Yueju (Cantonese Opera)
01 · Historical Records
In the late Ming and early Qing dynasties, the Yiyang and Kun tune styles were introduced into Guangdong. Around 1912, Cantonese opera performance had basically switched to the Guangzhou dialect; the performance system grew steadily more complete, folk songs and minor tunes began to be inserted into the banghuang (bangzi and erhuang) passages, and falsetto singing was replaced by natural-voice singing known as "pinghou".
02 · Core Techniques & Process
The early traditional repertoire of Cantonese opera mainly included Yibao Xue (One Handful of Snow), Erdu Mei (Plum Blossoming Twice), Sanguantang (Hall of the Three Officials), Sijinshi (Four Jinshi) and Wudengke (Five Times Passing the Imperial Examination), known as the so-called "Eighteen Works of the Rivers and Lakes" (jianghu shiba ben). Later there appeared the "New Eighteen Works of the Rivers and Lakes" (xin jianghu shiba ben), including Huanghuashan (Yellow Flower Mountain), Xihe Hui (Meeting at the Western River), Shuangjie Yuan (Two Knotted Marriages) and Xuezhong Yuan (Heavy Injustice Under Snow), as well as the "Grand Eighteen Works of Full Staging" (da paichang shiba ben), such as Suwu Muyang (Su Wu Herding Sheep) and Daiyu Zanghua (Daiyu Burying Flowers). Other representative repertoire works include Bai Jinlong (The White Golden Dragon), Huoshao Epanggong (Burning the Epang Palace), Pinggui Bieyao (Pinggui Parting from the Kiln), Baolian Deng (The Lotus Lantern), Luocheng Xieshu (Luo Cheng Writing the Letter) and Fengyi Ting (Phoenix Pageantry Pavilion). The basic vocal styles of Cantonese opera are bangzi (bang) and erhuang; it also incorporates the gaoqiang (high tune) and kunqiang (Kun tune) styles together with Guangdong folk narrative singing and miscellaneous minor tunes. The Cantonese opera ensemble was originally made up of the "five-piece head" (wujiatou) of erxian (two-string fiddle), yueqin (moon lute), sanxian (three-string lute), zhutiqin (bamboo fiddle) and xiao (flute); other newer instruments were gradually taken in later. Cantonese opera originally had ten role types — mo, sheng, dan, jing, chou, wai, xiao, fu, tie and za — which were later streamlined to six: wenwu sheng, xiaosheng, zhengyin huadan, erbang huadan, chou sheng and wu sheng. Cantonese opera performance carries a plain, unadorned and bold character, with virtuoso techniques such as one-legged stomping, rope-sliding (huasuo), darting of the eyes, small leaps and back-twisting. Its martial combat is based on the southern school of kung fu; target-striking, hand-bridge, Shaolin boxing and the highly difficult chair skills and high-platform skills are all exceptionally accomplished. Cantonese opera make-up is spare and simple, its colours are rich and brilliant, and its costumes are made largely with Guangdong embroidery (Guangxiu) — exquisite and gorgeous, with a strong local flavour. Cantonese opera broadly absorbs local art forms such as Guangdong music, Guangxiu embroidery, ivory carving, pottery and grey sculpture (huisu); it fully embodies the regional cultural traditions of the Guangfu cultural group, its reach extends to every part of the globe, and it holds extremely strong cultural cohesion among Chinese communities worldwide.
Yibao Xue (One Handful of Snow)
The early traditional repertoire of Cantonese opera mainly included Yibao Xue (One Handful of Snow), Erdu Mei (Plum Blossoming Twice), Sanguantang (Hall of the Three Officials), Sijinshi (Four Jinshi) and Wudengke (Five Times Passing the Imperial Examination), known as the so-called "Eighteen Works of the Rivers and Lakes" (jianghu shiba ben). Later there appeared the "New Eighteen Works of the Rivers and Lakes" (xin jianghu shiba ben), including Huanghuashan (Yellow Flower Mountain), Xihe Hui (Meeting at the Western River), Shuangjie Yuan (Two Knotted Marriages) and Xuezhong Yuan (Heavy Injustice Under Snow), as well as the "Grand Eighteen Works of Full Staging" (da paichang shiba ben), such as Suwu Muyang (Su Wu Herding Sheep) and Daiyu Zanghua (Daiyu Burying Flowers).
Erdu Mei (Plum Blossoming Twice)
The early traditional repertoire of Cantonese opera mainly included Yibao Xue (One Handful of Snow), Erdu Mei (Plum Blossoming Twice), Sanguantang (Hall of the Three Officials), Sijinshi (Four Jinshi) and Wudengke (Five Times Passing the Imperial Examination), known as the so-called "Eighteen Works of the Rivers and Lakes" (jianghu shiba ben). Later there appeared the "New Eighteen Works of the Rivers and Lakes" (xin jianghu shiba ben), including Huanghuashan (Yellow Flower Mountain), Xihe Hui (Meeting at the Western River), Shuangjie Yuan (Two Knotted Marriages) and Xuezhong Yuan (Heavy Injustice Under Snow), as well as the "Grand Eighteen Works of Full Staging" (da paichang shiba ben), such as Suwu Muyang (Su Wu Herding Sheep) and Daiyu Zanghua (Daiyu Burying Flowers).
Sanguantang (Hall of the Three Officials)
The early traditional repertoire of Cantonese opera mainly included Yibao Xue (One Handful of Snow), Erdu Mei (Plum Blossoming Twice), Sanguantang (Hall of the Three Officials), Sijinshi (Four Jinshi) and Wudengke (Five Times Passing the Imperial Examination), known as the so-called "Eighteen Works of the Rivers and Lakes" (jianghu shiba ben). Later there appeared the "New Eighteen Works of the Rivers and Lakes" (xin jianghu shiba ben), including Huanghuashan (Yellow Flower Mountain), Xihe Hui (Meeting at the Western River), Shuangjie Yuan (Two Knotted Marriages) and Xuezhong Yuan (Heavy Injustice Under Snow), as well as the "Grand Eighteen Works of Full Staging" (da paichang shiba ben), such as Suwu Muyang (Su Wu Herding Sheep) and Daiyu Zanghua (Daiyu Burying Flowers).
Sijinshi (Four Jinshi)
The early traditional repertoire of Cantonese opera mainly included Yibao Xue (One Handful of Snow), Erdu Mei (Plum Blossoming Twice), Sanguantang (Hall of the Three Officials), Sijinshi (Four Jinshi) and Wudengke (Five Times Passing the Imperial Examination), known as the so-called "Eighteen Works of the Rivers and Lakes" (jianghu shiba ben). Later there appeared the "New Eighteen Works of the Rivers and Lakes" (xin jianghu shiba ben), including Huanghuashan (Yellow Flower Mountain), Xihe Hui (Meeting at the Western River), Shuangjie Yuan (Two Knotted Marriages) and Xuezhong Yuan (Heavy Injustice Under Snow), as well as the "Grand Eighteen Works of Full Staging" (da paichang shiba ben), such as Suwu Muyang (Su Wu Herding Sheep) and Daiyu Zanghua (Daiyu Burying Flowers).
Wudengke (Five Times Passing the Imperial Examination)
The early traditional repertoire of Cantonese opera mainly included Yibao Xue (One Handful of Snow), Erdu Mei (Plum Blossoming Twice), Sanguantang (Hall of the Three Officials), Sijinshi (Four Jinshi) and Wudengke (Five Times Passing the Imperial Examination), known as the so-called "Eighteen Works of the Rivers and Lakes" (jianghu shiba ben). Later there appeared the "New Eighteen Works of the Rivers and Lakes" (xin jianghu shiba ben), including Huanghuashan (Yellow Flower Mountain), Xihe Hui (Meeting at the Western River), Shuangjie Yuan (Two Knotted Marriages) and Xuezhong Yuan (Heavy Injustice Under Snow), as well as the "Grand Eighteen Works of Full Staging" (da paichang shiba ben), such as Suwu Muyang (Su Wu Herding Sheep) and Daiyu Zanghua (Daiyu Burying Flowers).
Huanghuashan (Yellow Flower Mountain)
The early traditional repertoire of Cantonese opera mainly included Yibao Xue (One Handful of Snow), Erdu Mei (Plum Blossoming Twice), Sanguantang (Hall of the Three Officials), Sijinshi (Four Jinshi) and Wudengke (Five Times Passing the Imperial Examination), known as the so-called "Eighteen Works of the Rivers and Lakes" (jianghu shiba ben). Later there appeared the "New Eighteen Works of the Rivers and Lakes" (xin jianghu shiba ben), including Huanghuashan (Yellow Flower Mountain), Xihe Hui (Meeting at the Western River), Shuangjie Yuan (Two Knotted Marriages) and Xuezhong Yuan (Heavy Injustice Under Snow), as well as the "Grand Eighteen Works of Full Staging" (da paichang shiba ben), such as Suwu Muyang (Su Wu Herding Sheep) and Daiyu Zanghua (Daiyu Burying Flowers).
Xihe Hui (Meeting at the Western River)
The early traditional repertoire of Cantonese opera mainly included Yibao Xue (One Handful of Snow), Erdu Mei (Plum Blossoming Twice), Sanguantang (Hall of the Three Officials), Sijinshi (Four Jinshi) and Wudengke (Five Times Passing the Imperial Examination), known as the so-called "Eighteen Works of the Rivers and Lakes" (jianghu shiba ben). Later there appeared the "New Eighteen Works of the Rivers and Lakes" (xin jianghu shiba ben), including Huanghuashan (Yellow Flower Mountain), Xihe Hui (Meeting at the Western River), Shuangjie Yuan (Two Knotted Marriages) and Xuezhong Yuan (Heavy Injustice Under Snow), as well as the "Grand Eighteen Works of Full Staging" (da paichang shiba ben), such as Suwu Muyang (Su Wu Herding Sheep) and Daiyu Zanghua (Daiyu Burying Flowers).
Shuangjie Yuan (Two Knotted Marriages)
The early traditional repertoire of Cantonese opera mainly included Yibao Xue (One Handful of Snow), Erdu Mei (Plum Blossoming Twice), Sanguantang (Hall of the Three Officials), Sijinshi (Four Jinshi) and Wudengke (Five Times Passing the Imperial Examination), known as the so-called "Eighteen Works of the Rivers and Lakes" (jianghu shiba ben). Later there appeared the "New Eighteen Works of the Rivers and Lakes" (xin jianghu shiba ben), including Huanghuashan (Yellow Flower Mountain), Xihe Hui (Meeting at the Western River), Shuangjie Yuan (Two Knotted Marriages) and Xuezhong Yuan (Heavy Injustice Under Snow), as well as the "Grand Eighteen Works of Full Staging" (da paichang shiba ben), such as Suwu Muyang (Su Wu Herding Sheep) and Daiyu Zanghua (Daiyu Burying Flowers).
Xuezhong Yuan (Heavy Injustice Under Snow)
The early traditional repertoire of Cantonese opera mainly included Yibao Xue (One Handful of Snow), Erdu Mei (Plum Blossoming Twice), Sanguantang (Hall of the Three Officials), Sijinshi (Four Jinshi) and Wudengke (Five Times Passing the Imperial Examination), known as the so-called "Eighteen Works of the Rivers and Lakes" (jianghu shiba ben). Later there appeared the "New Eighteen Works of the Rivers and Lakes" (xin jianghu shiba ben), including Huanghuashan (Yellow Flower Mountain), Xihe Hui (Meeting at the Western River), Shuangjie Yuan (Two Knotted Marriages) and Xuezhong Yuan (Heavy Injustice Under Snow), as well as the "Grand Eighteen Works of Full Staging" (da paichang shiba ben), such as Suwu Muyang (Su Wu Herding Sheep) and Daiyu Zanghua (Daiyu Burying Flowers).
Suwu Muyang (Su Wu Herding Sheep)
The early traditional repertoire of Cantonese opera mainly included Yibao Xue (One Handful of Snow), Erdu Mei (Plum Blossoming Twice), Sanguantang (Hall of the Three Officials), Sijinshi (Four Jinshi) and Wudengke (Five Times Passing the Imperial Examination), known as the so-called "Eighteen Works of the Rivers and Lakes" (jianghu shiba ben). Later there appeared the "New Eighteen Works of the Rivers and Lakes" (xin jianghu shiba ben), including Huanghuashan (Yellow Flower Mountain), Xihe Hui (Meeting at the Western River), Shuangjie Yuan (Two Knotted Marriages) and Xuezhong Yuan (Heavy Injustice Under Snow), as well as the "Grand Eighteen Works of Full Staging" (da paichang shiba ben), such as Suwu Muyang (Su Wu Herding Sheep) and Daiyu Zanghua (Daiyu Burying Flowers).
Daiyu Zanghua (Daiyu Burying Flowers)
The early traditional repertoire of Cantonese opera mainly included Yibao Xue (One Handful of Snow), Erdu Mei (Plum Blossoming Twice), Sanguantang (Hall of the Three Officials), Sijinshi (Four Jinshi) and Wudengke (Five Times Passing the Imperial Examination), known as the so-called "Eighteen Works of the Rivers and Lakes" (jianghu shiba ben). Later there appeared the "New Eighteen Works of the Rivers and Lakes" (xin jianghu shiba ben), including Huanghuashan (Yellow Flower Mountain), Xihe Hui (Meeting at the Western River), Shuangjie Yuan (Two Knotted Marriages) and Xuezhong Yuan (Heavy Injustice Under Snow), as well as the "Grand Eighteen Works of Full Staging" (da paichang shiba ben), such as Suwu Muyang (Su Wu Herding Sheep) and Daiyu Zanghua (Daiyu Burying Flowers).
Bai Jinlong (The White Golden Dragon)
Other representative repertoire works include Bai Jinlong (The White Golden Dragon), Huoshao Epanggong (Burning the Epang Palace), Pinggui Bieyao (Pinggui Parting from the Kiln), Baolian Deng (The Lotus Lantern), Luocheng Xieshu (Luo Cheng Writing the Letter) and Fengyi Ting (Phoenix Pageantry Pavilion).
Huoshao Epanggong (Burning the Epang Palace)
Other representative repertoire works include Bai Jinlong (The White Golden Dragon), Huoshao Epanggong (Burning the Epang Palace), Pinggui Bieyao (Pinggui Parting from the Kiln), Baolian Deng (The Lotus Lantern), Luocheng Xieshu (Luo Cheng Writing the Letter) and Fengyi Ting (Phoenix Pageantry Pavilion).
Pinggui Bieyao (Pinggui Parting from the Kiln)
Other representative repertoire works include Bai Jinlong (The White Golden Dragon), Huoshao Epanggong (Burning the Epang Palace), Pinggui Bieyao (Pinggui Parting from the Kiln), Baolian Deng (The Lotus Lantern), Luocheng Xieshu (Luo Cheng Writing the Letter) and Fengyi Ting (Phoenix Pageantry Pavilion).
Baolian Deng (The Lotus Lantern)
Other representative repertoire works include Bai Jinlong (The White Golden Dragon), Huoshao Epanggong (Burning the Epang Palace), Pinggui Bieyao (Pinggui Parting from the Kiln), Baolian Deng (The Lotus Lantern), Luocheng Xieshu (Luo Cheng Writing the Letter) and Fengyi Ting (Phoenix Pageantry Pavilion).
Luocheng Xieshu (Luo Cheng Writing the Letter)
Other representative repertoire works include Bai Jinlong (The White Golden Dragon), Huoshao Epanggong (Burning the Epang Palace), Pinggui Bieyao (Pinggui Parting from the Kiln), Baolian Deng (The Lotus Lantern), Luocheng Xieshu (Luo Cheng Writing the Letter) and Fengyi Ting (Phoenix Pageantry Pavilion).
Fengyi Ting (Phoenix Pageantry Pavilion)
Other representative repertoire works include Bai Jinlong (The White Golden Dragon), Huoshao Epanggong (Burning the Epang Palace), Pinggui Bieyao (Pinggui Parting from the Kiln), Baolian Deng (The Lotus Lantern), Luocheng Xieshu (Luo Cheng Writing the Letter) and Fengyi Ting (Phoenix Pageantry Pavilion).
03 · Regional Records & Related Items
Cantonese opera is mainly popular in the towns and countryside of Guangdong Province as a whole, of southern Guangxi Zhuang Autonomous Region, of the Hong Kong Special Administrative Region and of the Macao Special Administrative Region — in short, wherever Cantonese is spoken. During the Xianfeng and Daoguang reigns of the Qing dynasty, Guangdong's local troupes used banghuang (xipi and erhuang) as their basic melodic mode in performance, while also taking in the gaoqiang and kunqiang styles together with Guangdong folk pieces and contemporary popular tunes; they took "theatre-tent Mandarin" (xipengguanhua) as the basic language, interspersed with Cantonese, and Cantonese opera gradually took shape.
Other submitting regions for the same item: Yueju (Cantonese Opera) · Yueju (Cantonese Opera) · Yueju (Cantonese Opera) · Yueju (Cantonese Opera) · Yueju (Cantonese Opera) · Yueju (Cantonese Opera).
04 · Cultural Value & Contemporary Safeguarding
However, in the face of the violent impact of modern urban culture, the space in which Cantonese opera can survive has contracted sharply and it is in an endangered state, so protection must be launched as soon as possible. Hong Xiannu (official archival record of the associated inheritor): Female, Han, born in 1927, native of Kaiping, Guangdong. Hong Xiannu began performing in Macao in 1938, joining a troupe together with her maternal aunt He Fulian. Over more than seventy years in the profession, she built on the tradition, drawing widely on the strengths of many schools and, at the same time, combining these with her own conditions, to create the "Red School" (hongpai) art of Cantonese opera. Representative works such as Diaoman Gongzhu Han Fujia, Shiyuzhuo, Soushuyuan and Shanxiang Fengyun are captivating and remain as popular as ever; her performance is dignified and magnificent, poised and stately, spirited and assertive, outwardly gentle yet inwardly strong, and her vocal style is beautiful and stirring, moving to the heart. Representative inheritor of Cantonese opera in the second batch of national-level intangible cultural heritage projects; director of the Hong Xiannu Art Centre. Ou Xiaohu (official archival record of the associated inheritor): Male, Han, born in January 1964, native of Hepu County, Guangxi Zhuang Autonomous Region. A national first-class performer and an expert enjoying the special government allowance of the State Council. His basic training is solid and his technique all-round; his voice is resonant and full of tension, his vocal style rich in flavour, his stage appearance valiant and handsome, his stage image fresh and brisk, his performance style delicate and expressive, and his range of roles broad. He actively takes on disciples and passes on his art; his students Li Zhanping, Lu Wenbin and others have all made their achievements. Representative inheritor of Cantonese opera in the fifth batch of national-level intangible cultural heritage projects. Over the years he has successfully created many vivid and lifelike character images, won the Twelfth China Theatre Plum Blossom Award, the Ministry of Culture Wenhua Performance Award and the Shanghai White Magnolia Theatre Performing Arts Award for Best Actor, is a famous wenwu sheng of Cantonese opera, and has performed in Hong Kong and Macao and in countries including the United States, Canada and Australia, enjoying wide influence at home and abroad.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Chen Jiansheng 02-0528
- Hongxiannv 02-0529
- Luo Jiabao 04-1635
- Ding Fan 05-2344
- Ou Xiaohu 05-2345
- Lin Guoguang 05-2346
- Feng Xingyuan 05-2347
- Li Shuqin
- Liang Sumei
- Cengxiaomin
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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