香港演藝博覽

小瓊：我剛剛在香港參加了一個為期五天的活動。我從香港演藝博覽（HKPAX）中學(xué)到了很多東西，并觀看了一些新穎而發(fā)人深省的音樂與劇場表演。

小薇：從去年年底開始，我們就聽說到香港演藝博覽的規(guī)劃，不僅對藝術(shù)家和藝術(shù)管理人員開放，也會對公眾開放。我還聽說演藝博覽會有全國各地選派出的參與者。

小瓊：演藝博覽計劃吸引演藝圈人士來參與展陳和小組討論、洽談新的項目以及經(jīng)營展覽攤位。經(jīng)過一年的精心策劃，首屆香港演藝博覽迎來了來自全球60多個國家和地區(qū)的1600名代表。沉浸在表演藝術(shù)中的這幾天令人興奮，也充滿了各種巨大的社交潛能。

小薇：我從展陳和表演的各種細節(jié)中意識到，許多觀感體驗都是身臨其境和具有創(chuàng)新性的，包括虛擬現(xiàn)實、人工智能和復(fù)雜投影的使用。顯然，科技對未來的表演藝術(shù)起著非常重要的作用。

小瓊：科技將使表演藝術(shù)跟上時代的步伐，觸及更廣泛的受眾，但藝術(shù)專業(yè)人士似乎非常熱衷于利用科技來擴大教育活動。我主持了一系列的領(lǐng)袖講座，來自中國、中東、南非和東南亞的演講嘉賓給我留下了特別深刻的印象。

小薇：事實上，你正列出了如今演藝領(lǐng)域發(fā)展最快的國家與市場。那么，新的表演場地和新的跨媒體項目又如何呢？

小瓊：雖然香港演藝博覽的主體會議是在香港西九文化區(qū)的藝術(shù)公園舉行的，但我很幸運地看到了東九文化中心（靠近九龍灣地鐵站）的一場預(yù)演。香港不斷開放和發(fā)展新的演藝場館，這對演藝硬件的提升來說是個好消息。

小薇：那軟件上呢？演藝博覽會的節(jié)目如何？

小瓊：香港舞蹈團在大型舞蹈詩《快雪時晴》中用新媒體和小提琴音樂向王羲之致敬；一部名為《1014》的音樂劇場新作將地水南音與爵士樂相結(jié)合。還有一部關(guān)注女性的川劇獨角戲《卓文君》，以及根據(jù)音樂劇《驚魂小店》改編的粵語劇目《花樣獠牙》。

小薇：我聽說香港芭蕾舞團還在本屆博覽會上舉行了《梁山伯與祝英臺》的全球首演，這是一部根據(jù)著名的小提琴協(xié)奏曲《梁?！犯木幍拇笮臀璧缸髌?，但經(jīng)過了重新改編和擴展。我看到11月該劇在澳門還會有演出。也許我會去現(xiàn)場看看！

Joan： I just attended an amazing five-day event in Hong Kong. I learned so much from the Hong Kong Performing Arts Expo （HKPAX）， and saw some new and thought-provoking musical theatre performances.

Valery： From the end of last year， we started hearing about the planning of HKPAX， open not only to artists and artistic administrators but also to the public. I’ve been told there was a very strong showing from delegates all over China.

Joan： Yes， they participated in showcases， spoke in panel discussions， pitched new projects and ran exhibition booths. After more than a year of planning， the event welcomed 1600 delegates from over 60 countries and regions worldwide. It was an exhilarating few days of immersion in the performing arts， with tremendous networking possibilities.

Valery： I read from the details of the showcases and performances， many were immersive and innovative， including virtual reality， artificial intelligence and sophisticated projections. Clearly， technology is playing a major role for the future of the performing arts.

Joan： Technology will enable the performing arts to keep up with our times and reach an even wider audience， yet it seems as if arts professionals are very keen to explore and expand educational activities. I hosted a number of leadership talks， and was especially impressed by the panels featuring speakers from China， the Middle East， South Africa and Southeast Asia.

Valery： Indeed， you’re listing the newest growth markets in the field. What about new venues in performance and new cross-media endeavours？

Joan： While the actual HKPAX meetings took place in the Art Park of the West Kowloon Cultural District， I was lucky to catch a pre-opening performance of the East Kowloon Cultural Centre （near the Kowloon Bay MTR station）. New facilities in Hong Kong continue to open and develop， which is great news regarding performing arts hardware.

Valery： What about software， as in programs？

Joan： The Hong Kong Dance Company paid tribute to Wang Xizhi with technology and violin music in After Snowfall； a new work entitled 1014 combined Cantonese nanyin with jazz. There was a one-woman Sichuan opera Zhuo Wenjun， also a Cantonese adaptation of the musical Little Shop of Horrors.

Valery： I read that Hong Kong Ballet also presented the world premiere of The Butterfly Lovers， a full-length dance piece based on the famous violin concerto， but totally reorchestrated and expanded. I see there will be further performances in Macao in November. Maybe I should try and get there！