章佩佩 Goretti Cheung
舞台美學 Scenographer / 佈景設計 Set Designer /
製作設計 Production Designer / 服裝設計 Costumer Designer
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舞台佈景及服裝設計師、知專設計學院客席講師、香港戲劇協會香港舞台劇獎評審
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畢業於香港演藝學院舞台及服裝設計系(榮譽 )學士
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曾獲成龍海外獎學金赴美國 Guthric Theatre 學習交流
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曾獲提名第 10屆香港舞台劇獎之最佳服裝設計
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以多元的身份遊走於舞台佈景及服裝設計、環保手工藝導師、木偶製作師及教授等
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開設「魚頭嬸嬸手作窩」 面書推動環保親子手作
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曾與香港及國内外多個藝團及商業機構及政府機構合作
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Set and Costume Designer, part time lecturer at The Hong Kong Design Institute, The judging panel of the Hong Kong Drama Awards of The Hong Kong Federation of Drama Societies
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Graduated from The Hong Kong Academy for Performing Arts with a bachelor degree majoring in Stage and Costume Design
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Granted the “Jackie Chan Charitable Foundation Overseas Training Scholarship” and worked as intern at Guthric Theatre in U.S.A
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Nominated the Best Costume Designer at The 10th Hong Kong Drama Awards
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Possessing experience in stage setting and costume design, upcycling art and teaching, puppet design and making
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Founder of Facebook Page “Fish Head Auntie” dedicated to the art of upcycing
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Worked with different performing arts groups, commercial companies and governmental organizations
設計概念
這個展品內包含了四個我設計的舞台佈景模型：
－ 《鬼劇院》劇場工作室
－《仮面情侶》劇場工作室
－ 《迂迴曲》香港話劇團
－《南丁格爾》夢飛行合家歡劇團
我把他們放置在我剛去世的寵物 ”Hotdog” 的跑步輪中，牠是一隻小刺蝟，在世時，牠每晚也樂此不疲的在輪中跑過不停，可能以為自己會有一日會跑到宇宙邊緣。香港是一個高速運行的城市，香港的劇場演出也是達到國際水平，每年的製作及演出數量很多，可惜每個演出的埸次平均大概只有5場。於是香港有創意和有水準的表演者及設計師，每每面對製作資金及薪金不足下，日復夜地通宵達旦完成設計、入台起景完show拆景，尚未消化檢討回味又下一個製作開始，甚至同期三五七個製作在進行中是等閒事。 我們需要量度但更需要深度！
Design Concept
Four of my set designs models are showcased in one go:
- “Crimson in a haunted theatre” by Drama Gallery
-“Jack and Jackie “ by Drama Gallery
-“Twists and Turns” by Hong Kong Repertory Theatre
-“Florence Nightingale “ by The Theatre Wonderland
The work of me are placed in the running wheel of my pet "Hotdog", a small hedgehog which has just passed away. It was his practise to run through the wheel every night. It might be, to him, a running machine that could lead him to the edge of the universe. The set is likened to Hong Kong, a fast-paced city keeping its rolling bill to put up performances of international level in theatres non-stop. Despite the enormous number of plays staged in Hong Kong annually, a mere 5-day production period is much the average. Even in Hong Kong, although we have creative and high-quality performers and designers, in the face of insufficient production budget, we, pressed for time, could only afford realizing a design around the clock. Once the show is done, there is no time left for proper review and there we go the next production. The question that I sometimes reckon on: are we too on the unstoppable running wheel mindlessly heading to somewhere we are uncertain of?
