GOH Siew Geok@ Wu Shu Yu 吴书玉
Performing Arts in Singapore (Opera),
Accession Number 003426
- Oral History Centre
Source
- 12
Total Reels
- Lye Soo Choon 赖素春
Interviewer
- 10:20:10
Total Running Time
- Mandarin
Language
Copyright Notice
All rights to the recordings and transcripts on this website, including the rights to copy, publish, broadcast and perform, are reserved. Written permission is required for any use. If you have any queries, please contact nas@nlb.gov.sg
Reel/Disc 1 of 12
Metadata
- 20 Nov 2009
Recording Date
- 00:59:00
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Born in 1948 in Singapore. Family background, father was coolie, later in tongkang boat business. How she became fan of opera, opera movies that she watched at young age. Educational background. Primary school teacher introduced her to join Hoa Lam Dramatic Association to learn Peking Opera. Why chose to work after senior secondary school. Interviewee was one of the first batch students trained in teaching Home Economics by Institute of Education. Opted early retirement due to change in teaching language. Challenges she met when teaching language was changed from Mandarin to English. Focused on opera activities after retirement. Rented premises from National Arts Council for opera activities used her pension to renovate the venue. Felt that she did not know how to manage fund. Started vegetarian restaurant to fund opera, but not successful. Felt that Singapore market was too small for arts, compare with Scotland. Learnt painting when she was young. How she got interested in opera.
1948年生于新加坡。家庭背景，父亲原为苦力后发展驳船货运事业。如何喜欢上戏曲，小时看的戏曲电影。教育背景。经小学老师介绍到华南京剧社学京戏。高中毕业后为何选择工作，不继续升学。成为师资训练学院第一届中文家政科受训教师，学习科目。家政科历年的改变。因教学语的改变，选择在1990年提早退休。教学语装换成英语后所遇到的问题。退休后专注搞戏曲活动。向新加坡艺术理事会租用活动场所，用退休金装修。觉得自己没有打理金钱的观念。退休后开素食馆，希望以商养戏但不成功。觉得新加坡市场太小养不起艺术，比较苏格兰的情况。幼时学画情况。如何对戏曲产生兴趣。
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Reel/Disc 2 of 12
Metadata
- 20 Nov 2009
Recording Date
- 00:57:04
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*How interviewee brought her students to join opera activities, however unable to keep them. Reasons that caused young people to give up opera eventually. How she started to collect opera materials. Joined Hoa Lam Dramatic Association in 1960s. Differences between Hoa Lam Dramatic Association and Ping Sheh. Opera taught by masters Liu Fu Shan and Su Zi Qian. Zhe Zi Xi that she learnt in Hoa Lam Dramatic Association. How she learnt the role of Dao Ma Dan (Opera Lady Warrior). Awarded scholarship by Ministry of Community Development to study Beijing Opera in Chinese Opera Academy, Beijing, China in 1988. Training she received from the Academy. Her impression of the Academy.
如何引导学校学生喜欢戏曲，可惜不易留住他们。年轻人最终放弃戏曲的因素。如何开始收集戏曲资料。1960年代中加入华南平剧社，华南平剧社与平社不同。当时的教戏师傅刘福山与苏子谦所教戏码。在华南平剧社所学到的折子戏。如何学习刀马旦。1988年获社会发展部奖学金到中国戏曲学院学戏情况。学习的课程和所学到的东西。对中国戏曲学院的印象。
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Reel/Disc 3 of 12
Metadata
- 27 Nov 2009
Recording Date
- 00:55:37
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Elaborate on why she felt that standard of opera audience had been dropping. Besides conducting Peking opera, why she added Huang Mei Xi after 1980s. Created new form of Chinese opera— Xinhua opera, using Mandarin to sing, wrote new script “Qiang Tou Ji”. Wrote children Xinhua opera “Bao Chuan”. Stopped writing Sin-opera due to lack of fund. Financial problems faced by arts groups. How family members felt about her involvement in opera. “Piao Xi” in Ping Sheh had suppressed the performing opportunity of young actors. Explain what was “Piao Xi”, it had developed into inviting China actors to Singapore to act with local actors or local actors went to act in China. This further reduced the acting opportunities for young actors. Recall watching opera movies with parents when she was young. Why she learnt Peking opera. Parents were not supportive. Her first performance, how she learnt acting. How she transferred from Hoa Lam Dramatic Association to Ping Sheh. Learning opera in Ping Sheh.
说明为何觉得新加坡戏曲观众的素质在下降。为何在1980年代后，除了京戏也加入黄梅戏。创作新戏曲剧种，以华语演唱的新华剧《墙头记》。后再创作了儿童新华剧《宝船》。因缺乏资金而停止创作新华剧。艺术团体所面对的资金问题。家人对她搞戏曲的看法。平社的票戏情况，压抑了年轻人的演出机会。解释何为票戏，已发展到邀请中国演员来为新加坡票友配戏，或新加坡票友直接到中国票戏。这导致新加坡年轻演员的演出机会更少，妨碍他们的提升。回忆小时与父母看戏曲电影。为何会学习京剧。父母并不赞同。回忆第一次演出，如何学戏。从华南平剧社转到平社。在平社学戏情况。
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Reel/Disc 4 of 12
Metadata
- 27 Nov 2009
Recording Date
- 00:57:14
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Learnt ‘Da Ben Xi’ in Ping Sheh, had many performing opportunities. Operas that master Su Zi Qian and Liu Fu Shan taught. Operas that interviewee had performed. Recall Ping Sheh engaged members of Singapore Chin Woo Athletic Association to act as Long Tao (walk-on roles), describe the amusing things that happened due to lack of rehearsal. Feelings and views on Ping Sheh, young actor had limited opportunity to perform. Happy in Ping Sheh, why she had to leave. Left Ping Sheh, setup SAGE Peking Opera Group with Huang Hou Jian. Musicians back-out from their first performance, rushed about to look for replacement. With help from Lee Ngoh Wah, completed the performance. How they engaged China musician to Singapore in 1982. Supports from National Arts Council in 1980s. Ping Sheh had internal disputes due to China Peking actress, a group of members left and founded Tian Yun Peking Opera Society. Shortage of Peking opera musician in Singapore. How interviewee started to teach Peking opera. Why interviewee no longer engaged China artist to teach. Problems of engaging China artist to Singapore.
在平社学大本戏情况，有许多演出机会。教戏师傅刘福山与苏子谦所教的大本戏。受访者演出过的剧目。回忆平社大本戏聘请过精武体育会会员当龙套，形容期间因缺乏排练引起的趣事。平社会员如何学戏、如何请教戏师傅排戏。形容平社早期舞台布景。对平社的感情与看法，年轻人演出机会不多。在平社无忧无虑，为何得离开。离开平社，与黄厚坚创立乐龄京剧团。组团经过。创团后首次演出遇到乐队退出演出、四处奔波找乐师。获李伍华协助，完成首个演出。1982如何请来中国琴师。1980年代艺术理事会给与艺术团体的支持。平社因请来的中国京剧女艺人，导致内部纠纷，社员分裂，一批离开成立天韵京剧社。京剧在新加坡缺乏乐手的问题。如何开始教京戏。为何不再请中国人来教戏。请中国艺人来新加坡的问题。
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Reel/Disc 5 of 12
Metadata
- 11 Dec 2009
Recording Date
- 00:54:50
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Singapore Tourism Board (STB) had provided opportunities for SAGE Peking Opera Group to perform at Singapore Handicraft Centre, National Library and Clarke Quay. Recall appointed as Chinese opera director for Singapore-Scotland cultural exchange programme and directed “The dance and the Railroad” in Scotland. Theatre scene in Scotland, had market to support full-time artist, compare the situation with Singapore. Administrative and funds problems that Singapore arts groups met. Cited examples to elaborate how she improved stage setting of Peking opera in 1980 and providing English subtitles for audience. Structure and work division of SAGE Peking Opera Group. Brought in drama stage lighting to Peking opera. Audience helped them in shooting, master Su Zi Qian helped in directing opera. Compare the changes in subtitles between 1980s and 1990s. Annual performances of SAGE Peking Opera Group. Able to survive in 1980s as cost were lower. Recall the first performance of SAGE Peking Opera Group and problem met.
新加坡旅游局曾提供演出机会给乐龄京剧团在新加坡手工艺品中心演出，亦在国家图书馆和克拉码头演出。回忆因获新加坡-苏格兰文化交流计划委任为戏曲导演，到苏格兰指导《铁路之舞》。当地剧团的演出状况，有足够市场，艺人可全职演出。谈相对在新加坡所遇到的情况。新加坡艺术团体的行政与经费问题。举例说明如何在1980年代初开始提升京剧舞台布景、配以英文字幕。乐龄京剧团的组织、分工。将话剧舞台灯光引入京剧。观众义务帮他们摄影。苏子谦义务排戏。比较1980年代和1990年代打字幕的差异。乐龄京剧团的常年大小型演出。1980年代费用较低，能够维持。回忆乐龄京剧团首次演出情况与所遇问题。
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Reel/Disc 6 of 12
Metadata
- 11 Dec 2009
Recording Date
- 00:57:07
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Media helped to publicize in 1980s, not difficult to sell performance tickets, current situation is not favorable. Tried her best to make opportunities for her students to perform. Why she like to arrange Da Ben Xi (full play), localized it if unable to achieve China standard. Elaborate on martial art training for acting “Dao Xian Cao” and “Shui Man Jin Shan” in “Madam White Snake”. Unable to perform same opera as students had left. Talk about starting Peking opera classes at Braddell Heights Community Club. Getting musicians from China to Singapore, how she felt about dealing with them. Lack of Zhangban (head musician) and musician who could play Jinghu in Singapore. Difficult to get stage crews, felt sad for unable to retain the musicians and actors. Why young people could not stay in Peking opera. Initial stage of Singapore Action Group of Elders (SAGA) Peking Opera Group in 1980, disputed in 1990 after the performance in Scotland. Training in school. Why Scotland was able to have professional theatre group. Why formed TAS Theatre Company (Singapore) Ltd. Reasons for SAGA Peking Opera Group to disband.
1980年代媒体协助宣传演出，演出售票不难，对比目前不乐观情况。尽量给她的学生安排演出机会。为何爱安排大本戏的演出，无法达到中国水准，便按新加坡情况本土化。叙述艺术节演出《白蛇传》之《盗仙草》和《水漫金山》的训练，如何与学生一起学习武打。之后无法再演同剧，因为没有学生延继。在布莱德岭联络所开京剧班的情况。办中国乐师到新加坡拉琴，谈与中国艺人的接触与感想。新加坡缺乏掌板与京胡手的问题，难找后台人员。遗憾无法留住乐手与演员。为何年轻人不能持续参与京剧活动。乐龄京剧团1980年代初成立初期的情况，1990年京剧团在苏格兰演出后发生分裂。在学校教戏、排戏情况。为何苏格兰能够有职业剧团。为何成立新加坡艺术之家，结束乐龄京剧团的原因。
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Reel/Disc 7 of 12
Metadata
- 8 Jan 2010
Recording Date
- 00:54:57
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*The process of forming TAS Theatre Company (Singapore) Ltd and registering under Registry of Societies. Still had activities in Singapore Action Group of Elders (SAGE) and Braddell Community Centre before they moved to premises rented from National Arts Council (NAC) in Trengganu Street in 1998. Opted for early retirement, used her pension to renovate TAS and became TAS fulltime staff. How she felt about supports from NAC for arts groups. Overheads increased and forced to renovate by NAC resulted in financial problems, loan from students to settle the bills. Started classes that were suitable for senior citizens which training consisted of opera movement and pop song singing. Cited “Tao Hua Guo Du” as example to elaborate on how she arranged pop songs with traditional opera movement and formed a new type of performance. Why introduced this new form, from it, how she brought students to learn Peking opera. Talk about writing Xinhua opera which was only found in Singapore.
成立新加坡艺术之家、到社团注册局注册的过程。暂时在乐龄活动中心与布莱德岭联络所活动，1998年移至向艺术理事会租用的丁加奴街会所。提早退休，以退休金装修会所，成为艺术之家全职职员。对艺术理事会为艺术团体提供支助的看法。维持费持续高涨，遭艺术理事会强令装修会所导致财务问题，学员借助还款。开办适合乐龄人士的曲艺班，教导戏曲功架配流行曲，举《桃花过渡》为例，新编成表演唱。为何引进这种新表演，如何带学员到京剧。创作新加坡特有的新华剧。
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Reel/Disc 8 of 12
Metadata
- 8 Jan 2010
Recording Date
- 00:47:56
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Unable to write more Xinhua opera due to lack of funds. TAS Theatre Company (Singapore) Ltd had opera activities and conducted related courses. Funds used to be from performances when there were more opportunities to perform in the past. Cited examples to elaborate on the decrease in number of performance opportunities for local groups in 1990s and 2000s. Challenges in increasing rental fees of performing venue and no increment in sponsorship. Had feeling of giving up, why did not do so. Future plans of TAS. Elaborate on how she taught students from different age groups. Courses she studied with The Central Academy of Drama and The National Academy of Chinese Theatre Arts (China), how the courses benefited her. How she was appointed as Artistic Ambassador for Singapore in the Singapore-Scotland cultural exchange programme and went to Scotland. Elaborate jointly organized with NPark (National Park Board) to perform “Liu San Jie” at Little Guilin (Bukit Batok Town Park). Singapore was unable to support full time opera artist.
因缺乏资金，无法创作更多新华剧。新加坡艺术之家除了戏曲以外的活动与开办的课程。活动费主要来自演出，以往演出机会多。举例说明1990年代及2000年代本地剧团演出机会减少问题。自1990年代开始，面对演出剧场租金增幅大，获取得的赞助费未增加的挑战。曾有结束念头，为何后来打消。艺术之家未来计划。叙述如何教导不同年龄的学生。谈修读中国中央戏剧学院和中国戏曲学院的课程，课程对她的帮助。成为新加坡-苏格兰文化交流计划的艺术大使及到到苏格兰的经过。叙述如何与国家公园局合作，在小桂林演出《刘三姐》。新加坡无法支持全职戏曲艺人。
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Reel/Disc 9 of 12
Metadata
- 16 Jan 2010
Recording Date
- 00:55:39
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*How TAS Theatre Company (Singapore) Ltd got funding. Changes in National Arts Council (NAC) over the years, not enough fund to go around. Unable to organize big events due to funding issues, unable to achieve many plans. Hope to reach out to more local people. Talk about engaging foreign artists to Singapore. Interviewee gave more performing opportunities to young people. Cited examples of outdoor performances, moving from theatre to outdoor. Characteristics of outdoor performances. Why reduced courses she taught in community centres. Fewer performing opportunities for local groups. Government bodies that she had worked with. Faced challenges in not having own performing venue and intensive competition in performing opportunity. Performances in the previous years. Elaborate on the influences from the change in government policies. Singapore arts’ market.
新加坡艺术之家如何获取活动经费。艺术理事会成立时到目前的转变，赞助费僧多粥少的问题。因资金问题，不敢做大型活动，许多计划无法实现。希望普及艺术，对象为本地人。谈请外来艺人到新加坡的事件。将演出机会留给年轻人。举例说明到户外的演出机会，从剧场回归街戏。街戏的特色。为何减少到联络所教课、演出。谈本地艺术团体演出机会的减少。曾合作过的官方团体。目前问题在于没有自己的舞台，演出机会的竞争激烈。叙述历年举办的演出。谈政府部门政策变更的影响。新加坡艺术市场问题。
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Reel/Disc 10 of 12
Metadata
- 16 Jan 2010
Recording Date
- 00:55:34
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Cite examples to elaborate on the decrease in performing venues. Talk about Chinatown Arts Festivals that she organized, why ceased eventually. Described the process of discussing joint project with Singapore Tourism Board. 2010 plan of TAS Theatre Company (Singapore) Ltd, organizing activities to replaced “Senior Citizen Week”. Focus of TAS in 2010. How TAS took part in The April Friendship Arts Festival in North Korea. How she felt about the Festival and North Korea trip. Recall her first performance, how she learnt and practiced. Talk about opera that she liked, who were the masters that she learnt from. Cited “Qiu Jiang” to talk about how she learnt new opera from video tapes. Learnt Luo Gu Dian (drum, how to lead the music) to direct an opera.
举例说明自1980年代以来，演出地点的流失。谈曾办过的“牛车水艺术节”，后来为何放弃。述说与新加坡旅游促进局协商合作计划的经过。新加坡艺术之家2010年的计划，举办取代“乐龄周”的活动。2010年艺术之家活动重心。谈如何会参加朝鲜艺术节，对朝鲜的印象与其艺术节的感观。参加朝鲜艺术节的经历。回忆第一次演出，当时学戏的情况，如何练习。谈喜爱的剧目，向哪些前辈、老师学习。后期从录像带学习 新戏，举《秋江》为例。学习锣鼓点以做排戏用。
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