In 2009, Cantonese opera was officially inscribed on unesco's Representative List of the Intangible Cultural Heritage of Humanity, the first world intangible cultural heritage in Hong Kong, and its artistic and cultural value has been affirmed by the public.
At the end of the Qing Dynasty, There were records of Cantonese opera performances in Hong Kong. Before the war, the rise of Xue Juexian and Ma Shizeng brought about the development of Cantonese opera art in Hong Kong. After the war, with the arrival of a large number of Cantonese opera workers from the north and the establishment of the "Hong Kong Eight Harmony Association", the local Cantonese opera developed vigorously. After a period of low, Hong Kong Cantonese opera restarted in the 1970s and ushered in another climax. However, in recent years, the mode of leisure and entertainment has become more and more diversified, and Cantonese opera may only be a "cultural symbol" for the younger generation, and its appeal is much less than before.
Determined to penetrate Tang Disheng's sword and pen
The nature of the fighting fish is to swim against the current. There is a young man in Hong Kong who is not left behind in Cantonese opera and is determined to regard it as a life's work.
The stylish appearance envelops the ancient road hot sausage
Yuen Yuen is a fourth-year student in the "Cultural Management" course at the University of Chinese, Hong Kong. Like most young people, she loves anime and online games. However, under the fashionable dress, she has a kind of ancient hot sausage: "Most of my friends are engaged in drama because of family influence, and I am more special because my family does not particularly like Cantonese opera." The person who led me to cantonese opera was Mr. Tang Disheng. His words seem to have 'thousand pounds of strength' and 'thousand strands of love', and I can't help but fall in love with it deeply. ”
Both literary and martial, sometimes princesses, sometimes warriors
For Yuan Xuehui, to understand Mr. Tang's sword and pen, it is better to step into the building from the desk and burn his essence from the outside in. So, at the age of sixteen, she decided to study acting.
She studied art at the Bahe Cantonese Opera Academy, a subsidiary of the Bahe Guild Hall. In the past four years, from the performance program to the chanting and playing, from the text study to the performance skills, she has learned one by one; at the same time, she also has to take care of her studies, which is bitter and probably difficult for outsiders to understand.
Celebrate childhood idols and listen to teachings up close
The fruits of heavenly reward and irrigation with sweat are always particularly sweet.
Peony Pavilion under the city
Slowly, Yuan Xuehui jumped from offstage to stage, playing one insignificant but meaningful role after another. In 2011, she had a dream opportunity. "That year, I was the production assistant for the Chinese Opera Festival's play "His Majesty the Emperor Wu.". When the prototype of the script was gradually formed, I had the opportunity to discuss one of the highlights of one of the two with my idols Hui Ge (Mr. Ruan Zhaohui) and Yan Jie (Ms. Yin Feiyan). That day and that scene, I will never forget: I saw the two people holding the script, or throwing themselves into the role, or jumping out of the discussion, shuttling between the characters and events, constructing the picture, and arranging the scheduling. For a moment, the words jumped on the paper and flew at present. All I can say is that it's very 'enjoyable', wonderful! ”
At the end of 2016, Yuen Yuec Wai held a Cantonese opera promotion event and invited Mr. Nguyen Siu Fai, who is also a teacher and friend, to give a speech in person.
Make your interest a life's work
When choosing a subject at university, Yuan Xuehui naturally chose the cultural management course of CUHK. "During the course, I learned a lot about the theory of intangible cultural heritage, and I can follow the professors in the department to conduct research on different intangible cultural heritage projects." In the process of studying, she reflected on the future development direction of Cantonese opera - in addition to performance, she also had to use academic eyes to sort, preserve and research. Only by putting this spirit into the hall can it attract enough attention.
The author took a group photo with Yuan Xuehui
Postscript: Yuan Xuehui was a student of my junior college and university and followed me to write my graduation thesis. The first day of the meeting was in a class on the history of Chinese literature. That day, I was talking about the development of opera in the history of literature, and she suddenly opened her mouth to discuss several literary issues with me--I was deeply impressed by the round-spoken Cantonese and the gentle and elegant temperament. I asked her which work she liked the most, and she said without saying a word: "Emperor Girl Flower". Therefore, I proposition as such, and send her ambition to be immortal like the fragrance of the imperial daughter flowers.
Note: Cantonese opera belongs to Item 2.6 of the First List of Hong Kong's Intangible Cultural Heritage. These include intangible cultural heritage items such as "singing", "music", "divine opera", "singing cavity" and "pomp and circumstance".
The original title was "The Fragrance of The Imperial Daughter's Flowers Is Immortal- Inheriting cantonese opera culture".
Author: Dr. Ye Deping, Senior Educator in Hong Kong, Renowned Cultural Scholar, Bachelor of Chinese, Chinese University of Hong Kong, Ph.D. in Literature, Beijing Normal University. He is currently a member of the Standing Committee of the Hong Kong Higher Education Council, a senior lecturer at the School of Professional and Continuing Education of the University of Chinese, Hong Kong, an academic coordinator of the Chinese and history courses, and the vice president of the Hong Kong Historical and Cultural Research Association.