Who is Sinuhong, the master of Cantonese Opera?

Xian Nvhong, formerly named Kuang Jianlian, female, Han nationality,/kloc-0 was born in Guangzhou on February 27th, 924, and her ancestral home was in Kaiping, Guangdong. She is a famous contemporary Cantonese opera performer in China and the founder of the Red School. [1-6] He has served as vice president of Guangdong Cantonese Opera Theatre, vice chairman of Guangdong Branch of Chinese Dramatists Association, art director of Guangzhou Cantonese Opera Troupe, member of the Second CPPCC, and representative of the Third, Fourth, Seventh, Eighth and Ninth National People's Congress. In 2009, he won the first China Drama Lifetime Achievement Award. 20 13 12 08, died of sudden myocardial infarction in Guangzhou at the age of 89. [7]

Jian Xiao, a famous contemporary sinologist and cultural scholar in China, pointed out that Xian Nvhong is a master of Cantonese opera, and she created one of the most influential singing schools in Hua Dan in the history of China Cantonese opera-the Red School Art, which has set up an immortal monument for Lingnan Cantonese opera art and even Chinese civilization! The May 4th New Culture Movement led the beginning of the history of modern Cantonese opera. The red school art is of pioneering and milestone significance in the development of modern Cantonese opera in Hua Dan, and the singing genre has far-reaching influence! On the basis of the traditional Hua Dan singing method of Cantonese opera, the Red School art has absorbed various singing techniques such as Beijing Opera, Kunqu Opera, drama, traditional opera, western singing, movies, etc., and created a singing method with ups and downs, wide range, crispness and beauty, and flexibility. Sin Nuhong's plays include A Generation of Tianjiao, Zhaojun's fortress, Guan Hanqing, Searching for the Academy, Li, Mountain Country's Storm, Winter in Bai Yan, etc. It reflects the indomitable fighting spirit of women in the pursuit of freedom, democracy and justice. Lychee Ode sings "Southern Lychee Red" with Cantonese music, which means that the socialist construction in New China is in full swing, which is in perfect harmony with the main theme of the times and is well-known and widely celebrated! Cantonese Opera was praised as "Southern Red Bean" by Comrade Zhou Enlai, because of the Sinuhong! Nowadays, many Cantonese opera actors, folk Cantonese opera associations and private bureaus take the red school art as a model in their singing and performance. [ 1-2][5]

Red school art has far-reaching influence.

Sinuhong (15)

20 13, 12 Jian Xiao, a famous contemporary sinologist and cultural scholar in China, published a signed article entitled "Xing Nvhong Cantonese Opera School is an Immortal Monument to Chinese Civilization" on China. He believes that Sin Nu Hong is a master of Cantonese opera art, and that Sin Nu Hong initiated Lingnan singing, one of the most influential schools of Hua Dan singing in the history of China Cantonese opera. If the beginning of the May 4th New Culture Movement is understood as the beginning of the history of modern Cantonese opera, then the red school art has an initial and landmark significance in the development of modern Cantonese opera in Hua Dan, and the aria school has a far-reaching influence! [ 1-2]

Jian Xiao believes that the red school art has formed three peaks in its own development process: [4]

The first peak appeared in the late 1940s and early 1950s, and the distinctive feature of this period was the formation of red cavity style. Among them, 195 1, Sinuhong performed "A Generation of Tianjiao" in Hong Kong. The voice in the play is enriched with movements and expressions, and the word "female voice" appears in the Hong Kong media. Since then, the Red Voice has been established, which is popular at home and abroad. During this period, Xian Nvhong performed some representative repertoires in Hong Kong, such as A Generation of Tianjiao, Zhao Jun's Journey beyond the Great Wall, Bitter Phoenix Begins Sorrow, Lady Butterfly, and History of Qing Dynasty. Based on the traditional Hua Dan singing method of Cantonese opera, he combined the singing art of Peking Opera and Kunqu Opera with the techniques of Bel Canto singing in the West, and combined with his personal voice conditions, he created "sweet, crisp, round and moist" as the famous literary critic Li Ling said. "The sound quality is beautiful, the foundation is deep and solid, the tone color is crisp and beautiful, the high, middle and low areas are unified and symmetrical, the voice is loud, and the range is particularly wide and soft." [4]

Sinuihong [7]

The second peak appeared from 1955 to before the Cultural Revolution. The remarkable feature of this period is that a major breakthrough was made in the characterization of stage, and the singing was further developed, and finally the creation of the red school art was completed. From 65438 to 0955, Xian Nvhong returned to Guangzhou from Hong Kong and worked in Guangdong Cantonese Opera Troupe (the predecessor of Guangdong Cantonese Opera Troupe), further honing her singing and stage art. During this period, Mei Lanfang's singing skills were eclectic, and she was a famous Peking Opera artist. During this period, Xian Nvhong's drama career has been further developed, and she has performed such representative plays as Guan Hanqing, Searching for the Gods, Li, Playing the Gods, The Storm of the Mountain Country and Liu Hulan. She broke through the traditional Cantonese opera's framework of simply expressing women's flattery, and created a series of female images with distinct personalities, showing personality characteristics of daring to love and hate, despising strongmen and being upright and upright. The modern drama "The Storm of Mountain Country" has made a milestone breakthrough in the combination of modern drama and traditional performance programs. Instead of mechanically copying traditional tricks, it makes all performances conform to the laws of traditional Chinese opera, and the performing arts serve the shaping of roles, making performances closer to life, true and natural, and full of vivid images. The Wind and Cloud of Mountain Country is regarded as a milestone in the development history of Cantonese opera. [4]

The third peak appeared after the Cultural Revolution. The remarkable feature of this period is that the portrayal and singing performance of stage characters are more delicate, and they are more integrated into life, reaching the realm of deep atmosphere, agility and perfection. Sinuhong constantly innovated his own performance style, and performed Bai Yan's Spring Festival, Xiguan Woman, historical drama Princess Zhaojun and other modern plays. And put the "four beauties of ancient China" on the stage at the same time. In their 70s, the artistic images of the four girls are quite different and lifelike. During this period, Xian Nvhong also participated in the creation, directing and performance of many Cantonese operas, and took the lead in exploring western musical instruments such as symphonies to accompany Cantonese operas. [4]

The social significance of red art is far-reaching, and artistic achievements are outstanding: [4]

First, artistic skill innovation. According to textual research, Cantonese opera originated in the middle of Ming Dynasty, with Bangzi and Huang Er as the main tunes, and Haiyan, Yiyang, Kunshan and Bangzi flowed into Guangdong from the north, and merged with local folk music in the Pearl River Delta. 19 19 after the may 4th new culture movement, western liberal and democratic ideas promoted reforms in various fields of China society. Since then, Cantonese Opera has broken the dependence on foreign operas for hundreds of years, created and established its own programs, vocals and stage art, and emerged a generation of grandmasters and modern Cantonese Opera such as Xue Juexian, Ma Shiceng, Bai Jurong, Opera, Guangxi, Liao Xiahuai and Bai Yutang. The red school art of Xian Nvhong has a groundbreaking and landmark significance in the development of modern Cantonese opera art Hua Dan. On the basis of the traditional Hua Dan singing method of Cantonese opera, the red school art absorbed the skills of Peking Opera, Bel Canto singing, movies and other operas, and combined with personal vocal conditions, created a red cavity style with a leading phoenix tail, ups and downs, a wide range, crisp and beautiful, and a combination of rigidity and softness; On the stage art, based on the traditional Hua Dan stage of Cantonese Opera, it absorbed the figure art of famous Peking Opera master Cheng, fused the art of famous dramatists such as Zhou Xiaoyan and Zhu Chuanming, broke through the framework of traditional Cantonese Opera's simple expression of female charm, and created a series of female images with distinctive personalities. The stage is very broad and can wash away the lead. It shows the delicate and elegant temperament, noble and dignified charm of oriental women, shows the personality characteristics of daring to love and hate, despising strongmen and being upright and upright, and hons a tenacious character in resisting suffering or tragic fate, showing delicacy and vividness. The modern drama "The Storm of Mountain Country" has made a milestone breakthrough in the combination of modern drama and traditional performance programs, which is considered as a milestone in the development history of Cantonese opera! Xian Nvhong realized that it is the mission entrusted by the times to express real social life with Cantonese opera. Performance programs must obey the content of the plot and the identity and personality of the characters. She boldly reformed and broke through the performance of modern drama at that time, either mechanically copying the traditional performance form or purely natural life-like performance like drama. There is no mechanical copy of traditional business, but all performances conform to the laws of drama, so performances are closer to life. Sinuhong plays Liu Qin, the female company commander of the Red Army, who is also a female teacher and goes deep into the enemy camp in disguise. She appeared as the female company commander of the Red Army, and absorbed the figure of Xiao Wu. She was dignified, light but not floating, fierce but not dry, with clear rhythm and interesting, which not only conformed to the actual operations of the Red Army, but also conformed to the opera performance procedures. Lyric bright moon, the plot of the enemy, is a small person, gentle and elegant, but since he is a Red Army cadre, he plays smartly and lightly, and does not wander. Liu Qin is both heroic and literary, so that she later disguised as a teacher, which has internal basis. Sinuhong's red school art was formed after more than 70 years of long-term stage practice, reaching a perfect state. The first batch of famous songs are well-known and widely sung at home and abroad. Cantonese Opera was also praised as "Southern Red Bean" by Comrade Zhou Enlai for "Sinuhong"! [4]

Hung Sin-nui

Second, the ideological content keeps pace with the times. The ideological content of Sinuhong's famous plays and songs will always lead the pace of the times and reflect the glory of the times! Sinuhong has been an artist for more than 70 years, keeping pace with the times, and has acted in many representative dramas, such as Zhao Jun's Journey to the Frontier, Guan Hanqing, Searching for the Academy, Li, Storm in the Mountain Country and Winter in Bai Yan. She plays the role of Hua Dan. The characters in the play are Wang Zhaojun, Zhu, Ada, Li, Liu Qin, etc. They all embody the indomitable fighting spirit of pursuing freedom, democracy, justice and women's liberation. This theme is in line with the social trend of thought of China's new democracy at that time, and has a strong color of the times and enlightenment significance. Her Lychee Ode is a clever combination of local culture and the main theme of the times. As we all know, Cantonese opera is a treasure of Lingnan culture, and litchi is a famous Lingnan fruit at home and abroad. Singing "Southern Litchi Red" with Cantonese Opera means that the socialist construction in new China is in full swing. The works not only reflect the typical local culture, but also perfectly fit with the main theme of the times, so they are well-known and widely praised! Ode to the Pearl River is a warm eulogy to Guangdong, which stood on the wave of reform, opening up and socialist modernization, tried first and made brilliant achievements, and aroused people's voices. [4]

Third, the genre of singing has far-reaching influence. The innovation of artistic skills and keeping pace with the times are the preconditions for the red school art to have a far-reaching influence. Sinuhong has performed nearly 100 Cantonese operas at home and abroad for more than 70 years, which is rare in the history of Cantonese opera. The establishment of the Red Line Women's Art Center has also contributed to the promotion of Cantonese opera culture and red school art. Teacher Xian Nihong is enthusiastic about cultivating future generations of Cantonese opera. Many famous Cantonese opera actors, even folk Cantonese opera associations and private clubs, take the red school art as a model in singing and performing. Red school art can be said to spread to thousands of households, with great influence and deep roots in people's hearts! [ 1-2]

2 Life experience

Hung Sin-nui

1924 65438+February 27th, born in Pan Village, Shuikou, Kaiping, Guangdong.

1938 studied drama with his aunt He Fulian and started her stage name Xiaoyan Hong. Later, Liang Shaofeng, a famous artist in her class, told her the chivalrous story of "The Red Line Stole the Box" and changed her stage name to Sinahong.

/kloc-joined Ma Shiceng Theatre Company at the age of 0/5. During the War of Resistance against Japanese Aggression period, after the fall of Hongkong, he went to Guangdong and Guangxi with Ma Shiceng Taiping Troupe (Anti-Japanese War Group and Victory Group) and made his mark in Guangdong and Guangxi. After War of Resistance against Japanese Aggression's victory, he returned to Hongkong and studied Peking Opera for three years. At the same time, he sought advice from vocal music experts and absorbed the expression techniques of films, and performed in Hong Kong, Macau, Guangzhou, Vietnam, Singapore, Malaysia and other places.

1952 Established the True, Good and Beautiful Troupe in Hong Kong, and cooperated with Ma Shiceng and Xue Juexian to perform "Madame Butterfly" and "Hate History of Qing Palace".

/kloc-returned to Guangzhou in 0/955 and joined Guangdong Cantonese Opera Troupe. He has worked in Guangdong Cantonese Opera Troupe, Guangdong Cantonese Opera Academy and Guangzhou Cantonese Opera Troupe. He used to be vice president of Guangdong Cantonese Opera Academy, artistic director of Guangzhou Cantonese Opera Troupe, and was elected president of Guangdong Dramatists Association. He is a member of the Second China People's Political Consultative Conference and a deputy to the Third, Fourth, Seventh, Eighth and Ninth National People's Congresses. In the past 70 years, Xian Nvhong has performed nearly 100 Cantonese operas and shot more than 90 films, successfully shaping the artistic images of various women at home and abroad. She is brave in artistic innovation. On the basis of inheriting the tradition of Cantonese opera, she absorbs and draws lessons from Peking Opera, Kunqu Opera, drama, traditional opera, film and western singing, and combines them to create.

1955 After she returned to Guangzhou, she appeared in many plays, such as Searching for the Academy, Guan Hanqing, The Picture of Zhaojun on the Plug, Li, The Wind and Cloud of Mountain Country, Princess Zhaojun, Spring Festival in Bai Yan, etc. She created Ada, Zhu, Wang Zhaojun, Li, Liu Qin and Wang Zhaojun. Her "Red Tune" is carefully polished, and many famous songs of "Red Tune", such as Ode to Litchi, Ode to the Pearl River, Show Your Majesty to the Fortress, etc., are regarded as classics, widely known and widely sung.

In 2009, Sinuhong won the first China Drama Lifetime Achievement Award. [3]

3 artistic experience

In the 1940s.

1940, Xian Nahong and He Fulian temporarily performed together at Liang Shaofeng Jinxing Theatre. Jing Shao Feng likes Sinuhong's intelligence, obedience and studiousness, and gives her careful guidance when she has time. Especially in the aspects of using air to make sounds and using words to speak, Xian Nvhong benefited a lot and laid a good foundation for her singing. Jing also thought that the stage name "Xiaoyan Hong" of Sinuhong at that time was not pleasant to hear, and suggested changing it to "Sinuhong". 194 1 performed in Shanghai, and Sinuhong became the third Hua Dan. At the end of that year, the Japanese army occupied Kowloon and Hong Kong. Sinuhong lived in Master's house to practice, helped with housework and set up a stall to sell clothes to Master. /kloc-performed in Zhaoqing in 0/943, and used the stage name "Sin Nui Hung" for the first time in the mainland. Since then, she has become the official Hua Dan of Ma Shiceng Repertory Theatre. Later, he went to Guangxi and other places in the rear area of the Anti-Japanese War to perform many horse-brand dramas such as "Bitter Phoenix Begging for the Ying", "Bitter Son-in-law" and "Soft-skinned Snake Recruiting County Horse". She plays female roles with different personality types and adapts to different performance styles. Although she felt hard, she studied hard and gradually opened up a broad stage, which laid a solid foundation for her later galloping in the vast world of stage art creation and successfully shaping colorful artistic images.

1950s-1970s

Color photos of Sinuhong in the 1950s.

In the1950s and1960s, Sinuhong went to North Korea and Vietnam to perform with the delegation. After 80s, he went to the United States, Canada, Singapore, Malaysia, Hong Kong, Macao and other places for performances and lectures. Everywhere she went, she was warmly welcomed, which set off a "new girl craze" in the local area, and made contributions to spreading Cantonese opera art, promoting cultural exchanges and enhancing friendship. Xian Nvhong also performed in Hongkong and Macau to celebrate the return of China.

Sinuhong has always been keen on helping the younger generation and trying to train new people. As early as 1973, she was in charge of Guangdong Cantonese opera training class as a full-time teacher. After 1980s, she directed the Youth Troupe and the Experimental Troupe, set up the Red Bean Troupe, was responsible for training, carried out reform experiments, actively trained talents, and cultivated many outstanding young actors and artistic talents.

During the period of 1998, it was composed of the "Red Line Women's Art Center" invested by the Guangzhou Municipal Party Committee and Municipal Government, and the founding ceremony and 60th anniversary celebration of the new actress were held. In recent years, with the personal planning, leadership and participation of Xian Nvhong, the center has recorded a number of audio-visual products such as The Road of Xian Nvhong's Art, The Grand View of Xian Nvhong's Audio-visual Art, filmed an animated film of Cantonese Opera, and edited and published the Collection of Xian Nvhong's Stage Art Reviews and academic publications published from time to time.

Xian Nihong is a famous Cantonese opera actress at home and abroad. She has been on the art stage for more than 60 years, influenced by her predecessors, infiltrated in the tradition, learned from others' strengths, stood out from the crowd and dared to innovate, creating a unique and far-reaching "red cavity" singing art and "red school" performing art; She is crazy about art and never stops, determined to pursue truth, goodness and beauty. With her outstanding talent and achievements, she occupies a leading position in the contemporary Cantonese opera art world, and her creative artistic practice has added a glorious page to the development history of Cantonese opera.

When Cantonese opera rose again during Tongzhi period, Xin Nuhong's uncle Kuang Xinhua was a famous martial artist. He rebuilt the Cantonese Opera Hall in Guangzhou and organized the Eighth Harmony Hall, and was promoted to "the head of the hall". And because of his superb acting skills, his peers respectfully called him Taishan Beidou. Sinuhong's grandfather Sheng Jian 'an is a famous martial artist in Southeast Asia. My uncle, Liang Shaojia, is a small martial artist who worked as a big class in provinces and ports such as Life Year and Victory Year, and enjoys a high reputation in the provinces, Hong Kong, Macao, the United States and Southeast Asia. My aunt He Fulian is also a famous Hua Dan. Xian Nvhong grew up in such a family with deep roots in Cantonese opera and was influenced by Cantonese opera art from an early age. At the age of eight or nine, he learned to sing Cantonese opera on the phonograph. Often when my father entertained guests, he was called out to sing a song and praised by the guests. My father rewarded him with 20 cents. Before War of Resistance against Japanese Aggression, I lived in Xiguan, Guangzhou. I often went to the theatre with my mother and then came back to imitate singing at home. 1938 was out of school because of the Japanese invasion of China. In July and August of the same year, I went to Hong Kong with my mother via Macau, and I took my aunt He Fulian as my teacher. I formally studied art with a small stage name. 1939 During the Spring Festival, I performed for the first time in Shengshou Annual Class. From then on, she practiced in the troupe, learned to sing, and played maids and maids in the evening. When performing matinee in the suburbs of Hong Kong, he also played a supporting role in some scenes, and also had the opportunity to play the leading role in the "Sky Show".

After the victory of the Anti-Japanese War, Sinuhong settled in Hong Kong and became an amphibious actor in film and television dramas. Unwilling to be a cash cow for capitalists and "snakes", she used her private money to set up a troupe of truth, goodness and beauty, and co-starred with Ma Shiceng, Xue Juexian and others in such plays as Madame Butterfly and Hate History of Qing Palace. In the early 1950s, she also established the Red Star Cantonese Opera Troupe and led Ma Shiceng to Guangzhou to perform the drama Tears of the Pearl River. 1952, in the practice of performing A Generation of Tianjiao, Wang Zhaojun adapted Madame Butterfly and Shakespeare's masterpieces. According to his own talent and voice conditions, on the basis of traditional roles, he combined the singing art of Peking Opera, Kunqu Opera and western bel canto techniques to create Red Tone, which fascinated audiences at home and abroad, and developed the role of Cantonese opera. The earth has beautiful sound quality, deep and solid foundation, crisp and beautiful sound quality; The variety is rich, and the high, middle and low voices are unified and symmetrical. Few singers can have a loud voice like her, with a particularly wide range and soft and powerful voice "(Li). [3]

From 65438 to 0955, Xian Nvhong gave up her prominent position and extremely superior material life in Hong Kong's entertainment industry and resolutely returned to the mainland to join Guangdong Cantonese Opera Troupe (now Guangdong Cantonese Opera Theatre). From then on, she studied more eagerly. After learning, I don't know enough. Take Mei Lanfang as the teacher and ask Mei Pai to sing. Ask Cheng to help her design her figure and sleeves; Please ask Yu Zhenfei to point out "Gui Zhi complained"; Please ask Zhou Xiaoyan to enrich the singing of "Thinking of Fan" for her; There are also famous Kunqu artist Zhu Chuanming, singer Guo, etc. She turned what she learned, learned and gained into artistic blood, enriching her artistic accomplishment. In the end, she completed the creation of the red school art in the characterization of the plays such as Searching for the Academy, Showing Your Majesty on the Embankment, Bitter Phoenix Driving Sorrow, Playing God, Li, Guan Hanqing and The Wind and Cloud of the Mountain Country. , Jiao, Lin Daiyu, Li, Wang Zhaojun, Ada, etc. -A series of female images she created, whether they are small jasper, ladies, court aristocrats or prostitutes in brothels, can show gorgeous lead China, eliminate vulgar jewelry, and show the exquisite and elegant temperament, noble and dignified charm of oriental women and their tenacious character honed in resisting suffering or tragic fate. In the image of Zhu in Guan Hanqing, the chivalrous courage and awe-inspiring righteousness that dare to love and hate and despise the mighty are revealed. Her performance "The Storm of the Mountain Country" has taken another big step in the combination of modern drama and traditional drama performance forms, reaching a new height. [3]

During the Cultural Revolution, Sinuhong's family was harassed and persecuted, forced to leave the art industry, cleaned the streets in Guangzhou, and was repeatedly shaved off by the rebels. 1967 was sent to work in Guangdong Yingde Tea Farm.

The 1980s and 1990s

Since 1980s, facing the depression of Cantonese opera stage performance, she has been running around, trying her best to rearrange old dramas and arrange new ones. [3]1988 On the eve of the National Day, Xin Nahong led the Guangzhou Cantonese Opera Troupe to Beijing to hold the "Xin Nahong Special Session", and the unique "red cavity" stirred the hearts of the audience with its mellow and euphemistic charm; 1994, Sinuhong starred in "Welcome to the Spring in Bai Yan" in Beijing, successfully shaping the artistic image of Jie Shen, a factory surgeon. She took pains to send operas to the countryside, even giving performances and lectures in schools, and devoted herself to cultivating and winning a new generation of audiences. She tried her best to set up Hongdu Cantonese Opera Troupe, teach by example, cultivate new talents, train successors of Cantonese Opera art, lead a delegation to perform in Beijing, exchange abroad, and strengthen the former glory of Cantonese Opera. [ 1]

In his artistic career of more than 60 years, Sinuhong has made more than 70 films and performed nearly 200 dramas, including traditional dramas, new historical dramas, famous foreign dramas and modern dramas. As an "ambassador of folk art", he has spread the traditional Chinese opera culture to audiences in Southeast Asia and America for many times, and nourished the hearts of countless overseas Chinese with beautiful local accent and homesickness. Xian Nvhong is the only one who can still enjoy singing and make people crazy. This is indeed a miracle in the history of modern opera in China.

In his artistic career of more than 60 years, Sinuhong studied, worked and lived in the embrace of the socialist motherland for more than 40 years. The teaching and support of the party and government, the nurturing of the people, and the concern and encouragement of the leaders at all levels of the party and the state have made a qualitative leap in her ideological and political consciousness, and at the same time gained a broader artistic creation world. She loves the Party and the socialist motherland. She devoted herself to the cause of socialist culture and served the people wholeheartedly. Although she has ups and downs, she does not change her original intention; She always keeps in mind the hope put forward by Chairman Mao in his letters to her from 65438 to 0958, and strives to be "Sinuhong of the working people". Xin Nahong proved that she really became an artist of working people with her artistic practice and life track of more than half a century. Sinuhong's artistic achievements and outstanding contributions have been highly appraised and praised by the party and the people. 、

In recognition of Xian Nvhong's outstanding contribution to the Party's literary and artistic career, the Guangzhou Municipal Party Committee and Municipal Government built the Red Line Women's Art Center. On February 20th, 1998, 1998, the Guangzhou Municipal People's Government held a grand celebration of the 60th anniversary of Xian Nahong as an artist and the inauguration ceremony of the Red Line Women's Art Center. Literary and art celebrities from all over the country, the United States, Canada, Malaysia, Singapore, Hong Kong and Macao, 73-year-old Sin Nui Hung still attended the concert and dared to perform.

Lin Shusen, deputy secretary of the Guangzhou Municipal Party Committee and mayor, called on the comrades in the literary and art circles to learn from Xian Nvhong, her childlike innocence of loving the party, the motherland and the people, her persistent pursuit of ideals, her indomitable spirit, her enterprising spirit of defying difficulties, deliberately pursuing perfection, being brave in reform and constantly surpassing herself, and her noble sentiment of trying to cultivate successors. We are required to make joint efforts to make new contributions to promoting the art of Cantonese opera and revitalizing the cultural cause of the Chinese nation.

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