲主要行当融入在演出当中，并需要演员一人分饰多角，编剧张弘表示：「这个演出要求的是演员扎实的基本功，丰富的想象力，对角色的分析和塑造力，没有这等创作能力的，是不能把不同的角色表现出来。」参与创作演出的国家一级昆曲表演艺术家包括三位「梅花奖」、「文华奖」双奖得主：柯军、石小梅、胡锦芳，与及赵坚、龚隐雷、李鸿良，及来自香港的演员陈浩峰，音乐设计及指挥由著名昆曲鼓师、国家一级演奏员戴培德负责，唱腔整理及司笛由王建农担任。

导演及策划：胡恩威

编剧：张弘(南京)

艺术顾问：石小梅(南京)
Creative Advisor: Shi Xiaomei (Nanjing)

演出：(南京) 柯军、石小梅、胡锦芳、赵坚、龚隐雷、李鸿良、(香港) 陈浩峰

音乐设计、指挥及演奏(鼓)
戴培德(南京)

唱腔整理及演奏(笛、唢呐、铙钹)
王建农(南京)

演奏(中阮、小锣)
许建敏(南京)

演奏(笙、大锣)
张亮(南京)