Newsletter No. 395

6 No. 395, 4.4.2012 功成百煉許鞍華 Ann Hui’s Pain and Gain 「成功比失敗更難捱。」許鞍華剖白執導三十年的心路歷 程。「電影《投奔怒海》令我暈頭轉向，它的成功令我失敗 了許多年，感到很大壓力，很想下一部更好……其實，成功 靠天時地利人和，不是一人的功勞。今天到中大對我意義 很大，電影是應該直達觀眾的，這種交流是拍攝以外最有 意義的事。」 雖然享負盛名，獲獎無數，但許鞍華從未言退，「成功之 後還要繼續努力。」她寄語年輕人︰「你們面臨的時代，比 我們那一代更富挑戰性。人人都是作者，可以用攝錄機拍 片給全世界人看。表演者與觀眾的區別消失了，世界變得 很平等，但要突出則很困難。」要有成就，先得活出真我︰ 「我教導演班，沒幾位學生能讓我一眼就認出。我唸電影 時，同學充滿稜角，平素已經很出格。要展現自己！個性不 鮮明，作品哪有個性？」 ‘Success has been harder to stomach than failure,’ stated Ann Hui summing up her 30 years as a film-maker. ‘The overwhelming success of Boat People triggered my failure in the following years. I was under a lot of stress to make the next one better. A film’s success depends on a lot of factors, not just the effort of any one person. Coming to CUHK today is very meaningful because film-making is about communicating directly with the audience.’ Despite the many awards she’s won, Hui has not thought of retiring because ‘one needs to work hard even if one has succeeded.’ Her words to students are, ‘You’re now living in an era far more challenging than ours. These days, everyone can be a producer. He/she can use a digital camera to make a film and make it accessible to audiences all over the world. The boundary between performer and viewer is gone. The world has become very equal but it makes it harder to stand out.’ She said to achieve something, one needs to be true to oneself. ‘When I was in film school, my classmates came from different cultural backgrounds, and many of them were unique and used to thinking out of the box. This is what you want—showmanship in daily life. Be yourself! If you have no character, how can your work have one?’ 校 園 消 息 CAMPUS NEWS 博群大講堂 • The University Lecture on Civility 博 群大講堂先後於3月15及21日請來著名導演許鞍華女士及中文大學偉倫人文學科講座教授白先勇教授主講，共吸引了 一千三百多名師生參加，為了親炙名家大師，不少學生席地而坐。 M iss Ann Hui, renowned film director, and Prof. Pai Hsien-yung, Wei Lun Professor of Humanities, CUHK, were invited to host the University Lectures on Civility on 15 and 21 March, respectively. The lectures attracted over 1,300 students and staff, with many occupying the floor and aisles. 白先勇的青春夢 Pai Hsien-yung on the Resilience of Youth 詩作。稿子不夠，就由我們來寫和翻 譯外國文學作品。我寫《玉卿嫂》便 是因為缺稿。」他還特別展示了全體 編委為紀念出版首期而到照相館拍 下的照片，時維1960年，「這就是我 們的青春夢。」 退休後，白教授本計劃寫作自娛，但 眼看崑曲這塊中國文化瑰寶漸被遺 忘，他又做起推動崑曲的夢來，投入 製作青春版《牡丹亭》，自2004年起 至今已在世界各地演出逾二百場，令 年輕一代燃起了崑曲熱。 白教授鼓勵學生說：「大學生夢想愈 多愈好，雖然很多的夢想都是實現不了，但沒有關係。沒有 夢想，青春會虛渡。」 ‘I have loved dreaming since I was very young. My dream lasted several decades. I’m still dreaming. Perhaps I will never wake up.’ This was the prologue of Prof. Pai Hsien- yung’s lecture ‘The Resilience of Youth’. Professor Pai said, ‘College students should have many dreams. Take me as an example, I dreamed of changing and enlightening the literary circles in Taiwan when I was young. Once in Year 3 of my college studies, I discussed with my classmates “Why don’t we publish a literary magazine?”’ It was this dream of Professor Pai that founded Modern Literature , the most influential literary magazine in Taiwan in the 1960s. Professor Pai recalled publishing Modern Literature during hard times. ‘We had the brass to invite contributions for free as we didn’t have the money. Many thanks to Prof. Yu Kwang-chung for contributing his poems to our magazine. We had to write and translate articles since we didn’t have enough manuscripts. This was why I wrote Yu Qing Sao .’ He showed the audience a photo of the editorial team of Modern Literature , taken in 1960 to commemorate the inaugural issue. ‘This is evidence of our youthful dream.’ After retirement, Professor Pai had originally planned to write for leisure. While witnessing the neglect of kunqu though, he dreamed of promoting this precious art. As a result, Professor Pai devoted himself to producing The Peony Pavilion: Young Lovers’ Edition . With more than 200 shows having been performed over the world since 2004, kunqu has been rejuvenated among the younger generation. Professor Pai encouraged the students, ‘Dream as much as you can. It doesn’t matter though many dreams can’t be fulfilled. Without dreams, youth goes to waste.’ 「我從很年輕的時候已經喜歡做夢，一做就是幾十年，現在 我仍在做夢，大概是不願醒來。」這是白先勇教授主講「永 遠的青春夢」時的開場白，引得哄堂大笑。 他續道：「大學生就該多有夢想，我就是在年輕時，夢想求 新望變，希望為文壇帶來新氣象，在大三時，一次跟同學 談起何不辦一本文學雜誌？」他的這個青春夢，催生了《現 代文學》，為台灣文壇新闢一片不設門戶的青蔥園地，成為 台灣六十年代最有影響力之文學雜誌。 白教授憶述《現代文學》創刊的過程，由於財政困絀，「付 不出稿費，只好厚着面皮邀稿去，難得是余光中教授提供