Our Play Isn't Over Yet | Show and Tell Hong Kong Culture series - #2

Siu Wah Yu X Chak Lui Chan | Our Play Isn't Over Yet: Performance, Creation, Research, and Heritage in Hong Kong Cantonese Opera
About this Event

余少華 X 陳澤蕾｜我們的戲未唱完：香港粵劇的演出、創作、研究及傳承

(Please scroll down for the English version)

兩位來自香港的講者對談，帶出目前香港粵劇面對的問題與困境。

余從音樂運作及研究的角度，展示粵劇如何從原來省港澳一體（1950年代前），走到今天別具一格的香港粵劇。

陳將簡介粵劇被列入聯合國非物質文化遺產背後的民族主義策略，亦很高興邀得樂師與演員以戲會友，透過兩折選段分享學戲與創作的點滴。

講者簡介

余少華，資深音樂學者、民族音樂學家；曾任教香港中文大學音樂系，並為該校中國音樂資料館館長；嶺南大學文化研究系研究員。上世紀曾任專業樂手，後赴英美進修，本研究清代乾隆時期的滿、蒙音樂。1997年偶獲報章邀寫CD《交響曲1997：天、地、人》的樂評，始覺香港之邊緣文化身份，與滿、蒙、維吾爾等少數民族之異同。期間以行外人身份學習粵劇及南音拍和，參與演出，體驗並研究其音樂運作，論述其音樂淵源及歷史。

陳澤蕾，習小生，「月白戲台」創辦人，曾改編《中山狼》及《白羅衫》等劇目。2022年在香港與粵劇之間選擇了香港，怎料香港人給予一次又一次在異鄉演出的機會。從一心一意傳承粵劇，到成為戲行「不肖無雙」。 重返小城之前，在江湖以戲說出離亂之痛，只想讓香港人知道，我們的戲還未唱完。

🗣活動以香港話進行

🎟免費入場

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Event: 𝙎𝙝𝙤𝙬 𝙖𝙣𝙙 𝙏𝙚𝙡𝙡 𝙃𝙤𝙣𝙜 𝙆𝙤𝙣𝙜 𝘾𝙪𝙡𝙩𝙪𝙧𝙚 series - #2

Siu Wah Yu X Chak Lui Chan

Our Play Isn't Over Yet | Performance, Creation, Research, and Heritage in Hong Kong Cantonese Opera

Join us for an insightful conversation between two speakers from Hong Kong as they dive into the challenges and dilemmas facing Cantonese Opera today.

From the perspective of musical practice and research, Siu Wah Yu demonstrates how Cantonese Opera evolved from a shared regional tradition across Guangzhou, Hong Kong, and Macao (pre-1950s) into the distinctive Hong Kong Cantonese Opera we know today.

Chak Lui Chan will introduce the nationalist strategies behind Cantonese Opera’s inclusion as a UNESCO Intangible Cultural Heritage. She will be joined by musicians and actors for a special collaborative session, featuring two excerpt performances that showcase the journey of learning and creating for the stage.

About the speakers

Siu Wah Yu

A veteran musicologist and ethnomusicologist, Yu previously taught at the Department of Music at the Chinese University of Hong Kong (CUHK), served as the Director of the CUHK Chinese Music Archive, and worked as a Research Fellow in the Department of Cultural Studies at Lingnan University.

A professional musician before pursuing further studies in the UK and US, Yu’s original research focused on Manchu and Mongolian music during the Qianlong period of the Qing Dynasty. In 1997, having been invited to review Tan Dun's Symphony 1997: Heaven-Earth-Mankind, Yu began drawing parallels between Hong Kong’s marginal cultural identity and those of ethnic minorities like the Manchus, Mongolians, and Uyghurs. Since then, Yu has approached Cantonese Opera and Naamyam accompaniment as an outsider—learning, performing, experiencing, and researching their musical workings, history, and roots.

Chak Lui Chan

A practitioner of Siu Sang (young male scholar role in Cantonese Opera) and the founder of Atomic Cantonese Theatre, Chan has adapted classic plays such as An Ungrateful Wolf and The White Silk Gown. In 2022, faced with a choice between Hong Kong and Cantonese Opera, Chan chose the former—only to be granted repeated opportunities by the Hong Kong diaspora to perform abroad.

Moving from a single-minded devotion to preserving Cantonese Opera to becoming a unique "rebel" of the trade, Chan brings tales of departure and sorrow to life on stage before she could one day return to the home city, driven by a simple wish: to let Hong Kong people know that our play isn't over yet.

🗣 Language: Conducted in Cantonese (Hong Kong)

🎟 Admission: Free entry