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

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een in Canada for several decades. Their repertoire was in the vein of 1950s China and was traditional compared to the professional from Guangzhou in the aforementioned Richmond club. I also visited a retired couple who had converted their basement into a studio to teach Cantonese Opera to students for free. Mr. Chan played the yanqin and Mrs. Chan played all the percussion instruments. What a fun way for them to enjoy their golden years! Mr. Chan is also a librettist/composer who has sent several compositions to me over the last few years. Both Mr. and Mrs. Chan are members of the Qing Wan Music Association, which was established prior to WWII. Figure 12. Amateur singers at the Qing Wan Music Association in Vancouver. 79
Figure 13. Mr. C. Chan at the Qing Wan Music Association in Vancouver. There seemed to be two groups of amateur singers in Vancouver: those who went to Vancouver before the 1980s were working class immigrants who sung old repertoire and boun huang and those who came after the 1980s were upper middle class and left Hong Kong because of the 1997’s political uncertainties. Many husbands of the newer immigrant families returned to Hong Kong to work, leaving their wives and children in Vancouver. Women of this class enjoyed singing from the newer repertoire, such as siu kuk from Tong Dik Sung’s operas. An Interview with Mr Wong Toa In the summer of 2007, various members from Qing Wan Cantonese Opera Association of Vancouver directed me to Mr Wong Toa. He was a retired professional instrumentalist, a prolific writer who had published articles on Chinese opera for the Singtao Newspaper for several years, and a teacher of opera singing for seventy years. Many professional singers (including Bruce Lee) were his students. In 1961, Mr Wong became the first Cantonese Opera musician to receive permission to immigrate to Canada on the basis of his trade. 157 Having glanced through the publications he donated to the Chinese Library in Vancouver, I was excited 157 Conversation with Wong Toa 80
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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
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
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: violin, the koh hu, and he also tra
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 and 106: ___. “Chinese Street Opera Perfor
Page 107 and 108: ___. “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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