忙碌的農曆七月
第一次連續不断天天上載潮剧



今年心血来潮，决定馬不停蹄的上載，轉載和现塲上載潮劇片段。

不知您有機會游览我的面子書嗎？

初一連夜告親夫，請欣賞新榮和興潮音的唱將陳巧鸞和陳巧蓮爲您清唱‘告親夫’尾段。就有不少朋友留言。

初二北海請來金玉樓春潮劇團來演出‘秦香蓮’。

初三孤兒慶中元。

初三夜請方老師，廖老師，慧玲，齊姬一起来‘鬧釵’。

初四晚先‘跃龙门’，然后‘望賢亭’。

初五看鬦戲，雙雙呈献折子戲，看得觀眾如痴如醉，東奔西跑不想錯過，你喜歡嗎？

初六晚好友特地掌板‘新怡梨興潮劇團的’趙少卿‘，讓我欣赏文武两邊的功力。您必须親身體驗，才知道Andy Quek如何讓演員跟着音樂走。超赞。另加新新荣和潮音和織雲潮劇團的’趙少卿‘演出。

初七貼此演出报道。几十年前的新加坡，农历七月潮剧多，一晚可以跑几个地方目睹心爱的潮剧演出。您曾经有这样的经验吗？金鹰呈献‘红楼夜审’，新新荣和呈献‘红鬃烈马’，织云呈献‘潇湘秋雨’，老赛桃呈献‘罗衫记’。

初八 - 

两年前的國慶日，早上跑去红茂橋工業區欣賞新榮和興潮音清唱。那天真幸運，陳班主特地唱出我喜歡的‘楊令婆辯本’。今天，他們在烏美工業區3014B清唱，您有時間可以去聼他們清唱。另一個片段是織雲潮劇團的‘辯本’。祝大家國慶日快樂。

初九晚新新荣和潮劇團演出‘一門三進士’。織雲潮劇團以前也常演出這部戲。

好快呀，今天已經是七月初十了。今晚織雲潮劇團請來包公斬皇親！

七月十一看新新榮和潮劇團 - 状元巡更。

七月十二破天荒看福建戲。福建歌仔戲的服饰超美，您看小洞天的下午场演出,那三仙。。。

七月十三晚走三盖棚脚，看‘洛水仙姬’，‘狄青解征衣’和‘湖陽公主’，呵呵！

七月十四晚一起來看大制作，新榮和興潮劇團的陳巧蓮，蔡巧珍，蔡细妹，蔡乙鳳带來劉明珠。

七月十五慶讚中元已经過了一半，老賽桃源潮劇團先演‘六國封相’，后‘告親夫'。

七月十六貼的面子書演出 - 是男是女，哈哈，新新榮和潮劇團带來‘劉秀復國’。電影版本的‘霸王别姬’和織雲潮劇團的又有甚麽不一樣呢？

七月十七 - 大戲的负心漢特别多，請看‘杜王斬子’。

七月十八 - 織雲潮劇團正小生珠花正青衣烏衫淑真爲您带來‘井邊會’。後看鬦戲‘回書’。

七月十九晚看‘碧玉簪’。

七月二十晚看‘狸猫换太子’鬦‘百花贈劍’。

七月二十一晚看織雲潮劇團呈献包公會李后，新新榮和潮劇團呈献金雞玉兔。

七月二十二晚 - 好戲大家看 - 趙氏孤兒。

七月二十三晚 - 感謝Andy Quek 接送探 Sin Yong Hua Heng 新榮和興班，連夜献上‘義民册’。

1853年初，太平軍進攻南京前夕，南京城內十萬義民準備迎接太平軍，但不料名冊被清兵搜獲，十萬義民危在旦夕。義民首領命女義民李紅雲查尋名冊。

七月二十四晚 - 新新榮和潮劇 - 洛神。

七月二十五下午來聼‘京城會’。夜戲看告親夫 - 扛石记 - 王妃告状。

七月二十六下午往舊家跑一趟，看老賽桃源劇團 - 扮大仙，六国封相，八仙，京城會。夜戲看老赛桃源潮劇團 - 王妃告状。

七月二十七晚看‘一门三进士’。

七月二十八晚看織雲潮劇團的李淑真和特邀謝佩妤带來‘井邊會’。再看新新榮和潮劇團的邱玉鳳和連瑞文带来‘别窑’。

農曆七月最後一晚看柴房會，恩仇記，杭州奇案。

感谢朋友的留言，互相研究潮剧和其它剧种。

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.