《昧夜之交》是舊金山詩人馬文蕙第一部用粵語寫成的廣東話劇。該劇描述一位年輕移民的困境和掙扎，以及她如何透過四位異常的朋友來克服心理的挑戰。

DragonBeard is the first Cantonese play written by San Francisco poet Clara Hsu. The play tells the story of the plight of a young immigrant, and how she overcomes her challenges by befriending four mystical friends. 

 

馬文蕙找不到有關舊金山灣區粵語話劇的資料。透過歷史學家David Lei才知道約二十五年前在舊金山唐人街上演的最後一部戲劇是用白話寫成的，題為《 花園角過客》。而在紐約，四海劇團50多年來一直積極製作粵語話劇。 馬文蕙得知以後深受感動, 因此寫下了《昧夜之交》以褒表粵語和新移民的家庭。

There hasn’t been any Cantonese play in San Francisco Chinatown since the late 90s. Through historian David Lei, Clara was able to see the script of the last Cantonese play, titled "Portsmouth Square." While in New York City, the Four Seas Players have been actively producing Cantonese plays for over 53 years. Inspired by the Four Seas Players in using drama to uplift the Cantonese language, Clara wrote DragonBeard in honor of her mother tongue and the new immigrant families that she befriended through Clarion's children theater.

 

很多移民由於沒有接觸過西方文化和教育，都是靠自己的智慧生存。 有人可能會問：現在的現實是否該否定過去？ 在美國出生長大的人對於移民都有他們自己的看法。 移民對他們的新國家及其人民有他們的看法。 一個人的現實就是另一個人的幻想。 幻想與現實交織融合，置身於魔幻寫實的境界。

Coming into a new country is like falling into an inexplicable dream. Without previous exposure to Western culture and education, immigrants survive by their own wit. Some might wonder: should the reality of the present negate the past? Those who are born and raised in the United States have their own ideas about immigrants. Immigrants have their own ideas about their new country and its people. One’s reality is the other’s fantasy. Fantasy and reality interspersed and fused together, and thus we exist in a realm of magical realism.
 

非常感謝演員、台前幕後工作人員和義工。他們由工程師、退休人員、學生、電台 DJ、攝影師、研究員、作家和房地產經紀人組成。多數演員從未登上過舞台，但他們都被《昧夜之交》驅使, 透過這個戲劇講述他們的移民故事。我們的粵語傳統根深葉茂。它就是我們存在的動力。

Many thanks to the cast, crew and volunteers, who are comprised of engineers, retirees, students, a radio DJ, photographer, researcher, writer and mortgage consultant. Most of them have never stepped on the stage before, but all of them are driven to tell their immigrant stories through DragonBeard. Our Cantonese heritage lives on. It is the impetus of our being. 

​

我非常感謝 Christopher Lee 提出的問題：“為什麼舊金山沒有粵語劇?” Anson Zhu 是啟發我寫劇本的孩子，李嘉穎幫助我發展情節，還有陳嘉盈, 把劇情拉緊。劇中的“警察”薛偉良轉型為佈景設計師和木匠；Inga Chernogradskaia不斷創作出令人驚嘆的藝術海報和社交媒體；莫毅愉利用她在劇院管理的專業知識將所有元素融合在一起。你們的友誼和將粵語引入舊金山藝術界的承諾表明了愛、尊嚴以及保護所有人類表達語言的需要。

My deep appreciation to Christopher Lee, who asked the question, "Why aren't there any Cantonese play in San Francisco?" Anson Zhu, the kid living upstairs who inspired me to write the play, Kelly Kar-Wing Li, who helped me develop the plot, Wynne Chan for tightening the scenes, Jonathan Sit, our "cop" in the play turned set designer and carpenter, Inga Chernogradskaia, who continuously churned out amazing art work and social media, and Mimi Mok, who used her expertise in theater management to bring all the elements together. Your friendship and commitment in ushering Cantonese into the San Francisco's art scene is a powerful indication of love, dignity, and the need to preserve all languages that is the human expression.

​

《昧夜之交》由陳嘉盈執導。

DragonBeard is directed by Wynne Chan.

​

《昧夜之交》獲得舊金山藝術委員會的財政支持。

DragonBeard is sponsored in whole through two grants from the San Francisco Arts Commission.

​

特別感謝鄧力力, 為我們攝影令人驚嘆的照片。

Mimi Chin，她為學生 A、B 和 C 提供了服裝贊助。

Ruby Fong 為演員們準備飯菜。

更感謝糖果製造商Derek Tam 為這部作品提供了他同名的糖果！

Special thanks to Zabrina Deng for her stunning production photography.

Mimi Chin, who financially sponsored the costumes for Students A, B & C.

Ruby Fong for providing loving nourishment for the cast.

And to Derek Tam,Candy Maker, for suppling his namesake candy for this production!

​