Beijing Opera, regarded as the national quintessence of Chinese traditional operas, has been mainly popular in North China since the Qing Dynasty. Now some local lovers are trying hard to develop the opera in Hong Kong.
Text: Liu Ki Kei , So Yin Ling
Photo: Liu Ki Kei
The opera, also known as Peking Opera, was developed in over two hundred years ago, absorbing various characteristics from many other Chinese traditional operas, and was ubiquitous in the society, particularly loved by the imperial family. At present, it is still adored by numerous retired Chinese politicians, such as Jiang Zemin, former chief leader of the party, and Zhu Rongji, former premier of the Chinese government.
With profound cultural background derived from North China, the opera is hard to be transplanted in Hong Kong, an ex-British-colony lied at the southern end of China with a very different dialect. But for a long time, some local people have been persisting in the attempt to introduce the opera.
Lee Woo Sing (李和聲), 87-year-old amateur performer and the honorary chairman of the Shanghai Fraternity Association (SFA) in Hong Kong, started learning Beijing Opera when he was six in Shanghai. Nowadays, he and several Beijing Opera lovers practice at the clubhouse of the SFA regularly. Besides, he often organises free performances to promote Beijing Opera in Hong Kong. In 2002, when the former Premier Zhu Rongji visited to Hong Kong, Lee was invited to perform Beijing Opera at the Government House.
Tang Yuen Ha (鄧宛霞), the only local Beijing Opera artist got the 8th Plum Blooms Award – the top award for traditional theatricals in Mainland China set up Jing Kun Theatre in 1986, and since then has been devoting all her life to introduce Beijing Opera in Hong Kong.
The theatre’s name combines Beijing Opera (Jing) with Kun Opera (Kun) together. According to relevant record, Beijing Opera developed based on Kun Opera. Another older opera born in Kun Shan, Jiangsu province six hundred years ago. Beijing Opera is more popular than Kun Opera while the latter is regarded as more noble and elegant.
Jing Kun Theratre is a company dedicated to the development and promotion of Beijing Opera and Kun Opera. Over the years, it has produced and organized various kinds of performances, talks, workshops and courses. It does not only produce performances of traditional Chinese stories, but also adapt Western novels for the stage. In order to make it comprehensible to the foreign audience, English subtitles would be provided on the screen if necessary.
In the past, apprentices of the operas needed to look after their master for a lifetime.
“The traditional teaching style strengthens the communication between master and apprentice through daily lives. Their personalities and characteristics were also trained and fostered. Apprentices respect their master sincerely. I hope the relationship between apprentice and master will get more intimate. Actually, we are close to each other,” Tang said.
Comparing with the Cantonese Opera, the public comprehension to Beijing Opera is relatively weak. Tang admitted that Beijing Opera was not popular before. However, the situation is improving because of the vigorous promotion by some local opera lovers. “In the past, most of my students were immigrants from mainland. Recently, the number of local young people is rising.”
She promotes Beijing Opera in local schools and universities, by introducing different types of actors, costumes, masks and musical instruments through live performances. The response is overwhelming to such promoting activities, even primary students feel enjoyable.
Chen Hualing (陳化玲), member of the Hong Kong Beijing Opera Club, has been teaching in Hong Kong Lingnan University for more than 20 years. After retirement, the school invited her to be the tutor of the course called as “Introduction to Chinese Kun Opera and Beijing Opera Appreciation”. Interactive teaching methods have been used to deepen students’ understanding to this traditional theatrical art. For instance, she encourages students to sing in the classroom, guides students to watch Beijing Opera, and invites artists to perform in the school.
“Even if I can perform very well, there is no hope as there is no audience. Therefore, the university has the responsibility to nurture qualified audience. Then, the Beijing Opera can be popularized in Hong Kong,” she noted.
Cheng Zongho (鄭仲河), Beijing Opera lover as well as the vice chairman of the Shanghai Fraternity Association, analyzed the problems in developing Beijing Opera. First, the tuition fee is expensive. Second, Beijing Opera involves singing, acting, recitation and acrobatics, they are difficult for beginners. Third, a band consists of at least seven musicians is required in the regular rehearsal. Forth, lovers have to rent a practice ground. The related cost is expensive for general public. Last but not least, the lack of government support.
“The government should do more to popularize Beijing Opera in Hong Kong,” Cheng emphasized. Though Beijing Opera is considered as national quintessence, the government does not cherish it, compared with some regions like Taiwan where Beijing Opera has been promoted vigorously.
