第二十二期 Issue 022

封面故事:
女性在愛情世界中 的成長與蛻變
香港舞蹈團x梅卓燕《最後一夜》

線上音緣 花漾桃園
2020桃園合唱藝術節

專訪:
編劇家Rebecca Gilman
揭示女性不由自主的命運
專訪《兒欺2020》導演鄭傳軍與得獎女主角陸嘉琪

場主的話

全球疫情有稍為緩和跡象，香港的表演 場地也陸續開放，藝團正如火如荼準備 好重新踏上舞台。雖然線上有看不完的精彩演出影片，但我真的急不及待，已經開始進劇場看演出。劇場的「現場 感」是線上看無法可替代。

今期《表演場》介紹兩個快要推出的演出，分別是《最後一夜》和《兒欺 2020》。無巧不成話，兩個演出都關乎女性的心路歷程與成長。兩個女主角， 一個是現代人會稱為「女神」，活於五 六十年代的歡場女子，另一個是活於廿一世紀、為理想奮力戰鬥的社工，但同樣地，她們都面對著女性在社會上所受的壓抑，以及華人世界社會加於女性身上的「傳統形象」枷鎖。香港也有她的命運，究竟香港人要像金大班安份守己過好生活;抑或是，要像Caroline要挑戰及掙脫別人的操控呢?

陳慧明 表演場 創辦人及主編

 Words from the Founder

The spread of COVID-19 seems to have slowed down. I am excited to see that performance venues in Hong Kong have been reopened and that arts groups and artists are preparing to return to the stage! Even though there are many online choices for viewing performances from around the world, I can’t wait to go back to the theatre for the live experience is simply irreplaceable.

Last Dance and Luna Gale 2020 are two of the shows that will soon be staged. Coincidently, both shows are about women: one is about a “Goddess” who works in a prestigious night club in the 1950s-60s, while the other is about a social worker in the modern world who is fighting for her beliefs. The women in both shows are suppressed by social norms and values and are bound by the cultural constraints for women in traditional Chinese societies. The fate of Hong Kong is now also at a crossroads – will she be like Taipan Chin who follows fate; or will she be like Caroline who challenges and fights against the control of others?

Winona Chan

Founder & Editor-in-Chief, The Art Venue