From Real to Abstract - Cine Attempts on Stage Operas

Introduction

Steeped in history and diversity, Chinese opera is an eclectic art form which combines singing, acting, dancing and acrobatics into a coherent whole. And because of the vastness of the Chinese mainland, many regional branches and vocal styles have evolved, with artists breathing new life into this old legacy through the ages.

Opera film is a relatively recent entity which came on the scene around a century ago, and the dialogue between opera and film had started early on during the formative years of cinema. Yet, capturing the essence of Chinese opera on celluloid proved no easy task. Later in the 1950s and 60s, the pair seemed to get along better. It became clearer that opera's emphasis on the abstract and film's inclination to the concrete may serve to complement each other and open up more possibilities. Film is no longer just a medium to record but to create, reinventing operatic art by various means such as the transition of time and space, depth of field, colour and mood.

This special programme is an attempt to explore the different ways the real and the abstract are put together in opera films. Thanks to the generous support from the China Film Archive, our lineup features The Butterfly Lovers (1954), China's first full-colour Shaoxing opera motion picture; Wild Boar Forest (1962), the star vehicle of Beijing opera greats Li Shaochun and Du Jinfang; another Beijing opera The White Snake (2006) and Qin opera Suo Lin Nang (2011) by young director Li Tao, who will come to talk with us; as well as Breaking the Willow (2003), a Kunqu attempt by veteran Hong Kong director Yonfan, and Bride Hunter (1960) a traditional Shaoxing opera film featuring an all-female cast.

And to contribute the Cantonese Opera Day, on November 30 we are showing three Cantonese opera films in a row. They are The Lost Kite (1957), Patriotic Heroine (1960) and The Red Robe (1965), all well made opera pictures headlined by the creme de la creme of Cantonese opera.

Last but not least, we extend our special thanks to Mr. Koo Siu-sun who helped us immensely with the curatorial input and reference material he provided for this programme.

The contents of the programme do not represent the views of the presenter. The presenter reserves the right to change the programme should unavoidable circumstances make it necessary.