Newsletter No. 392

10 No. 392, 19.2.2012 …… 如是说 Thus Spake… 陈泽蕾博士毕业于中文大学,先后取得中国语言及文学 文学士学位,其后再获性别研究哲学硕士及博士学位。 陈博士酷爱粤剧,工生角,更自组剧团。去年8月在崇基 学院六十周年院庆活动《紫钗记》中,她即担纲演出「李 益」一角。 Dr. Chan Chak-lui Sam received her BA in Chinese language and literature, and MPhil and PhD in gender studies at the Chinese University. Deeply interested in Cantonese opera, Dr. Chan not only learnt the art, but founded a troupe. At the Chung Chi College 60th Anniversary celebration music event, The Purple Hairpin , last August, she played a female sheng (male protagonist). 你是怎样喜欢上粤剧的? 那要从小六的一个晚上说起,由于不想睡觉,跟着妈妈看 《欢乐满东华》,发觉荧幕上的折子戏真的很吸引,原来 有一样东西是可以结合了舞蹈、歌唱和演戏。一下子便爱上 了,立即录映下来,翌日放学后即重看。之后开始到影视店 租粤剧影碟回来学着做。中二时,得知有粤剧学校,便瞒着 家里,问表姐借钱,每星期日去学戏。逢周日外出的谎话撒 不了多久便露馅了,随即在家中上演了一出「大龙凤」。后 来,父母还是让我去学戏,不过其后要专心念书,从中四 开始便没再学了,我本也以为与粤剧缘尽于此。 爱粤剧与选择中大的中国语言及文学系可有关系? 自小二便对中文有兴趣,又得知中大有一个粤剧兴趣小 组,自然首选中大,正是一举两得。可是,入学后才发觉那 小组已经解散了,好不失望。其时音乐系陈守仁教授主持 了一个粤剧研究计划,反正都是与粤剧有关,我主动申请 当义工。冥冥之中自有天意,音乐系又和八和会馆合办了 粤剧培训班,惟是家中经济欠佳,难再支付学费,准备放 弃之际,陈教授得知我的困难,慷慨借钱给我交学费,又 让我在粤剧研究计划当工读生作偿。我因而与粤剧重新结 缘,一直学了六年。 为何大学毕业后会修读性别研究硕士和博士课程? 主要为了思考何谓性别,以处理生活中的困忧。记得我曾 两次被人说会「变态」,一次是说进入单一性别学校很容 易变态,一次是说我打扮不像女生,长此下去,很容易「变 态」。再说,继续念书,可一边学戏,何乐而不为。 对你而言,粤剧的意义是什么? 可以说没有粤剧,我便什么也不是。由对粤剧的喜爱,开辟 了一条道路,一路走来,认识了不同的人,不但传授艺术, 亦给我上了一门门人生课,眼界大开。每当放浪形骸之际, 背后总有粤剧在提醒和鞭策自己。其实我是很怕与人接触 的,谈戏论艺,使我没有那么害怕接触陌生人。故此,粤剧 给我带来很大转变,是恩赐,也成为我的生活一部分,也 可说是「依归」。 是否因为身高178厘米,故选择生角? 初时学戏是没有分生和旦的,不过很快便分了行当,很幸 运,老师的安排正合我意。一般来说旦角人物较为突出,而 生角是烘托旦角,但我就是喜欢这点。2002年,我和两三 位志同道合的朋友,合组「月白戏台」剧团,透过演出来实 践所学,并希望与后来者分享经验。 现在「月白戏台」的发展如何?, 月白是试验场地,让我们试着把好的东西移植过来,测试 效果。是以,公演次数顶多是每年两次,也不在乎票房、 观众人数和反应,更专挑在小剧场公演。经过了七年,暂 时停了下来,因为找不着方向,不知该再往哪里去?经过 演出《紫钗记》后,面对较大的观众群,收到意见说演来 「过火」,顿觉必须回到舞台,感受演员与观众的关系,才 能拿捏最恰当的寸度。日后我会多找机会演出。 How did you become interested in Cantonese opera? I have to start from a night when I was in Primary 6. I didn't want to sleep so I watched Tung Wah Charity Show with my mom. I was fascinated by a performance of an extract from a Cantonese opera—it was something that combined dance, song and drama. I fell in love instantly and videotaped it. The next day I watched it again after school. Then I started renting Cantonese opera LDs to imitate the performances. When I found out there was a Cantonese opera school in Form 2, I borrowed money from my cousin to take lessons every Sunday behind my family's back. But the lies I made up to explain my absence were soon found out and there was a big scene at home. My parents let me continue taking lessons until Form 4. Then I stopped so I could focus on my studies. I thought that my association with Cantonese opera had ended. Are your love of Cantonese opera and your choosing to major in Chinese language and literature at CUHK related? I had been interested in Chinese since Primary 2. There was also a Cantonese opera club in CUHK. It was the perfect choice for me, but after enrolment, I found out that the club had dissolved. I was so disappointed! At that time, Prof. Chan Sau-yan, then professor at the Department of Music, hosted the Cantonese Opera Research Programme (CORP). It was about Cantonese opera anyway, so I applied to be a voluntary helper. Well, as fate would have it, the Music Department co- organized with the Chinese Artists Association of Hong Kong (Bar Wo) a Cantonese opera training class. As my family was not wealthy, it was hard to set aside money for the training fee. When I told Professor Chan about my difficulty, he generously lent me the money. He also allowed me to work as student helper at CORP to pay him back. I thus reconnected with Cantonese opera again and went on taking lessons for six years. Why Gender Studies for your MPhil and PhD? It is because I wanted to think over what gender is to ease my troubles in life. I recalled being defined as a possible ‘pervert’ twice. The first time, I was told that it was easy to be a ‘pervert’ if you study in a single-gender school. The other time, I was told that if I didn’t dress like a girl, I would turn into a ‘pervert’ sooner or later. By pursuing graduate studies, I could also continue with my Cantonese opera training. So why not? What does Cantonese opera mean to you? I have to say that without Cantonese opera, I am nothing. It’s the love of it that opened up a path for me. I’ve met various people who taught me about not only the art, but also life. Whenever I become lazy, it’s Cantonese opera that gets me back to work. I’m also afraid of communicating with strangers. I feel more confident when discussing art. Cantonese opera has changed me a lot. It is a gift, it’s part of my life, and I would say, my destiny. Did you choose to play a female sheng because you’re 1.78 m tall? At the very beginning of training, the roles of sheng and dan (female protagonist) are not assigned. Then later my teacher assigned me as sheng , and it was what I wanted too. Generally speaking, the dan is more prominent, while the sheng is more of a supporting role. But that’s exactly what I like about it. In 2002, like-minded friends and I organized the Atomic Cantonese Opera (ACO) troupe to apply what we learnt in performance and share experiences with people of the same interest. How’s ACO doing lately? ACO was a testing platform that tested the effects of borrowed ideas. That is why we only performed twice a year at most. As box office results, audience numbers and their feedback were the least of our concerns, we chose small theatres for our performances. After seven years, we stopped because we were lost. Where should we go from there? Playing in The Purple Hairpin to quite a large audience, I got feedback that I over-acted. I think I need to go back to the stage and experience the relationship between performer and audience, in order to capture the best tension and dynamics. I will be seeking more opportunities for performance in the near future. 文化及宗教研究系导师 陈泽蕾博士 Dr. Chan Chak-lui Sam, Instructor, Department of Cultural and Religious Studies