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CHINOPERL
Journal of Chinese Oral and Performing Literature
Volume 36, 2017 - Issue 1: Special Issue: Chinese Opera, Xiqu, and New Media, 1890s-1950s
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Book Reviews

The Rise of Cantonese Opera

Pages 79-81 | Published online: 01 Aug 2017
 

Notes

1 Except for a small number of names that have entered English in other forms of romanization, Ng romanizes Chinese names according to the pinyin system, which reflects Mandarin pronunciation. A form of Gui's name that would appear in English writing for Cantonese speakers would be Kwai Ming Yeung.

2 The war against the Japanese forced Gui to leave China and spend a decade in the U.S., where he did not leave much of a paper trail. He then returned to Hong Kong and went to Guangzhou in 1957, where he received a strong welcome, but died of illness soon after.

3 The gold plate that appears in Gui's photo with “Sihai mingyang” 四海名揚 (Name raised up throughout the world) engraved on it was given him by fans in New York City. These four characters pun on Gui's own name.

4 I hope that Ng will soon take the time and effort to treat in more detail Foshan 佛山 and Shanghai, two other cities arguably no less important than Guangzhou and Hong Kong in the formative stage of Cantonese opera.

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