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Reviving the Almost Lost Versions of Three Routine Plays in Cantonese Opera ─
The Sung Version of Eight Immortals Bestowing Longevity, the Male and Female Versions of Blessing of Promotion, and the Grand Scale Version of The Heavenly Maiden Delivers Her Son to the Mortal Father

重現三個瀕臨失傳的粵劇例戲版本 ─《八仙賀壽》唱腔版、《加官》男、女版及《天姬大送子》

日期: 2017年3月2日 (星期四)
時間: 晚上7時至8時30分
地點: 嶺南大學陳德泰大會堂
製作: 香港八和會館
合辦: 嶺南大學群芳文化研究及發展部
語言: 官話 (配以中、英文字幕)
ILP學分: 1.5 (美育發展)





吹打領導 : 高潤權先生、高潤鴻先生

學術顧問:余少華教授、李小良教授、容世誠教授、伍榮仲教授 (《中國戲曲志》及《中國戲曲音樂集成》香港卷主編)



Date: 2 March 2017 (Thu)
Time: 7:00pm – 8:30pm
Venue: Chan Tak Tai Auditorium, Lingnan University
Producer: The Chinese Artists Association of Hong Kong
Co-organiser: Kwan Fong Cultural Research and Development Programme, Lingnan University
Language: Guanhua, the lingua franca of the officialdom in Late Imperial China (with Chinese and English surtitles)
ILP Units: 1.5 (Aesthetic Development)

Raising the curtain of a performance with routine plays has been for a century a traditional practice of Cantonese opera troupes and can still be seen regularly in ritual performances in Hong Kong. The Eight Immortals Bestowing LongevityBlessing of Promotion, and the Grand Scale Version of The Heavenly Maiden Delivers Her Son to the Mortal Father are scheduled to be staged respectively during daytime on the main festival day in a series of ritual performances. The routine plays have retained the musical forms, tunes, official language and performance practices used in early Cantonese operas. The studies of the surviving musical notations and documented oral history suggest that some segments of the routine plays have been omitted in performance for more than half a century. Few experienced actors and musicians still remember (at least partially to different extents) the performance conventions of the almost lost versions of the three routine plays.

Young practitioners will stage the forgotten versions of the three routine plays by consulting documented oral history about the plays and the surviving musical notations provided by the researcher-cum-programme planner, and following the instructions given by experienced, older generation of actors and musicians. 

The stage performance of the routine plays will display how scholar inputs academic contribution to partially help the Cantonese opera profession revive and reconstruct part of Cantonese opera’s performance almost lost practices.


Performers from Catonese Opera Young Talent Showcase, and the Youth Talent of Cantonese Opera Training Course, The Cantonese Opera Academy of Hong Kong
Artistic Directors: Mr Danny Li Chi-kei, Mr Yuen Siu-fai
Wind and Percussion Leaders: Mr Ko Yun-kuen, Mr Ko Yun-hung

Academic Advisors: Prof Yu Siu-wah, Prof Li Siu-leung, Prof Yung Sai-shing, Prof Ng Wing-chung (Chief Editors, the Hong Kong Volumes of Annals of Chinese Opera and Anthology of Chinese Opera)
Researcher-cum-Programme Planner: Lum Man-yee (Deputy Chief Editor, the Hong Kong Volumes of Annals of Chinese Opera and Anthology of Chinese Opera)

Funded by: Knowledge Transfer Project Fund and Faculty of Arts, Lingnan University