謝謝 With thanks to

4-6.3.2009香港演藝學院歌劇院Lyric Theatre Hong Kong Academy for Performing Arts

為了讓大家對這次演出留下美好的印象，請切記在節目開始前關掉手錶、無綫電話及傳呼機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙，多謝合作。To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and pagers. Eating and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation.

演出長約1小時10分，不設中場休息Running time: approximately 1 hour and 10 minutes with no interval 07 演出及創作 Credits

11 分場 Scenes

特稿 Features 14 戲劇指導的話 Dramaturge’s Notes 18 形容不同形式的愛之希臘字詞 The Greek Words to Describe the Different Ways to Love 22 茱麗葉．庇洛仙與艾甘．漢對談 Juliette Binoche and Akram Khan

in Conversation

28 簡歷 Biographies素描及插畫：茱麗葉．庇洛仙 Sketches and drawings © Juliette Binoche 硬照攝影 Photographs by Marianne Rosenstiehl and劇照攝影 Production shots by Tristram Kenton

4-6.3.2009香港演藝學院歌劇院Lyric Theatre Hong Kong Academy for Performing Arts

為了讓大家對這次演出留下美好的印象，請切記在節目開始前關掉手錶、無綫電話及傳呼機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙，多謝合作。To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and pagers. Eating and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation.

演出長約1小時10分，不設中場休息Running time: approximately 1 hour and 10 minutes with no interval 07 演出及創作 Credits

11 分場 Scenes

特稿 Features 14 戲劇指導的話 Dramaturge’s Notes 18 形容不同形式的愛之希臘字詞 The Greek Words to Describe the Different Ways to Love 22 茱麗葉．庇洛仙與艾甘．漢對談 Juliette Binoche and Akram Khan

in Conversation

28 簡歷 Biographies素描及插畫：茱麗葉．庇洛仙 Sketches and drawings © Juliette Binoche 硬照攝影 Photographs by Marianne Rosenstiehl and劇照攝影 Production shots by Tristram Kenton

7

Credits 演出及創作

監製 法魯克．喬迪里 Producer Farooq Chaudhry

副監製 比雅．奧莉華拉 Associate Producer Bia Oliveira

茱麗葉．庇洛仙私人助理/製作統籌 羅蘭．哥斯 Juliette Binoche’s Assistant/Production Coordinator Laurent Gorse

巡演經理 包美恩 Tour Manager Christina Paul

技術總監 法比安娜．碧契奧利 Technical Director Fabiana Piccioli

技術統籌 桑達．盧倫 Technical Coordinator Sander Loonen

技術員 彌敦．羅素 Technician Natan Rosseel

中文字幕 昌明 Chinese Surtitles Cheong Ming

中文字幕操作 周漪玲 Chinese Surtitles Operation Elaine Chau

舞台設計 安列茨．卡普 Set Designer Anish Kapoor

作曲 菲利普．謝柏德 Composer Philip Sheppard

燈光設計 米高．赫爾斯 Lighting Designer Michael Hulls

音響設計 尼古拉斯．法利 Sound Designer Nicolas Faure

服裝設計（茱麗葉．庇洛仙） 艾爾巴．埃爾巴茲 Juliette Binoche is dressed in Lanvin by Alber Elbaz

服裝設計計（艾甘．漢） 伊藤慶 Akram Khan’s costume by Kei Ito

戲劇指導 佳．古治 Dramaturge Guy Cools

排練總監/舞蹈導師（茱麗葉．庇洛仙） 徐素滿 Rehearsal Director/Dance Coach (Juliette Binoche) Hsu Su-Man

製作人員Production Team

聯合導演與演出 茱麗葉．庇洛仙與艾甘．漢 Co-directed and performed by Juliette Binoche and Akram Khan

創作人員Creative Team

9

聯合製作 愛馬仕基金會 Co-producers 英國國家劇院

巴黎市立劇院 盧森堡大劇院 羅馬歐陸藝術節及羅馬愛樂學院 布魯塞爾皇家拉蒙尼歌劇院 悉尼歌劇院 英國李斯特Curve劇院 Hermès Foundation National Theatre, London Théâtre de la Ville, Paris Grand Théâtre de Luxembourg Romaeuropa Festival, Rome and Accademia Filarmonica Romana La Monnaie, Brussels Sydney Opera House, Sydney Curve, Leicester

支持 英格蘭藝術局 Supported by 貝爾．科恩慈善基金

西巴黎劇院－布洛涅比揚古 法國文化協會 Arts Council England The Bell Cohen Charitable Foundation Théâtre de l’Ouest Parisien – Boulogne Billancourt

CULTURESFRANCE

Juliette Binoche makeup by Lancôme Paris, hair by l’Oréal Professional for PR and Events.

世界巡迴演出贊助 法國興業私人銀行 Global tour sponsored by 愛馬仕基金會 SG Private Banking Hermès Foundation

製作 Produced by Khan Chaudhry Productions & Jubilation Productions

管理 艾甘．漢舞蹈團 Managed by Akram Khan Company

世界首演 英國國家劇院雷特爾敦劇場，2008年9月18日 World premiere National Theatre, Lyttelton, 18 September 2008

巡演詳情 Tour details: www.akramkhancompany.net

感謝 With gratitude to: Juliette Binoche and Akram Khan would like to thank acting coach Susan Batson: “You embrace work like no one else, your vision is a commitment to the human beings you’re working with, but also to the art. You know how to transform us, you see beyond, ready to share your discoveries with your heartfelt sensibility. Thank you Susan, you are a true inspiration.”

Juliette Binoche would like to thank Hsu Su-Man: “She made this adventure possible. Intuition takes you by surprise and I think that she knew how to create this encounter by just imagining before anyone. You make the joy of transformation come true. Your faith on this project is my path. Thank you for your love and commitment.”

特別鳴謝 Special thanks to: Dr Bobola, Brigitte Parnet-Evans, Christopher Hornzee-Jones, Marguerite Kardos, Mr and Mrs Khan, Fanny Aubert Malaurie, Olivier Meyer, Louise Pascal, Jean-Louis Rodrigue, Marianne Rosenstiehl, Francois Samuelson, Marion Stalens, Nikoleta Rafaelisova and Shanell Winlock.PR and Sponsorship by Kallaway www.kallaway.co.ukEarly research supported by Jerwood Studio at Sadler's Wells.

加料節目 FESTivAL PLuS 英國文化協會加料節目 合作伙伴：英國文化協會

5.3.2009 (四)演後藝人談歡迎觀眾演出後留步，與兩位表演者見面。

詳情請參閱藝術節加料節目指南，或瀏覽藝術節 網站：www.hk.artsfestival.org

British Council Plus Series In partnership with the British Council

5.3.2009 (Thu) Meet-the-Artist (Post-Performance)If you would like to meet the performers, please remain in the auditorium after the performance.

For details please refer to the Festival Plus Booklet or go to the Festival website: www.hk.artsfestival.org

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Scenes 分場

承諾

情聖

步履

做愛

結合

房間

幻想

皮膚

背叛

情慾／佔有

踢

轉化

可見／不可見

牆壁

PROMISE

CASANOVA

STEPS

MAKING LOVE

BONDING

APARTMENT

FANTASY

SKIN

BETRAYAL

PASSION-POSSESSION

KICKING

TRANSFORMATION

VISIBLE-INVISIBLE

WALL

我看見了 一大群人，

他們都是我自己， 但在他們當中，

我看不見真正的自己。──伊斯蘭蘇菲派神秘主義詩人毛拉納（1207-73）

I have seen a multitude of human beings

who were all only myself; but among them

I did not see the one that I am.Mawlana, Sufi mystic (1207-73)

14

特稿 Features

戲劇指導的話Dramaturge’s Notes

文：佳．古治艾甘．漢的首個長篇作品《如果》，也是跟舞台設計安列茨．卡普合作的，從賴因可比較東西方思想研究的著作《濕婆之眼》汲取靈感而成。 《濕婆之眼》的其中一個觀念：求知目的不在於知識本身，而是為了一個更大的目的，就是自我轉化或智慧體現。

正如茱麗葉．庇洛仙《尋．你我》的其中一個創作泉源，是巴比倫蘇美爾神話的女神「恩安娜」。她下地獄、受難和復活的過程，既歌頌大自然在春天復生，同時慶祝天與地、陽與陰的神聖諧合。

史丹利．基利民和約瑟．甘寶合著的《神話與身體》中辯說，所 有 神 話 、 所 有 民間故事都是關於身體的 ── 關於它的誕生、死亡，以及它經歷的所有身體轉化，後者常被形容為危機或失落的時刻。穿越火海，蛻去舊皮，換上新裝；分離，以尋找新的遇合。《尋．你我》具備追尋此等轉化的野心（或說欲望會更貼切），為此甘心冒險一探未知之域。對茱麗葉來說，這是一次循不同途徑去發現身體內在語言的機會；對艾甘．漢來說，則是要挖進個人記憶深處，藉此

Text: Guy Cools Akram Khan’s first full evening choreography, Kaash, which was also a collaboration with Anish Kapoor, was inspired by The Eye of Shiva by Amaury De Riencourt, a comparative study of Eastern and Western thought. One of the main ideas of this book is the

notion that knowledge is never an end in itself, but serves a larger purpose, that of self-transformation or embodied wisdom.

In a similar way, one of Juliette Binoche's sources for In-I is the Sumerian myth of the Goddess In-An-Na. Her descent into hell, her crucifixion and her consequent rebirth, celebrate both the annual rebirth of nature in spring, as well as the sacred marriage between earth and heaven — the female and male principles.

In their book, Myth and the Body, Stanley Keleman and Joseph Campbell argue that all myths, all storytelling, are about the body: its birth, its death and all

the somatic transformation processes it undergoes, the latter always being described as moments of crisis, moments of loss — going through fire, shredding one’s old skin for a new one, separating to find a new union.

In-I has the ambition — or better, desire — to look for these transformations by taking the risk to go into unknown territory: for Juliette to discover, in a different way, the visceral language of her body, and for Akram to dig into his personal memories in order to charge his acting emotionally. They do so by exchanging, by trusting the other to guide her/him into his/her world.

15

It is still early days in the creative process when I write these reflections and the result hoped for is still fragile, but already visible, both of them discovering new ways to express, to connect.

If successful, In-I will render this individual journey together both in its form — showing how they both developed their craft by learning from the other — and in the story it tells.

June 2008

增強其演出的情緒力量。他們相互交流，彼此信任，把對方引導到彼此的世界。

寫本文時，《尋．你我》尚處於草創階段，談其成果雖嫌過早，然而已可預見。兩位創作者都正在發現新方法去表達、聯繫。

成功的話，《尋．你我》會在形式上顯示他們兩人如何從對方身上學習，發展他們的技巧，同時在所說的故事上面，把個人的旅程合而為一。

2008年6月

18

特稿 Features

形容不同形式的愛之希臘字詞The Greek Words to Describe the Different Ways to Love

PORNEiA 孩子對母親的愛、被他人滋養的愛；生存所必需、消耗的愛；把他人變成對象，填塞空虛的愛。

Love of a child for its mother, love that is nourished by the other. Vital need, consuming love. To make of the other an object. Love that fills a void.

POTHOS 以匱乏為方式的愛；被愛、被肯定的需要。 Love as lack, the need to be loved, recognised.

MANiA 激情、依賴、嫉妒、佔有、獨有。攫取之愛（我希望你歸我所有）。

Passion, dependence, jealousy, possession, exclusivity. Captive love (I want you to myself).

EROS 愛神艾洛斯／丘比特（長了翅膀的激情，長了翼的陽具）；對美、善、互助和完成之欲求。喚醒對美的追求；通過神聖體驗去重新發現。

The winged god (winged passion, phallus with wings). Desire for the beautiful, the good, dependence and consummation. It awakens aspiration towards beauty. To rediscover by experiencing the sacred.

PHiLiA 朋友之愛；讓他人冒出來成為主體。有四個層次： Love for friends, emergence of the other person as a subject.

Philia has four layers:

Philia Physike 家庭（血緣）之愛；確認下一代為自身的延續。 Love for family (blood and flesh), recognising the child

as an extension of oneself.

Philia Erotike 肉慾之吸引，卻沒有肉慾之行為；兩個靈魂相互吸引；令我們甦醒，令我們成長。

Physical attraction, without the act itself. Two souls attracted to each other. Presence that awakens us, that makes us grow.

Philia Hetairike 友愛，聆聽別人，接納對方的差異、困難。交流 之愛。

Love for a friend, listening to the other, his difference, his problems. Love as exchange.

Philia Xenike 對陌生人的愛，好客之道、喜歡差異、變生多樣。 Love for the stranger, hospitality, loving difference,

emergence of alterity.

19

21

STORGE 溫柔；在旁關懷的心；少計回報的付出。 Tenderness. The heart that is present, heart on the palm, it gives itself

expecting less in return.

HARMONiA 在和諧的呼吸聲中默默愛着；同一樣的感應，簡單，在神秘層次上的共在感；互不依賴（我們相遇，就像昨天才剛分開）。

Love in silence, harmony in breaths, to be on the same wavelength, simple, a togetherness on a mystical level, not dependent (we meet as though we had only separated yesterday).

EuNOiA 良好意願；不求回報的愛；奉獻、同情、沒有被渴求的慾望；精神層次的愛。

Goodwill, love without expectation of return, devotion, compassion, without the desire to be desired. Spiritual level of love.

CHARiS 慶祝和讚頌之愛；自由付出的 、給予的愛；向神感恩之愛；無償；付出自己的美。

Love celebrating, praise, joy given freely, offered. The thanks to the gods. Gratuitous, beauty that gives itself.

AGAPE 絕對的愛；神的愛；來自天地萬物之源，付出自己的愛；準備捨身之愛的誕生；讓愛在別人身上成長的愛；豐饒、圓滿的愛。

Absolute love, love of God, the source. Love that springs from the source, that gives itself. A birth of a love that is ready to renounce itself. Love that makes love grow in the other. The fullness of love, plenitude.

If you perceive me, you perceive yourself

You cannot perceive me through yourself

If you get close to me,

It's because I come close to you.

I am closer to you than you are to yourself

Than yourself, than your breath.

Ibn Arabi, extract from

the final psalm of the Book of Theophanies

如果你察覺我，你就察覺了自己你不能透過你自己察覺我如你走近我那是因為我走近了你我與你的距離比你跟自己更近更近，比你自己的呼吸更近

伊本．阿拉比，摘自 《Book of Theophanies》最後詩篇

22

特稿 Features

日期：2008年6月28日 地點：巴黎尚維拉劇院

茱麗葉．庇洛仙與艾甘．漢在《尋．你我》的創作中途，決定以相互訪問的方式，刻畫「過程的狀態」。

茱　茱麗葉．庇洛仙艾　艾甘．漢

茱　在我們的創作經歷中，你覺得最大的挑戰是什麼？

艾　 面對自己。看見自己的真實：有時那並非我所喜。這計劃吸引我的地方正在於無知。從一個我迷失的地方開始，一段時間之後，我的工具和經驗才應用得上。

茱　你的工具是什麼？可以解釋一下嗎？

艾　 製作的方法，產生塑材，把事物結合起來的方法。我一向從跳板開始，望着深深的水底，然後縱身躍下。然而這個計劃開始時根本沒有跳板，我們只得就這樣的跳下去。平時在卡塔克舞和當代舞蹈中，我的身體是明顯存在的，但跟你合作，從第一天起，我便發覺不得不放棄我的身體，置身於不可知的領域，藉此重新學習。我感覺到我倆都不得不跳進你身體裏。那便是我們正在發展的，那些新的部份如「牆」、「可見／不可見」的意義。又或我從未跳過的探戈。我一直在探問，一直在懷疑。懷疑是很重要的。

茱　你會否覺得不舒服？

艾　 永不會舒服的。即便是相信，也是不舒服的。但不舒服沒關係，對我來說，愛情是不舒 服的。

茱　那麼你為何選擇這個主題？

艾　（大笑）不是我選的，是你選的啊。

茱　你探索的這個主題，對你重要嗎？或是因我們邂逅而偶然想到的主題？

艾　 它不是我自己會想得出來的主題。然而，有趣的是，這主題容許我，甚或驅使我變得赤裸裸。我倆都逼自己去到一個地步，我們都有了一堵牆（一點也不誇張），但我們甚至不能躲在牆後。根本沒有一刻讓我們可以抽離。好怕人的。

茱　跟一個女人分享這過程困難嗎？

艾　 你是女人這一點從來不成問題。令我感到挑戰的是我們談論愛的主題，以及我們必須相愛這事實。因此，界線在哪裏？每一天我都嘗試去界定，我們如何把自己從工作抽離，返回現實，因為那可能有危險。我們僅能在舞台上擁有對方，這是很特別的聯繫。是很不一樣的愛，因為你分享着同一個夢。

茱麗葉．庇洛仙 與艾甘．漢對談

23

茱　你在哪裏感到我們最接近？

艾　 舞台上，而且得一直維持這樣。那裏有移情和慷慨的意義。你獨自演出時，我絲毫沒有吸引別人注意的需要，因為那時的你，是你為作品努力着，突然之間，台上再不是我和你了，我們都變成《尋．你我》。

茱　你想人們從作品中得到什麼？

艾　 我期望他們無法用言語形容他們的感受和經驗。

茱　如果一定要你以一個字詞表達你想給公眾的東西，那會是什麼？

艾　 希望。沒有希望，我們都不能活下去。我們裏面都有一把聲音在說：我們可以活得 更好。

⋯⋯

艾　你又想透過這作品表達什麼？

茱　尋找自己的夢，創造自己，不顧一切，創造，存活！

艾　為什麼你需要探索愛？

茱　 對我來說，在這世界存活，除了愛別無他途。愛，便是生命之為生命之所在。我想我是情願去愛多於被愛。這有時令我變得脆弱。

艾　在愛的脈絡裏，自由和牢獄能否共存？

茱　 假如它們能共存，我便不太確定你能否再稱之為牢獄。假如真有委身和真愛這回事，我想你交給別人的，也同樣會交給自己。

艾　天使又怎麼樣？

茱　 小時候我可跟看不見的東西建立自然聯繫，我們現時大都失去了這種能力。對我來說，彷彿通過失去、分離，通過無所知的經驗，才會有重新發現我們內心那空間的可能。

艾　如果有人說你樂於放手而怯於堅持，你會怎麼說？

茱　 我想我的自然本能跟其他人一樣，都是執着的，因為分離不是一種容易接受的狀況。要放開，你不得不信任不可知，但我已發覺我並不執着過往，我想是我活在當下的激情較大之故。

艾　舞台演出對你來說，跟電影有何分別？

茱　 我喜歡在劇場和觀眾分享當下的時刻。每一夜我渴望回到那感受，與觀眾和其他演員一起重歷戲劇和角色軌跡的儀式。拍攝電影時，每一天都在適應新場景、新地方、新氛圍，你不得不把攝影機的技術世界，以及你自己的電影觀點，跟導演結合起來。不過，兩者的演出同樣是人性的內向放大鏡。媒介不是最重要的，最重要的是你有沒有把自己交付出去。

艾　舞蹈的經驗對你又怎麼樣？

茱　 我的身體未經訓練。我無法躲在身體之後，一如你無法躲在情緒背後，你只能在其中存在。但我的確感受到一種進步，以及你一直以來對我的關愛和慷慨。日復一日，我在舞動中發現愈來愈多自信和愉悅。然而，也有某些時候，我不禁懷疑自己怎可能做得到？

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Juliette Binoche and Akram Khan in Conversation

Théâtre Jean Vilar, Suresnes, Paris 20 June 2008

Halfway through the creation of In-I, Juliette Binoche and Akram Khan decided to draw up a “state of the process” by interviewing each other.

J: JulietteA: Akram

J: What is most challenging for you in the process we are going through?

A: Confronting myself. The reality of seeing myself: sometimes it isn’t what I like. What interests me about this project is the sense of not knowing. Starting from a place where I’m lost, and applying my tools and experiences much later.

J: What are your tools? Can you describe them?

A: Ways of making, generating material, ways of putting things together. I start with the diving board and then I look at the deep end and jump in. But with this project, in the beginning there was no diving board. We just had to dive in. Usually my body is very present in the kathak, the contemporary dance. But working with you, right from the first day, I realized I had to abandon my body, which is the place of not knowing, in order to learn again. I felt we both had to jump into your body. That’s the sense of “the wall”, “invisible/visible”, all these new sections we are developing together. Or the tango that I’ve never danced before. I am questioning all the time, doubting all the time. It is important to doubt.

J: Isn’t that uncomfortable?

A: It’s never comfortable. Even believing is uncomfortable. And it’s okay to be uncomfortable. For me, love is not comfortable.

J: So why did you choose this theme?

A: (laughing)I didn’t choose it. You did.

J: Is this an important theme for you to explore? Or is it accidental, because we met?

A: It’s not a theme I would have thought of myself. But what is interesting is that the theme allows me, or pushes me, to be naked. We both put ourselves in a place where we have a wall (quite literally), but we can’t hide behind it. There’s no moment where we can detach. And that’s scary.

J: Is it hard to share this process with a woman?

A: The fact that you’re a woman is never an issue. What is challenging is that we’re talking of the subject of love and the fact that we have to love each other. So where are the boundaries? Every day I am trying to define how we separate work from reality. Because there might be a danger. We only have each other on stage. It is a very special bond. It is a different kind of love because we are sharing the same dream.

J: Where do you feel we are closest?

A: On stage. And that has to remain so. There is such a sense of empathy and generosity. When you have a solo moment, I don’t feel any need to get the attention because when you’re doing it,

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you’re serving the work, our baby. Suddenly it’s not about you and I any more. We both become In-I.

J: What do you want people to take home with them?

A: I want them to be unable to describe in words what they felt or experienced.

J: If you had to choose one word to say what you want to give to the public, what would it be?

A: Hope. Without hope, we could just as well stop living. But there is something in us that says we can be better.

…

A: What is it that you want to say with this piece?

J: Go for your dream, invent yourself, nothing to lose, create, dare being!

A: Why do you need to explore love?

J: It feels to me that love is the only way to survive in this world and that love is what life is about. I think I’m more frightened to be loved than to love. It makes me more vulnerable somehow.

A: Can freedom and prison exist together in the context of love?

J: If they can co-exist, I’m not sure you can call it prison any more. If there is commitment and true love, I think that what you give to the other, you would give to yourself.

A: What about angels?

J: As a child I had a natural connection with the invisible. We tend to lose that contact. It seems to me that through the experience of loss, of separation, of not knowing, there is a possibility to rediscover that space again within us.

A: If one said to you that you are most comfortable in letting go and you are most afraid of holding on, what would you say to that?

J: I think my natural impulse is to hold on like anyone, because separation is not an easy situation to accept. To let go, you have to trust the unknown. But I've noticed that I'm not holding on to the past. I think because my passion to live the present is greater.

A: For you, what is the difference between performing in film and on stage?

J: I love sharing the present time with the audience in the theatre, I long for the ritual of going back to relive the trajectory of a play and of a character each night, with the audience and other actors. In films, every day is a re-adaptation of new scenes, places, atmosphere. You have to combine a world of technique with the camera and your inner vision of the film with the director. But acting is the same inward magnifier of human nature. The medium is not most important, the most important thing is your commitment.

A: How has the experience of dancing been for you?

J: I don’t have a trained body. I can’t hide behind my body, as you can’t hide behind emotions, you can only be in them. But I do feel an evolution, and you’re helping me with so much care and generosity. Day by day, I find more confidence and joy in moving. But there are also moments when I question how on earth will I be able to do it?

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Biographies 簡歷

奧斯卡金像影星茱麗葉．庇洛仙是法國最負盛名的女演員之一。她於巴黎出生，父親為雕塑家及舞台劇導演，母親為演員。庇洛仙於巴黎國家戲劇藝術學院畢業，旋即成為舞台劇演員，並間中在電影出演配角。1985年，她參演了尚- 盧．高達頗具爭議的《萬福瑪利亞》，嶄露頭角。稍後參演安德烈．泰西內的《情陷夜巴 黎》，演技大受好評，進一步確立她的法國電影明星地位。

1988年，庇洛仙在菲利普．考夫曼的《布拉格之戀》中飾演特麗莎，在國際影壇打響名堂。1991年，卡拉斯的《新橋之戀》起用她為女主角；而一年後路易．馬盧的《愛情重傷》拓闊了她的觀眾層。跟着主演了奇斯洛夫斯基的《藍白紅三部曲之藍》。

1995年，庇洛仙重返銀幕主演《愛在天地蒼茫時》，並於翌年憑《別問我是誰》（安東尼．明格拉執導）獲頒奧斯卡最佳女配角獎。2000年，她憑賣座電影《情迷朱古力》獲多項最佳女主角獎提名。之後，再擔任米高．漢尼卡的《巴黎怨曲》（2000）及 《偷拍》（2005）的女主角。

近作還包括：阿寶．費拉拿的《瑪利亞再生》（2005）、安東尼．明格拉的《非法入侵》（2006）、候孝賢的《紅氣球》（2007）等。最新電影則是阿薩耶斯的《夏日時光》（2008）。

茱麗葉．庇洛仙現與兩名子女居於 法國。

Oscar-winning actress Juliette Binoche is one of the most celebrated actresses in France, where she is referred to affectionately as “La Binoche”. Born in Paris to a sculptor/theatre director and an actress, she studied at the National School of Dramatic Art of Paris and after graduation became a stage actress, occasionally taking small parts in French feature films. She first earned recognition in 1985 in Jean-Luc Godard’s controversial Hail Mary (Je vous salue, Marie). Her position as a French film star was further confirmed by her acclaimed performance in André Téchiné’s Rendez-Vous.

Her international breakthrough came in 1988 when she played Tereza in Philip Kaufman’s The Unbearable Lightness of Being, which was followed by another lead role in Les Amants du Pont Neuf directed by Léos Carax in 1991. Louis Malle’s Damage in 1992 brought her to a wider audience and was followed by Krzysztof Kieslowski’s Three Colours: Blue.

Binoche returned to the screen in 1995 with The Horseman on the Roof (Le Hussard sur Le Toit). She won an Oscar for Best Supporting Actress in 1996 for her role in Anthony Minghella’s The English Patient. In 2000 she starred in the hit film Chocolat and was nominated for Best Actress awards across the globe. She followed this with Code Unknown (Code Inconnu, 2000) and Hidden (Caché, 2005), both by Michael Haneke.

Other recent films include Abel Ferrara’s Mary (2005); Anthony Minghella’s Breaking and Entering (2006); and Hou Hsao Hsien’s Flight of the Red Balloon (Le Voyage du Ballon Rouge, 2007). Her most recently completed film is Summer Hours (L’Heure d’été, 2008) by Olivier Assayas.

Binoche lives in France with her two children.

茱麗葉．庇洛仙Juliette Binoche聯合導演及演員 Co-director and performer

君悅酒店贊助茱麗葉．庇洛仙之住宿Accommodation for Juliette Binoche is supported by Grand Hyatt Hong Kong

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艾甘．漢在英國當今同輩編舞家中享負盛名。1974年生於倫敦，孟加拉裔的艾甘．漢七歲起習舞，受業於卡塔克舞大師普拉塔．帕華門下。

艾甘．漢後學習現代舞，創作舞目一 直 古 典 卡 塔 克 舞 與 現 代 作 品 兼備，著名獨舞作品包括《寶麗萊腳》 （2001）、《浪人》（2002）和《第三目錄》（2005）。

2000年8月他成立了自己的舞團，作品包括2002年的《如果》（與視覺藝術家安列茨．卡普和作曲家涅廷．索尼合作，2003年香港藝術節節目）、《媽》（2004）（2005年南岸表演獎）和《零度》（2005）（與舞者希迪．拉比．徹卡奧維，雕刻家安東尼．戈姆里及作曲家索尼合作，2006年獲提名羅蘭士．奧利花獎）。

《零度》其後取得2007年澳洲悉尼合夫曼表演獎的最佳編舞獎，艾甘．漢奪最佳男舞者獎。2006年與蕭菲．紀蓮合作《聖獸舞姬》（特邀林懷民編排紀蓮獨舞部份），翌年於香港藝術節演出。另一近作《變奏》是與倫敦小交響樂團合作，為史提夫．萊克70歲誕辰誌慶之作，科隆首演後巡迴歐美。流行歌手Kylie Minogue亦邀請艾甘．漢為她於2006年11月開始的「表演女郎」音樂會排一段舞。

2008年1月，他與中國國家芭蕾舞團合作的《相聚》，於北京世界首演，現正進行世界巡演。

艾甘．漢已婚，居於倫敦。

Akram Khan is one of the most acclaimed choreographers of his generation working in Britain today. Born in London in 1974, into a family of Bangladeshi origin, he began dancing at seven and studied with the great kathak dancer and teacher Sri Pratap Pawar.

After later studies in contemporary dance, he maintains his commitment to the classical kathak repertoire as well as to modern work. Among his best-known solo pieces are: Polaroid Feet (2001), Ronin (2003) and Third Catalogue (2005).

In August 2000, he launched his own company. Among his most notable company works are Kaash (2002), a collaboration with artist Anish Kapoor and composer Nitin Sawhney, which was featured in the 2003 Hong Kong Arts Festival; ma (2004), which won a South Bank Show Award (2005); and zero degrees (2005), a collaboration with dancer Sidi Larbi Cherkaoui, sculptor Antony Gormley and composer Nitin Sawhney, which was nominated for an Olivier Award in 2006.

zero degrees won Best Choreography in a Ballet or Dance Work and Akram Khan won the award for Best Male Dancer in the prestigious annual Helpmann Awards, Sydney, Australia, 2007. Sacred Monsters (2006) is a major work featuring ballerina Sylvie Guillem, with additional choreography by Taiwanese choreographer Lin Hwai Min. Another recent project is Variations (2006), a collaboration with London Sinfonietta to celebrate the 70th birthday of Steve Reich, which premiered in Cologne, and toured to Europe and the US. Khan was also invited by Kylie Minogue to choreograph a section of her Showgirl concert in November 2006.

A new work, bahok, a collaboration with the National Ballet of China, had its world premiere in Beijing in January 2008, and after performances in the UK, bahok is currently touring worldwide.

Khan is married and lives in London.

艾甘．漢Akram Khan聯合導演及演員 Co-director and performer

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Biographies 簡歷

Philip Sheppard trained in Cello and Composition at the Royal Academy of Music, specialising in contemporary music. A founding member of The Kreutzer String Quartet, he went on to pioneer electro-acoustic improvisation, joining the Smith Quartet and appearing regularly with the London Sinfonietta. He is now a Senior Lecturer at the Royal Academy of Music.

He regularly collaborates with James Lavelle and UNKLE and has collaborated with Scott Walker, Pulp, Jarvis Cocker, David Bowie and Suzanne Vega. Sheppard was commissioned to write and produce the music for the Olympic Handover Ceremony at 2008 Beijing Olympics. He produced the music for two BBC TV live events, The Manchester Passion and The Liverpool Nativity, which won numerous awards, including the BBC award for Best Music Production of the year.

米高．赫爾斯於英國達定頓藝術學院接受舞蹈及戲劇訓練，1992年參加了珍妮花．蒂普頓於紐約和巴黎的舞蹈燈光工作坊。自此他便專為舞蹈表演設計燈光，尤以跟編舞家羅素．馬利分特的長期合作最為人津津樂道。他們合作兩度摘下羅蘭士．奧利花最佳新舞製作獎及南岸演出舞蹈大獎。赫爾斯曾夥合的編舞家包括：德費魯托斯、喬納森．布洛斯、路易．布斯、麥格．史釗活和巴里殊尼哥夫等。2003年獲穎傑獎學金資助，進行燈光設計研究。2004年，成為倫敦普雷斯劇院的聯繫藝術家。他正參與一個集合羅伯特．利柏殊、羅素．馬利分特及蕭菲．紀蓮的創作計劃。Michael Hulls trained in dance and theatre at Dartington College of Arts and in 1992, attended dance lighting workshops with Jennifer Tipton in New York and Paris. Since then he has worked exclusively in dance and has a long term collaboration with choreographer Russell Maliphant. Their works have twice won both the Olivier Award for Best New Dance Production and the South Bank Show Dance Award. Hulls has worked with Javier de Frutos, Jonathan Burrows, Laurie Booth, Meg Stuart and Mikhail Baryshnikov. In 2003 Hulls was awarded a Wingate Scholarship for research into lighting design. In 2004 he was made an Associate Artist at The Place Theatre. He is currently working on a collaboration between Robert Lepage, Russell Maliphant and Sylvie Guillem.

米高．赫爾斯 Michael Hulls

安列茨．卡普1954年出生於孟買，自1970年代初定居倫敦，先後入讀霍恩斯藝術學院及徹爾西藝術設計學校。過去20年間，他曾先後在世界各地舉行個展及聯展，包括瑞士巴塞爾藝術博物館、倫敦的泰特藝術廊、海伍特藝術廊、白教堂藝術廊、皇家學院及塞彭太藝術廊、馬德里索菲亞皇后藝術中心、波爾多博物館、卡塞爾文件展、斯德哥爾摩現代藝術及巴黎龐比度現代藝術中心。卡普曾獲1990年威尼斯雙年展二千獎、1991年泰納獎，更於1997年獲倫敦學會頒授榮譽會員的名銜，及於2003年獲英國司令勳銜。Anish Kapoor was born in Mumbai in 1954 and has lived in London since the early 1970s when he studied at Hornsey College of Art and Chelsea School of Art Design.

Over the past 20 years he has exhibited extensively in London and internationally. His solo shows have included venues such as Kunsthalle Basel in Basel, the Tate Gallery and the Hayward Gallery in London, the Reina Sofia in Madrid, the CAPC in Bordeaux and, most recently, the Haus der Kunst in Munich. He has also participated internationally in many group shows including the Whitechapel Art Gallery, the Royal Academy and Serpentine Gallery in London, Documenta IX in Kassel, Moderna Museet in Stockholm and Jeu de Paume and Centre Georges Pompidou in Paris.

Kapoor was awarded the Premio Duemila at the Venice Biennale in 1990, the Turner Prize in 1991, an Honorary Fellowship at the London Institute in 1997 and was made a CBE in 2003.

安列茨．卡普 Anish Kapoor 舞台設計Set Designer

謝柏德於倫敦英國皇家音樂學院修讀大提琴及作曲，專研當代音樂。他是克魯采弦樂四重奏創團成員，後鑽研電子聲學，加入史密夫四重奏及定期與倫敦小交響樂團合作，現為倫敦皇家音樂學院高級講師。謝柏德跟當代音樂淵源甚深，經常與UNKLE合作，其他還有史葛．獲加、大衛．寶兒、 Pulp 和蘇珊．韋嘉。2008年，謝柏德接受委約，為倫敦於北京奧運會閉幕禮交接儀式撰寫及編曲；而為英國廣播公司製作音樂的兩個現場直播節目，更獲得多個獎項，包括英國廣播公司頒發的年度最佳音樂節目獎。

菲利普．謝柏德 Philip Sheppard 作曲家Composer

燈光設計Lighting Designer

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伊藤慶初於東京擔任平面設計師，後轉事服裝設計。先後就讀東京文化服裝大學及倫敦中央聖馬丁大學。過去14年，伊藤經營自己的服裝及舞台服裝設計室。1998年推出一個配飾品牌，名為 「永在雲霄」。她曾於英國、西班牙及美國展出作品，場地包括日本領事會工藝委員會、英國文化協會、大英博

艾爾巴．埃爾巴茲自2001年擔任Lanvin藝術總監至今，憑著他非凡的才華和創意，Lanvin已成為世界最具影響力和最有名望的品牌之一。2005年，他獲美國服裝設計師協會頒發國際時尚大獎，並經《時代》雜誌選舉，位列2007年最能影響世界的一百位名人。2006年4月，法國總統向他頒授騎士榮譽勳章。 Alber Elbaz has been Artistic Director for Lanvin since 2001. His marvelous talent and creations have made Lanvin one of the world’s most influential and prestigious labels. In 2005, he received the International Fashion Award from the world-renowned CFDA (Council Fashion Designers of America) while TIME magazine ranked him among the 100 most influential personalities of 2007. He was awarded the order of Chevalier de la Légion d’Honneur by France’s president in April 2006.

伊藤慶 Kei Ito

艾爾巴．埃爾巴茲 Alber Elbaz

服裝設計（艾甘．漢）Costume Designer (Akram Khan)

服裝設計（茱麗葉．庇洛仙） Costume Designer (Juliette Binoche)

佳．古治接受過戲劇指導訓練，自1980年代起在佛蘭德斯參與促進當地舞蹈的新發展。先從事舞蹈評論，1990年代起擔任比利時根特市藝術中心的戲劇與舞蹈總監，曾與多個國際舞團合作。擔任舞蹈議會副主席時，對佛蘭德斯地區的舞蹈文化政策貢獻良多。他曾在法蘭克福、杜塞爾多夫、威尼斯和蒙特利爾策劃舞蹈節目，並出任蒙特利爾藝術廣場的藝術顧問。他離開根特的藝術中心，全身投入戲劇指導工作，合作過的有高恩．奧古斯能、希迪．拉比．徹卡奧維（芭蕾B之C）、莎拉．塢奇 （阿姆斯特丹－洛杉磯）、利亞．哈拉奇（塞浦路 斯）、丹尼爾．迪斯勞耶（蒙特利爾）、蕭菲．紀蓮（倫敦）；此外，古治重拾以往喜歡的工作，在比利時、加拿大、英國、德國和希臘等地，從事教學、出版、主持工作坊及演講。After having trained as a dramaturge, Guy Cools became involved with the new developments in dance in Flanders in the 1980s, initially as a dance critic and, from 1990, as the theatre and dance director of the Arts Centre Vooruit in Ghent. He was responsible for a large number of co-productions and collaborations with a variety of international dance companies. As vice-president of the Dance Council he contributed to the cultural policy towards dance of the Flemish Community.

He curated dance events in Frankfurt, Düsseldorf, Venice and Montreal and acts as an artistic consultant for Place des Arts-Montreal. He left Vooruit to dedicate himself full-time to production dramaturgy with Koen Augustijnen and Sidi Larbi Cherkaoui (Les Ballets C de la B), Sara Wookey (Amsterdam-Los

佳．古治 Guy Cools 戲劇指導Dramaturge

尼古拉斯．法利在法國聖埃蒂安大學修讀波動力學、聲學及廣播技術。2004 至2008年，他在「里昂富維耶丘之夜」藝術節擔任音響總監。他和艾甘．漢的合作包括為《零度》和《聖獸舞姬》擔任音響技師。Nicolas Faure studied wave mechanics, acoustic and techniques of sound broadcasting at the University of Saint-Etienne. From 2004-08, he worked as Sound Director at Les Nuits de Fourviere Festival in Lyon, France. Faure previously worked with Akram Khan as a sound engineer for zero degrees and Sacred Monsters.

尼古拉斯．法利 Nicolas Faure 音響設計Sound Designer

物館、民俗工藝及藝術博物館，以及尼魯斯皇后博物館新館。Kei Ito started working in Tokyo as a graphic designer and then switched to fashion design, first studying at the Women’s College of Art, Tokyo, and then at Central St Martins, London. For the last 14 years Ito has run her own fashion and costume studio and in 1998 she established an accessory label called Always Sky Above. Her exhibitions have been held in museums and galleries including the Crafts Council Japan Embassy, the British Council, the British Museum, the Museum of Craft & Folk Art and the Queens Nails Annex in England, Spain and the US.

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徐素滿生於台灣，在國立台北藝術大學修習舞蹈，後往翩娜．包殊於德國埃森鎮的福克旺學校繼續深造。她先後加入烏爾姆芭蕾舞團及羅薩絲舞蹈團，擔任羅薩絲舞團成員五年，最後一年出任排練總監。離開舞蹈界後，徐素滿接受一連串指壓治療師的專業訓練，並進修普拉提身體療法及日式面部按摩的專業訓練。2005年獲倫敦《標準晚報》選為倫敦五大面部按摩師之一，2006年她成為茱麗葉．庇洛仙的治療師，2007年起訓練茱麗葉．庇洛仙跳舞，為《尋．你我》演出作好準備。徐素滿現擔任本製作排練總監。Born in Taiwan, Hsu Su-Man first studied dance at the National Institute of the Arts in Taipei, and then at the Folkwang Hochscule in Essen, Germany. She first joined the Ulmer Ballet and then joined Rosas. She stayed with the company for five years as a member and was the company rehearsal director for the last year.

On retiring from dancing she undertook extensive professional training as a shiatsu therapist. Hsu augmented her training with certificated studies in Pilates (mat work) and Japanese Facial massage. In 2005 she was listed in the London Evening Standard as one of the five top facialists in London. She started working with Juliette Binoche as her body therapist in 2006. In 2007 she became Juliette Binoche’s dance coach in preparation for In-I. She continues to work for this production as rehearsal director.

徐素滿 Hsu Su-Man 排練總監及舞蹈導師（茱麗葉．庇洛仙） Rehearsal Director and Dance Coach (Juliette Binoche)

喬迪里1986年於倫敦當代舞蹈學校畢業，曾於歐洲多個舞團工作，包括1990年代任羅薩絲舞蹈團成員。1988年獲頒亞洲成就獎，表揚他對舞蹈的貢獻。1999年告別舞者生涯，並完成倫敦城市大學藝術管理碩士學位。2000年與艾甘．漢合夥成立艾甘．漢舞蹈團。

法魯克．喬迪里 Farooq Chaudhry監製Producer

來自巴西的比雅．奧莉華拉2007年獲創意領袖大獎加入艾甘．漢舞蹈團，擔任《相聚》的助理監製。之前她在倫敦的藝術行政管理中心工作了五年。主要工作是擔任藝術計劃的監製、經理，協助巡迴演出，涵蓋範圍包括劇場、視覺藝術、舞蹈、行為藝術及表演。奧莉華拉從事表演行業逾20年，曾任表演者、監製及導演。Originally from Brazil, Bia Oliveira joined the Akram Khan Company in 2007 as associate producer through a Creative Leadership Award when she worked on bahok. She was previously at London-based Artsadmin, where she worked on arts projects for five years and has focused on producing, touring and management of arts projects, working across the spectrum of theatre, visual arts, dance, live art and performance. Oliveira has been involved with performance for over 20 years as a performer, producer and director.

比雅．奧莉華拉 Bia Oliveira 副監製Associate Producer

喬迪里對艾甘．漢藝術事業發展的創新模式，擔當關鍵角色，為他的創作計劃提供支援。他現為該團監製，也是英國藝術局之文化領袖計劃的 「項目鬥士」，以及英國舞蹈委員會的成員。最近更入選法國外交部刊物的世界一百位頂尖文化藝人與企業家。Farooq Chaudhry graduated from the London Contemporary Dance School in 1986. He worked in a variety of dance mediums in Europe, including as a company member of Rosas during the 1990s. In 1988 he received an Asian Achievement Award for his work as a dancer. He retired from dancing in 1999 and completed an MA in Arts Management from City University in London. In 2000 he and Akram Khan co-founded the Akram Khan Company.

Chaudhry has played a key role in forming innovative business models for Akram Khan’s artistic ambitions as well as offering creative support for his projects; he is currently the company producer. He is a “project champion” for Arts Council England’s Cultural Leadership programme and a member of Dance UK’s Board. He was recently acknowledged in a publication by the French Ministry of Foreign Affairs as one of the world’s top one hundred cultural actors and entrepreneurs.

Angeles), Lia Haraki (Cyprus), Daniele Desnoyers (Montreal) and Sylvie Guillem (London) and to return to his passions of teaching, writing, leading workshops, lecturing and publishing in Belgium, Canada, the UK, Germany and Greece.

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桑達．盧倫1997年往荷蘭鹿特丹蘇堡劇院接受訓練，成為駐院燈光設計師。盧倫曾在巴西工作，後重返荷蘭，與合夥人創辦了DENZO，為藝術相關計劃提供技術支援。跟他合作過的包括：梅格．斯圖爾特／壞貨舞團、艾美奧．格雷高、沃特豪斯、彼得．索能凡特及其他藝團。他和艾甘．漢的合作始自2007年，並在艾甘．漢最新製作 《相聚》擔任聯合佈景設計及技術統籌。Sander Loonen was a trainee in the Rotterdamse Schouwburg in Holland in 1997, and then became one of the in-house lighting designers. After working in Brazil, he returned to Holland and co-founded DENZO, a company that provides technical support for art-related projects. He has worked with Meg Stuart/damaged goods, Emio Greco|PC, Waterhuis and Peter Sonneveld. Since 2007, Loonen has worked with Akram Khan; he was a technical coordinator and co-designed the set for bahok.

彌敦．羅素擔任比利時肯特市藝術中心舞台監督達15年。2005年加入艾甘．漢舞蹈團，參與了 《零度》和《尋．你我》的巡演。Natan Rosseel works as a Stage Manager at the Arts Centre Vooruit (Ghent) for 15 years. He joined Akram Khan Company in 2005 and has since toured with Zero Degrees and In-I.

場刊中譯：朗天

桑達．盧倫 Sander Loonen

彌敦．羅素 Natan Rosseel

技術統籌Technical Coordinator

技術員Technician

包美恩於香港及倫敦兩地生活及接受教育，於牛津大學以一級榮譽畢業，主修日本及中國研究。1999年，獲獎學金於倫敦山景戲劇學院進修。最近於倫敦現代舞學校畢業，隨隨高利．特里帕蒂習傳統印度卡塔克舞。包美恩於2007年7月加入艾甘．漢舞蹈團擔傳譯，其後任《相聚》巡演經理。Christina Paul grew up in London and Hong Kong. She graduated from Oxford University with first class honours in Japanese and Chinese Studies. In 1999, she won a scholarship to attend the Mountview Theatre School in London, and has recently graduated from London Contemporary Dance School where she studied kathak with Gauri Tripathi.

Paul joined the Akram Khan Company in July 2007 as interpreter and later tour manager for bahok.

碧契奧利於羅馬智慧大學修讀哲學。1999至2002年於羅馬及布魯塞爾當舞蹈員，2002至2004年於

包美恩 Christina Paul

法比安娜．碧契奧利 Fabiana Piccioli

巡演經理Tour Manager

製作總監Technical Director

羅蘭．哥斯2001年畢業於耶魯大學，在泰國從事電影、廣告、國際電視新聞節目（包括英國廣播公司及阿拉作半島電視台）的導演及剪接工作凡三年。之前他在紐約和巴黎，為電影導演喬納森．諾西特的得獎作品《美酒家族》擔任剪接及助理。他執導作品包括短片《結婚》和得獎紀錄片《遺》（大天空紀錄片電影節最佳電影雙得主之一）。Laurent Gorse worked in Thailand for three years as a director and editor on feature films, commercials and for international news channels such as the BBC and Al Jazeera in English. Prior to that, he was in New York and Paris as both editor and assistant to film director Jonathan Nossiter on his award-winning Mondovino. Gorse has directed a short film, The Wedding, and an award-winning documentary, Left Behind (tied for best film, Big Sky Documentary Film Festival). He graduated from Yale University in 2001.

羅蘭．哥斯 Laurent Gorse 茱麗葉．庇洛仙私人助理及製作統籌Juliette Binoche’s Assistant and Production Coordinator

羅馬歐洲節擔任技術統籌及製作經理。2005年加入艾甘．漢舞蹈團，擔任技術經理，曾擔任舞團製作《電顫琴、鋼琴與弦樂變奏曲》（2006）及《相聚》的燈光設計，並為後者的聯合佈景設計。Fabiana Piccioli studied Philosophy at University La Sapienza di Roma. She worked as a dancer in Rome and Brussels from 1999 to 2002. She then became the technical coordinator and production manager at the Romaeuropa Festival from 2002-04. She joined the Akram Khan Company as Technical Manager in 2005. Piccioli was the Lighting Designer for Variations for Vibes, Pianos & Strings (2006), and for bahok, for which she also co-designed the set.

SG Private Banking is proud to be sponsoring In-I and Jubilations, the innovative artistic project featuring Juliette Binoche.

At the private bank of the Société Générale Group, we have always attached great importance to creativity and innovation, in the arts as well as in the finance sector. SG Private Banking has been supporting the promotion of French Cinema for a number of years now and when Juliette Binoche proposed us to sponsor In-I and Jubilations, we were particularly attracted by the inter-disciplinary character of the project.

SG Private Banking is very pleased to be associated with Juliette Binoche and Akram Khan, two internationally renowned, multi-talented artists, who are today taking on an original and innovative challenge, much like those that SG Private Banking takes on every day in the search for unique solutions for its High Net Worth clients.

Daniel Truchi CEO, SG Private Banking

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The Hermès Foundation’s support for In-I reflects Hermès’s desire to pursue its existing collaboration with Akram Khan, one of Britain’s leading choreographers and dancers. Hermès first collaborated with Khan in 2006, on the Tokyo performance of his choreographic work Monstres sacrés (Sacred Monsters), produced by Hermès Japan and starring Sylvie Guillem. Now, the Hermès Foundation confirms its commitment to the work of Akram Khan with support for his new production, co-directed and performed with Juliette Binoche, and with a set designed by contemporary artist Anish Kapoor. Three powerful personalities come together to create a new work reflecting their distinctive sensibilities and imaginations. Each of them crosses boundaries to create a collective work mixing artistic fields.

Created in April 2008, the Hermès Foundation will steer Hermès’s existing patronage initiatives, and sharpen their strategic orientation. The Foundation focuses on four key areas in cultural and humanitarian fields: support for the contemporary arts, traditional craft skills, education and environmental research. The co-production of In-I is one of the Foundation's first projects as part of its programme of support for the contemporary arts.

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Pierre-Alexis Dumas President, Hermès Foundation