RED BOAT TROUPES AND CANTONESE ... - University of Georgia

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Wan, Zi Pang, “Yuet kek nu ban zi zor tam [A preliminary investigation to the women troupe of Yuet Kek].” Paper presented at the International Seminar on Cantonese Opera, Hong Kong, November, 18-20, 1992. Wong, C. T. “ Oh dalaiar Melbourne kong chew yuet ju kok ngai shai: 1961-2001[ The Kong Chew Yuet Ju Song Association of Melbourne, Australia: 1961-2001].” Paper presented at the Yuet Kek quat cia yin to woo [International Forum of Yuet Kek], Hong Kong, September 5-9, 2007. Wong, Isabel. “ The Music of China” in Excursions in World Music, 3 rd ed, edited by Bruno Nettl, Charles Capwell, Isabel Wong, and Thomas Turino, 74-111. New Jersey: Prentice Hall, 2001. Wong, S.H. Basic Knowledge of Yuet Kok (Cantonese songs). Hong Kong: China Book Store Co. Ltd., 2001. Wong, Paris. Telephone interview with the author March 4, 2010. ___. Various meetings with the author in Hong Kong, 2007-2009. Wong, Toa. Hung sun time bai [In Searching the Mystery of Red Boats]. Vancouver: Wong Toa Publishing, 1999a. ___. Wui goo Vancouver ngai tang se sup nin [Looking Back Forty Years of Art Stage of Vancouver]. Vancouver: Wong Toa Publishing, 1999b. ___. Yuet Kek [Yuetju]. Vancouver: Wong Toa Publishing, 2002. ___. Interview with the author June 5, 2007. ___. Telephone interview with the author. April 1, 2008 and March 2, 2010. ___. Letter to the author. July 14, 2007; Mar, 20, 2008. Wu, Chun. Gundong hei kelk si [Opera History of Guandong] vol. 6. Hong Kong: La yuen she bo sai yau han go si, 2003. Yuen, Siu Fai. Interviewed with the author in Hong Kong, Mar 3, 2008. Yung, Bell. “Creative Process in Cantonese Opera I: The role of Linguistic tones.” Ethnomusicology 27 (1, 1983): 29-47. ___. Cantonese Opera: Performance as Creative Process. New York: Cambridge University Press, 1989. 95
___. “Narrative Song: Southern Traditions: Cantonese Narrative Song.” In The Garland Encyclopedia of World Music 7, edited by Robert C. Provine et al, 267-274. New York and London: Routledge, 2002. Yung, Sao-Shing, “Gian yup sing si: ng kwong sup sik: 1920’s Yuet Kek time sik [Entering the cities: An analysis of the Colorful 1920’s].” Paper presented at the Yuet Kek quat cia yin to woo [International Forum of Yuet Kek], Hong Kong, September 5-9, 2007. 96
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RED BOAT TROUPES AND CANTONESE OPER
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RED BOAT TROUPES and CANTONESE OPER
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Electronic Version Approved: Mauree
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ACKNOWLEDGEMENTS I am grateful to D
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LIST OF FIGURES Figure 1. Map of Ch
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transcriptions retain the old Yale
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y me, by people from the estuary, b
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properties from town to town in the
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perform at venues such as Caesar’
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After reading Lai Kin’s proceedin
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This report includes voices from va
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Chinese is a comprehensive referenc
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seven looks into issues of class an
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performers were selected from ladie
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places gathered in Peking to perfor
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home. But Dr. Sun Yat Sen, a leader
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the river is shallow, these flat bo
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Chapter Three The Red Boat Society
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Foshan was an Earth Boat, which has
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Troupes] were all-female troupes th
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on a hill, or at the river-bank ear
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Soeng. Another brought lists of pla
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o’clock a.m. After the main featu
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Chapter Four The Plays According to
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The performance practice of ritual
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I have not seen ritual playlets per
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ecome a zong jyun, bon aan, or tam
Page 55 and 56: Chapter Five The Music Cantonese op
Page 57 and 58: Recitatives in a Cantonese opera in
Page 59 and 60: The bright sound was desirable espe
Page 61 and 62: two). 115 The new instrument, calle
Page 63 and 64: goe tan are actually more attractiv
Page 65 and 66: Many ji ceong 120 lie in the backst
Page 67 and 68: of the eyes upward and ties it tigh
Page 69 and 70: 1911 and 1949. Audiences are no lon
Page 71 and 72: performing industry when I was youn
Page 73 and 74: Chapter Seven Hong Kong— Social I
Page 75 and 76: To attract spectators, Sit and Ma h
Page 77 and 78: women looking forward to troupes co
Page 79 and 80: After his teacher 13 th Son of Nam
Page 81 and 82: made up new industries in the 1960s
Page 83 and 84: Peking opera fa dan (leading female
Page 85 and 86: Selecting virtues of a few male fri
Page 87 and 88: Chapter Eight China and Vancouver M
Page 89 and 90: violin, the koh hu, and he also tra
Page 91 and 92: Figure 13. Mr. C. Chan at the Qing
Page 93 and 94: The 94-year-old gentleman walked ad
Page 95 and 96: Ling: What is in your mind when you
Page 97 and 98: legendarily departed from Hong Kong
Page 99 and 100: A Chinese instrumental orchestra, s
Page 101 and 102: Ms. Chan was the lead singer in the
Page 103 and 104: Cantonese opera is not static; it i
Page 105: ___. “Chinese Street Opera Perfor
Page 109 and 110: second jester Ga Lueng Yee, a serva
Page 111 and 112: 4. As the two young people are havi
Page 113 and 114: features, he turns to Ci Yung. Wai
Page 115: Appendix B: Interviewees 104
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