Compiled from the Performing Arts programmes* and Visual Arts exhibition records from HKADC’s Arts Yearbooks and Annual Arts Survey projects dating from 2010.

“Tri Ka Tsai” by Yuri Ng X Anna Lo X Rick Lau (HK)

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Co-created by the multi-talented artists Yuri Ng, Anna Lo and Rick Lau, the original Hong Kong style cabaret performance Tri Ka Tsai examines this city’s bittersweet relationship with Cantonese, English and Putonghua. Mastering English had long been considered a ticket to success, and Hong Kong has groomed generations of “English-speakers” who spice up the language with their unique Cantonese accents and cadences. This was all lovely and well until we all suddenly realised that struggling with English wasn’t enough, as struggling with Putonghua is now as important as ever…

In this bizarre yet unique trilingual environment of Hong Kong, how do Anna and Rick position themselves? And for that matter, how do we? Come on over and see if Anna and Rick can figure it out, and maybe you’ll see Anna show off her Chinglish, or maybe you’ll cry simultaneous tears of joy and horror at Rick’s “Cantonghua”…don’t know ah, you come see see la!

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The views and opinions expressed in this article do not represent the stand of the Council.

“Happily Ever After Nuclear Explosion” by Reframe Theatre (HK)

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Could we still find happiness after a nuclear explosion?

Yan Pat To is the first ethnic Chinese playwright awarded by the Berlin Theatertreffen Stuckemarkt with his ground-breaking work A Concise History of Future China. In collaboration with dramaturge Dick Wong, Yan tackles another thought-provoking issue that is closely related to our lives through Happily ever after nuclear explosion. Two performers lead the audience into the post-nuclear-explosion world through daily objects, video presentation and installation.

A man and a woman from the nuclear contaminated areas emerge on stage. She talks of the preceding catastrophe and the life after it. He opens his mouth but there is no sound-just a severe gag reflex. To evade isolation and social exclusion, they return to their hometown, presumably now a dead city. At the epicentre of the catastrophe, to their surprise, is a vibrant nature where animals live freely and flowers blossom, no more lives destroyed, and everything is bright and beautiful…

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The views and opinions expressed in this article do not represent the stand of the Council.

“The Day I Fell Into A Book” by Lewis Gibson (U.K.)

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Welcome to The Institute. 
It is all perfectly safe. Trust us.

Anyone with an imaginative mind will enjoy the exciting journey of The Day I Fell Into A Book, an immersive storytelling adventure that explores the amazing places we go in our imaginations when we read. Follow the lab technician to The Institute and journey through the centuries-old stories complemented by three-dimensional sound recordings, intricate lighting and projection. The audience is taken into a lost world of classic myths and legends, travelling from underwater to outer space. Bit by bit, the fiction becomes reality as the stories seep into the room and come alive all around the audience. The spectacular sound and theatre experience explore the magic of reading for people of all ages.

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“Please, Continue (Hamlet)” by Yan Duyvendak × Roger Bernat (Switzerland) (English)

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“The members of the jury find the defendant Hamlet…”

Recent history and Elizabethan drama overlap in a unique fusion of theatre and legal trial. Real-life barristers, a judge, other legal professionals and a “jury” formed by the audience will take part in a “trial” of Hamlet for the murder of Polonius. The unscripted and interactive play by Roger Bernat and Yan Duyvendak awakens the audience’s sense of ethics, drawing them to realise how difficult it is to judge someone and giving them insight into how justice is administered.

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The views and opinions expressed in this article do not represent the stand of the Council.

“Please, Continue (Hamlet)” by Yan Duyvendak × Roger Bernat (Switzerland) (Cantonese)

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“The members of the jury find the defendant Hamlet…”

Recent history and Elizabethan drama overlap in a unique fusion of theatre and legal trial. Real-life barristers, a judge, other legal professionals and a “jury” formed by the audience will take part in a “trial” of Hamlet for the murder of Polonius. The unscripted and interactive play by Roger Bernat and Yan Duyvendak awakens the audience’s sense of ethics, drawing them to realise how difficult it is to judge someone and giving them insight into how justice is administered.

Hashtag :

The views and opinions expressed in this article do not represent the stand of the Council.

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