Presented and Produced by:
West Kowloon Cultural District
Kinetic Device Consultant:
Mathias Woo is the Co-Artistic Director cum Executive Director of Zuni Icosahedron. As a scriptwriter, director, producer and curator, Woo is a pioneer in cross-boundary and multi-media theatre. He is recognised for his portfolio of more than 60 original theatre works, which have been invited to cities around the globe and major Chinese cities. Woo’s theatre works explore a wide range of subjects including literature, history, architecture, religion, current political affairs, and philosophy. In 2009, Woo initiated and curated “Architecture is Art Festival”, the first art festival with architecture as the central topic in Hong Kong.
Wu graduated from The Hong Kong Academy for Performing Arts, majoring in Theatre Sound Design and Music Recording. He previously worked as the Senior Production Officer (Audio) of Hong Kong Cultural Centre, Technical Manager of Hong Kong Ocean Park, and Production Manager of Hong Kong Disneyland. He has worked as technology designer, technical coordinator, and technical director for various stages and concerts. In 2013, Wu joined the West Kowloon Cultural District Authority, and he has participated in the design of Xiqu Centre, Art Park, and Freespace.
Low is the Head of Theatre of the West Kowloon Cultural District Authority. He is responsible for formulating the district’s artistic direction and strategies for Drama and Theatre Arts.
In this role, Low has overseen the launch and co-presentation of several projects, including the outdoor arts event series “Freespace Happening” and the world-wide exchange programme “International Workshop Festival of Theatre” – projects that have stimulated new discussion and discourse around contemporary modes of creation.
Before joining West Kowloon, Low was the Artistic Director and General Manager of the Singapore Arts Festival from 2009 to 2012. During that time, one of his key initiatives was the launch of “com.mune”, a year-long education and outreach programme designed to sustain the festival’s engagement with the public beyond individual shows. Low was also General Manager of the Singapore Biennale.
Graduated from the School of Technical Arts (now the School of Theatre and Entertainment Arts) of Hong Kong Academy for Performing Arts, majoring in sound technology and music design, and since 2010, she has been appointed as an External Advisor of the School Advisor Committee. Kan joined the Hong Kong based international experimental theatre company, Zuni Icosahedron in 1994. She has engaged herself in different positions in Zuni since then, including sound designer, performer, administrative / project coordinator and producer. She is currently the Company Manager in Programme. In 2009, she was awarded a Special Award by the Drama Association of Hong Kong, to acknowledge her achievements in arts administration. In 2010, she received a grant by Hong Kong Arts Development Council (HKADC) for cultural internship in UK to the Sage Gateshead in Newcastle. In 2017, she was appointed by HKADC as the Art Advisor of Art Administration Committee.
Lee is the Producer, Performing Arts (Theatre), of the West Kowloon Cultural District Authority. She is participating in the development of the district’s artistic direction and strategies for Theatre Arts. In this role, she is producing the “Seminar on Theatertreffen 2017”, “What is Stage: Dynamics of Seeing” (2017-2019), “Freespace Tech Lab” (2017-2019), etc.
Before joining West Kowloon, she worked for a number of arts and cultural institutions, including Hong Kong Arts Centre, Zuni Icosahedron and the School of Creative Media, City University of Hong Kong and has worked on artistic projects across various disciplines including moving images, theatre and new media art. She is Arts Advisors (Arts Administration) of Hong Kong Arts Development Council and the member of 2017-2019 Steering Committee of Asian Producers’ Platform.
Hung graduated from The Hong Kong Academy for Performing Arts, majoring in Theatre Sound Design and Music Recording. In recent years he has worked mainly with recording studios and concerts, and occasionally in theatre productions. Since 1993, he has mixed more than 2,000 songs, and coordinated on-site sound control for over 500 concerts.
Ha graduated from The Hong Kong Academy for Performing Arts, majoring in Theatre Sound Design and Music Recording. Ha is a sound designer and engineer for various theatre productions including drama, dance, concert, musical and multi-media performances. She was the Sound Consultant for the Macao International Music Festival from 2014 to 2016. In 2017, she won Best Sound Design in the 26th Hong Kong Drama Award for Our Immortal Cantata (Re-run).
Mak graduated from The Hong Kong Academy for Performing Arts, majoring in Theatre Lighting. Mak has worked as technical director and lighting designer for numerous Hong Kong and international stage productions. He joined the HKAPA as Lecturer in Theatre Lighting in 2000 and has conducted workshops and lectures in Macau and Shanghai. He earned a Master of Lighting with merit at the Queensland University of Technologies in 2007.
*With the kind permission of The Hong Kong Academy for Performing Arts
Lau graduated from The Hong Kong Academy for Performing Arts, majoring in Property Making, and Technical Theatre and Stage Management. In 2008, Lau established Stage Tech Ltd., a company that provides various technical design services and production of stage special effects, pyrotechnics, props and artistic installation, backdrop, shopwindow, etc. He has designed and coordinated over 1,000 pyrotechnics performances in many countries including Australia, South Korea, Japan and China.
Founded in 1982, Zuni Icosahedron is a premier experimental theatre company in Hong Kong. Zuni’s theatre has always stayed on the cutting edge of media technology in presenting the interactive relationship between multi-media and theatre, as well as in probing the possibilities of form and content in 'theatre space' through experimentation and exploration. Zuni has been most inspiring in developing the aesthetics of theatre in Chinese society, with its experimental and subversive nature, and this could be seen in the interactive experiments in the narrative (or rather non-narrative), form and space in its early works. The same spirit could be found in the multi-media design in lights, images, sounds and spaces as in the attempts in the area of cross-media performances, to cross-boundary political and civil area, and to cross-region international cultural exchanges. The topics covered stretch from popular culture to social taboos, from the traditional to the contemporary.