Cantonese opera

History

    There is a debate about the origins of Cantonese opera, but it is generally accepted that Cantonese opera was imported from the northern part of China and slowly migrated to the southern province of Guangdong in late 13th century, during the late Southern Song Dynasty. In the 12th century, there was a theatrical form called "Southern opera" (Chinese: 南戲 (Cantonese: Naam4 hei3, Mandarin: Nánxì)) or the Nanxi (Southern drama), which was performed in public theaters of Hangzhou, then capital of the Southern Song Dynasty. With the invasion of the Mongol army, Emperor Gong of Song dynasty, called Zhào Xiǎn (趙顯), fled with hundreds of thousands of Song people into the province of Guangdong in 1276. Among these people were some Narm hei artists from the north. Thus narm hei was brought into Guangdong by these artists and developed into the earliest kind of Cantonese opera.

    Many well-known operas performed today, such as The Purple Hairpin and Rejuvenation of the Red Plum Flower, originated in the Yuan Dynasty, with the lyrics and scripts in Cantonese. Until the 20th century all the female roles were performed by males.

    Beginning in the 1950s massive waves of immigrants fled Shanghai to destinations like North Point. Their arrival boosted the Cantonese opera fanbase significantly.

Characteristics

    Cantonese opera has much in common with other Chinese opera genres. Commentators often take pride in the idea that all Chinese opera styles are but minor variations on a pan-Chinese music-theater tradition, and that the basic features or principles are consistent from one local opera form to another. Thus, music, singing, martial arts, acrobatics and acting all feature. Most of the plots are based on Chinese history and famous Chinese classics and myths. The culture and philosophies of the Chinese people can be seen in the plays. Virtues like loyalty, moral, love, patriotism and faithfulness are often reflected by the operas.

    Some particular features of Cantonese opera are:

1. Chihng sik sin: formulaic, formulized
2. Heui yih sing: abstraction of reality, distancing from reality
3. Sin mihng sing: clear-cut, distinct, unambiguous, well-defined
4. Jung hahp ngaih seuht yihngsik: a composite or synthetic art form
5. Sei gung ngh faat: the four skills and the five methods, a simple codification of the basic skills and techniques of acting and singing.

    The "four skills" and "five methods" are a simple codification of the areas of special training for opera performers, and also stand as something of a metaphor for the most well-rounded and thoroughly trained performers. The "four skills" apply to the whole spectrum of vocal and dramatic training: singing, acting and movement, delivery of the "speech-types" and martial and "gymnastic skills," while the five methods are categories of techniques associated with specific body parts: hands, eyes, body, hair, feet or walking techniques.

Significance

    Other than being simply a form of entertainment, it can carry messages or lessons, which was particularly important before widespread formal education. The government often used opera to promote the idea of be loyal to the emperor and love the kingdom (忠君愛國). Because of this, the opera was often examined by the government. If the underlying message was not considered beneficial, the opera would be banned.

    As time progresses, fewer and fewer Opera houses are also left to promote the art. Sunbeam Theatre is one of the few facilities that can bridge modern Hong Kong culture with that of mainland China.

Types of play

    There are two types of Cantonese opera plays: 武 mou5 ("martial arts") and 文 man2 ("highly educated", esp. in poetry and culture) . 武 plays emphasize war, the characters usually being generals or warriors. These works contain action scenes and involve a lot of weaponery and armour. 文 plays tend to be gentler and more elegant. Scholars are the main characters in these plays. Water sleeves (see Frequently Used Terms) are used extensively in 文 plays to produce movements reflecting the elegance and tenderness of the characters; all female characters wear them. In 文 plays, characters put a lot of effort into creating distinctive facial expressions and gestures to express their underlying emotions.

Musical instruments

    Cantonese instrumental music was called ching yam prior to the establishment of the People's Republic in 1949. Cantonese instrumental tunes have been used in Cantonese opera, either as incidental instrumental music or as fixed tunes to which new texts were composed, since the 1930s.

    The use of instruments in Cantonese opera is influenced by both western and eastern cultures. The reason for this is that Canton was one of the earliest places in China to establish trade relationships with the western civilizations. In addition, Hong Kong was under heavy western influence when it was a British colony. These factors contributed to the observed western elements in Cantonese Opera.

    For instance, the use of erhu (two string bowed fiddle), saxophones, guitars and the congas have demonstrated how diversified the musical instruments in Cantonese operas are.

    The musical instruments are mainly divided into melodic and percussive types.

    Traditional musical instruments used in Cantonese opera include wind, strings and percussion. The winds and strings encompass gaohu, erhu, yehu, yangqin, pipa and dizi, while the percussion comprises many different drums and cymbals. The percussion controls the overall rhythm and pace of the music, while the gaohu leads the orchestra.

    The instrumental ensemble of Cantonese opera is comprised of two sections: the melody section and the percussion section. The percussion section has its own vast body of musical materials, generally called loh gu dim or simply loh gu. These 'percussion patterns' serve a variety of specific functions.

Music

    Cantonese opera pieces are classified either as "theatrical" or 歌壇 "singing stage". The theatrical style of music is further classified into "西樂" (Western Music) and "中樂" (Chinese Music). 歌壇 is always 西樂 (Western music), while theatrical music can be 西樂 or 中樂 (Chinese music). The "four great male vocals" (四大平喉) were notable exponents of 歌壇 in the early 20th century.

    西樂 is accompanied by strings, woodwinds, brass plus electrified instruments, and 中樂 by traditional Chinese percussion.

    Lyrics are written to fit the play's melodies, although one song can contain multiple melodies, performers being able to add their own elements. Whether a song is well performed depends on the performers' own emotional involvement and ability.

Roles

    There are six set roles:

1. man4 mou5 saang1 (文武生, transliteration: civilized martial man; the clean-shaven scholar-warrior)
2. siu2 saang1 (小生, transliteration: 'young gentleman'; young scholar)
3. faa1 daan3 (花旦, transliteration: 'flower' of the ball; young belle)
4. yi6 faa1 (二花, transliteration: 'second flower'; supporting female)
5. cau2 saang1 (丑生, clown)
6. mou5 saang1 (武生, bearded male warrior)

Costumes

    Costumes correspond to the theme of the play and indicate the character of each role.

    As mentioned above, each type of play is associated with particular costumes. The water sleeves of Mun plays can be attached to the waist or the sides of the breast areas. Costumes can be single or double breasted.

    Costumes also indicate the status of the character. Lower-status characters, such as females, wear less elaborate dress, which those of higher rank have more decorative costumes.

Makeup

    Applying makeup for Cantonese opera is a long and specialised process.

    One of the most common styles is the "white and red face": an application of white foundation, with red around the eyes and on the cheeks. The eyebrows are sometimes elongated. Lipstick is usually bright red.

    Actors are given temporary facelifts by holding the skin up with a ribbon on the back of the head. This lifts the corners of the eyes, producing an authoritative look.

    Each role has its own style of make-up: the clown has a large white spot in the middle of his face, for example. A sick character has a thin red line pointing upwards in between his eyebrows. Aggressive and frustrated character roles often have a "ying hong jee" (an arrow shape fading into the forehead) in between the eyebrows.

    Strong male characters wear "hoi1 min4" (開面; "open face") makeup. Each character's makeup has its own distinct characteristics, with symbolic patterns and coloration.

Hairstyle, hats and helmets

    Hats and helmets signify social status, age and capability: scholars and officials wear black hats with wings on either side; generals wear helmets with pheasant feathers; soldiers wear ordinary hats, and kings wear crowns. Queens or princesses have jewelled helmets.

    Hairstyles can express a character's emotions: warriors express their sadness at losing a battle by swinging their ponytails. For the female roles, buns indicated a maiden, while a married woman has a Dai tow.

Frequently used terms

Pheasant feathers/Antennae: These are attached to the helmet in 武 plays, and are used to express the character's skills and expressions. They are worn by both male and female characters.

Water Sleeves: These are used for expressive effect by both males and females in 文 plays.

Hand Movements: Hand and finger movements reflect the music as well as the action of the play. Females hold their hands in the elegant "lotus" form.

Round Table/Walking: A basic feature of Cantonese opera, the walking movement is one of the most difficult to master. Females take very small steps and lift the body to give a detached feel. Male actors take larger steps, which implies traveling great distances.

Go Hur: These are black boots with high white soles worn by males, which can impede walking.

Gwou Wai: This is a movement in which two performers move in a cross-over fashion to opposite sides of the stage.

Tuir Mok: In this movement, two performers walk in a circle facing each other and then go back to their original positions.

Lai saan and Wun Sou: These are the basic movements of the hands and arms.

Jurt Bo/Choot Bo: This is a gliding effect used in walking.

Siu Tiu: Most common in 武 plays, the actor stamps before walking.

Fay Tuir: A crescent kick.

Hair-flinging/"Headbanging": A circular swinging of the ponytail, expressing sadness and frustration.

Chestbuckle/ Flower: A flower-shaped decoration worn on the chest. A red flower on the male signifies that he is engaged.

Horsewhip: Performers swing a whip and walk to imitate riding a horse.

Sifu: Literally, master, this is a term for experienced performers and teachers.