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

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improved transportation affected the development of Cantonese opera. Feminist movement, cross-gender performance, economics, and class issues historically associated with the opera are examined and compared to recent activities in Hong Kong, and in one Cantonese diaspora, Vancouver of Canada. The findings from the research shed light on the genre with a hope of preserving the heritage and increasing the practice and consumption of Cantonese opera. KEYWORDS: Cantonese Opera, Red boat Troupes, Hong Kong Opera,
RED BOAT TROUPES and CANTONESE OPERA by LORETTA SIULING YEUNG B.S., University of Alberta, 1974 B.A., Augusta State University, 2004 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS ATHENS, GEORGIA 2010
Page 1: RED BOAT TROUPES AND CANTONESE OPER
Page 5 and 6: Electronic Version Approved: Mauree
Page 7 and 8: ACKNOWLEDGEMENTS I am grateful to D
Page 9 and 10: LIST OF FIGURES Figure 1. Map of Ch
Page 11 and 12: transcriptions retain the old Yale
Page 13 and 14: y me, by people from the estuary, b
Page 15 and 16: properties from town to town in the
Page 17 and 18: perform at venues such as Caesar’
Page 19 and 20: After reading Lai Kin’s proceedin
Page 21 and 22: This report includes voices from va
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Page 27 and 28: performers were selected from ladie
Page 29 and 30: places gathered in Peking to perfor
Page 31 and 32: home. But Dr. Sun Yat Sen, a leader
Page 33 and 34: the river is shallow, these flat bo
Page 35 and 36: Chapter Three The Red Boat Society
Page 37 and 38: Foshan was an Earth Boat, which has
Page 39 and 40: Troupes] were all-female troupes th
Page 41 and 42: on a hill, or at the river-bank ear
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Page 45 and 46: o’clock a.m. After the main featu
Page 47 and 48: Chapter Four The Plays According to
Page 49 and 50: The performance practice of ritual
Page 51 and 52: I have not seen ritual playlets per
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ecome a zong jyun, bon aan, or tam
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Chapter Five The Music Cantonese op
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Recitatives in a Cantonese opera in
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The bright sound was desirable espe
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two). 115 The new instrument, calle
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goe tan are actually more attractiv
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Many ji ceong 120 lie in the backst
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of the eyes upward and ties it tigh
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1911 and 1949. Audiences are no lon
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performing industry when I was youn
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Chapter Seven Hong Kong— Social I
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To attract spectators, Sit and Ma h
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women looking forward to troupes co
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After his teacher 13 th Son of Nam
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made up new industries in the 1960s
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Peking opera fa dan (leading female
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Selecting virtues of a few male fri
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Chapter Eight China and Vancouver M
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violin, the koh hu, and he also tra
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Figure 13. Mr. C. Chan at the Qing
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The 94-year-old gentleman walked ad
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Ling: What is in your mind when you
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legendarily departed from Hong Kong
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A Chinese instrumental orchestra, s
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Ms. Chan was the lead singer in the
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Cantonese opera is not static; it i
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___. “Chinese Street Opera Perfor
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___. “Narrative Song: Southern Tr
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second jester Ga Lueng Yee, a serva
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4. As the two young people are havi
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features, he turns to Ci Yung. Wai
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Appendix B: Interviewees 104
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