View source for Cantonese opera

{{Short description|Chinese opera tradition originating in Guangdong province}}
{{more citations needed|date=February 2019}}
{{Use Hong Kong English|date = January 2019}}
{{Use dmy dates|date=March 2020}}
{{Infobox Chinese
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{{Infobox intangible heritage
| Name = Yueju Opera
| Image = 
| imagesize = 
| Caption = 
| Country = China
| ID = 203
| Region = APA
| Year = 2009
| List = Representative
| Session = 4th
| Below = [[File:Unesco Cultural Heritage logo.svg|100px]]
| Note = UNESCO Cultural Heritage
}}  
{{Cantonese culture}}
'''Cantonese opera''' is one of the major categories in [[Chinese opera]], originating in southern China's [[Guangdong]] Province.<ref>{{Cite web |last=XU |first=JIAFENG |date=2021-01-18 |title=湾区好故事 从岭南历史探索粤剧起源和形成(Bay Area Stories Exploring the Origins and Formation of Cantonese Opera through Lingnan History) |url=http://gba.china.com.cn/2021-01/18/content_41430825.htm |archive-url= |access-date=2025-03-28 |website=[[China Internet Information Center]] |language=zh}}</ref> It is popular in Guangdong, [[Guangxi]], [[Hong Kong]], [[Macau]] and among Chinese communities in [[Southeast Asia]]. Like all versions of Chinese opera, it is a traditional Chinese art form, involving music, singing, [[martial arts]], [[acrobatics]], and acting.<ref>{{Cite web |title=粤剧 - 中国非物质文化遗产网·中国非物质文化遗产数字博物馆 |url=https://www.ihchina.cn/yueju.html |access-date=2025-09-23 |website=www.ihchina.cn}}</ref>

==History==
There is debate about the origins of Cantonese opera, but it is generally accepted that opera was brought from the northern part of China and slowly migrated to the southern province of Guangdong in the late 13th century, during the late [[Southern Song dynasty]]. In the 12th century, there was a theatrical form called the [[Nanxi (Chinese opera)|Nanxi]] or "Southern drama", which was performed in public theatres of [[Hangzhou]], then capital of the Southern Song. With the invasion of the [[Mongol]] army, [[Emperor Gong of Song|Emperor Gong]] of the Song dynasty fled with hundreds of thousands of Song people into Guangdong in 1276. Among them were Nanxi performers from [[Zhejiang]], who brought Nanxi into Guangdong and helped develop the opera traditions in the south.

Many well-known operas performed today, such as ''[[Di Nü Hua|Tai Nui Fa]]'' originated in the [[Ming Dynasty]] and ''The Purple Hairpin'' originated in the [[Yuan Dynasty]], with lyrics and scripts in [[Cantonese]]. Until the 20th century all the female roles were performed by males.
[[File:Hand coloured photo of a Cantonese Opera Male Dan performer as Hau Mulan in 1927, Hong Kong.jpg|thumb|Hand coloured photo of a Cantonese Opera Male Dan performer as Hau Mulan in 1927, Hong Kong]]

===Early development in Shanghai===
In the 1840s, a large number of businessmen from Guangdong migrated to Shanghai in search of new opportunities. They owned abundant resources, therefore, their influence in Shanghai has gradually increased (Song, 1994).<ref>{{cite journal |last1=宋 |first1=钻友 |title=粤剧在旧上海的演出 |date=1994 |issue=1 |pages=64–70 |url=http://ezproxy01.hsu.edu.hk:2192/kcms/detail/detail.aspx?dbCode=cjfd&QueryID=13&CurRec=12&filename=LWBI401.011&dbname=CJFD9495&uid=WEEvREcwSlJHSldRa1Fhb09jT0pkYUMyd3dETlNSU0Q0R3FPNXVpb0pGZz0=$9A4hF_YAuvQ5obgVAqNKPCYcEjKensW4IQMovwHtwkF4VYPoHbKxJw!! }}{{Dead link|date=July 2024 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> Later, various clansmen associations have been established to sponsor different cultural activities, Cantonese opera was one of them. From the 1920s to the 1930s, the development of Cantonese opera in Shanghai was very impressive (Chong, 2014).<ref>{{Cite journal|last=Zhong|first=Zhe Ping|date=2014|title=旧上海,粤剧夜夜笙歌之地|url=http://ezproxy01.hsu.edu.hk:2192/kcms/detail/detail.aspx?dbCode=cjfd&QueryID=12&CurRec=32&filename=NGHD201406032&dbname=CJFDLAST2015&uid=WEEvREcwSlJHSldRa1Fhb09jT0pkRlFHK2llZ0lNYnQyanloNm1DVURYbz0=$9A4hF_YAuvQ5obgVAqNKPCYcEjKensW4IQMovwHtwkF4VYPoHbKxJw!!|journal=南国红豆|volume=06|pages=51–53|via=HSU Database}}{{Dead link|date=July 2024 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> At that time, the department stores opened by the Cantonese businessmen in Shanghai had their Cantonese opera theater companies.<ref>{{Citation|last=Danwu Hou|title=上海故事 – 324 粤剧粤乐（上）|date=2017-10-28|url=https://www.youtube.com/watch?v=XZFGYVjQChg |archive-url=https://ghostarchive.org/varchive/youtube/20211212/XZFGYVjQChg| archive-date=2021-12-12 |url-status=live|access-date=2019-02-28}}{{cbignore}}</ref> Moreover, the Guangdong literati in Shanghai always put great effort into promotions of Guangdong opera. A newspaper recorded that "The Cantonese operas were frequently played at that time. And the actors who came to perform in Shanghai were very famous. Every time many Cantonese merchants made reservations for inviting their guests to enjoy the opera".(Cheng, 2007)<ref>{{cite journal|last=Cheng|first=Mei Po|date=2007|title=The Trans-locality of Local Cultures in Modem China: Cantonese Opera, Music, and Songs in Shanghai, 1920s–1930s|url=http://ezproxy01.hsu.edu.hk:2481/Periodical_jdsyj200702001.aspx|journal=China Agricultural University|volume=2007|pages=1–17|via=HSU Library Database}}{{Dead link|date=July 2024 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>

===Development in Hong Kong===
Beginning in the [[1950s in Hong Kong|1950s]] immigrants fled Shanghai to areas such as [[North Point]].<ref name="Wordie">{{cite book |title= Streets: Exploring Hong Kong Island|last= Wordie|first= Jason|year= 2002|publisher= [[Hong Kong University Press]]|location= Hong Kong|isbn= 962-209-563-1}}</ref> Their arrival significantly boosted the Cantonese opera fan-base. Also, the Chinese Government wanted to deliver the message of socialist revolution to Chinese people under colonial governance in [[British Hong Kong|Hong Kong]].<ref>{{Cite journal|last=許|first=國惠|date=2016|title=1950–1960年代香港左派對新中國戲曲電影的推廣|url=http://ezproxy01.hsu.edu.hk:2460/view/1950-1960%E5%B9%B4%E4%BB%A3%E9%A6%99%E6%B8%AF%E5%B7%A6%E6%B4%BE%E5%AF%B9%E6%96%B0%E4%B8%AD%E5%9B%BD%E6%88%8F%E6%9B%B2%E7%94%B5%E5%BD%B1%E7%9A%84%E6%8E%A8%E5%B9%BF.aspx?ID=Periodical_njdxxb-zxrwshkxb201602016&transaction=%7b%22ExtraData%22%3a%5b%5d%2c%22Transaction%22%3a%7b%22DateTime%22%3a%22%5c%2fDate(1551962973794%2b0800)%5c%2f%22%2c%22Id%22%3a%224e69def0-0ac8-483a-9e28-aa09015733ec%22%2c%22ProductDetail%22%3a%22Periodical_njdxxb-zxrwshkxb201602016%22%2c%22SessionId%22%3a%22e85a609a-7a75-435c-95e5-384fa0025ae8%22%2c%22Signature%22%3a%22nmEiC1ONv9CGT0jjZJps95M7Bj49NWtCGyqrCSn0%5c%2fH1bNuvA0MgKdCG0OhFQUJ7u%22%2c%22TransferIn%22%3a%7b%22AccountType%22%3a%22Income%22%2c%22Key%22%3a%22PeriodicalFulltext%22%7d%2c%22TransferOut%22%3a%7b%22AccountType%22%3a%22GTimeLimit%22%2c%22Key%22%3a%22hsglxy%22%7d%2c%22Turnover%22%3a1.00000%2c%22User%22%3anull%7d%2c%22TransferOutAccountsStatus%22%3a%5b%5d%7d|journal=南京大學學報（哲學·人文科學·社會科學）|volume=53|issue=2|pages=137–149}}</ref> Agents of the [[People's Republic of China|Chinese government]] founded newspaper platforms, such as Ta Kung Pao ({{lang-zh|大公報|labels=no}}) and Chang Cheung Hua Pao ({{lang-zh|長城畫報|labels=no}}) to promote Cantonese opera to the Hong Kong audience. These new platforms were used to promote new Cantonese opera releases. This helped to boost the popularity of Cantonese opera among the Hong Kong audience. Gradually, Cantonese opera became a part of daily entertainment in the colony.

The popularity of Cantonese opera continued to grow during the 1960s.<ref>{{Cite web|url=https://www.heritagemuseum.gov.hk/documents/2199315/2199705/The_Majestic_Stage-C.pdf|title=戲台上下—香港戲院與粵劇|website=Hong Kong Heritage Museum Leisure And Cultural Services Department|access-date=2019-02-25|archive-url=https://web.archive.org/web/20181009094937/https://www.heritagemuseum.gov.hk/documents/2199315/2199705/The_Majestic_Stage-C.pdf|archive-date=9 October 2018|url-status=live}}</ref> More theatres were established in Sheung Wan and Sai Wan, which became important entertainment districts. Later, performances began to be held in playgrounds, which provided more opportunities to develop Cantonese Opera in Hong Kong. As the variety of venues grew, so the variety of audiences became wider. However, Cantonese opera began to decline as TV and cinema started to develop in the late 1960s. Compared to Cantonese opera, cinema was cheaper and TV was more convenient. Subsequently, some theatres started to be repurposed as commercial or residential buildings. The resulting decline in available theatres further contributed to the decline of Cantonese opera in the territory.

Since the demolition of [[Lee Theatre]] and the closing down of many stages (Tai Ping Theatre, [[Ko Shing Theatre]], Paladium Theatre, Astor Theatre or former Po Hing Theatre, Kai Tak Amusement Park and [[Lai Chi Kok Amusement Park]]) that were dedicated to the Cantonese genre throughout the decades, Hong Kong's [[Sunbeam Theatre]] is one of the last facilities that is still standing to exhibit Cantonese opera.

By the early 1980s, [[Leung Hon-wai]] was one of the first in his generation of the [[Chinese Artists Association of Hong Kong]] (hkbarwo) who gave classes and actively engaged in talent-hunting. The [[Cantonese Opera Academy of Hong Kong]] classes started in 1980.

To intensify education in Cantonese opera, they started to run an evening part-time certificate course in Cantonese opera training with assistance from [[The Hong Kong Academy for Performing Arts]] in 1998. In 1999, the Association and the Academy further conducted a two-year daytime diploma programme in performing arts in Cantonese opera in order to train professional actors and actresses. Aimed at further raising the students' level, the Association and the Academy launched an advanced course in Cantonese opera in the next academic year.

In recent years, the Hong Kong Arts Development Council has given grants to the Love and Faith Cantonese Opera Laboratory to conduct Cantonese opera classes for children and young people. The Leisure and Cultural Services Department has also funded the International Association of Theatre Critics (Hong Kong Branch) to implement the "Cultural Envoy Scheme for Cantonese Opera" for promoting traditional Chinese productions in the community.

Also, the Hong Kong Government planned to promote Cantonese opera through different communication channels.<ref>{{Cite news|url=https://www.info.gov.hk/gia/general/200910/21/P200910210219.htm|title=立法會十九題：粵劇的承傳及發展|date=2009-10-21|work=政府新聞網|access-date=2019-03-05|archive-url=https://web.archive.org/web/20181107010139/https://www.info.gov.hk/gia/general/200910/21/P200910210219.htm|archive-date=7 November 2018|url-status=live}}</ref> They wanted to build more theatres for the Hong Kong public to have more opportunities to enjoy Cantonese opera. The scheme also aimed to develop professional talents in Cantonese opera. Cantonese opera became a part of the compulsory music programme in primary school. For teachers, the Education Bureau provided some training and teaching materials related to Cantonese opera.

===Art festivals===
In the first decade of the Hong Kong Arts Festivals and the Festivals of Asian Arts, Cantonese opera performances contributed by those representing the lion share of the market, (well-established troupes, well-known performers Lang Chi Bak as well as [[Leung Sing Poh]] in their golden years or prominent performers in their prime) are:

Fung Wong-nui (1925–1992)
:1974, 2nd Hong Kong Arts Festival (self-financing 3 titles)
:: ''Xue Pinggui'' ({{lang|yue-HK|薛平貴}})
:: ''Time To Go Home'' ({{lang|yue-HK|胡不歸}})
:: ''Substituting a Racoon for the Prince'' ({{lang|yue-HK|貍貓換太⼦}})
:1979, 7th Hong Kong Arts Festival*
:1980, 8th Hong Kong Arts Festival

Lam Kar Sing<ref>{{Cite web |url=http://lamkarsingfanclub.com/opera1.htm |title=Life-long performance record of Lam Kar Sing |access-date=4 June 2019 |archive-url=https://web.archive.org/web/20190510103316/http://www.lamkarsingfanclub.com/opera1.htm |archive-date=10 May 2019 |url-status=live }}</ref> (1933–2015), bearer of the tradition handed down by [[Sit Gok Sin]] and owner of name brand/tradition (personal art over lucrative "for hire" careers in films or on stage) as well as volunteer tutor to two (<ref>Farewell of ''[[Zhu Bian]] Returns to Court''《朱弁回朝》之「送別」</ref> 1987, 2008<ref>Song 6 of Lam Ka Sing Best Selection 3.《情醉王大儒》之「供狀」</ref>) students<ref>Lam talked about ''spy or espionage'' among those around him, on radio in mid1980s.「紅伶訴心聲」</ref> handpicked right out of training schools
:1976, 1st Festival of Asian Arts
:1977, 2nd Festival of Asian Arts
:: ''Lu Wen-long'' ({{lang|yue-HK|雙槍陸文龍}})<ref>Lam Ka Sing Classics Collection (DVD) (Hong Kong Version), episode 14.</ref>
:: ''[[Jia Baoyu|Bao]] and [[Lin Daiyu|Dai]] of Red Chamber'' ({{lang|yue-HK|紅樓寶黛}})<ref>Lam Ka Sing Classics Collection (DVD) (Hong Kong Version), episode 11 and 12.</ref>
:1978, 6th Hong Kong Arts Festival*
:: ''[[Butterfly Lovers]]'' ({{lang|yue-HK|梁祝恨史}})
:::Yam-Fong title
:::For two decades a regular if opposite Lee Bo-ying
:::Loong Kim Sang lost the only compatible co-star for this title in 1976
:::One of many traceable artistic interpretations of same legend
:::Lam forged his own (still opposite Lee Bo-ying) in November 1987 and made that the contemporary prevailing version
:1978, 3rd Festival of Asian Arts
:1980, 5th Festival of Asian Arts
:1982, 7th Festival of Asian Arts
:1984, Chinese Opera Fortnight ({{lang-zh|中國戲曲匯演|labels=no}})
::''Time To Go Home'' ({{lang|yue-HK|胡不歸}}) – the contemporary prevailing version<ref>[https://web.archive.org/web/20150415165141/http://paper.wenweipo.com/2015/03/14/EN1503140020.htm Lam was eager to hand his traditions down to a young performer who was pushing Lam's wheelchair in the 2015 event.]</ref>
::''The Sounds of Battle'' ({{lang|yue-HK|雷鳴金鼓戰笳聲}})
::''Romance and Hatred'' ({{lang|yue-HK|三夕恩情廿載仇}})
::''Merciless Sword Under Merciful Heaven'' ({{lang|yue-HK|無情寶劍有情天}})

*Last time both [[Lang Chi Bak]] (1904－1992)and [[Leung Sing Poh]] performed was in 1979.

[[Loong Kim Sang]]
:1983, 8th Festival of Asian Arts
:1984, 9th Festival of Asian Arts
::''[[Di Nü Hua]]'' ({{lang|yue-HK|帝女花}})
::''The Purple Hairpin'' ({{lang|yue-HK|紫釵記}})
::''[[Dream of Red Chamber]]'' ({{lang|yue-HK|紅樓夢}})
:::40 years since Yam's best known role and title (opposite [[Chan Yim Nung]]) in 1944
:::New script debuted in November 1983
:::Contemporary prevailing version
::''Mistake at the Flower Festival'' ({{lang|yue-HK|花田八喜}})
::''The Reincarnation of a Beauty'' ({{lang|yue-HK|再世紅梅記}})
::''The Peony Pavilion'' ({{lang|yue-HK|牡丹亭驚夢}})
:1985, 10th Festival of Asian Arts

Obscure groups of experimental nature, let alone those late boomers without market value, were not on the map or in the mind of those organizing these events. That changed since the 40 something Leung Hon-wai found his way to the stepping stone or launching pad he desired for pet projects of various nature.

===Public funding===
{{Cleanup rewrite|date=July 2024|mostly incomprehensible, see talk page|section=yes}}
To continue the tradition by passing on what elders and veterans inherited from former generations and to improve sustainability with new and original music, lyrics and scripts. 
*Cantonese Opera Development Fund<ref>{{Cite web |url=https://www.info.gov.hk/gia/general/201107/22/P201107220227.htm |title=Appointments to Cantonese Opera Development Fund Advisory Committee |access-date=13 March 2019 |archive-url=https://web.archive.org/web/20181104152105/https://www.info.gov.hk/gia/general/201107/22/P201107220227.htm |archive-date=4 November 2018 |url-status=live }}</ref>
*[[Hong Kong Arts Development Council]], Grants<ref>{{Cite web |url=http://www.hkadc.org.hk/?p=10063&lang=en |title=Acknowledgement Guidelines (General) |access-date=13 March 2019 |archive-url=https://web.archive.org/web/20180630185749/http://www.hkadc.org.hk/?p=10063&lang=en |archive-date=30 June 2018 |url-status=live }}</ref>

Heritage is as abstract a concept as traditions is while monetary support is real. However, elders are not [[ombudsman|ombudspersons]] in any sense and they take public funds for their own reasons. That is, they are knee deep in commercial performances even as a member of the above organizations.

A [[juren]] a century ago can be an [[Adjunct professor|adjunct associate professor]] now in Hong Kong. How business was conducted in a community by a juren was illustrated by [[Ma Sze Tsang]] in a film called the ''Big Thunderstorm (1954)''.

Trend-setting figure, Leung Hon-wai, talked on camera about his doctrine related to new titles he wrote and monetary backings from the various Hong Kong authorities. That is, ''art festivals'' provided him financial means, identity, advertising resources and opportunities not otherwise available. Curious audience makes good box-office for the only 2–3 shows of a single new title. In addition, he only paid 50% to collect the new costumes in his possession for future performances of different titles.

A [[Sit Kok Sin]] classic fetched HK$105,200 plus in 2015. The parents who had over 100 years of experience combined found sharing the stage with their son as not feasible without subsidies for Golden Will Chinese Opera Association and Wan Fai-yin, Christina.

''Time To Go Home'' is different from those Leung debuted at arts festivals since:-
#This 1939 Sit classic has been a [[rite of passage]] for new performers to become prominent male leads.
#It only involves minimum costumes, props and crew size.
#It is popular as afternoon fillers by third tier performers in bamboo theaters.

In 2019, Yuen Siu Fai talked on radio that he found the readily available funding made beneficiaries financially irresponsible, unlike himself and others who put their own money where their mouths were. Yuen, who works regularly for troupes with secure public funding, did not draw a link between his two roles.

Contrary to Africa, the ''entire village'' is responsible for raising the children of a certain crowd only. Both political and social ''[[guanxi]]'' is making or breaking the future of up-and-coming performers in the same way as whether [[Bak Yuk Tong]] is remembered as one of the Four Super Stars or not. According to Yuen, Bak is anti-communist and therefore his status is different in Mainland China (PRC).

===[[Crowdfunding]]===

===Private funding===
*The Art of Fong Yim-fun Sustainability Project, Shaw College, [[Chinese University of Hong Kong|CUHK]]. <br />In August 2014, the Fong Yim Fun Art Gallery was formally opened.<ref>[http://www.shaw.cuhk.edu.hk/index.php?option=com_content&view=article&id=214&Itemid=42&lang=en Background and Objectives] Last Updated on Tuesday, 17 July 2018</ref>
* [[Yim Fun Fong|Dr. Yang Leung Yin-fong Katie]], the Honorary Life Chairman, donated one of her properties to be the permanent office of the Chinese Artists Association of Hong Kong to provide residences for aged musicians.

===[[Jumping the shark]]===
In 2019, [[Yuen Siu Fai]] said that old performers are to stay front and center on stage as long as they want to take center stage instead of sharing, let alone ceding, the limelight to the next or even younger generations. Yuen insists that performers without [[Periorbital dark circles#Age|bags under their eyes]] could not be any good.

In 2018, [[Law Kar Ying]] said [[Chan Kam Tong]] had already ''jumped the shark'' in the mid-1950s, more than ten years before Chan actually left the stage or more than 60 years for it to be confirmed to the public. The (Yuen, Law and others) generation with bags under their eyes picked up where Leung left off. By such, these old performers are upholding the Chan tradition and making up records along the way. However, the Chan [[caliber]] of masters needed no directors.

Two performers Chan worked with closely, who definitely left the stage at will with dignity, are [[Yam Kim Fai]] and [[Yim Fun Fong|Fong Yim Fun]]. They both openly rebuked (in 1969 and in 1987 respectively in no harsher way than what [[Lam Kar Sing]] and his wife did in 1983) individual off-springs who were under their wings briefly but officially. The popularity of Yam-Fong in Hong Kong continues to thrive notwithstanding their apparent lack of official successors as Loong Kim Sang and Lee Bo Ying picked up where they left off.

Cantonese opera in Hong Kong rocketed around 1985/86, according to Li Jian ({{lang|zh|黎鍵}}), born Lai Po Yu ({{lang|zh|黎保裕}}), an observer. [[De facto]] successors to master performers, [[Lee Bo Ying]], Lam Kar Sing, and [[Loong Kim Sang]] all left the stage in or before 1993, last watershed moment of Cantonese opera for Hong Kong and beyond in the 20th century. The consequences are also significant and long lasting. Unlike Fong and Loong, Yam and Lee never returned.

For the rest of her life, Yam didn't even take the bow at curtain calls although she was in the audience on most days that Loong's troupe performed in Hong Kong. Comfortable enough around Yam, Yuen called Yam lazy because she did not comment on some cake served backstage in those days.

===Decline===
Local [[Teochew opera]] troupes lost their ability to put on live-on-stage [[Ghost Festival]] opera performances when the business environment was destroyed. Since then, the Teochew genre has all but disappeared in Hong Kong.

Chan Kim-seng, the former chairperson of the Chinese Artists Association of Hong Kong, saw similar threats towards Cantonese opera and fought for the job security of members. Chan, the Representative Inheritor of Cantonese opera in the List of Intangible Cultural Heritage of Humanity, died on 19 August 2013.<ref>{{Cite web |url=http://www.hkadc.org.hk/?p=7036&lang=en |title=The ADC expresses deep sorrow over the passing of renowned Cantonese opera veteran Chan Kim-seng |access-date=14 May 2019 |archive-url=https://web.archive.org/web/20190514175547/http://www.hkadc.org.hk/?p=7036&lang=en |archive-date=14 May 2019 |url-status=live }}</ref>

==Characteristics==
Cantonese opera shares many common characteristics with other Chinese theatre genres. Commentators often take pride in the idea that all Chinese theatre styles are similar but with minor variations on the pan-Chinese music-theatre tradition and the basic features or principles are consistent from one local performance form to another. Thus, music, singing, martial arts, acrobatics and acting are all featured in Cantonese opera. Most of the plots are based on [[Chinese history]] and famous [[Chinese classic texts|Chinese classics]] and [[Chinese mythology|myths]]. Also, the [[Culture of China|culture]] and [[Chinese philosophy|philosophies]] of the Chinese people can be seen in the plays. Virtues (like loyalty, love, patriotism and faithfulness) are often reflected by the operas.

Some particular features of Cantonese opera are:
#Cing sik sing ({{zh|t_hk=程式性|j={{kCantonese|程式性}}}}) – formulaic, formalised.
#Heoi ji sing ({{zh|t_hk=虛擬性|j={{kCantonese|虛擬性}}|labels=no}}) – abstraction of reality, distancing from reality.
#Sin ming sing ({{zh|t_hk=鮮明性|j={{kCantonese|鮮明性}}|labels=no}} – clear-cut, distinct, unambiguous, well-defined.
#Zung hap ngai seot jing sik ({{zh|t_hk=綜合藝術形式|j={{kCantonese|綜合藝術形式}}|labels=no}}) – a composite or synthetic art form.
#Sei gung ng faat ({{zh|t_hk=四功五法|j={{kCantonese|四功五法}}|labels=no}}) – the four skills and the five methods.

The ''four skills'' and ''five methods'' are a simple codification of training areas that theatre performers must master and 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/movements, speech delivery, and martial/gymnastic skills; while the ''five methods'' are categories of techniques associated with specific body parts: hands, eyes, body, hair, and feet/walking techniques.

The acting, acrobat, music and singing, live on stage, are well known as essential characteristics of ''live'' performances in theaters. Recordings did not replace the human voice backstage behind prop only when choir members were actually introduced to the audience at curtain call.

==Significance==

[[File:Cantonese Opera Art Museum.jpg|thumb|right|Cantonese Opera Art Museum]]
Before widespread formal education, Cantonese opera taught morals and messages to its audiences rather than being solely entertainment.  The government used theatre to promote the idea of ''be loyal to the emperor and love the country'' ({{lang|zh|忠君愛國}}).  Thus, the government examined the theatre frequently and would ban any theatre if a harmful message was conveyed or considered. The research conducted by Lo showed that Cantonese Operatic Singing also relates older people to a sense of collectivism, thereby contributing to the maintenance of interpersonal relationships and promoting successful ageing. (Lo, 2014).<ref>LO, W. (2015). The music culture of older adults in Cantonese operatic singing lessons. Ageing and Society, 35(8), 1614–1634. doi:10.1017/S0144686X14000439</ref> Young people construct the rituals of learning Cantonese opera as an important context for their personal development.<ref>Wai Han Lo (2016) Traditional opera and young people: Cantonese opera as personal development, International Journal of Adolescence and Youth, 22:2, 238–249, DOI: 10.1080/02673843.2016.1163503</ref>

==Operas of Deities==

Cantonese opera is a kind of Operas of Deities. Operas for Deities are often performed in celebration of folk festivals, birthdays of deities, establishments or renovations of altars and temples.<ref>{{cite web |title=More on Cantonese Opera |url=http://www.cityu.edu.hk/lib/about/event/cantonese_opera/more_chi.htm |access-date=20 February 2019 |archive-url=https://web.archive.org/web/20190218033046/http://www.cityu.edu.hk/lib/about/event/cantonese_opera/more_chi.htm |archive-date=18 February 2019 |url-status=live }}</ref> A community organises a performance of opera, which is used to celebrate the birth of the gods or to cooperate with the martial arts activities, such as "Entertaining People and Entertaining God" and "God and People". These performances can be called " Operas for Deities ". This king of acting originated from the Ming Dynasty and the Qing Dynasty. It was also called the sacred drama in the performance of God's birthday. It is a meritorious deed for God.<ref>{{Cite journal|last=Li|first=Wan Xia|date=2014|title=清代粵港澳神功戲演出及其場所|url=http://ezproxy01.hsu.edu.hk:2264/Publication/alDetailedMesh?DocID=P20110221002-201402-201401290030-201401290030-77-79|journal=戲曲品味|volume=159|pages=77–79|via=HSU Library Database}}{{Dead link|date=July 2024 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> According to the study, most of the Cantonese operas in Hong Kong belong to the Operas for Deities, and the nature of the preparations of the "God Circus" can be broadly divided into three categories: the celebration of the gods, the Hungry Ghost Festival, the Taiping Qing Dynasty, the temple opening and the traditional festival celebrations.<ref>{{cite web |title=Opera of Deities |url=https://www.chiculture.net/30011/b19.html |access-date=20 February 2019 |archive-url=https://web.archive.org/web/20190221054700/https://www.chiculture.net/30011/b19.html |archive-date=21 February 2019 |url-status=live }}</ref> In the 1960s−1970s, the Chinese opera was at a low ebb. However, due to the support of Opera for Deities, some of the troupes can be continue to perform. In the 1990s, the total performance rate of Operas for Deities has been reduced from two-thirds to two-fifths in the 1980s, there is no such thing as a performance in the Cantonese opera industry.<ref>{{cite web |title=戲曲視窗：神功戲與香港粵劇存亡 |url=http://paper.wenweipo.com/2015/06/09/EN1506090003.htm |access-date=20 February 2019 |archive-url=https://web.archive.org/web/20181011230653/http://paper.wenweipo.com/2015/06/09/EN1506090003.htm |archive-date=11 October 2018 |url-status=live }}</ref>

==Performers and roles==

===Types of play===
There are two types of Cantonese opera plays: ''Mou'' ({{lang|yue-HK|武}}, "martial arts") and ''Man'' ({{lang|yue-HK|文}}, "highly educated", esp. in poetry and culture). ''Mou'' plays emphasize war, the characters usually being generals or warriors. These works contain action scenes and involve a lot of weaponry and armour. ''Man'' plays tend to be gentler and more elegant. Scholars are the main characters in these plays. [[Water sleeves]] are used extensively in ''man'' plays to produce movements reflecting the elegance and tenderness of the characters; all female characters wear them. In ''man'' plays, characters put a lot of effort into creating distinctive facial expressions and gestures to express their underlying emotions.

===Roles===
There are four types of roles: Sang ([[Sheng (Chinese opera)|Sheng]]), Daan ([[Dan (Chinese opera)|Dan]]), Zing ([[Jing (Chinese opera)|Jing]]), and Cau ([[Chou (Chinese opera)|Chou]]).

====Sang====
The Sang ({{lang|zh|{{linktext|生}}}}; [[Sheng (Chinese opera)|Sheng]]) are male roles. As in other Chinese operas, there are different types of male roles, such as:
* {{zh|t_hk=小生|j={{kCantonese|小生}}|labels=no}} – Literally, ''young gentleman'', this role is known as a young scholar.
* {{zh|t_hk=武生|j={{kCantonese|武生}}|labels=no}} – Male warrior role.
* {{zh|t_hk=小武生|j={{kCantonese|小武生}}|labels=no}} – Young Warrior (usually not lead actor but a more acrobatic role).
* {{zh|t_hk=文武生|j={{kCantonese|文武生}}|labels=no|l=civilized martial man}} – Known as a clean-shaven scholar-warrior. Actresses for close to a century, of three generations and with huge successes worldwide, usually perform this male role are [[Yam Kim Fai]] (mentor and first generation), [[Loong Kim Sang]] (protégée and second generation), [[Koi Ming Fai]] and [[Lau Wai Ming]] (the two youngest listed below both by age and by experience).
* {{zh|t_hk=老生|j={{kCantonese|老生}}|labels=no}} – Old man role.
* {{zh|t_hk=鬚生|j={{kCantonese|鬚生}}|labels=no}} – Bearded role

====Daan====
The Daan ({{lang|yue-HK|旦}}; [[Dan (Chinese opera)|Dan]]) are female roles. The different forms of female characters are:
* {{zh|t_hk=花旦|j={{kCantonese|花旦}}|labels=no|l=flower of the ball}} – Known as a young belle.
* {{zh|t_hk=二花旦|j={{kCantonese|二花旦}}|labels=no|l=second flower}} – Known as a supporting female.
* {{zh|t_hk=武旦|j={{kCantonese|武旦}}|labels=no}} – Female warrior role.
* {{zh|t_hk=刀馬旦|j={{kCantonese|刀馬旦}}|labels=no}} – Young woman warrior role.
* {{zh|t_hk=閨門旦|j={{kCantonese|閨門旦}}|labels=no}}  – Virtuous lady role.
* {{zh|t_hk=老旦|j={{kCantonese|老旦}}|labels=no}} – Old woman role.

====Zing====
The Zing ({{lang|yue-HK|淨}}; [[Jing (Chinese opera)|Jing]]) are known for painted-faces. They are often male characters such as heroes, generals, villains, gods, or demons. Painted-faces are usually:
* {{zh|t_hk=文淨|j={{kCantonese|文淨}}|labels=no}} – Painted-face character that emphasizes singing.
* {{zh|t_hk=武淨|j={{kCantonese|武淨}}|labels=no}} – Painted-face character that emphasizes martial arts.
Some characters with painted-faces are:
* [[Zhang Fei]] ({{zh|t_hk=張飛|j={{kCantonese|張飛}}|labels=no}}) and [[Wei Yan]] ({{zh|t_hk=魏延|j={{kCantonese|魏延}}|labels=no}}) from ''Three Humiliations of Zhou Yu'' ({{zh|t_hk=三氣周瑜||j={{kCantonese|三氣周瑜}}|labels=no}}).
*  [[Xiang Yu]] ({{zh|t_hk=項羽|j={{kCantonese|項羽}}|labels=no}}) from ''[[The Hegemon-King Bids His Concubine Farewell]]'' ({{zh|t_hk=霸王別姬|j={{kCantonese|霸王別姬}}|labels=no}}).
* [[Sun Wukong]] ({{zh|t_hk=孫悟空|j={{kCantonese|孫悟空}}|labels=no}}) and [[Sha Wujing]] ({{zh|t_hk=沙悟凈|j={{kCantonese|沙悟凈}}|labels=no}}) from ''[[Journey to the West]]'' ({{zh|t_hk=西遊記|j={{kCantonese|西遊記}}|labels=no}}).

====Cau====
The Cau ({{lang|yue-HK|丑}}; [[Chou (Chinese opera)|Chou]]) are clownish figures. Some examples are:
* {{zh|t_hk=丑生|j={{kCantonese|丑生}}|labels=no}} – Male clown.
* {{zh|t_hk=丑旦|j={{kCantonese|丑旦}}|labels=no}} – Female clown.
* {{zh|t_hk=文丑|j={{kCantonese|文丑}}|labels=no}} – Clownish civilized male.
* {{zh|t_hk=彩旦|j={{kCantonese|彩旦}}|labels=no}} – Older female clown.
* {{zh|t_hk=武丑|j={{kCantonese|武丑}}|labels=no}} – Acrobatic comedic role.

== Notable people ==
=== Major Cantonese Opera artists ===
Major Cantonese Opera (Stage) Career Artists<ref>[https://archive.today/20170606215445/http://library.hku.hk/search~S6?/X%7B216129%7D%7B214824%7D%7B214c39%7D%7B213073%7D%7B21505c%7D%7B21337e%7D%7B213064%7D%7B213545%7D%7B215d74%7D&searchscope=6&SORT=DZ/X%7B216129%7D%7B214824%7D%7B214c39%7D%7B213073%7D%7B21505c%7D%7B21337e%7D%7B213064%7D%7B213545%7D%7B215d74%7D&searchscope=6&SORT=DZ&SUBKEY=%E9%A6%99%E6%B8%AF%E7%95%B6%E4%BB%A3%E7%B2%A4%E5%8A%87%E4%BA%BA%E5%90%8D%E9%8C%84/1,35,35,B/frameset&FF=X%7B216129%7D%7B214824%7D%7B214c39%7D%7B213073%7D%7B21505c%7D%7B21337e%7D%7B213064%7D%7B213545%7D%7B215d74%7D&searchscope=6&SORT=DZ&1,1, 王勝泉, 張文珊(2011)編，香港當代粵劇人名錄，中大音樂系] [[The Chinese University Press]] [https://www.chineseupress.com/index.php?route=product/product&product_id=1654&advanced=true&search_title=香港當代粵劇人名錄 (Description and Author Information)] {{Webarchive|url=https://web.archive.org/web/20170625150031/https://www.chineseupress.com/index.php?route=product%2Fproduct&product_id=1654&advanced=true&search_title=%E9%A6%99%E6%B8%AF%E7%95%B6%E4%BB%A3%E7%B2%B5%E5%8A%87%E4%BA%BA%E5%90%8D%E9%8C%84 |date=25 June 2017 }} {{ISBN|978-988-19881-1-9}}</ref> include:

{| class="wikitable"
|-
!English name
![[Traditional Chinese characters|Chinese]]
! Notes
|-
|[[Bak Sheut Sin]]
|{{lang-zh|t=白雪仙|labels=no}}
|
|-
|[[Wong Chin Sui]]{{Citation needed|date=June 2024}}
|{{lang-zh|t=黃千歲|labels=no}}
|[http://hkmdb.com/db/people/view.mhtml?id=139&display_set=eng HKMDB]
|-
|[[Mak Bing-wing]]
|{{lang-zh|t=麥炳榮|labels=no}}
|{{Citation needed|date=June 2024}}<ref>[http://hkmdb.com/db/people/view.mhtml?id=1019&display_set=eng HKMDB]</ref><ref>[[Yu So-chow|His wife Yu So-chow]]</ref>
|-
|[[Sun Ma Sze Tsang]]
|{{lang-zh|t=新馬師曾|labels=no}}
| 
|-
|[[Kwan Tak Hing]]
|{{lang-zh|t=關德興|labels=no}}
|-
|[[Luo Pinchao]]
|{{lang-zh|t=羅品超|labels=no}}
| 
|-
|[[Chan Kam-Tong]] 
|{{lang-zh|t=陳錦棠(武狀元)|labels=no}}
|{{Citation needed|date=June 2024}}<ref>[http://hkmdb.com/db/people/view.mhtml?id=430&display_set=eng HKMDB]</ref>
|-
|[[Bing-yee Yam|Yam Bing-yee]]
|{{lang-zh|t=任冰兒<ref name="YAM Bing-yee document">[https://www.filmarchive.gov.hk/documents/18995340/19057018/YAM%252BBing-yee_e.pdf HKFA document YAM Bing-yee] {{Webarchive|url=https://web.archive.org/web/20230408090148/https://www.filmarchive.gov.hk/documents/18995340/19057018/YAM%2BBing-yee_e.pdf |date=8 April 2023 }} Yam has been acclaimed as "The Queen of Second Lead Actresses".</ref><br />(二幫王)|labels=no}}
|<ref>{{Cite web |url=http://www.hkbarwoymt.com/?a=doc&id=904 |title=Rehearsal of "Merciless Sword Under Merciful Heaven" (19.1.2016) |access-date=9 March 2016 |archive-url=https://web.archive.org/web/20160310014727/http://www.hkbarwoymt.com/?a=doc&id=904 |archive-date=10 March 2016 |url-status=live }}</ref>
|-
|[[Lee Heung Kam]]
|{{lang-zh|t=李香琴|labels=no}}
|
|-
|[[Lam Kar Sing]]
|{{lang-zh|t=林家聲(薛腔)|labels=no}}
|<ref name="lamkarsing">{{cite web|url=http://www.heritagemuseum.gov.hk/archive/eng/exhibitions/Past_Exhibitions_170.html|title=Lam Kar Sing|publisher=Virtuosity and Innovation – The Masterful Legacy of Lam Kar Sing 20 July 2011 – 14 May 2012|access-date=1 January 2016|archive-url=https://web.archive.org/web/20160602012703/http://www.heritagemuseum.gov.hk/archive/eng/exhibitions/Past_Exhibitions_170.html|archive-date=2 June 2016|url-status=live}}</ref>
|-
|[[Ho Fei Fan]]{{Citation needed|date=June 2024}}
|{{lang-zh|t=何非凡(凡腔)|labels=no}}
|<ref>[http://hkmdb.com/db/people/view.mhtml?id=1734&display_set=eng HKMDB]</ref>
|-
|[[Tang Bik-wan]]
|{{lang-zh|t=鄧碧雲(萬能旦后)|labels=no}}
| 
|-
|[[Leung Sing Poh]]
|{{lang-zh|t=梁醒波(丑生王)|labels=no}}
| 
|-
|[[Lang Chi Bak]]<ref>Credited as Leng Chi Pak, 'King of Chinese opera' to step down at 72, New Nation, 20 October 1976, Page 4</ref>{{Citation needed|date=June 2024}}
|{{lang-zh|t=靚次伯(武生王)|labels=no}}
| <ref>[http://hkmdb.com/db/people/view.mhtml?id=992&display_set=eng HKMDB]</ref>
|-
|[[Lan-Hing Tam|Tam Lan-Hing]]
|{{lang-zh|t=譚蘭卿(丑旦)|labels=no}}
| {{Citation needed|date=June 2024}}<ref>[http://hkmdb.com/db/people/view.mhtml?id=133&display_set=eng HKMDB]</ref>
|-
|[[Au Yeung Kim]]{{Citation needed|date=June 2024}}
|{{lang-zh|t=歐陽儉|labels=no}}
| <ref>[http://hkmdb.com/db/people/view.mhtml?id=952&display_set=eng HKMDB]</ref>
|}

*  {{ill|Kai Tak Amusement Park|zh|啟德遊樂場}} nurtured generation.{{clarify|date=August 2023}}

Political-economic crisis led to overall very hard time for Cantonese Opera in Hong Kong. Early 1960s, a sole proprietor in private sector built and operated this facility to provide performance venue, similar (in purpose) to the current [[Yau Ma Tei Theatre]], in which upcoming artists could attain stage experience. Volunteers who managed this Amusement Park Theatre were veteran performer {{ill|Chan Kam Tong|zh|陳錦棠}} with his wife and others. Work opportunities and incomes nurtured these young promising performers for years.

{| class="wikitable"
|-
!English name
![[Traditional Chinese characters|Chinese]]
! Notes
|-
|[[Man Chin Sui]]*
|{{lang-zh|t=文千歲|labels=no}}
|
|-
|[[Yuen Siu Fai]]*
|{{lang-zh|t=阮兆輝|labels=no}}
|<ref>{{Cite web |url=http://www.hkbarwoymt.com/?a=doc&id=18 |title=Artistic Director：Yuen Siu-fai |access-date=12 February 2016 |archive-url=https://web.archive.org/web/20160216181920/http://www.hkbarwoymt.com/?a=doc&id=18 |archive-date=16 February 2016 |url-status=live }}</ref>
|-
|[[Wong Chiu Kwan]]*
|{{lang-zh|t=王超群|labels=no}}
|<ref>{{cite web |title=Awardee List 2010 |url=https://www.hkadc.org.hk/?p=3555&lang=en |website=Hong Kong Arts Development Council |access-date=2019-12-26 |archive-url=https://web.archive.org/web/20150627002754/https://www.hkadc.org.hk/?p=3555&lang=en |archive-date=2015-06-27 |date=2010 |url-status=live}}</ref>
|-
|[[Yan Fei Yin]]*
|{{lang-zh|t=尹飛燕|labels=no}}
|<ref>{{Cite web |url=http://www.hkbarwoymt.com/?a=doc&id=287 |title=Artistic Director：Wan Fai-yin |access-date=12 February 2016 |archive-url=https://web.archive.org/web/20160216184113/http://www.hkbarwoymt.com/?a=doc&id=287 |archive-date=16 February 2016 |url-status=live }}</ref>
|-
|[[Ng May Ying]]*
|{{lang-zh|t=吴美英|labels=no}}
|<ref>https://www.facebook.com/mayying.ng.14?fref=ts {{User-generated source|certain=yes|date=March 2022}}</ref><ref>https://www.facebook.com/profile.php?id=100003314793077 {{User-generated source|certain=yes|date=March 2022}}</ref>
|-
|[[Nan Feng]]*
|{{lang-zh|t=南凤|labels=no}}
|<ref>{{Cite web |url=http://www.hkbarwoymt.com/?a=doc&id=905 |title=Rehearsal of "Red Silk Shoes and The Murder" (16.1.2016) |access-date=12 February 2016 |archive-url=https://web.archive.org/web/20160216181448/http://www.hkbarwoymt.com/?a=doc&id=905 |archive-date=16 February 2016 |url-status=live }}</ref>
|-
|[[Law Kar-ying]]*
|{{lang-zh|t=羅家英|labels=no}}
|<ref>{{Cite web |url=http://www.hkbarwoymt.com/?a=doc&id=2 |title=Artistic Director：Law Ka-ying |access-date=12 February 2016 |archive-url=https://web.archive.org/web/20160216182448/http://www.hkbarwoymt.com/?a=doc&id=2 |archive-date=16 February 2016 |url-status=live }}</ref>
|-
|[[Leung Hon-wai]]*
|{{lang-zh|t=梁漢威|labels=no}}
|
|}

=== The Female Leads === 
This is a list of female Cantonese opera performers who are known for female leads ({{lang-zh|t=文武全才旦后}}):

{| class="wikitable"
|-
!Actress Name
!Chinese
!Notes
|-
|[[Wong-Nui Fung|Fung Wong-Nui]] || {{lang-zh|t=鳳凰女 |labels=no}} || Started performing Cantonese opera at age 13.<ref>{{cite book |url=https://books.google.com/books?id=9eUlAAAAQBAJ&pg=PA143 |title=Historical Dictionary of Hong Kong Cinema |pages=143–144 |publisher=Scarecrow Press |first1=Lisa Odham |last1=Stokes |date=2007 |isbn=9780810864580 |access-date=November 15, 2020}}</ref><ref name="Iconic Heroines">[https://web.archive.org/web/20160104083910/http://www.lcsd.gov.hk/fp/en_US/web/fpo/programmes/2015cop/index.html Iconic Heroines in Cantonese Opera Films]</ref>
|-
|[[Yim-hing Law|Law Yim-hing]] || {{lang-zh|t=羅艷卿 |labels=no}} || Started training on Cantonese opera at age 10.<ref name="Iconic Heroines"/>
|-
|[[Lai-Zhen Yu|Yu Lai-Zhen]] ||{{lang-zh|t=余麗珍 |labels=no}} || Started performing Cantonese opera at age 16.

<ref name="Iconic Heroines"/> [http://hkmdb.com/db/people/view.mhtml?id=1342&display_set=eng hkmdb]
|-
|[[Kwun-Lai Ng|Ng Kwun Lai]] || {{lang-zh|t=吳君麗 |labels=no}} || <ref name="Iconic Heroines"/><ref name="ngkwunlai">{{cite web|url=http://www.heritagemuseum.gov.hk/archive/eng/exhibitions/Past_Exhibitions_30.html|title=Ng Kwun-Lai|publisher=A Synthesis of Lyrical Excellence and Martial Agility – The Stage Art of Ng Kwan Lai 22 December 2004 – 15 September 2005|access-date=1 January 2016|archive-url=https://web.archive.org/web/20160602013047/http://www.heritagemuseum.gov.hk/archive/eng/exhibitions/Past_Exhibitions_30.html|archive-date=2 June 2016|url-status=live}}</ref>
|-
|[[Ho-Kau Chan|Chan Ho-Kau]] || {{lang-zh|t=陳好逑 |labels=no}} || <ref name="Iconic Heroines"/>
|-
|[[Chan Yim Nung]] || {{lang-zh|t=陳艷儂 |labels=no}} || {{Citation needed|date=June 2024}}<ref name="1488hkmdb">{{cite web |url=http://hkmdb.com/db/people/view.mhtml?id=1488&display_set=eng |title=Chan Yim Nung |website=hkmdb.com |access-date=June 16, 2024}}</ref><ref>{{cite web |others=Item number N1.764 a-b from the MOA: University of British Columbia. They were used only until about 1935, after which the knowledge of how to use them was lost. An actress named [[Chan Yim-nung]] was especially famous for her use of these shoes, and could jump on and off tables and stand on clay pots while wearing them. |title=Cantonese Opera Shoes (used by female actors to represent women with bound feet) |url=https://www.rrncommunity.org/items/33970 |website=rrncommunity.org |access-date=June 16, 2024}}</ref><ref name="1932silent">{{cite book |date=2013 |title=Film Stories: (Bangkok, Hong Kong, Singapore, Canton, San Francisco.)|publisher=H.M. Ou |isbn=9789881590947|location=Hong Kong|author1=Nangaen Chearavanont |author2=Au Ho |author3=Ou Chiu Shui|chapter=Ch 8 - Wah Ngai Film Company |page=50|others=Silent film ''See the Bud in Fading'' directed by Mr. Chiang Pai-ku of Wah Ngai Film Company.}}</ref>
|}

=== Female Vocal Styles ===
This is a list of female Cantonese opera performers who are known for her own female vocal styles ({{lang-zh|t=著名旦腔|labels=no}}):

{| class="wikitable"
|-
!Actress Name
!Chinese
!Notes
|-
|[[Sheung Hoi-Mui]] ||{{lang-zh|t=上海妹(妹腔)|labels=no}} || {{Citation needed|date=June 2024}}[http://hkmdb.com/db/people/view.mhtml?id=189&display_set=eng HKMDB]
|-
|[[Lee Suet-Fong]] || |{{lang-zh|t=李雪芳(祭塔腔)|labels=no}} || {{Citation needed|date=June 2024}}[http://hkmdb.com/db/people/view.mhtml?id=263&display_set=eng HKMDB] <ref>[https://web.archive.org/web/20161007233413/http://paper.wenweipo.com/2016/01/26/XQ1601260004.htm Story of Mei in the North and Suet in the South 戲曲視窗：「北梅南雪」的故事 – 香港文匯報 2016-01-26]</ref>
|-
|[[Hung Sin Nui]] ||{{lang-zh|t=紅線女(紅腔)|labels=no}} || 
|-
|[[Yim Fun Fong|Fong Yim Fun]] || {{lang-zh|t=芳艷芬(芳腔)|labels=no}} || Fong-style or the Fong tone.<ref name="avenueofstars_fong">{{cite web |url=https://www.avenueofstars.com.hk/en/ms-fong-yim-fun/ |title=Ms Fong Yim Fun, 1928-, Actress |website=avenueofstars.com.hk |access-date=November 1, 2020}}</ref><ref>{{Cite web |url=http://www.info.gov.hk/gia/general/200210/08/1008151.htm |title=Heritage Museum Exhibition to feature the female Cantonese opera artist Fong Yim Fun as of 8 October 2002 |access-date=7 June 2017 |archive-url=https://web.archive.org/web/20150609214721/http://www.info.gov.hk/gia/general/200210/08/1008151.htm |archive-date=9 June 2015 |url-status=live }}</ref><ref>{{cite news |title=The queen who came back to her people |url=https://www.scmp.com/article/248309/queen-who-came-back-her-people |access-date=2019-12-26 |work=[[South China Morning Post]] |date=16 July 1998 |last1=McHugh |first1=Fionnuala |archive-url=https://web.archive.org/web/20151215001306/https://www.scmp.com/article/248309/queen-who-came-back-her-people |archive-date=2015-12-15 |url-status=live}}</ref> [http://hkmdb.com/db/people/view.mhtml?id=1742&display_set=eng HKMDB] 
|-
|[[Bo-Ying Lee|Lee Bo-Ying]] || {{lang-zh|t=李寶瑩(芳腔)|labels=no}} || <ref>Credited as Li Po-ying, Operatic revival, The Straits Times, 3 July 1982, Page 4.</ref>{{Citation needed|date=June 2024}}[http://hkmdb.com/db/people/view.mhtml?id=2261&display_set=eng HKMDB]
|}

=== The Male Leads === 
This is a list of female Cantonese opera performers who are known worldwide for singing and performing as male leads. They each has or had spent decades on stage, managed own troupe and established own repertoire as career performers.({{lang-zh|t=著名女文武生 |labels=no}}):
<ref>[http://www.hkbarwoymt.com/?a=group&id=artist CANTONESE OPERA YOUNG TALENT SHOWCASE – Artists] {{Webarchive|url=https://web.archive.org/web/20160216184116/http://www.hkbarwoymt.com/?a=group&id=artist |date=16 February 2016 }} Only about 15 in male costumes are lead actors.  Actresses dominate as a result of the Yam-Loong Effect for over five decades.  Both Koi Ming Fai and Lau Wai Ming were not old enough to be in the audience for Yam's final performance on stage in 1969.</ref>

{| class="wikitable"
|-
!Actress Name
!Chinese
!Notes
|-
|[[Yam Kim Fai]] ||{{lang-zh|t=任劍輝(任腔)|labels=no}} || Last on stage in 1969.(40 years) 
|-
|[[Loong Kim Sang]] ||{{lang-zh|t=龍劍笙(任腔)|labels=no}} || First time on stage in 1961.(60 years) 
|-
|[[Koi Ming Fai]] ||{{lang-zh|t=蓋鳴暉|labels=no}} || Finished training in 1980s. (30 years) 
|-
|[[Lau Wai Ming]] ||{{lang-zh|t=劉惠鳴|labels=no}} || Finished training in 1980s. (30 years) 
|-
|[[Cecelia Lee Fung-Sing]] || {{lang-zh|t=李鳳聲|labels=no}} || '' Not notable''<ref name="lcsd_lee2016">{{cite web |url=https://www.lcsd.gov.hk/fp/en_US/web/fpo/programmes/2016cop/index.html |title=Cantonese Opera Day 2016 - Cecilia Lee Fung-sing's Legendary Rise to Opera - Introduction |website=lcsd.gov.hk |date=2016 |access-date=November 25, 2020}}</ref><ref name="info_lee2016oct">{{cite web |url=https://www.info.gov.hk/gia/general/201610/25/P2016102400382.htm |title=Press Releases - Film Archive to screen Cantonese opera films of Cecilia Lee Fung-sing in support of Cantonese Opera Day 2016 (with photos) |website=info.gov.hk |date=October 25, 2016 |access-date=November 25, 2020}}</ref><ref name="hkmdb_lee">{{cite web |url=http://hkmdb.com/db/people/view.mhtml?id=3021&display_set=eng |title=Cecelia Lee Fung-Sing |website=hkmdb.com |access-date=November 24, 2020}}</ref>
|-
|}

=== Great Male Vocals ===
This is a list of female Cantonese opera singers who are known as Four Great Male Vocals ({{lang-zh|t=平喉四大天王|labels=no}}):

{| class="wikitable"
|-
!Actress Name
!Chinese
!Notes
|-
|[[Tsuih Lau Seen]] || |{{lang-zh|t=徐柳仙(仙腔)|labels=no}} || <ref name="nuiling or female singers"/>[http://hkmdb.com/db/people/view.mhtml?id=307&display_set=eng HKMDB]
|-
|[[Siu Meng Sing]] || {{lang-zh|t=小明星(星腔)|labels=no}} || <ref name="nuiling or female singers"/>{{Citation needed|date=June 2024}}[http://hkmdb.com/db/people/view.mhtml?id=1233&display_set=eng HKMDB]
|-
|[[Cheung Yuet Yee]] || |{{lang-zh|t=張月兒|labels=no}} || <ref name="nuiling or female singers"/> [http://hkmdb.com/db/people/view.mhtml?id=138&display_set=eng HKMDB] 
|-
|[[Cheung Waih Fong]] || {{lang-zh|t=張惠芳|labels=no}} || <ref name="nuiling or female singers">[https://web.archive.org/web/20170309065604/http://www.info.gov.hk/gia/general/201112/06/P201112060148.htm Famed female Cantonese opera singers Xiao Minxin, Xu Liu-xian, Zhang Yue'r and Zhang Hui-fang] 6 December 2011 [[Hong Kong Central Library]]</ref>
|}

=== Four Super Stars === 
This is a list of male Cantonese opera performers who are known as Four Super Stars ({{lang-zh|t=四大天王|labels=no}}):
  		  
{| class="wikitable"
|-
!Actor Name
!Chinese
|-
|[[Sit Gok Sin]]{{Citation needed|date=June 2024}}
|{{lang-zh|t=薛覺先(薛腔)|labels=no}}<ref>[http://hkmdb.com/db/people/view.mhtml?id=127&display_set=eng HKMDB]</ref>
|-
|[[Ma Sze Tsang]]{{Citation needed|date=June 2024}}
|{{lang-zh|t=馬師曾|labels=no}}<ref>[http://hkmdb.com/db/people/view.mhtml?id=132&display_set=eng HKMDB]</ref>
|-
|[[Kwai Ming Yeung]]{{Citation needed|date=June 2024}}
|{{lang-zh|t=桂名揚|labels=no}}<ref>[http://hkmdb.com/db/people/view.mhtml?id=209&display_set=eng HKMDB]</ref><ref>{{usurped|1=[https://web.archive.org/web/20160701020617/http://mpaper.org/Story.aspx?ID=66642 Kwai Ming Yeung style 聽"桂派"名曲 藝海 2010-07-08]}}</ref>
|-
|[[Bak Yuk Tong]]{{Citation needed|date=June 2024}}
|{{lang-zh|t=白玉堂|labels=no}}<ref>[http://hkmdb.com/db/people/view.mhtml?id=56&display_set=eng HKMDB]</ref>
|}

=== Four Super Clowns === 
This is a list of male Cantonese opera performers who are known as Four Super Clowns (Cau) ({{lang-zh|t=四大名丑|labels=no}}):

{| class="wikitable"
|-
!Actor Name
!Chinese
|-
|[[Boon Yat On]]{{Citation needed|date=June 2024}}
|{{lang-zh|t=半日安|labels=no}}<ref>[http://hkmdb.com/db/people/view.mhtml?id=84&display_set=eng HKMDB]</ref>
|-
|[[Lee Hoi-Chuen]]
|{{lang-zh|t=李海泉|labels=no}}
|-
|[[Liu Hap Wai]]{{Citation needed|date=June 2024}}
|{{lang-zh|t=廖俠懷|labels=no}}<ref>[http://hkmdb.com/db/people/view.mhtml?id=1172&display_set=eng HKMDB]</ref>
|-
|[[Ye Funuo]]{{Citation needed|date=June 2024}}
|{{lang-zh|t=葉弗弱|labels=no}}<ref>[http://hkmdb.com/db/people/view.mhtml?id=58&display_set=eng HKMDB]</ref>
|}

[[File:HK FongYimFun in Singapore 1953 60326.jpg|thumb|right|300px|Fong Yim Fun performing outside the realm of Cantonese opera in 1953]]

==Visual elements==

===Makeup===
[[File:Female-general.jpg|thumb|upright|A female general]]

Applying [[makeup]] for Cantonese opera is a long and specialized process. One of the most common styles is the "white and red face": an application of white foundation and a red color around the eyes that fades down to the bottom of cheeks. The eyebrows are black and sometimes elongated. Usually, female characters have thinner eyebrows than males. There is black makeup around the eyes with a shape similar to the eyes of a Chinese phoenix ({{zh|t_hk=鳳眼|j={{kCantonese|鳳眼}}|labels=no}}). [[Lipstick]] is usually bright red ({{zh|t_hk=口唇膏|j={{kCantonese|口唇膏}}|labels=no}}).

A female-role actress is in the processes of applying her markup: spreading a creamy. foundation on her cheeks and forehead; putting blusher on her cheeks, eyelids and both sides of the nose; darling her eyebrows and drawing eye-lines and eye-shadows; pasting hairpieces around her face to create an oval-shaped look; lipstick has been put on prior to this; placing hairpins on the hairpiece.<ref>{{Cite journal|last=Chan|first=Sau Y.|date=March 2005|title=Performance Context as a Molding Force: Photographic Documentation of Cantonese Opera in Hong Kong|journal=Visual Anthropology|volume=18|issue=2–3|pages=167–198|doi=10.1080/08949460590914840|s2cid=145687247|issn=0894-9468}}</ref>

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 an arrow shape fading into the forehead in between the eyebrows ({{zh|t_hk=英雄脂|j={{kCantonese|英雄脂}}|labels=no}}).

Strong male characters wear "open face" ({{zh|t_hk=開面|j={{kCantonese|開面}}|labels=no}}) makeup. Each character's makeup has its own distinct characteristics, with symbolic patterns and coloration.

===Costumes===
[[File:HK Chinese Music YamPak Exhibition 60326.jpg|thumb|right|250px|An exhibition displaying opera costumes]]

Costumes correspond to the theme of the play and indicate the character being portrayed. Costumes also indicate the status of the characters. Lower-status characters, such as females, wear less elaborate dresses, while those of higher rank have more decorative costumes.

Prominent performers ({{lang-zh|t=大老倌|labels=no}}) listed above, playing the six main characters (generally a combination of 2 Sang, 2 Daan, Zing, and Cau), are usually supposed to pay for their own costumes. Over time, these performers would reinvest their income into their wardrobe which would give an indication of their success. A performer's wardrobe would be either sold or passed on to another performer upon retirement.

To career performers, sequin costumes are essential for festive performances at various "Bamboo Theatres" ({{lang-zh|t=神功戲|labels=no}}).<ref>[http://hkbarwo.com/time_table_01.php 2010 to 2015 Time table] {{Webarchive|url=https://web.archive.org/web/20160116081211/http://hkbarwo.com/time_table_01.php |date=16 January 2016 }} of [[Chinese Artist Association of Hong Kong]] 香港八和會館 神功戲台期表</ref> These costumes, passed from generation to generation of career performers, are priceless according to some art collectors. With time, the materials used for the costumes changed. From the 1950s to the 1960s, sequins were the most prevalent material used for designing the costumes. Nowadays, designers tends to use [[rhinestones]] or foil fabric ({{lang-zh|t=閃布|labels=no}}). Compared to sequins, rhinestones and foil fabric are lighter. However, many older generation performers continue to use sequins and they regard them as more eye-catching on stage.<ref>{{Cite web|url=https://hokkfabrica.com/bamboo-theatre-culture/|title=香港戲棚文化|date=2014-06-29|website=HOKK fabrica|access-date=2019-03-07|archive-url=https://web.archive.org/web/20190308081012/https://hokkfabrica.com/bamboo-theatre-culture/|archive-date=8 March 2019|url-status=live}}</ref>

Most of the costumes in Cantonese Opera come from traditional design. Since costume design is largely taught through [[apprenticeship]]s, costume design remains largely constant. Some designers are taught the skill from family members, inheriting a particular style.<ref>{{Citation|last=知多一點點2|title=粵劇智識知多的|date=2015-05-03|url=https://www.youtube.com/watch?v=GGi6ifS423Y&t=704s |archive-url=https://ghostarchive.org/varchive/youtube/20211212/GGi6ifS423Y| archive-date=2021-12-12 |url-status=live|access-date=2019-03-08}}{{cbignore}}</ref>

In 1973, [[Yam Kim Fai]] gave [[Loong Kim Sang]], her [[protégée]], the complete set of sequin costumes needed for career debut leading her own commercial performance at [[Chinese New Year]] Bamboo Theatre.<ref>[http://www.tvb.com.au/neo/schedules/tvbj/2016-01-01 Maybe The Cantonese Opera Diva] {{webarchive |url=https://web.archive.org/web/20160224212120/http://www.tvb.com.au/neo/schedules/tvbj/2016-01-01 |date=24 February 2016 }} 1 January 2016 [[Australia]]</ref><ref>[http://programme.tvb.com/variety/maybethecantoneseoperadiva 舞台下的龍劍笙] {{Webarchive|url=https://web.archive.org/web/20160529112307/http://programme.tvb.com/variety/maybethecantoneseoperadiva |date=29 May 2016 }} 14 November 2015 [[Hong Kong]]</ref>

Some costumes from famous performers, such as [[Lam Kar Sing]]<ref name="lamkarsing"/> and [[Kwun-Lai Ng|Ng Kwun-Lai]],<ref name="ngkwunlai"/> are on loan or donation to the [[Hong Kong Heritage Museum]].

===Hairstyle, hats, and helmets===
[[File:Cantonese Opera display Hong Kong Museum of History.jpg|thumb|A Cantonese opera exhibit at the [[Hong Kong Museum of History]], 2008.]]

[[Hat]]s and [[helmet]]s signify social status, age and capability: [[scholar]]s and [[official]]s wear black hats with wings on either side; generals wear helmets with [[pheasant]]s' tail feathers; soldiers wear ordinary hats, and [[monarch|king]]s wear [[crown (headgear)|crown]]s. Queens or princesses have jeweled helmets. If a hat or helmet is removed, this indicates the character is exhausted, frustrated, or ready to surrender.

Hairstyles can express a character's emotions: warriors express their sadness at losing a battle by swinging their [[ponytail]]s. For the female roles, buns indicated a maiden, while a married woman has a 'dai tau' ({{lang|yue-HK|低頭}}).

In the Three Kingdoms legends, [[Zhao Yun]] and especially [[Lü Bu]] are very frequently depicted wearing helmets with pheasants' tail feathers; this originates with Cantonese opera, not with the military costumes of their era, although it's a convention that was in place by the Qing Dynasty or earlier.

==Aural elements==

===Speech types===
Commentators draw an essential distinction between sung and spoken text, although the boundary is a troublesome one. 
Speech-types are of a wide variety: one is nearly identical to standard conversational Cantonese, while another is a very smooth and refined delivery of a passage of poetry; some have one form or another of instrumental accompaniment while others have none; and some serve fairly specific functions, while others are more widely adaptable to variety of dramatic needs.

Cantonese opera uses [[Mandarin (late imperial lingua franca)|Mandarin]] when actors are involved with government, monarchy, or military. It also obscures words that are taboo or profane from the audience. The actor may choose to speak any dialect of Mandarin, but the ancient Zhōngzhōu ({{lang-zh|c=中州 |j={{kCantonese|中州}}|labels=no}}) variant is mainly used in Cantonese opera. Zhōngzhōu is located in the modern-day [[Henan]] province where it is considered the "cradle of Chinese civilization" and near the [[Yellow River]]. {{transliteration|zh|Guān Huà}} retains many of the initial sounds of many modern Mandarin dialects, but uses [[Initial (linguistics)#Onset|initials]] and [[Syllable coda|codas]] from [[Middle Chinese]]. For example, the words {{lang|zh-hant|{{linktext|張}}}} and {{lang|zh-hant|{{linktext|將}}}} are both pronounced as /tsœːŋ˥˥/ ({{lang-zh|links=no|j=zœng<sup>1</sup>}}) in Modern Cantonese, but will respectively be spoken as /tʂɑŋ˥˥/ ({{lang-zh|links=no|p=zhāng}}) and /tɕiɑŋ˥˥/ ({{lang-zh|links=no|p=jiāng}}) in operatic {{transliteration|zh|Guān Huà}}. Furthermore, the word {{lang|zh|{{linktext|金}}}} is pronounced as /kɐm˥˥/ ({{lang-zh|links=no|j=gam<sup>1</sup>}}) in modern Cantonese and /tɕin˥˥/ ({{lang-zh|links=no|p=jīn}}) in standard Mandarin, but operatic Guān Huà will use /kim˥˥/ ({{lang-zh|links=no|p=gīm}}). However, actors tend to use Cantonese sounds when speaking Mandarin. For instance, the command for "to leave" is {{lang|zh|{{linktext|下去}}}} and is articulated as /saː˨˨ tsʰɵy˧˧/ in operatic Guān Huà compared to /haː˨˨ hɵy˧˧ / ({{lang-zh|links=no|j=haa<sup>6</sup> heoi<sup>3</sup>}}) in modern Cantonese and /ɕi̯ɑ˥˩ tɕʰy˩/ ({{lang-zh|links=no|p=xià qu}}) in standard Mandarin.

===Music===
{{listen|
filename=Canto Opera Hong Kong - Yam Kim Fai and Bak Sheut Sin.ogg|
title=Recognize Mutually (帝女花 之 相認)|
description=There are actually two female singers with [[Yam Kim Fai]] and [[Bak sheut sin|Bak Sheut Sin]] in this sample. Yam Kim Fai is using her trademark indistinguishable male voice behind the Cantonese opera disguise. Only [[List of traditional Chinese musical instruments|traditional Chinese instruments]] are used.|
format=[[Ogg]]}}
Cantonese opera pieces are classified either as "theatrical" or "singing stage" ({{lang|zh-hant|歌壇}}). The theatrical style of music is further classified into western music ({{lang|zh-hant|西樂}}) and Chinese music ({{lang|zh-hant|中樂}}). While the "singing stage" style is always Western music, the theatrical style can be Chinese or western music. The "four great male vocals" ({{lang|zh|四大平喉}}) were all actresses and notable exponents of the "singing stage" style in the early 20th century.

The western music in Cantonese opera is accompanied by [[string instrument|strings]], [[Woodwind instrument|woodwind]]s, [[Brass instrument|brass]] plus electrified instruments. 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.

===Musical instruments===
[[File:Bangzi 3.jpg|thumb|Bāngzi (梆子) is one of the main instruments used in Cantonese opera]]
Cantonese instrumental music was called ''ching yam'' before the [[People's Republic of China|People's Republic]] was established 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 [[Guangzhou|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), [[saxophone]]s, [[guitar]]s and the [[conga]]s 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 instrument|percussion]]. The winds and strings encompass ''erhu'', ''[[gaohu]]'', ''[[yehu]]'', ''[[yangqin]]'', ''[[pipa]]'', ''[[dizi (instrument)|dizi]]'', and ''[[Guan (instrument)|houguan]]'', while the percussion comprises many different [[drum]]s and [[cymbal]]s. The percussion controls the overall rhythm and pace of the music, while the ''gaohu'' leads the orchestra. A more martial style features the use of the ''[[suona]]''.

The instrumental ensemble of Cantonese opera is composed of two sections: the melody section and the percussion section. The percussion section has its own vast body of musical materials, generally called ''lo gu dim'' ({{lang|zh|鑼鼓點}}) or simply ''lo gu'' ({{lang|zh|鑼鼓}}). These 'percussion patterns' serve a variety of specific functions.

To see the pictures and listen to the sounds of the instruments, visit
[http://frannxis.tripod.com/frontpage/id14.html page 1] and [http://frannxis.tripod.com/frontpage/id16.html page 2].

== Terms ==
This is a list of frequently used terms.
*'''Pheasant feathers''' ({{zh|t_hk=雉雞尾|j={{kCantonese|雉雞尾}}|labels=no}})
:These are attached to the helmet in ''mou'' ({{lang|yue-HK|武}}) plays, and are used to express the character's skills and expressions. They are worn by both male and female characters.
*'''[[Water sleeves]]''' ({{zh|t_hk=水袖|j={{kCantonese|水袖}}|labels=no}})
:These are long flowing sleeves that can be flicked and waved like water, used to facilitate emotive gestures and expressive effects by both males and females in ''man'' ({{lang|yue-HK|文}}) plays.
*'''Hand Movements''' ({{zh|t_hk=手動作|j={{kCantonese|手動作}}|labels=no}})
:Hand and finger movements reflect the music as well as the action of the play. Females hold their hands in the elegant "[[nelumbo|lotus]]" form ({{zh|t_hk=荷花手|j={{kCantonese|荷花手}}|labels=no}}).
*'''Round Table/Walking''' ({{zh|t_hk=圓臺|j={{kCantonese|圓臺}}|labels=no}} or {{zh|t_hk=圓台|j={{kCantonese|圓台}}|labels=no}})
: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 travelling great distances. The actors glide across the stage while the upper body is not moving.
*'''Boots''' ({{zh|t_hk=高靴|j={{kCantonese|高靴}}|labels=no}})
:These are black [[boot]]s with high white [[Sole (shoe)|soles]] worn by males, which can impede walking.
*'''Gwo Wai''' ({{zh|t_hk=過位|j={{kCantonese|過位}}|labels=no}})
:This is a movement in which two performers move in a cross-over fashion to opposite sides of the stage.
*'''Deoi Muk''' ({{zh|t_hk=對目|j={{kCantonese|對目}}|labels=no}})
:In this movement, two performers walk in a circle facing each other and then go back to their original positions.
*'''"Pulling the Mountains"'''' ({{zh|t_hk=拉山|j={{kCantonese|拉山}}|labels=no}}) and '''"Cloud Hands"''' ({{zh|t_hk=雲手|j={{kCantonese|雲手}}|labels=no}})
:These are the basic movements of the hands and arms. This is the MOST important basic movement in ALL Chinese Operas.  ALL other movements and skills are based on this form.
*'''Outward Step''' ({{zh|t_hk=出步|j={{kCantonese|出步}}|labels=no}})
:This is a gliding effect used in walking.
*'''Small Jump''' ({{zh|t_hk=小跳|j={{kCantonese|小跳}}|labels=no}})
:Most common in ''mou'' ({{lang|yue-HK|武}}) plays, the actor stamps before walking.
*'''Flying Leg''' ({{zh|t_hk=飛腿|j={{kCantonese|飛腿}}|labels=no}})
:A crescent kick.
*'''Hair-flinging''' ({{zh|t_hk=旋水髮|j={{kCantonese|旋水髮}}|labels=no}})
:A circular swinging of the ponytail, expressing extreme sadness and frustration.
*'''Chestbuckle/ Flower''' ({{zh|t_hk=繡花|j={{kCantonese|繡花}}|labels=no}})
:A flower-shaped decoration worn on the chest. A red flower on the male signifies that he is engaged.
*'''Horsewhip''' ({{zh|t_hk=馬鞭|j={{kCantonese|馬鞭}}|labels=no}})
:Performers swing a whip and walk to imitate riding a horse.
*'''Sifu''' ({{zh|t_hk=師傅|j={{kCantonese|師傅}}|labels=no}})
:Literally, ''master'', this is a formal term, contrary to mentor, for experienced performers and teachers, from whom their own apprentices, other students and young performers learn and follow as disciples.

==See also==
* [[Cantopop]]
* [[Red Boat Opera Company]]
* [[Music of China]]
* [[Music of Hong Kong]]
* [[Culture of Hong Kong]]
* [[Hong Kong Heritage Museum]]
* [[Chinese Artist Association of Hong Kong|Chinese Artists Association of Hong Kong]]

==References==
{{reflist}}

==External links==
{{commons category|Opera from Canton|Cantonese opera}}
*[http://www.pearlmagik.com/bayareacantoneseopera/aboutopera.htm (San Francisco) Bay Area Cantonese Opera]
*[http://members.aol.com/canopera/artist.htm More Cantonese Opera Artists]
*[https://web.archive.org/web/20041218043407/http://www.barnard.columbia.edu/sfonline/ps/printdle.htm Can You Hear Me?: The Female Voice and Cantonese Opera in the San Francisco Bay Area at The Scholar and Feminist Online (via archive.org)] ([http://sfonline.barnard.edu/ps/printdle.htm original at barnard.edu])

{{Guangdong topics}}
{{UNESCO Oral and Intangible music}}
{{Hong Kong topics}}
{{Chinese opera}}

{{Authority control}}

{{DEFAULTSORT:Cantonese Opera}}
[[Category:Cantonese opera| ]]
[[Category:Culture of Hong Kong]]
[[Category:Intangible Cultural Heritage of Humanity]]