About Us 關於我們

The Gong Strikes One

Founded in 2012, The Gong Strikes One explores and experiments with different performance settings of Chinese operatic genres. The group embraces both traditional and contemporary approaches, producing a range of works, from instrumental pieces, narrative songs to theatres; their first theatrical work,  I, Wu Song  — a One-Man Chinese Opera without words, was presented in 2017. Recently, the group has embarked on collaborating with works of other art forms, such as dance, video works, and poetry. 

一才鑼鼓

「才」為鑼鼓經之記譜用字,也用作「錘」/「槌」字之簡寫;「一才鑼鼓」既是一鑼鼓點名稱,亦是戲班用語,有「開鑼」、連演多天之意,如「一才鑼鼓十日」,即連演十日。

一才鑼鼓成立於 2012 年,旨在探索和發掘戲曲之各種表演形式,包括音樂會、說唱、劇場等。近年創作各種形式之戲曲作品:2017年製作戲曲獨腳戲《俺,武松》;近年為多個活動編撰南音,包括香港花卉展覽(2018)、香港博物館節(2018)、大館委約影像作品《監獄建築師》(2018;曹斐作品)、「南音遊記——行到邊・唱到邊」(2019-2020,非物質文化遺產辦事處主辦)等。最近亦涉獵跨界及即興演出。


Core Members 主要成員

Kong CHAN 陳志江

At a young age, Chan Chi-kong learnt Cantonese Opera accompaniment from his father. He graduated from the Hong Kong Academy for Performing Arts, where he majored in Cantonese opera accompaniment. He had been an active accompanist in the local Cantonese Opera scene and founded the group The Gong Strikes One in 2012. Since then, he devotes himself to creating original Chinese operatic works. In 2014-2017, he reconstructed and performed historical scores for a lecture-concert series on early Cantonese music presented by the Chinese Opera Information Centre, CUHK.

Recently, he also performs improvised music and collaborates with theatrical works and multidisciplinary performances, including: The Modern-day Flavours of Nanyin and Naamyam at the New Vision Arts Festival (2018), which was soon re-run at Weiwuying TIFA Contemporary Music Platform (2019, Kaohsiung), and the participatory theatre project, “To Behold! To Voice! To Remap!” (2019) produced by Ho Bit Goon.


生於香港,⾃⼩隨⽗親習粤曲,隨名家習笛⼦、胡琴,後畢業於⾹港演藝學院中國戲曲課程,主修伴奏。陳氏曾活躍於香港各大小戲班,任伴奏樂師。2014至2017年間,於⾹港中⽂⼤學戲曲資料中⼼主辦之「民初粤樂探微」講座⾳樂會系列擔任領奏樂師,重構早期樂譜。自2012年創辦「⼀才鑼⿎」,積極創作、重構、重編各種戲曲作品。

近年亦涉獵即興演奏、劇場及各類跨界合作,如:新視野藝術節「微藝進行中」(2018) 及衛武營TIFA當代音樂平台(2019,高雄)上演之《南音味自慢》,以及「何必。館」製作的「觀。聲。陣——參與式劇場在地研究計劃」(2019)。

李勁持 King-chi LEE

Born in Hong Kong, King-chi Lee learnt Cantonese Opera at the Love and Faith Cantonese Opera Laboratory during her teenage years. She graduated with First Class Honours from the Music Department of the Hong Kong Academy for Performing Arts where she received her music education and majored in the zheng. She then completed an M. Phil. degree at the Music Department of The Chinese University of Hong Kong (CUHK); her research interests include early Cantonese music and music publishing. 

She has been active as a zheng player in Cantonese Opera, naamyam as well as Cantonese music performances. During 2014-2017, she was the presenter and coordinator for the lecture-concert series, Interpreting Early Cantonese Music hosted by the Chinese Opera Information Centre, CUHK; in this series, she invites various singers and musicians to perform early Cantonese operatic pieces with the aim of examining early Cantonese music culture, such as amateur culture in the Cantonese music scene, “stage Mandarin” in early Cantonese opera, and traditional instrumentation, etc. 


生於香港,少時於朗暉粵劇團習粵劇。以一級榮譽畢業於讀香港演藝學院音樂學院,主修箏。後於⾹港中⽂⼤學⾳樂系修畢哲學碩⼠課程,專研早期粵樂及音樂出版文化。曾活躍於各大小粵劇團之伴奏樂隊,參與南音、粵樂演出,如康樂及文化事務署主辦之「嘆詠前塵」南音演唱會 (2011)、「聆歌聽語」南音演唱會 (2012)、「清音重聞」音樂會 (2014)等。

2014至2017年間為⾹港中⽂⼤學戲曲資料中⼼統籌「民初粤樂探微」講座⾳樂會系列,擔任主持,並邀請多位唱家樂師演繹早期粵樂粵曲,藉以探討粵樂玩家文化、戲曲官話、早期樂器組合等議題。