A Chinese Opera Blog

2012-01-22T08:08:00.005+08:00

潮剧精美图片

好久没在此写篇章了。

最近在潮音如水看到笛子先生贴了多张潮剧百戏图，好开心哦！为何以前的图片拍得那么好看呢？

也在潮音如水网里下载多张彩色和黑白照片，特别喜欢‘荔镜记’和‘陈三五娘’系列。

希望大家也会喜欢这些美丽的图片。

祝大家龙年行好运。

2011-10-01T21:47:00.014+08:00

中国广东潮剧院三团 新加坡葱茅园凤山宫 2011年九月初四 30 - 9 -2011 李世民登基 喜欢看以唐代历史演出的剧目。

早期看过香港无线电视连续剧‘决战玄武门’，故事就是以李世民为主要人物，由当时非常红的已故女演员翁美玲和苗侨伟主演。这次看中国广东潮剧院三团的‘李世民登基’，也是有我喜欢的故事人物罗成和李世民。虽然抽不出时间看上集的‘罗成挂帅’，好友勇强说由他演出的罗成这个角色，在下集的‘李世民登基’比较有看头。

今晚没演折子戏，可见需要两个多小时才能演完下集。

一开场就看到好友勇强出场，交战的场面处理的很好，在第四场为国捐躯时更是频频使出一只马的动作，观众也很踊跃的鼓掌。勇强虽然满脸汗水，但他应该为自己的演出感到欣慰。他边打边唱也不忘台词，不像有好几个演员时常忘记台词。勇强向我提起他去年晋升三级演员，可见他的努力是获得肯定。

2011-09-27T10:18:00.013+08:00

中国广东潮剧院三团 新加坡葱茅园凤山宫 25 - 9 - 2011 吕后篡权

喜欢看宫廷戏，当然喜欢看‘吕后篡权’和‘王莽篡位’这类戏。

记得看香港新天彩潮剧团的‘刘璋下山’是，前面几分中的画面就把‘吕后篡权’这几个小时的戏带过，虽然电影版本和三团的有所不一样，三团的几场戏也有看头。八十年代新加坡有一个新成立的潮剧班叫鸵江潮剧团，第一炮新戏就是‘绿牡丹’和‘锦绣山河’，而‘锦绣山河’就是刘璋下山，当时的潮剧演出从傍晚7点半演到午夜12点，鸵江潮剧团的‘锦绣山河’就把三团的上下集演完。

小生李妙娟饰演的刘盈就比电影版本的懂事，但不知那个团体比较和历史接近。许碧霞饰演的吕后，够狠够凶，不过若把妆化的老成一点，效果会更好。

小生刘志伟饰演的刘肥，李勇强饰演的陆贾和张楚武饰演的周勃，都演得不错。难得看到好友勇强和楚武一起演出，好开心。

2011-09-20T07:48:00.008+08:00

中国广东潮剧院三团 新加坡茐茅园凤山宫 2011年农历八月二十二 19 - 9 - 2011 王莽篡位

好久没更新博文了。

很开心看到中国广东潮剧院三团再一次来到狮城演出。他们上回在2006年来这里演出，过后我也在2008年的潮剧节在谷饶和他们相遇。但是碰巧这段时间也是我家老二准备小六会考的非常时刻，所以只能看数场演出。这个演出地点也有一点偏僻，不靠近地铁，若不驾车去，搭巴士也需要至少40分钟。驾车去也担心没有位泊车。

几个要好的演员在抵达新加坡之后频频拨电话与我联络，我因为工作和家庭忙碌，只能在9月18抽空去看他们演出‘五福连’。好友李勇强当天演出吕蒙正。

9月19日前往观赏中国广东潮剧院三团演出‘王莽篡位’。我看过无数次的‘吴汉杀妻’，就是没机会看这部戏里的王莽如何篡位。哈哈，所以特别选择这一出戏而舍弃好友饰演刘秀的‘刘秀复国’。我再潮剧节时已经看过‘刘秀复国’的精彩演出。

驾车来到德福巷才傍晚7点，怎么那么热闹呢！绕了两圈并花了九牛二虎之力才把车泊好，直奔演员休息室，先看到勇强和徐佳婉，后看到楚武和其他演员，和他们聊到将近8点才去看戏。一到观众，听到有人呼唤我的名字。经过他一介绍才知道原来是面簿朋友，哈哈这世界真细小。同时也看到其它面簿朋友以及本地几个潮剧班的演员们。

原来先演出折子戏‘梅亭雪’然后才掀开戏幕杀出‘王莽篡位’。戏虽好看，不过有好几个演员频频吃螺丝忘记台词，真要命。可能是他们许久没演过这部戏，希望他们继续努力，把最好看的一面呈现给新加坡的朋友。

演戏演到接近十点，突然中断演出‘八仙贺寿’，这是为了配合庙宇的安排。等了许久还没恢复演出，我选择舍戏回家。

2011-06-20T20:38:00.005+08:00

泰国赛荣丰剧团
槟城美湖
16 - 6 - 2011 农历5月15
Penang Round Island Tour
狸猫换太子 : 陈专花，何丽珠主演

Today is my third day in Penang. As we slept closed to 2 am in the morning, we woke up around 9 am. Ling Goh's dad had already prepared the morning coffee for us. We were very appreciative of his kindness. He spoke very little but we knew he is definitely a great host. Ling Goh's mum shared a lot about her puppet show and how Ling Goh set up this Teochew Opera troupe (Kim Gek Lau Choon Teo Kiat Tuan) more than 2 years ago.
We set off for breakfast and headed for an interesting tour and sight seeing including visiting different types of museums and temples. The nice Teochew chendol, deep fried kueh, Penang laksa and hokkien mee plus tao sar piah, beh teh soh and coffee powder. Then we went to buy durians.

In the evening Han Ming picked us up to the new site where Kim Gek Lao Choon Teo Kiat Tuan was performing and we ate Penang Char Kway Teow at one of the raodside stalls near the opera stage, a scene which was absent in Singapore today. About 8.20 pm, we headed to Penang Island to watch the Teochew Opera troupe from Thailand.
来到槟城第三天，终于有机会到处游玩。慧玲的双亲今天不用忙木偶戏的演出，陪同我们夫妇俩到处游玩观光，品尝美食。慧玲的弟弟亚达和女友也在半途加入，然后一起共用午餐。餐后吃甜品，买马蹄酥，豆沙饼和榴莲。傍晚首次和汉明见面，然后到金玉楼春潮剧团的新演出地点探班并品尝街边美食炒粿条。大约8点20分，启程到槟城美湖观赏泰国赛荣丰潮剧团的演出。
槟城美湖属于一个较远和偏僻的养猪农村，到了晚上9点多，车一开近演出地点就听到熟悉的潮曲，兴奋不已。一下车才知道原来泰国赛荣丰剧团演出‘狸猫换太子’，这是我本人非常喜欢的一部潮剧戏宝。
虽然养猪厂的香味特农，也顾不了那么多了，走到台前欣赏好戏。那时，正演到包公会李后那一段，岂能错过，马上把相机调好，拍下精彩的演出片段，那场包公会李后唱了将近20分钟。饰演李后的何丽珠唱功十足，表现的非常好，让我们听出耳油。据网友说饰演包公的演员海不到30岁，他够高大，不过我个人认为他的演技不错不过音质有待改进，因为他的声音偏低。
一看小生王陈专花出场，非常开心，真的是百闻不如一见。专花果真有大将之风，一出场就让我们留下非常好的印象，她的唱功也是一流，眼神可以电人，哈哈哈哈。真不亏千里迢迢来到槟城这里，能够看到马来西亚金玉楼春潮剧团和泰国赛荣丰剧团的精湛演出。倘若不认识慧玲和汉民，哪有机会观赏到好戏呢！。
慧玲过后带我们到后台探班，先和何丽珠拍照，然后看到陈专花进场换衣服，马上和她合拍照片，她的脸上虽然有许多汗水，她还是很乐意的和我们拍照以及寒暄几句。拍到工作人员喊丽珠和专花出场，一皇一后便拔腿出场，害我们觉得有一点不好意思。接近午夜12点，泰国赛荣丰剧团才把‘狸猫换太子’演完，我们便驾车去吃夜宵，然后和慧玲谈到接近凌晨3点才睡觉。

2011-06-18T10:38:00.001+08:00

马来西亚金玉楼春潮剧团
15 Jun 2011 农历5月14
经典潮剧‘秦香莲’
吴慧玲饰演秦香莲
谢佩妤饰演陈世美
秀端饰演春妹
齐姬饰演冬哥
杜亚福饰演包公

向慧玲提起演出的事，问她要安排什么剧目让我们欣赏她的演出，不然就枉费之行，哈哈哈。慧玲爽快的说会演‘秦香莲’。这是一部经典戏宝，我看织云潮剧团演出这部戏无数次，泰国演员亚达饰演包公，而花旦呢却年年由不同的演员演出。去年和太太也看过中国广东潮剧院二团在新加坡演出‘秦香莲’，由王锐光，邱秀茹和何平发演出。

这次真的要做一个比较，看整体上那一个剧团演的比较可圈可点。当然这只是由我个人的看戏经验做一个评论，若有什么得罪的地方要请见谅。
一开场在秦香莲携带子女赴京寻夫时就安排下雪的场景，还真佩服导演的精心策划安排。慧玲饰演的秦香莲从开场到落幕，场场演出逼真，用心，并在好几场动用了真情，泪水不停的流出。说她的眼神会演戏一点都不夸张，她在边弹琵琶边伤心时，是用眼睛在演戏。我和妻子都异口同声的说慧玲演的实在棒，水平比秀茹还要高。

金玉楼春潮剧团这一次安排一线小生秀端和花旦齐姬分别饰演春妹和冬哥，可说是一个大突破。二团和织云潮剧团都安排一些闲角演出秦香莲这对儿女，须知牡丹也需要绿叶配才能够脱颖而出。非常佩服金玉楼春潮剧团这样的安排，把三个会演戏的人安排在一起，不知为什么其它潮剧团没有想过这样的安排呢！

陈世美这个角色必须要凶和狠，我们觉得谢佩妤就做到这一点，锐光上回在新加坡的演出就还没达到这样的水平。

饰演韩琦的演员就比二团的高树洪来的逊色。在上回的演出，虽然高树洪接不到耍起的刀，整体来说他演的比较逼真。

最后要谈的是包公，个人觉得泰国演员亚达演的最好。
整体来说，金玉楼春潮剧团可说是把这部‘秦香莲’演的达到一个高水平了。怪不得在另一演出地点的理事在农历5月15时要专点这部秦香莲,据说下幕时好多观众都依依不舍，这不证明了才成立两年多的金玉楼春潮剧团的成功吗？希望有机会看到马来西亚金玉楼春潮剧团在新加坡演出，把好戏呈现给大家！

2011-06-17T21:05:00.007+08:00

马来西亚金玉楼春潮剧团
六国封相，楚宫风云
14 Jun 2011 农历5月13

6月14下午4点半抵达马来西亚槟城国际机场，慧玲已经在机场等候我们。这是我第二次来到槟城，除了旅行之外，主要是专程想目睹金玉楼春潮剧团的演出，当然也不能错过看慧玲的演出。

由于当天慧玲需要班忙她母亲的木偶戏演出，只能先把我们带到她家里把行李放下，然后载我们到华都村该团演出的地点。一下车就看到一名演员向我打招呼，起初我不敢确认是不是君曦，过后才确定正是他也。慧玲介绍她的兄长，历山，给我们认识以及陪我们共进晚餐。历山挺健谈的，用餐过后，我们到处走走并买一些日用品。

在演出‘楚宫风云’之前先来一段‘六国封相’和‘仙姬送子’。金玉楼春潮剧团的‘六国封相’颇有看头，两位美女佩妤和苏静盛装演出就已经和别的的潮剧班有所不同。

一线小生秀端和花旦齐姬，还有佩妤，苏静，君曦等联手演出的‘楚宫风云’是由该团把上下两集合成一，虽然我已经看过其它潮剧团演出过着一部戏，这是我第一次看金玉楼春潮剧团的演出。很开心在现场看到君熙演出，还看不出他是半路出家的呢！

午夜过后，历山和我们一起吃宵夜，然后回家。

2011-04-25T07:25:00.004+08:00

中国广东省揭阳市潮剧团新加坡韮菜芭城隍庙 22/23 - 4 - 2011 牡丹台上下集
四月二十二和二十三晚是中国广东省揭阳市潮剧团在新加坡韮菜芭城隍庙最后两天的演出，该团会以 ‘牡丹台’上下集来做最后的冲刺。

一到现场就看到好多熟悉的演员和团员，先碰到林宋荣，然后是蔡龙彬，林帆，孙伟忠等。和林帆聊了几句，他说二十三晚没有他的戏，明晚他演包公。过后也到后台去找伟彬并和其他团员打个招呼。
看到今晚的卡士，就知道多数是二线演员，因该没什么看头吧！认识的有林淑妆，孙伟忠，陈练群，陈燕如和林宋荣。觉得剧情非常单薄，故事围绕着陈练群饰演的贺老爷为了建立牡丹台，大女婿（孙伟忠饰演）通过许多不合法的手段找银两。女婿徐怀龙（林淑妆饰演）到贺家投亲被贺老爷百般凌辱，想强迫他退婚。后经管家和二女儿配合才保住婚约，贺夫人疼爱女婿，要求老爷让怀龙留下来帮忙处理牡丹台的一些事物。怎知后来贺老爷反悔，想对女婿赶尽杀绝，二女儿为了让父亲放弃追赶，焚烧牡丹台。上集以建台，投亲，毁约和焚台这几段戏演到晚上十点二十分就结束，觉得太早结束，不知名明天会不会更早结束呢！
最后一晚的演员大多数变动，徐怀龙是由李静红饰演，二小姐是由洪丽卿饰演，贺老爷和贺夫人也换了，还加了一位由林帆饰演的包拯。

整体来说下集比上集精彩，首场是紧接上集怀龙奔走被岳父追杀，然后是缢女，哭妻，招婿和完婚，以大团圆大结局结束了17天的演出。今晚最欣赏的演员是林帆，他的声音洪亮，非常有潜质。

2011-04-18T20:02:00.006+08:00

中国广东省揭阳市潮剧团新加坡韮菜芭城隍庙 17 - 4 - 2011 铁面县令

下午赶到韮菜芭城隍庙观看揭阳市潮剧团演出‘六国封相’和‘京城会’。今天下午的‘京城会’是由林宋荣和林春凤联手演出的。过后带伟彬到新开张的Nex购物中心逛逛，并品尝鼎泰丰的排骨面。伟彬也带我到宿舍品尝他的功夫茶。

晚上的剧目是‘铁面县令’，一看到饰演袁彪的孙伟忠出场，就知道原来是非常熟悉的一部戏。那就是陈楚蕙和曾珊凤演出的‘金殿辩本’。新加坡的老赛桃源潮剧团也曾经演过这部戏，在不同的演出场所分别以‘湖阳公主’和‘铁面县令’演出这部戏。

前面两个小时的演出有一点沉闷，最后45分钟高潮连连，看得大家频频以热烈的掌声回报演员们精湛的演出。

汉光武年间，潮阳公主贴身侍卫袁彪倚仗权势，调戏民妇，连杀三命。洛阳令董宣微服私访，洞察案情，愤然亲上湖阳宫缉拿凶犯。潮阳公主骄横跋扈，非但不交出袁彪，反将董宣羞辱。面对冤魂呼号，民怨沸腾，董宣忍无可忍，含泪托孤别妻，决意抛家舍命，为民伸冤，遂乘公主上朝之机，带兵拦路，怒斩袁彪。公主闹上金銮，董宣慷慨陈词，撞案明志。光武帝刘秀欲赦董宣而碍于公主情面，命其向公主叩头谢罪，董宣死不肯叩头。刘秀感董宣刚直不阿，执法如山，封其为强项令，并赐上方宝剑以正朝纲。

演员表

董宣 - 林柔佳

湖阳公主 - 洪丽卿

袁彪 - 孙伟忠

韩生 - 静红

刘秀 - 许淑娥

2011-04-16T14:38:00.005+08:00

中国广东省揭阳市潮剧团新加坡韮菜芭城隍庙 15 - 4 - 2011 双孝廉

今晚再次前往韮菜芭城隍庙观赏揭阳市潮剧团演出的‘双孝廉’。

好一个姑母做媒把沈雪松的儿媳妇变成自己的老婆，这样乱伦实在非常那个。儿子沈志孝悲痛万分，家父后来拜会岳母，才知道原来岳母是他青梅竹马的爱人，这编剧好绝，弄出这样的剧情。

他们两人于是想出一个苦肉计，让儿子媳妇双双离开家乡。哪知这样巧妙的安排被奸人发现，告发沈雪松，让他背上罪名。后来儿子高中，接手审这案情，姑母细数冤情后方知父亲的苦衷。。。。。。。。。。。。

洪丽卿，陈练群，林春凤，吴建明，林帆，林宋荣主演

2011-04-12T07:30:00.005+08:00

中国广东省揭阳市潮剧团新加坡韮菜芭城隍庙 11/12 - 4 - 2011 四郎探母（上下集）

星期一晚上四次前往韮菜芭城隍庙观赏中国广东省揭阳市潮剧团的‘四郎探母’。原以为上集会演出七子救驾那几幕大战金沙滩的双龙会，怎知故事是战败15年后，杨六郎再一次于萧太后的兵将交战。中场开始就是陈楚蕙版本的‘杨四郎’，一直演到杨延辉与杨四娘相遇后随从四娘回宋兵营探母。

演出中间发生一件奇事。就当杨四娘使出迷魂绳锁住木龙时，舞台上喷出浓烟，当木龙被捆绑时，一声巨大的炮炸声响起来，初时还以为是音响效果，后来才知道原来是观众席上面的大灯爆炸，高热度的玻璃碎片降落时，应该是烫伤了一些观众，庙宇的几个负责人刚忙前往处理这件事。

四郎探母（上下集）　　北宋年间，辽邦萧天佐，萧天佑起兵进犯中原，三关被困。六郎杨延昭命焦、孟二将回朝讨救兵。鉴于朝无良将，天波府佘太郡亲自挂帅，带领杨门众将赴边关解危。　

身在辽邦被招为驸马的四朗杨延辉，知母亲挂帅赴边，悲喜交集。公主琼娥发觉驸马神态有异，追问之下，四郎无奈将隐情实告。琼娥深明大义，准四郎出关探母并会前妻。　　四娘耿金花与四郎一另十五载，杳无音讯，关前相见，又爱又恨。

太郡闻报大恼，怒斥逆子，下令处斩。众将求情讨保，太郡始谅四郎，准其携公主过营密议两邦和解之策。　　萧后闻知驸马、公主罢兵出关议和，怒火万丈，将四将父子押到雁门关城楼，逼佘太郡放回琼娥，不然要将四郎父子斩首。　　太郡将计就计，也以斩琼娥相胁。萧后进退维谷，在太郡及琼娥劝说下，茅塞顿开，两邦和解。

演员表（上集）

杨四娘 - 洪丽卿

杨延辉 - 王夏佳

杨延昭 - 陈练群

佘太君 - 陈小红

孟良 - 袁美通

焦赞 - 陈金华

木龙 - 黄洁妆

木虎 - 杨川娜

杨七娘 - 陈燕如

杨排风 - 陈小冰

杨八姐 - 林春凤

2011-04-11T07:02:00.007+08:00

中国广东省揭阳市潮剧团 新加坡韮菜芭城隍庙 10 - 4 - 2011 打金枝（郭子仪拜寿）

看过莊雪娟和方巧玉的潮剧电影‘郭子仪拜寿’，觉得方巧玉演得够泼辣，十足刁蛮公主。今晚看揭阳市潮剧团演出的‘打金枝’，最突出的演员是饰演驸马的许淑娥，她演来生动，把数场戏推向高潮。

离子仪夫妻七十双寿诞，七子八婿为爹娘庆寿。六媳李君蕊自恃乃当今公主，不来拜寿。六子郭暖回宫斥妻，怒打公主一巴掌。公主大恼而告唐皇，激起了唐宫、郭府层层波澜。唐皇贤明，为教训女儿，与皇后默契，假意要斩驸马，令公主惊恐万状，后悔莫及。郭子仪闻报惶恐，绑子上殿请罪。唐五为抚慰良臣，非但不降罪郭暖，反为其加冠三级，把个郭子仪感动得涕泪双垂。父教有方，小夫妻重归于好，携手同往汾阳府拜寿赔礼，合府欢腾。

2011-04-10T08:55:00.006+08:00

魂断马嵬坡 中国广东省揭阳市潮剧团 9 - 4 - 2011 农历三月初七

新加坡早期的职业潮剧班演员众多，常常演出大型宫廷戏，看得观众如痴如醉，这部‘魂断马嵬坡’也常被多个潮剧班安排演出。新加坡的织云潮剧团就曾经以杨贵妃的故事上演一部上下两集的‘唐宫秘史’，非常好看。

星期六晚上抵达韮菜芭城隍庙观赏揭阳市潮剧团演出‘魂断马嵬坡’。今晚吴建明挑大梁扮演唐玄宗，演得非常好。饰演杨贵妃的林春凤也演得很好。

记得2006年中国广东潮剧院三团来新加坡演出时也以同样的唐代故事演出上下集的‘安禄山犯长安’和‘梦圆锦香亭’。当初就觉得那‘梦圆锦香亭’是多余的，故事拖拖拉拉，很沉闷，还好揭阳市潮剧团没有这样的安排。

唐明皇宠幸杨贵妃，宠信安禄山，郭子仪力谏唐明皇。安禄山、杨贵妃、杨国忠串通陷害子仪，致子仪被逐出京，赴边守塞。数年之后，安禄山起兵造反；陷潼关，逼长安。唐明皇后悔莫及，求李白赴边请子仪出兵平叛。李白金殿装醉，把唐明皇奚落得无地自容。唐明皇离京幸蜀，途经马嵬坡，龙武军兵变，斩国忠，逼绞贵妃。可怜一代佳人，魂断马嵬坡。危急关头，郭子仪挥师勤王，大败叛军．鞭打安禄山，保住大唐江山。

演员表

唐玄宗——吴建明

杨贵妃——林春凤

郭子仪——林帆　　

安禄山——林远足

李　白——孙伟忠　　

杨国忠——袁美通

陈玄礼——余少芳

2011-04-09T08:36:00.010+08:00

龙井渡头 中国广东省揭阳市潮剧团 新加坡韮菜芭城隍庙 8 - 4 - 2011

很喜欢看‘龙井渡头’这部戏，剧情简单但演员的功力会带动整部戏，又滑稽又温馨，看得大家捧腹大笑。老版的‘龙井渡头’就是这么好看，有水准。

依稀记得10多20年前看过本地一个职业潮剧班演过‘龙井渡头’，水准也很不错，看得大家乐开怀。

4月8日晚上前往韮菜芭城隍庙观赏这部期待已久的‘龙井渡头’。开场之前，友人带我到演员休息室和饰演老丑的吴建明聊天，他说今晚每个演员都是丑角。那时候已经看到饰演美娘的洪丽卿和饰演媒婆的几位演员已经化好妆了。整部戏没有冷场，非常好看，没得顶！

穷书生林绍春闱赴试。其妻美娘，不但未筹银子以作盘缠，反而逼写离书，开怀而去。美娘回至娘家，其母贪财，四方托媒，为女择婿。三媒姨登场，花言巧语，丑态百出。于是“爱婿”相亲，老小皆宜，去留难定。一出喜剧，令人捧腹。正当母女沉醉在“老夫惜稚妻”的幸福之中，一声喜锣：林绍得中回乡。龙井渡头，母女求饶，发誓“重新做人”，怎奈林绍一面“照妖镜”让母女又露原形。

演员表

林绍——林淑妆　　美娘——洪丽卿　　时春舍—吴建明　　　

《龙井渡头》唱词绍：夏去秋来叶别枝，秋闱催迫添愁意，省试之期在眉睫，川资欠缺何计施。小生林绍，潮阳龙井平湖人氏，书香门第，家境清寒，妻室不贤，不明我志，真是无法。不觉秋试在即，耀祖慰家在此一举，无奈川资尚缺，人情冷暖，等借无门，只得写些书画出卖，以蓄川资。

美唱：穷生日夜沉醉成书痴，三餐难度还望赴科期；穷儒妄作富贵梦，乞丐痴想登帝基，彩凤随鸦非我愿，琵琶别抱早有意。莫奈冤家无错过，真教美娘无计施。早日借端寻离拆，另选豪富配夫妻，许时二，三餐山珍共海味，出入奴婢随身边，身穿丝绸共绫锻，珍珠宝贝亲冰肌。

（绍欲上京赴试，因无盘缠，向美娘要首饰当盘缠，美娘不肯。）

绍唱：请美娘深思量，结发夫妻相辅助，筹资赠我鹏程志。你可知，秀才一生望科举，若不赴试枉费苦读满腹书诗。

美：我的金钗只一枝，我的翠钿插鬓边，我的“后尾”还无鸳鸯夹，我的碰头还无金蝴蝶，你却拿我首饰实在枉费心机。

绍：首饰既是不甘，还有金环玉镯……

美：（唱）你真心痴呵！金玉件件都是我带来，欲买欲卖由我自主裁，你欲金锦，侯待铁树花开！

士甲：嫂嫂呀！你夫怀才将赴试，筹赠川资理正宜，去时草鞋共雨伞，来时白马挂金鞍，马前大锣三四对，加冠进禄企旗杆，为闾里父老谋福，为夫妻荣贵腾欢。美：我不识“桃”，亦不懂“李”。

（秀士甲乙劝美娘借出首饰，美娘不听。秀士甲乙愿一起资助林绍。）

士乙：我等昔属知交，今日事不宜迟，怎可坐视。

美：他去不得，去不得！（唱）你等带走我夫郎，家用日食谁承当。有资相赠鹏程志，也欲银两安家门。

绍：是！（唱）承蒙世兄相扶持，铭感不忘深情谊。士）同窗之友应如此，速速登程莫延迟。

绍：叫一场余氏我的妻啊！为夫上省赴科期，佳音早报慰娇妻；望你持家睦邻里，晨昏冷暖须留意。

美：（唱）冤家此去影茫茫，美娘怎堪守空房。配此穷儒无了局，履挑扣白另嫁人。（唱）锁了房门赴路忙，欲与冤家拆西东。

伯：（唱）伸虎腰把木舵，练江江水泛绿波，霜雪雨露我饱受，江风明月成好友，土农工商船中过，来来往往如穿梭。有人丢铜钱，有人不讲理，我老福却也不介意。

单：相公来走！（唱）挚友相携急登程，书箱琴剑相伴行，但愿此去标金榜，不负十年在寒窗。只见那江水蓝天共一色，金凤送爽添神情，绿堤金蝉鸣翠柳，江畔玉竹已黄莺。

美：你听！（唱）秀才你勿假痴呆，妾身配你已数载，每日间糟糠之粮三餐度，厚布苎麻来剪裁。你今远行将妻弃，空误我青春一世。我莲步忙移到渡口，请君速速出主意。

绍：（唱）妻你不要乱思议，为夫上省赴科期，功名已在望，怀才谁不试。文坛扬笔鳌头独占，数月便归等望雁讯，夫若夺锦回家返，定赠妻你花聪，八宝香车随身边。（白）放心回去吧，以免被人取笑。

美：既要我回，你须写下一书。

绍：要我下笔留书？啊！倒是林某一时粗心，莫怪我妻生气，待我写来，书童，文房四宝上来。

童：我知。

绍：你听，（唱）依依惜别龙井渡，夫妻情义我记在心中，渡过龙井跃龙门，平步青云耀祖荣。

美：咀你去代人死！我欲与你夫妻割绝，鸳鸯拆分离，任你高飞奴不喜，只求写下离书字，从今后一刀两断，速速下笔莫延迟。

绍：怎说！妻呀妻，你……原来要为夫写下离书么？！

美：是！快快写来比呀！

绍：哎咋！教我体面何存比。天呀！（唱）天既生我林绍，为何全不如人，自古鸳鸯成双对，夫唱妇随共苦同甘。唯独我林绍命乖舛冤孽相凑复何吾。……叫一声余氏我的妻啊。

美：你已无妻！绍：叫声淑妇哙。美：谁是你妇！

绍：（唱）娇妻淑妇罢了，劝你暂且回家去，古道家声不外扬，万事候夫及第，回家再思量。

美：（唱）乌鸦风凰难比美，山鸡孔雀怎能一处栖。绍：你须知马坠悬崖收缰晚，船到江心补漏迟。

美：（唱）看穿你穷鬼难发迹，呆鹅有翼也难飞上天。

绍：（唱）你须知镜破钗分难再合，覆盆之水难收起。

美：（唱）任你说得天花坠，定欲与你断线绝弦。

绍：（唱）劝你还要三思想，以免异日收悔迟。

美：（唱）离书若不快写下，龙井渡头与你拼生死呀！

绍：泼妇有当无，弃之何足惜！（唱）怕的是闾里父老真相不明，说我林绍休妻心枭狠，忧的是余氏虽是不贤妇，怎奈是父母主配结发钗荆，这一休书一写难辞不义之名，真教我要离不得要合不能！

美：你怎么不写，你是欲害死我么？好！我来死呀！

士甲乙：（唱）你是海滨一鸿儒，才高八斗众望孚，昂昂立下四方志，当机立断莫踌躇。

美：快写！快写！绍：琴瑟不能共和鸣，泼妇挽留有何用，吓好！待我来——书童，上岸给我拾张纸钱来写。

童：我知。

美：纸钱写不得！绍：写得！

伯：秀才，字写大大个。写出不贤妇，休弃好丈夫。

二士：说得对，快写！

绍：待我写来——（唱）手持狼毫怒火升，贱妇无端下绝情，渡头乡亲听分明，非是我林绍弃荆室，乃是贱妇欺我清贫，只怨姻缘来错配，圆镜打破东西行，夫娶妇嫁不相管，口说无凭离书为证。来！拿去！

美：“离书付你，改嫁不得，回家团聚”。错错错，怎么这样写？！

绍：蠢妇铭记：“离书付你改嫁，不得回家团聚。”

美：如此！我就放心。

士甲乙：渡伯，开船！

伯：我知，快快上船。

美：（唱）离书到手眉头松，收拾妆奁回家中，放声媒姨亲来做，厚福郎君配美娘。

——————————————————————

美：（唱）顿开牢笼乐心窝，妆盒首饰收一袋，杀只鸡母自己食，肚饱嘴肥笑呵呵。

美：（唱）唉！把苦情告娘知，言未出口泪满腮。自从嫁到林家去，四壁萧然苦楚难涯；那穷生三寸竹管当米瓮，日夜痴读妄想登金阶；夏雨一来水淋身，冬月无被寒难耐，终日受拖磨三餐尝野菜，千怨万怨怨爹娘，错把娇儿配穷婿。

美：（唱）今逢秋闱要赴试，他欠缺路资无计施，强迫女儿拿金饰，为儿不从与他言议，他就一言不发，伸拳举足毒打你女儿，打得我遍体鳞伤。

美：（唱）他辱骂女儿还罢了，又骂双亲无家规，养女不教伤风败俗有辱门闾，为儿那有苏张舌，（白）田螺屈死一肚仔。

婆：（唱）听闻言怒火满怀气煞我老迈，骂一声林绍你这穷酸婿碌碌庸才，你不思破屋旧居难度日，你不思我家对你多厚爱，你还敢打我女儿辱我门楣，教我老身怎能忍耐。

婆：奴哙！（唱）他临行之时为女不忍别，相随相送到江力，谁料他当众恶语来辱骂，又写休书来拆离。

美：（唱）心中如乱丝，冰人未到如坐针毡，叹人生，荣华富贵人所有，谁愿贫穷守孤栖。红粉佳人应配纨绔婿，千金玉体就该披罗丝。愁肠百结难自解，步出门阶盼媒姨。

阅亲选婿

（唱）孟兰胜会闹闹猜猜，人山人海施孤来，较场埔上双阅媚，请看美娘选那个。

媒乙：时春舍来去呀！

时春：（唱）我时春阅亲较场埔来，花会连捷眉头开，钉坟倒旗猜暗卦，妙手玄通发大财。

媒乙（唱）孤栅前白米煮饭百外葫，金山银山是银糊，全猪全羊鸡鹅鸭，好戏做在较场埔。

媒甲：马少爷行起！（唱）我老财阅亲较场埔来，生意兴旺心花开。招财土地诚心敬，孟兰胜会发大财。善堂施棺一卖七百个，远远富翁寿板写九台，银纸香烛家家欲，三百六日好生涯，七月十五最闹热，夥计十多还折拍晤开，厚厚道道把生意做，坐赢无输免挂怀。

媒甲：（唱）少爷哙！你看！敬棚幢风插两畔，游神赛会都到来，僧道念经弦笛奏，跟随少爷行近前。

二人：（唱）俺母女双双较场埔来，为着阅看新夫婿，但愿佳容成佳配，改嫁富豪耀门楣。

婆：（唱）五光十色看不清，亚奴你目灵着留神。

美：（唱）风光美景无心赏，彩凤择相来栖身。

春：合意，比！（唱）见佳人容貌美红颜，娇姿态穿罗裙指翩翩。马：（唱）迷得我，

春：（唱）迷得我，

春：（唱）我心魂被摄难收返，媒姨咐，快快定亲来成全。（唱）阿舍是妙龄美容仪，配成一对好夫妻。亚妗哙，聘金六十来收起。少爷厚福有财气，乘龙佳婿合我意暖，亚奴哙，老翁稚么相怜爱，这门亲事着听亚妗来主意，聘金六十来收起。

婆美：（唱）二门亲事齐相阅，亚奴欲哩亚妗勿，亚妗爱哩亚奴勿，使我真是难主裁。

媒甲：娘仔！（唱）古有美人杨玉环，嫁给百岁唐明皇，你虽红颜娇滴滴，弦歌唱过凤和鸾。转舜已成九子母，还嫌少爷是老翁。

媒乙：唔知肋，赶人来只摆。老太，你改主意正着。娘仔，你个眼力真好，择来真不错。（唱）娘仔容貌胜西施，好似春天桃花开，阿舍文秀指王怜，香似粉蝶翩翩飞来，老太莲心独苦三思而行。为儿远虑有主裁，红花挂在绿叶上，金玉良缘天安排。媒甲：娘仔马少爷本是无意，是我费尽唇舌，他才勉强前来，若是真不合意，我等告辞了。婆：婆姨，我家名门多亲邻，交陪欲有体面，聘金白银六十双绵糖八百斤，迎娶首饰绸缎着备全，还欲猪腿洗屎肉……美：母亲，这枝金钗足足有二两重，替奴插上。

台内：（唱）行猛（快）些，来去拾孤呀！

轿夫：叔伯婶姆，站开阮过！（唱）一顶花轿，扛紧紧，娶亲专择自虎日，轿门猪肉来呀来结挂，相冲永世衰不直。媒丙：好话咀多些，白虎日，万事无忌，娶亲最宜。

轿夫：（唱）一顶花轿二人扛，无好娘仔多亚郎，不管娘仔嫁哆快，有钱好赚阮就扛。媒丙：扛轿不找轿，须恼阿娘嫁满乡。

轿夫：（唱）一顶花轿二人扛，娘仔嫁去又嫁来，嫁到鬓白还未歇，嫁到无牙免安排。媒丙：扛轿不扛轿，烦恼阿娘老人样。

轿夫：（唱）一顶花轿扛过墟，娘仔肥大重过猪，扛猪肩酸好来歇，扛人肩疼也着驴。

媒丙：（唱）扛轿着刻苦，将来食老正成祖。龙井渡夫闹猜猜，人山人海争看乜个，岂是出了人命案？不是呀，远处彩旗如龙带，定是朝迁命官来。

媒丙：（唱）穿过小巷上堤坡，扛轿亚兄着扛好，若是不慎跌下去，娘仔性命就着无。

轿夫：（唱）花轿扛回孬头彩，吉事当做凶事来安排。纵然财主有责怨，烦头死绝阮无“贷”。

媒乙：花轿缓步走呀！婆：媒姨，快快来追啊，害了啊，怎此是好。（唱）履桃拐断步难行，脚高脚矮空空颠呀，叫恁轿歇偏唔歇，抬错娘仔全唔惊。媒乙：老太哙，履桃拐断，怎么是好？

婆：拐就让它拐，还是来追，哎呀！我的脚缠散了呀！脚缠一散满街缠，缠来缠去步难移。

媒乙：速把娘仔追回返，赚回这笔脚皮钱。媒婆乙：花轿请慢走呀！媒丙：自古追轿是情哥，怎么变做亲家婆，问声你追轿欲乜事，花轿出门无停阻。

美：（唱）哎呀！听闻言心忧烦，马家花轿来迎娶，又报林绍中解元。只道秀才难富贵，谁知他高中归回还，少爷家资虽富足，风烛残年误红颜，阿妗哙，这这这，这圆镜是奴自打破，如何再续金玉缘。

婆：（唱）阿奴行猛些呀！美、婆：俺母女双双渡头来，迎接解元我夫（女）婿。

婆：一路上是行是铺结彩楣，鼓乐喧天闹呀闹猜猜。

美：母亲，是张灯结彩，与那冤家相贺。

婆：啊！是欢迎贤婿高中回来呀，哦，欢喜哉呀！阿奴，你看许头前呀，爆竹好似挂天梯，三代同堂结成穗。（唱）五锋彩旗如长龙，唢呐鼓手奏管笙，四抬大轿渡头摆，迎接我婿回家庭。奴呀！你只个夫人就稳稳当当了。女婿高第耀门庭，女儿如今是夫人，坐食俸禄享厚福，呼奴唤婢心头清。亚奴啊，你想二，出入彩舆响今，从今后，夫人要有夫人样，拜别尊卑要分明，我是你的亲生母，珍馐美味先奉承，添购奴婢随老身。还要你添仙衣，购寿板。

美：好，仙衣寿板购上顶。

伯：林秀才……呵！解元爷，这时我只般撑至半江，听说解元爷回来，被搭客勾挂着，载去了再撑转来，解元爷，恭喜，今日大登科，金榜题名，荣耀归来，老汉可喜可贺。

美：害！官人怒罪！

美：（唱）你乃贤良之士人人尊敬，为妻有错今来赔罪讨情，龙井离别于今成往来，伏望老爷莫记心胸，夫哙，望你宽宏大量，请勿介怀，为妾拱揖，赔个不是。绍：呸！

伯：（唱）是你枭看他秀才贫，你墙头野草随风飘，解元落魄你忘却恩爱，今朝他享富贵，你就前来求饶。

绍：（唱）绿叶扶花上枝头，枝想留花花不留，猜想留枝枝不接，随花凋谢付水流。

婆：（唱）贤婿呀！你岳母带女来赔罪，求贤婿积德来收留。千不是万不是怨老身缺教训。致招蠢女负义是我有过，到如今，将逆女亲交你严管教，望贤婿宽宏恕有万人钦佩，当日蠢女得罪贤婿，老身本欲即带蠢女前来赔罪，无奈贤婿起程，不能如愿。

绍：贱妇无义弃儒，龙井渡头下绝情，如今……（唱）马坠悬崖收缰晚，船到江心被漏迟。美：官人呀！

绍：住口，是你昔日无义，非是我今日无情。

美：前日在此渡头求写离书，此是愚妾激夫上进好意。

绍：怎说？美：夫呀夫！婆：奴哙，再求再咀，面皮厚厚，福气在后！

美：（唱）夫你离家去赴试，妾悔渡头口角泪落如丝，你去后奴日夜焚香祷告，愿我夫高中，早定归期，自古道一夜夫妻百年恩爱，恩恩爱爱结发荆妻跪你面前赔不是。

绍（白）如此哀求，人非草木，孰能无情，教我真是心乱如麻了。

美：（唱）夫君呀！你当思昔年穷苦落难时，我爹爹不惜资助来结姻亲，盟誓看今朝为妾，虽然有不是，还须念我爹爹，须念爹爹对你的恩和义。

绍：（唱）忆岳父他对我倒是厚爱，看贱妇却教林绍心愤慨。风和日暖昔念旧情，将她宽恕认过来。（白）日后偶若遭风险，贱妇心肠实难猜，不可！不可！打定主意勿轻信，莫把无情作有情。绍：无须再来罗嗦，莫作痴心妄想，回去罢！

美：夫君，官人！（唱）自古道草头结发情义长，仁贵封侯回窑寻柳娘，夫君今日得荣贵，怎忍发妻受凄凉。爱夫哙，前日有苦同当受，今朝有甘应同尝。

绍：（唱）贱妇你啊！你怎能比柳娘怜贫赠寒衣，甘居寒窑守孤栖，你当日夫缺川资借钗当，白眼相对把我欺，你想啊，李亚仙跟郑元和吧。

美：（唱）这么？……十娘她是青楼名妓，卖身沧落烟花地，我美娘乃是豪门淑女，一尘不杂，美呀美娇妻，怒沉百宝非她愿，只恨李甲将她来抛弃。

绍：（唱）你怎比十娘烟花女，她笃情至爱深情义，李甲不仁中诡计，鸳鸯中道拆分离。怒沉百宝抱遗恨，悲歌一曲千古知，你渡头休夫情已绝，挚友资助励我鹏程志，如今收悔已太晚，问声贱妇覆盆之水你岂能收起。

美：覆盆之水，唤我收起怎生是。伯：当初时，你说道，看穿你穷鬼难发迹，呆鹅有翼呀，亦难飞上天。

婆：贤婿呀解元爷，俗话说：“宰相肚内好撑船。”难道解元爷你真的不念结发夫妻之情么？求你把船撑回来呀……绍：这么……。

婆（唱）贤婿呀！蠢女自从回娘家，孤灯只影叹长夜，王孙公子来求爱，媒姨十个八个被顶回，粉蝶纷飞她心不变，学会守闺训勤纺纱，纺纱织布做小衣，寒时被棉袄，暑来靓衣绣朵喇叭花，还有项呀与围裙缨帽呀大肚帕，孩子衣着备齐整，等候贤婿衣锦荣归返回家，到那时外婆我等抱孙儿笑呀笑脱牙，若有三心二意雷扣火烧无后悔，老爷哙，我的贤婿哙，镜破重圆自古有，望你宽宏大量收她回林家。

绍：说得倒也有理，夫今幸天怜悯，及第荣归，想作妻的跪地赔罪前来相认，若此次名落孙山，弃夫的妻，你看她如何处置。

婆：这么。绍：我看哩，伊知知无来见面。

美：夫君容禀。（唱）丝箩有托结夫妻，同甘共苦同一体，大君若是落第返，妾也偕老到百年，白头姻缘天注定，不敢改变逆天理。

绍：（唱）哎呀！贱妇你、你、你……你呀！你心不诚来志不贞，不守妇道辱名声，落魄穷途你不看顾，飞黄腾达你就来求情。吩咐左右，将她赶了！

从：领命！

伯：离书到手眉头松，收拾妆产回家中，放声媒姨亲来做，厚福郎君配美娘。

婆：放掉面桃来抢饼。

美：面桃无了饼也无。　　　　　　　　　　　　　　　　

2011-04-01T12:48:00.003+08:00

揭阳市潮剧团　

从农历三月初五日至三月廿一日礼聘中国广东省揭阳市潮剧团演出17场潮剧庆祝城隍伯主圣诞并为城隍慈善基金会筹募基金。

揭阳市潮剧团建立于1992年（前身系揭阳县潮剧团）。该团艺术实力雄厚，拥有一批经验丰富，勇于进取的编剧、导演、作曲、舞美、服装设计人才；演员行当齐全、台风团纪严正，艺术骨干中，有从艺多年、艺术精湛之老艺人；有毕业于戏曲学校、风华正茂的艺术新秀。剧团创作的精彩剧目《泪湿岳王剑》、《铁面县令》、《乱世情仇》等源源问世，深受行家、观众好评。《慈云走国》、《猫儿换太子》、《郭子仪》、《杨四郎》、《父子三登基》等二十余台保留剧目久演不衰。剧团坚持送戏下乡，每年上演二百场左右，为人民大众服务。剧团曾上省、上京参加调演、汇演，到深圳、惠州、广州、汕头等地演出，到香港、泰国、新加坡等地区和国家进行艺术交流。创作剧目《丁日昌》赴广州市参加广东省第三届艺术节演出，一举获得四项大奖，翌年赴京参加第二届中国戏剧节演出，获优秀剧目奖和优秀演出奖，誉满京华。1993年，与香港楚惠剧团联合赴新加坡在牛车水人民剧场隆重公演，受到新加坡观众热烈欢迎，场场爆满，誉满狮城。尔后，又应邀赴泰国、香港等地演出，戏迷簇拥，盛况空前。1998年，应陶融儒乐社的邀请，再次赴新加坡黄金剧场公演了《丁日昌》、《龙井渡头》、《花轿错》等12台戏，获得成功，顺利完成了"传乡音，叙乡情，结乡谊，开展中新文化交流"的既定任务。国内外许多报刊、电台、电视台多次报道，给予较高的评价。目前，剧团在体制改革、剧目创作和艺术研究上又迈出了新的步伐。

2011-03-31T21:45:00.000+08:00

怀念巨星邓光荣

2011-03-31T21:38:00.002+08:00

别了邓光荣 Goodbye, Alan Tang

2010-12-23T23:48:00.001+08:00

潮剧佳作
大登殿
莊雪娟，吴奕敏，刘小丽，吴玉东，邱秀茹，吴玲儿演唱

在土豆网上找到两段由已故香港东山潮音剧艺社潮剧小生莊雪娟小姐的最新唱段，非常兴奋。一段是红鬃烈马之大登殿，另一段是西厢记之琴丝。和她合唱的潮剧名旦都是来自中国广东潮剧院的演员，有吴奕敏，刘小丽，吴玉东，邱秀茹和吴玲儿。

看片段的莊雪娟人像照片，拍摄时间应该是在她离开人间的前几年拍的。不知还有没有其它唱段，若找到的话，会抢先和大家分享。

2010-12-02T21:05:00.002+08:00

潮剧经典 - 孟丽君

香港新天彩潮剧团
香港东山潮音剧艺社

中国普宁潮剧团

潮阳潮剧团

‘孟丽君’是一部百看不厌的剧目,先是观赏由方巧玉，陈楚蕙，张兰芳和香港新天彩潮剧团全体演员演出的黑白电影‘孟丽君’，然后是由陈丽丽主演的台湾华语电视连续剧‘孟丽君’，还有越剧以及多部潮剧舞台演出，以及由荘雪娟和石玲以及香港东山潮音剧艺社演员演出的‘孟丽君’。

好多戏迷一直在寻找陈楚蕙的黑白电影版本，这么就都没下文，看来有一定的难度。上回租了荘雪娟版本的‘孟丽君’，却嫌这部戏的对白太多，没复制多一份，现在后悔莫及。

几年前无意之中买到了由中国普宁潮剧团实景演出的‘孟丽君’，感觉上还觉得不错，因为这套光碟有孟府射袍，放火烧楼，映雪跳河，入赘梁府等，相当好看。

很高兴在网页上看到潮阳潮剧团舞台‘孟丽君’的剧照。感觉林丽丽的扮相非常抢眼，还有谢蓉助阵，应该是一部很有看头的舞台剧。

2010-10-17T19:38:00.004+08:00

中国福建云霄潮剧团

新加坡德福12巷

2010年农历9月初2

泪洒天波府

云霄潮剧团已经在新加坡演出第20天了，除了在他们演出的第一个周末下午去买戏票后观赏六国封相的演出，到了农历9月初2才看那么一场戏。主要原因是因为公事家事非常忙，而且又碰到学校考试高峰期，实在没什么时间来到这个交通不是很方便的演出地点看戏。

好友艺勇和银泉来了几通电话问好和问我什么时候和他们聚一聚，我都说不上来。过后决定观赏农历9月初2演出的‘泪洒天波府’，同时也替西马朋友买票，介绍老婆和戏友给他认识。

由于演出地点的停车位非常有限，我在傍晚7点钟之前出发，还好在演出的另一端有几个停车位。后来和朋友碰面了，一起到后台找艺勇。边走边聊时碰到巧艺，碧芳，挺峰等演员。艺勇忙着泡茶，大家边喝边聊，过后也和银泉见面了。在离开后台时，很开心能够见到杨少云，她说她会演出皇帝一角。

原来‘泪洒天波府’是‘杨七郎与杜金娥’的延续篇，记得云霄潮剧团2008年在韮菜芭城隍庙的首部戏就是‘杜金娥’，那时也没分上下集,我也是在2008年看了这部戏后对汤艺勇的精湛演技留下非常深刻的印象。

农历9月初10是云霄潮剧团在新加坡演出的最后一天，我特地跑了一趟到德福巷演出地点去和戏友见个面，也顺便把老婆帮我买的一些礼物送给好友。抵达演出地点时，他们在扮大仙，网友许先生也在现场。过后我们到后台和演员们聊天，逗留了大概一个小时便回家。

2010-10-03T21:19:00.003+08:00

锣鼓声声响，狮城处处有潮剧
新新荣和，老赛桃源，织云，云霄

农历八九月有很多潮剧演出，除了中国福建云霄潮剧团驻扎在德福12巷演出20天潮剧外，这个周末也非常热闹，因为本地的潮剧团也在不同场所演出。

新新荣和潮剧从农历八月二十三开始在碧山22街演出5天潮剧。第一晚演出的剧目是‘恩仇记’。由于那天下午下了一场雨，演出场地还是潮湿，我没前往观赏。新新荣和潮剧的第二和第三晚是演出‘楚宫风云’上下集。由于上一回只看到下集，所以赶忙前往去看新新荣和潮剧的演出。尽管草地潮湿，戏台面前空无一人，我还是站着观赏，一边看戏，一边拍照。

潮剧老招牌老赛桃源潮剧团也在宏茂桥一巷大牌225演出数晚潮剧。据说该戏班在最火旺的农历七月只接数天的戏，看来要继续维持戏班的操作，会是非常困难的。很欣赏老赛桃源潮剧团饰演老生一角的这名演员。他的唱腔特好，演出逼真，是本地潮剧老生的佼佼者。改天有机会要到后台认识他，和他做个朋友。

织云潮剧团也会在农历八月二十六和二十七在大芭窑修德善堂演出两天潮剧。

中国福建潮剧团这次带来的新剧目不多，第一晚的剧目是‘百岁挂帅’。记得在很小的时候看过已经解散的老一枝香潮剧团在大芭窑四巷演过这部戏，故事围绕着杨宗保被困而战败伤亡，然后是杨令婆率领杨家将出征，还有一场是杨文广和穆桂英比武的好戏。那时候的老一枝香潮剧团，演员有将近一百名，武生小生花旦青衣老生老旦花脸兵将等众多，只可惜那时候没数码相机，不然拍下来给现在的潮剧演员研究学习，他们将会获益不浅。不知道云霄潮剧团的‘百岁挂帅’是不是以这几场戏为主？

云霄潮剧团的第二晚就演出‘左良玉’，然后是‘万花楼’，‘狄青会姑’，‘魏宫风云’和‘帝后春秋’。第一周所排的几部戏，我已经看过了好多部，而且这几周是学校考试的高峰期，我唯有选择在家里陪孩子温习功课，能抽出时间观赏演出就非常满意了。下个周末的‘泪洒天波府’和‘大破天门阵’应该比较有看头。

我在10月3日下午前往云霄潮剧团演出地点，刚好在扮大仙，演出六国封相的最后一段，看到银泉，挺峰和巧艺出场，接着是仙姬送子。好高兴看到汤艺勇和郭碧芳这对夫妻挡再一次携手演出这段戏。他们夫妇两看到我脸上露出的笑容是非常亲切的。以为接下来是京城会，哪里知道演员再一次演出六国封相。

2010-09-20T20:28:00.001+08:00

织云潮剧团

波东巴西联合庙

宏茂桥10道

2010年农历8月12

杨文广平十八洞

星期天晚上抽空再一次到宏茂桥10到观看织云潮剧团的演出。记得星期五晚抵达演出地点时，看到‘一门三进士’得剧目时，有点失望，这段期间已经连续看了数次同样的戏。老生种喜坤先生告诉我该团在星期四晚上演‘三打王英’，听了有点可惜，因为错过观赏新戏的机会。

还好今晚前往看戏，织云潮剧团演出‘杨文广平十八洞’上本。印象中香港的某个潮剧团也演过这部戏，戏名叫‘杨文广平南’。上本的故事围绕着桃花公主和杨文广两人从恨到爱，占据了一大半时间。两名泰国演员演来还不错，甚有看头的。

对杨家将后期的故事不是很了解，所以上网寻找史记。原来杨文广平南蛮十八洞真有其事，那地方现在还是一个旅游胜地呢。

旅游景点

江南原野第一溪：“海国桃源"杨家溪，是国家级名胜风景区太姥山"山、海、川"之川景区；素以青山环抱碧水之幽美，潭、濑、滩与花、草、林交融辉映之壮观，瀑布、峡谷、奇石、怪洞之鬼斧神工，晨雾鸣鸟、夕照跃鱼、月色流光之胜境，文广征鳗传说之玄奇和秦汉驿道古迹之独特的自然、人文景观而扬名海内外；杨家溪，生态原野幽雅，溪水清澈甘冽，景色清秀绚丽，空气清新宜人，负有"江南原野第一溪"盛誉；其新辟"原野生态休闲区"，位于通津古桥至环石潭2公里长流域之间，位于太姥山西南侧、霞浦牙城西北部。据传，她原名南洋坪，自北宋名将杨文广“平南蛮十八洞”后，得今名。

杨文广平南蛮十八洞故事
在普宁的西北面有个“千金湖”美称的地方，传说千金湖之称始于杨文广平定南蛮十八洞的南宋年间。当时，这里的四大胜地分驻着南岩公主、大岭公主，秦厝公主，龙船公主姐妹四人。有一日，四位公主正在野外游玩，忽闻吼声震天，未顷，一只老虎驰风而至。姐妹们协力抗击，无奈身无寸铁斗它不过。龙船公主避之不及，眼看就要被老虎扑去了。一声飞啸，老虎应声倒在地上。恩人是谁呢?正是洪山洞主桃花狩猎到此。一番道谢之后，桃花公主说：“听说有人要来剿洞，请公主们到时帮忙帮忙。” 隔了半月，四位公主得到了报讯，便毫不犹豫地来到洪山洞。洞前，桃花公主正与一位青年公子一来一往，战得难解难分。听助威者说，来将就是要来剿洞的杨文广。大岭公主开口了：“大家都休战了，洞主犹如救人菩萨，将军是济世尊者，何必结仇格斗。” 桃花洞主正为杨文广才貌双全而倾倒，听了这话便放手了。文广也正暗暗夸赞桃花公主武艺超群，见大岭公主说得有理，便弃了枪，将信将疑地说：“要我休战容易，你若有救人慈心，试问你：大坪狼臂蛟大王，还有铁山水龟精等洞妖，日夜残害生灵，害得多少天下百姓死于非命。众生哀苦，你为何坐视不救?” 桃花公土早就想征服“狼臂蛟”、“水龟精”了，只因力不能及，这次正好杨文广来到，于是也不示弱： “明天出兵，定么?” “一言为定！”杨文广欣然答应。恶斗就这样平息下来。为了联合力量抵抗强敌，四姐妹们耳语了一阵以后，南岩、大岭两公主把文广拉到了东厢，秦厝，龙船两公主把桃花拉到了西厢。片刻之后，南岩公主对大家说：“文广爱慕桃花艺精貌美，桃花倾羡文广文武全才，我们姐妹四人当媒：“待到平定南蛮之时，便是将军、公主成亲之日！”话音刚落，皆大欢喜，山洞内外涌起了经久不息的欢笑声。隔日，由文广将军和桃花洞主率领的三千精兵向大坪山进发了。 “狼臂蛟”大王列队山门，远远望见桃花伴一位青年将军谈笑而来，愤恨交加，醋意大作，但料想自己强拚不一定能稳操胜券，于是想出了一条毒计…… 文广和桃花来到洞前，看到了两个一样装束的妖王，于是一人追向东，一人追向西。这正中了狼臂蛟以假乱真、诱敌深入、化整为零的毒计。假狼臂蛟在两边被桃花洞主追杀了，而真狼臂蛟在东边越走越快，走近了一个涧口便飞了过去，杨文广越迫心越急，来到涧口也不停步，狼臂蛟见对手处于涧口上空，便来了个出其不意的反手推挡。这时，杨文广不知不觉地掉进深涧去了。狼臂蛟见阴谋得逞，大声对杨文广施展淫威了：“洞主欲招你为婿，你同意么，你身边的水兵在急待回答！” 水面顿时起了波浪，杨文广知是虾兵蟹将鳖先锋出动了，便将计就计说：“难道有妻在山颠，夫入深涧的么?你太无礼了！” “咯咯咯!哀家只是试试你的胆量。”狼臂蛟娇滴滴地步入深涧，双手紧紧拉住杨文广，一阵功夫，文广也踏上了平地。 “妖精，你欺人太甚了！”杨文广恼羞成怒地投出飞刀。狼臂蛟急忙向北逃走。北面，大岭公主拿着金葫芦，狼臂蛟急忙跑向南面，只见龙船公主拿着航标宝戟，狼臂蛟急忙跑向南面，只见秦厝公主拿着金丝绳。狼臂蛟又急忙跑向东边，这时，杨文广和桃花公主早在以逸待劳了。狼臂蛟自觉上天无路入地无门，硬着头皮战了一阵，正想逃命，秦厝公主迫杀过来，把手中的宝贝抛了过去——金丝绳以迅雷不及掩耳之势把狼臂蛟层层缠绕着，狼臂蛟眼看大势已去，只好垂死挣扎，使尽浑身诉数摆脱着。此刻，南岩公主也拿着佛禅玉杖赶上来了，只见她左右出击锐不可当，终于把狼臂蛟擒拿后捆成一团。大坪一仗结束后，四位公主和杨文广他们又连续围歼了其他妖洞。除了铁山水龟精因有去邪归正之心，又念其先祖曾护送唐僧取经立过功劳而被放逐之外，其余洞妖均受到歼灭性的打击，死的死、伤的伤。平定南蛮十八洞之后，普邑再也没有妖魔作怪了，村民从此安居乐业，过上了幸福的生活。在大岭公主、南岩公主、龙船公主、秦厝公主的撮合下，杨文广和桃花终于实现了前言：“待到平定南蛮之时，便是将军、公主成亲之日！”这一天，高朋满座，喜宾盈门，大家纷纷作对取乐，舞剑助兴。杨文广正想报答四位公主的恩情，但问及他们的寨名时，姐妹们都说不出来，仅知大岭公主住在大岭山，秦厝公主住在秦厝山、龙船公主住在龙船湖，南岩公主住在南岩湖。 “祈请将军开开金口，给我们赐个寨名吧!”公主们异口同声地恳求着。杨文广正在思索之际，桃花洞主张开了樱桃小口：“诸位姐妹身怀一宝，闺处山丘，就叫万宝山吧！” 众人都在品评玩味着，杨文广想了想说：“万宝山，倒是起得可以，不过恐怕后人容易将它与平宝山相混。依我看，此地背倚青山，前傍绿水，南面头冠石与北面众山峰对峙，东边良田万顷，西边松竹荫翳，两边高山遥对，这里正如湖状，念四位公主之思，我看就叫‘千金湖’吧！” “好!不但形似，而且神似！”众人雀跃，纷纷举酒干杯。这样，“千金湖”的名字就定下来传遍四乡六里了。乌犁塔周围的人们一提起“千金湖”，便自然而然地想起当时平定南闽妖洞、造福天下众生的杨文广和桃花公主的故事来。当年创办“普宁八景之一”的南岩古寺的惠士奇学士，对这里的胜境也为之倾倒，曾有联曰：

大岭山，秦厝山，万宝山山山出万宝；

龙船湖，南岩湖，千金湖湖湖藏千金。
来源：(中国民间文学三套集) 作者：佚名

潮汕文化 >> 潮汕民间文学

2010-09-19T11:38:00.005+08:00

福建土脚戏

筱玉隆闽剧团

2010年农历8月11

义顺81街卡迪地铁站对面空地

记得很小的时候听过母亲谈起土脚戏。到底土脚戏和普通的戏班的戏有什么不一样呢？

这次庆幸住家附近有酬神戏看，而演出的就是土脚戏。土脚就是我们福建人和潮州人用方言话讲的地上，整个戏台的棚脚比一般戏台的棚脚来的短。

除了棚脚短之外，整个戏台也比一般的戏台来的小。当晚看的是由筱玉隆闽剧团演出的福建戏。布景也只有一面，不过演员们的化妆和戏服和一般的闽剧没什么两样。倒是后台和两旁的一举一动，观众可以看得一清二楚。

母亲说以前的潮州土脚戏也是相当有看头的，看看几时有机会看到潮州土脚戏。

2010-09-15T23:33:00.002+08:00

织云潮剧团
2010年农历7月26和27
大芭窑一巷大牌127
告亲夫，一门三进士

这篇博文是上一篇的延续篇，只因最近有些事故耽误，拖了两周才发表。

看完‘辩本’，经典潮剧‘告亲夫’呈现在眼前。虽然看了织云潮剧团演过此剧无数次，却也乐意的继续看下去。饰演颜秋蓉的演员以前长期在织云潮剧团演出，过后由于织云潮剧团多半时间在西马演出，她选择在老赛桃源潮剧团演出。可能是因为今年农历7月老赛桃源潮剧团只有三天的戏，她才过来织云潮剧团演出。留下来的主要原因是为看老板娘李淑真演出文淑贞和老生钟喜坤演出达盖纪刚。

农历7月27再次到大芭窑一巷观赏织云潮剧团的演出。哎呀！怎么是‘一门三进士’而不是钟老生昨晚和我说的‘三哭殿’和‘齐王求将’呢？由于当晚该戏班分成两班，在缺少演员的情况下，织云潮剧团把常员外和周员外抢孩子的那一段删掉了，真是有点那个那个。不常看这部戏的观众就会觉得场次跳的太快，怎么一瞬间就过了十多年。但设还不是年份跳的最快的。去年看中国福建云霄潮剧团的‘对花枪’才吓人，一个场次跳了几十年。

第一次看到老板娘李淑真演周子卿的老婆，林氏美英，看了有点新鲜感。这么多年来，她擅长演梅秀兰这个坏人角色。

不知明年会在同一个地方看一样的戏吗？天晓得！

2010-09-05T23:12:00.006+08:00

织云潮剧团

2010年农历7月26

大芭窑一巷大牌127

折子戏 - 辩本

好久没看过这部折子戏‘辩本’。

第一次看‘杨令婆辩十本’是中国广东潮剧院演出的版本，有洪妙饰演杨令婆。由于演员的演技突出，加上词曲动听，我非常喜欢这部折子戏。

过后庆幸有机会欣赏已解散的新荣和兴潮剧团演出这部‘杨令婆辩本’的折子戏，该台的台柱兼老板娘陈巧鸾饰演杨令婆，深获大家的喜爱和赞赏。

这次织云潮剧团演出的‘辩本’，也挺不错，虽然场面有少许的协调不是很好，但在街戏逐渐被淘汰的当儿，还能要求些什么呢！

除了熟悉的钟喜坤，亚兴和亚云，很可惜不知道饰演杨令婆这位演员的名字。她演来还真不错。

2010-09-03T20:48:00.001+08:00

新新荣和潮剧
2010年农历7月23
宏茂桥十道大牌436
恩仇记 - 邱玉凤，连瑞文主演

恩恩怨怨，仇仇恨很，何时了。一部‘恩仇记’牵起了多部由不同团体演出的经典潮剧。有些团体也把这部‘恩仇记’称为‘弟妇告姐夫’。

施子章因父母去世自小在姐夫邓炳如（连瑞文饰）家中生活，其久无联系的钱素云因家庭经济不好到卜大款家打工，当起富姐卜巧珍（邱玉凤饰）的丫环。邓炳如冒名王安邦在一次偶遇卜巧珍后便潜入卜家，花言巧语骗巧珍失身，并在再次邂逅时将已怀孕的卜踢死。钱素云起诉王安邦，子章夹在报恩报仇之间，难以断案。经过一番挣扎后最终判处姐夫邓炳如死刑，立即执行。

在网上寻找这部戏时，发现长寿唱片曾经发行一张老唱片，潮剧恩仇记。那是由姚璇秋，黄瑞英，翁銮金，蔡锦汉和李玉莲演唱的。

香港的万声影业公司也出品潮剧电影‘恩仇记’，那是由新天彩潮剧团演员。曾珊凤，陈楚蕙，方汉妆，张应炎，陈乔主演的。

最近看新新荣和潮剧的演出，觉得演员们的演技和唱法有改进。连瑞文饰演的邓炳如的一些动作都排得很好，乍看有王锐光的影子。他和老板娘邱玉凤演对手戏的那场卜巧珍阴魂不散的追踪戏，配合得太好了。虽然是短短的几分钟戏，但我敢说是整部戏的精华，太棒了。

2010-08-26T07:50:00.005+08:00

新加坡义顺华山宫
2010农历7月16
新新荣和潮剧
楚宫风云

Half of the Lunar 7th month is gone and I only managed to watch two performances over the last 2 weeks. I heard from die hard fans that 织云潮剧团 'Chek Hoon Teochew Opera Troupe' has close to 50 performances fron Lunar 6th to 8th month. That is quite remarkable considering the fact that currently the organisers of 庆中元 'Hungry Ghost Festival' event prefers 歌台 'GeTai' than anything else.

What was unbelievable when I heard 老赛桃源潮剧团 'Lao Sai Thor Guan Teochew Opera Troupe' only had a 2 plus 1 performance. That plus 1 is 潮音 'Teo Yin'. Isn't that pathetic? Heard Lao Sai Thor Guan Teochew Opera Troupe combines with 新怡梨兴潮剧团 'Sin Yee Lai Heng Teochew Opera Troupe' this round.

So, the only troupe left is 新新荣和潮剧 'Sin Sin Yong Hua Teochew Opera Troupe'. This is my fifth year watching this troupe in action. A few months ago when I watched them performed 恩仇记 'En Chew Kee' at 粤海清庙 'Guat Hai Cheng Miao', the lady boss 邱玉凤 'Khoo Gek Hong' told me they would be have a new set of stage deco. She also revealed that they are rehearsing for a new performance 楚宫风云 'Chor Ken Huang Hoon'. Then, in early August, I saw a Chinese programme featuring old scenes and culture in the 60's, I managed to catch a glimpse of the then Sin Yong Hua Heng Teochew Opera Troupe in action. Khoo Gek Hong was interviewed in that episode. I also saw the new stage deco and a few minutes of their perfomances.

Finally, I got to see the new stage deco and Chor Ken Huang Hoon on the 16th day of Lunar 7th month at 华山宫 'Hua Shan Temple', Yishun. 亚文 'Ah Boon', whom I got to know recently, acted as the emperor. I think he did quite a fantastic job.

I saw Chek Hoon Teochew Opera Troupe's former male lead, 珠华 'Choo Hua', watching the performance as an audience. I also saw 亚莲 'Ah Noi' of the then 金鹰潮剧团 'Kim Eng Teochew Opera Troupe' moving up and down the stage. I wondered why she has no role that evening.

Overall, I must say Sin Sin Yong Hua Teochew Opera Troupe has done a relative good job. The leading and supporting artistes could coordinate well and this is definitely a show worth watching. By the way, this performance comes in 2 parts.

2010-08-24T13:14:00.004+08:00

2010 Hungry Ghost Festival - Teochew Street Opera
2010年庆中元 - 潮剧演出（铁面巡按，一门三进士）

Time flies and it is Lunar 7th month again.

I checked my old blog and realised that 织云潮剧团 'Chek Hoon Teochew Opera Troupe' would be perfroming on the 11th and 12th day of Lunar 7th month. So I decided to check out the performance since 11th was a Friday.

It was raining in the afternoon of 11th day and it continued to drizzle till the evening. I drove there at about 8 plus and was not surprised to see 铁面巡按 Teo Seow Keng as the performance of that night. The interior decorations of the stage had been modified and some backdrop scenes had since been added. I took shelter throughout and met some some friends and local Teochew Opera artistes. Later, I moved nearer to stage to watch the last seccond part so that I could have a close view of the new artistes presumably from Thailand. Though there was slight drizzling, I stood there for about 30 minutes before I left.

It was a fine evening on Saturday, 12th day of Lunar 7th month. I reached Ang Mo Kio at about 7.45 pm but the show had already begun. I saw Mr Cheng and bid hello to him. He told me the show for that night was 一门三进士 'One Family Three Scholars'. He offered me a chair and I thanked him for his kindness.

I have watched 'One Family Three Scholars' many times. What is the secret formula that keeps me watching the performance numerous times? 'One Family Three Scholars' has a simple story that touches on filial piety and the sorrows one has to go through after separating from husband and children. The lyrics and music of many parts of the performance are so well written and composed. And, if the artistes can showcase their talents in terms of acting skills and quality of voice, it is definitely worthwhile to stand for 150 minutes to watch the full performance.

That night, I think the main artistes were good in keeping the audience engaged. That segment where Song Sock Ling met her son Chew Tzi Kheng was really touching. Tears simply dropped and their watery eyes made that scene came alive. I would not have noticed that if I did not move nearer to the stage. This time round, Chek Hoon Teochew Opera Troupe managed to field 4 maids for the Buoy Siew Lan's segment although two were like dummies who literally can't sing or act well.

Mr Cheng told me they have two new titles for this seasons, namely 杨文广（上下集）'Yeo Boon Kwang' and 三打王英 'Beat Wang Eng Thrice'. May be, I will make a special trip when they put up their 8-day performance at Potong Pasir Joint Temple at Blk 465 Ang Mo Kio Avenue 10 starting from the 8th day of the Lunar 8th month, 15 Sep 2010.

2010-08-13T17:35:00.014+08:00

潮剧电影：莲香戏鞋 - 荘雪娟,丁楚翹原唱
Teochew Opera Movie - Strange Visitor

An old movie 莲香戏鞋 (Strange Visitor) by 荘雪娟 and 丁楚翘 of 东山潮音剧艺社 created a stir recently.

Initially, I was not sure if the audience would accept a dubbed version of the movie so I just uploaded two short clips of 莲香戏鞋 covering the last segment 回仙山. To my surprise，the two clips had recorded no less than a 1000 hits over the last seven months. This is something which I would regard as unusual as many of my other clips did not even reach 500 hits after a year.

莲香戏鞋 carried a simple plot but armed with a power pack non-stop singing by 荘雪娟 and 丁楚翹 throughout 70% of the movie. May be, we can classify such movie productions as semi-musical shows as they really keep the audience engaged throughout the movie.

Fans of such Teochew Opera movies from UK and USA appealed to me to upload the complete movie. I took advantage of the recent long weekend to cut the movie into 9 parts covering some 80% to 90% of the original soundtrack. I received many comments for almost all the clips uploaded. I found uploading this movie very rewarding. I helped some fans with the oppotunity to listen to a movie soundtrack which they had heard decades ago after they had migrated overseas. To all the Teochew people 潮州人 (kakinang) living overseas, let's continue to keep this dying art alive.

2010-08-11T18:08:00.000+08:00

潮剧电影宣传单
莲香戏鞋，井边会，共伞奇缘，狄青大闹万花楼，后母心

很高兴好友宋先生与我分享他的收藏：潮剧电影宣传单，潮剧剧目册子和新年特刊。

宋先生知道我常把演出拍下的短片以及收藏的潮剧画面和照片挂在博客上与众戏迷分享，他也毫不吝啬的把多年的收藏借给我，好让我和大家分享他‘宝物’。那时候刚好忙着看中国广东潮剧院二团的演出，只能把宣传单扫瞄后还给他，其余的也没什么时间去阅读。

在这几张宣传单看到我心爱的‘莲香戏鞋’，‘李三娘井边会’，‘陈三五娘’等。60-70年代的发片商的宣传方式还真不简单，他们肯花费推出有色或彩色的宣传单。

印象中这种现象维持到70年代末，因为家里还收藏着文艺片巨星甄珍与邓光荣的‘海鸥飞处’，‘明日天涯’，‘窄梯’等电影的宣传单。

2010-08-09T23:23:00.003+08:00

Lao Sai Thor Guan Teochew Opera Troupe

老赛桃源潮剧团
A Rare Collection - Lunar New Year Magazine

新年特刊

Amazing! Song lent me an old collection. It is none other than a Lunar New Year magazine dedicated to the local Teochew opera troupe, Lao Sai Thor Guan (老赛桃源潮剧团) . Song This magazine must be at least 50 years old. The magazie is still in good shape except for the rear cover page which was missing.

The cover page features Xiu Lan, 秀兰. I understand from my mother that Xiu Lan was one of the well known actresses during that time. In that magazine, GekChoo （玉珠），Poh Choo（宝珠）, Pei Xin (碧心) and Xiu Kee (秀枝) were featured too.

I remembered reading Nan Guo Dian Ying (南国电影), a regular publication by Shaw Brothers. I found it unbelievable to see such a magazine produced by Lao Sai Thor Guan. This means that the Teochew opera troupes in the 1950s to 1970s had rich contacts and resources. They would not hessitate to print marketing materials and publications to reach out to the audience.

From the picture collections, one could tell that Teochew opera troupes in the past had already explored different plots to attract audience. In that era of manual work and low technology, one would applaud Lao Sai Thor Guan for putting up shows like 晋宫秘史, 古塔奇缘 and 女侠白懿红.

2010-07-09T06:18:00.000+08:00

新加坡韮菜芭城隍庙
2010年农历五月二十六
7 - 7- 2010
中国广东潮剧院二团
陈立君，陈慕芸，李文浩，高树洪：樊梨花归唐

7号晚上的‘樊梨花归唐’是昨晚的‘薛仁贵征西’的下集。主要演员薛丁山和樊梨花换了陈慕芸和陈立君，其它的如高树洪饰演的杨凡，蔡旺财饰演的薛仁贵，蔡丽娃饰演的薛金莲和曾惠刚饰演的程咬金都没有变动。今晚还给新进小生李文浩机会演出薛应龙。

感觉上看下集会比上集开心的多，因为陈立君一出场就因帮薛丁山治伤时中毒，在舞台上表演一番功夫，杨凡设下白虎阵是有烈火阵，有相当多武打排场以及尾场陈立君和陈慕芸双双穿上元帅的战袍，威风凛凛，把17天的演出写上一个完美的句号。

演出结束后，有好多演员下台和观众拍照，连演小兵的王锐光也下台。阿嫂阿婆每个涌去找王锐光拍照，找陈立君合照的很多，我也是其中一个。上一回沈伟俊替我拍的那张效果不好，这次多亏有新新荣和潮剧团的演员朋友替我拍照，而且效果特好，非常兴奋。

看了9场戏后，我发觉中国广东潮剧院二团的演员很有团体精神。为何这样说呢？该团把17天的戏分配给不同演员当主角，尤其是在男主角方面。虽说王锐光是正小生，他也不是在每一部戏都做主角。王锐光在‘连升三级’里只是一名配角，在昨晚的‘樊梨花归唐’只扮演一名没有台词的兵将，我从没看其它潮剧团有这样的安排。

还有几个演员也是这样，比如余育林在‘屠夫状元’和‘巧姻缘’里也饰演男主角，在其它戏里不是演兵将就是演太监。还有高树洪在‘四告状’里演男主角李贤明，而在‘薛仁贵征西’和‘樊梨花归唐’里演配角杨凡。

新人李文浩也是这样，他多数演兵将，在‘连升三级’里演一个小配角，在‘樊梨花归唐’里演薛应龙。我个人认为中国广东潮剧院二团这样的安排很好，因为每一个演员都有他的潜能，这样也可以让观众欣赏不同卡士的配搭，也不怕主要演员离队。

2010-07-08T07:08:00.000+08:00

新加坡韮菜芭城隍庙
2010年农历五月二十六
7 - 7- 2010
中国广东潮剧院二团
王锐光，杨伟丹，蔡丽娃：断桥会

今晚是中国广东潮剧院二团在新加坡的第17天演出，也是最后一天的演出，全场爆满。

在未演出之前，我先碰到朋友和他的儿子，也遇到织云潮剧团的老生，和他聊了一番，方知新怡梨兴潮剧团明晚会演出‘四告状’。过后也碰到许先生和宋先生，在他们的协助下，确认了在我们眼前的演员是演包拯和魏忠贤的何平发。原来他来直福建东山，也认识云霄潮剧团的汤艺勇，汤挺峰和柯银泉，这世界真细小，哈哈。

第一段择子戏‘断桥会’，由王锐光饰演许仙，杨伟丹饰演白素贞和蔡丽娃饰演青蛇。在择子戏开始之前，詹少君向大家致谢，谢谢大家对中国广东潮剧院二团这17天的支持，鼓励和奖赏。

‘断桥会’虽然是常看到择子戏，不过今晚的演出特别好。王锐光一出场就就带动整出择子戏，过后随着杨伟丹和蔡丽娃的出现，三人配合得很有默契。舞台上的那好些优美的动作如许仙需要体力支撑的弯身或青蛇一脚踏着白素贞握剑刺向许仙的高难度动作，演得非常好。

看了那么多场有蔡丽娃的戏，我个人觉得她今晚的表现一级棒，超越她在其它演出的丫环或小姐的角色。

整体上，一却都很好。希望有机会再一次看到这部择子戏。不过希望看到另一个青白组合，那就是由陈立君饰演白素贞和陈小冬饰演青蛇。当然，许仙还是得由王锐光演出。

2010-07-07T06:55:00.001+08:00

新加坡韮菜芭城隍庙
2010年农历五月二十五
6 - 7-2010
中国广东潮剧院二团
形佩洁，杨伟丹：薛仁贵征西

还没观赏‘薛仁贵征西’之前，一直在想这部戏是做薛仁贵年轻时代，五虎平西还是薛仁贵百日天牢的故事？或者是薛丁山与樊梨花的上集，因为最后一天的戏是‘樊梨花归唐’。果然是薛丁山与樊梨花的上集。

卡式方面有点弱，除了大家熟悉的杨伟丹饰演的樊梨花，曾惠刚饰演程咬金，主角灵魂人物薛丁山是由形佩洁担任演出。她的扮相不错，看得出她很用力去演好这个角色，但是我还觉得它还可以演得更好。我欣赏她的镇定，因为在和樊梨花交战时，杨伟丹也太不小心了，把刀一劈，偏偏劈到薛丁山的帅帽，还好帅帽没掉落。看了那么多场戏，我个人觉得中国广东潮剧院二团应该在武术指导方面多下功夫，既然这是一出武打的剧目，至少在薛丁山与樊梨花交战时应该安排一些特别的武打设计，扣住观众的心和提高看戏的娱乐性。

看到高树洪饰演的杨凡出来，觉得他的画脸化妆很抢眼。我看过其他团体的薛丁山与樊梨花演出，他们杨凡的花脸化妆就没高树洪的特别。随着杨凡的出现，我心想这回应该有一些看头吧。我熟悉的烈火阵就要出现了吧，还有薛丁山受困烈火阵后批发甩头数次后在舞台上做360度翻滚的动作也会博得观众的掌声吧。

哪里知道，导演安排杨凡发一把有毒的飞刀，伤了薛丁山就草草结束这个回合的交锋。看了非常不够味道。想想还是云霄潮剧团的武术指导兼文武生汤艺勇了得，他设计的武打动作都是别出心裁的。

2010-07-06T23:52:00.005+08:00

新加坡韮菜芭城隍庙
2010年农历五月二十五
6 - 7- 2010
中国广东潮剧院二团
陈立君：一路笙歌迎将来

詹少君：石榴花插曲十年后

王锐光，邱秀茹：诱弑

忙了一天，小组讨论后前往韮菜芭城隍庙观赏中国广东潮剧院二团的演出。在等候进场时，一位戏友送了我一片光碟‘潮剧童伶老艺人’，她说里面的片段在市面上很难找到的，非常感激她。

在演出择子戏之前，中国广东潮剧院二团安排了两首歌曲。首先出场的是陈立君，她演唱了一首‘一路笙歌迎将来，紧接着是由团长詹少君演唱石榴花插曲‘十年后’。这两首歌曲应该是特别安排来酬谢观众的支持，因为全场爆满。

第一个节目是择子戏‘诱弑’。原来之前看过的这段择子戏是‘诱弑’，总算搞清楚了。还好之前看过，所以大概知道故事的情节。在演出这段择子戏时，刚好有酬神仪式，两边的锣鼓声量特大，也削弱了演出的气氛。印象中，王锐光和邱秀茹上一次的演出比较细腻。

‘诱弑’过后是‘薛仁贵征西’，我会在另一篇博文写出我观看后的评语。

2010-07-06T06:48:00.001+08:00

新加坡韮菜芭城隍庙
2010年农历五月二十四
5 - 7- 2010
中国广东潮剧院二团

王锐光 - 石榴花插曲
曾惠刚，余育林，陈小冬：屠夫状元

7点多抵达现场，在演员住宿徘徊，看到王锐光在和人谈话，向前和他打招呼，并把刻好的光碟送给他。光碟里刻有小宴，下金山和铡美。过后和他交谈了一会，锐光说他将会演出最后两天的择子戏。也和谢继顺聊天，并代谢继武询问二团是否会短期到泰国演出。

今晚有一个特别节目，中国广东潮剧院二团特别安排王锐光演唱‘石榴花’插曲。相信喜欢看王锐光演出的观众一定雀跃万分。

很久没看过这部‘屠夫状元’了。记得1980年初，金鹰潮剧团刚成立时，除了‘斩十八翰林’，这部‘屠夫状元’也是该团的招牌戏。那时候陈珍珠和邓道兰刚从新荣和兴跳巢过来，为金鹰潮剧团打响第一炮。

今晚的戏，中国广东潮剧院二团的曾惠刚，余育林和陈小冬领衔主演。今晚也是中国广东在新加坡的最后第三场戏，所以票房报佳。曾惠刚饰演胡山，余育林饰演党金龙，陈小冬饰演党凤英，朱秀明饰演朱氏和池木标饰演杨腊。

曾惠刚把胡山这个屠夫演得非常好，原来二团除了陈伟城，还有这么一位突出的丑角。可能是二团不经常演出‘屠夫状元’这部戏，有好几场戏出现主要演员忘了台词，真要命。

今晚是我近距离观赏陈小冬的演出，她唱作俱佳，前途无可限量。

2010-07-04T09:38:00.000+08:00

新加坡韮菜芭城隍庙

2010年农历五月二十二

3 - 7- 2010

中国广东潮剧院二团

李文浩，陈小冬：招亲

没买星期六和礼拜的戏票，因为觉得星期六只有‘招亲；比较有看头，而另一部’巧姻缘‘应该是一部胡闹片，不看也罢。而礼拜天呢，我看数次的’梅英表花‘，演出大同小异。第二部’花蕊夫人‘我已经看过光碟，也是发生在后蜀时代，故事类似‘后蜀贤妃’，而且王锐光的戏份不多，还是留在家里养精蓄锐，因为我已经买了中国广东潮剧院二团的最后三天戏票。

用过晚餐后决定去看‘招亲’这段择子戏。来到演出地点方知已经满座，也好，有免费的椅子坐着看戏。城隍庙的负责人通常会在戏票买完后，增添椅子给买不到戏票的观众欣赏演出。

就在等候开锣时，王锐光刚好走过，一看到我便停下来和我聊几句，真难得。和他交谈后才知道今晚是由李文浩和陈小冬领衔主演‘招亲’。初时还以为是阵上招亲，原来是战败后那段文戏。陈小冬装扮艳丽，唱腔也很不错。李文浩的扮相俊俏，也演得很好。他们两人配合得很好。

‘招亲’过后是‘巧姻缘’。这部戏完全没有一二线演员，是一部家庭伦理剧，我看了两场戏后便离开。

2010-07-03T15:13:00.004+08:00

新加坡韮菜芭城隍庙
2010年农历五月二十
1 - 7 - 2010
中国广东潮剧院二团
陈伟城，黄丹娜，陈慕云，邱秀茹：公主争夫

紧接着‘小宴’的精彩演出，当晚中国广东潮剧院二团呈现‘公主争夫’。

黄丹娜好像和公主的角色真有点缘份。在‘洗马桥’里，她饰演阿骄公主，在这部‘公主争夫’里，她也饰演公主。这两个角色除了一个是番公主，另一个是唐朝公主，两位公主都是非常想嫁人。阿骄对刘文龙纠缠不清，扣住刘文龙在番邦16年，苦苦等候他答应婚事，怎奈文龙有情有义，身在番邦心在汉，最终摆脱一却，回到家乡与肖月英团聚。

这位唐朝公主（黄丹娜饰演）非常荒唐，见一个爱一个，以为找到俊俏的邓元（陈慕云饰演），谁知却弄来一个丑生丁圆（陈伟城饰演），在金銮殿里笑话百出，连父皇母后都拿她没办法。最后公主和丁圆双双喝醉，好梦连床，哈哈。

这是我第二次看陈伟城演出这么幽默的丑角，伟城演来轻松有趣。看来伟城下次可以考虑演‘闹钗’。

2010-07-02T20:50:00.005+08:00

新加坡韮菜芭城隍庙

2010年农历五月二十

1 - 7 - 2010

中国广东潮剧院二团

王锐光，陈立君：小宴

今晚的第一个节目是王锐光和陈立君演出的‘小宴’。这折子戏是‘吕布与貂蝉’里的精彩片段之一。王锐光饰演吕布，他的搭档陈立君饰演貂禅。

这部折子戏重点集中在王锐光甩头耍翎子的功夫。印象中王锐光在大陆已经演过几次，在2008年汕头潮剧节开幕典礼时，他也被邀表演甩头耍翎子功夫。可见汕头潮剧节的主办单位也非常欣赏王锐光的演出。

王锐光可说是驾轻就熟，把头甩几下，那对翎子就被他控制的很好，要直便直，要湾便湾，看得大伙乐开怀，并以热烈的掌声回报王锐光精湛的演技。

虽说陈立君没什么机会发挥演技，不多若不是貂蝉的出现，吕布怎会发挥那好色男性挑逗美女的甩头耍翎子功夫呢！哈哈。

2010-06-28T21:08:00.008+08:00

新加坡韮菜芭城隍庙
2010年农历五月十六
27 - 6 - 2010
中国广东潮剧院二团
王锐光，邱秀茹，高树洪：秦香莲

下午接到好友许先生的来电说到晚上的戏7点半开锣。奇怪，怎么会提到呢？后来他又打电话来报告，原来中国广东潮剧院二团会先呈现‘五福连’。于是我和太太便提早出门去看戏。来到演出地点才7点20分。刚好陈伟城和黄丹娜在光碟摊位，我便向太太说起那天和伟城聊天的事。也碰到陈国来和一些朋友去看戏，谈话之中才知道晚上的票房报佳，全场满座。也听到有关负责人说把黑布拉开，增添椅子给买不到票的观众欣赏演出。在这一周里，这是我的第五场戏，也是第一次听到票房满座，不知是周末，还是大家比较熟悉‘秦香莲’，还是大家知道有好戏看，大伙涌到到韮菜芭城隍庙看中国广东潮剧院二团的演出。

‘五福连’的演出结束后，出现一个特别节目，那就是王锐光和詹少君联合演唱‘石榴花’的一首歌曲。那可说是一个大惊喜，是不是因为票房报佳而安排特别节目酬谢观众呢？

‘秦香莲’共有六场戏，我个人认为‘闯宫’，‘杀庙‘和’‘鍘美’比较精彩动人。邱秀茹饰演的秦香莲戏份最重，她演的可圈可点，不过若是她的唱腔能够稍微突破，就会带动观众看戏的心情。王锐光饰演陈世美，哈哈，坏人一个！他演来够狠都凶，不过再兇再狠一点会更好。高树洪的演技比在‘四告状’还要好得多，不过在‘杀庙’里有一个小动作失手，有点可惜。

最后一场戏‘鍘美’虽然好看，我个人认为只把王锐光抬起来拉进去斩首有点不够味。导演可以安排王锐光在舞台批发甩头多次，然后把头放进虎头鍘，包拯把手一拉，陈世美尖叫后下幕会更精彩。印象中新加坡织云潮剧团在‘包公斩皇亲’里，饰演包公的泰国演员亚达和饰演皇亲的马来西亚演员阿陆就是这样把整出戏推到最高潮后下幕。

演出结束后，中国广东潮剧院二团安排主要演员下台和观众见面拍照，我也趁机抓住王锐光拍照。非常感谢谢继顺帮我这个忙。

‘秦香莲’故事:

宋朝湖广荆州府有一妇女秦香莲，其丈夫陈世美上京赴考三年，全无音讯，公婆又因连年荒旱，受饥身丧，秦香莲只得领着一对儿女上京寻夫。在京城里，香莲闻知丈夫高中状元，受招国婿，且喜且惊，终于在紫墀宫里会见了亲夫陈世美。但满身荣耀的陈世美，利禄薰心，却将她母子赶逐。

秦香莲被赶出宫后，在街上遇见了三朝元老、宰相王延龄，便拦道喊冤。延龄很同情香莲遭遇，于是借辞为世美拜寿，教香莲扮为卖唱之人，歌唱筵前，指望使世美回心，但世美却坚决不认，并对香莲多方赶逐。延龄义愤填胸，将自己白扇给矛香莲，嘱她往开封告状。

陈世美赶走香莲之后，怕生后患，竟派武士韩琪前往追杀。韩琪在“三官庙”追到香莲母子，经香莲诉说之后，为了不昧良心，韩琪终于放走她们母子三人，自己却因无法向陈世美复命而自刎。秦香莲奔往开封，见到包拯，控告世美。包拯便把世美骗过府来，先以婉言相劝，希望他认下妻儿，骨肉团聚。但陈世美倚仗皇势，蒙昧良心，全不领悟，甚且企图行凶杀害香莲，包拯迫不得已，立即开堂审讯。皇姑、国太闻讯，相继到来庇护，用尽种种卑鄙手段，威胁包拯放回世美。包拯无可奈何，将俸银三百两赠香莲，劝她带儿回家，勤劳度日。香莲有冤难诉，拒不接受，并怨包拯官官相护。包拯听了香莲的话，愧愤交加，宁愿弃官去职，主持正义，终于铡下了见利忘义背信丧德的陈世美。

2010-06-27T11:28:00.005+08:00

新加坡韮菜芭城隍庙

2010年农历五月十五

26 - 6 - 2010

中国广东潮剧院二团

陈立君，陈慕芸，高树洪：四告状

常言道，期望高，失望大。昨晚看中国广东潮剧院二团演出‘四告状’后，觉得这话说的一点也没错。

首先谈卡士吧，除了陈立君饰演的皮秀英唱作俱佳以外，陈慕芸的李贤贵还算中规中矩。娃娜饰演的黄小姐表现一般，个人认为她整体的装扮显不出她在一群丫环当中是一名千金小姐，还以为她是秋菊呢！饰演黄阁老的演员和张应炎相比，简直是地球的两个极端。

千盼万盼的李贤明终于出来了。哎呀！他到底是谁呢？撇开他和陈楚蕙电影版本的装扮不说，怎么一出场伸手抓翎子抓了一会儿才抓到呢？他是主要主角之一呀！后来才知道他是高树洪。我记得只看过他的一段戏，好像是‘槐荫别’。他的声线吗 - 尾音一直唱的很不够味。不过，话说回来，看得出高树洪是很用力的演出李贤明这个角色，他满头大汗，汗水直流，也够辛苦。可能他再需要多一点时间磨练自己的演技。总之，前半部戏看得很辛苦，很沉闷。

还好，陈立君使出浑身法宝，演出一些高难度的动作，把平静沉闷的场面掀起一些涟漪。

回家后在网上碰到一些泰国和新加坡网友，他们的看法和我差不多。只有吴瑞丽小姐问我是不是先前接受了陈楚蕙和曾珊凤的电影’四告状‘演出后，才有这样的对比。于是，我向她分析一些我个人的看法。

2010-06-23T23:59:00.001+08:00

新加坡韮菜芭城隍庙
2010年农历五月十二
23 - 6 - 2010
中国广东潮剧院二团
王锐光：下金山
陈伟城，陈立君，王锐光：连升三级

今晚是连续三晚看中国广东潮剧院二团的演出。为的是要看王锐光演出的‘下金山’和陈伟城的‘连升三级’。

‘下金山’是王锐光曾经参赛的项目之一，也是他表演一些高难度的特别演出，观众也以热烈的掌声回报王锐光的精彩演出。

‘连升三级’是陈伟城的拿手好戏，看到令人捧腹大笑，也可以解解压。。陈伟城演来深动有趣，又滑稽又不低俗，太精彩了。好戏也要有大牌演员配合，陈立君和王锐光也有参与演出。

明末，饱学老儒甄玉斋写就文章《兴邦论》欲上京赴试，往文昌帝君许愿遇贾博古，欲仗势强娶其女甄似雪，玉斋鄙其不学，许以贾中状元方可议婚，谁知贾窃得《兴邦论》赴考。一路嫖赌误了考期，冲撞权宦魏忠贤，魏赏识贾的赌徒品性，助其进场入试。考官慑于魏奸权势，作弊将贾取为状元，宰相冯庸明其真相，莫奈慑于魏忠贤气焰，只能暂且隐忍待机，魏庆寿，百官争贺，贾大出风头，魏当场为贾连升三级，贾为炫耀文墨，事先逼甄似雪代写的贺联，而似雪趁机改句骂魏。恰好崇祯帝临府除魏，见贾骂魏之联，大为赞赏，立既将贾连升三级，冯庸金殿之上带玉斋、似雪鸣冤，当场揭穿贾真相，后将贾绳之以法，一场怪事，徒留千古笑话。

2010-06-22T23:59:00.006+08:00

新加坡韮菜芭城隍庙
2010年农历五月十一
22 - 6 - 2010
中国广东潮剧院二团
王锐光，邱秀茹：诱弑
王锐光，杨伟丹：后蜀贤妃

一下班就忙着赶场，今晚中国广东潮剧院二团呈现‘（诱弑）’【早前写成荫阳河】和‘后蜀贤妃’。

抵达现场时才6点55分，见到了奇灵在烧香拜神，所以我就单独的到处走走。说来也真巧还是有缘份，就在那时遇上王锐光。我上前和他握手交谈，向他说昨晚为了看完整出戏，没去找演员聊天。他也说今晚的两段戏，他都有参与演出。过后他说要去化妆准备演出。

我便去找奇灵，向他说后台不容易闯，要和化好妆的演员见面比较难。于是便在演员宿舍徘徊。刚好看到谢继顺从演员宿舍送客出来。等他的朋友走后，我上前找他谈话，并自我介绍一番，也介绍奇灵和他的母亲给他认识。我也代泰国好友谢先生问候他，也提起谢老弟还特地交代我要问候陈立君，陈伟城等。谢继顺二话不说就带我们进去，先是看到陈立君，然后带我进去认识陈伟城和导演吴兹明。陈伟城倒茶请我喝，聊了一会儿，我和继顺离去，看到陈立君还在和奇灵聊天，抓住机会和陈立君与谢继顺拍照。

第一段戏是折子戏‘诱弑，由王锐光和邱秀茹主演。演出中规中矩，到最后几分钟戏时才掀起高潮，王锐光和邱秀茹两人舞台动作和邱秀茹的水袖功夫还真不错。

‘后蜀贤妃’的故事取自五代时期，后蜀主孟昶妃子徐英，才貌双绝，贤德明慧。蜀主沉迷诗酒，糜费奢侈，徐英忧国忧民，苦心规谏，无奈后蜀君臣承平日久，君昏臣庸，后蜀终被宋王赵匡胤所灭，孟昶与徐英被虏往汴梁。

赵匡胤倾慕徐英才貌，更感佩其气节，想纳徐英入宫，但宥于君王之道只好强抑己念。后蜀孟昶因悲郁伤酒猝死，赵匡胤向徐英表达了爱慕之情，徐英虽感英雄天子挚情，但她信守与孟昶前盟，坚拒帝王情爱，唯求返乡终老。赵匡胤强抑情思，应允徐英回川。然而，徐英却不幸死于宥于俗见的宋臣之手。绝代佳人，千古传诵。

‘后蜀贤妃’的主要演员有王锐光饰演赵匡胤，杨伟丹饰演徐英，陈慕芸饰演孟昶。论角色，陈慕芸和杨伟丹比较有机会发挥，看得出他们演得很卖力。第一次观赏是杨伟丹的演出，对她留下深刻印象，她把徐英演的太好太真了，观众也以掌声回报。看到她精湛的演出，就想起香港澳门朋友吴瑞丽小姐说起她和杨伟丹联合演出的折子戏‘楼台会’，想必杨伟丹的祝英台也是楚楚动人，演出逼真吧。今晚王锐光的扮相特别抢眼，当然也是唱作俱佳。

2010-06-21T23:48:00.005+08:00

新加坡韮菜芭城隍庙

2010年农历五月初十

21 - 6 - 2010

中国广东潮剧院二团

王锐光，陈立君：洗马桥

好开心哦，终于等到中国广东潮剧院二团再一次莅临狮城呈现潮剧，并以潮剧戏宝‘洗马桥’作为掀开序幕的开场戏。记得中国广东潮剧院二团上一次在新加坡公演‘洗马桥’时，由于那时我还没接触中国广东潮剧院的演出，错过观赏好戏的机会。过后从奇灵哪儿看了这部戏的光碟版，就深深的爱上这部戏。2008年到汕头观赏潮剧节的演出时，有幸和饰演刘文龙的王锐光见面，并且买到了‘洗马桥’的DVD版。

几次到演出地点买票都买不到，因为还没开始发售，过后终于在2010年6月9日买到了戏票，肯定能够观赏‘洗马桥’的演出。

终于等到农历5月初10，傍晚大约7点钟便抵达演出地点，也碰到几个朋友和本地职业团体的演员。在开幕仪式就要结束时，老婆和岳母才赶到，正好就要掀开序幕了。

随着熟悉的过门音乐，王锐光，陈立君和谢继顺一一出场了，邱秀茹取代林舜卿，书童永宁的演员也换了。观赏现场演出就是不一样，能够看的更投入。问题就出在有些嘉宾观众总是在紧要关头进进出出或离座，真有点扫兴。

二团这次的水准还不错，唯一美中还不足的少了林舜卿饰演刘文龙的母亲，不能把演出推到最高潮。

2010-06-05T07:28:00.000+08:00

观赏潮剧梁山伯与祝英台
The Butterfly Lovers

好多年前看过香港东山潮音剧艺社的'梁山伯与祝英台',对莊雪娟和石玲的演出留下深刻印象.过后一直在寻找这部黑白电影的光碟,就是没法找到.几年前看过林初发的'亿十八',林燕云与张怡凰的'十八相送',许佳娜的'亿十八',并在2008年的汕头潮剧节第一次观赏到潮剧版本的'楼台会'.

在这之前,越剧,粤剧等剧种都演过长剧'梁山伯与祝英台',唯有潮剧除了早期那部黑白潮剧电影和澄海潮剧团的'梁山伯与祝英台',就是没机会观赏一部梁祝的长剧.

最近看到许多'楼台会'的剧照,都是由香港澳门演员吴瑞丽小姐饰演梁山伯,祝英台分别有谢蓉或杨伟丹饰演.但看剧照就已经感觉到演员在演出时下足功夫,很期待能够在短期之内也有机会看到这些'楼台会'的片段.

2010-06-01T22:18:00.002+08:00

香港新天彩潮剧团
奇双会
陈楚蕙与方巧玉主演

好多年以前租过一片折子戏的录像带，那就是陈文炎主演的‘赵庞写状’，觉得赵庞真的是软弱没用，替饰演桂枝的杜冰写一份信手一直发抖，真没用。记得大陆的潮剧团有时会演这部折子戏，就是不知道这片段是取自那一部长剧，直到通过奇灵看到香港新天彩潮剧团的‘奇双会’，方知这就是‘赵庞写状’的长剧。

陈楚蕙和方巧玉的搭配一直是我最喜欢的组合，况且这部迟来的光碟也带来一部我还没看过的潮剧电影。那天借着假期没上班，和母亲一起欣赏这部‘奇双会’。过后从我收集的潮剧电影剪报里找到这幅图片，原来‘奇双会’也叫‘桂枝告状’。

2010-05-30T10:48:00.002+08:00

新加坡韭菜芭城隍庙
2010年农历四月十六
台湾明华园（天字）剧团
未央宫枭雄泪

知道台湾明华园（天字）剧团在新加坡韭菜芭城隍庙演出好多天了，就是抽不出时间去观赏。终于在5月29日前往观看明华园的演出。去那边看戏，驾车去是一个大问题，因为基本上是很难找到停车位，就算有也是非法停车。往年我都是乘搭地铁，然后转换巴士去看一场戏，来回和等车的时间大约要两个小时。现在就不同了，因为有环线地铁，可以从南北地铁线的碧山站搭环线地铁到麦波申，不到11分钟就到了，真好。一出地铁，步行不到五分钟就到演出地点了。

2010年农历四月十六，我和太太结伴去看台湾明华园（天字）剧团演出未央宫枭雄泪，由陈昭香和孙诗雯主演。我喜欢看这部汉高祖刘邦和韩信的剧目。觉得演出如果少了一些对白，会比较有看头。

虽然明华园在这里演出15天，不知为何没有带来‘白蛇传’和‘刘全进瓜封驸马’。我好喜欢看着两部戏哦。

2010-05-01T07:38:00.001+08:00

Teochew Opera Artistes

潮剧女小生和男小生

早期接触的潮剧演出，一般都是由女演员扮男生演小生，印象深刻当然是香港潮剧小生王陈楚蕙。她的小生装扮为妙为俏，风流潇洒，声线够粗，演绎起来十足像个男演员。

潮剧电影在香港非常旺盛时，也产生了不少女小生如莊雪娟，卢淑娟，林静仪，张兰芳，陈淑明，陈金枝，李美英等。

70/80年代过后的新一代小生有香港的陈碧玲，蔡玉雯，丁敏，罗桂凤，张丽金，萧少云，吴瑞丽和泰国的陈嫦娥，谢子云和潘素月。我很幸运的都有机会欣赏他们在电影或舞台上的演出。

本地职业潮剧团也产生了非常多的女小生，据我看过的女小生就有九妹，细妹，妹妹，莫妮，珠华，阿细，陈巧鸾，良珠，邓道兰，李美贞等。也有跟随本地职业潮剧团的泰国演员如亚云和谢妙珍。

还有很多演的不错的女小生，不过我不知道他们的名字。也看过马来西亚中玉楼春潮剧团的演出，该团的钟秀香，谢妙珍和陈惠卿的演技不错。

也喜欢来自中国的潮剧团体的女小生，早期的女小生如吴蝉贞和陈瑜演得很不错。后期的女小生，我非常非常喜欢林燕云和许佳娜的扮相和唱腔，也喜欢蔡小玲，李妙娟，许佳婉，杨少云，陈荫花，杨月珍等的演出。

除了欣赏女小生的演出，也已经接受男小生的演出。说来也真幸运，我几乎见过中国几个潮剧团的男小生，先接触广东潮剧院一团的林初发和黄映伟，然后是广东潮剧院三团的李勇强。

过后认识云霄潮剧团的汤艺勇，他可说是潮剧界少有的文武生。在第三届潮剧节时见到广东潮剧院二团的王锐光，再一次见到一团的林初发和黄映伟，三团的李勇强以及云霄的汤艺勇。在那个期间也见过潮州市潮剧团的佳淳和其他潮剧团的小生。

所谓男女有别，看戏还是比较欣赏女小生的演出，不过做朋友呢，还是和男小生比较适合。

2010-04-26T06:48:00.007+08:00

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？

2010-04-25T07:28:00.000+08:00

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。

2010-04-19T06:28:00.006+08:00

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.)

2010-04-18T06:48:00.006+08:00

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.

2010-04-11T15:28:00.006+08:00

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.

2010-04-09T21:38:00.001+08:00

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.

2010-04-07T06:51:00.013+08:00

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.

2010-04-05T06:48:00.003+08:00

Growing Up With Teochew Opera - 14

Return Of Heavenly King Tan Chor Hwee
1987年潮剧小生王陈楚蕙重临狮城夜夜爆满

Immediately after my last final year paper in 1987, I rushed to watch the Teochew opera performance by 陈楚蕙 at Kreta Ayer theatre. She made a return after she stopped performing in Singapore for many years. Normally, she would stage her performance in Thailand first as she had a lot of businesses and supporters in Thailand. In fact, five years ago, ie 1982, she staged a few months of performances in Thailand. Then, one of my sister’s friends managed to get a set of video tapes of 五龙会 or later known as 五子挂帅. We were excited to watch the video although the quality was not very good. We waited patiently for her arrival as the market in Singapore is not big compared to Thailand.

陈楚蕙 performed many popular shows in Thailand and they were available on video. Some of the shows were 红鬃烈马, 借剑, 碧海丹心, 孟丽君 and 红书宝剑. The following pages capture pictures of her performances in Thailand.

In 1987, I watched 薛丁山(Part 1 and 2), 红鬃烈马, 怒斩杨廷芳, etc. We loved 陈楚蕙 so much as her voice is unique. You cannot find this in any other artiste. She looks fantastic when dressed and dolled up. 陈楚蕙 is deeply loved by the audience not only because of her acting skills but also because she is humble and has excellent interpersonal skills.

The performance that year had been very successful. See a related Chinese article.
一九八七年，陈楚惠出人意外地亲率新天彩潮剧团，又一次来到新加坡。那时候，中国广东潮剧团已经前后来过三次，由中国输入本邦的录音、录相充斥市场，以香港潮剧团的水准，在本地还能卖座吗？谁都不敢有太大的信心，唯独可以略为壮胆的，只有"陈楚惠"三个字。出钱赞助主办的人，也都抱着亏本无所谓的心态，要给陈楚惠一个考验。为了减轻成本负担，部分乐员及配角都在新加坡临时聘用。陈楚惠在牛车水人民剧场演足了一个月，星期天还要加演日场，票房纪录却是有增无减。就在这个时候，由国这剧场主办的中国广东潮剧团第二团，也来到新加坡，由郑健英挂帅，在嘉龙剧场开锣上阵。好个陈楚惠，竟宣布展演十天，与广东潮剧团演对台戏，而在这最后十天中，仍然夜夜爆满。她在人民剧场院共四十天，演了四十四场戏，不论新剧目或旧剧目，戏迷都支持到底。陈楚惠有这样的号召力，实在是足以自豪的。

2010-04-03T07:38:00.003+08:00

Growing Up With Teochew Opera - 13
Teochew Movies & Teochew Opera Troupes From China
中国大陆制作的潮剧电影和潮剧团

In 1984, there was a China Production 张春郎削发. I remembered bringing my parents to 丽宫 ‘Palace’ cinema in Katong to watch the production when it was screened in Singapore about two years later. My late dad praised the production for its beautiful scenes and fine acting skills.

In fact, China was the first country the produce Teochew opera movies. Some of the well known movies included 告亲夫 (1961), 陈三五娘 (1961), 闹开封, 刘明珠 (1963), 苏六娘 (1957) and 火烧临江楼. My late dad told me 苏六娘 and 火烧临江楼 received very strong audience support in Singapore. Many Chinese, including non- Teochew, watched the two movies.

I watched all these movies too. I must admit that 姚璇秋 is really a great actress. I like her 陈三五娘 and 苏六娘.

Here, I would like to share some history about Teochew opera which my late dad once told me. He said in the early 1900’s, many local Teochews regarded Teochew Opera as a low class entertainment of the poor and uneducated. They considered Guangdong Han Opera or 外江戏Gua Kang Hee (Wai Jiang Xi) as high class opera of the educated. Teochew Opera movies in the golden age of the 60’s gave the old Teochews a high class new image as opposed to their earlier views. Then mainland China suffered the Cultural Revolution and the China Teochew Opera movies were very limited.

It was then Hong Kong Teochew Opera movies flourished under such circumstances. 萧南瑛 ‘Siow Nam Eng’ of China migrated to Hong Kong. After Hong Kong 东山潮音剧艺社团 ended its productions, 荘雪娟 and 曾珊凤 went back to Thailand. Teochew Opera in S'pore, Thailand and Hong Kong had since dwindled significantly. The release of 张春郎削发 was like discovering an oasis in Sahara desert. 洪妙 acted in the movie at the age of 80. It had been a long time since the last movie 辞郎州‘See Nern Chew’ directed by 楚原 ’Chu Yuen’ and casted by丁敏‘Teng Miang’, 罗桂凤‘Loh Gui Hong’ of 昇艺潮剧团 plus 萧南瑛, was screened in the Singapore’s Prince cinema in 1976/77. The Shaw Brothers’ production was released in DVD and VCD in 2009. Also, in the 80’s, 光前戏院 ‘Kong Chian’ cinema in Toa Payoh also made a re-run of the China Teochew hit 苏六娘.

Attached below is a Chinese article extracted from a website about Teochew opera movie production from China. It confirmed what my late dad told me about the popularity of some movies.

五十年代末期和六十年代初期，中国潮剧电影以雷霆万钧之势，震撼了新加坡潮剧艺坛。人们意想不到潮剧艺术会如此优美、典雅和清新；它的演艺原来是这样的美妙细腻；它的音乐原来是这样的丰富动人；令人一看再看，百看不厌；令人一听再听，百听不腻。

第一部来到新加坡上映的潮剧电影是《火烧临江楼》，那是一九五八年的事。不久，《苏六娘》《告亲夫》《陈三五娘》《刺粮骥》《芦林会》《王茂生进酒》《刘明珠》《闹开封》等先后进入本邦，受到人们热烈的欢迎，因此对潮剧艺术刮目相看，衷心赞赏。学青衣的莫不争学洪妙，一时刺激了整个星洲潮剧，掀起了模仿中国潮剧电影的热潮。职业的戏班固不必说，就是业余的民间团体，亦如雨后春笋，欣然成长。余娱儒乐社、陶融儒乐社、六一儒乐社等原为研究汉剧的社团也都改演潮剧；杨厝港村民互助社特设潮剧组；炽昌黄氏公会的戏剧组也独立出来另组南华儒剧社；这些团体都广收会员，积极展开活动，日常以潮曲、潮不为消闲娱乐，遇周年志庆则自租剧院公演潮剧，免费招待各界人士。从此，潮剧艺坛在新加坡开拓了另一新纪元，盛况空前，蔚为大观。然而，好景不常，中国文革期间，人们热切盼待的中国潮剧顿时销声匿迹。此情只待成虚而入，短短数年中，输入本邦的少说也有几十部。

I like some Teochew opera troupes form China too. 潮州市潮剧团Teochew Teo Kiat Tuan is one of them. I was fascinated when I watched their 宝莲灯 and ‘御园辨亲’ on VCDs and these are very good plays. In fact, the troupe came to Singapore to perform twice but I missed their performances. For China’s production, I have a special feeling for those movies produced in the 1950s/1960s. These include 苏六娘, 告亲夫, 陈三五娘, 刘明珠, and 火烧临江楼. I also like to watch 折子戏 like 王茂生进酒, 闹开封, 断桥会, 杨令婆辩本, 回书, 闹钗, 龙井渡头, 柴房会 and 梅亭雪, and listen to 三哭殿, 姜通上京 and 急子回国 on CDs.

Someone asked me whether there is any difference between opera troupes from China and Hong Kong and what’s the difference between these foreign troupes and local troupes? My personal view is that Hong Kong troupes resemble our local troupes in terms of costumes, make up and music and hence the personal touch.

2010-04-02T07:25:00.001+08:00

Growing Up With Teochew Opera - 12

Singapore's Teochew Opera Troupes and their Performances

新加坡的潮剧班和演出的剧目

Below is a brief of some of the Teochew Opera troupes and some of their performances. I have watched many of the titles listed below.

1. 老一枝香潮剧团龙潭称霸, 一门三进士, 百岁挂帅, 三驸马, 浪子妖姬，柴房会，钟无艳，

2. 老三正顺潮剧团包公探荫山, 七子救驾, 铁面巡案

3. 织云潮剧团乘龙快婿(春草闯堂), 胭脂魂, 夫人城, 神雕侠侣, 云中落绣鞋, 三看御妹刘金定, 刘海遇仙，一门三进士, 王宝钏, 穆桂英招亲, 佘赛花, 斩韩信, 雪飞王子, 仁义公主, 柴房会, 告亲夫, 唐宫秘史, 慈云走国, 假王真后, 三娶相国女, 包公斩陈世美，大唐英烈传，借剑，狸猫换太子，赵氏孤儿，血溅三宝袍，进边会，潇湘秋雨，包公斩皇亲，桃花过度，三娘担火。

4. 老正天香潮剧团雷峰塔, 刘璋下山，火烧摘星楼

5. 老中正顺潮剧团若兰救国, 包公赔情

6. 老玉春香潮剧团姜通上京, 双枪陆文龙

7. 新荣和兴剧团辞郎州, 碧玉簪，张廷芳, 告亲夫, 五子挂帅, 女巡按，刘明珠, 救洪州, 赵氏孤儿, 杨令婆辩十本, 赵少卿, 张春郎, 春草闯堂, 姐妹皇后, 秦德避雨

8. 新荣艺潮剧团矿龙山, 双龙争凤, 井边会，萧湘秋雨

9. 金鹰潮剧团斩十八翰林, 杀猪状元 , 一门三进士, 柴房会, 大脚夫人，粉庄楼，狄青解征衣，皇亲国戚，假婿盗方，刘明珠，红楼夜审, 刘璋下山

10. 老赛桃源潮剧团罗衫记，烈女斩夫，红鬃烈马, 柴房会, 逼反长安，铁面海瑞

11. 老玉梨春潮剧团绿牡丹

12. 中源和兴潮剧团刘璋下山

13. 正天香潮剧团碧玉簪

14. 新新荣和潮剧团洗马桥，红鬃烈马，洛水仙姬，潇湘秋雨

15. 新一天彩潮剧团包公三勘蝴蝶梦, 借剑, 秦原闯道，趙少卿

16. 新怡梨兴潮剧团怒斩杨廷芳，一门三进士，赵少卿，告亲夫

2010-04-01T21:24:00.004+08:00

Growing Up with Teochew Opera - 11

Singapore's Professional Teochew Opera Troupes

新加坡的职业潮剧戏班

50年代到90 年代的新加坡潮剧班早期的新加坡有好多水准相当高的潮剧班。

1. 新荣和兴潮剧团（2001年1月14日解散）

2. 老赛桃源潮剧团

3. 老一枝香潮剧团（解散）

4. 老正天香潮剧团（解散）

5. 新荣艺潮剧团（解散）

6. 老玉春香潮剧团（解散）

7. 老三正顺潮剧团（解散)

8. 老中正顺潮剧团 (解散）

9. 织云潮剧团

10. 新一天彩潮剧团（解散）

记忆中，在70年代到80年代初演出的新剧班有：

11. 老玉楼春潮剧团（解散）

12. 驼江潮剧团（解散）

13. 中源和兴潮剧团（解散）

14. 老富贵春潮剧团（偶尔有演出，但很久没看到该班演出，应该解散了。）

15. 正天香潮剧团（偶尔有演出，但很久没看到该班演出，应该解散了。）

16. 金鹰潮剧团（2007年2月11日解散.)

在2000年前后成立的新潮剧班有：

17）新怡梨兴潮剧团

18）新新荣和剧团（从潮音班成立的,勇气可嘉。）

在50年代，可能还有多几班潮剧班，若找到资料会加以补充。现在，我和其他潮剧戏迷唯有看海外的潮剧戏班和VCD了。

2010-03-29T06:28:00.003+08:00

Growing Up With Teochew Opera - 10

Teochew Movies Screened On Television

小银幕看香港潮剧电影

In the 1980s, one could watch Teochew opera movie every week. The previous SBC (not the current Media Corp) was so kind to screen Teochew, Cantonese and Hokkien opera movies. Originally, Teochew opera movies were screened on every Sunday afternoon.

Later, it was changed to Saturday evenings, and subsequently weekday evenings. Finally, it simply disappeared. We are die hard fans and would watch the movies every week. Even my two younger sisters who did not like operas would sometimes stayed at home to watch the movies.

Many of the Teochew opera movies were Hong Kong productions by 陈楚蕙, 方巧玉 and 曾珊凤. Some of the titles that were screened on TV were 四告状, 状元巡更, 美人蟹, 墙头马上, 孔雀东南飞, 双狮图, 共伞奇缘, 刘璋下山, 牡丹亭惊梦, 潮州女状元, 李子长活画, , 白骨美人, 二岁夫, 金叶菊, 包公会李后 and 扫窗会.

Besides 陈楚蕙, another Teochew male lead is 莊雪娟 from 东山潮音剧艺社. She acted in some very good movies including 双珠凤, 莲香戏鞋, 郭子仪拜寿, 一板打死江西王, 梁山伯与祝英台 and 刘明珠三审玉芝兰. These movies were screened on TV too.

I remembered my neighbour, the Hokkien grandmother in Toa Payoh, also loved to watch Teochew opera movies. We would always remind one another to watch the programme that particular evening. In 2004, I went shopping in Sengkang, Rivervale market and was extremely happy to buy one of 荘雪娟 Teochew opera movies 李三娘井边会. Though the quality of the VCD was not very good but I was very glad to have found that movie costing only $6. A set of CDs would cost no less than $45. I hope one day I can find 吴汉杀妻, 文武香球 and 郭子仪拜寿 . A picture of 井边会 and 郭子仪拜寿 performed by 东山潮音剧艺社.

It’s amazing to see so many Teochew opera movies produced in the 1960’s. See the following Chinese article extracted from a website on 'The Spread and Development of Teochew Movies in Hong Kong'.

1960年5月，香港著名人士何贤邀请广东潮剧团赴港演出，观众如潮，日夜爆满，在港九乃至南洋各地掀起了一股“有谈皆潮剧，无声不潮音”的空前“潮剧热”，又给香港潮剧的勃兴以有力推动。与此同进，还有香港“文华”、“鸿图”、“新联”和广州珠江电影制片厂先后在大陆拍摄的潮剧影片《火烧临江楼》、《苏六娘》、《告亲夫》、《陈三五娘》、《韩江花似锦》、《乳燕迎春》、《刘明珠》等，此期间也在香港及东南亚各地放映，酿成了一阵阵的“中国潮剧电影热”。这就更使潮剧的影响日增，愈来愈成为香港无数观众喜爱、痴迷的“热门戏”。
随着观众对潮剧兴味日浓，香港这期间除原有“新天彩”、“老正顺”、“中正天香”等几个潮剧团外，又先后出现“新岭东”、“中源和”、“天艺”、“升艺”、“荣和”、“乐声”、“艺星”、“玉梨春”、“一枝香”、“老源正”等多个潮剧表演团体。汕头商会创办的“韩江潮剧团”，这期间也连忙派人到广东潮剧团学习表演技艺，并从汕头市聘请潮剧导演蔡木雄（绍霖）到香港培训演员，指导排练，借以提高艺术水平。潮剧电影制作这期间也仍方兴未艾，甚至有了更大发展，除了夏帆继续与蓝田、李宏、方汉妆、白云仙等合拍《玉钗记》、《双玉鱼》、《林桂兰》、《秋恋》、《狄青大闹万花楼》、《龙井渡头》等.

“新天彩潮剧团”担纲演员陈楚蕙也先后与郑楚香、方巧玉、陈丽丽、曾珊凤等合作拍摄《后母泪》、《天仙配》、《扫窗会》、《刘璋下山》、《潮州女状元》、《双狮图》、《恩仇记》、《薛刚反唐》、《红鬃烈马》、《白骨美人》、《碧玉簪》、《春香传》、《孟丽君》、《严兰贞打破玉花瓶》、《墙头马上》、《李子长活画》、《金叶菊》、《吕蒙正》、《穆桂英招亲》、《仙姬送子》、《四告状》、《元宵案》、《红梅记》、《叔鸣嫂冤》、《红叶姻缘》、《共伞奇缘》、《状元巡更》、《生死恨》、《皇姑嫁何人》、《美人蟹》等多部潮剧电影.
“东山影音剧社”则以丁楚翘、庄雪娟、石玲、陈金枝、黄艳秋、卢淑娟、吴泽、陈瑛、陈文昌、李缘绒、林静仪、何亦曾、李美英等主演推出潮剧《刘明珠三审玉芝兰》、《胭脂女》、《天波楼》、《罗衫记》、《滴水记》、《田七郎》、《清官审诰命》、《双驸马》、《郑元和螃蟹歌》、《玉狮记》、《明珠宝剑》、《张古董借妻》、《大闹粉妆楼》、《吴汉杀妻》、《莲香戏鞋》、《双珠凤》、《喜门环》、《深山节妇》、《金玉奴》等影片，还有张兰芳、江山等主演的《汕头阿嫂》，以及陈丽丽与李怡红、向葵等主演的《挽面案》、《清官斩孝女》等等一批潮剧潮语电影，都是在此期间陆续面世。

2010-03-28T07:08:00.000+08:00

Growing Up With Teochew Opera 9
Teochew Opera Troupes From Hong Kong
香港的潮剧团 - 新天彩潮剧团, 昇艺潮剧团

In the 1970s and 1980s, Teochew opera troupes from Hong Kong performed in Thailand and Singapore. Hong Kong’s 新天彩潮剧团 normally staged their performance in 新世界 New World in Jalan Besar (already demolished and a new condominium City Square Residences had been built on the same plot of land.) 陈楚蕙 appeared as guest performer at one time and only performed two titles, 红书宝剑 and 萧湘秋雨 . This was to land support to 方巧玉 who paired off many less popular ‘male’ lead during and was facing pressure and stiff competition from 昇艺潮剧团.

昇艺潮剧团 had many young and adorable actress like 陈碧霞 and Loh Quee Hong. They performed at the same time at the open space near Golden Cinema. There was one year, my mother and I had to choose to watch a performance from each troupe because of tight budget. We watched 双挂帅 played by 方巧玉 of 新天彩潮剧团 and 秦怀玉 by 昇艺潮剧团. I must admit that both the two troupes were equally good. Actually, we liked 秦怀玉 more as it contained the story line of 三哭殿 featuring how a princess of Tang dynasty lectured her son for killing the Prime Minister, whose daughter is the concubine of her father, the Emperor.

See a related article in Chinese from a website on the spread and development of Teochew Movies in Hong Kong.

六十年代中期以后，由香港进入泰国、新加坡等地演出的潮剧团体，以“艺星”剧团领先，继而还有“新天彩”、“昇艺”、“中源和”、“香江”、“乐声”等，使东南亚在“中国潮剧电影热”余温尚存之际，又再一出现一次相持时间很长的“香港潮剧热”。

“新天彩潮剧团”在泰、新等地演出次数最多，影响也最大。泰国先后就有“西舞台”、“西河”、“国风”等影剧机构（公司）相继聘请陈楚蕙及其所在的“新天彩潮剧团”分别在曼谷的“西舞台”、“西河”、“新华”等戏院演出。当时泰国华文报纸报道：“她（指陈楚蕙）之到来，一演就十几个月或半年，戏迷们不分日夜，每天都到后台求见一面，甚至在演期届临别之前夕，更见热切，有的赠衣物，有的赠金，有的赠钱，的的千言万语，喁喁喃喃，有的依依不舍，牵衣顿足……”，显见在观众中有很大的魅力。这期间，泰国主办机构有时还邀请“升艺”、“香江”、“中源和”、“乐声”等剧团到曼谷单独公演，或与“新天彩”唱“对台戏”，盛况更为惊人。这一阵潮剧“狂热潮”，在曼谷一直延伸到1972年泰方以“外汇”为理由，禁止香港潮剧团进入泰国演出，才暂告停止。

新加坡，陈楚蕙及其所在的“新天彩潮剧团”也曾多次前往，每次同样令“观众补票欣赏”，并“博得如雷的掌声”。尤其是1969年在新加坡演出《陈三五娘（下集）》（即《续荔镜记》）、《孟丽君》、《火烧临江楼》、《一门三进士》等剧目，时间长达两个多月，观众直不衰，许多人还将陈楚蕙当成“偶像”，争相在家里挂她的剧装照片。

1973年，新天彩潮剧团第三度南来，只少了一个陈楚惠（她息影剧坛，从商去了）；于是，观众就如一湖死水，激不起一点涟漪，票房纪录空前惨淡，连演了十几场，主办者眼看血本无归，却又欲罢不能；最的，还是重金商请陈楚惠从香港赶来助阵，才得扭转乾坤，挽回危局。陈楚惠又以《潇湘秋雨》、《红书宝剑》等剧目再掀高潮，往观者络绎不绝，由于向隅者多，竟还时时出现一些“隐形市场”炒卖入场券的事件，陈楚蕙因此被誉为“东南亚潮剧小生王”，“新天彩潮剧团”也获得了“香港长寿戏霸”的称号。

难道陈楚惠的演艺真的已经炉火纯青、超凡入圣了吗？她究竟有什么魅力，能够使戏迷为她而迷死？其实说穿了，也没有什么稀奇。首先，自从有了潮剧电景，陈楚惠主演的影片最多，是诸多潮剧电影明星中较为突出的一个，给观众留下了深刻的良好印象；其次，她对人态度友善，没有大牌演员倨傲放肆的气势，因她人缘很好，几度来新演出，接触面都非常广，不论富商巨贾、贩夫走卒，她都能坦诚相待，没有势力、贪婪或虚伪造作的恶习。凡是跟她接触过的观众，很快地便成为她的戏学，与她交往则引以为荣，视为乐事。所以，她的剧艺造诣虽非冠压群芳，却因戏迷对她有亲切感而建立了广泛的观众基础，这就是这所以称为"迷死"。

2010-03-27T07:18:00.003+08:00

Growing Up With Teochew Opera - 8
New Local Teochew Opera Troupes In 1970s/1980s
七八十年代成立的职业潮剧班 - 潮起潮落

I recalled that Teochew street opera was at its peak in the late 1970s to early 1980s. If I were to use 潮起潮落 or 'The Rise and Fall of Teochew Opera Troupes in Singapore, that was the period of 潮起 or the golden age of Teochew opera troupes in Singapore.

In the late 1970s, new local Teochew street opera troupes like 中源和兴潮剧团 and 老玉梨春潮剧团 were formed. The actresses who played the male in each of the two troupes were from 织云潮剧团. I could tell because I watched their performance before. During that time, 织云潮剧团 had too many 小生 or male leads. Some of the common names are 月燕, 明琴, 莫尼, 钟喜坤, 珠华,淑真, 淑兰 etc. For a typical 4.5 hours perfomance, they took turn to perform. And at that time demand for Teochew opera was fantastic. I recalled there were plenty of opportunities to watch Teochew street opera. 中源和兴潮剧团 put up a very respectful maiden appearance, 刘璋下山 and 老玉梨春潮剧团 performed 绿牡丹.

In the early 80’s, another new opera troupe called 金鹰潮剧团 was formed. The main leads were from 新荣和兴潮剧团. They were 邓道兰 and 陈珍珠. They performed 斩十八翰林 and 屠夫状元 as part of their maiden appearance at Hong Lim Park where the opera festival was held. 织云潮剧团 also staged a 2 episodes performance called 仁义公主. I traveled from Toa Payoh to Hong Lim Park by bus just to watch the performances.

After the formation of 金鹰潮剧团, 新荣和兴潮剧团 was at the verge of folding up. Not only the key leads were gone, the shows they put up were very limited. If I recalled correctly, they invited one of the former lead actresses 陈巧娇 to perform a few months. That did not not create any significant impact as the shows like 女状元 and 渔女鸣冤 (I hope I remembered the titles correctly) did not excite the audience much.

In the early 80’s, another opera troupe 新一天彩潮剧团 got some financial backings and strengthen their pool of actors and actresses including inviting 细妹 who had quitted from 新荣和兴潮剧团 to come back on stage. They put up two performances, 借剑 and 秦原闯道. At that time, 细妹 had the habit of forgetting the lyrics and had to depend on the co-actors to help her with the singing. Some audience said they would not mind as Soy Muay had not been performing for many years. Later, she joined 金鹰潮剧团 as one of the many 小生. I saw her pefroemd in 柴房会 and 一门三进士 at Whompoa market and 刘明珠 in Ang Mo Kio.

陈楚蕙 and 张应炎 has also paired many times for the show 借剑. Besides the LP recording, 新天彩潮剧团 also performed this show in Thailand in the 1980's and staged the same performance in year 2004.

In the 90’s, there were two sub-standards opera troupes that were invited to perform mostly during the lunar 7th month hungry ghost festival. 正天香潮剧团 would perform 碧玉簪 (The Jade Hairpin) every now and then. That 小生 was actually the one who played the role as 花旦 in 新荣艺潮剧团 previously. She was called 庄玉花. My mum said she was trained as a child-artiste in the 60’s by 新荣和兴 and later became one of the 4 beauties. Another troupe, 老富贵春潮剧团 only emerged in the 90’s I had little patience to watch their performance. Many of the actors and actresses were either too matured or overweight.

I shifted to Yishun in 1988. I traveled to a few places to watch Teochew opera as there were fewer Teochew street opera performances in Yishun. I traveled to temples in Ang Mo Kio, the Tua Peh Kong temple at Balestier and Whompoa market quite often in 1994/5. That was the time 细妹performed male lead at 金鹰潮剧团. The two popular shows, 柴房会 and 一门三进士 attracted a lots of people. I must confess that the standards at that time were on par with 织云潮剧团. 细妹had also made significant improvements in her acting skills. I also watched 老赛桃源潮剧团 performed 柴房会 at 粤海清庙 at Raffels Place in 1996. 柴房会 is also a popular 折子戏 amongst China Troupes. See picture below.

I am not a typical fan who monitored the schedules of troupes’ performance closely. So long as I was informed of the location, I would proceed if I had the time and pocket allowance to travel. One such source came from my eldest sister who worked in a factory and she had many friends who stayed in Toa Payoh. I personally think 织云潮剧团 and 金鹰潮剧团 were the better troupes as they have good looking 小生 and 花旦, and 老生 with good voice like 张应炎, 老丑 as good as 陈文昌 of 新天彩潮剧团, a lot of supporting actors/actresses to play the role as soldiers and maids, etc.

新荣和兴潮剧团 at one time was on the verge of being closed down after the key lead actresses left for 金鹰潮剧团. Gone are the days where we could see 九妹, 细妹 and 细细 performing 辞郎州. Then, 陈巧鸾, the manager of the troupe came to inject new life into 新荣和兴潮剧团. She was a very talented actress but think people commented that she was a bit proud. She played the role as 杨令婆 in 杨令婆辩十本 very well. The original performance was put up by 洪妙, a male actor from China, who disguised himself as 杨令婆.

I also watched her performed in 赵少卿, 张春郎, 春草闯堂, 南北双英 etc. Unfortunately, the troupe had folded up in 2001 as she claimed that the income was not enough to defray the expenses. It performed the last show in Yishun after a solid 174 years of history in Teochew opera. The troupe performed 万古流芳 [An Everlasting Legacy] as their final performance in Yishun.

See some newspaper collections on the last performance staged by新荣和兴潮剧团.

Actually, prior to 2001, many Teochew troupes were folded quietly. May be they were not as popoluar as 新荣和兴潮剧团 and it did not capture the attention of the media. Some of the troupes were 中原和兴潮剧团, 老三正顺潮剧团, 老中正顺潮剧团, 驼江潮剧团, 新荣艺潮剧团, 老玉梨春潮剧团, 老正天香潮剧团, 老一枝香潮剧团 etc. I think 潮落 or the fall of Tecohew opera troupes took place in the late 1990s.

2010-03-26T06:59:00.005+08:00

Growing Up With Teochew Opera - 7

Teochew Opera And English Literature
潮剧与文学史

Over the next few years, 织云潮剧团 performed opera hits like: 穆桂英招亲, 斩韩信, 王宝钏, 一门三进士, 柴房会 etc. 穆桂英招亲 was produced as a several parts serial and screened on TV Singapure.

When I was in Secondary 2. the performance 王宝钏 was very appealing to me. For the subject English Literature, we studied Tom Sawyer, The Crocodile Dies Twice and many other books. However, I became so attentive when the teacher introduced the book ‘Lady Precious Stream’. It is actually 王宝钏 or better known as 红鬃烈马 nowadays. I had the advantage of relating the 4.5 hours performance by 织云潮剧团 to my literature book and the story line was very much similar to the performance. It did help me in understanding Lady Precious Stream and scored well for final term examinations. All these performances put up by 织云潮剧团 are popular movies of 新天彩潮剧团 too.

I considered myself very lucky yeh!

2010-03-25T07:08:00.003+08:00

Growing Up With Teochew Opera - 6

Teochew Street Opera And Hungry Ghost Festival - 3

与潮并长

During the mid 1970s, I had no problem appreciating the performance and could really understand what they were singing. During peak season like the lunar 7th month hungry ghost festival, every troupe would arm itself with two titles and perform the same two titles at different locations throughout the whole month. This was because it was very expensive to hire them during 7th month and each performance would only last two nights. The troupes would put up their best performance and invest in new costumes and headgears.

How did I know about that? Again, it was from those old uncles who stood in front of the stage. The moment someone on stage hung a notice (usually a rectangular blackboard) on the left side of stage facing audience, it would stir a moment of excitement as the audience would like to know whether the show was new or a repeat. I was amongst one of them. I would normally run to the nearby public phone and ring my mum about the title even though she might not be keen to come down and watch.

I would travel from marketplace to marketplace to get to know the pattern of street opera appearance for the whole of lunar 7th month within Toa Payoh. Sometimes, I would not mind seeing the same performance again if there was only one troupe performing because it was really very ‘shiok’. Take 26th and 27th day of the 7th lunar month as an example. I would watch 织云潮剧团 at my place. If I had seen the performance before, I would walk to Block 73 where another Teochew Opera troupe would perform. In the early 1970s, it was 新一天彩潮剧团. This happened only during the lunar 7th month hungry ghost festival. I wanted to watch a variety of troupes since I had all the opportunities to see 织云潮剧团 more often than the others in Toa Payoh. Also, by doing so would allow me to know the shows that the other troupes had prepared and the standard of their performance.

Someone asked me whether I had ever seen the 斗戏 between two Teochew opera troupes. My mum and eldest sister told me something interesting. They said there was once an aunt in JB somehow knew the schedule and my mother and a few of us came over to Singapore to watch. One location was at the then Tik Pasat (literally means iron market) at Beach Road. The market had since been demolished and she said should be the site where Golden Cinema is currently located. 新荣和兴潮剧团 and 老赛桃源潮剧团 staged side by side. Obvious winner was 新荣和兴潮剧团. My mum said 新荣和 “ngia char boh” (beautiful women), 老赛桃 “tua loh koh” (loud drum beat).

Another location is by the name of a temple called 金兰庙. 织云潮剧团 and 新荣和兴潮剧团 entered into the 斗戏. In JB, they said somewhere in Sing San near Sing Lau Yah Ken ‘new temple in dialect’, Teochew, Hainanese and Hokkien opera staged three in a row to 斗戏.

I did my National Service in the early 80’s. That was the time the street opera troupes were most appreciated and signs of decline emerged. I remembered I was very excited if the 26th and 27th day of the 7th month coincided with weekends as I could book out to watch 织云潮剧团.

Think the lunar 7th month hungry ghost festival is widely celebrated by Chinese in countries like Malaysia, Penang, Thailand and Hong Kong. The organizers would invite either their local street operas or invite some local pop songs singers to perform during the celebration. Other than the lunar 7th month hungry ghost festival, Chinese also have many celebrations for their gods and deities in almost all the even months of the lunar calendar.

2010-03-24T06:18:00.001+08:00

Growing Up With Teochew Opera - 5
Teochew Street Opera And Hungry Ghost Festival - 2

街戏与庆中元

During the 1970s, over at Lorong 5 Toa Payoh, 新荣和兴潮剧团 was the only troupe invited to perform at 修德善堂, during every lunar eight month. It was a very popular troupe during that time and it was my mum’s favourite troupe. Now that 新荣和兴潮剧团 had folded up, I understand that老赛桃源潮剧团 has taken over the slot.

My family stayed in Block 126 at Lorong 1 Toa Payoh. It is near the only wet market in Lorong 1. I was very happy because during that time, whenever there is a market or hawker centre, there would be local street opera performances because the hawkers and stall holders would pool their resources together to offer their thanks to gods and the 7th month good brothers. Like the temple at Lorong 4, this market has been inviting the same Teochew opera troupe to perform on the 26th and 27th day of the lunar 7th month every year. The first year in 1970 was packed with audience. It drew more than 1000 people to watch the opera performed by 织云潮剧团. This was the only Teochew street opera troupe that engaged the rope and pulley system where the actress could fly up and down on stage, mirroring what one could see in Chinese movies. The first ever performance was 胭脂魂, a typical movie by 长城 Movie production. There was a scene where the actress hung herself and 织云潮剧团 did it by rope and pulley system. They also controlled the lightings very well and the whole stage looked eerie.

织云潮剧团 and 新荣和兴潮剧团 were the heavenly kings of the Teochew street opera troupes. They were like NIKE and SWATCH. All the old and young fans knew them. I usually stand in front of the wayang stage and had the opportunity to hear old uncles and aunties telling stories about the show, about these heavenly kings personal life, etc. They had many supporters. There is no doubt that the number of supporters for artistes in the 70’s and 80’s is comparable to those who supported Superstar Search or Singapore Idol. I watched 张廷芳 by 九妹 in the day, and 辞郎州 in the evening. Still, I could not fully understand what they were singing but the actions tell. It was very much later that my mum told me 张廷芳 was a fugitive and married many women to escape from his enemies. I appreciated the plot of 辞郎州 much later after having watched it many times.

The photo below shows the two main leads of 织云潮剧团, ie 李淑真 and 珠华 taken in year 2008. To me, they still look good. The quality of their voice is still very solid.

There was an open space outside Block 68 Lorong 5 Toa Payoh where I went there quite often too. I remembered 织云潮剧团 performed that classic opera 三看御妹刘金定. There was another popular wayang performance place at a car park outside Block 102 (It is now very different as new blocks had been rebuilt. Just outside the Yellow Page building.) Lorong 2 Toa Payoh. I watched 老三正顺潮剧团 performed 七子救驾 (literally means 7 sons saved emperor, a story about the Yang’s warriors in the Song Dynasty). 老中正顺潮剧团 also performed there. 新荣艺潮剧团 performed 双龙争凤 (the plot is about Two Dragons Competing for a Phoenix) there and my mum and I watched that performance together. I could remember that the main leads were not that fantastic because the female lead was not slim enough and the actress who played the male lead had very small eyes. 老玉春香潮剧团 also performed 双枪陆文龙 at the same place. By the way, this 小生 who acted as 陆文龙 later moved to 老一枝香潮剧团 and played male lead in a few shows including 三驸马 and subsequently to 织云潮剧团 which I loved her role as 李太白in 唐宫秘史. In 2004, I saw her performing in 老赛桃源潮剧团 as male lead in the show 烈女斩夫 and 铁面海瑞 or better known as 怒斩玉面狼 in China.

One wondered why there were so many opera performances in different parts of Toa Payoh. There are many temples, markets and food centres in Toa Payoh. Some temples were relocated to this place with villagers from different kampongs under the resettlement programmes in the 60’s/70’s. One possible reason for them to relocate to different parts of Toa Payoh was because it was one of the newest HDB town that time. As the temples would invite local street opera troupes to perform during the birthday of different gods, these temples also became the new locations for watching opera. The temples, market places and hawker centres in Toa Payoh also invited opera troupes to perform during the lunar 7th month festival. Hence, there were many opportunities to watch opera shows in Toa Payoh as compared to the time when people stayed in rural areas.

It appeared that Teochew street opera was more popular in Toa Payoh. It was followed by Hokkien opera. Like that market in Lorong 1, Blk 127, the organizers would invite Teochew opera troupe to perform during seventh month and Hokkien opera during the eight or tenth. The organisers had to take turn because the market had hawkers of different dialect groups. I remembered there was a particular year where a Hokkien stall holder became the 炉主 (akin the Chinese god appointed him to take care of the event the next year) and he objected to engaging 织云潮剧团 for the subsequent year. There was strong protest because no one could guarantee if 织云潮剧团 would return again if not awarded the performance contract for one year. At that time, it was very difficult to engage a popular troupe if no prior arrangement had been made. Finally, out of peer pressure, 织云潮剧团 continued to perform at Toa Payoh Lorong 1 market even up till today. It was rare to see Cantonese opera and it was only staged at Lorong 4 or Lorong 7 Toa Payoh. Such troupe was specially invited from Hong Kong. As for Yishun, you find more Hokkien opera than Teochew opera. There is one temple near Yishun swimming complex, they only invite Hokkien troupes. I don’t know the reasons.

All along my favourite troupe from that day I knew how to appreciate street opera till now is still 织云潮剧团. I heard from my parents that this was the only troupe that sent their musicians to learn from 新天彩潮剧团. The way they beat the drum is very similar. Their titles were very unique. They put up performances which were adapted from Chinese movies including 胭脂魂 and 神雕侠侣 from 长城公司 in Hong Kong. There were no other Teochew street opera troupes that performed shows adapted from movies. They also put up performances like 雪飞王子 which no other troupes had done so.

2010-03-23T07:50:00.004+08:00

Growing Up With Teochew Opera - 4

Teochew Street Opera And Hungry Ghost Festival - 1

街戏与庆中元

During the lunar 7th month hungry ghost festival in the l970s, I would go out for wayang performance if there were opera troupes performing in the nearby blocks. How did i get to know the details? You wondered. During that time, the organisers would paste a red A1 size red flyer/poster stating the dates, the name of troupe and the location. We would definitely go out if the performances took place over the weekends. You could still find such A1 poster nowadays but is confined to areas in the market place.

There was a wet market located at Lorong 4 Toa Payoh between Block 92 and Block 95. It was a regular place for street opera. We went there very often as it was very near our flat. I remembered watching 刘璋下山 and 雷峰塔 (Madam White Snake) by 老正天香潮剧团.

For 刘璋下山, we waited patiently till close to 10 pm to see the actress who played the male lead 刘璋. My eldest sister was with us and she knew the plot very well. The first two hours featured how the Han Emperor struggled to retain power and how 刘璋 escaped from death when he was a small boy. Then 刘璋 grew up and was trained by his master to be a very skillful swordsman. Unfortunately, he was inexperienced and saved his enemies instead and later had to behead his father to gain trust from the Empress. 陈楚蕙 also performed the role as 刘璋 in the movie 刘璋下山 with 曾珊凤. These two photos of 陈楚蕙 were taken when she peformed in the then Palace cinema in Katong more than 2 decades ago. I heard she regretted having performed there because many fans did not find the location convenient and she must have reaped in the least profit for the time and effort put in.

Many opera troupes like 老玉春香潮剧团, 新一天彩潮剧团, 新荣和兴潮剧团 also performed at the market place at Lorong 4 Toa Payoh. When there were opera performances, the place was very packed and one could hardly move.

There was one day when 老玉春香潮剧团 was performing there, and I stood at the back of the opera stage to admire the actor/actresses painting their faces. I was so happy when one of the actresses asked me to buy her a packet of 7-UP. She spoke in Teochew and I did not know what the hell was ‘Chek Hee’七喜 as I did not have the luxury of having extra pocket money for soft drinks. I went to the nearby coffee shop and repeated what she told me. Then I realised it was actually 7-UP. She invited me to go on stage but I was too shy and declined. In Teochew opera, during the first day of the show, the troupe will perform 六国大封相 and followed by 京城会. These are standard ceremonial pieces of performance that are performed by every opera troupe on the first day of the 2-day performance. Some troupes choose to perform 十仙庆寿 instead of 六国大封相.

In the evening, all Teochew opera troupes will commence their show with a shorter version of 京城会 before they perform the show.

2010-03-22T06:48:00.003+08:00

Growing Up With Teochew Opera - 3
Teochew Opera Serial On TV Singapura
潮剧连续剧在新加坡电视台首播

In the late 1960s or early 1970s, TV Singapura produced a few Teochew opera series in black and white. They were screened on TV which coincided with the school holidays. As I was studying in Singapore, my parents would bring me back to Johore during the school holidays. I would then follow my mum or eldest sister to one of the supervisor’s house to watch the serial. I remembered some segments of the very well scripted opera including 包公探荫山 by 老三正顺潮剧团 and 乘龙快婿 (also known as 春草闯堂) by 织云潮剧团. That was the time I believed I began to understand a bit of wayang.

In the past, a typical Teochew opera performance would normally last 4 hours. The producer would edit the script and cut the performance into four parts each lasting an hour with commercials incorporated. Subsequently, there were several productions by Singapore amateur troupes but each episode lasted an hour or so. As the amateur troupes were less established, they could only play some simple plots. At that time, I could already tell the difference in standards in performances put up by street operas and amateur troupes.

乘龙快婿 was later performed by many different local and China troupes. The show was named as 春草闯堂. Here, I need to make a specific mention about 姚璇秋. She surprised me when she performed this show in 1980s when she was already past 50 years old. Her make up was solid and her acting and singing skills were very polished. I was very impressed with her performance.

In 2007, China Teochew Opera Troupe 1 put up 春草闯堂 again in mainland China and in Thailand.

In the 1980s/90s, 新荣和兴潮剧团 also recorded an audio version of 春草闯堂 by 陈珍珠,邓道兰,陈巧鸾,李美贞and 江秀莲. Of the 5 key lead artistes, 陈珍珠,邓道兰,李美贞 and 江秀莲 joined 金鹰潮剧团 which was formed in the 1980s. Now, 李美贞 is performing in Malaysia while 江秀莲 is still active in 新新荣和潮剧团.

Why were Teochew street opera so popular starting from the 1930s? In Apr 2006, I came across an e-article written by the Singapore Chinese Opera Institute. See part of the article reproduced below.

梨园忆旧录之五：风雷人物谈织云－－潘忠玉先生台前幕后七十年
1999年汕头戏曲学校四十周年校庆上，遇到了新加坡潮剧界老前辈潘忠玉先生。1927年出生于新加坡的潘先生，在他11岁的时候，因生活环境困苦，父亲在无奈的情况下，一纸7年的合约书，把他们兄弟俩送入“老玉春香潮剧团” 。
谈起以往的演艺生涯，潘先生长长的叹了一口气，只用一个字来形容：“苦”！当时老玉春香的团长是陈义章，他赏识充满灵气的潘忠玉，根据他的外形条件，让他专攻小生、武生戏。但是，台上的戏好看，后台也管得紧，每个人各就各位，没有人敢马虎。

班主有财力, 出门坐马车
“老玉春香潮剧团”的戏馆在皇家山脚的“马寮巷”，即在“铁笼巷”的隔壁。童伶们就住在戏馆里练功、学戏。他的老板拥有一辆英国旧式马车，每天接送老板上下班，这在当年是一件非常风光的交通工具，也足见当年戏班的鼎盛时期。
三十年代的戏班规模宏大，一个戏班平均有六十多人，经营者有财力。当时新加坡属英国殖民地，也是戏曲最活跃的时期。知名的潮剧团有“中赛桃源潮剧团”、“老赛永丰潮剧团”、“老玉楼春潮剧团”、“老三正顺潮剧团”；“老赛桃源潮剧团”、“新荣和兴潮剧团”和“老玉春香潮剧团”。

一说起当年戏班演出的盛况，潘先生眼神绽放出光彩，滔滔不绝地向我描述战前时期的戏班情况……当年的戏班主要在新马两地的戏院演出。如：新加坡的大坡“怡园”、新世界、大世界也都有“戏园”。马来西亚的麻坡、槟城、“岜株巴辖”等地。每次逗留演出至少一个月，有时甚至一年。

当时戏班规模最大的数“老赛桃源潮剧团”。戏班拥有很多活景，如：水景、火景、楼景、风灾景等等，这些景需耗费大量的人力物力，在科技不发达的年代，并不是一件简单的事。当时该戏班到马来西亚演出时，仅布景道具就需三、四十辆货车来运载。后因社会的变迁、资金与人源的减少，为了节省开支，这些巨型的道具逐渐被取消，后人也无法一睹风采了。当时在戏院上演的戏票每张卖三至五角，从晚上七点演至午夜十二点，一出戏往往有十几集，最少也有七八集。观众为了追看故事情节，每晚都必定购票观看演出，情形有点类似现今追看电视连续剧一样。

为什么当年的戏班有如此的魅力呢？第一是当时没有其它娱乐竞争，如：电影、电视、卡拉OK、录像带等等。第二是资金、人力充足，有足够的发挥空间。第三是演员根基扎实，严格要求演出质量。

各出奇招, 观众如潮
举些例子来说。戏班之间的竞争非常激烈，各班都纷纷招兵买马、各出奇招，以吸引更多的观众。“老三正顺潮剧团”聘请林喜主演《江小鹤》与《黄天霸》，在本地引起了轰动。林喜是一位多才多艺的演员，他与著名的“乌衫”演员李梨利是师兄弟，李来利当时是在中国“老玉梨春潮剧团”担纲主演。

“老赛桃源潮剧团”邀请中国著名导演洪允霖、洪启声助阵。后期林如烈在快乐世界体育台演出《国魂》，布景规模宏大，连演三晚，场场爆满。“新荣和兴潮剧团”也不甘示弱，从泰国请来了花脸添德、武生永乐等名角莅新演出《董卓与貂婵》、《关丹大侠》等戏。

“老玉春香潮剧团”最出名的演员是来自泰国，人们俗称他为“老丑倪”的演员，他的拿手戏是《海珠平冤》、《姜通上京》等戏。他有几招绝活，一是在《卖牛开厅》里表演吃冬粉时，冬粉在鼻孔上来回穿动；另一个是在《姜通上京》里姜通边唱边流鼻涕，当唱段结束时，大概有长约半尺的鼻涕倒吸回去。现代人乍听起来似乎有点玄乎其技与不可思议，但在那个年代，人们倒很欣赏这种特技。这是我们当代人无法观赏到的绝技了。拥有另一绝技的是黄贺城，其在《三气周瑜》里，最后被诸葛亮气到吐血时，口含槟榔，槟榔汁从鼻孔喷出去，非常逼真。

体罚童伶,心有余悸
再者，就是旧戏班的规矩严格，对童伶们的要求十分苛刻，在训练上有时不近人情，演出更是不容许有丝毫的差错。当时每个戏班都有一个传统的刑罚，就是“抄公堂”。何谓“抄公堂”？相信很多童伶对这个名称有刻骨铭心的印象。只要当天的演出有一位演员唱错或念错一句台词，哪怕是帮声出现了差错，那么演出结束后，全部的演员都逃不过被打的噩运了。女生受“夹刑”（用竹子夹双手），男生打前后腿。还有另一种刑罚叫“猴仔抱”，即是双手被绑抱住双腿，身体蹲下象一只猴子似的缩成一团，由两个人拿一根棍子，从被刑罚的人手与腿之间的缝隙穿过去，然后把人倒挂起来，头朝地，臀部向上，藤条往臀部上狠狠的打下去。潘先生回想起被体罚的日子，犹有余惧。那段日子几乎天天挨打，他形容如果有一天没有被打，就好象中了马票一样。

话说回来，旧戏班体制对待童伶确实是很不公平的。不过换从另一个角度来看，则是对艺术质量的严格要求。据潘先生的描述，“老玉春香潮剧团”即使在演出日戏《闹开封》时，都会得到台下几次喝彩声。演出中途只要台内发出的声音稍大一点，演老生的七师傅就会很不客气的把惊堂木狠丢进去，由此一点可以见出当时对演出的严肃与认真。戏一开场，子弟们便自动在台侧站着候台、帮声。

潮剧戏班在当时可称鼎盛一时，象一阵龙卷风一般，风靡了东南亚一带。留下了脍炙人口的剧目，也造就了一批名演员。很多观众为它着迷，甚至吸引了不同籍贯的戏迷。可惜好景不常，就在戏班处于生机勃勃的阶段，第二次世界战争爆发了。日本侵略了新加坡后禁止演戏，因生活所逼，大家都纷纷转业，戏班也因此解散。

恢复和平, 雨后春笋
后期联军打败日军，英国殖民地政府恢复统治新加坡后，取消了日军时期的种种约束，戏班又渐渐恢复了活动。当时兴起的戏班有如雨后春笋般，有“老赛桃源潮剧团”、“新荣和兴潮剧团”、“老玉春香潮剧团”、“老一枝香潮剧团”、“老玉梨春潮剧团”、“老赛永丰潮剧团”（后期易名“老赛宝潮剧团”）、“老玉楼春潮剧团”与“老三正顺潮剧团”。战后戏班的剧目繁多，可说创另一高峰。出名的数“老赛桃源潮剧团”的《红鬃烈马》、《背解红罗》；“新荣和兴潮剧团”的《二度梅》与“老玉春香潮剧团”的《孙膑下山》、《墓中生太子》、《赵氏孤儿》等剧目。

有关人们口中所说的“青囊”、“红囊”的来由，潘先生说并不是一件很神秘的事。旧戏班通常把戏箱油漆成红色，因为红色在华族传统中代表吉利的兆头。当时的戏班的戏箱都是红色的，只有“老玉楼春潮剧团”的戏箱是青色的。故有“青囊老玉楼春”之说。后来剧团转卖给一位叫“阿泉”的人，他又把戏箱油漆成红色。

潘先生又说，二十年代戏班的旦角全部由男性扮演，直到三十年代“青囊老玉楼春”破例从中国邀请陆炎清与孙素娇参加演出，孙素娇是我国著名潮剧活动家杨柳江先生的太太。新加坡戏班舞台上才开始出现女性演员。“青囊老玉楼春”最出名的剧目是《风花雪月》、《撞马头》，当时由杨柳江主弦。

谈到当年戏班的情形，潘先生说一定要提林如烈先生。这个名字我也曾经从潮剧文献上看到过，也从其他老一辈口中得知一点。据潘先生介绍。林如烈是一位有才气有才华的奇才，能编、能导、能演、能拉弦、能打鼓，样样精通。特别是由他掌鼓时，很能激发演员的激情，不会“平流死水”。

改编电影, 推陈出新
林如烈先生是一位有先知之明、不断追求创新、改进的有志之士。曾经不远千里到中国学编剧，虚心向京剧艺术家取经，为他日后在戏曲界奠定了基础。由他改编自越剧电影《云中落绣鞋》、《三看御妹刘金定》、《假婿乘龙》等戏获得了观众的热烈欢迎。

织梦织云, 风起云涌随着时代的变迁,种种复杂的社会问题,为解决戏班人员的出路问题,五十年代中期由杨柳江先生创办的“织云潮剧团”成立了。当时由杨柳江、林如烈带头,潘忠玉帮忙布置。在“织云潮剧团”一呆就是几十年,期间他随戏班历经了种种挫折与困难,看尽了社会百变,也尝尽了各种滋味。目前,织云潮剧团由欧潮发先生担任团长,台前幕后的职员约三十位。这些演员主要来自马来西亚和泰国,及少数新加坡人(共五人)。主要演员有小生郑阿珠、花旦李淑真、乌面阿重、老丑平仔、老生钟喜坤等人。欧潮发团长对剧团的前途不抱乐观态度。他说:“世界在改变,日新月异,娱乐方式千奇百怪,受洋文教育的年轻人不了解戏曲,没有年轻人的参与,戏曲会逐渐没落被淘汰的”。他呼吁政府放宽政策,让剧团吸引外来人才,帮助提高剧团的艺术水平。也希望大家培养年轻人,让传统文化在新加坡开花结果,薪火代代相传!

2010-03-21T13:36:00.000+08:00

Growing Up With Teochew Opera - 2

First Encounter With Street Opera In Johore - 2

与潮并长

I remembered watching a performance 李陵与苏武 by 新荣和兴潮剧团. I was too young to understand the performance. I was present simply because it was a rare event. The place was so crowded. My mum told me many people were very pleased with the well written script and fine performance. In Mar 2006, I bought a set of Chinese books which documented the history between Spring and Autumn Warring States and 5 dynasties and 10 kingdoms. I had an opportunity to have a better understanding of the plot 李陵与苏武.

There was another troupe called 织云潮剧团. My mum and eldest sister were fans to one of the actress who performed the role as male lead. They cooked dinner especially for her at our place. How did they get to know the actress? You may wonder! Well that was quite easy. They approached them when they were resting at the back stage. Think this particular actress was more approachable and they also liked her more than others. My mum also told me this particular actress was a relative of one of the villagers. The feeling of the presence of an actor or actress in our home was great. The actress did not stay too long as she had to leave for her make up for the evening performance

Fans in the 1960s to 1980s were of comparable standards like those who loved Taiwan’s 甄珍 and 林青霞 or Hong Kong’s heavenly king Andy Lau. Besides watching the opera troupes performing during the various festive seasons and birthdays of gods and deities, they would hesitate to pay to watch their performances at funfair or in amusement parks. I came across an article on 新荣和兴潮剧团 from the website on Singapore History Museum. Below is a typical opera poster of the 1950s and 1960s that provides information on the troupe, venue, story and casts. It features 新荣和兴潮剧团 having a four-day performance at the then New World Amusement Park in Jalan Besar. In the early days, the longest a troupe could stay in amusement park is about a week before they moved to temples and other theatres. The attractions to the opera did not rely solely on the casts or the stories. Backdrops played an important role too. This is clearly reflected in the poster that they had hired the famous backdrop artist to add more colours to the opera.

2010-03-20T13:29:00.001+08:00

Growing Up With Teochew Opera - 1

First Encounter With Street Opera In Johore - 1
与潮并长

In the village where I stayed in Johor Bahru, there was a basketball court where the villagers celebrated the lunar 7th month hungry ghost festival and other birthdays of the different Chinese gods and deities. I remembered watching street opera performance when I was just a little kid. My mum told me 新荣和兴潮剧团, 织云潮剧团, 老赛桃源潮剧团 and many other troupes performed there. I recalled the villages had to place benches to reserve some seats or standing places to watch the street opera or wayang (in Bahasa Melayu). As wayang performances were quite rare, only a few times a year, the basket ball court was packed with villagers whenever there were performances. Teochew, Hokkien and Hainanese opera troupes performed there depending on who organised the events. Occasionally, there were performances by Hakka and Hock Chew opera troupes.

In the late 1960s, there was a very funny arrangement for the audience. If you imagine yourself facing the stage, half of it was meant for male audience and the other half was meant for female audience. This was meant to prevent the male audience from taking advantage of the female audience. As time past, people began to socialise and hence there is no need to continue with such practice. In today’s context, there is insufficient number of audience and there is no need to do so.

During that time, the afternoon performance could last till 5.30 pm. Today, you can hardly see any troupe performing beyond 4 pm. The evening performance commenced at 7.30 pm and would last till midnight. In general, the Teochew street opera performances were more refined in terms of acting skills. I recalled that many Hokkien opera troupes engaged more pulley and wheel systems as there were many acts with swordsmen flying up and down. Also, their conversations were extremely vulgar. As kampong kids, we had a good level of understanding on vulgar words. Some Hokkien opera troupes even had a 40 to 60 minutes segment for the actors and actresses to sing pop songs. Presently, our local troupes ust end their performance by 11 pm.

In the past, an opera stage was of bigger size than the current street opera stage. Every troupe had many boxes or containers of costumes, headgears and other opera-related stuff. The backstage was fully packed and there was very little space for people to move about. In the 1960s/1970s, an opera troupe would have no less than 50 people including actors/ actresses and musicians. There was one particular Teochew opera troupe, 老一枝香潮剧团, which had more than 100 people. During their performance in Johor, they organized a tour to the Lee Pineapple factory. My mum told me the factory workers made a count to confirm the strength of the troupe. Indeed, the troupe had more than 100 people including the musicians. You can hardly see less than 20 people performing in a street opera today.

2010-03-13T21:48:00.001+08:00

秦原闯道 - 陈楚蕙，方巧玉

三驸马 -陈嫦娥，方巧玉

不久前刚从汕头好友阿辉拿到由香港新天彩潮剧团演唱的‘秦原闯道’mp3.

记得这部戏只有在舞台演出，没拍成电影。这也是新天彩潮剧团后期录制的其中一部潮剧。那时候出版的黑胶唱片还有‘潇湘秋雨’，‘怒斩杨廷芳’，‘红书宝剑’，‘五子挂帅’和‘桃园奇冤’。

看‘秦原闯道’就让我想起另一部戏‘孙安动本’。这两部的共同点是前半部比较纳闷，最后一两场就高潮叠起,看得过瘾。

1980年初，新加坡的几个职业潮剧团也常常演出‘秦原闯道’这一部戏。我把最后的精彩部份录制成几个音频短片，改天挂上youtube和大家分享。

阿辉的mp3可真不少，他也传了‘三驸马’给我。我没看过陈嫦娥和方巧玉的演出，不过看过新加坡已经解散的前老一枝香潮剧团演出这部戏。老一枝香潮剧团当时的演出非常精彩，我连看该团在大巴窑几个不同地点演出这部戏，看得如痴如醉。那位演驸马李文俊的小生现在还活跃在潮剧界，在老赛桃源潮剧团演出小生角色。

上一回游览土豆网，找到几段哑巴戏，已经挂上youtube和大家分享。

2010-03-03T22:51:00.000+08:00

别了香港潮剧著名小生荘雪娟

认识以下几位香港潮剧电影的四大天后吗？从左边开始是陈楚蕙，石玲，方巧与和荘雪娟。这张四大美人的合影是一张珍藏品。

据说，香港潮剧著名小生荘雪娟已经在2009年的农历9月离开人世了。在她去世之前，已经离开人世的香港潮剧电影演员有老旦陈瑛和黑脸姚佳雄。荘雪娟的离去，使潮剧界又损失了一名潮剧演技排派小生。

荘雪娟的唱腔很独特，和陈楚蕙很不一样。她是香港东山潮音剧艺社的当家小生和她搭配的花旦不少，包刮方巧玉，丁楚翘，石玲等。但我偏爱看和听荘雪娟和方巧玉的电影和电影原声带，他们联合演出的双珠凤，郭子仪拜寿，文武香球非常好看，动听。荘雪娟和石玲的演出的戏我看的不多，我最喜欢梁山伯与祝英台。她和丁楚翘联合演出的戏有好多部都很不错，如长平公主，李三娘井边会，莲香戏鞋。

市面上很难找到荘雪娟演出的光碟，真可惜。