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

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© 2010 Loretta Siuling Yeung All Rights Reserved
Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2010 RED BOAT TROUPES AND CANTONESE OPERA by LORETTA SIULING YEUNG Major Professor: Jean Kidula Committee: Adrian Childs David Schiller
Page 1 and 2: RED BOAT TROUPES AND CANTONESE OPER
Page 3: RED BOAT TROUPES and CANTONESE OPER
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
Page 23 and 24: Chinese is a comprehensive referenc
Page 25 and 26: seven looks into issues of class an
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
Page 43 and 44: Soeng. Another brought lists of pla
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
Page 53 and 54: 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
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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
Page 93 and 94:
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
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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