Ho Wai-On 何蕙安 aka Ann-Kay Lin

Project  創作/演出項目

Acis & Galatea  仙侶与巨人

I staged Handel's Acis & Galatea as a dance-opera for the Hong Kong Academy for Performing Arts. Acis & Galatea was originally a serenata consisting mainly of da capo arias with short recitatives in between. The continuous repetition of the lengthy first section of each da capo aria made the work dramatically static on stage, and the recitatives did not always give enough time to carry out the stage action suggested by the drama. For this reason, most of the da capo sections were abridged and new characters created (e.g., birds, the genius of the mountains, cupids, muses) to prevent static stage situations. These characters were based on the libretto. Each character was identified by the costume and played by singers and dancers e.g., at the end of Act I, there were four pairs of Acis and Galatea on stage.

At that time, and unbeknown to me, I was much influenced by my childhood memories of Cantonese opera despite my Western Classical music training. Therefore this was probably the very first performance in the world of Handel’s Acis & Galatea staged as a dance opera in the style of Cantonese opera with a Cantonese-speaking cast. This became obvious to me when I looked at the production photos many years later (see below). You can see the full story in my PhD thesis (free download), search for Acis & Galatea in the PDF file.

《仙侶與巨人》是我多年前為香港演藝學院編導和設計的歌舞劇,音樂用韓德爾的《艾西斯與嘉拉蒂娜》,講希臘神話女神愛牧人(仙侶),不愛單戀她的巨人,除了原有的歌唱角色,我根據曲詞加添山之精靈、小鳥兒、小愛神、缪斯女神等等,以戲服代表角色,可由歌者和舞者在不同時候,什至同台演出,譬如四對仙侶同時出現。為了使演出能夠普羅大眾,製作和設計不自覺地受到小時看的大戲(粵劇)和唐片(廣東話電影)的影響,從以下的製作和演出照片和圖片,可見一斑。

The following are performance photos, together with some of my drawings/designs for this production.

More to come.

Stage design – I arranged the performing space to be like a reversed opera theatre: the auditorium became the main performing stage; the upper stalls became a smaller upper tier stage mounted with a projection screen and the design of clouds; on the sides where the boxes should be were the orchestra in stereo effect – though in the Cantonese opera that I remember instrumentalists were on stage near one side rather than both sides of the wings.

舞台設計: 由於不能在歌劇院演出,我把表演空間設計成顛倒歌劇院:觀眾座位的空間變成演出的空間,大堂座位的地方成為表演的主要舞台;上層攤位成為較小的上層舞台,在那裡有幻燈投影屏幕和裝飾以雲層設計,兩翼廂位成為舞台兩側的立體聲樂隊位 – 雖然在我記憶中粵劇樂器演奏者坐在舞台側而不是在兩翼。

One of my many stage floor plans – The Studio Theatre could be arranged flexibly, and I arranged it to be like a semi amphitheatre so that the audience could have a good view.  The floor of the main stage was painted with a pastoral design with neon lights under perspex as flowing water: a heart within heart signifies the obsessive and passionate love between Acis and Galatea transformed into a more gentle and unpossessive love when Acis is turned into water.

這是我為埸地和舞台的設計的眾多平面圖之一:我把這工作室劇院安排成居高臨下的半圓形劇場,讓觀眾有良好的視野。主舞台的地板漆上田園風味的花樣,中央的心型玻璃板下有霓虹燈如流動的水:心內有心的圖型象徵仙侶的痴狂熱戀,牧人被殺後變化成水,狂戀變柔情。

I was to make use of leftover black and white materials from the previous production. Here is an example of how I comply to the demand: White for Galatea’s aria AS WHEN THE DOVE.

我被要求使用以前的制作剰下的黑色和白色布料。以下是我遵守要求的一个例子:這是仙女唱《鴿子咏叹调》時穿象徵翅膀的白披肩設計。

Further use of black and white leftover materials: Hair scarfs, and dresses with ribbons for the muses; black trousers, white shirts and hair scarfs for the swains.  The screen and projection expand the spatial limitations.

使用黑色和白色布料的戲服設計:三缪斯女神的髮帶圍巾和緞帶連衣裙;牧人白襯衫黑褲和白頭巾。用上方小舞台的屏幕和幻燈投影擴大空間。

Colourful hair scarves – in a fashion that reminded me of Cantonese opera costume (L).

牧人的頭巾類似左圖的粵劇戲妝。


Long colourful ribbons on costumes for the nymphs and Galatea are reminiscent of a type of Cantonese opera costume (image L) that looks good with dance movements.

仙女們五顏六色的頭飾和裙子飄動著彩色長絲帶很適合舞蹈動作,可能是受到圖左粵劇戲服的影響吧。

More use of ribbons: Birds in aria HUSH, YE PRETTY WARBLING CHOIR.

更多使用長絲帶的戲服設計:這两只小黃鳥隨着仙女唱《噓!美麗鳥兒歌唱》而舞。

Shiny headgear – reminiscent of similar headgear in Cantonese opera, and matching the ribbon dresses used during dance numbers.

閃耀的頭飾類似粵劇的閃耀頭飾,和那隨着舞蹈而飄動的長絲帶裙子很相襯。

Cupids: White costumes and wigs.

Cupid was changed into three cherub-like beings when love became the motive for murder: dancers with wigs and horror film Victorian doll-like masks, used for the scene of the death of Acis.

小愛神丘比特:白色戲服、假髮和洋娃娃面具

當愛成為謀殺的動機時,三個小愛神戴上如恐怖片中維多利亞時代的洋娃娃般的面具和白色捲曲假髪,令人不寒而慄,這出現於仙女所愛的牧羊人被殺場景。

Genius of the Mountains: Wig modified and dyed green with a half mask – to create a mixture of an elf and some supernatural creature from Cantonese film.

山之精靈:

這是一個根據曲詞創造出來的角色。頭飾、戲服和造型大概受到我小時看的唐片(廣東話電影)神怪片那些山中小妖,和彼得潘卡通的影響吧

The Cyclops Polyphemus: My design was inspired by fairy tale; and used Cantonese opera headgear, platform shoes and walking on stilts.            

L is a wuchang (Impermanence 無常) that escorts spirits to the Underworld, walking on stilts and wearing a tall hat with the words ‘Seeing this brings good fortunes’ so as not to offend superstitious audiences.

獨眼巨人:

我對這個角色的頭飾戲服和造型有點受到童話插圖,粵劇頭飾,和踩高蹻(如上圖左戴着一見發財高帽的無常)等等的影響。



ACIS AND GALETEA as colourful ‘big drama' – this is what Cantonese Opera is literally called in Canontese.

把韓德爾的《艾西斯與嘉拉蒂娜》西方古典音樂劇,制作成有点香港口味和有点似大戲(粤劇)的《仙侣與巨人》。

The eye of Polyphemus appears when the chorus sing WRETCHED LOVERS.

當眾牧人和眾仙女圍繞著酣睡的仙侶唱《可憐的愛侶》時,巨人的單眼在上層小舞台的屏幕出現(他將妒殺仙女的所愛)。