羅薩絲舞蹈團
Rosas
《羅薩絲之舞》
安．德麗莎．迪．姬爾斯美嘉
Rosas danst Rosas
Anne Teresa De Keersmaeker
《布雷爾》
安．德麗莎．迪．姬爾斯美嘉
索拉．馬里奧特
BREL
Anne Teresa De Keersmaeker
Solal Mariotte
羅薩絲舞蹈團
《羅薩絲之舞》
支持夥伴
ROSAS
ROSAS DANST ROSAS WITH THE SUPPORT OF
特首獻辭 Chief Executive ’ s Message
二零二六年香港藝術節隆重 舉 行，謹此致賀。
今年藝術節邁進第五十四屆，約 180 場演出涵蓋 音樂、戲曲、歌劇、戲劇、舞蹈、藝術科技及 其他表演藝術創作，精彩多元，引人矚目。
藝術節在二月二十七日以西班牙國家舞劇院著 名舞劇《美麗的奧蒂羅》揭開序幕，在舞台重 現巴黎黃金時代的歌舞昇平，別出心裁。三月 二十七日藝術節閉幕以大型舞劇《牡丹亭》為 壓軸演出，呈獻導演兼編舞黎星對經典愛情劇 目的嶄新演繹。今年的音樂節目陣容強大，匯 聚各傑出鋼琴家獻技，有年輕韓國天才鋼琴家 任奫燦，也有榮獲二零二五年范．克萊本國際 大賽金獎及觀 眾 大獎的本地鋼琴家沈靖韜，實 在不容錯過。
一如既往，藝術節包羅繽紛多彩的外展及教育 活動。今年的「加料節目」着重豐富藝術愛好 者的文化體驗，加深對世界級藝術家的認識， 對於啓發更多人參與藝術活動，以至鞏固香港 作為中外文化藝術交流中心的定位，極為重要。
感謝眾多贊助商及捐款者慷慨支持香港藝術節。
我亦感謝藝術節團隊再接再厲，為本港以至全
球各地觀 眾 呈獻異彩生輝，令人讚嘆的文化藝 術與娛樂盛會。
香港特別行政區行政長官 李家超
I am pleased to congratulate the Hong Kong Arts Festival on the organisation of its 2026 season. This year’s Festival, the 54th edition, features some 180 performances, encompassing music, Chinese and Western opera, theatre, dance, arts technology and a dazzling variety of performing arts productions.
The Festival opens on 27 February with Ballet Nacional de España’s acclaimed operatic ballet La Bella Otero , recreating the glamour of Paris’ golden era on stage. The Festival concludes on 27 March with the large-scale dance theatre production DreaminThePeonyPavilion , directed and choreographed by Li Xing, injecting fresh life into the timeless love classic. This year’s music performances present a number of brilliant pianists, including young Korean piano sensation Yunchan Lim, and Hong Kong-born Aristo Sham, the gold medallist and audience award winner at the 2025 Van Cliburn International Piano Competition.
As ever, the Festival features a diverse range of outreach and educational activities. This year’s PLUS programme focuses on a wide cultural experience for arts lovers and deeper understanding of world-class artists, contributing to promoting engagement in cultural events and consolidating Hong Kong’s positioning as the East-meets-West centre for international cultural exchange.
I am grateful to our many sponsors and donors for their generous support. My thanks also, as always, go to the Hong Kong Arts Festival for once again bringing Hong Kong, and the world, a shining season of arts and culture, entertainment and wonder.
John KC LEE Chief Executive Hong Kong Special Administrative Region
主席獻辭 Chairman ’ s Message
誠摯歡迎閣下蒞臨第 54 屆香港藝術節。作為國際 藝壇中重要的表演藝術盛事，藝術節一直秉持使 命，致力豐富香港的文化生活，並向社會各界推 廣最優質的表演藝術。今年，藝術節匯聚逾 1,100 位本地及國際的頂尖藝術家，為觀眾呈獻超過 45 個涵蓋不同藝術領域的多元化節目，合共逾 180 場精釆演出，並 舉 辦約 300 項「加料節目」、外 展及教育活動，為香港注入充沛的文化活力。
我由衷感謝香港特別行政區政府透過康樂及文化事 務署，提供年度恆常撥款及配對資助；感謝香港 賽馬會慈善信託基金、一眾企業贊助機構、慈善基 金會及捐助者的慷慨支持；還有感謝在藝術節舞台 上盡顯才華及創意的享譽國際藝術家，以及在所有
節目背後努力耕耘的香港藝術節團隊——你們每 一分的寶貴捐獻、每一位的投入參與和支持，讓 香港藝術節得以順利舉行，並且成為我們的龐大 動力，使我們能夠持續透過表演藝術回饋社會。
今後，香港藝術節將繼續為觀 眾呈獻目不暇給的 演出、委約創意無限的新作品，以及致力培育才 華洋溢的本地藝術人才。最後，我要向所有前來
觀賞演出的觀 眾致以萬分謝意。希望您享受這趟 我們為您精心策劃的藝術之旅，並從中獲得喜 悅、共鳴與啟發。
香港藝術節主席
盧景文
A warm welcome to the 54th Hong Kong Arts Festival. As a leading international performing arts event, the Festival continues to uphold its mission of enriching our city’s cultural life and promoting the best of the performing arts to different sectors of our community. This year, the Festival brings to Hong Kong more than 1,100 distinguished local and international artists from a wide range of artistic disciplines in over 180 performances of more than 45 programmes, as well as about 300 “PLUS”, outreach and education events.
I would like to express my sincere gratitude to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention and matching grant. My heartfelt thanks also go out to The Hong Kong Jockey Club Charities Trust, our corporate sponsors, charitable foundations and donors for their generous support. Their invaluable contributions empower us to actively advance the community through the performing arts.
My genuine appreciation goes to all our internationally renowned and most talented artists for their creativity and outstanding performances on stage. Their dedication profoundly motivates us to continue showcasing exceptional productions, commissioning new works and nurturing local talent. I am also deeply grateful to the HKAF team for its commitment and efforts to bring this Festival to life. Finally, I extend my warmest thanks to all audience members. We truly hope you enjoy this artistic journey and discover moments of delight, resonance and inspiration throughout the programmes being presented this year.
Lo Kingman Chairman Hong Kong Arts Festival
支持機構：
Supporting Organisation:
前言 Foreword
第 54 屆香港藝術節雲集眾多大師級藝術家與傑 出團隊，帶來超過 180 場的音樂、舞蹈、戲劇、 歌劇、戲曲、藝術科技與跨界創作節目，展示藝 術家的精湛造詣。
今年的其中一個主題，是對「勇氣與和平」的探 索。當全球都因為戰亂、流離、經濟下行等苦難 感到焦躁不安，藝術家以獨特的視角與語言，在 舞台上交織出對世界的回應，提醒我們抱持堅毅 與希望。
此外，今屆藝術節部分作品採用了簡約的戲劇手 法，讓我們擺脫地域與資源的限制。我們亦繼續 擁抱藝術科技，利用混合實景技術，開拓新的表 演效果。
一如既往，藝術節今年帶來超過 300 項的外展與 教育活動。「加料節目」準備了一系列講座、大師 班、後台參觀、文化深度遊等活動。我們為大、
中、小學生設計的全方位外展及教育活動，則會 帶領數以萬計的年輕觀眾理解作品背後的故事。
衷心感謝您出席這一場演出，願您從中找到愉悅 與共鳴。
The 54th Hong Kong Arts Festival once again brings together great masters and outstanding artists, presenting more than 180 performances across music, dance, theatre, opera, Chinese opera, arts-tech and interdisciplinary creations—showcasing the exceptional craft of leading local and international talent.
One of this year’s themes is an exploration of “Courage and Peace”. At a time when the world is troubled by war, displacement, economic downturns and other hardships, artists respond from their own distinctive perspectives and in their own languages on stage, reminding us of the need to be resilient and hopeful.
Some works in this year’s Festival adopt a minimalistic theatrical approach, enabling us to transcend the constraints of geography and resources. We also continue to embrace arts-tech, using mixed-reality technologies to open up new performance possibilities.
As always, the Festival presents more than 300 outreach and education activities. Our PLUS events feature a curated series of talks, masterclasses, backstage tours and guided cultural walks. Our comprehensive education initiatives tailored for primary, secondary and tertiary students are aimed at enabling students to gain a more in-depth understanding and appreciation of the works we present.
I sincerely thank you for joining us at this performance, and we hope that you find joy and resonance in the experience.
香港藝術節行政總監 余潔儀
香港藝術節的資助來自：
The Hong Kong Arts Festival is made possible with the funding support of:
Flora Yu Executive Director Hong Kong Arts Festival
港藝術節收入目標（包括第 54 屆香港藝術節及 2026 年「無限亮」）約港幣一億五千九百萬，當中香港特 區政府的年度恆常撥款佔總收入約 12%，另外約 24% 需來自票房收入，約 44% 則需依賴來自各大企業、 熱心人士和慈善基金會的贊助和捐款。預計餘下的 約 20% 則來自其他收入，包括政府針對捐款和贊助 收入而提供的配對資助。
香港藝術節 每年呈獻眾多 國際演藝名家 精采多元的 演出，例如 *：
• 歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫 斯科大劇院、聖彼得堡馬林斯基劇院、三藩市歌 劇院、薩翁林納歌劇節
• 中國戲曲： 中國國家京劇院、河北梆子劇院、上 海崑劇團、上海張軍崑曲藝術中心、江蘇省蘇州 崑劇院、浙江小百花越劇團、上海越劇院
• 古典音樂：塞西莉亞．芭托莉、列卡杜 沙爾、趙 成珍、古斯塔沃・杜達美、菲力普・格拉斯、劉曉 禹、馬友友、丹尼斯．馬祖耶夫、安娜 涅翠柯、 詹安德列亞．諾斯達、小澤征爾、湯瑪士 夸斯托 夫、甘拿迪．羅傑斯特汶斯基、譚盾、湯沐海、克 里斯蒂安．泰利曼、安德拉斯．席夫爵士、班貝格 交響樂團、倫敦交響樂團、NHK 交響樂團、皇家阿 姆斯特丹音樂廳樂團、柏林廣播電台合唱團、萊比 錫聖多馬合唱團、維也納愛樂樂團
• 爵士樂及世界音樂：波比．麥非年、尤蘇・ 恩多 爾、艾斯佩蘭薩．斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼
• 舞蹈：米高・巴里殊尼哥夫、蕭菲・紀蓮、艾甘． 漢、娜塔麗亞 奧斯波娃、美國芭蕾舞劇院、雲 門舞集、漢堡芭蕾舞團—約翰．紐邁亞、紐約市 芭蕾舞團、巴黎歌劇院芭蕾舞團、翩娜．包殊烏 珀塔爾舞蹈劇場、米蘭史卡拉歌劇院芭蕾舞團
• 戲劇：彼得・ 布祿克、羅伯特．利柏殊、蜷川幸 雄、羅柏特 威爾遜、柏林劇團、中國國家話劇 院、皇家莎士比亞劇團、英國國家劇院
• 大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝坊
• 戶外節目：《聲光園》、《幻光動感池》、《聲光頌》
• 音樂劇：《日新》、《雄獅少年》、《咆哮山莊》
• 藝術科技：《超真實》裝置音樂會、《真．幻境 界》、《巴黎舞會》
, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the as well as a diverse range of “PLUS” and in February and March each year.
non-profit organisation. The total income target for FY2025/26 (including the 54th Hong Kong Arts Festival and 2026 “No Limits”) is approximately HK$159 million. Current Government annual baseline funding accounts for around 12% of the Festival's total income. Around 24% of the Festival’s income needs to be generated from the box office, and around 44% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 20% is expected to come from other revenue sources including the Government’s matching grant scheme, which matches income generated through private sector sponsorship and donations. The HKAF has presented top international artists and ensembles across multiple genres, such as*:
• Western opera: Bayerische Staatsoper, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre, San Francisco Opera, Savonlinna Opera Festival
• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Kunqu Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe, Shanghai Yue Opera House
• Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Sir András Schiff, Bamberg Symphony, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra
• Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini
• Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, Natalia Osipova, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Teatro alla Scala Ballet Company
• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company, National Theatre of Great Britain
• Large-scale special events: World of WearableArt, Zingaro
• Outdoor events: Power Plant, Super Pool, Chorus
• Musicals: Yat-sen, I Am What I Am the Musical, Wuthering Heights
• Arts-Tech: Hyperreality—An Installation Concert, Norealitynow , VR Interactive Dance—Le Bal de Paris
The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, the HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas.
香港藝術節 積極與 本地演藝人才 合作，並致力為 新
進藝術家 提供展示才華的平台。藝術節至今委約及
製作逾 250 套本地全新創作，包括粵劇、戲劇、室內 歌劇、音樂和舞蹈作品，不少製作更已在香港及海 外多度重演。
香港藝術節多年來與知名國際藝術家及團體聯合製作 不少優秀作品，當中包括由香港藝術節聯同香港歌德 學院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹 窗人》；作為聯合委約機構之一並聯同倫敦老域劇 院、布魯克林音樂學院與尼爾街製作公司製作的「橫 貫計劃」之《暴風雨》及《李察三世》；與上海國際 藝術節聯合委約的《青蛇》；與三藩市歌劇院聯合製 作的《紅樓夢》；與芬蘭國家歌劇院及芭蕾舞團聯合 製作的《拉娜》，以及與中央戲劇學院及 Compagnie Point Fixe 聯合製作的《海底兩萬里》等。
香港藝術節 一直大力投資 下一代的藝術教育。「青 少年之友」成立 33 年來，已為約 849,000 位本地中 學生及大專生提供藝術體驗活動。藝術節近年亦開 展多項針對大、中、小學生的藝術教育活動，包括 由國際及本地藝術家主持的示範講座及工作坊、學 生展演、演前講座、公開彩排、以及欣賞藝術節演 出。同時，通過「學生票捐助計劃」，藝術節每年提 供約 10,000 張半價學生票。
香港藝術節 每年主辦一系列多元化並深入社區的 「加料節目」，例如電影放映、示範講座、大師班、 工作坊、座談會、後台參觀、展覽、藝人談、文化 導賞團等，鼓勵觀眾與藝術家互動接觸。
香港藝術節 亦銳意將共融藝術理念拓展到社區每一 角落。由藝術節與香港賽馬會慈善信託基金聯合呈 獻的「無限亮」計劃於 2019 年正式開展，透過一系 列的演出及多元的教育及社區外展節目，「無限亮」
致力創造共融空間，讓不同能力人士均可以一同欣 賞、參與、擁抱藝術。
香港藝術節協會 2025/26 年度收入目標：
Estimated Target Income for the HKAF in FY2025/26:
港幣一億五千九百萬
The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced with GoetheInstitut Hong Kong and Tanztheater Wuppertal Pina Bausch; Richard III and TheTempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with the HKAF as a co-commissioning institution; Green Snake co-commissioned with Shanghai International Arts Festival; Dream of the Red Chamber coproduced with San Francisco Opera; Laila , a co-production with Finnish National Opera and Ballet, and 20,000LeaguesUndertheSea , co-produced with The Central Academy of Drama, China, and Compagnie Point Fixe.
The HKAF invests heavily in arts education for young people. Over the past 33 years, our “Young Friends” scheme has reached around 849,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 halfprice student tickets each year.
The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meetthe-artist sessions and guided cultural tours.
The HKAF actively promotes inclusion via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.
政府的年度恒常撥款 Current Government annual baseline funding
HK$159 million 約 Around 44% 約 Around 12% 約 Around 20% 約 Around 24%
其他收入 Other Revenues
（包括按捐款和贊助收入 可望獲得的政府配對資助 including possible Government Matching Grant for Sponsorship and Donation income）
票房收入 Box Office
誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。
To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.
電郵 Email: dev@hkaf.org
直綫 Direct lines: (852) 2828 4911/12
網頁 Website: http://go.hkaf.org/give
贊助和捐款 Sponsorship & Donations
*有關香港藝術節的過往節目 Details of past HKAF programmes
香港藝術 節
HONG KONG A RT S F E S TI VA L
呈 獻 presents
Rosas danst Rosas
支持夥 伴 With the Suppo rt o f
羅薩絲舞蹈團
Rosas
《羅薩絲之舞》
安．德麗莎．迪．姬爾斯美嘉
RosasdanstRosas
Anne Teresa De Keersmaeker
11-12.03.2026 / 8:00pm
香港演藝學院歌劇院
Lyric Theatre, The Hong Kong Academy for Performing Arts
演出長約 1 小時 40 分鐘，不設中場休息
《布雷爾》
安．德麗莎．迪．姬爾斯美嘉 索拉．馬里奧特
BREL
Anne Teresa De Keersmaeker, Solal Mariotte
14.03.2026 / 8:00pm
15.03.2026 / 3:00pm
香港演藝學院歌劇院
Approximately one hour and 40 minutes with no interval
封面照片Cover Photographs
© Anne Van Aerschot
※ 演出期間敬請關掉手提電話及其他電子產品，以免發出聲響或產生光線，影 響表演者及其他觀眾。
Please switch off mobile phones and all electronic devices so they will not emit sound or light during the performance, disturbing the performers and other audience members.
※ 請勿擅自攝影、錄音或錄影。
Unauthorised photography or recording of any kind is strictly prohibited.
※ 演出期間請保持安靜。
Please keep noise to a minimum during the performance.
※ 本場刊採用環保紙張印刷。
This programme is printed on environmentally friendly paper.
※ 如不欲保留本場刊，請於完場後放回演出場地入口。
If you don’t wish to keep this booklet, please return it to the admission point. 所有作品內容均由創作團隊獨立製作，並不代表贊助機構之立場或意見。
The content of all works is independently produced by the creative team, and does not reflect the views or opinions of the Sponsor.
本節目內容及本刊物所載之藝術家 / 客席撰文者言論屬於個人觀點，並不代 表香港藝術節（「本會」）之立場或意見。
The content of this programme and the opinions featured in this publication are solely those of the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival (“HKAF”).
Lyric Theatre, The Hong Kong Academy for Performing Arts
演出長約 1 小時 20 分鐘，不設中場休息
Approximately one hour and 20 minutes with no interval 本節目有裸露及接近全黑之場景
This production contains nudity and scenes of near-complete darkness
為免影響演出，持票人士務請準時入場。本會有權不讓於演出開始後或中 場休息後遲到和在演出期間中途離場的觀眾重新入場。
Ticket holders are strongly advised to arrive punctually. HKAF reserves the right to refuse the (a) admission of latecomers (whether at the beginning of the performance or after the intermission) and (b) re-admission of audience members who leave the auditorium during the performance.
本會有權決定觀眾（包括遲到和中途離場的觀眾）入場和重新入場的可能性 及方式。
The HKAF also reserves the right to determine the possibility of admission and re-admission of audience members (which includes latecomers and audience members who have left the auditorium and are seeking re-admission), as well as the manner in which they are admitted.
在任何情況下，若本會允許遲到者入場，該等遲到者只能在指定的遲到點 入場。持票人士如因遲到而不獲安排入場，本會恕不退票或換票。如有任 何爭議，本會保留最終決定權。
In any case, should the HKAF permit the admission of latecomers, such latecomers shall only be admitted at designated latecomer point(s). No refunds or changes will be offered if ticket holders are refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.
© Anne Van Aerschot
© Anne Van Aerschot
安．德麗莎．迪．姬爾斯美嘉與羅薩絲舞蹈團
Anne Teresa De Keersmaeker and Rosas
1980 年代初，年輕的安．德麗莎．迪． 姬爾斯美嘉發表了首部作品，為舞蹈開創 了新的方向。她曾就讀於傳奇編舞家莫里 斯．貝嘉創辦的默德拉舞蹈學校，其後入 讀紐約大學 Tisch 藝術學院，在此期間，她 接觸到美國後現代舞蹈，這深刻地影響了 她的創作。迪．姬爾斯美嘉在 1982 年推出 開創性作品《階段——據史提夫．萊克的 音樂而作的四個樂章》，既反映了過往經 歷對她的影響，也奠定了她極簡而結構嚴 謹的創作風格。
1983 年，迪．姬爾斯美嘉成立了自己的 舞蹈團——羅薩絲舞蹈團，並發表成名 作《羅薩絲之舞》，由蒂埃利．迪邁與彼 得．弗米爾茨為之配樂。《羅薩絲之舞》突 顯了舞蹈與當代音樂之間緊密而嚴謹的關 係，這也是她作品中的核心特質。其早期 大型舞台製作如《鄂圖．鄂圖》（1988）與 《腹地》（1990），則將現場樂手融入舞台美 學，她在其後的創作也經常運用此手法。
1992 年，羅薩絲舞蹈團成為比利時皇家 鑄幣局劇院的駐院舞團。期間，迪．姬 爾斯美嘉逐步獲得國際認同，其作品於 亞維儂藝術節等重要藝術節首演，並衍 生出電影《羅薩》（由彼得．格林納威執 導）等影視改編。迪．姬爾斯美嘉起初以
In the early 1980s, a young Anne Teresa De Keersmaeker debuted her first works, carving a new path for contemporary dance. A former student of Maurice Béjart’s MUDRA school, she was later profoundly shaped by her studies at the New York University Tisch School of the Arts and her exposure to American post-modern dance. This influence culminated in her seminal 1982 work, Fase, Four MovementstotheMusicofSteveReich, which established her signature minimalist and rigorously structured style.
In 1983, De Keersmaeker founded her company, Rosas, and premiered the iconic Rosasdanst Rosas, featuring a score by Thierry De Mey and Peter Vermeersch. The work highlighted the tight, structural bond between dance and contemporary music—a core tenet of her artistry. Her early largescale productions, such as Ottone,Ottone (1988) and Achterland (1990), integrated live musicians into the stage aesthetic, a practice she continues to employ.
In 1992, Rosas began a significant residency at La Monnaie, the Belgian national opera in Brussels. This period was marked by international recognition, with premieres at major festivals such as Avignon and the creation of screen adaptations like Peter Greenaway’s Rosa. During this time, she refined her choreographic language, moving from an idiom suited to her own body towards a classically rooted
© Anne Van Aerschot
自己的身體為核心來編舞，而隨着舞團規 模日益擴大，她的舞蹈語言也不斷進化， 轉為植根古典、契合團隊的風格。她在 這一階段取得的另一成就是於 1995 年創 立 P.A.R.T.S.（布魯塞爾表演藝術研究與訓 練工作室）。這所精英國際舞蹈學校至今仍 是當代舞蹈教育的樞紐。
1990 年代末至 2000 年代初，迪．姬爾斯 美嘉開始進行融合文本與動作的實驗， 她與 Tg STAN 劇團共同創作了《四人組》 （1999）及《真實時間》（2000）等作品。其 後，她回歸純粹的舞蹈，推出大獲好評的 《雨》（2001），配以史提夫．萊克的《為 十八位音樂家而作的音樂》，該作自此成 為舞團的標誌性劇目。她接下來還嘗試着 在《即興精釀／塔科馬海峽》（2003）中 即興創作，以及在《卡桑德拉——以十二 種聲音說話》（2004）中大量運用文本。
2006 年，迪．姬爾斯美嘉結束在比利時 皇家鑄幣局劇院的駐院生涯，隨即步入全 新的創作高峰期。她進一步淬煉其極簡風 格，聚焦於行走和呼吸等基礎動作，並且 深入探究不同時代的音樂。這一階段的 重要作品充分展現了她的多重創作面貌： 《等待之中》（2010）與《切塞納》（2011）將 中世紀音樂融入特定場域演出；隨着藝術 事業成熟，她展開強勁有力的獨舞表演， 在《死亡與生命同在／巴赫六首大提琴組 曲》（2017）和《戈爾德堡變奏曲》（2020） 中演繹巴赫的經典樂曲；大型群舞作品如 六首《布蘭登堡協奏曲》（2018）則再次彰 顯她對古典音樂結構的精準掌握。迪．姬 爾斯美嘉近年與流行唱作人梅斯克倫．米 斯合作創作了《超脫出口》（2023），並推 出新作《和聲與創作之爭》（2024）和《布 雷爾》（2025），反映了她與時代共振的創 作生命力，以及對探索新形式的熱切追求。
迪．姬爾斯美嘉對當代舞壇的深遠影響早 已獲國際肯定，她曾於 2015 年獲威尼斯雙 年展頒授終身成就金獅獎。2025 年，她更 獲日本美術協會頒發高松宮殿下紀念世界
文化獎，進一步鞏固她作為同代最具影響 力與創新精神的編舞家地位。
vocabulary for her expanding company. A major institutional legacy of this era was the founding of P.A.R.T.S. (Performing Arts Research and Training Studios) in 1995, an elite international dance school that remains a vital hub for contemporary dance education.
The late 1990s and early 2000s saw De Keersmaeker experiment with the intersection of text and movement, collaborating with the theatre company Tg STAN on pieces such as Quartett (1999) and In RealTime (2000). She returned to pure dance with the highly successful Rain (2001), set to Reich’s Musicfor18Musicians, which became a signature repertoire piece. Other experiments followed, including improvisation in BitchesBrew/Tacoma Narrows (2003) and text-heavy work in Kassandra–SpeakinginTwelveVoices (2004).
After 2006, following the end of the La Monnaie residency, De Keersmaeker entered a new, highly productive phase. She refined her minimalist approach, focusing on foundational movements such as walking and breathing while engaging deeply with music from different eras. Key productions from this period showcased her range: EnAtendant (2010) and Cesena (2011) drew on medieval music in site-specific contexts. As she matured, she also engaged in powerful solo performances, dancing to Bach's Cello Suites in Mittenwirim Lebensind/Bach6cellosuiten (2017) and to The GoldbergVariations (2020). Large ensemble works including TheSixBrandenburgConcertos (2018) re-affirmed her structural mastery of classical music. Her latest works demonstrate her continued relevance and willingness to explore new forms, including collaborations with pop singer-songwriter Meskerem Mees in EXITABOVE (2023) and recent creations such as IlCimentodell’Armoniae dell’Inventione (2024) and BREL (2025).
De Keersmaeker’s enduring influence on global dance has been recognised with major international honours, including the Golden Lion for Lifetime Achievement from the Venice Biennale in 2015. In 2025, she received the prestigious Praemium Imperiale from the Japan Art Association, further solidifying her status as one of the most significant and innovative choreographers of her generation.
《羅薩絲之舞》
安．德麗莎．迪．姬爾斯美嘉 /
羅薩絲舞蹈團
RosasdanstRosas
Anne Teresa De Keersmaeker/Rosas
編舞
安．德麗莎．迪．姬爾斯美嘉
舞者
賈思敏．阿克塔里
勞拉．巴赫曼
伊娃．加梅爾
黑丸紅葉
創作 （1983）
安．德麗莎．迪．姬爾斯美嘉
雅德莉亞娜．博列洛
米歇爾．安．迪邁
池田扶美代
音樂
蒂埃利．迪邁
彼得．弗米爾茨
樂手（錄音）
蒂埃利．迪邁（敲擊樂和鋼琴）
華特．胡斯（鋼琴）
艾利．史克檢（薩克管）
彼得．弗米爾茨（單簧管）
燈光設計
雷蒙．弗蒙特
服裝設計
羅薩絲舞蹈團
排練指導
約翰娜．索尼爾
藝術協調與規劃 安妮．范．艾爾科特
藝術總監助理 馬丁．蘭格
Choreographer
Anne Teresa De Keersmaeker
Dancers
Jasmine Achtari
Laura Bachman
Eva Galmel
Momiji Kuromaru
Created by (1983)
Anne Teresa De Keersmaeker
Adriana Borriello
Michèle Anne De Mey
Fumiyo Ikeda
Music
Thierry De Mey
Peter Vermeersch
Musicians (recording)
Thierry De Mey (percussion & piano)
Walter Hus (piano)
Eric Sleichim (saxophone)
Peter Vermeersch (clarinet)
Lighting Designer
Remon Fromont
Costumes
Rosas
Rehearsal Director
Johanne Saunier
Artistic Coordination & Planning
Anne Van Aerschot
Assistant to Artistic Director
Martine Lange
巡演經理
愛瑪．赫曼斯
技術指導
湯瑪士．維拉赫特
助理技術指導
班奈特．范哥特姆
Tour Manager Emma Hermans
Technical Director Thomas Verachtert
Assistant Technical Director Bennert Vancottem
技術人員 彼德．甘特 Technician Pieter Kint
服裝統籌
維爾勒．范登華韋爾
服裝統籌助理
艾爾斯．范．布根豪特
祈亞娜．馬扎羅洛
行政總監
賴斯．馬丁斯
發行
法蘭斯布魯德製片公司
世界首演
1983年5月6日，布魯塞爾巴爾薩明劇院 卡伊劇院節
製作
1983年創作：羅薩絲舞蹈團、卡伊劇院、
克拉普斯圖克藝術節
2026年重演：羅薩絲舞蹈團
由DANCE REFLECTIONS BY VAN CLEEF & ARPELS贊助 羅薩絲舞蹈團獲佛萊明社群和佛萊明社區委員會 支持
Costume Coordinator Veerle Van den Wouwer
Assistant Costume Coordinators Els Van Buggenhout Chiara Mazzarolo
Managing Director Lies Martens
Distribution Frans Brood Productions
World Premiere 6 May 1983, Théâtre de la Balsamine, Brussels, Kaaitheater Festival
Production Creation, 1983: Rosas, Kaaitheater, Klapstuk Re-run, 2026: Rosas
With the support of DANCE REFLECTIONS BY VAN CLEEF & ARPELS
Rosas is supported by the Flemish Community and the Flemish Community Commission
關於《羅薩絲之舞》
About Rosas danst Rosas
安．德麗莎．迪．姬爾斯美嘉和米歇爾． 安．迪邁曾在莫里斯．貝嘉創辦的默德拉 舞蹈學校學舞。1983 年，她們聯同另外兩 位同門——雅德莉亞娜．博列洛與池田扶 美代——組成了羅薩絲舞蹈團，四位女子 將編舞重新定義。在迪．姬爾斯美嘉的早 期作品《階段》中，她作為表演者的身份 較為突出，但當看到舞團劃時代之作《羅 薩絲之舞》時，觀眾則更能察覺她作為編 舞的重要性。
蒂埃利．迪邁和彼得．弗米爾茨在《羅薩 絲之舞》彩排期間創作了最初的配樂，在 此之前，羅薩絲的傳統是用現成音樂排 舞。不過，迪邁與弗米爾茨的作品還是 延續了《階段》中史提夫．萊克的音樂觀 念。他們寫的音樂節奏強勁，由鋼琴、敲 擊樂器、單簧管及薩克管直接引入簡約而 又不斷重複的布魯塞爾式變奏。在這些變 奏中，投入、熱情及暴力佔了上風，由是 孕育出極繁主義。
Along with Adriana Borrello and Fumiyo Ikeda, two other former students of Maurice Béjart’s MUDRA school, Anne Teresa De Keersmaeker and Michèle Anne de Mey formed the ensemble Rosas in 1983. Together, the four women redefined the very idea of choreography. While De Keersmaeker’s identity as a performer was the focus of her early work Fase, it was the company’s breakthrough masterpiece, Rosas danstRosas, that cemented her importance as a choreographer.
Thierry De Mey and Peter Vermeersch wrote their first compositions for RosasdanstRosas, with the creative process taking place during rehearsals. It had previously been the tradition to work with existing music. Nevertheless in the prolongation of Fase, Steve Reich’s body of ideas seeped through in the compositions of De Mey and Vermeersch. They wrote a rhythmic score for piano, percussion, clarinet and saxophone, which directly introduced a Brussels variation on the repetitive and minimalist themes. In these variations, commitment, passion and violence take precedence, giving rise to a form of maximalism.
© Anne Van Aerschot
《羅薩絲之舞》延續了《階段》的精密結 構，但舞蹈語言更易於解讀。舞譜明顯分 成四部分，各具相位、重複與律動等技法
特徵。這個框架決定了編舞的結構：首先 只有地板動作，然後才有椅子上的動作， 接着是探索整個空間，最後的第四樂章掀 起了一場打鬥，直至舞蹈結束。
在每一部分裏，舞蹈語言都具體成形。舞 蹈動作均源自日常觀察：用手撥弄頭髮、 側目而視、用手肘托着下巴、垂頭、跌 倒、奔跑等等。在簡短的第五部分，四名 舞者排成一列，在觀眾前重複每個動作， 音樂已然停下——這就是全作的尾聲。
《羅薩絲之舞》的動作語言毫無疑問十分女 性化。在美國後現代舞的傳統中，男女身 份往往被刻意忽略，動作模式比較中性。
《羅薩絲之舞》卻反其道而行之，只能由 女人來跳。這種女性舞者的集體敍事，在 迪．姬爾斯美嘉其後的《艾琳娜的詠嘆調》 及《巴托克／札記》中亦有呼應，但敍事
內容並不明確清晰。《羅薩絲之舞》刻意與 被理性化的情感保持明顯的距離，從而讓 觀眾有充分空間來構想自己的故事。
RosasdanstRosas continued the structural rigour of Fase, but its dance language has a clearer link to interpretability. The work is clearly divided into four parts, which are each characterised by techniques of phasing, repetition and movement. This framework dictates the choreographic progression: there is first only movement on the ground, then on chairs. Next the room is explored, and finally the whole scene is usurped in the fourth movement in a physical fight to the finish.
Within each section, the dance vocabulary takes concrete shape, drawing from everyday observations: the hand through the hair, looking to the side, propping the chin on the elbow, letting the head hang, falling, running. In a short fifth part, the four dancers form a line and resume each movement. There is no more music. A coda.
The language of movement in RosasdanstRosas is unmistakably female. While the American postmodern tradition often sets aside gender in favour of neutral patterns, RosasdanstRosas is designed exclusively for women. This collective female narrative is echoed in De Keersmaeker’s later works, Elena'sAria and Bartók/Aantekeningen, though the storytelling remains intentionally ambiguous. Rosas keeps a clear distance from rationalised emotions and allows the spectator complete freedom to make up their own story.
©
Anne Van Aerschot
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《羅薩絲之舞》的創作本身也是與重複及簡 約主義符號不斷糾纏的過程。如果說《階 段》仍接近美國後現代主義的和諧迷幻風
格，《羅薩絲之舞》則為這些音樂及編舞 的符號注入了一股歐洲表現主義的能量。
不協調、不統一及對照使重複的模式產生 了新意。速度、重複、相位、分化等變化 帶來多種含義，繼而塑造了飽含情感的動 作。嚴謹的結構與充沛的情感令表演緊湊 有力，兩者之間的張力亦使《羅薩絲之舞》
一舉成為現代舞運動的里程碑之作。舞蹈 評論家安娜．基索高夫曾在《紐約時報》 寫道：「極難得有一位編舞家可以讓你同 時思考和感受，而且使你意識到這兩個過 程。」《羅薩絲之舞》在紐約下一波藝術節 演出後，憑着迪．姬爾思美嘉的編舞及雷 蒙．弗蒙特的燈光設計，奪得兩項貝絲舞 蹈獎，對於這部當代舞經典而言，這些獎 項只是它所獲得的眾多殊榮之一。
（此文章最初由西奧．范．羅佩於 1991 年 11 月撰 寫，經精簡後於 1994 年香港藝術節場刊內刊登， 現經香港藝術節編輯部編輯後刊登。）
The creation of RosasdanstRosas reflects an obsessive engagement with minimalist codes. While Fase still leaned towards the harmonious, trancelike style of American postmodernism, Rosasdanst Rosas instils in these codes (both in its composition and choreography) a different energy, drawing on, among other influences, European expressionism. Disharmony, dissonance and counterpoint put a fresh perspective on the repetitive patterns. The resulting movements are emotionally charged, shaped by variations in speed, repetition, phasing and division. This tension between formal structure and raw emotion is what makes RosasdanstRosas a landmark of modern dance. As critic Anna Kisselgoff wrote in TheNewYorkTimes: “A choreographer who makes you think and feel at the same time and who makes you conscious of both processes is rare.” After being presented in New York during the Next Wave Festival, RosasdanstRosas received two Bessie Awards (for De Keersmaeker's choreography and Remon Fromont’s lighting)—the first of many accolades that would be bestowed on this contemporary dance classic.
(This is an excerpt from an article by Theo van Rompay, dated November 1991. The article was cited in the house programme of HKAF 1994 and has been edited by the HKAF editorial team.)
舞者
賈思敏．阿克塔里
賈思敏．阿克塔里2001年出生於瑞士，在洛桑的魯 德拉貝嘉舞蹈學校接受訓練，並於2021年完成課 程。隨後她加入巴塞隆拿的IT Dansa舞團，參與 演出艾甘．漢、奧哈特．勒赫林和亞歷山大．艾克 曼的作品。2023年，她加入安特衛普的弗蘭德倫歌 劇院芭蕾舞團，持續演出當代舞曲目，當中以安． 德麗莎．迪．姬爾斯美嘉的《階段》尤為重要。同 年，她獲洛桑州立美術館邀請參與「全權創作計 劃」，並演出獨舞《協奏》。2024年，她一邊在洛桑 大學攻讀藝術史和電影專業，一邊展開自由身舞者 生涯。後來，她再次獲弗蘭德倫歌劇院芭蕾舞團邀 請演出《階段》，並與羅薩絲舞蹈團合作完成《作品 集2025——展開〈階段〉》。2025年，她加入羅薩 絲舞蹈團，重新演繹《羅薩絲之舞》。
Dancer
Jasmine Achtari
Jasmine Achtari, born in Switzerland in 2001, trained at the Rudra Bejart School in Lausanne, completing her programme in 2021. She then joined IT Dansa in Barcelona, performing works by Akram Khan, Ohad Naharin and Alexander Ekman. In 2023 she joined Opera Ballet Vlaanderen in Antwerp, continuing to dance contemporary repertoire, notably Fase by Anne Teresa De Keersmaeker. That year she was selected by Lausanne’s MCBA Museum for CarteBlanche, where she presented her solo Accords. In 2024 she began a freelance career while studying art history and film at the University of Lausanne. She was invited again by Opera Ballet Vlaanderen to dance Fase, and collaborated with Rosas on BodyofWork2025—UnfoldingFase. In 2025 she joined Rosas for the revival of Rosasdanst Rosas
舞者
勞拉．巴赫曼
勞拉．巴赫曼1994年在法國出生，現作為舞者和 編舞家活躍於歐洲。2011年，她從巴黎歌劇院芭 蕾舞學校畢業，並加入巴黎歌劇院芭蕾舞團，演出 古典芭蕾、新古典作品以及翩娜．包殊和韋恩．麥 葛萊格創作的當代作品。2016年，她與洛杉磯舞 蹈計劃合作數月，隨後移居布魯塞爾，加入安． 德麗莎．迪．姬爾斯美嘉的羅薩絲舞蹈團。2020 年，她成為自由身舞者，與波赫士．夏瑪茲和烏珀 塔爾舞蹈劇場合作之餘，也創作自己的作品。她執 導了《奇美拉》（2021），該作品入選三藩市舞蹈電 影節、里斯本InShadow舞蹈影像節舞蹈影展和倫 敦國際舞蹈 影像節。此外，她還創作了《別碰我》 （2023），在法國和比利時巡迴演出。她為電影、音 樂和歌劇編舞，合作對象包括韋斯．安德遜、馬內 勒．拉比迪和薛迪域卡．格比殊。
Dancer
Laura Bachman
Laura Bachman, born in France in 1994, is a dancer and choreographer based in Europe. She graduated from the Paris Opera Ballet School in 2011 and joined the Paris Opera Ballet as a member, performing classical ballets, neo-classical works and contemporary pieces by Pina Bausch and Wayne McGregor. In 2016 she spent several months with the L.A. Dance Project in Los Angeles, then moved to Brussels to join Anne Teresa De Keersmaeker’s Rosas. She became a freelance artist in 2020, collaborating with Boris Charmatz and Tanztheater Wuppertal, and developing her own work. She directed Chimera(2021), with selections at the San Francisco Dance Film Festival, InShadow Lisbon and the London International Screen Dance Festival, and created Nemetouchezpas (2023), touring France and Belgium. Her choreography spans cinema, music and opera for Wes Anderson, Manele Labidi and Cédric Klapisch.
舞者
伊娃．加梅爾
伊娃．加梅爾2001年在法國出生，現活躍於巴黎 和布魯塞爾，從事表演與編舞。她曾就讀巴黎歌劇 院芭蕾學校，並在巴黎高等音樂及舞蹈學院取得碩 士學位。她是洛杉磯舞蹈計劃的舞者，與本傑明． 米派德共同創作《恩典》（2024年在塞納音樂廳 首演），並在巴黎愛樂廳表演雙人舞《你．我．我 們．他們》。她與迪文齊．錢伯拉斯和金．戈登合 作創作了《帶我回家》，並在2023至2025年間在 美國和歐洲巡迴演出。她亦於2025年與尼摩．弗 洛雷特在馬賽演出《最後的光芒》。她熱衷電影， 曾為朱迪絲．戈德雷契的《我也是》（2024年康城 影展）編舞、參與基里爾．謝列布連尼科夫執導的 作品。她亦為電影《無男山》和《瑪麗鋪床》編 舞，並擔任親密協調員。她在2025年加入羅薩絲 舞蹈團，參與演出《羅薩絲之舞》。
Dancer
Eva Galmel
Eva Galmel, born in France in 2001, is a performer and choreographer based between Paris and Brussels. She trained at the Paris Opera Ballet School and earned a Master’s degree from the Conservatoire National Supérieur de Musique et Danse de Paris. She dances with the L.A. Dance Project in Los Angeles, working with Benjamin Millepied on GRACE, which premiered at La Seine Musicale in 2024, and performing a duet in Me.You.We.They at the Philharmonie de Paris. She collaborated with Dimitri Chamblas and Kim Gordon on Takemehome, touring the USA and Europe from 2023-25, and with Némo Flouret on Derniers Feux in Marseille in 2025. Drawn to cinema, she choreographed Judith Godrèche’s Moi Aussi (Cannes, 2024) and performed for Kirill Serebrennikov. She also choreographs and served as an intimacy coordinator for the films Montagne sans garçon and Marie fait son lit. She joined Rosas for Rosas danst Rosas in 2025.
舞者
黑丸紅葉
黑丸紅葉2000年生於日本，五歲開始學習古典芭 蕾。兩年後，她在秋田縣開始練習夜來舞，並在 祭典上持續表演近十年。2019年，她入讀日本女 子體育大學，主修舞蹈，期間接觸了現代舞，並 在校內參與了多個創意項目。同時，她也與東京 舞蹈團體tantan合作推出新作。自2022年起，她 在P.A.R.T.S.繼續深造。2025年，她加入羅薩絲 舞蹈團，重新演繹《羅薩絲之舞》。
Dancer
Momiji Kuromaru
Momiji Kuromaru, born in Japan in 2000, began classical ballet at the age of five. Two years later, she started practising yosakoi dance in Akita prefecture, performing for nearly a decade. In 2019, she entered the Japan Women’s College of Physical Education to major in dance, where she was introduced to contemporary movement and engaged in university creative projects. She also collaborated on new works with the Tokyo-based dance collective tantan. Since 2022, she has continued her training at P.A.R.T.S. In 2025, she joined Rosas for the revival of Rosas danst Rosas
《布雷爾》
安．德麗莎．迪．姬爾斯美嘉、索拉．馬里奧特 / 羅薩絲舞蹈團
BREL
Anne Teresa De Keersmaeker, Solal Mariotte/Rosas
概念、編舞及舞者
安．德麗莎．迪．姬爾斯美嘉
索拉．馬里奧特
香頌
雅克．布雷爾
燈光設計
明娜．蒂卡寧
燈光設計助理
瑪拉．范．卡素
舞台美術
米歇爾．弗朗索瓦
服裝
奧阿蒂夫．布爾艾奇
戲劇構作
瓦內斯．克塞林
音響設計
阿歷斯．霍斯蒂亞
排練指導
約翰娜．索尼爾
排練助理
妮娜．哥德里斯
舞蹈研究
皮埃爾．巴斯坦
音樂研究
弗朗茜絲．布雷爾 / 雅克．布雷爾基金會
菲臘．約登斯
影片製作
斯廷．保威爾
蒙太奇影像
倫納特．德．泰耶
藝術協調與規劃 安妮．范．艾爾科特
藝術總監助理
馬丁．蘭格
巡演經理
愛瑪．赫曼斯
技術指導
湯瑪士．維拉赫特
Concept, Choreographers & Dancers
Anne Teresa De Keersmaeker Solal Mariotte
Chansons Jacques Brel
Lighting Designer Minna Tiikkainen
Assistant Lighting Designer Marla van Kessel
Scenographer Michel François
Costumes Aouatif Boulaich
Dramaturge Wannes Gyselinck
Sound Designer Alex Fostier
Rehearsal Director Johanne Saunier
Assistant Rehearsal Director Nina Godderis
Dance Researcher Pierre Bastin
Music Researcher France Brel/Foundation Jacques Brel, Filip Jordens
Video Creation Stijn Pauwels
Video Montage Lennert De Taeye
Artistic Coordination & Planning Anne Van Aerschot
Assistant to Artistic Director Martine Lange
Tour Manager Emma Hermans
Technical Director Thomas Verachtert
助理技術指導
班奈特．范哥特姆
技術人員
彼得．甘特
湯姆．提努尼斯
服裝統籌
維爾勒．范登華韋爾
服裝統籌助理
祈亞娜．馬扎羅洛
艾爾斯．范．布根豪特
縫紉
蕭菲．博雷曼斯
麗莎．費特
法蘭契斯卡．皮薩諾
行政總監
賴斯．馬丁斯
發行
法蘭斯布魯德製片公司
製作
Assistant Technical Director
Bennert Vancottem
Technicians
Pieter Kint
Tom Theunis
Costume Coordinator
Veerle Van den Wouwer
Assistant Costume Coordinators
Chiara Mazzarolo
Els Van Buggenhout
Sewing
Sylvie Borremans
Lisa Fayt
Francesca Pisano
Managing Director
Lies Martens
Distribution Frans Brood Productions
羅薩絲舞蹈團 Production Rosas
聯合製作
布魯日音樂廳
南法亞維儂藝術節
巴塞隆拿希臘藝術節
維也納ImPulsTanz 國際舞蹈節
法國克萊蒙費朗喜劇院
小彗星劇院（香檳沙隆國家劇院）
比利時皇家鑄幣局劇院
納慕爾親近藝術節
米蘭小劇院
巴黎市立劇院
中文字幕
徐昌明
由Dance Reflections by Van Cleef & Arpels支持
本製作獲比利時聯邦政府透過 Casa Kafka Pictures 提供的稅收 優惠政策的支持
羅薩絲舞蹈團獲佛萊明社群和佛萊明 社區委員會支持
藝術節加料節目
演後藝人談 Meet-the-Artist Session 14.03.2026
Co-production Concertgebouw Brugge (Bruges) Festival d’Avignon
Grec Festival (Barcelona)
ImPulsTanz (Vienna)
La Comédie de Clermont-Ferrand
La Comète (Châlons-en-Champagne)
La Monnaie/De Munt (Brussels)
L’Intime Festival de Namur (Namen)
Piccolo Teatro di Milano—Teatro d’Europa (Milan)
Théâtre de la Ville (Paris)
Chinese Surtitles
Ben Tsui
With the support of Dance Reflections by Van Cleef & Arpels
This production is realised with the support of the Tax Shelter of the Belgian Federal Government via Casa Kafka Pictures
Rosas is supported by the Flemish Community and the Flemish Community Commission
關於《布雷爾》
About BREL
《布雷爾》是編舞家安．德麗莎．迪．姬
爾斯美嘉和舞者兼編舞家索拉．馬里奧特 合作創作的舞蹈。馬里奧特擁有霹靂舞 背景，2022年從P.A.R.T.S.畢業後，於 2023年加入羅薩絲舞蹈團，參與《超脫出 口》的製作。《布雷爾》邀請兩代藝術家用 獨特的編舞與表演，來闡釋雅克．布雷爾 的精選香頌。
布雷爾的歌詞，濃鬱、充滿詩意、常帶有 政治色彩，能喚起聽 眾 内 心深處的的情 感。他極具個人特色的舞台表現力和肢體 語言，傳遞出一種直白、親密、幾乎能夠 化作實體的能量，與觀 眾 建立起強烈的共 鳴。雖然他的作品探索的大多是友誼、愛 情、社會政治變遷、暴力這些永恆的主 題，其在當下的迴響卻截然不同，從而引 發了新的思考：甚麼仍然有意義？布雷爾 的哪些創作手法至今仍能引起共鳴？如何 在保留核心的前提下，重新演繹他的作 品，使其適應當代舞台？
BREL is a collaboration between choreographer Anne Teresa De Keersmaeker and dancer/ choreographer Solal Mariotte. Following his 2022 graduation from P.A.R.T.S. and his background in breaking, Mariotte joined Rosas in 2023 for EXIT ABOVE. The project centres on a selection of Jacques Brel’s chansons, inviting two generations of artists to bring distinct approaches to choreography and performance.
Brel’s dense, poetic, often political lyrics evoke a wide range of moods. His infamous stage presence and gestural expressivity projected an energy that felt direct, intimate and almost physical, forging a powerful connection with audiences. While his work grappled with timeless themes—friendship, love and relationships, sociopolitical shifts, violence—its reverberations feel different today, prompting fresh questions: What remains meaningful? Which tools used by Brel can still resonate? How can his repertoire be re-imagined for contemporary stages without erasing its core?
© Anne Van Aerschot
迪．姬爾斯美嘉將她對音樂具象化的長期 探索放在《布雷爾》當中。2002年，她創
作了獨舞作品《曾經》，以鍾．拜雅絲的歌 曲為配樂，探索如何借助動作、聲音和姿 態傳達情感。2023年，她首演了《超脫出 口》，這部作品由梅斯克倫．米斯和舞者
兼音樂家卡諾斯．加賓現場演唱曲目，延
續了她對聲樂作品編舞的實踐。《布雷爾》 進一步拓展此脈絡——迪．姬爾斯美嘉和
馬里奧特兩位藝術家首度同台，共同挑戰
將布雷爾的人生經歷和作品轉化為當代的 肢體語言。
《布雷爾》的本質是一場探索——透過重
新發掘布雷爾的經典香頌，揭示時間的跨 度和變遷。該作品不僅旨在具象化展現布 雷爾的音樂，更試圖探究其現實意義和潛
能，以期塑造一個全新且富有批判力的舞 台效果。
De Keersmaeker brings a long history of exploring musical embodiment to BREL. In 2002 she created Once, a solo set to Joan Baez’s songs, probing movement, voice and gesture as avenues to emotional meaning. In 2023 she premiered EXIT ABOVE, with live songs performed by Meskerem Mees and dancer-musician Carlos Garbin, continuing her practice of choreographing to vocal music. BREL extends this trajectory: two artists, sharing a stage for the first time, interrogate the challenges of translating Brel’s life and oeuvre into movement today.
At its core, BREL is a search—an inquiry into time’s gaps and shifts exposed when revisiting Brel’s celebrated chansons. The project aims not only to embody Brel’s music but to interrogate its relevance and potential for a renewed, critical stage presence.
© Anne Van Aerschot
舞者
索拉．馬里奧特
索拉．馬里奧特 2001 年生於法國，他起 初學習霹靂舞，先後入讀安錫音樂學院 和 P.A.R.T.S.，並於 2022 年 6 月畢業。他在 2023 年加入羅薩絲舞蹈團。馬里奧特曾參 演楊．馬騰斯作品《任何搞分裂的企圖都
將以粉身碎骨告終》（2021 年亞維儂藝術 節），以及迪．姬爾斯美嘉作品《超脫出 口》（2023 年亞維儂藝術節）。他在 2024 年 初與音樂家尚 - 盧克．普魯維耶共同創作 首部原創作品《拼湊／破壞》；並於 2025 年延續相同理念，與音樂家魯卡斯．梅斯 勒推出新作《破壞／拼湊》。他們攜手並 進，持續豐富音樂與舞蹈的共通語彙，並
與業餘愛好者、學生及專業藝術家共享此 樂趣。
Dancer
Solal Mariotte
Initially trained in breakdancing, Solal Mariotte (born in 2001 in France) entered the Annecy Conservatory and then P.A.R.T.S., from which he graduated in June 2022. He joined the company Rosas in 2023. Mariotte has danced in Anyattempt will end in crushed bodies and shattered bones by Jan Martens (Festival d’Avignon, 2021) and in Anne Teresa De Keersmaeker’s EXIT ABOVE (Festival d’Avignon, 2023). In early 2024, he created his first piece, Collages/Ravages, with musician Jean-Luc Plouvier. In 2025, following the same principles, he created a new performance titled Ravages/ Collages with musician Lucas Messler. Together, they continue to develop a shared vocabulary between music and dance, which they share with amateurs, students and professional artists alike.
© Anne Van Aerschot
用舞蹈書寫音樂
Anne Teresa De Keersmaeker: The Choreographer Who Won the “Nobel Prize” for the Arts
在當代舞蹈界，鮮有人能如比利時編舞家 安．德麗莎．迪．姬爾斯美嘉般出類拔 萃，堪稱「標誌人物」。
作為二十世紀後期最具影響力的編舞家之 一，迪．姬爾斯美嘉獲獎無數，包括有 「藝術界諾貝爾獎」之稱的高松宮殿下紀念 世界文化獎。她身兼舞者與編舞家，創立 了羅薩絲舞蹈團及布魯塞爾表演藝術研究 與訓練工作室，更曾執導電影與歌劇。
When it comes to contemporary dance, not many artists are more deserving of being labelled an icon than Belgium’s Anne Teresa De Keersmaeker.
Hailed as one of the most important choreographers of the late 20th century, De Keersmaeker’s numerous awards include the Praemium Imperiale, widely regarded as the Nobel Prize of the arts. She is a dancer, a choreographer, the founder of dance company Rosas and the P.A.R.T.S. (Performing Arts Research and Training Studios) school in Brussels, and her richly diverse career has seen her embrace film and directing opera.
© Anne Van Aerschot
然而，對於這些頭銜與榮譽，迪．姬爾斯 美嘉一向淡然。她直言，頭銜或許有助 提升公信力，「但同時也會把人定型，將 人局限於一個無所適從的位置」。對她來 說，工作就是工作。時隔三十年，迪．姬 爾斯美嘉今季再率領羅薩絲舞蹈團重臨香 港，呈獻兩套舞作—— 1983 年令她一舉成 名的傳奇經典《羅薩絲之舞》，以及 2025 年向比利時知名歌手雅克．布雷爾致敬的 新作《布雷爾》。在這部新作中，她將以 六十五歲之齡與小她四十一歲的索拉．馬 里奧特聯合編舞，並同台演出。
兩人因一次課堂對談而結緣，當時馬里奧 特正就讀於 P.A.R.T.S.。透過這次閒談，他
們發現彼此也對布雷爾感興趣。馬里奧特 憶述：「她當時很即興地說：『啊，我們必 須創作一支雙人舞。』我便笑着答應『好 啊』，其實並沒有信以為真。」若干年後， 這對話竟成真。迪．姬爾斯美嘉指出，「馬 里奧特對布雷爾的理解與我截然不同。」但 這些差異與共鳴，成為創作的起點。
De Keersmaeker herself is dismissive about being regarded as an icon. While acknowledging that it can be useful in terms of credibility, “the problem is that it formalises you as a person and puts you in a place where I don’t situate myself”. Work, she says firmly, is work. For the first time in 30 years, De Keersmaeker and Rosas are returning to Hong Kong, presenting Rosas danst Rosas, the 1983 work which propelled her to international fame, and the 2025 creation BREL. Set to the songs of another Belgian icon, Jacques Brel, the piece will see 65-year-old De Keersmaeker performing alongside co-choreographer Solal Mariotte, 41 years her junior.
The collaboration arose from a casual conversation at the end of Mariotte’s time studying at P.A.R.T.S., in which the two discovered a shared fascination for Brel. “She said, ‘Oh, we have to make a duet’ very spontaneously,” Mariotte recalls. “So I said ‘Yes’, laughing and not really believing it.” A few years later, the work came into being. De Keersmaeker notes that Mariotte’s “interest was very different from what made me connect to Brel”. These differences combined with their common interests created a good starting point for the choreography.
© Anne Van Aerschot
迪．姬爾斯美嘉是比利時人，自小受布雷 爾的音樂薰陶。而馬里奧特則來自法國， 「甚至生於不同世紀」。雖然部分歌曲題材
對馬里奧特而言較為陌生，但關於愛、友 情與死亡的主題卻歷久彌新。而布雷爾那 富傳奇色彩的澎湃力量，「既脆弱，又透 明，且真誠，即使年代久遠，仍能深深打 動我。」
迪．姬爾斯美嘉表示，她與馬里奧特的年 齡與職涯差距雖偶有挑戰，但代溝是「所 有人的收穫」。她說，關鍵在於「專注於 彼此的共通點，讓對方更強大」。她補充 說：「創作過程不必是鬥爭，但往往充滿 張力。最可貴的是那股正面而積極的能量 ——這正是我們追求的目標。」馬里奧特 則笑言，雖然兩人有時意見相左，「但這 也是一種協商，而我們總能達到共識。」
他認為，取得平衡是雙方的目標，「若缺 乏共同的能量與藝術視野，就無法成事。」
While De Keersmaeker grew up with Brel’s music and, like him, is Belgian, Mariotte is from France “and not from the same century”. However, while some of the songs’ subject matter and attitude feel distant to him, those that deal with themes like love, friendship and death are timeless. And Brel, with his legendary intensity, is “so vulnerable and transparent and authentic, that it touches me even if some of his songs are from another time”.
De Keersmaeker says the generation gap between Mariotte and herself was “enriching for everybody”, although it was sometimes challenging given the age difference and where they are at in their respective careers. She said it was important to focus “on what we share, making each other stronger”, adding: “The creative process doesn’t have to be a battle, but it can be very intense. The best thing is the good, positive energy—that’s what we’re aiming for.” Mariotte says with a laugh that, while they sometimes clashed, “it was also about negotiation and we found a way to agree”. The goal was striking a balance: “It’s not going to work unless you find a common energy… a common artistic view.”
© Anne Van Aerschot
Rosas danst Rosas
除新作《布雷爾》外，迪．姬爾斯美嘉更 會繼 1994 年香港藝術節演出後，再次為香 港觀眾帶來她深情繫念、坦言「情有獨鍾」
的經典鉅作《羅薩絲之舞》。自 1983 年首演 以來，這已是第四度重演，但編舞始終維 持原貌。她表示：「此舞結構極其精確、嚴 謹，不適合隨時間演變。」形式規整或予人 「冷峻與疏離」之感，但她強調：「在情感 表達與形體層面上，這部作品充滿張力。」
舞者間的交流，以及他們與編舞、作品的 連結，是整部舞作的核心。而全新演出陣 容亦將為經典注入新生命。
被問及自 1983 年以來作品如何演變時，
迪．姬爾斯美嘉直言：「這並非三言兩語 能概括，畢竟我已創作了六十五部作品。」
她對「編舞語言」的嚴謹與專注始終如 一，而她本人、音樂與舞者之間的「三角
關係」亦始終恆久不移。她說：「我做過 很多嘗試。最初主要與女性合作，近年則 更多與男性共事。為自己編舞和為他人編 舞，完全是兩回事……每種舞蹈語彙都要
與舞者一同培養，方能與之相契。」
撰文：Natasha Rogai
中文翻譯：吳楚雯
原文刊載於 2025 年 12 月香港藝術節之線上雜誌 《 News & Features 》
Along with BREL, the latest addition to De Keersmaeker’s impressive oeuvre, the Hong Kong audience will be seeing RosasdanstRosas, to which she remains “very attached”. Following its performance at the Hong Kong Arts Festival in 1994, this is the fourth revival since its creation in 1983 and the choreography hasn’t changed. “The piece doesn’t lend itself to evolve,” De Keersmaeker says, because the choreographic writing is so precise and so structured. That degree of structure and formality suggests “coldness and distance”, she notes, yet “it’s emotionally and physically very charged”. The relationship between the dancers themselves and that between the dancers, De Keersmaeker and the choreography is also key, and a completely new cast will bring something fresh.
Asked how her work has evolved over the years since 1983, De Keersmaeker says simply: “To answer that question we would need a very long time as I’ve made 65 pieces.” Her rigour and focus on “choreographed writing” have been a constant, as has the “triangular relationship” between herself, the music and the dancers. “I’ve done a lot of different things. In the beginning I worked mainly with women, but in recent years I’ve worked more with men. It’s very different if I choreograph for myself or for other people… each kind of vocabulary has to be developed with the dancers so that it’s close to themselves.”
Text: Natasha Rogai
Chinese translation: Aster Ng
This article was originally published on the HKAF's News & Features website in December 2025
Anne Van Aerschot
Acknowledgements
香港藝術節衷心感謝下列機構及人士的慷慨支持﹕
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譚榮邦先生 閻 蘭博士 楊 光先生
節目委員會
主席 譚榮邦先生 委員 白諾信教授
黃 翔先生 羅志力先生 毛俊輝教授
約瑟 施力先生 +
姚 珏教授
財務委員會
主席 范高廉先生 委員 鄭惠貞女士 梁國輝先生
發展委員會
主席 閻 蘭博士
副主席 梁嘉彰女士
委員 張詩樂先生 馮穎詩女士
龐心怡女士 孫林宣雅女士 文 藝女士
顧問 夏佳理先生 鮑 磊先生
查懋成先生
陳祖澤博士
陳達文博士
霍 璽先生
李業廣先生
梁紹榮夫人
李國寶博士
名譽法律顧問 甘乃迪女士 美博香港律師事務所
核數師 羅兵咸永道會計師事務所
Honorary Programme Advisor
電話 TEL （852）2824 3555
傳真 FAX （852）2824 3798、（852）2824 3722
電子郵箱 Email afgen@hkaf.org
節目查詢熱線 （852）2824 2430
Programme Enquiry Hotline
地址 ADDRESS
香港灣仔港灣道二號十二字樓 1205 室 Room 1205, 12/F,2 Harbour Road, Wan Chai, Hong Kong
The Hon. John KC Lee,
GBM SBS PDSM PMSM
HONORARY LIFE PRESIDENT The Hon. Sir Run Run Shaw, GBM CBE（1907-2014）
EXECUTIVE COMMITTEE
Chairman Prof. Lo Kingman, SBS MBE JP
Vice-Chairman
Honorary Treasurer
Members
PROGRAMME COMMITTEE
Chairman
Members
FINANCE COMMITTEE
Chairman
Members
DEVELOPMENT COMMITTEE
Chairperson
Vice-Chairperson
Members
ADVISORS
HONORARY SOLICITOR
AUDITOR
Mr Sebastian Shiu-wai Man
Mr Colin Farrell
Ms Joanna Hotung
Ms Leonie Ki, GBS SBS JP
Sir Lam Kin Chung, KCR
Mr Anthony Lau
Ms Kristine Li
Mr Ma, Ching Cheng
Mr Hugh Simon
Mr Tam Wingpong, SBS
Dr Yan Lan
Mr Sunny Yeung
Mr Tam Wingpong, SBS
Prof. Giorgio Biancorosso
Mr Edmond Huang
Mr Peter C L Lo
Prof. Fredric Mao, BBS
Mr Joseph Seelig, OBE +
Prof. Jue Yao, SBS JP
Mr Colin Farrell
Ms Margaret Cheng, JP
Mr Nelson Leong
Dr Yan Lan
Ms Catherine Leung
Mr Carey Cheung
Ms Ophelia Fung
Ms Samanta Sum-yee Pong
Mrs Helen Lin Sun
Ms Yi Wen
The Hon. Ronald Arculli, GBM CVO GBS OBE JP
Mr Martin Barrow, GBS CBE
Mr Victor Cha
Dr John CC Chan, GBS JP
Dr Darwin Chen, SBS ISO
Mr Angus H Forsyth
The Hon. Charles YK Lee, GBM GBS OBE JP
Mrs Mona Leong, SBS BBS MBE JP
Dr The Hon. Sir David KP Li, GBM GBS OBE JP
Ms Gabriela Kennedy
Mayer Brown Hong Kong LLP
PricewaterhouseCoopers
職員
行政總監 余潔儀
行政總監助理 何丹蓉
節目
節目總監 梁掌瑋、蘇國雲
副節目總監 李冠輝
高級節目經理 蘇雪凌、游慧姿 *
節目經理 鄭佩群 *、廖國穎 *、馬筠婷 *
黃 嵐 *
項目經理 李朗軒 *
節目統籌 陳娟瑜 *、周 翹 *、鍾曉晴 *
容諾行 *
節目主任 黃明儀 #
物流
物流及接待經理 金學忠 *
技術
高級製作經理 梁雅芝 * 製作經理 陳梓衡 *
出版
編輯經理 陳詠恩 *
英文編輯 Adam Wright*
副編輯 陳劭儀 *
助理編輯 干 霖 *
外展
外展經理 林嘉敏 *
外展統籌 陳沅渟 *、李幸凝 *、鄧芷蔚 * 、 黃思婷 *
外展主任 趙家琳 *、郭曉潼 *
外展助理 陳美鳳 *
市場推廣
市場總監 鄭尚榮
副市場總監 盧伯全
市場經理 鄭曉恩 *、張予心 *、黃芷賢 *
市場項目經理 譚懿諾 *
副市場項目經理 李穎軒 *
助理市場經理 朱凱潼 *
市場統籌 梁喬正 *
市場主任 王舒萱 *
票務
高級市場經理（票務） 梁彩雲 票務主任 蔡嘉熹 *
發展
發展總監 簡潤如
特別發展協理 蘇啟泰 *
發展經理 陳寶齋 *、葉巧儀 *、黃珮茵 *
助理發展經理 郭倩珩 *
發展主任 葉涴喬 *
短期發展助理 陳芍穎 *
行政事務
財務總監 鄺敬婷
會計
會計經理 杜詩麗 *
會計及行政主任 麥婕妤 * 人力資源及行政 人力資源及行政經理 楊美君 * 接待員 / 初級秘書 李美娟
資訊科技 資訊科技經理 陳啟明 *
無限亮
項目總監 錢 佑 *
節目及外展經理 鍾美琼 *、高 君 *、吳卓恩 *
助理節目及外展經理 潘詠汶 *
節目及外展統籌 鄭銘柔 *
市場經理 黃嘉欣 *
副市場經理 陳佩鈴 *、吳雪琼 *
助理製作經理 鄭家裕 *
高級會計主任 鍾巧明 *
STAFF
Executive Director
Assistant to Executive Director
PROGRAMME
Programme Directors
Associate Programme Director
Senior Programme Managers
Programme Managers
Project Manager
Programme Coordinators
Programme Officer
LOGISTICS
Logistics Manager
TECHNICAL
Senior Production Manager
Production Manager
PUBLICATIONS
Editorial Manager
English Editor
Associate Editor
Assistant Editor
OUTREACH
Outreach Manager
Outreach Coordinators
Outreach Officers
Flora Yu
Connie Ho
Grace Lang, So Kwok-wan
Kenneth Lee
Shirley So, Janet Yau*
Cathy Cheng*, Sophie Liao*,
Katie Ma*, Neva Wong*
Li Long-hin*
Alice Chan*, Nicole Chow*, Dorothy Chung*, Ryan Yung*
Melissa Wong#
Elvis King*
Shirley Leung*
Jacob Chan*
Eugene Chan*
Adam Wright*
Shao yi Chan*
Lindsey Gan*
Carman Lam*
Olivia Chan*, Giselle Li*, Tina Tang*, Ariel Wong*
Raven Chiu*, Angel Kwok*
Outreach Assistant Christine Chan*
MARKETING
Marketing Director
Associate Marketing Director
Marketing Managers
Project Manager – Marketing
Katy Cheng
Eugene Lo
Vicki Cheng*, Stephanie Cheung*, Effie Wong*
Hades Tam*
Deputy Project Manager - Marketing Hill Li*
Assistant Marketing Manager
Jessica Chu*
Marketing Coordinator Isaac Leung*
Marketing Officer
TICKETING
Senior Marketing Manager (Ticketing)
Ticketing Officer
DEVELOPMENT
Development Director
Special Development Associate
Development Managers
Assistant Development Manager
Development Officer
Nancy Wong*
Eppie Leung
Heidi Choi*
Brenda Kan
Alex So*
Leroy Chan*, Evelyn Ip*, Janice Wong*
Evelyn Kwok*
Jeria Yip*
Temporary Development Assistant Cherry Chan*
CORPORATE SERVICES
Finance Director
ACCOUNTS
Account Manager
Accounting & Administrative Officer
HR & ADMINISTRATION
HR and Admin Manager
Teresa Kwong
Connie To*
Charmaine Mak*
Janet Yeung*
Receptionist/Junior Secretary Virginia Li
INFORMATION TECHNOLOGY
Information Technology Manager
NO LIMITS
Project Director
Derek Chan*
Eddy Zee*
Programme and Outreach Managers Becky Chung*, Tiffany Ko*, Frieda Ng*
Assistant Programme and Outreach Manager Jasmine Poon*
Programme and Outreach Coordinator Taylor Cheng*
Marketing Manager Carly Wong*
Deputy Marketing Managers
Gina Chan*, King Ng*
Assistant Production Manager Dick Cheng*
Senior Accounting Officer Catherine Chung*
藝術家統籌 張晞琳*、朱芷慧*、馮碧琪*、向怡君*、何敬堯*、梁頌怡*、盧悅穎*、羅玲* 、Lucrezia Luxardo*、胡肇婷*、楊曦*、翁蒨懃*
製作主任 魏俊瑩*
技術統籌 張詠宜*、范文恩*、馮舒凝*、李浩賢*、譚學臻*、鄧煒培*、曾以德*
Artist Coordinators Haynes Cheung*, Eleanor Chu*, Betty Fung*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Celine Luo*, Lucrezia Luxardo*, Blanche Wu*, Adrien Yeung*, Bonnie Yung*
Production Officer Rita Ngai*
Technical Coordinators Jess Cheung*, Yan Fan*, Cherry Fung*, Lawrence Lee*, Camille Tam*, Billy Tang*, Joyi Tsang*
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order
# 藝術人才見習配對計劃2025/26由香港藝術發展局資助
# 2025/26 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2026年2月更新 Updated February 2026
請支持您的藝術節！
Become a Supporter of Your Festival!
香港藝術節是一所非牟利機構，單憑票房收入及政府基本資助，遠遠 未足以應付呈獻及推廣世界各地頂尖表演藝術的成本。藝術節之所以 能持續舉辦，捐助者的慷慨支持實在功不可沒。誠意邀請您捐助藝術 節捐助計劃，協助我們繼續帶來高質素國際及本地藝術家精采的演出， 以及舉辦多元化的外展及教育活動。
香港藝術節是香港特區政府的「藝術發展配對資助計劃」受惠機構， 部份籌得的捐款及贊助收入將獲一元對一元的配對資助。*
無論捐贈數額多少，我們均衷心感謝您的支持！
The Hong Kong Arts Festival is a non-profit organisation. Income from ticket sales and government baseline funding can only partially cover the Festival’s costs for presenting and promoting the best performing arts from around the world. The Festival can only continue its work thanks to the generous support of its donors. Please support the Festival Donation Scheme so we can continue to present world-class international and local artists as well as offering diverse outreach and education activities.
The Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-dollar match by the Government.* Donations of any amount will make a difference, and are greatly appreciated!
* 須受「藝術發展配對資助計劃」之條款及細則約束。 Subject to conditions of the Government’s Art Development Matching Grants Scheme.
網上捐款
ONLINE DONATION http://go.hkaf.org/give
其他捐款方法，請參閱刊於本 冊子尾部之捐款表格
For other donation methods, please refer to the Donation Form near the end of this booklet
查詢 Enquiries: dev@hkaf.org 2828 4911/12
is amongst the world's
Our home base most promising.
我們位於世界最具潛力的城市之一
1899.Childe Hassam - New England Headlands