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This open access book examines the innovation and inheritance of Cantonese opera singing styles in Hong Kong from the 1930s to the 1970s. It delves into the background and current state of Cantonese opera singing, focusing on its inheritance and localization. The study combines scholarly insights with findings from interviews to exploration of ways to innovate and sustain the development of Cantonese opera singing styles in Hong Kong. Originally written in Chinese, this English translation promotes and transfers knowledge of the art to a global audience, to extend the influence of Cantonese opera worldwide. Part I features interviews with Cantonese opera scholars and practitioners, discussing evolutions in the art form and the challenges of preserving it amidst changing times. It captures the experiences of practitioners in learning and developing their unique singing styles. Part II includes essays by scholars and enthusiasts, documenting the evolution of Cantonese opera singing styles in Hong Kong, exploring further potential directions for innovation. By analysing singing styles and the use of Cantonese sounds, the book enhances public awareness of Cantonese opera aesthetics and creativity. It charts a new path for the inheritance and development of Hong Kong s local Cantonese opera traditions, while addressing the limitations faced by artists in creating their own styles. It is a timely translation for scholars working across East Asian classical arts and culture, and for scholars studying opera and its history and cultural development, globally.
List of contents
Experience of Learning the Art.- Development of Singing Styles.- Learning from the Past to Understanding the Present.- The Question of Inheritance vs. Innovation.- The Impact of the Cantonese Opera Ecosystem on the Creation of Famous Singing Styles.- Examining the Conditions for the Creation of New Cantonese Opera Singing Styles from the Perspective of Creativity Theory.- The Humanistic Implications of Sun Ma Sze-tsang s (Tang Wing-cheung,1916-1997) Singing Styles: Inheritance and Innovation in Cantonese Opera Vocal Traditions.- The Art of Fong Yim-fun and the History of the Fong Style in Cantonese Opera and Theater.- Connections between Hong Kong and Foshan Cantonese Opera in the Greater Bay Area.- Encouraging Innovation in Singing Styles to Revitalize Cantonese Opera.
About the author
Kelly Kar Yue Chan completed her undergraduate degree (First class honours) and her master’s degree (Distinction) both in the discipline of Translation and Interpretation at the City University of Hong Kong. She then finished her PhD in Classical Chinese Literature at the University of Edinburgh, Scotland, United Kingdom. She has been teaching translation (in various fields mainly in literary translation) and subjects concerning Chinese and Western cultural studies. Currently an Associate Dean (Learning and Teaching) cum Associate Professor in language and translation of the School of Arts and Social Sciences at Hong Kong Metropolitan University, she teaches courses on culture and translation, and literary translation; and supervises translation and research projects for undergraduate and postgraduate students. She is also the Postgraduate Programmes Coordinator. Being Centre Director of Ina Ho Cantonese Opera Research Centre (IHCORC), her research interests include literary translation, classical Chinese literature (poetry), and translation of Cantonese Opera.
Summary
This open access book examines the innovation and inheritance of Cantonese opera singing styles in Hong Kong from the 1930s to the 1970s. It delves into the background and current state of Cantonese opera singing, focusing on its inheritance and localization. The study combines scholarly insights with findings from interviews to exploration of ways to innovate and sustain the development of Cantonese opera singing styles in Hong Kong. Originally written in Chinese, this English translation promotes and transfers knowledge of the art to a global audience, to extend the influence of Cantonese opera worldwide. Part I features interviews with Cantonese opera scholars and practitioners, discussing evolutions in the art form and the challenges of preserving it amidst changing times. It captures the experiences of practitioners in learning and developing their unique singing styles. Part II includes essays by scholars and enthusiasts, documenting the evolution of Cantonese opera singing styles in Hong Kong, exploring further potential directions for innovation. By analysing singing styles and the use of Cantonese sounds, the book enhances public awareness of Cantonese opera aesthetics and creativity. It charts a new path for the inheritance and development of Hong Kong’s local Cantonese opera traditions, while addressing the limitations faced by artists in creating their own styles. It is a timely translation for scholars working across East Asian classical arts and culture, and for scholars studying opera and its history and cultural development, globally.
