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

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Theatre in the North Point central region of Hong Kong performs mainly civil “theatre plays.” However, in local historic communities, in addition to “theater plays,” the traditional ritual playlets are performed at events such as the Festival for the Ghost, Purification for Peace, and the birthdays of deities. 43
Chapter Five The Music Cantonese opera includes singing, acting, recitation, and kungfu (coeng zou lim da). Most arias, recitatives, and oral utterances are delivered as solos and duets. Only on rare occasions do more than two characters sing or deliver a speech in one scene. The librettist of an opera receives the most credit for the texts. A successful librettist is careful to choose suitable words to fit the plot and tone of the music. He sets the text into pre-existing tune types or requests a musician to set his poem into an aria. Since sung music in Cantonese opera consists of arias and recitatives, sometimes two tune types are separated by a recitative. A librettist also writes recitatives and heightened speech. S/he knows how to modulate a passage from one tune type to another, or set a recitative that is suitable for the play. The Arias and Recitatives Arias are performed solo or as duets. The arias are arranged from a large pool of pre- existing tunes and new compositions. These tune types are in three main categories: boun huang, siu kok, and narrative songs. Boun huang is short form for boun tze and er huang, the main sung music used before siu kuk and local folk songs were introduced. Boun tze and er huang originated from other operas north of the Guangdong province. Boun huang is characterized by rhythm and tones determined by the natural pitch of the words. Since there are nine tones in the six-pitch Cantonese language, words delivered determine the contour of the melody. In singing boun huang, “Asking word for tone” (maan zi hung horn) is very special in the nine-tone Cantonese language. 44
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RED BOAT TROUPES AND CANTONESE OPER
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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
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Page 17 and 18: perform at venues such as Caesar’
Page 19 and 20: After reading Lai Kin’s proceedin
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Page 31 and 32: home. But Dr. Sun Yat Sen, a leader
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Page 35 and 36: Chapter Three The Red Boat Society
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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 47 and 48: Chapter Four The Plays According to
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Page 73 and 74: Chapter Seven Hong Kong— Social I
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Page 85 and 86: Selecting virtues of a few male fri
Page 87 and 88: Chapter Eight China and Vancouver M
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Page 91 and 92: Figure 13. Mr. C. Chan at the Qing
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Page 95 and 96: Ling: What is in your mind when you
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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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