漸漸地，身穿淺藍色長裙的女子在畫中走出來，她渴求一個有音樂的世界。看見她孤獨的身影，你決定要贈送一首歌給她。
如果你為她在畫上畫音符，你會選擇用哪一種筆，讓畫中世界添上音樂色彩？
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Sound of Passion Round 2 週年音樂會2023
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天水圍音樂人管樂團週年音樂會，精選曲目包括：Deep Purple Medley, Disco Party III, "QUEEN" Medley, Santana : A Portrait。
天水圍音樂人管樂團為天水圍區内第一個公開管樂團。以天水圍為中心，聚集一班善於樂器演奏，富熱忱的音樂人。本樂團除為樂手提供訓練、表演的平臺外，我們更透過以流行曲、動漫、復活節和聖誕節等不同元素為主的音樂會演出，以音取樂・以不朽動聽的樂韻，為聽眾帶來歡樂；以樂傳情，讓聽眾近距離感受樂章中的喜怒哀樂、堅持和誠意。
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牛池灣文娛中心文娛廳
2023-10-21 ( 3:00 PM )
HKD 100
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Cancel or R/S 2023.12.23 Music 2023.9.30 - 10.1 MusicMultimedia |
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《自由維度》是香港口琴家 Cy Leo 何卓彥全新原創現代爵士音樂計劃。Cy Leo 是世界知名口琴家，遊走於不同的音樂類別之間。而《自由維度》，則是受到平行宇宙概念啟發。在平行宇宙的概念𥚃，每一個人在不同的平行空間都有獨特的面向和命運。而 Cy Leo 就是把不同的音樂類型比喻成為不同的「維度」，「自由」則代表爵士音樂。
在《自由維度》的作品𥚃， Cy Leo 以爵士口琴為主軸，加入了一系列不同的音樂元素，例如現代爵士樂、靈魂樂、放克樂、古典樂、電影音樂，甚至粵語流行音樂。這次演出總共會有13位樂手參與，其中包括來自美國的格林美獎提名得主和香港頂尖爵士和跨界音樂人。
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荃灣大會堂演奏廳
2023-10-18 ( 8:00 PM )
HKD 580, 480, 380, 280
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大提琴作為最接近人聲的一種樂器，不僅具有獨特的聲音特色，更擁有廣闊的音域。從飽滿的C弦到高亢的A弦，音色多樣、渾厚深沉，可以駕馭各種演奏技巧且可以傳遞各種豐富的音樂情感，讓人產生更強烈的共鳴。 劉君澤、趙子韶、王詠慈、詹程安，四位就讀與德國慕尼黑音樂學院的年輕大提琴家，共同在著名大提琴家楊文信教授門下學習。四人情同手足、互勵互勉，自然而然便萌生起組成一個大提琴四重奏的想法，並且促成了這次在家鄉香港以及臺灣的巡迴音樂會。音樂會的曲目包含各類風格原創和改編給四把大提琴的音樂，希望大家能夠享受這場由大提琴所帶來的饗宴！
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賽馬會創意藝術中心 ( 賽馬會黑盒劇場 )
2023-10-9 ( 7:30 PM )
HKD 200
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樂綻花，花觀心，
五感和合，感萬物玄緣。
萬物從無到有，
在各個時空中生息不斷，
萌芽、成長、受挫、銳變、重生、留香……
藉音樂與藝術科技的碰撞；
以六首揉合中西文化魅力的創新箏曲，
開拓觀眾的各個感官，
從心體悟大自然的氣息。
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香港大會堂劇院
2023-9-30 ( 8:00 PM ~ 9:00 PM )
HKD 250, 180
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中文 | ENG
Q： What are the three things that are essential when creating works?
Ben：Time, space and money. But really - curiosity, passion and flexibility.
Q：Where do you usually find inspiration during the process? What are the steps in the process?
Ben：Most of my inspiration comes from my observations of the world around me as well as my reactions to those observations. For this show, I wanted to address my feelings around "the end of the world" - that is, environmental and political decline. What did it really mean to me? How did I feel about it? At the same time, I had a sense of being very cut off from things, especially because I was living by myself. And so this sentiment of "helplessness" came up particularly strongly to tie the two concepts together. Eventually, when I knew I was making a post-apocalyptic piece, I watched a lot of films and read some books that all dealt with the end of the world in some way. Partly this was for inspiration but mainly it was what I like to call "anti-research" - that is, making sure I'm not repeating anything that's already been done!
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Ben：When making a show like this, I begin by brainstorming imagery, words, sounds etc that are typically associated with a concept - so in this case it was apocalypse and radio. At the same time, I go through any notes or jokes I've made in the past that relate to what I'm creating. Slowly, I map out a character or characters and a setting, then start writing as loosely as possible - this would include scenes, monologues, actions, and so on. Once this process was done, I found a way to link them all into a sequence or flow. After that, I worked with my director Sandy to fine-tune this loose draft into a version of the script that distilled all of the above into its most essential elements. Finally, we worked on embodiment, blocking, physicality and characterisation. I also did all the sound design myself, something that I do for all of my shows.
Q：In the past, your works have mostly been comedies. Why are you particularly drawn to creating comedies among various genres?
Ben：Comedy is one of the most powerful ways of revealing the truth about something, because it is presented in such an unassuming way. There is a layer of recognition or fundamental assumption about the world that needs to exist in order for something to be believable and therefore funny - and then somehow subverted. Also I love to laugh! So first and foremost I would say it's because comedy is funny. And then the deeper stuff comes in later, if I'm being honest.
Q： As a writer, comedian, podcaster, and blogger, which role do you find most relaxing?
Ben：Probably writing - because it allows me to be introspective and stay with my own thoughts and feelings. There is something very meditative about solo artistic pursuit which you don't get in a public-facing role.
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Ben Volchok's snapshot of daily life
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Q：Are there any similarities between the protagonist in "The Final Hours Hour" and yourself?
Ben：Many - his desire to be heard, the balance between realism and optimism, a love of silly jokes and always finding ways to make myself laugh. Although I would say I am thankfully no longer as lonely as I was when I was first writing the show!
Q：What aspects of creating "The Final Hours Hour" left a deep impression on you?
Ben：The Final Hours Hour has given me many firsts: it's the first show I've created where there's been a fourth wall, which has been a great acting challenge as I'm not allowed to directly connect with the audience like I have been used to in my past comedy shows; it's the first show where I've really delved into my own emotions a little more, which has been hugely rewarding on a personal level and has added many extra layers to my writing and performing; it's also the first show I've toured interstate and overseas, so it's been quite heartening to share my work with people outside of my home city and still see it received so enthusiastically.
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《The Final Hours Hour》photos
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Q：You have performed "The Final Hours Hour" three times before and during the pandemic. As the first performance after the pandemic, do you have any thoughts or changes in your performance regarding this play?
Ben：Technically we are still in the pandemic! The onset of the pandemic was a worldwide life-changing event. Most of us had never witnessed death and suffering at such a scale and severity. So in a way that gave us all a taste of "apocalypse". I think as a result people have become a little more aware of what it means to be isolated and craving connection. They've had to find ways to confront their lives being upturned and deal with trauma in their own ways. Overall this has meant that the themes of the show have become a lot more personally resonant and relevant. However, I've not changed anything since I first wrote and performed it in 2019, before the pandemic - it's just gained a new, unfortunate context.
Q：What are your expectations for performing in Hong Kong this year? Will you make any changes to the content based on the local situation?
Ben：I really don't know what to expect! Although I hope there will be air conditioning! I don't know much about Hong Kong audiences, but from the films I've seen that were made in Hong Kong I believe they will have an appetite for exploring complex themes through original formats and unique styles - which is how I would describe The Final Hours Hour. As for making changes, I believe that the show is quite universal in terms of its underlying ideas and emotions, and so anyone should be able to understand it. There's also nothing in the show that makes reference to any real events.
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《The Illustrious Fact Show》photo
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Q：What directions or new endeavors are you interested in exploring in terms of future creations?
Ben：Recently I have been exploring the world of clowning and physical theatre, so I am hoping to make more shows in that genre of performance. I'm also in the middle of editing a pilot for a webseries called The Illustrious Fact Show, so look out for that later in the year. Additionally, I would really like to write a cookbook in collaboration with my father to showcase our cultural recipes as well as his skill and deep knowledge of cooking. Plus I have been pursuing pottery as a hobby so maybe that will lead to something as well! Always experimenting..
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The Final Hours Hour
【HKIAF 2023】
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Jockey Club Creative Arts Centre (Jockey Club Black Box Theatre)
2023-9-15 ~ 9-16 ( 8:00 PM )
2023-9-16 ~ 9-17 ( 3:00 PM )
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Flash 樂團成員
盧詠慈 – 視障人士，五年敲擊樂經驗。
李思薇 – 自閉譜系人士，十年木片琴經驗
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Q：為何在眾多樂器之中選擇敲擊/木片琴？有甚麼吸引你的地方？
盧詠慈：大概在五年前，得知香港展能藝術會賽馬會共融藝術工房舉辦敲擊樂工作坊，因緣際會下跟隨Jimmy老師學習打鼓。打鼓可以帶給我輕鬆的感覺，讓人感到放鬆的同時，專注力亦可以提高。
李思薇：考畢八級鋼琴考試後，想嘗試鋼琴以外的樂器。彈奏木片琴的時候可以幫助我抒發情緒，讓人不會緊張。
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Q：身體上的障礙對你的音樂演奏有影響嗎？
盧詠慈：打鼓是一個考驗節拍的樂器。雖然視力有障礙，但對於我來說影響不大。靠耳朵去聆聽節拍，用心計算拍子，就能容易掌握節拍感。
李思薇：本身已經有學習過鋼琴的經驗，所以木片琴對我來說並沒有太大難度，反而容易掌握。
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Q：你認為在Flash樂團的演出和團練中帶給你甚麼影響？
盧詠慈：一定是增強自信心，團友彼此互相包容。而最開心的是大家可以在同一天空下一起分享和感受音樂的魅力。
李思薇：有很多機會接觸不同類型的樂器，亦可以認識不同團員，大家聚在一起演奏音樂。
Q：今次在「多一點藝術節2023」的演出，你想帶給觀眾甚麼？
盧詠慈：Flash樂團在「多一點藝術節2023」有一個迷你音樂會。每個人都有獨特的潛能。而迷你音樂會正好是一個平台，讓我們發揮小宇宙。Flash樂團各成員旨在歡欣快樂分享和享受音樂，大家一起演奏曲目，而這些就經已帶給我們忻悅。
李思薇：我希望觀眾可以喜歡我們的演出，可以一起開開心心享受我們的演奏，分享喜悅。
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Voice、Jimmy - Flash 樂團指揮
Rollo - 香港展能藝術會藝術教育經理
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Q：Flash樂團的宗旨是甚麼？樂團希望成員和觀眾可以有甚麼得著？
Voice：Flash樂團冀望利用音樂作為一種共同語言，向社會傳遞共融的信念。希望透過音樂，促進人與人之間的交流和互動，縮短殘疾人士與主流社會的距離。近幾年，我們雖然受到疫情的影響，但亦無阻樂團去達成宗旨。樂團於「多一點藝術節2023」的迷你音樂會是疫情過後的一個大型音樂聚會，象徵著一個里程碑。
Jimmy：Flash樂團有志讓不同的朋友聚集起來，「去玩好音樂」。即使某部份團員的說話可能不多，但能透過音符互相溝通，傳達訊息。音樂是一個好的橋樑。
Rollo：Flash樂團已成立超過十年，成員包括不同類型的殘疾人士，擅長彈奏耳熟能詳的曲目。每年均會吸納「新血」，招募不同樂手，擦出不同火花。Flash樂團本著一個「進行式」的信念，各團員活在當下，享受每一次的演出。我希望觀眾抱一個輕鬆愉悦的心情，來欣賞每一個Flash樂團的演出，只要來「enjoy the show」便好了。
Q：為何會加入指導Flash樂團？作為Flash樂團的指揮，與作為其他樂團的指揮有甚麼不同？
Voice：當初是獲邀請加入Flash樂團作弦樂的拍子班導師，後來才擔任指揮。相比其他教學工作，差異並不大，兩者同樣需照顧學員的感受和情緒。比喻說，就像煮中餐西餐，兩者分別在於烹調不同的菜色，但同樣也需用心去烹煮。
Jimmy：因應樂手不同的能力，我們在樂譜上做了許多特別安排，令他們更加容易掌握。為了令視障的朋友知悉指揮給的拍點，我們會在指揮時發出聲音輔助打拍子，例如開始的時候會讀出「1、2、3、4」數拍字作引導。
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Q：指導Flash樂團帶給你成長上的甚麼影響？
Voice：做人不需要太執着。「玩音樂」不是一種競賽。有時候會忘記一起「玩音樂」亦是一個值得享受的過程。在追求完美的過程時，會不知不覺間失去初衷，所以我會經常提醒自己不要本末倒置。
Q：在籌備樂團活動的過程中，有沒有改變你對共融的看法？
Jimmy：沒有太大的改變。因早已有接觸不同能力朋友的經驗。普通人未必清楚了解殘疾人士的需要，甚至普遍對他們存有誤解。個人而言，不論殘疾，大家都是人，只不過優點和缺點略有不同。
Voice：共融是彼此的不同聚在一起，再利用時間磨合。不論是殘疾與否，我們都需要有同理心，大家努力相處交流，建立默契，不能「心急」。
Rollo：對「共融」有思考上的拓展，例如藝術的包容性。藝術是無障礙的共通語言。藝術，不論用甚麼形式去呈現，都能包容不同能力的人，讓他們有空間與自己和解、和他人對話。
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Q：未來你想帶領Flash樂團達成怎樣的目標？
Jimmy：將來希望有更多不同能力的朋友加入Flash樂團；另外亦望強化「共融」的元素，例如讓樂團多接觸社區，參與更多公眾活動。
Q：今年「多一點藝術節」主題想向觀眾傳達甚麼訊息？有甚麼精選推介節目？
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Rollo：「多一點藝術節2023」是香港展能藝術會賽馬會共融藝術工房的旗艦節目。創立賽馬會共融藝術工房的初衷，是想讓不同殘疾人士都可以於主流藝術場地中平等地參與和享受各項藝術活動；同時是一個橋樑，把殘疾人士連繫至社區，互相彼此認識。
今年「多一點藝術節2023」除了舉辦Flash樂團迷你音樂會外，還有年度展覽、藝術攤位、藝術分享會、導賞團等。藝術節的主題是「散步去」，散步也代表走出去的意思，所有節目均圍繞這個主題作了特別的安排。例如展覽場地均營造出某個城市角落公園的感覺。而在表演場地－黑盒劇場，演出舞台和觀眾區的安排更加隨性，不再是傳統的單面台，力求營造一個悠閒小公園的氛圍。我們希望觀眾能在閒適自得的氛圍下，以自在的步伐，欣賞各藝術作品。另外，鼓勵觀眾多多打開心扉，欣賞和聆聽作品所呈現的美和純粹的心。
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香港賽馬會創意藝術中心
2023-10-14 ~ 11-30
節目詳情
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焦點展覽：「靜水流深」Christiane Pooley個展
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艷麗是虛假。愈美麗的表象往往都隱藏著黯淡的過去。
Pooley的作品中呈現一種頗具欺騙性的平和之美——夢境般獨自漂浮在水面上的小屋、仿佛懸置着一座倒立的火山、傾瀉而下的瀑布被切開... 美景的背後其實暗藏復雜爭端的陰霾。用抽象碎片營造現實的空間，讓作品成為穿越夢幻世界的媒介。
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「靜水流深」Christiane Pooley個展
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地點：貝浩登 ( 香港 )
展期：即日至10月14日
展覽詳情
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Weaving spaces, 2022 - 2023
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Profundidad (Depth)，2022 - 2023
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今期雜誌封面作品
To ground myself, 2023
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2023.9.15 - 17 Visual ArtsDIY 2023.8.31 - 9.24 Visual Arts 2023.5.24 - 10.2 Visual ArtsDesign 2023.6.9 - 10.8 Visual Arts 2023.9.8 - 12.17 Visual Arts 2022.9.9 - 2023.11.26 Visual ArtsDesign 2023.1.13 - 10.4 Visual ArtsCultural 2023.7.29 - 2024.4.14 Visual ArtsCultural 2023.6.30 - 12.31 Visual Arts 2023.9.7 - 28 Visual ArtsDIY 2023.10.15 - 11.11 DanceDIYCultural 2023.7.8 - 12.10 MusicTheatreFilm 2023.9.22 - 12.9 Education 2023.2.24 - 11.30 Visual ArtsOthers 2023.8.25 - 12.27 Visual Arts 2023.7.14 - 10.25 MultimediaVisual Arts 2023.7.14 - 10.25 MusicVisual Arts 2023.8.25 - 12.27 MultimediaVisual Arts 2023.2.22 - 9.25 Visual ArtsCultural 2023.9.27 - 2024.1.8 Visual ArtsCultural |
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散步於街頭，城市是一座大博物館！跟著攝影師 Den Lau (IG：@g.c.d___)遊訪觀塘！Den Lau鏡頭下的觀塘，是新舊交替的地方——工業區的繁忙，舊屋邨、小店的恬靜，不再只是「哪裡只塞駿業里」......
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Q：可以跟我們介紹一下自己嗎？
A：Den Lau，G.C.D 城市震眼錄版主，本地城市攝影師及平面設計師，在城市生活，很多事物其實都是霎眼之間才發現。街拍瞬間框下的是霎眼一刻，看到微小但有趣的小東西、小角落。有時我會覺得生活也是一樣，很多東西我們霎眼錯過，也可以霎眼遇到，然而我想用快門和平面設計的方式把這些在城市生活中霎眼的一剎記錄下來。
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Q：為什麼會選擇拍攝觀塘？
A：因為本來在觀塘長大、生活和工作，覺得能為自己生活日常的地方拍下好照片是一件有意義的事。
Q：對你來說，觀塘有著怎樣的意義？
A：這裡是我長大的地方，在小時候在這裡上學，放學或假日與朋友結伴在觀塘的街道屋邨游走，到長大後在這裡工作，我好像由舊觀塘一路見証新觀塘的來臨。可惜小時候不懂拍照，不然就能記錄下有趣的舊觀塘。
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Q：你覺得觀塘有什麼獨特之處？
A：雖然香港人對觀塘第一個印象就是：「多人！塞車！」但其實觀塘獨特之是既有重建後新簇簇的建築、工業區有繁忙的一面；也有民居、舊屋邨、小店、可以走到海邊碼頭，同時也有恬靜的一面⋯⋯好像單單在觀塘已經有不同的風景。早前在「城市霎眼錄」的Instagram上載過一條Reel 《往觀塘的窗外風光》就把九龍灣往觀塘沿線新舊建築物交替的景色記錄下來。
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Q：你在拍攝觀塘時，有什麼有趣或難忘的經歷嗎？
A：有次來到我稱之為觀塘名勝之一的樂華邨拍照，這裡的舊式社區建築就是最吸引人的地方！為何只有舊社區才有人情味？我想是因為有人生活的足跡。舊社區的社區設計都會考慮到如何讓居民聚腳和社交，這就是社區連結。而在樂華邨，我們便能看到這樣的情景（這也是前文我所說觀塘恬靜的一面）。
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對上一次去樂華邨拍照，老遠有個伯伯一直在看着我，當我行近時他很雀躍問了我很多次：「係咪影相擺上網㗎？」而我也走前主動打招呼。在街市走了一圈又碰見伯伯，他再問：「係咪影相擺上網㗎？」我回答：「係呀！你咁靚仔可唔可以幫你影張相？」想不到伯伯立刻雀躍地擺姿勢給我拍。雖然只是簡單的互動，但卻是讓我記在心頭的社區可愛事。
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