The Hong Kong Arts Festival is a prominentarts event in the cultural calendar of Hong

Kong and the Asia Pacific region. Proudlystepping into its 33rd year, the Festivalcontinues its vigorous pursuit of innovativedevelopment; the presentation of new worksand the provision of quality arts.

In terms of the number and diversity ofprogrammes, the 2005 Festival is one of thelargest festivals to date, offering a wide varietyof inspiring art, music and culturalprogrammes by prestigious internationalartists and leading local talents. I am sure thatthe Festival will further enhance Hong Kong’sstatus as an international cultural metropolis.

I extend our warmest welcome to allparticipating artists and wish all local andoverseas members of the audience a mostenjoyable time.

TUNG Chee HwaChief ExecutiveHong Kong Special Administrative Region

2005

2005

Message from the Chairman

I warmly welcome you to the 33rd Arts Festival.As a premier event in the Hong Kong cultural

calendar as well as the Asia Pacific region, theFestival presents the finest international andregional artists in an intense series of concerts andperformances, as well as showcases the creativityof artistic talent in Hong Kong.

Appreciation and thanks are due to our mainsubventing organisations – the Hong KongGovernment, through the Leisure and CulturalServices Department, and the Hong Kong JockeyClub Charities Trust. Their long and continuedpatronage are what make these culturalpresentations possible.

In addition, we gratefully acknowledge thegenerous support of many corporate sponsors,arts institutions and individuals.

The Festival has always made our programmesaccessible to students and young audiencesthrough half-price student tickets and our YoungFriends Scheme. These schemes are funded by thegenerous donations from numerous corporateand individual donors.

The 2005 Festival offers a rich and stimulatingprogramme, with a variety of captivatingperformances and choices, presenting a diverse rangeof tastes with artistic excellence. We hope to offersomething enjoyable and of interest to everyone.

Above all, I would like to thank you, our patrons, foryour support and participation in the 2005 Festival.

Charles Lee

The Hong Kong Arts Festival is made possible with the funding support of:

2005

7A89268

2005

Message from the Executive Director

The starting point for the programming of this 2005Festival was the idea of contrasting opposites – ‘sacred

and profane’. Both of these elements are rich sources ofcreative impulses for the performing arts in most culturesand this thematic link is evident in much of ourprogramming. We hope these connections and contrastswill make your Festival experience more engaging andmemorable.

Alongside all of our international artists, we are proud topresent many outstanding Hong Kong artists. For example,the Hong Kong Philharmonic Orchestra and the HongKong Repertory Theatre, as well as the fine young HongKong musicians, pianist Rachel Cheung and the Fresh AirBrass Quintet. Other important Hong Kong artists takingpart include Cantonese opera stars Mui Suet-see and LeeLung; Class 7A Drama Group; Chung Ying Theatre; Group89268; the Material Girls; choreographer Daniel Yeungand the remarkable combined talents of Lee Chun-chow,Faye Leong, Gabriel Lee and Chong Mui-ngam in TheFrench Kiss.

In addition, our commitment to commissioning new workfrom Hong Kong and around the world continues, withpieces such as Amber, The Nightingale, All That ShanghaiJazz, Material Girls, i-City, The French Kiss, Come Out &Play and Little Prince Hamlet.

The 2005 Festival will offer a total of 124 performanceswith 42 performing groups (32 overseas and 10 local), twoexhibitions and our Festival Plus programme of talks,seminars and meet-the-artist sessions.

This is one of our largest Festivals to date, in terms of thenumber and the diversity of programmes. I am sure too,that it will be one of our most enjoyable and inspiring. Weare delighted that you could join us.

Douglas Gautier

19 Little Prince Hamlet 5

Studio Theatre,Hong Kong Cultural Centre

3 - 5.3.2005

1 20

Running time:approximately 1 hour and 20 minutes

with no interval

To make this performance a pleasant experience for the artists and other members of the audience, PLEASEswitch off your ALARM WATCHES, MOBILE PHONES and PAGERS.

Eating, drinking, smoking, unauthorised photography and audio or video recording are forbidden in theauditorium. Thank you for your cooperation.

Commissioned bythe Hong Kong Arts Festival

7 Credit List

Mugiyono KasidoArifwaran Shaharuddin

*

**

CCDC Miso Tech Co LtdNuri Aryati Vinalog

Matthias Botsch

Law Lea-hongEsther Lee

Joey Tan

Prof Yi Byung Uk

* © Jesse Clockwork

© Dominic Wong

9 Credit List

Performers and Creative Team

Collaborators / Performers Daniel Yeung (Hong Kong)Mugiyono Kasido (Indonesia)Arifwaran Shaharuddin (Malaysia)Kosei Sakamoto (Japan)

Composer / Callaborator / Performer Chang Jae Hyo (South Korea)Collaborator / Lighting and Takayuki Fujimoto (Japan)

Technical Designer

Dramaturg Tang Shu-wing*Costume Designer Silvio ChanSound Designer Anthony Yeung

Production Team

Producer Kathleen Ng*Associate Producer Anne Hung*Technical / Production Manager Gabriel MendoncaStage Manager Vicky ChoCrew Chan Man-ki

Suen Kwok-wahLeung Wing-kit

AcknowledgementsCCDC Dance Centre Miso Tech Co LtdNuri Aryati VinalogAu Yeung Kwun-yin Matthias BotschAnna Cheng Dr Lester ChanWinnie Chen Guy CheungMichelle Cheung Keff ChinPow Chung Maria FanLau Tin-ming Law Lea-hongEsther Lee Michelle LiuLala Liu Kevin LoJeff Ng Joey TanWong Ka-wing Reine WongAdrian Yeung Prof Yi Byung Uk

* By kind permission of the Hong Kong Academy for Performing Arts

With the support of

Rehearsal photographs © Jesse ClockworkPortraits © Dominic Wong

13 About the show

B-612

The Little Prince

The Little Prince is a simple yet mystical creature from asteroid B-612 where he isthe sole inhabitant. He flees his planet because he wants to escape from a beautifulflower. He travels visiting seven planets before he finally lands on the Earth. In theSahara desert, he meets a fox and a narrator who narrates the adventures of thePrince on the other planets. The fox is a wise creature, which teaches the Princethat the important things in life cannot be seen with the eye, but only felt with theheart. So the Prince decides to return to his planet to take care of his flower.

Hamlet

Prince Hamlet believes that Claudius, his father’s brother, has murdered his fatherbefore marrying Gertrude, his mother. The longing for revenge drives the Prince toan apparent madness. Polonius, a nobleman of the Court, thinks that Hamlet is inlove with his daughter, Ophelia who has been, rejected by the Prince. Hamletwants to kill Claudius but kills Polonius by mistake. Claudius incites Laertes,Polonius’ son, to enter into a duel with the Prince. In order to kill Hamlet, Claudiuspoisons Laertes’ blade and also prepares a poisoned goblet as a backup. Gertrude,however, takes the drink by mistake and instantly dies. Hamlet is wounded byLaertes’, but Laertes is killed by the Prince. Before he dies, Hamlet stabs Claudiusto death.

Summarised by Tang Shu-wing

15 Collaborators’ and Performers’ Notes

Mugiyono Kasido

Mugiyono Kasido(From left to right) Daniel Yeung, Kosei Sakamoto and Mugiyono Kasido

16 Collaborators’ and Performers’ Notes

Arifwaran Shaharuddin

0/1Chang Jae Hyo in rehearsals.

18

No one knows what happened to Antoine de Saint-Exupery, the author of the ever-popular The Little Prince, when the airplane he was piloting disappeared more than60 years ago. His final fate has remained a mystery. However, the French CulturalMinistry confirmed at the end of last year that his was the body excavated by theGravedigger mentioned in the classic work Hamlet. In fact, Saint-Exupery wasYorick, a court jester who jibed and jeered at royal foibles. In the dark days of theFirst World War when Saint-Exupery was a refugee in the US, he liked to speakquietly about a Little Prince’s dream of a true Utopia and he started telling a fairytale for adults….

Hamlet listened and listened until he finally started thinking: what is false? What is real?What is existence and dissolution? What are life, death and true love? So he decidedto put on a play within a play to find out the truth behind his father-king’s death. Hefurther understood that the rose and fox that Saint-Exupery wrote about were in factOphelia, and that his father-king was his 43rd sunset. The Gravedigger was like aLamplighter; the prison Denmark was the Planet where Little Prince lived.

Since Ophelia used madness to escape from herself, and death to avoid the disasterbrought on by lost love, Hamlet also had to rise through flight and leave his ownheavenly body, because the story of the Little Prince has to be formed during ajourney. In this journey, it may be that he will finally meet the Rose that he has longthought about. Everything seems to go back to the starting point of The LittlePrince and Hamlet, yet we know that the ending is not important. What isimportant is the journey, the process.

Daniel Yeung

Arifwaran Shaharuddin Mugiyono Kasido(From left to right) Arifwaran Shaharuddin, Takayuki Fujimoto, Mugiyono Kasido, Daniel Yeung, Kosei, Sakamoto andChang Jae Hyo

Collaborators’ and Performers’ Notes

19 Collaborators’ and Performers’ Notes

Puppets oh puppets, you want to talk?Puppets oh puppets, you want to live forever?In shock puppet oh puppet, what are you?

The last glass of wine.Mugiyono Kasido

The many useless meanings that you and I thought were not important.

Arifwaran ShaharuddinIntimacy is easy to feelIntimacy is hard to getIntimacy encourages youIntimacy makes you feel weakIntimacy is...

Kosei Sakamoto

To use the medium of media is to know how one tells the very matter of the world.In truth, the recognition or recording method is quite different from the humanbrain and the system of a digital moving frame. Though it seems to catch an imageonly later to be reflected through the human eye.

The computer contains a remainder of this reflection, which is later processed fromthe world by 0/1 filter.

Literature is strained in the net of the word, in which the connection comes throughthe innumerable blanks or silences that are not narrated in the written text.

The movement of the body, speaks through the medium, and is connected directlyby the individual. We can therefore cut it by the introduction of other elements on thestage.

Many filters come into existence at this point. Characteristics become clarifiedthrough filtering. They might also show the differences by changing frequenciesand the speed of the notation.

Furthermore, I’m going through the media concerned, through the verycharacteristic it embodies.

Takayuki Fujimoto

Everyone can have friends.But we never know how difficult it is.I’m so happy because I have met so many wonderful friends through this LittlePrince Hamlet project.I’m sure that all of you will feel this also.And I’m so happy because Hong Kong gives me beautiful memories of friend.

Chang Jae Hyo

21

open-minded

ArifwaranShaharuddin

Mugiyono Kasido

Feature

Daniel Yeung in rehearsals.

23

Dumb Type

multi-media

Feature

26 Feature

The Journey of Undefined MediaAnna Cheng

When Asian artists get together for cross-cultural, cross-border cooperation, whatthey have to experiment with and delve into often concerns the narrative language,the conveying of tradition, and also the everlasting problem of identity. Was this thecase with these six artists from Hong Kong, Indonesia, Malaysia, Japan and Korea?

“Not at all! We’re all open-minded and had no pre-conceived conceptions. Just asit was with the Little Prince, each day before the journey meant a day without anyidea of what we would meet, what we would find,” said Daniel Yeung.

And just what was it that they found as they took the two classic stories of TheLittle Prince and Hamlet along on their own journey?

Probably the first thing they discovered in the cooperative process was that eachof them differed in physical ability and in personality.

Arifwaran Shaharuddin likes to talk through video images and the written word.Especially when the topic is political in nature, his body language is agitated andhyper. Mugiyono Kasido is restrained and reserved, and this is expressed inmovements that seem still and mellow yet are filled with the quality of tension. Ina dance with his face hidden by a traditional Indonesian mask, this inner life-forceis even more striking. Kosei Sakamoto seems to fall between the descriptions ofthe two artists mentioned above. He shuns hysteria, but he gets quite aggressive.When he calms down, you'll see that his brain is still hard at work. As for DanielYeung, people in Hong Kong should know him well.

His trademarks are theatrical tomfoolery and banter. His antics leave you unable tostop laughing, but you will also be bug-eyed at his explosive energy and lithemovements. Chang Jae Hyo is not a dancer, but a performer who composes andplays percussion music who moves and is moving. You'll find personality andstrong emotions in his sounds and performance. As for Takayuki Fijimoto’s lightingdesigns and technical effects, if you ever saw the arts group Dumb Type, you'llrecall the awesome air of intimidation that he was able to evoke.

How could six such different individuals adapt themselves and solve problems? Inthe process, what did they discover?

“It was a very challenging process. First, we each had to be responsible for a 10-minute segment. This included Chang Jae Hyo, who was in charge of the musicand Takayuki Fujimoto, who was doing the lighting! The difficulties I myself ran

27 Feature

into for my segment were that Iwanted to find a union between thebodies in the group. But with somany different body types to workwith, I had to find something they allhad in common. It took me a longtime,” said Kosei Sakamoto.

“In themes, I found that The LittlePrince and Hamlet have manysimilarities as well as comparable orcontrasting points. They also are fullof metaphors: life and death, thetrue and the false, the worlds ofadults and children, dreams ofreality, a play within the play – allthese themes are interesting andworldwide in nature,” Daniel Yeungsaid, “I discovered some startlingtruths about death: all these werematters of choice. Ophelia actuallychose to drown herself; the LittlePrince finally was willing to have thesnake bite him so that its poisonwould give him the gift of death.”

As for the others, they discovered: ‘the individual’, ‘everyday life’, ‘the importanceof individual artistic thought’, ‘carving out space amidst so many individuals’ –these were footnotes found after reflection, responses to the body, to feelings andto relationships.

Publicity touts this as new, comprehensive Asian theatre. Is it intended to challengecontemporary western multi-media aesthetics? They all deny this. It’s just that theyhave a concept in common; that is, to carry out the media without a strictly limiteddefinition. Everything can be expressed through any medium, colour, line, form,expression, or even thought, through the body, movement, music, drama, oranything else that the body has access to. This is already very multi-media.

Fusing drama, dance and music into one is the original characteristic of traditionaltheatre in the East. In exploring what the East has to offer, they go to whateverlengths they can. This is what the audience will sense. At the same time, you’ll alsodiscover the cooperation within this many-sided, cross-border exploration. Even ifthere is no particular expectation at the start of a journey, everlasting problems stilllie along the way, waiting for you to “tame” them.

Translated by Pan Shih

29 Biographies

19961999

2000

2001

2002BalletTanz 2002 2003

2005 2004

Daniel Yeung Collaborator / Performer

Daniel Yeung started to create dance in 1994 as a self-trained dancer andchoreographer following his graduation from the Chinese University of Hong Kongstudying Western Painting and Chinese Music. From 1995 he performed in, andchoreographed for, some of the City Contemporary Dance Company productions,until he received a scholarship to further his studies in Holland in 1996. Returningto Hong Kong in 1999 he created Dance Exhibitionist – a Paradise for Natural Body,which was awarded the 2000 Hong Kong Dance Alliance Dance Award. Acclaimedinternationally Yeung was invited to the 2000 Lyon Biennale and Big Torino in Italy,as well as touring in Taiwan, Japan, Australia, and Sweden.

In 2002 the Hong Kong Arts Festival commissioned Yeung to create his dancedrama Play Boys, which was then invited to the Teatri di Vita International Centrefor the Performing Arts in Bologna. The same year, Yeung was nominated as ‘theChoreographer to Look at’ by the BalletTanz year book in Europe, and thefollowing year he was awarded the Rising Artist Award by the Hong Kong ArtsDevelopment Council. In 2005, Yeung again received the Hong Kong DanceAlliance Dance Award for his solo production Metalove.

31 Biographies

Mugiyono Kasido

Mugiyono Kasido 1967

Kasido 19921993

Mugiyono Kasido Collaborator / Performer

Born into a family with a long tradition of performing Shadow Puppets in Klaten,central Java in 1967, Mugiyono Kasido studied at the senior high school for artsbefore entering the Dance Department of the Indonesian College of Arts. Hisknowledge and experience in performance is derived from some of the mostprestigious solo artists, who have contributed to his understanding of the art ofdance.

Kasido’s career as a choreographer began in 1992 with his work Mati Suri whichwas awarded the 9th Mangkunegoro Court Award and won the Best CreativeDance Performer Award. In 1993, another piece Terjerat was performed atSriwedari and won the Best Choreography Award. His performance credits includeTopeng, Kosong, Surat Sinta, Bagaspati, Kabar-Kabur, and Mencari Mata Candi.His works have travelled and premiered in Australia, Africa, Holland, Belgium,Denmark, Hong Kong, the UK, Germany, Japan, South Korea, Singapore, Sweden,Taipei, Portugal, Greece and Indonesia.

33 Biographies

Arifwaran Shaharuddin

Arifwaran Shaharuddin 1978

Shaharuddin

Arifwaran Shaharuddin Collaborator / Performer

Born in Malaysia in 1978, Arifwaran Shaharuddin was very young when he beganhis career in professional theatre and dance, and later enrolled as one of the firststudents of the National Arts Academy graduating with honours. At the age of 18he was one of the founding members of the Shakti Dance Company, acontemporary dance group dedicated to the idea of feminism. Under the tutelageof two traditional masters Khatijah Awang and Awang Hamzah, he was introducedto the idea of compatibility of form in modern contemporary living.

He is an activist with the Bangsar Utama, a group of students who believe in theabolishment of human rights violations in Malaysia.

Based in Germany for the past two years, Arifwaran Shaharuddin’s works havebeen featured in the UK, Spain, Denmark, Austria, Italy, Singapore, Japan, Thailandand South Korea.

34 Biographies

1990

20021996

Kosei Sakamoto Collaborator / Performer

Kosei Sakamoto started to perform free-style improvisations on the street, beforegoing on to direct theatre performances. He then discovered contact improvisation,learning different kinds of dance with various European choreographers. Since thefoundation of his company, Monochrome Circus in 1990, he has directed manyperformances, and also participated in works by several French choreographers,including Suzan Burge, Santiago Sempere and Compagnie Fattoumi-Lamoureux.His work has been presented at festivals across Japan, France, Germany, Korea,Singapore, Ethiopia and Lithuania.

While in the US, he danced at the 2002 Bates Dance Festival and the Judson ChurchOpening performance. He has been a leading voice in the Kyoto contemporarydance scene promoting contact improvisation, and organising the InternationalDance Workshop Festival since 1996. He has also produced dance programmes atthe Kyoto Art Centre.

35 Biographies

)

1996 19971995 2001 2001 2003Seulgidoong Vinalog

2000 2001

Chang Jae Hyo Composer / Performer

Chang Jae Hyo started out as a Korean traditional music performer now blendinghis music with the rest of the world. Being a producer and a percussionist, he playsthe a jaeng (an eight stringed instrument with a bow), and is also a vocalist ofKorean traditional music.

Chang has played with the Seoul Metropolitan Traditional Music Orchestra from1996 to 1997; the contemporary percussion ensemble Puri from 1995 to 2001;the contemporary Korean traditional music band Seulgidoong from 2001 to 2003;and currently performs with the world music band Vinalog. He was the musicdirector of Theatre Works’ production of Desdemona in Singapore in 2000 to2001.

1960 1987 DumbType

S/N 1994-1996 OR 1997-1999 1999-

2000- 2002- NightColors 2003 Refined Colors 2004-

Takayuki Fujimoto Collaborator / Lighting and Technical Designer

Takayuki Fujimoto was born in Kyoto in 1960. He is a member of the art groupDumb Type and has been the lighting designer, operations and technical managerfor all of the group’s performances and installations since 1987.

His recent productions include S/N world tour (1994-1996); OR world tour (1997-1999); Memorandum world tour (1999-); Ryoji Ikeda concert series world tour(2000-); Voyage performance world tour (2002-); Night Colors performance (Tokyo2003) where he designed and used LED lighting; and Refined Colors (2004-)together with Kosei Sakamoto, using LED lighting as well.

37 Biographies

l’Ecole de la Belle de Mai

1993 19942003

Tang Shu-wing Dramaturg

Artistic Director of No Man’s Land and a lecturer at the School of Drama of theHong Kong Academy for Performing Arts, Tang Shu-wing is a well known localstage director and actor. He has studied at the l’Ecole de la Belle de Mai and theNew University of the Sorbonne in Paris. During his stay in France, he also workedas an assistant director and actor in Theatre de la Main d’Or.

His work has been presented in Hong Kong, Macau, Beijing, Shanghai,Guangzhou, Shenzhen, Singapore, San Francisco, New York and Tashkent. Tang’sinternational and local awards include the Best Actor at the 2003 Hong KongDrama Awards; Distinguished Interpretative Performance at the 1993 TashkentInternational Theatre Festival; Distinguished Alternative Performance at the 1994Hong Kong Drama Awards; and a Jebsen Fellowship from the Asian CulturalCouncil.

He is also a Yoga Acharya of the International Sivananda Yoga Vedanta Centre,trying to use spiritual techniques in the training of performers.

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Foundation FundCitigroupHSBCWelcome Group Investment LimitedZegna Culture Foundation

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Patron

The Honourable Tung Chee-hwa

Honorary Life PresidentSir Run Run Shaw, CBE

Executive Committee

Mr Charles Y K Lee, GBS, JP

Mr Rafael Hui, GBS, JP

Mr Billy Li

Mr Wayne LeungMr Peter Thompson, SBS, OBE, LLD, JPDr Allan Zeman, GBS, JPMrs Mariana Cheng, BBS, JPMrs Clara WeatherallMr Ronald Arculli, GBS, JPMs Teresa HongMr Timothy Cheung

Programme Committee

Mr Rafael Hui, GBS, JP

Prof Lo King-man, MBE, JP

Prof David Gwilt, MBEMr Nicholas JamesDr Joanna C LeeMr Nelson LeongMr Fredric MaoMr Tam Wing-pong, JPMrs Clara WeatherallMs Yao JueMr Daniel Ng

Mr Joseph Seelig

Finance and Management Committee

Mr Billy Li

Mr Rafael Hui, GBS, JP

Mr Wayne LeungMr Nelson Leong

Development Committee

Mr Wayne Leung

Dr Allan Zeman, GBS, JPMrs Leong Yu-san

Mrs Clara WeatherallMrs Mariana Cheng, BBS, JPMrs Igna DedeuMs Deborah BiberMs Alexandria J AlbersMs Peggy Liu

Honorary SolicitorStevenson, Wong & Co

Hong Kong Arts Festival Trust

Mr Angus H Forsyth

Mr Darwin Chen, SBS, ISOMrs Mona Leong, BBS, MBE, JPMr John C C Chan, GBS, JPMr Rafael Hui, GBS, JP

Mr Martin Barrow, GBS, CBE, JPMr Thomas Kwok, JPDr The Hon David K P Li, GBS, JPMrs Mona Leong, BBS, MBE, JP

PricewaterhouseCoopers

Address: 12th Floor, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong Telephone: 2824 3555 Fax: 2824 3798 / 2824 3722 Website: http://www.hk.artsfestival.org Email: afgen@hkaf.org

Staff

Douglas Gautier

Programme

Grace Lang

So Kwok-wanMio Margarit Chow

Linda Yip (on study leave)

Eddy Zee

Marketing

Katy Cheng

Alexia ChowChris LamAndy Yau

Development

Angela Hui

Eunice Chan

Accounts

June Yun

Bonia Wong

Administration

Carmen Chu

Virginia Li

Tony Cheng

Staff (contract)

Programme

Elvis King

Tiffany YiuRoy Leung

Andrew Chan

Eva Lau

Christina Lee

Billy ChanCat ChengRufina FungNancy LamKathy LeeGary Leung

Joey Chan

Publication

Daisy Chu

Mya Kirwan Mya Kirwan

John Wong

Marketing

Agatha Ho

Michelle Yeung

Ada Mak

Alfee SoWu Kai-yinPang Leo

Development

Michelle Ching

Administration

Dicky Chan

Published by Hong Kong Arts Festival Society Limited Printed by A.Plus Design Reproduction in whole or in part without written permission is strictly prohibited.

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