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

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performers were selected from ladies-in-waiting in the palace. The two other locations were in<br />

the capitol Cheung An, then a prosperous international trade center. They hosted 1000 and 1500<br />

trainees. Today, performers <strong>of</strong> opera in China are referred to as “Disciples <strong>of</strong> the Pear<br />

Garden.” 28<br />

Opera became a very popular type <strong>of</strong> entertainment during the minority Mongol-<br />

governed Yuen dynasty (A.D. 1127-1279). 29 Opera performers, usually from very poor families,<br />

stood at the bottom <strong>of</strong> the social ladder. They were trained as apprentices at a young age and<br />

received very little other education. Historically, government <strong>of</strong>ficers, in high- level social<br />

hierarchy, hardly mixed with performers. However, during the Yuen dynasty, many members <strong>of</strong><br />

the Han majority lost their jobs or resigned, due to pressure in the new regime. Mingling with<br />

musicians and performers, some <strong>of</strong> these unemployed ex-<strong>of</strong>ficers started writing librettos to pre-<br />

existing tune types. Combining music and beautiful verses and literature, a very important genre<br />

<strong>of</strong> art, the Yuen Jap Kelk (Variety Opera <strong>of</strong> the Yuen dynasty) came into being. The Yuen Jap<br />

Kelk included shows other than opera. The Yuen opera reflected life’s reality, more so than<br />

operas <strong>of</strong> the previous generations. Characters in the operas depicted people from all walks <strong>of</strong><br />

life. 30 The Yuen Jap Kelk included recitatives and singing. Each opera had many characters, but<br />

there was only one lead singer. Others were mute or only sung a few lines. The structure <strong>of</strong><br />

Yuen Jap Kelk is organized in “books.” Each book contains four acts, and each book is a<br />

coherent story. Some long operas use two or three books, which are performed in a continuous<br />

fashion. Each act <strong>of</strong> the play is restricted to only one kind <strong>of</strong> mode. The ending <strong>of</strong> each book is<br />

28<br />

Won Dat Jin, Jong kwok yin yur si [A history <strong>of</strong> Chinese Music] (Beijing: People’s Music Publication, 1994),<br />

206, 216.<br />

29<br />

Ji Nan Sun and G. C. Chow, A Concise Course <strong>of</strong> General Music History <strong>of</strong> China (Shangtong: Shangtong<br />

Education Publication, 1999), 135.<br />

30<br />

Jin, Won Dat, 378.<br />

16

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