張慧喬 Michelle Cheung
舞台美學 Scenographer / 佈景設計 Set Designer /
製作設計 Production Designer / 服裝設計 Costumer Designer
  • 香港中文大學及藝術(榮譽)碩士畢業,主修文化管理

  • 英國溫布頓藝術學院藝術學士(榮譽)學位畢業,主修舞台及服裝設計

  • 海外交流經驗包括 2018年獲選到斯洛伐克統籌及參與戲劇藝術節,包括 New Drama Festival 及 Istropolitana Projekt

  • 在學期間於倫敦和香港兩地曾參與多項舞台製作,設計助理作品包括:Riverside Opera ‘Romeo and Juliet’, London Children’s Ballet ‘Nanny McPhee’, Iris Theatre ‘Alice in Wonderland’等

  • 近年設計作品包括浪人劇場《湖水藍》創作展演及浪人劇場2018社區文化大使計劃《自由樂園》

  • 設計佈景外,曾策劃及設計不同展覽、工作坊及藝術節包括《格外地創 : 藝穗會的故事》、《思前想後藝術節》以及《平民保育傳記》等

  • 曾於電視及廣播有限公司任職佈景設計師,設計多個綜藝節目佈景,包括《Asian Film Awards》、《明珠台第89屆奧斯卡頒獎禮》、《Think Big天地》、《猩猩補習班》等

  • 現為佈景及服裝設計師、創作,同時以藝術行政專業人員身份策劃演出計劃及展覽

  • Graduated with bachelor degree at the University of the Arts London, Wimbledon College of Art majoring in Theatre Design

  • Graduated from The Chinese University of Hong Kong with the Master of Art in Cultural Management Programme

  • Selected to work in Slovakia and to curate Festival Nová Dráma 2018 and Istropolitana Projekt during her undergraduate studies

  • Worked with various productions in London as assistant designer, works include Riverside Opera’s “Romeo and Juliet”, London Children’s Ballet’s “Nanny McPhee” and Iris Theatre’s “Alice in Wonderland”

  • Her design works in recent years include Theatre Ronin’s “Aquamarine” Showcase and “Free Playing Park”

  • Worked as a set designer in Hong Kong Television Broadcast Limited  for an assortment of TV programmes including “TVB Pearl Oscar 89th Academy Awards”, “Asian Film Awards”, “Gorilla Study Group” and “Think Big” to name a few

  • Currently work as set and costume designer as well as professional art administrator executing arts initiatives and exhibitions  

設計概念

 

香港是數一數二人口最稠密的城市之一,約有730萬人居住在1106平方公里的土地上。在有限的空間條件下,專業劇場人員缺乏足夠的空間進行實驗和創作。我對空間限制的思考也投射到我的作品上,作品強烈地反映了我在香港參與劇場設計時的感受 -猶如於籠屋中生存,嘗試摸索在狹隘的空間中的一種生活方式,以「蜘蛛網」來構想我們的夢。

Design Concept

Hong Kong is one of the most densely populated areas in the world, with approximately 7.3 million people living in 1106 square kilometers. Due to the insufficient land, the theatre practitioners is void of enough space to experiment and create. Sparked by the constraint, “Spider Web” is a piece directly reflects my contemplation working as a theatre design in Hong Kong - am i like a tenant in a cramped subdivided flats trying to find a way to live with it while stretching my “spider web” to build dreams.