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Quick & Easy Tokyo 快速及简易的游览东京

Tokyo prior to 1968 was known as Edo, a small castle town in the 16th century but today it is the world’s most populous metropolis and one of Asia’s must visit destinations for unlimited choice of shopping, entertainment, culture, art and dining. Not to mention the rich history offered by this city to visitors is beyond words can describe. If one only have a few days in Tokyo then…

在1968年前,东京被称为江户。若追溯回更早以前的历史,东京在16世纪时只是一个小镇,不过,如今已演变为亚洲着名及必游的大都市,不管是购物、娱乐、文化、艺术及食物,都有着繁多的选择,还有其丰富历史,往往让到访游客目不暇给。如果只能在东京待个几天,建议如下:


It is highly recommended that short stay visitors should purchase a daily travel pass that can be used on all JR, subways and bus lines within the Tokyo district. Trains run from 5am till midnight. Transportation here can be very expensive if one does not plan properly.

推荐打算短程旅游的游客购买一日游车券,这样就可在一天内无限量乘搭东京的地铁及巴士。地铁系统是从早上5时至凌晨运作,若没提早规划行程,东京的交通费是蛮高的。


Tokyo DisneySea is a good choice for those who have been to a few Disneyland around the world and wanted to experience something different but still within the magical Disney. A fantasy theme park inspired by myths and legends of the sea, many reviews have stated that this park is more suitable for the grown up audience but personally I feel that there is no such thing as adults when it comes to the world of Disney. It is the place that even the elderly feel as if they were kids as it just brings back so many memories.

若曾到其他国家的迪斯尼乐园游玩的人士,来东京时不妨到访全球唯一以海洋为主题的迪斯尼海洋乐园,既能带来全新感受,也能继续保有迪斯尼乐园梦幻及童话般的氛围。虽然经常有人会说,迪斯尼海洋乐园是适合成人游玩的园地,可是我还是觉得,既然来到迪斯尼乐园,就再没有小孩及成人之分了。这是一个让成人也能返老还童的乐园,伴随的还有很多年幼时期的美好回忆。

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Odaiba is a man-made island in Tokyo Bay where shopping and entertainment are plenty for those who love to explore. Besides the Fuji Building and the Rainbow Bridge, Tokyo Joypolis is a fun and exciting play station for those with strong hearts whereas the National Museum of Emerging Science or also known as Miraikan offers visitors an insight to how far technology has progressed and if you are lucky, Asimo will sing for you. Palette Town is a large shopping and entertainment centre that consists of Venus Fort shopping centre, the Ferris Wheel, Zepp Tokyo, Toyota Mega Web and Tokyo Leisureland. There is no doubt that one will feel the ‘pain’ especially on the legs after a long day’s walk so remember to save some time to visit Oedo Onsen, the hot spring theme park that offers baths, scrubs and massages. Guests are expected to be naked.

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台场是日本东京湾内一座以填海造陆方式製造出来的巨大人工岛,修筑了许多採用现代规划造景的商场与娱乐设施,供游客探索其中。

位于富士电视台建筑物及彩虹大桥旁的世嘉电子游戏玩乐城,适合追求刺激感的游客。若是来到日本科学未来馆,则可见识科技的进步,幸运的话,还可看到机器人Asimo的演唱。五彩城(Palette Town)是一个大型的娱乐商城,由维纳斯广场、摩天轮、Zepp  Tokyo体育馆、丰田汽车Mega   Web展示场及东京休闲乐园组成。

要在一天内游览这麽多地方,脚板会一定很痛呢!因此,别忘了预留一些时间到访大江户温泉馆,享受温泉泡澡及按摩。值得一提的是,客人在享受温泉泡澡时必须祼体。

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Takashi Murakami: The 500 Arhats 村上隆:500罗汉

by CHT

Image courtesy of Layzhoz Yeap

‘Takashi Murakami: The 500 Arhats’ exhibition marks the first large–scale Murakami exhibition in Japan in 14 years. Presented by Mori Art Museum, this amazing art exhibition is one show that should not be missed by anyone that has a heart for art. Born in 1962 in Tokyo, completed his doctoral work at Tokyo University in Fine Arts and selected by Time magazine’s ‘The 100 Most Influential People’ in 2008, Takashi Murakami is currently one of the most internationally acclaimed contemporary artists working today. Through his artistic career, the artist has cleverly connected the ‘otaku culture’, character iconography and Japanese art history against the backdrop of thematic landscape of post-war Japan. Hence developing the concept of ‘Superflat’, that has left his define mark in the contemporary art scene.

During this long awaited solo exhibition, Murakami presented one of the largest paintings ever produced in global art history – his 100-meter-long-painting, The 500 Arhats, showing off for the first time in Japan. Some other new works are also on exhibition in which the artist continues to amaze the public by exploring new challenges to the traditional Japanese art. This exhibition provides an important insight to Murakami’s art journey in terms of scale, energy and artistic accomplishment.

The exhibition is currently at the Mori Art Museum, 53rd  Floor, Roppongi Hills Mori Tower, Tokyo, and it is scheduled to end on the 6th March 2016.

日本当代艺术家村上隆的500罗汉展览会是时隔14年后在日本首次大规模展出。这个在东京森美术馆举行的神奇展览会让拥有艺术心灵的人们都趋之若鹜。村上隆1962年出生于东京,在东京大学完成博士学位,并在2008年被《时代》杂志选为“100位最有影响力的人物”,直至目前保持着国际知名当代艺术家的身份。通过他的艺术生涯中,巧妙地连接了“御宅族文化”,包括以人物肖像,日本艺术历史与战后日本背景主题景观。而他创作的“超扁平”概念,也为他在当代艺术场景定义上取得重大印记。

在期待已久的个展上,村上隆最巨大的画作也缔造全球艺术历史记录—长达100米的画作 - 500罗汉,这是首次在日本展出。其他新作品也让观赏者通过探索发现日本传统艺术的新鲜挑战。展览会塑造想象洞悉力,观摩村上的艺术之旅、能源与艺术修养。

展会目前在东京六本木山森塔53楼的森艺术美术馆展出中,直至2016年3月6日结束。

Carving a Name in Theatre & Film 高志森: 唯文艺创作能流芳百世

The movie industry is a challenging one especially in Hong Kong. Well known for the various family and comedy films he directed, Hong Kong’s Clifton Ko Chi-Sum shares with EZ on the challenges he faced in the making of his latest film and on his switch to theatre.

Ko is well known for his comedies ever since his very first feature, a supernatural comedy “The Happy Ghost” grossed over $17 million in 1984. Fast forward, he stopped filmmaking and shifted to theatre production and last year, he released his first feature film in 11 years. He made his silver screen comeback with a family drama, “Wonder Mama”, that focuses on the lives of women and men past their prime.

“I feel that there was never any focus on the lives of the older generation, if you notice, all movies are of the younger generation and for the younger generation,” Ko said of his decision to direct Wonder Mama. The feature film stars Petrina Fung Bo Bo as a middle-aged woman grappling with family and career issues while her parents divorced and her father takes on a younger spouse.

The making of the film was not an easy path as Ko felt that the lead actress role seemed made for Fung and it took a while for him to finally persuade her to take on the role. The film was also not within a popular genre and did not fit current trends for rom-coms, action films or supernatural films. This did not deter Ko from soldiering on to translate the lives of a family drama onto the silver screen.

“This movie is not about profits or making something to suit the market demand but something that I wanted to contribute back to the society, to show the people about the lives of those entering their golden years,” he said. The movie is based partly on a true story with a moral background emphasising on family values.

Ko lamented on the lack of meaningful films with strong values in recent years, particularly those that focuses on family and felt that there is a gap that the Wonder Mama filled perfectly. Wonder Mama was produced with a  $8 million budget, out of which, $1.6 million was financed by the government’s Film Development Fund. The film that debut last year was shown at several international film festivals such as the 2014 Taipei Golden Horse Film Festival, the 5th Beijing International Film Festival and the 2014 East Winds Film Festival in the UK.

The Wonder Mama is a not a far departure from Ko’s usual style which incorporated comedy with family-themed movies in the 1980s through to 1990s such as My Family (1986), It’s A Mad, Mad, Mad World (1987), All’s Well End’s Well (1992) and It’s a Wonderful Life (1994), all top grossing films during that period of time. Ko also received a Golden Horse Award Best Director nomination from The Mad Phoenix (1997).

In 1995, Ko formed The Spring-Time group and spent most of his time directing stage productions in which he revived I Have a Date With Spring and The Mad Phoenix on stage several times and breaking box office records. “After the 1990s, the Hong Kong movie industry saw a drastic drop due to piracy issues and I decided to make the switch to theatre performances,” he said of his change from the silver screen to the stage. He felt that stage production offers more challenges to his directing skill but he enjoyed honing his stage production skills to perfection with his numerous productions.

“We must remember that on stage, we can’t shout “cut” or edit it later, it is live so everything has to be perfect and this is a challenge that I enjoyed facing,” he said. Currently, Ko believed the theatre industry in Hong Kong is at a very matured stage with more in the middle class appreciating stage shows. “The market in Beijing and Shanghai is also growing and it is a new market that we could target to continue to grow our production,” he said.

Rose_Poster_OP_v1-01_副本-683x1024.jpgKo was recently in Penang, Malaysia to introduce his latest production, “Wild Wild Rose”, to Penang and Malaysia. Wild Wild Rose is a musical adapted from the classic Mandarin movie of the same name produced by Cathay which was adapted from Bizet’s opera “Carmen”. Staring Perry Chiu and Zac Koo, the musical will feature popular songs from the movie such as Carmen and Madame Butterfly. “This musical will transport the audience back to the 1960s where music filled the nights,” Ko said.

He hoped the production was well received by the Penang audience and if it was a success, he may consider bringing more productions to Penang. As for any future endeavours, Ko said he will continue producing quality theatre productions to carve out a name for himself as a well-known director and producer. “Everyone knows Shakespeare and his plays long after he’s gone and this is why I continue working in this industry, to leave behind a name that someday everyone will remember,” he said.

说高志森与香港电影黄金时代是相互并存,这句话一点也不为过。在80-90年代初的香港,他作为编剧或导演与黄百鸣、许冠文等一代笑匠为电影市场联合打造无数经典喜剧,无论是1984年风靡一时的“开心鬼”系列,还是“鸡同鸭讲”、“富贵逼人”与“家有喜事”这些笑中带泪的写实性喜剧,皆缔造当年香港影史票房记录。

而这一切辉煌,却在90年代中旬戛然而止。香港电影由于猖狂的盗版问题进入了制作萧条期,曾经的“东方好莱坞”美誉一去不复返。

要知道,在舞台上,我们不能喊“CUT”或进行剪辑,它是生活,所有一切都需具备完美进程,这是一个强大的挑战,无论是对演员或者幕后主创人员。

说到这里,高志森略带时过境迁的感慨,当时他也因前景问题对电影业死心,转战舞台剧,果然上帝为他打开了另外一扇窗:他创作的舞台剧《南海十三郎》和《我和春天有个约会》取得口碑与票房双赢,并且衍生电影版本。

对于“新欢”舞台剧,高志森强调,在融入商业因素的同时,他也致力于提高观众的鉴赏水平,一张电影票和舞台剧票的区别不仅仅是价格,还有艺术表演的完善和难度。

“要知道,在舞台上,我们不能喊“CUT”或进行剪辑,它是生活,所有一切都需具备完美进程,这是一个强大的挑战,无论是对演员或者幕后主创人员。”他说。目前香港的舞台戏剧设置正处于非常成熟的阶段,当然,他不否认舞台剧的主流观众群为中产阶级。

他希望可以继续培养和扩展舞台剧的观众群,最关键的是中国北京和上海的市场也在不断增长,这是一个让人期待的全新市场。

纵然在舞台剧领域开拓了另一片天,但高志森对于旧爱(电影)创作却显得有点迟疑。直至2014-2015年,他毅然选择以探讨亲情的“妈咪侠”回归电影界。

“我会拍这部电影的原因是关于老年人家庭题材的社会写实片子太稀少,现在都是年轻化带浪漫色彩的商业电影,拍“妈咪侠”首次完全不考虑所谓利润、市场和商业空间。”

而这次他坚持久违银幕的冯宝宝演出电影中女主角-一个在家庭和事业上挣扎的中年妇女,她的老父母闹离婚了,父亲则娶了一个年轻的老婆,矛盾和纠葛就此展开。这部电影制作过程并非轻松,说服近年来几乎退隐状态的冯宝宝演出就是一大难关,齐聚一群老戏骨曾江与邵音音等,而且题材并非他最擅长的喜剧或轻喜剧,高志森后来还是成功一一克服。

“妈咪侠”先后亮相几个国际电影节:如2014年台北金马电影节、第五届北京国际电影节和2014年英国东风电影节,“妈咪侠”的制作费为800万港元,而香港政府主导的电影发展基金也参与制作融资近160万港元。冯宝宝也凭此片获得2015年美国加州独立电影节最佳女主角。

高志森在2015年携着他的舞台音乐剧新作“野玫瑰之恋”来到马来西亚槟城 ,这部由王天林所执导的经典华语电影“野玫瑰之恋”,而原型为Bizet’s的“卡门”歌剧。这部由焦媛与高皓正主演的音乐剧将采用电影中的经典歌曲,如卡门和蝴蝶夫人。 “这部音乐剧将把记忆观众拉回20世纪60年代,是一个弥漫经典音乐的夜晚。 ”

他希望这部音乐剧能打动槟城观众的心,如果反应良好,往后考虑为槟城观众带来更多剧作。至于今后的目标,高志森将继续制作高质量的戏剧作品,作为一个导演和制片人。

“文化与艺术是超越领域的世界语言,比方即使过了几个世纪,但每个人都知道莎士比亚和他的诗作与戏剧作品,而历史上许多的贵族国王,我们却未必记得清楚。这就是为什么我继续在这个领域努力与创作,希望有一天,大家会记住这么一个名字。 ”他说。

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