AW YEONG Peng Mun 欧阳炳文
Performing Arts in Singapore (Opera),
Accession Number 003492
- Oral History Centre
Source
- 6
Total Reels
- Lye Soo Choon 赖素春
Interviewer
- 04:59:21
Total Running Time
- Cantonese
Language
Copyright Notice
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Reel/Disc 1 of 6
Metadata
- 21 Apr 2010
Recording Date
- 00:56:32
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Born 1961 in Singapore. Personal background. Family background. Recalled watching street opera (Chinese wayang) in his childhood. Elder sister joined Nam Sun Wui Kun 南顺会馆Cantonese opera group, singing male role (male impersonator 反串小生). Interviewee singing female role (female impersonator 反串花旦) and practiced with his sister since age of ten. Joined Nam Sun Wui Kun Cantonese opera group at age of fourteen to eighteen. Recalled performing Fragrant Sacrifice《帝女花之香夭》 in secondary four. How he joined Chinese Theatre Circle 敦煌剧坊 in 1981 after his national service. Learning Cantonese opera, followed Hong Xian Nv 红线女 style. Recalled performing at World Trade Centre, prepared and practiced for half a year.
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Reel/Disc 2 of 6
Metadata
- 21 Apr 2010
Recording Date
- 00:57:12
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Learnt Cantonese opera through watching video tapes. How he learnt how to act Zhao Jun Chu Sai 《昭君出塞》. Felt that in 1980s, he could not express the feeling of the role well enough. Acted in front of master Hong Xian Nv红线女, comment he received. Things that Hong Xian Nv taught him before she left Singapore. Why he learnt Da Shen 《打神》. He was tall acting female impersonator 反串花旦, how he accommodated when actor acting with him was not tall. Went to Guangzhou, China, every year to learn from Hong Xian Nv and other master since 1980s. Improvement he had, things he learnt. Had support from family. As a female impersonator 男花旦, how he performed. Worked in Cold Storage as a baker, loved baking. Baking would affect his voice, changed his job to be a clerk in Housing Development Board (HDB) with fifty percent pay cut. Had good colleague and understanding boss that supported his interest in Cantonese opera.
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Reel/Disc 3 of 6
Metadata
- 21 Apr 2010
Recording Date
- 00:59:20
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Started working in Housing Development Board (HDB) since year 2000. How colleague and boss supported his interest in Cantonese opera. Felt his voice started to change in 1998, learnt vocal to extend his singing ability. Received grant from National Art Council (NAC) to study vocal in Beijing in year 2000. Started to teach Cantonese opera in Kong Chow Wui Koon冈州会馆 since year 2000. How he took care of his voice. Various Cantonese opera piece Zhe Zi Xi 折子戏that he liked. The pressure that he had recently was losing his voice. Female impersonator 男花旦normally could not sing before they reached forty years old. How drama director Goh Boon Teck approached him to act in Spirits《妖精》. How the script was written and how Cantonese opera was used in the drama. The difference experiences that he had acting in drama compared to opera. Challenges he met in acting in drama. How he felt about acting in drama. How director Goh and he worked along together. Would be going to act in another drama in Vancouver. How the director approached him. Rehearsals in Vancouver.
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Reel/Disc 4 of 6
Metadata
- 12 Jul 2011
Recording Date
- 00:58:13
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Preparation to act in drama in Vancouver. Helped the director to settle costume, props and provided information on history of Cantonese opera and advice on opera scene in the drama. Elaborate with examples. Suggested to director to use Ji Bai Hu 祭白虎 (White Tiger Ritual) in the drama, how he filmed the performance of the ritual in Singapore and sent to the director. Described the process of the ritual. Flew to Vancouver in November 2010. Rehearsals. Parts in the drama that he helped to shorten, how he shorten them. Suggestions he gave and discussion with director. How that drama was funded. Recalled the first performance. The audiences, many were Cantonese opera audiences. Feedbacks he received. Gave talk in a workshop. Challenges he met to perform in drama. Learnt pantomime默剧 for that drama. Learnt from the director, used his way to train his opera students.
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Reel/Disc 5 of 6
Metadata
- 12 Jul 2011
Recording Date
- 00:54:22
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
Things and extra skills he learnt when he acted in drama in Vancouver. Felt pity that the Chuan opera 川剧 ghost step 鬼步 he learnt was not performed in the drama. How he felt after the last performance. Recalled joining Kong Chow Wui Koon冈州会馆 Cantonese opera group in 1992. Discovered there was a need of a master to teach the group. How he started teaching Cantonese opera. How he taught, importance of understanding the ability of the students. His relationship with Kong Chow. Standard that he wanted his students to achieve. Challenges he met while he was teaching. The push factors for him to teach. Reflections of being in opera for more than thirty years. Felt sad that current was the time that he could best perform the role yet his voice could not reach some high notes. Glad to have master Hong Xian Nv红线女 who taught and care for him. His future plan. Why no intention to organize performance. Felt disappointed for not able to perform due to changes in his voice.
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Reel/Disc 6 of 6
Metadata
- 12 Jul 2011
Recording Date
- 00:13:42
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
His views on what a good Cantonese opera actor should achieve. How he taught his students. How he made amendments to suit the students’ abilities. Compare the differences in practicing opera between his era and current students. How audiences could identify which opera was taught by him. Master Hong Xian Nv 红线女 suggested him to teach rather than perform as his voice had been changed due to age.
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