韬略联合创始人郑惠和博士

一生致力于中国戏曲而获香港中文大学纪念

The Chinese University of Hong Kong has commemorated Dr. Philip Cheng, co-founder of Strategic Sports, for a body of work most us at Strategic never knew about: a lifetime spent preserving, teaching, and promoting Chinese opera.

香港中文大学纪念了韬略联合创始人郑惠和博士，以表彰他毕生致力于保护、传承和推广中国戏曲，而这项工作却是我们大多数韬略成员从未知晓的！

CUHK's library has built the Philip Cheng Chinese Opera Audio-visual Collection, a permanent digital archive drawn from recordings, program booklets, and performance footage that Dr. Cheng gathered over the course of his career. For more than forty years, much of it sat in the ceiling of his home before the university took it in and preserved it properly.

香港中文大学图书馆建立了郑博士戏剧影音资料档案库，这是一个永久性的数字档案库，内容来自郑博士在其职业生涯中收集的录音、节目单和演出录像； 四十多年来，这些资料大多存放在他家中天花板上，直到大学接收并妥善保存。

"My father spent forty years holding onto those tapes," said Norman Cheng, Managing Director of Strategic Sports. "He believed they were precious, that the material mattered, long before anyone else was ready to call it archive-worthy."

“我父亲花了四十年时间保存那些录像带，”韬略郑董说，“在他看来，这些资料弥足珍贵，具有重要价值意义，远在其他人意识到它们值得归档之前”

Before Strategic Sports, Dr. Cheng built an academic career around Chinese opera that started in his youth when he was in the Chinese Nationalist Air Force with a walk-on role in Peking Opera pieces The Empty Fort Stratagem. He delivered a line in his native Changsha dialect, which drew roaring laughter from the large audience. Because he did not panic and run off the stage, he was considered to have a talent for acting and was invited to study Peking opera every evening under renowned artists such as Mr. Hong Shen and Mr. Ouyang Yuqian.

在韬略之前，郑博士以中国戏曲为起点，开启了他的学术生涯；他年轻时曾加入中华民国空军，在京剧剧目《空城计》中饰演配角；他用长沙方言念出的一句台词，引得全场观众哄堂大笑；由于他没有惊慌失措地逃离舞台，人们认为他有表演天赋，并受邀每天晚上跟随洪森先生、欧阳玉泉等著名艺术家学习京剧。

Later, Dr. Cheng served as Dean of the School of Communications at CUHK from 1986 to 1991, and earlier taught as a professor of communications at Washington State University, where he led a program that put American teenagers of the Palouse on stage performing Chinese opera themselves, rather than simply watching it. He believed opera carried Chinese culture, history, and heritage in a single form, and that a student who performed it would come away understanding more than one who only read about it in a textbook.

后来，郑博士于1986年至1991年担任香港中文大学传播学院系主任；早年他曾任华盛顿州立大学传播学教授，主导了一项项目，让帕洛斯地区的美国青少年亲自登台表演中国戏曲，而不仅仅是观看演出；他认为，戏曲以一种独特的方式承载着中国的文化、历史与传统，而真正参与表演的学生所获得的理解，远比仅在教科书中阅读的人要深刻得多！

Those programs were sponsored in part by the National Endowment for the Arts and the Japanese American Citizens League, a pairing that wasn't obvious to everyone. Norman Cheng recalls asking about it directly.

这些项目部分由美国国家艺术基金会和日本裔公民联盟赞助，这一合作关系并非所有人都清楚；郑董回忆说，他曾直接询问过此事。

"I remember meeting one of the JACL representatives years later," Norman Cheng said. "He told me he was born in one of the incarceration camps during WW2. I asked him why a Japanese American organization would sponsor a Chinese opera program. He said he was American, but because of what his community had lived through, they wanted to work to prevent that from happening again. He said they felt my father's project was helping people understand each other better."

“多年后，我仍记得与一位JACL代表见面，”郑董说“他告诉我，自己是在二战期间的拘留营中出生的，我问他，一个日裔组织为何要赞助中国戏曲项目；他说自己是美国人，但因为自己的社群经历过种种苦难，所以他们希望努力防止类似的事情再次发生；他说，他们觉得我父亲的项目有助于人们更好地理解彼此。”

When CUHK invited Dr. Cheng to return and teach in 1980, Washington State University wouldn't release him right away, and it took until 1982 for him to actually arrive in Hong Kong. Once there, he didn't stop at lecturing. He rallied a small group of Hong Kong backers to fund a performance series that brought leading opera troupes from mainland China to local audiences, running every spring and autumn from 1983 through 1988 at the Sunbeam Theatre. Because much of the audience had little background in opera, Dr. Cheng trained CUHK students to explain the story and the movements to the crowd during each show's opening and intermissions.

当香港中文大学在1980年邀请郑博士回校任教时，华盛顿州立大学并没有立刻放人，他一直到1982年才真正来到香港；到了香港后，他不仅仅是讲课；他还召集了包括邵逸夫爵士在内的一小群香港支持者，为一系列演出提供资金，把中国大陆的顶级歌剧团带给本地观众；这些演出从1983年到1988年，每年春秋季在太阳剧院上演；因为很多观众对歌剧几乎没有了解，郑博士还培训中文大学的学生，在每场演出的开场和中场休息时向观众解释剧情和动作。

His devotion to the art form went back further than any of it. In a letter to a former classmate written while he was still living in the United States in the 1970s, years before the Hong Kong festivals began, Dr. Cheng described himself this way: "I am not only a fool, but sometimes a madman, a madman who has gone crazy over Peking opera. My wife scolds me for it, my friends scold me for it, and now I even scold myself for it."

他对这一艺术形式的投入，远比任何其他时期都要深厚；在20世纪70年代，他仍居住在美国时写给一位昔日同学的一封信中，早在香港艺术节开始之前数年，郑博士这样描述自己：“我不仅是个傻瓜，有时还像个疯子，一个痴迷于京剧的疯子；妻子会责备我，朋友会责备我，现在连我自己也常常自责！”

Strategic Sports was founded in 1991, the same year Dr. Cheng's term as Dean at CUHK came to a close. The opera festivals and the deanship came first. The company came after, changing Dr. Cheng’s plans to retire.

韬略成立于1991年，同年郑博士担任香港大学系主任的任期结束；当时先有歌剧节和系主任职位，之后公司才成立，这改变了郑博士退休的计划。

"People here know him as my co-founder and as someone obsessed with getting a helmet standard right," Norman Cheng said. "What they didn't always know is that before any of that, he spent years convinced that the best way to keep a culture alive was to hand it to the next generation and let them perform it themselves. CUHK preserving that work means it's not something we just talk about in our family anymore. It's part of the university's record now."

“这里的人知道他，是我的联合创始人，也是个对制定头盔标准充满热忱的人，”郑董说，“但他们并不总是知道，在这一切之前，他多年来一直坚信，让文化得以延续的最佳方式，就是把它交给下一代，让他们自己去传承；港大保留这项工作，意味着我们家族不再只是口头谈论，而是它已成为大学历史的一部分。”