reviews
Whenever someone dismisses Hong Kong as a "cultural desert," Dawna Fung is ready to drag them into the city's black box theaters, intimate cafe screenings, and independent bookstores. She is captivated by how art stubbornly blooms in the narrowest gaps, and its fragrance to quietly infiltrate every corner of the concrete jungle.
Beyond being an avid observer, she actively documents the cultural scene through her theater, film, and art exhibition reviews.
如果有人說香港是「文化沙漠」，馮曉彤會親自帶他走到黑盒劇場、放映電影的咖啡廳或獨立書店。她喜歡這裡的藝術家，近乎偏執地在城市的縫隙中種植，讓人在石屎森林中漫步時，會嗅到淡淡的花香。
她記錄這裡不斷演變的文化生態，並撰寫評論，包括劇場、電影及藝術展等。
|Published in Cha Journal|
“STEP OUT Studios’ The Next Movement Blasts Out Futuristic Sounds From the Dancers’ Feet”
For tap dance, however, I was fortunate enough to witness its own historical breakthrough, thanks to STEP OUT Studios’ boldly experimental idea of creating a pair of “electronic tap shoes”. When the dancers appeared and asked the audience to switch to airplane mode to avoid interrupting the electronic tap shoes’ transmission, I was already exhilarated.
|Published in Cha Journal|
“Lemons Lemons Lemons Lemons Lemons Translated into Hongkongers’ Language: The Pain of Being Muted and a Slight Hope of Expressing Feeling.”
Although her character is realistic, Chan presents her with complicated facial expressions that make the audience question whether she really thinks the same as she says. Her eyes are brightly sunny even as her mouth stiffens; her brow can frown in frustration even as she laughs; her smile melts into an expression of love when her eyes are gazing with pity.
|Published in Cha Journal|
“Between Play and Pain: Yat Yat Kingdom‘s Tender Confession.”
In the world of theatre, actors often serve as vessels for the stories of others, portraying characters born from playwrights’ imaginations and embodying lives that are not their own. After all, is not an actor’s greatest talent the ability to transform themselves into someone else’s life? Yet Yat Yat Kingdom transcends this tradition, inviting the audience into a raw, vulnerable space where performers reveal the truths of their struggling days.
|Published in The Theatre Times|
Nonverbal “King Lear” Review – Conflict in Visuals, Sounds, and Imaginations
At some point, it echoes ‘the art of leaving blank’, originating from the technique of expression in Chinese painting, that is always leaving some spacious white on paper, so as to expand the room for the viewers’ fascination and creativity. King Lear, also vacates the dialogue and verbal conversation, letting characters, and viewers alike, just immerse in silence and their own ruminations.
|刊於《信報》|
少數族裔港人饒舌成潮流：廣東話比你講得地道
菲裔港人Lazyboi Dri在他的饒舌作品《做緊野》裡，折射物價高企的問題，令港人沒有選擇：「如果無聽你電話／唔使問／唔使講都知／喂我做緊野」MV裡，Lazyboi Dri忙碌地駕車送貨、在廚房洗碗、坐辦公室聽電話…… 因為女友說想結婚，但嫌棄他沒有車。難道這不是所有香港打工仔的寫照嗎？
|刊於《艺鵠ACO》|
《Re:Entry Permit》（回歸許可）：回歸是痛，或不准，或偽命題
竺諺民以大量符號來搭構想像。例如一張白布，他甩開的動作就像升旗禮儀式，但當他愈來愈用力、起勁，意義似乎就不同了，更似是想甩走、擺脫它。又例如，一張簡單的黑色卡紙放在投影的相片前，形成影子，遮蓋著部分內容，有些似平時雜誌用黑色的橫間去遮著當事人雙眼、以免認出其身份一樣。然而，在竺諺民用手慢慢選擇遮蔽一些部分時，反而讓觀眾更加想留意那個部分，製造非常有趣的辯證實驗。
|刊於《艺鵠ACO》|
進念．十二面體《武生開打》以冷色基調訴說血肉的故事
「坐著或站在那裡，我的存在會不會不一樣？」進念．十二面體《武生開打》，以極簡的舞台，解構武生的武術身段及其角色。然而，劇名雖叫做《武生開打》，但整個表演的節奏與基調異常冷靜，沒有人對打，也不暴戾血腥，甚至是可以說是乾淨平實得有點令人畏懼。若然實體的敵人並非真正的，到底武生在旅途上跟誰開打？又為何舞刀弄劍？
|刊於《虛詞》|
香港原創音樂劇《大狀王》：飛雪、金蜻蜓和欄柵
「這些阡陌縱橫的木片，有時從左右駛進，有時從角色的天靈蓋而降，在不少場面也有出現。如此一來，欄柵既營造出傳統的空間美學，也寓意著角色如何受俗世牽絆及囚禁，在受限的環境中掙扎。例如盲婚啞嫁、窮苦百姓申訴無門、冤獄八載等，守舊的社會規條及敗壞的風氣使人被困，無法自由生活。