中国广东(二团)潮剧院

Guangdong Teochew Opera (2nd Troupe)

新加坡韭菜芭城隍庙从农历庚寅年二月廿六日至六月廿九日礼聘中国、台湾及星马著名闽、潮剧团演出戏剧118天连宵.

中国广东(二团)潮剧院应聘于农历五月初十日至五月廿六日演出17天潮剧。

Guangdong Teochew Opera (2nd Troupe) to perform traditional Teochew opera shows from 21 Jun 2010 to 7 Jul 2010, a total of 17 days, at Lorong Koo Chye Sheng Hong Temple.

很开心看到‘洗马桥’被安排做为第一部戏，岂能错过。广东潮剧院二团还有很多新戏，不知为何没安排在新加坡演出，是不是和演出地点有关呢？最近推出的‘玉川救帅’，‘石榴花’等是好戏呀!还有经典好戏如‘陈三五娘’，‘火烧临江楼’，‘东宫毒娥’，‘血溅南梁宫’，‘逼宫夺玺’呢？

Teochew Opera Musical

戏谭中国潮剧传统曲牌荟萃

戏谭中国潮剧传统曲牌荟萃
专辑介绍
领 奏：黄壮龙 郭粦书
扬 琴：余精然
司鼓：詹诚骅 林爱群 马御通
总 监 制：王庆苏
录音顾问：李廷辉
后期合成：陈新胜

专辑介绍：

《戏谭---中国潮剧传统曲牌荟萃》音乐版

该专辑是首张以《潮剧曲牌》编纂的音乐，是潮剧唱腔音乐中比较古老的部分。于听众具有一定的文化价值。

为满足市场对唱片的高标准制作要求。制作过程中，引用当前活跃于潮剧舞台上的艺人为骨干。集合了具有多年录制经验的人员组成制作群，为作品质量把关，确保演录水平。使该唱片能够集欣赏和娱乐于一体（可作伴奏音乐使用），具有较佳的实用价值。

潮剧的音乐、唱腔简介：

潮剧音乐伴奏分锣鼓科介曲调类、唢呐牌子类和弦丝乐曲类。

潮剧音乐特点是伴奏手法，传统素以“相和”（平衡）为伴奏原则。一般要求音乐随腔伴奏，唱腔要求与音乐“相食”（融洽）。伴奏没有统一谱，乐器可根据唱腔的基本旋律，发挥本乐器的特长，故有高唱低伴、低音翻高的现象。又因潮剧用调互不相犯，宫、商、轻、重，各安其位，泾渭分明，伴奏在与唱腔旋律基本一致的前提下，可在五度四度相生中取音，因而潮剧唱腔音乐具有自然复调因素，协和动听。

潮剧的唱腔，包括曲牌、对偶曲和小调。

曲牌艺人也称为牌子曲，主要来自南戏，是潮剧唱腔音乐中比较古老的部分，常见的曲牌如《石榴花》、《红衲袄》、《四朝无》、《锁南枝》、《黄龙滚》、《皂罗袍》、《山坡羊》、《斗鹌鹑》等，都是比较古老的传统曲牌。

曲牌唱腔根据结构及节奏变化的不同分为头板曲牌，二板曲牌和三板曲牌三种。

头板曲牌一板七眼（8/4），一曲由头板引、头板锣经、头板曲段组成。头板曲段是头板曲牌的主要唱段，是全曲的中心所在。唱词一般是长短句。头板曲牌的特点是一字多腔，一腔多韵，字少腔多，是潮剧唱腔中节奏缓慢，最具抒情色彩的唱腔。《扫窗会》高文举唱的：“举目云山飘渺，家乡隔在万里遥。自从张千一去，未见他身回来，空使我望断云山音讯杳”。就是头板曲牌《四朝无》。

二板曲牌有一板三眼和一板一眼两种，一板三眼，属二板慢（4/4），接近头板曲牌，也有字少腔多的特点；一板一眼，属二板中，二板快（2/4），没有长拉腔，宣叙性比较强。二板曲牌一般由起段——中段（发展段）——收段构成。起段和收段一般属曲牌，中段则发展成为对偶曲牌。二板曲牌具有曲牌规格的程式性，又有可容纳新腔的灵活性，是潮剧唱腔中使用最广的一种唱腔。旧本《陈三五娘》中“对镜梳妆”一段唱：“梳妆早起，款款金莲出厅边；喜鹊声催闷人心焦，奴只恨，这个冤家林大鼻”。就是二板曲牌《红纳袄》。

三板曲牌包括有板无眼、散板、有板无眼与散板结合三种。有板无眼（1/4），具有相对固定的基本句法，一字一腔，字多腔少，宣叙性比较强，多连接于二板曲牌之后，散板曲牌一般属曲牌前序，引类的唱腔，节奏比较自由，句与句之间多用锣鼓分节。《扫窗会》中，高文举与王金真两人最后唱的“夫妻相别泪满胸，速到开封诉衷情，打破玉笼飞彩凤，顿开金锁走蛟龙“一段，就是三板《尾声》的曲牌。

潮音如水（笛子）的碟评：

此时无“声”胜有“声”

——评潮剧曲牌集锦新碟《戏谭》

《戏谭》是中唱广州公司近期推出的音碟，汕头艺士林唱片有限公司策划授权。由于选题独特，演绎到位，颇受关注。

这是首张以潮剧传统曲牌编纂的器乐专辑。潮剧传统曲牌是潮剧音乐的有机组成部分，是潮剧艺人经过多年积累形成的音乐创作模块，结构相对完整而严密，乐句旋律流畅优美。以曲牌音乐为元素录制专辑，不论对于潮剧音乐工作者整理传统精萃，还是一般的戏曲爱好者欣赏聆听，都是难得乐事。（附注）

《戏谭》共收《黄龙滚》、《梦蝴蝶》等十首曲目，全部是潮剧唱腔音乐中最常用曲牌，可听性极强。曲牌音乐由于是历代艺人千锤百炼精髓，较之时下新创作的腔调，在歌唱性、旋律感上有难以取代的经典地位。本辑所选曲目多为小家碧玉气度，于细微处见匠心，不论诙谐端庄、简洁繁缛，皆质朴怡人，韵味无穷。

演奏者以广东潮剧院一、二团乐师为主。科班出身的班底，演奏耳熟能详牌子曲，自然得手应手。是以专辑听来如坊间人自娱自乐自在，流水行云，出彩乐句时有出现。虽然未加人声演唱，却是“此时无‘声’胜有‘声’”，给听者腾出无限遐想空间。

专辑二弦领奏者为黄壮龙、郭粦书两位。郭先生弦声清脆，出字伶俐。最值得称道者，黄先生发音明丽，运弓饱满，乐句起止明确，丝弦如人声歌唱般传神，具名家风度。而陈奕夫先生的笛声，适时简洁，点到为止，也表现不俗。

本次乐队的配器，家伙少而精，仅二弦、扬琴、琵琶、小三弦、椰胡、提胡、笛子、中胡、大提琴，能较好体现潮剧传统音乐中，特有的清雅、静谧氛围。近年一团乐队中，常有二胡出现，本人觉得潮味因此殆减，所幸专辑中未予采用。

欣赏音乐之际，若关注包装，也较为考究。硬纸板封套，内附线装册页，文字介绍详尽。前有余亦文先生撰写《潮剧传统曲牌赏析》；每个曲牌占一页，列曲牌简介，并附延引剧目唱词。

与同期不少应景音像制品相比，《戏谭》制作精良，堪称珍品。当然，也尚有瑕玼。出于对本系列的喜爱与寄望，我且鸡蛋里挑石头细列如下，但求能对此后作品有所裨益。

一是录音效果，声部较为饱满均衡。但二弦声偏单薄，音频略高；深波浑浊，凝重沉闷，失却乐器原有厚重而甜润、低沉而明朗质地。而其他乐器的定位也不大清晰，质感有提升空间。建议以中唱文革后出品的《张春郎削发》、《闹钗》、《回书》等经典录音，以及雨果公司《潮腔》为参照，对比取经。

二是文案安排，简洁大方，装帧精美。遗憾者，未能附上曲牌的曲谱。专辑中所收曲牌对应的唱段，由于年代久远，听者都较为陌生，没有曲谱对照在欣赏上是一种欠缺，当伴奏使用更无从入手。而封面设计上，以贴水鬓青衣的脸庞为主体，富于写意，美则美矣，形态却不似潮剧传统妆扮。文字说明上，也有数处欠妥，如压题处的“锣鼓似雷鸣，潮剧震天下”广告词有待推敲，内文显要处数处错别字，附录演职员简介的介绍形式未予统一等。

三是曲目的编排可以更具匠心。本专辑十首曲子都以二弦为领奏乐器，听来还是单调。为顾及听者情绪，编录时或者可选取合适曲牌，各以二弦、唢呐为领奏；甚至以笛子、提胡等其他乐器为领奏；或者以细乐形式出现，活泼乐队组合。

细品《戏谭》，玩味未尽。总而言之，《戏谭》对于喜爱潮剧传统韵味之听者，不失为弥足珍藏音像。建议再录制续篇时，最好邀请潮乐界尚能登台演奏的泰斗级人物，如二弦名家黄壮茂、司鼓名家蔡建臣等，担纲出演，将令演绎水准更上档次。

据悉，继《戏谭》之后，艺士林将于12月上旬，推出潮剧传统曲牌荟萃专辑第二张作品——《潮韵》，翘首以待。

写于2008年11月19至23日

附注：1996年，中国戏曲音乐集成编辑委员会曾编辑出版《中国戏曲音乐集成》，其中《广东卷》部分收有大量潮剧曲牌，按书中介绍有整理过全部相关录音资料，但其音像资料至今未见面世。

Seeing Double In Teochew Opera Performance
双棚窗 - 郑氏姐妹2009秦香莲之杀庙
郑健英，郑莎，吴瑞丽，陈楚卿

听过双棚窗的演出吗？看过双棚窗的演出吗？

Seeing double on stage? Wonder how many fans had watched such a performance? Many decades ago, those Teochew Opera troupes in mainland China which had huge resources and many talented artistes did this. They showcased their strengths by stagging a so called 'double stage window' performance. On stage, you need at least two talented artistes or two groups of artistes who resembled one another (ha ha, the best is to deploy identical twins) to perform. This mean two groups of aristes will perform the same item simultaneously on the same stage. Based on the photos which are uploaded here, you can see the artistes performing the same item via mirror-image approach. For example, if two groups depart from the centre stage, one group will move towards the left and another to the right. Isn't that amazing?

几十年前，潮剧有一种表现形式叫‘双棚窗’，一般是二人戏，两队演员并列演出，以展示剧团强大的阵容和训练有素的艺术功底。这是一个近期潮剧舞台上少见的演出方式，导演必须找出两组长演员，他们的体高，脸型的体重都要非常接近。

很高兴收到远方朋友送过来的双棚窗-郑氏姐妹的秦香莲之杀庙。观看后非常兴奋，很佩服演员们的配合，简直是天衣无缝，没得顶。

潮剧双棚窗在解放前比较多见，当时潮汕大地活跃着各大戏班，有时为了应付竞争或展示剧团的实力会上演双棚窗，早期的双棚窗是两对演员并列表演同样的情节和动作，在上演双棚窗的过程中，演员平日训练的出来的功底、水平便会表现出来，实力稍差的剧团往往会在上演双棚窗的过程中出现动作不同步或唱声参差的情况。 今次两郑的双棚窗增加了镜像和反向效果，很多动作是相反对照做的，和以前的双棚窗又更进一步，现在剧团的水平越来越差，已经很少剧团有能力和心机排演双棚窗。

二十一世纪的双棚窗肯定比二十世纪的有所发展。我将会把短片挂上 youtube，想对双棚窗的演出多了解，就去观看吧。(24 Apr 10, I have uploaded a total of 3 video clips on youtube. Enjoy.)

Growing Up With Teochew Opera - 18

Watching Performance by Local Teochew Opera Troupes

近十年观赏本地职业潮剧团的演出

人生有几个十年，这页博客谈谈这十年里观看新加坡职业潮剧团演出的剧目和点点滴滴。

After having written about Tan Chor Hwee and Teochew Opera Troupes from China, I would like to share something about watching Teochew Opera performances by local professional troupes. Actually, I am really worried that one day our professional troupes will simply disappear. For the last 10 years from year 2000 to 2009, it is evident that the troupes are now much inferior in terms of quality, manpower, resources and ability to stage new performances, compared to 40 years ago. Each troupe has a small number of actors and actresses and their age profile is typically in the 45 to 70s age group. The team of musicians is nothing compared to those from any China troupes. Worst still, there are not enough resources for them to stage new performances and year on year, you would see the same show. Sometimes, the troupes would call the show a different name but for die hard fans, it is very easy to tell.

In the initial few years of the new millennium, I hardly watched performances by local Teochew Opera troupes because of lack of information on their performance schedule. Other than 织云潮剧团 which would always have a common 2-day slot on the 26th and 27th day of the lunar 7th month at Toa Payoh Lor 1 wet market, I only watched street opera if I happened to know the schedule by chance.

In Oct 2006, I came across an announcement on a series of temple celebrations by a temple at Bukit Batok. It came as a surprise to me when I discovered that an unknown local troupe would be putting up 4 nights of performance there. This troupe is called 新新荣和潮剧团. Frankly, I have not heard of the existence of this troupe. I travelled all the way from Yishun to watch 新新荣和潮剧团 put up 洛水仙姬 at Bukit Batok. I would rate the standard of performance as mere average. In the dwindling days of Teochew street opera in Singapore, I should not expect too much from this troupe. This troupe has a variety of backdrops and their costumes are very new. Subsequently, I found out that a few temples in Yishun also invited 新新荣和潮剧团 to perform. I watched this troupe performed 洛神 many times. I was thrilled when I watched them performed my favourite 洗马桥 and 红鬃烈马. I also enjoyed watching this troupe扛石记.

金鹰潮剧团 was one of those troupes which I rarely know their schedule. It was until I read about the troupe folding up in Feb 2007, I became more interested to watch their performances and started to check out their schedule. I was fortunate to have watched some of their performances including 刘明珠，皇亲国戚，红楼夜审，假婿盗方, 巧姻缘，刘璋下山，狄青解征衣.

老赛桃源潮剧团 is another troupe which I hardly watch as I am not aware of their performance schedule too. I recalled watching this troupe performed 柴房会 at Raffles Place and Ang Mo Kio in the late 1990s and once at a temple besides Central Mall in early 2000. That year was very special as 4 troupes were performing at the same time. There were 2 Hokkien Opera troupes and 2 Teochew Opera troupes, namely, 新怡梨兴潮剧团 and老赛桃源潮剧团.

I watched 新怡梨兴潮剧团 performed 怒斩杨廷芳 and 老赛桃源潮剧团 stagged 铁面海瑞. It was quite an experience as that was the first time I watched 4 opera troupes performing at the same time. Then, I chanced upon a notice about a temple celebration in 联合早报 and found a performance schedule by老赛桃源潮剧团 in Jun 2006. I watched the troupe performed 罗衫记 and 湖阳公主 or another name for 铁面海瑞.

My interest in watching Teochew Opera troupes perform at temples started in Jun 2007. That year, 青囊中玉楼春潮剧团 from Malaysia came to Singapore to perform at 韭菜巴城隍庙 for 10 days. I found their standard and quality of performance better than most of the local troupes currently surviving in Singapore. The troupe has many male and female leads. It is somewhat like 织云潮剧团 in the 80s. I enjoyed watching 皇姑复国, 杨戬出世, 汉宫惊梦 and 血溅三宝袍.

In Aug 2007, 织云潮剧团 put up a 4-day performance at one Yishun temple. I enjoyed watching their new performance狸猫换太子 and other familiar performances 一门三进士 and 赵氏孤儿. It was also my first time to visit the artistes when they were having their performance at Toa Payoh 修德善堂. I got to know 钟喜坤, 亚达, 温赛真, 碧芳 and亚珍.

In end Jun 2008, I went to 韭菜巴城隍庙 to watch新怡梨兴潮剧团 performed 告亲夫. During the lunar 7th month in 2008, I hit a new record by watching many nights of performance by织云潮剧团. I watched织云潮剧团 performed 包公斩皇亲, 铁面巡按,桃花过渡, 三娘担火, 告亲夫, 井边会, 三哭殿, 六国封相, 狸猫换太子, 霸王别姬 and 潇湘秋雨. I was so fortunate to watch the former female and male lead of 织云潮剧团, namely 李淑真 and 珠华 back in action for that delicate excerpt井边会 at Ang Mo Kio temple.

On the last day of 织云潮剧团 performance in Singapore before they return to Malaysia for the remaining period of the year, I watched李淑真 and 良珠 performed in告亲夫. I also requested for a photo shoot with 李淑真. I developed many photos and produced VCDs of 织云潮剧团 in action and passed them to钟喜坤, 亚达, 温赛真 and亚珍.

Somehow, due to some reasons, the manpower strength of 织云潮剧团 dropped in 2009 when they were in Singapore to perform during the lunar 7th month. 碧芳 emerged as female lead and my Thai friends亚达 and 温赛真 did not come along. Other than the repeat titles like 告亲夫, 织云潮剧团 also put up 借剑 and 齐王求将.

As for 老赛桃源潮剧团, it continues to replay罗衫记 and called it 状元认母, 烈女斩夫 and搜书院. 新新荣和潮剧团 is no exception too, it put up洛神 from Yishun to Ang Mo Kio, and continued to showcase洗马桥. I understand from one actress that they have a new show called 金鸡玉兔 but I have yet to watch this show.

In general, the trend is worrying and I predict that more and more local troupes will fold up soon. May be none will survive when I pen the blog for the final year of the next 10 years of watching local Teochew Opera troupes from 2010 to 2019.

Growing Up With Teochew Opera - 17
Watching Performances by Teochew Opera Troupes from China
观看广东潮剧院一二三团，潮州市潮剧团，云霄潮剧团的演出

最近抽出时间观看2009年香港无线电视连续剧‘巾国袅雄’，觉得是一部非常好看的制作。很喜欢邓萃雯饰演的四奶奶，更喜欢黎耀祥饰演的柴九，并非常欣赏柴九经常说的话：'人生有几个十年，活就要活得痛快'。前三页博客叙述陈楚蕙三个十年的演出，她珍惜时间不停的演出演个痛快，观众珍惜机会欣赏演出看个痛快。

由于陈楚蕙的演出逐渐减少，我也在2000至2009年期间开始接触中国潮剧团的演出。首先是买旧电影的光碟如‘告亲夫’，‘陈三五娘’，‘闹开封’等。过后才买广东潮剧院一团和潮州市潮剧团的光碟如‘宝莲灯’，‘御园辨亲’，‘血溅三宝袍’等。我也开始接受男小生的演出，并到剧院观看演出。过后还认识不少演员，2008年老远跑到汕头观看演出。在这十年里，我观看比较多来自中国的潮剧团演出，也看得痛快。

With fewer performances by 陈楚蕙 and other Teochew Opera troupes from Hong Kong, I switched to watching performance by local Teochew Opera troupes. During a Lunar Year shopping in 2006, I was attracted by a VCD packing displayed at a VCD shop. I checked the story brief and was impressed with two new plots which I had not seen before. The two titles are 血溅三宝袍 and 苏后复国 by 广东潮剧院一团. I decided to give it a try as I hardly watch any peformances by China troupes after 姚璇秋 had scaled downed her appearance as key female lead.

To my surprise, the two titles were great and I began to accept male artistes palying the male lead role. So names like 林初发 and 黄映伟 were added to my favoruite artistes list. I was also excited to get to see 林燕云 pefrformace as she is a strong male lead artiste too. I also got to know the existence of 刘小丽 and 张怡凰.

Then, more good news came. 广东潮剧院一团 came to perform in Singapore in Jul 2006. I went to watch a few pefromances inclduing 苏后复国, 汉文皇后 and 白高粱. I also grabbed hold of the golden opportunity to visit the backstage. It was another breakthrough for me because it was not my usual me. In the past, I would watch the peformance and then leave the theatre. Some how, I picked up courage to go to the backstage and did a self introduction to the artistes I like and took photos with them. This headstart brought me closer to the artistes since then.

Barely 3 months later, 广东潮剧院三团 came to Singapore to perform. Other than 姚璇秋, I did not know the other artistes. I decided to go and watch their performances and picked 闹花灯 and 薛刚反唐. Them at the backstage, I got to see 姚璇秋 in person. I also got to know 李勇强,许碧霞, 张楚武 and 许佳婉. We became freinds and are still in contact.

As for 广东潮剧院二团, they came to Singapore in Dec 2000 but as I was not keen to watch opera troupes from China then,. I gave it a miss although I saw the advertisement. Later, I much regretted for not watching their performance after I watched 洗马桥 on VCD。

In 2008, 中国福建省云霄潮剧 came to Singapore to perform at 韭菜芭 for 15days from 14 to 28 Jun. I fell in love with their performances and got to know a few more friends like 汤艺勇 and汤挺峰. Then came 潮州市潮剧团 in Jul 2008. They performed at Kretat Ayer Theatre from 11 to 16 Jul 2008. I watched 折子戏 including 沈园绝唱, and long performances 哑女告状 and 天之娇女. I also got to know 许佳娜, 李玉兰, 奕培 and 蔡小玲.

Later, in Nov 2008, I visited 云霄潮剧团 and 潮州市潮剧团 in China at 谷饶 when I was watching the various troupes perfoming at the 3rd 潮剧节. I also had the opportunity to watch 广东潮剧院二团, 潮阳潮剧团 and many other troupes performed at the same place. Over at the city area, I got tickets to watch 广东潮剧院一团 performed 东吴郡主 at 慧如剧场.

I also managed to talk to 王锐光 in person and had a photo shoot when I watched the rehearsal for the opening ceremony of Teochew Opera Festival at the 汕头体育馆 on 8 Nov 2008. With the help of my friend from Hong Kong, I had a chance to 广东潮剧院二团 performed 石榴花 at 艺都剧院 on 9 Nov 2008. That was the first time I watched 王锐光 performed on stage. Guess who was seated behind me? I was delighted to see 姚璇秋. It was a very memorable and fruitful trip indeed.


Then in 2009, 云霄潮剧团 came to perform in Singapore from 8 - 27 Oct. I met up with my friends and went to watch some of their performances at 凤山宫 Defu Lane 12.

Growing Up With Teochew Opera - 16

Heavenly King Continues To Perform For Another Decade

另一个十年 - 陈楚蕙马不停蹄的来新加坡，泰国和马来西亚登台演出

From 2000 to 2009, 陈楚蕙 stagged fewer performances. This could be attributed to the limited pool of die hard fans and her age. From 2000 to 2007, she still performed the long shows, I mean a complete show lasting about three hours where she played male lead. In 2008 and 2009, she only acted in 折子戏 and the performance lasted not more than 4 days. See the list below.

2000年与「中国诏安潮剧团」联合，赴新加坡演出

2002年与「中国诏安潮剧团」联合，赴泰国演出

2004年与「中国云霄潮剧团」联合，赴新加坡演出

2007年与「中国诏安潮剧团」联合，赴马来西亚新山演出

2008年与沈惠贞，林玉和余丽莉在新加坡演出陈楚蕙潮剧艺术演唱会

2009年与沈惠贞，林玉和余丽莉在新加坡演出陈楚蕙潮剧艺术演唱会

Below is a pciture of the extracted from the magazine featuring her performance in Singapore.

In 2002, 陈楚蕙 performed in Thailand. She paired up with 林玉 and put great shows like 告亲夫,背夫 and 扫窗会.In 2004, she took part in a fund raising project and sang two segments of the play from 四郎探母 and 春香传.

In Nov 2004, 陈楚蕙 returned to Singapore to perform two weeks. We did not have much time and only managed to watch one performance comprising 折子戏 inlcuding 碧玉簪. On that particular day, we were quite unhappy with the organizer. They changed the 折子戏 just before the commencement of the show.

Actually, we wanted to watch 背夫 of 严兰贞 and 别窑 of 红鬃烈马. These are two special 折子戏 that we wanted to watch. 陈楚蕙 actually performed 严兰贞 in Thailand in 2002 but she never did so in Singapore until 2008.

I like the original soundtrack of this very much and I can even sing several segments of 严兰贞. That year, I told myself that the 折子戏'背夫' should be good enough but to my disappointment, nothing at all. The programme was changed without any notification in advance. 严兰贞 married her husband 曾荣 but did not know that her grandfather and father had actually killed his parents and many other officials.

There was once the Television Corporation of Singapore screened a 40-minute 白字戏 entitled 放走曾荣 on TV Central. I was extremely thrilled to discover that programme while reading the newspapers that Saturday morning. I told my mum about the good news and we watched that show that afternoon. The whole show centred on how 严兰贞 saved her husband 曾荣 from her parents. Strangely, there was very little singing. The dressing and make ups were very different from Hong Kong or local Teochew Street opera. But, it was my first time watching 白字戏. My late dad did tell me about 白字戏 but I could not understand what he was trying to tell me until I experience it myself.

For that year, we only watched one show. Other than our busy schedule, another key reason was because other than陈楚蕙, we were not familiar with the troupe that paired off with her.

In 2005, I managed to buy an old film production by 陈楚蕙 called 扫窗会. My family and I viewed the film together and commented that 陈楚蕙 was quite green in her acting skills when the film was produced. This was one of her earliest movie productions.

陈楚蕙 stagged a 10-day performance in Johore, West Malaysia in Apr 2007. I took leave to cross the causeway to watch 一门三进士 and 宋弘拒婚.

Later, she came to Singapore. With QL's assistance, my wife and I managed to meet up with her at Hotel Royal.

Then, 陈楚蕙 returned to Singapore to pefrom in 2008 and 2009. She paied up 林玉,沈惠贞,陈国来 andmany others in different segments of 折子戏 including 梦魂,碧玉簪,别窑,五子挂帅 and 一门三进士.

Growing Up With Teochew Opera - 15

Yearly Appearance By Tan Chor Hwee From 1990 To 1999

观众反映热烈，陈楚蕙年年 （1990至1999年）在海外演出

陈楚蕙在1980年复出演出，但是刚开始只在泰国演出。原因之一是因为泰国有众多粉丝，具有票房保证的说服力。直到1987年重临狮城演出后，陈楚蕙方知其他地区的戏迷对她还是非常支持，过后在1990年至1999年这段期间，陈楚蕙每年都出国演出。

陈楚蕙艺术年表 - 1990 - 1999年

1990 年率领「港泰潮剧团」，赴新加坡演出

1991 年成立「香港楚蕙潮剧团」，赴新加坡演出

1992 年联合国内剧团，整理剧本，排练节目以及联络演出工作

1993 年与「中国揭阳潮剧团」联合赴新加坡演出

1994 前往广东普宁，和普宁潮剧团签下合作合约并筹备演出事宜

1995 年与「中国普宁潮剧团」联合，赴新加坡演出，率「楚蕙剧团」赴美国演出

1996 年与「福建诏安潮剧团」联合，赴泰国演出

1997 年与「福建诏安潮剧团」联合，赴新加坡演出

1998 年在国内整理剧本，排练节目

1999 年应汕头市人民政府及潮剧节筹委会邀请，参加十月「九九国际潮剧节」，与广东潮剧院二团郑健英合作演出折子戏《薛平贵回窑》

From 1990 to year 1999, 陈楚蕙 paired up with different Teochew Opera troupes from China and made several performances at Kreta Ayer Theatre and once at Palace Cinema in 1990. I recalled the box office for that year in Palace Cinema was bad because of the location. Nonetheless, 陈楚蕙 put up some of my favourite performances inlcuding 烽火孤雏 （双枪陆文龙）and 刘璋下山. That was the year 方汉桩 came to perform in Singapore and I liked her 吕后 in 刘璋下山 very much.

Some of the performances put up during this period included 五子挂帅，岳王剑，双刺史，霹雳珠，珍珠旗，孟丽君, 龙凤双夺师, 雾锁开封, 情挑状元郎 and 父子三登科. My family and I watched quite a number of her performances during these period.

Somehow, we feel that 陈楚蕙 put up better performances with co-artistes from Hong Kong or Thailand. We were eagerly waiting for her to pair up with 陈碧霞 like what she did in 1987. She also put up many memorable performance when she paired up with 谢子兰.

Normally, after 陈楚蕙 performance, the local Teochew street opera troupes would select some of the titles and perform them during the lunar seventh month festival. Just to name a few, 五子挂帅 by 新荣和兴, 一门三进士 and 三娶相国女 by 织云潮剧团. 陈楚蕙 performed 三娶相国女 twice in Singapore with different titles. It was known as 三娶相国女 when the plot was first staged in Singapore. It was subsequently renamed as 情挑状元郎.