Yam Kim-fai - Yam Kim-fai

Bu maqola uchun qo'shimcha iqtiboslar kerak tekshirish. Iltimos yordam bering ushbu maqolani yaxshilang tomonidan ishonchli manbalarga iqtiboslarni qo'shish. Ma'lumot manbasi bo'lmagan material shubha ostiga olinishi va olib tashlanishi mumkin. Manbalarni toping: "Yam Kim-fai"  – Yangiliklar  · gazetalar  · kitoblar  · olim  · JSTOR (2011 yil iyul) (Ushbu shablon xabarini qanday va qachon olib tashlashni bilib oling)

Yam Kim-fai
Yam Kim Fay (chapda)
Tug'ilgan	Yam Li Chor (任 麗 初) (1913-02-04)1913 yil 4-fevral Nanxay, Foshan, Xitoy
O'ldi	1989 yil 29-noyabr(1989-11-29) (76 yosh) Happy Valley, Gonkong
Kasb	Aktrisa, Ijrochi (文武 生 )
Mukofotlar	Kanton Opera Film Century mukofoti14-Gonkong kino mukofotlari
Xitoycha ism
An'anaviy xitoy	任劍輝
Soddalashtirilgan xitoy tili	任剑辉
Transkripsiyalar Standart mandarin Xanyu Pinyin Rén Jiàhu Yue: Kanton Jyutping Jam4 Gim3 Fay1
Musiqiy martaba
Kelib chiqishi	Gonkong
Janrlar	Kanton operasi
Asboblar	Ovoz
Birlashtirilgan aktlar	Chor Fung Ming Kanton opera truppasi 雛 鳳鳴

Yam Kim-fai
An'anaviy xitoy	任劍輝
Transkripsiyalar Yue: Kanton Yelni rimlashtirish Yahm Gim-fai Jyutping Jam6 Gim3-fay1

Yam Kim-fai (Xitoy : 任劍輝, 1913 yil 4-fevral (1912 yil 29-dekabr) - 1989 yil 29-noyabr), shuningdek ma'lum Ren Tszyanxui^[1] taniqli edi Kanton operasi Xitoyda aktrisa va Gonkong.

Yam pastki registrda qo'shiq kuylashning noyob qobiliyati bilan ajralib turardi. Uning opera ovozi erkaknikidan farq qilmasligi unga erkak yoki ayol rollarini o'ynashga imkon berdi, garchi u odatda erkaklar rolini ijro etgan bo'lsa ham.

1972 yil 24-iyunda Yam so'nggi marta jamoat oldida chiqish qildi va televizion tomoshabinlar filmlardan / sahna tomoshalaridan tanigan "odam" ni qidirdilar. Ular uni 2 qismli ko'ylagi to'plamida ko'rishni kutmagan edilar qipao (cheongsam) gulli bosma bilan. 1972 yildan beri Yam jonli guruh bilan yakka holda qo'shiq kuylashni yaxshi ko'rar edi va ko'pincha uning himoyachisi Loong hamrohlik qilar edi^[2] jarrohlik amaliyoti bilan ko'zlari yaxshilanmaguncha, unga qo'shiq so'zlarini kim o'qiydi.

1976 yil 11-iyulda, 25-kun davomida Miss Universe da bo'lib o'tgan tanlov Li teatri yilda Gonkong, tanlov ishtirokchilaridan beshta portretni suratga olish uchun kanton opera kostyumidagi erkak aktrisa deb o'ylashlarini so'rashdi. Yam hech bir ishtirokchi tomonidan to'g'ri aniqlangan emas edi.^[3]

1989 yilda u tufayli Gonkongdagi uyda vafot etdi plevra effuziyasi. Yo'q edi JTWROS. Yamning irodasi bor edi va o'z mulkini oilalarga, shu jumladan Yam Bing Yiga qoldirdi.

Hayotning boshlang'ich davri

Yam Li Chor tug'ilgan (Xitoy: 任 麗 初 since), Yam Kanton opera truppasi bilan o'tgan maktabda ishlagan vaqtidan beri ijro etgan. Yam 14 yoshida, uning xolasi (Xitoy : 小 叫 天), boshqa bir kanton opera aktrisasi, Yamga poydevor kurslarini o'rgatgan. Tez orada Yam maktabni tark etdi va rasmiy opera ijrochiligi bo'yicha o'qishni boshladi Vong Lui Xap (Xitoy : 黃 侶 俠),^[4] ning ayol versiyasi sifatida tanilgan Ma Sze Tsang kabi tez-tez tanilgan Sifu Yam (Xitoy: 高 徒 出名 師 ). Ikkinchi Xitoy-Yaponiya urushidan so'ng, Vong qachondir Gonkongda Luo Pinchao bilan ishlagan. Rasmiy shartnoma tugagandan so'ng, ular yana hech qachon hamkorlik qilmagan bo'lsalar ham, Yam zamonaviy tilda ishlaydigan kambag'al, hayoti oxirlarida yaxshi bo'lmagan Vongni ta'minladi (Xitoy: 生 養 死 葬 ).

Guangdongdagi tomlar

Jade gul (Xitoy: 玉瓊花 ) sahnada ayol peshqadam sifatida birinchi hamkasblardan biri edi. Yam uni ushlab turdi, pastki pog'onadan ko'tarildi va 17 yoshida erkaklar qo'rg'oshiniga aylandi^{[Izoh 1]} Vongga yoki boshqa aktrisalarga ikkinchi darajali skripka va ikkinchi skripkada o'ynashni almashtirish Chan Pei Mui^[5] (陳 皮梅 ), ko'proq tajribaga ega va taniqli bo'lgan, yana bir necha yil davomida "ayollar tomidagi teatrlarda" ko'plab ayollar truppalarida (小 飛紅 - 太平 艷 影 劇團 / 譚蘭卿 - 梅花 影 劇團) erkak qo'rg'oshin sifatida chiqishdan oldin. .

Uyingizda teatrlari o'sha paytdan boshlab barcha ayollar truppalariga mo'ljallangan edi Li Suet Fong (李雪芳) 1923 yilda turmushga chiqqanda tark etgan barcha ayollar truppasini (「群芳 艷 影」 影) tashkil qilgan. Fong Yim Fun bir asr ichida yaqinlashdi. (16 yoshdan beri ayol bosh rol o'ynagan Fong, bir vaqtlar Li bilan birga ijro etilgan, ilhomlanib, o'z vokal uslubini yaratgan^{[Izoh 2]} Faqatgina sahnani baham ko'rishdan.) Birinchi to'rtlikdagi barcha ayollar truppalaridan boshlab, ayollarning etakchilari kamroq e'tiborga sazovor bo'ldi, chunki erkaklar bosh rollarda. Erkak va ayol ijrochilar ko'pincha Yaponiya Guangdongni olgandan keyin bir xil truppada bo'lmagan.^[6] Ayollar truppasining obro'si erkaklar truppasi singari yaxshi bo'lmagan. Yam erkak qo'rg'oshinlar chaqirilganligini eslatib o'tdi jirkanch (qiz singari qo'shiq ayt va qizga o'xshab yur) ko'chada pastdagi jingalak paytida (xitoy tilida) ushbu truppalar haqidagi fikrlarni aks ettiradi.^[7]

《鄉下佬 買 戲》 ： 「講到 鰟 鱓 女 班 經 已 做到 怕 ， 有 有 文 無 武 而且 有 鱓 仲 仲 老 過 我 阿媽。」

香港 報章: 「女優 薪金 微賤 ， 當 可以 減 班主 之 負擔。」

Yam erkak ijrochi bo'lishiga ergashdi "sissy yo'q", faqat tomoshabinlar orasida bo'lib, ayolning versiyasi sifatida tanilgan Kvay Ming Yeung, 1933 yildan oldin ham AAA, ham vokal,^[3-eslatma] Ma Sze Tsang Tam Lan Xingni Gongkongda u bilan birga ijro etish uchun yollagan.

Makaodagi teatrlar

Erkak ijrochilar bilan ko'plab truppalar^[4-eslatma] birinchi o'zinikiga ergashdi (Xitoy: 「鏡 花影 女 劇團」,^[5-eslatma] 1935-1942) bilan Tsui Yan Sam (Xitoy : 徐 人心) Yam dastlab vaqtinchalik teatr poygasi stadionida qurilgan vaqtinchalik teatrda (5 kundan keyin qulab tushdi) ijro etish uchun yollanganidan ko'p vaqt o'tmay sherik sifatida. (Endi nomi bilan tanilgan Kanidrom, 1963 yilda Loong, Pak Yin va boshqalar bilan tantanali ochilish marosimida qatnashgan Yam uchun alohida ahamiyatga ega edi.) Yulduzlar qatoriga boshqa aktrisalar ham kirgan (Xitoy : 紫 雲霞 、 車 秀英) Yam ko'rgan paytlarda va qachon. Co-yulduzlar har doim uning o'rnini bosar edi. Ulardan biri eshikdan chiqdi, ikkinchisi (2013 yilda Loong uchun ikkitasi) uning qo'lida edi. Yam darvozadan tashqarida asosan turmush qurgan xonimlarni, shu jumladan janob Batning rafiqasini juda yaxshi ko'rardi¹ Leo⁵ Gim⁶ (Xitoy : 畢 侶 儉1935 yilda Yamni ijaraga olgan. Makaodagi teatrlar uning barcha ayollar truppasi tarkibiga kirgan Ching Ping teatri da Travessa - Auto Novo (Xitoy : 清平 戲院). Chan Pei Aui singlisi Chan Pei Aap bilan qo'shilishganda uning hurmatini aks ettirish uchun Yam truppasini o'zgartirdi ("梅"花 艷 影 劇團 劇團) ushbu truppada Yam bilan erkak qo'rg'oshin maqomini baham ko'rgan sobiq xo'jayiniga hurmat bilan. Ulardan uchtasi Kwai Ming Yeung (Yam), Sit Gok Sin (Mui) va Ma Sze Tsang (Aap), Tsui Yan Sam (徐 人心) ayol nusxasini ayol qo'rg'oshin sifatida taklif qilishdi va yanada kuchli muxlislar bazasini yaratishda davom etishdi. Yam allaqachon Makaoda to'plangan narsalar to'g'risida.^{[6-eslatma][7-eslatma]}

Portugaliya Ikkinchi Jahon urushi paytida Aominaga egalik qildi va mojaro paytida u betaraf edi. Yaponiyaning ushbu betaraflikka bo'lgan ehtiromi, Aominani Yaponiya tomonidan ishg'ol qilingan boshqa joylardan ko'chib o'tishning xavfsiz joyiga aylantirdi. Natijada, Makaoda aholining soni sezilarli darajada oshdi. Ularning spektakllarni qo'llab-quvvatlashi ijrochilar hayotini nisbatan osonlashtirdi.

(Shaxsiy ijrochilarning ish haqi darajasiga qarab, ba'zilari kamroq o'zgaruvchan valyutada to'langan yuqori hisob-kitobli (ayol qo'rg'oshin) Tam Lan Xing, 1942 yil oxirlarida Makaoga keldi va o'sha yillarda og'irlik kasb etdi, degan mish-mishlar tarqaldi. bir kunlik chiqish uchun bitta tael oltin.)

Ma Sze Tsang 1933 yilda aktyorlar va aktrisalar bilan birinchi Gonkong truppasini tashkil qildi. Yozuvlar shuni ko'rsatadiki, Yamning barcha ayollar truppasi o'shandan beri teatrlarda yaxshi ish olib borgan so'nggi guruhdir.^[7] O'n yil davomida (1935-1945) Yam Makaoni o'z uyiga aylantirdi, Guangdongda tug'ilgan shahri yaponlarning qo'llariga o'tganida. Ikkinchi Xitoy-Yaponiya urushi. Ayni paytda, u o'z oilasini, shu jumladan uning singlisini (xitoylik urf-odatlar, aslida otaning birinchi amakivachchalari.) Singlisini ko'chirgan^[8] Yam Bing Yee (Xitoy : 任 冰兒Makaodagi yangi uyiga. Ba'zan, Yam 1939 yilda o'sha ayol ayol opera truppasini o'zgartirdi (「鏡 花 艷 影」 / 高陞 戲院 / 紫 雲霞 / 《夜 虎狼 關》 郎 紫 峯 = 郎 筠玉^[9]) Gonkongda yoki 1942 yilda Guangdongda Xing Sin Nuining "Sifu" (何 蓮 蓮) bilan birgalikda yulduz sifatida ijro etish uchun sayohat qilgan. O'sha yili Xang Yam bilan uchrashdi.

Makaoda u kariyerasiga katta hissa qo'shganlar, oxir-oqibat truppa menejeri bo'lgan ikki aka-uka orqali juda muhim ikki erkak va er-xotin bilan uchrashdi (Xitoy : 徐 時) va librettist (Xitoy : 徐 若 呆). Biri uning cho'qintirgan otasi va vokal uslubi bo'yicha o'qituvchisi bo'ldi, boshqasi esa uning moliya masalalarini boshqarishda yordam berdi va ba'zida Makomoda qurilgan Yam jangovar ko'kragiga qarab, hamyonni ushlab turdi.

Gonkongdagi teatrlar

Yam erkaklarning etakchisi edi^[8-eslatma] ko'plab Kanton opera sahnalarida, dastlab Makaoda va 1945 yildan beri Gonkongda ko'plab aktrisalar, shu jumladan Sheung Hoi Mui (上海 妹), Che Sau Ying (車 秀英), Tam Lan Xing (譚蘭卿) va Tan Pik Van (鄧碧雲). 1942/3 moliyaviy yordami bilan janob. Xo Yin, otasi Edmund Xo, u yangi opera truppasini tuzdi^[9-eslatma] menejeri (徐 時), librettistlar (徐 若 呆 / 歐陽 儉) va truppaga birma-bir qo'shilgan quyidagi ijrochilar bilan yangi ovozli opera truppasi (「新 聲 劇團」) deb nomlangan: -

1. Chan Yim Nung^[8] (陳艷 儂 ), Daan (Xitoy: 旦)
2. Au Yeung Kim (歐陽 儉 ), Kau (Xitoy: 丑)
3. Lang Chi Bak (靚 次 伯 ), Zing (Xitoy: 淨)
4. Yam Bing Yee^[8] (任 冰兒 )
5. Bak Sheut Sin (白雪 仙)

Qizil palatani orzu qiling yilda Makao Bu ayollarning so'nggi truppasi bo'lganidan buyon faoliyatidagi eng muhim voqealardan biri edi. Yassi bosh og'rig'iga sabab bo'lgan kassa yozuvlari qanchalik yaxshi bo'lishidan qat'i nazar, katta ishlab chiqarish xarajatlari tendentsiyasi hech qachon tiklanmaydi.

Yam juda yoshligidanoq yaqin oila, katta oilalar, katta mablag 'sarflaydigan hammuallif va bog'liq oilalarning yagona moliyaviy manbai sifatida tanilgan. Yam, truppasi muammoga duch kelganida, hisob-kitoblarni yuritish uchun juda saxovatli bo'lgan. Chan Lap Ban 1989 yilda ular qishloqlarda (ikkalasi ham 20 yoshga to'lgan) chiqish qilgan kunlarini kamerada aytgan. Investorlar ularning faoliyati uchun pul to'lamadilar. Patriarx sifatida Yam truppani o'zining shaxsiy oltin to'plami bilan uyda xavfsiz bo'lishini ta'minladi.

Aominoni tark etganidan beri, endi Aominni moliyalashtirish yo'q edi, ammo sarf-xarajatlar davom etdi. A "shunchaki talaba bo'lish juda yaxshi" Tang-da o'zining efirdagi efiridan bepul foydalanishga imkon beradigan Yam / Lang / Au Yeung ("大 包 細") moliyaviy halokatdan, oltita ustunning beshtasi uchun kunlik ish haqi, ish haqidagi (bozor) ulkan bo'shliqni hisobga olmagan holda. ular orasida baho. (Chipta narxi atigi 6 HK $ bo'lgan bir ijro uchun kuniga 200 HK $ deb aytilgan.) Bu yangi otli Opera truppasi mavjud bo'lmay qolguniga qadar baland otdan tushish, o't poydevoriga qaytish. Shunday qilib, sarflangan sarf-xarajat Yamni daromad olish uchun ishonchli rollar va ko'chmas mulk portfelini ishonchli xodimlar tomonidan to'g'ri boshqarilishini ta'minlashga majbur qildi.

Yamning Nikoh Tan Bohu, 1974 yilda qayta nomlangan Uchta tabassumning nikohi (三 笑 姻緣) 1956 yilda Tang flub birinchi kuni boshlanganda yordamga kelgan, 1956 yilda 6 qatordan ko'proq tomoshabinni dunyoga hech qachon xabar bermagan. Tangning shishishi 1957 yilgacha davom etdi Di Nu Xua bunda Yam erkak qo'rg'oshin sifatida birinchi marta Tang ijodida muhim rol o'ynadi. Biroq, bu Binafsha soch turmagidan keyin tugadi. Ular Tangning "BIG TO'RT" filmidagi yagona ikkita film bo'lib, unda Tang vafotidan oldin ulug'vorlikka erishish imkoniga ega bo'lgan. Ushbu ikkitadan oldin kinoteatrlarga sarlavhalar olib borishning kinematografik rejalari bekor qilindi^[10-eslatma] juda yomon qabul qilishlar natijasida. Boshqa BIG TO'RTA sarlavhalarning kino huquqlari bir necha o'n yillar o'tib paydo bo'lgan. Bu olti yil davom etgan ikkinchi xarobadir. Bu jarayonda Yam tasodifiy to'qnashuv (見 獵 心 起) bilan topgan narsasi, u 30 yilga yaqin qadrlagan vorisi edi.

Uchinchi yirik moliyaviy falokat uning nihoyatda charchagan 1968 yilgi Shimoliy Amerikadagi safari bilan qutqarildi, chunki u o'layotgan onasi, eng qadrli oila a'zosi bilan xayrlashish imkoniyatidan mahrum bo'lganidan o'n yildan oshdi. Yam to'rt yil davomida film suratga olish uchun pul to'lagan Kanton. Narxi rejissyorlik qilgan ikki filmning o'rtasida ekanligi aytilmoqda Li Xansian. Ajoyib kanizak (1962 film) birinchi xitoy tilidagi film (楊貴妃 (1962 yil) ) eng yaxshi interyer fotosuratlari va rang-barangligi uchun Gran-pri yutish. The Empress Vu Tse-Tien ga kiritilgan 1963 yil Kann kinofestivali.Bu bilan birga, 1968 yilda suratga olingan ushbu film hech qachon bundan boshqa joyga etib bormagan Gonkong va kinoteatrlarda chiqarilganidan beri o'tgan o'n besh yil ichida bir necha bor namoyish etildi. Loongning 1982 yildagi sahnaviy ishi hikoya chizig'i bilan tanishgan yo'lni taqdim etdi Las-Vegas va undan tashqarida. Ushbu 1982-yilgi sahna versiyasi, shuningdek, keyingi avlodlar tomonidan Kanton opera ijrochilari tomonidan muntazam ravishda sahnaga qo'yiladi.

Karyera

Avvalambor sahnada ijro etgan Yam Gonkongdagi urushdan keyingi ko'plab kanton opera sahnalarida erkaklarning bosh rolini o'ynagan, aksariyat aktrisalar bilan to'qnashgan, shu jumladan Chan Yim Nung, Yu Lay Zhen, Fong Yim Fun, Tan Pik Van, Hung Sin Nui.

Uning ko'plab chiqishlari 1953 yilda qayta tiklangani kabi filmlarga aylandi Shirin qiz.^[10]

1. Fong Yim Fun beri Oltin Feniks Opera truppasi (Xitoy: 芳 艷芬, 金鳳 屏 劇團) - ba'zida Yam o'rniga yuqori narxlar. Ko'pgina sarlavhalar ekranga moslashtirilgan bo'lib, ularning bir nechtasi quyida keltirilgan. Yam Tsing Dynasty libosida, shu jumladan pao Quyidagi dastlabki ikkitasi uchun mao (qattiq qalpoqcha) va magua ("boylar uchun" tugmachali mandarin ko'ylagi), ikkalasi ham 1800 yillarning oxiri va 1900 yillarning boshlarida o'rnatildi.

	Yil	Sarlavha	Xitoy tilida	Izohlar
1	1955	Go'zallikning gullab-yashnayotgan xushbo'yligi	一枝 紅艷 露 凝香	birinchi versiya1-ni takrorlang[11]
2	1956	Kichik karam va Yeung Nay-mo haqida hikoya	小白菜 情 困 楊乃武
3	1956	Bahor chiroqchasi ostida tukli fan	春 燈 羽扇	birinchi versiya2 ni takrorlang
4	1957	Luo daryosining ma'budasi	洛神
5	1958	O'n ikki xonim minorasidan go'zallik yo'qoladi	香 銷 十二 美人 樓	Bmatn terish xatosiTto'g'ri yilda HKMDB
6	1958	Kelebekni sevuvchilar	梁祝 恨 史	pdf to'liq libretto
7	1958	Qaldirg'ochlar uyga kelishadi	一年一度 燕 歸來
8	1958	O'n to'rt yil davomida buddistlar tomonidan qayta tiklanishi	火網 梵 宮 十四 年
9	1958	Yutangchun haqida hikoya	玉堂春
10	1958	Xursand Feniks	彩鳳 喜 迎春
11	1959	Yozgi qor	六月雪	pdf to'liq libretto
12	1959	Rouge xushbo'yligi yoki chiroyli gul ustida shirin shabnam podiumi	一枝 紅艷 露 凝香	ikkinchi versiya1-ni takrorlang
13	1959	Bahor fonari va tuklar muxlisidan pushaymon	春 燈 羽扇 恨	ikkinchi versiya2 ni takrorlang
14	1959	Chegaradondagi Oy nuri va Pipa	萬里 琵琶 關 外 月	HKU manzili
15	1959	Xan imperatori Vu va Ledi Vay o'rtasidagi tushlar	漢 武帝 夢 會 衛 夫人

2. Yu Lay Zhen (Xitoy: 余麗珍) - ko'plab filmlar sahna asarlaridan olingan. Masalan, 1960 yilgi film Oltin xrizantema (Xitoy: 《血洗 梅花 澗》 / 《七彩 金葉 菊》) va 1951 yilgi film Qirol yuragini gapiradi (《帝 苑 春 心 化 化 杜鵑》) ikkalasi ham Sit Gok Sin va Ma Sze Tsang bilan.

3. Chan Yim Nung (陳艷 儂) - bu Qizil palataning orzusi (《紅樓夢》), Dengizdagi qizil palata (《海角 紅樓》)^[12]

4. Tan Pik Van (鄧碧雲) - Makaoda Ertalab xotin, tunda qaynona (《晨 妻 暮 嫂》). Ko'pgina filmlar (1947, 1952 va 1957) Xotinim akamga uylandi) ushbu bosqichda ishlab chiqarilgan. Masalan, 1956 yilgi film Guyji sudi sarlavhadan Ot savdogarining qizi yoki Kvaychi sudga da'vo qilmoqda ('S 販 馬 記》》 / 《桂枝 告狀》》) bu Yamning debyuti edi, ammo Tangniki emas.

5. Hung Sin Nui (紅線 女) - vokal yozuvlari kabi Qirollik va go'zallik yoki Shahzoda va ofitsiant (《游龍戲鳳》 1953) o'sha pyesalardan olingan. Wing Lok teatri sahnalari (《胭脂虎 棒打 紫薇 郎》 《, 《女媧 煉 石補青 天》), masalan, Gongkongda, 1950-yillarning boshlarida. Ngor Jie köfte sotmoqda (《娥姐 賣 粉 果》) 1952 yil iyun oyida oxirgi marta umumiy bosqich bo'lgan.

Yuqoridagi ushbu aktrisalar o'zlariga yarasha muvaffaqiyatli ijrochilar. Ular sahnada bo'lishdi va o'zlarining kareralari davomida ko'plab erkaklarning bosh rollariga qarshi filmlarda rol o'ynashdi. Tan Pik Van aslida erkak bosh rollarni ham o'z zimmasiga oldi Chan Yim Nung buni 1950-yillarning oxirlarida va keyinchalik AQShda bo'sh vaqt o'tkazish uchun amalga oshirdi.

Filmlar

1951 yildan 1968 yilgacha bo'lgan filmlarda Yam deyarli har bir ayol qo'rg'oshinning qarama-qarshi tomonida erkak bosh rolni o'ynagan, xuddi qizi singari Leung Sing Bor kiritilgan. 1961 yilgi filmda "Polygamous Nikohda o'yin-kulgi"(《八 美 審 審 狀元》), Yam sakkizta ayolga uylangan; Yu Lay Zhen (余麗珍), komediyachi Tam Lan Xing (譚蘭卿, 1908-1981) va Yam Bing Yee (任 冰兒 ) bu erda Yamga qarama-qarshi bo'lgan uchta aktrisa. Biroq, uning birinchi filmi "Sirli kecha1937 yilda filmni suratga olishni do'sti sifatida kuzatganidan keyin Luo Pinchao va boshqalar. U suratga olgan 300 ta filmning yaxshi qismi zamonaviy, na Kanton opera kostyumlarida, na 1900-yillarning boshlarida ayollar hali ham oyoqlari bog'lab qo'yilgan paytlarda.

Birgalikda yulduz sifatida	Of	Tanlangan aktrisalar	Xitoy tilida	Filmlar tanlanadi
59	62	Qonun Yim Xing (1924 yilda tug'ilgan)	羅艷卿	1960 yil Komediya va Drama Tasodifiy hosil, 1965 Erkak ovozi uslubi Qizil xalat va 1960 Erkaklar va jang san'atlari G'arbiy daryodagi qutqaruv
57	58	Ng Kvun Lay (1931 yilda tug'ilgan)	吳君麗	1959 yil klassik Oq quyonning feti, 1958 Drama Rakunni shahzodaga almashtirish, 1957 romantik Feniksning soch tolasi va 1964 yil Drama Sirli qotillik
34	36	Yu Lay Zhen (1923-2004)	余麗珍	1960 yil Drama Oltin xrizantema, 1961 yil Komediya Polygamous Nikohda o'yin-kulgi, Erkaklar va jang san'atlari, 1958 yil Lyu Jindinning hikoyasi, 1962 Luo Cheng darvozada va 1963 yil Lotus lampasi
28	29	Fong Yim Fun (1926 yilda tug'ilgan)	芳 艷芬	Yuqoridan asosan, beri qarang Oltin Feniks undan keyin Sun Yim Yeung davr.
23	24	Tan Pik Van (1924-1991)	鄧碧雲	1954 yilda sodiq sevgilisi Kam-Kiuga tungi qurbonlikni to'lash yoki 1956 yil Guyji sudi, 1956 erkak vokal uslubi va jang san'atlari Xue Dingshan uch marta qanday qilib Fan Lihuani g'azablantirdi va 1957 yil Drama Obodlik taqillaydi
10	27	Fung Vong Nui (1925-1992)	鳳凰 女	1962 yilgi komediya Sevgi sinovi va 1963 Erkaklar Men Vatanimni va Xotinimni qaytarishni xohlayman
0	1	Tsui Yan Sam (1920 yilda tug'ilgan)	徐 人心	1937, Ansambl aktyorlari, Zamonaviy Sirli kecha
Jami 211	237	Bugungi kunga qadar jami 294 ta film suratga olingan

Yuqoridagi aktrisalar juda ko'p qirrali va sahnada, shuningdek filmlarda va televizorda (hayotning oxirlarida) muvaffaqiyat qozonishadi. Fong Yin Fun, Yu Lay Zhen va Ng Kvun Lay film ishlab chiqaruvchi kompaniyalarga egalik qilishgan va Yamni tez-tez o'z xohishiga ko'ra yollashgan, shuning uchun ba'zida Yam o'rniga eng yuqori narxlar. Law Yim Xing va Ng Kwun Lay kamdan-kam hollarda Yam bilan sahnada bo'lishgan, ammo u bilan ko'p filmlar suratga olishgan. Ro'yxatdagi ettitadan to'rttasi (Fong Yin Fun, Law Yim Xing, Fung Vong Nui va Tan Pik Van ) sahnada ham, qachondir filmlarda ham erkak kostyumida kiyingan. 1956 yilgi film Vong Fey qanday qilib Lovelorn monkini qadimiy monastirdan qutqardi Yam filmlari qanchalik keng bo'lganligini aks ettiradi.

Linchpin

Yam "yumshoq gapiring va katta tayoq ko'taring "Kanton opera jamoatining a'zosi, ammo yo'q shaxsga sig'inish belgi. Agar u ruxsat bergan bo'lsa, uning atrofidagi atrof (kasalxona, aeroport va boshqalar) nazoratdan chiqib ketishi mumkin. (Masalan, ilgari maosh darajasi ma'lum bo'lgan qurilish, tibbiyot va yuridik mutaxassislar tashqi tomondan reklama qilishlariga yo'l qo'yilmas edi. Mashhurlar bilan diqqat markazida bo'lish alternativa yoki undan ham yaxshiroq bitim edi. Natijada "yuqori darajadagi mijozlar" oqimi) vaqt va xarajatlarga arziydi.) Ammo, uning qoldiq qiymati "pastga ovoz berish effekti"minimal^[13] uning hamkasblari uchun. Ikkinchi etakchi "erkaklar" sifatida sahnada unga ikkinchi skripkani o'ynagan Lam va Loong ikkitasi bo'lib qolmoqda super butlar o'nlab yillar davomida.

1956 yildan boshlab, to'rt yil davomida, so'ngra 1960 yilda faqat vaqti-vaqti bilan sahnada u faqat qarama-qarshi ishlash bilan cheklangan Bak Sheut Sin, o'zini 1953 yilda debyutdan o'n besh yosh kichik va tashlandiq ayol sifatida, Eliza singari xarakter Mening adolatli xonim, Qizil gilos va yurak singanida (Xitoy: 紅 了 櫻桃 碎 了 心).

1953 yildan 1956 yilgacha Bak ikkinchi skripkada o'ynadi (gulli rol 花衫) ikkalasiga ham Fong Yin Fun yoki Hung Sin Nui Yam har qanday biriga qarshi erkak qo'rg'oshin bo'lganida yoki Chan Yim Nung bundan oldin.

1951-1968 yillarda operalar ekranga moslashtirilganda, ular ushbu rollarning aksariyatini takrorladilar. Filmlarga suratga olingan ikkitasi Li Yi (李益) in Binafsha sochlar uchun afsona va Chjou Shixian (Xitoy: 周 世 顯) in Tai Nui Fa. Biroq, Yamning ba'zi boshqa rollari yoqadi Lyu Mengmey (Xitoy: 柳夢梅) ning Kanton opera versiyasida Pion pavilyoni va Pei Yu (Xitoy: 裴 禹) in Leydi olxo'ri gulining reenkarnatsiyasi hech qachon filmlarga suratga olinmagan. Keyinchalik faqat vokal yozuvlarida mavjud. U Lyu Mengmey (Xitoy: 柳夢梅) hech qachon tijorat maqsadida yozilmagan Bak Sheut Sin.

Vidolashuv

Oxirgi chet el safari 1968 yilda bo'lib o'tgan Shimoliy Amerika.Uning "keyingi" avlodlari bilan,^[2][14][15] 1968/69/70-yillarda sahnada so'nggi beshta nomdagi jonli prodyuser 1968 yilda chiqarilgan so'nggi "Shoir Shohining Fojiasi" filmidan keyin.

Oxirgi ommaviy chiqish 1972 yil 24 iyunda bo'lib o'tdi.

Yam o'zining oltita zaxira qo'shiqchisini tanishtirdi,^[2][14][15] uning "keyingi" avlodi, 1964 yildagi qo'shiq bilan kengroq auditoriyaga.^[11-eslatma] Shuningdek, o'sha kuni Bak Sheut Sin, u so'nggi sahnani kuyladi Tai Nui Fa uchun TVB telemarafon 18 iyundagi ko'chkida qurbon bo'lganlar uchun uyushtirilgan tadbir.

O'shandan beri Yam boshqa hech qachon jamoat oldida ijro etmadi. Aksincha, u uni saqlab qoldi protégée^[2] uchun yaqin o'qitish va to'g'ri tarbiya uning vorisi bo'lish.^{[16][17][18][19]}

Yam Loongni birov sifatida qadrlagan elkalariga yaxshi bosh bilan va zarur bo'lgan barcha resurslarga arziydi Kanton operasida o'zining AAA-ning vorisi sifatida kuyovni 1965 yil sentyabrdagi chiqishlarini tomosha qilgandan keyin. Bundan tashqari, Yam Loongni aqlli, unga bo'ysunadigan va qat'iyatli deb atadi. Yamning vorisi degani, sahnadan tashqari tejamkor hayot va (agar kerak bo'lsa) xonadagi yagona moliyaviy mas'uliyatli kattalar, bundan tashqari: -

Qisqa metrajli film namoyish etiladi Yamning etuklik darajasi ko'p yillik kurashlardan so'ng erishdi. Yuqori darajadagi va ajoyib opera aktyorlik mahoratiga ega bo'lgan holda, u qanday qilib improvizatsiya qilishni biladi zarur. Bunday sahna xulq-atvorini faqat faxriysi tasavvur qilishi mumkin virtuoz opera ijrochisi.

同 場 將 加 映 《錦繡 天堂》 （1964 yil） 折子戲 「孟麗君」 ， 是 姐 姐 奮鬥 多年 、 成熟 揮灑 揮灑 的 表演 ， 造詣 造詣 造詣 演技 演技 ， 既具 壓 造詣 台 ， 示範 示範 了 生 生 示範 示範 了真正 的 大老 倌的 舞台 風範。

Jamiyatda o'z bolalarini iste'mol qiladigan keksa qo'llar o'ldirish qiyin eski Xitoy madaniyatida qaynonalar o'g'illarining xotinlarini jazolash kabi odat. Katta a'zolar navbati yomon odam bo'lib, yoshlarni yirtib tashlaydilar, oddiy va oddiy odamlar bilan burunlarini silkitadilar. Ushbu xavfni yodda tutganmi yoki yo'qmi, Yam ikkalasi o'rtasida Loong bilan vaqt o'tkazdi. Shuning uchun odamlar Yamning Loongning ba'zi zamonaviy ijrochilar bilgan muvaffaqiyatlar tarixini yaratilishidagi roli haqida sodda emas prequel Kanton operasida o'zlarining martabalari. Yam va Loong birgalikda 1980-yillardan beri Kanton opera jamoasiga qo'shilgan avlodlar aktrisalari uchun teng sharoit yaratdilar.^[20][21]

Patriarxning sifati

Qushlar o'z oilalarini yaratish uchun uzoq va balandlarga uchishlari kerak. Voyaga etgan qushlar yoshlarni qusish bilan faqat o'zlari uchib ketguncha boqadilar. Bunga haftalar yoki oylar ketishi mumkin. Kanton operasidagi patriarxlar, shou-yuguruvchilar ertami-kechmi oyoqqa turishlari kerak. Yamning so'zlariga ko'ra, ertami-kechmi, u Loong bilan uzoq muddatli telefon qo'ng'iroqlari orqali faqat chet el safari paytida, hatto 1975 yilning shu to'rt oyida ham aloqada bo'lib turdi. Uning sayohati, agar u olgan taqdirda hammasi to'lab berilishini va'da qildi. U ba'zan (Kanadada har Loongga) tashrif buyurgan, ammo hech qachon o'zini Press va matbuotning e'tiborini jalb qilish uchun markazga ekmagan.

2000 yilga kelib Gonkongda Loong kamerada AAA haqida gapirdi formula (U so'nggi yillarda u bilan yoki boshqasini bolalar bilan baham ko'rdi. O'zlarining radiosi bo'yicha ularning ovqat hazm qilish tizimlari hali tayyor emas edi.) U Yamdan o'rgangan va barcha chiqishlarida qo'llagan, 1980 yillarda Loong abc123 dan ancha oldin bo'lgan. Matbuotga. Yamning sotib olingan ta'mga bo'lgan munosabati, kimdir bilan sodir bo'lgan voqealar o'rniga "karam kompresslarini sinab ko'ring" deb maslahat berishi mumkin edi ho'l hamshira ning Puyi 1987 yilda filmda Oxirgi imperator.

Gonkongda sotib olingan ta'mga oid A ko'rgazmasi 2012-06-05 En Ven Vey Po】

"就像 某 富豪 生 有 五 子 其中 大 大 兒子 努力 建立 自己 的 事業 ， ， 四 四 子 子 只 依賴 供養 供養 供養 富豪 百年 歸 歸 巴仙 巴仙 家產 大 兒子 兒子 巴仙也 沒有 分到 ， 大 兒子 大罵 是 傻瓜 ， 為甚麼 不 學 四個 弟弟 做大 懶蟲 ， 父 父 蔭。 "

Lesli Cheung 1980-yillarda Loongdan o'zining konsert dasturi uchun qo'shiq aytishni o'rgangani haqida mish-mishlar tarqaldi.^[22] Ammo tabiatda ko'proq ochiq va o'ta og'ir holatlar mavjud. Bittasi (扑 / 撲) 1985 yilda 20 yoshga to'lgunga qadar (26 yoshdan keyin 24 kun ichida boshidan tepada) 28 yoshdagi shoulardan ikki marotaba tomoshabinlar qatorida bo'lishdan ko'ra ko'proq mablag 'sarflashi mumkin edi. 2011 yilda o'z-o'zidan radio orqali. Biri (仆) 20 yoshdan katta edi 2011 yilda Loong 25 ta shou o'tkazgan va keyinchalik DVD chiqargan. Birinchisi (扑) bir necha yillar davomida Loong nusxasi deb nomlanib kelmoqda, garchi 2005 yilda Matbuot murojaat qilganida Loong bu fikrga qo'shilmadi. (Loong-dan "HA", agar Loong auditoriyada bo'lgan bo'lsa ham, Matbuot tomonidan tasdiqlanishi mumkin edi) faqat u (扑) hanuzgacha maktabda bo'lganida.) Ikkinchisi (仆) undan foydalanadi 15 daqiqa shuhrat lavozimga ko'tarilish uchun sarlavha sifatida. Faqat 2/3 yil oldin u bir marta katta konsertga tayyorgarlik ko'rish uchun rafiqasi "Loong video ko'rish" haqida radioda gaplashmadi. Bular yaxlitlik (shamolda nam barmoq), o'rganish odati / uslubi va professional ijrochilar sifatida shaxslarning o'rganish qobiliyatlari haqida gapiradi. Ba'zi (仆) mavjud na baliq, na qush (非驢非馬) tanlov asosida, Jek barcha hunarmandlar, hech kimning ustasi emas har doim.

Biroq, aktrisalar uchun sahnada eng kam kutishni qondirish uchun ayol bosh rolni topish muammosi ko'proq bo'lgan, chunki bu 50+ shoulardagi ayol bosh rollarning yomon ko'rsatkichlari 1985 yildan beri kolumnistlar va insayderlar tomonidan yaxshi hujjatlashtirilgan. / Kanton opera jamoatining faxriysi sahnada o'nlab yillar davomida, 2000-yillarning o'rtalarida kamerada bo'lishiga qaramay, 1979 yilda birinchi marta ko'rgan juda past darajadan yaxshilanmaganligini ta'kidladi. Ular uni xuddi o'sha eski gilam bo'lganligi uchun mehr ila ijtimoiy ish jadvalini ayblashdi. Lam Kar Sing o'zini o'rgatish uchun bir necha oy sarf qilguniga qadar yigirma yil ichida nimaga qarshi bo'lganini bilmas edi.

Nima qilmaslik kerakligi haqidagi dars

Bitta o'g'il bilan bo'lishdi bir marta olib tashlangan birinchi amakivachchalar olib tashlash uchun "to'g'ri" dars. Ularning onalik buvisi ijro etish uchun qo'lyozmani o'rganish bilan band edi. O'g'ilning so'zlariga ko'ra, onasining "notinch yoshligi", xokkey o'ynab, sinfda e'tibor bermagan va uyda o'qimagan, 60 yoshdan keyin ham xuddi shu abc123 ni o'rganishda aybdor bo'lgan. Buvining muvaffaqiyatli martabasini, umr bo'yi qilgan mehnatini va chidamliligini o'z vaqtida isbotlaydigan ko'plab dalillar mavjud. Zarari yo'q, axloqsizligi yo'q lekin aksincha emas. Aksincha, soxta "namuna" noto'g'ri ma'lumotlar va yo'q qilinadigan narsalar yo'q qilinishiga oid barcha dalillar faqat yosh ongga tegishli "zaharli pechak ", HAYVONLAR go'daklar va o'spirinlarni" o'sishini oshirish "uchun ovqatlantiradi. (Zaharli pechak har doim uchta bargdan iborat.)

Buning sababi yuvib yuborish 2013 yilda ko'z oldida, ammo behuda edi. Jonli efirda bir akademik janob Chan va mehmonda (hozirda Kanton operasida "vafot etgan" yurish ensiklopediyasi ") muallim bo'lib ishlay boshladi, ular Loong sahnada, ayniqsa 2011 yilgi qishki voqeada va o'nlab yillar davomida qanday kassa yutuqlariga erishganiga hayron bo'lishdi. 2012 IFPI g'olib bo'ldi, ovoz berish uchun finalchi. Hozir vafot etgan sharhlovchi va / yoki radio qahramoni 50 yildan ortiq vaqt davomida yozma ravishda ko'p fikrlarga ega edi, chunki har qanday akademikning mikrofon orqasida silkitadigan barmog'i devordan olib tashlay olmadi. Ushbu voqea shaxsiy kun tartibini noto'g'ri targ'ib qilish bo'yicha ochiq kampaniyaning boshlanishini belgilab qo'ydi. Akademik hozirgi faoliyatini Loongning sahnaga qaytishi bilan bog'liq bo'lgan o'tmishda nashr etilgan kitoblar bilan boshladi. Bortda Loong bo'lmagan holda, chop etilgan kitobga allaqachon qo'shilgan / qo'shilgan.

"Kimdan nimani o'rganish kerak" - bu eng qiyin savol. Odamlar faqat ko'rishga tayyor bo'lgan narsalarni ko'rishadi. Hech qachon boshqa odamlarning yaxshi tomonlarini ko'rmasangiz, qanday qilib o'rganish kerak. Biron bir ustozning imtiyozli shogirdi o'zining sahnadan orqada qolganida, u nafaqat yaxshi ovozli va chiroyli ko'rinishda tug'ilgan ayol qo'rg'oshinni ko'rdi va shunday xulosaga keldi: «U buni faqat yaxshi yashirdi. Chiroyli ip.". O'sha talaba hech qachon bunday taniqli ayol bosh rollarni ijro etuvchi klassik rollarni ijro etmagan. Uning 1956 yildagi panasi ham bo'lmagan⁴ Hing¹ (顰 卿) eng kam gapirish uchun muvaffaqiyat. (O'n yil davomida Makaoda, XK va Guandunda kuchli qurilgan (katta va baland) Chan uni tortib oldi. Bitta faxriy tomoshabin uning sahnadagi akrobatik mahoratiga ishonch hosil qildi Lin Daiyu.)

Shunday qilib, nima bo'lmadi, bu film edi Qizil palatani orzu qiling^[10-eslatma] rejissor Lau Hak Suen va Yam as bilan birga yangi ishlab chiqarish kompaniyasi (興 友 影業,) tomonidan ishlab chiqarilgan Jia Baoyu bilan birga:-

• Lau Hak Suen
• Poon Yat On
• Yam Bing Yee
• Pak Bik (白 碧)
• Fung Vong Leui
• Mui Yee (梅 綺, 1922 - 1966), 1956 yil uchun original aktyor Syu Baochay.

Yaponiyaning Gonkongni ishg'ol etishi paytida ushbu ayol qo'rg'oshin kambag'al 10/11 yoshli Lamga rasmiy kiyimidan (蟒袍) vaqtincha Guangdongda chiqish uchun foydalanishga ruxsat berdi. Lam o'zining tanlagan yigitining hech bo'lmaganda ushbu Sit merosi unvoni uchun munosib sherik bo'lishiga ishonch hosil qilish uchun so'nggi nafasini sarf qildi. Hakamlar hay'ati hali ham ushbu yigitga murojaat qilganda, Lam ushbu unvonni rejalashtirganligini bilib, barakalarini berdi. Yigit dizayni bo'yicha har qanday hamkasbni ijaraga olishi mumkin, bu Lam (Loongdan farqli o'laroq) davomida o'z karerasida olgan foydasi.

Ba'zi odamlar kamroq pravoslav sharoitlarda o'rganishlari va olib qo'yishlari mumkin bo'lgan narsalar bilan ishlashlari mumkin. Masalan, Leung Sing Bor-ga sahnada hamroh bo'lgan Loong Tai Nui Fa 1975 yilda SE Asia muxlislari / mehmonlari bilan uchrashish uchun filmni suratga olish Yuen Sifu / shogird tizimi davrida eng yaxshi "kuzatish, tomosha qilish va o'rganish" imkoniyati deb atagan. Aksincha, noto'g'ri darslarni fotosuratlarda ham topish mumkin edi. The yaxshi emas 1975 yilda o'sha kuni guruh fotosuratlari tushirilganida, kiyim-kechak bilan qoplangan Loongni echib tashladilar. 1975 yilgi suratga olish paytida boshqa bir qator holatlar singari uning ham dam olish kuni. "O'z-o'zidan hech qachon yaxshi bo'lmaydi" deb nomlangan ba'zi bir o'yinlar kitobidan so'ng, 1960-yillarda Loong qisqa shim kiyganida Loongning sonini qo'ltiq sifatida ishlatganligini aytdi va bu Loongni xafa qildi.

Xuddi shu asosda, Sifu / mentordan dastxat yoki Sifu / mentor va do'stlari bilan filmlarning fotosuratlarini olish o'rniga, Loong ustozi uchun bir necha marotaba bo'yanish oynasini ushlab suratga tushgan va shu paytgacha tanilgan. Yamning bo'yanish va bosh og'rig'isiz sahnada uzoq vaqt tayyor bo'lish sirini o'rgangan yagona talaba sifatida.

1. 1964-7 kinematografik kooperatsiyasini suratga olish paytida Yam uchun kostyum kiyish uchun suratga olingan filmda, lekin Loong faqat o'z sochlarini yasagan edi (Loong shu qadar band ediki, hatto sinfdoshlari singari Yam bilan yaxshi suratga tushmagan. Matbuot tomonidan kostyumlarda o'rnatilgan.)
2. 1968/69 yildagi sahna asarlari jonli ijrolari
3. 1975 yilda Yamning uyi, ehtimol oxirgi marta kostyum kiygan

Loong sahnada Yam nomini taqdim etdi Jia Baoyu 1949 yildan beri birinchi bo'lib 1980 yildagi yig'ilishda (audience 港 B 伶 大會 串) jonli auditoriya va TVB orqali translyatsiya qilish. Kim kim (diqqatga sazovor va ta'sirchan) Guangdong va Gonkong kanton operalarida. Loong, shuningdek, katta a'zolar bilan salomlashish uchun Yam nomidan sahnaning oldida va markazida edi, lekin ular bilan cheklanmagan Hung Sin Nui, Leung Sing Bor va Ho Fei Fan. Leung va Xo ikkalasi ham guruh ushbu fotosuratga tushganidan beri bir yil ichida vafot etdilar. (Loong aslida Xoning uning uchun 1970-yillarning o'rtalaridan beri xodimlar uchun sobiq kostyum yordamchilari bo'lgan SE Osiyo sayohat Xoning e'tiborga loyiq shogirdi (李 揚聲 ) Gonkongda faol bo'lmagan. Ya'ni Xoning yonida hech qanday merosxo'r yo'q edi, ammo Xang 1980 yilda bitta talabani olib kelgan.)

Yam Loongni qanotlari ostiga oldi, xuddi ko'plab kanton opera ustalari singari. Sit Gok Sin yosh bolani tanlab oldi va Lam Kar Singni tarbiyaladi, u ham yosh bolani hayotdan juda kech oldi. Sit va Lam ikkalasida ham o'zlarining shon-shuhratlarini umr bo'yi qarz olish uchun bir necha o'n yillar davomida osilgan faxriy ijrochilar bor edi. Dan ko'ra o'lgan otni urish, Sit va Lamning har biri so'nggi olti yilni AAA ning sahnada porlashiga ishonch hosil qilish uchun sarfladilar. Bu aloqalar va tarixdan tashqarida bo'lgan, oilaviy yoki boshqa narsalar. Qattiqqo'l bo'lib o'sgan usta sinovdan muvaffaqiyatli o'tdi Shaolin yog'ochdan tayyorlangan erkaklar xiyoboni (打 木人 行 出身) Yam singari, nima kerakligini juda yaxshi biladi. Patriarx, boquvchi sifatida, ularning AAA-ni muvaffaqiyatli topshirish tarixiy kitoblar maqomi bilan birga keladi. Magistrlar o'zlarining rasmlarida vorislar truppalarini o'zlarining ma'qullashlarini aks ettirish uchun markalashadi. Ularning hech biri nomlari yaroqsiz, ammo bir-biri bilan yaxshi aloqada bo'lgan faxriy ijrochilar qo'liga bulg'anishini xohlamagan.

Obro'-e'tibor har doim chiziqda.

Patriarx har doim o'z obro'siga ega bo'lib, faqat yuqori pog'onali ayol qo'rg'oshinlari Fong (o'z vokal uslubi yaratilganidan beri) / Tam (Makaoda vazn orttirishdan oldin) kabi kalibrda bo'lgan hollar bundan mustasno. A dan B gacha bo'lgan yo'l aniqlanmaguncha, bu shunchaki xayol. Faqatgina noto'g'ri kasting tufayli vokal uslubini namoyish qila olmaydigan va / yoki o'rgatolmaydigan, qobiliyatsiz rejissyor bo'ladi. Ushbu yondashuv Lamning 1980-yilgi tavsifiga to'g'ri kelmaydi, chunki u rejissyorlardan foydalanishga qarshi emas palto quyruq Kanton operasida nom chiqarish.

Masalan, o't-ildiz yoki 爽 台 Kasablankani Scooby-Doo va Shaggy-ga to'liq kontekstdan tashqari holatga keltirmaslik kerak: -

1. raqsga tushadigan Hula
2. gaplashish fohishaxona bilan bog'liq STD
3. Gongkongdagi va Singapurdagi Bugis ko'chasidagi sahnadan tashqari shikoyatlarni nomlash - vafot etgan ijrochi
4. o'zini vafot etgandek ko'rsatib, marhum ijrochi

20 yilga yaqin asl aktyorlar bilan ishlagan (1964 yilda vafot etgan), Lam yuqoridagi №2 ijrochidan o'rganishni istamadi va ularga boshqa ijrochi Tam Ting Kvun (譚定坤 ). №1 Ijrochi orqa eshiklarda / ulanishlarda juda yaxshi, ammo uning ijrosi ba'zi bir kolonistlarga hkbarwoymt-da Kanton Opera Young Talent Showcase uchun yaxshi emas edi.

Bir necha o'n yillar davomida tajribali, bilimli va amaliy patriarx sifatida Lam radioda Kanton operasida rejissyorlar uchun ish joyini tayinladi; nima / qaerda / qachon / qanday va qanday hissa qo'shishi mumkin / mumkin emas. Yuen 2014 yilda kameralar oldida ochiqchasiga rejissyorlar unga to'siq bo'lganligini aytdi. AAA haqidagi o'z domeni bo'lish uchun u o'spirinlik paytida filmga sahnani tanladi. Har qanday faxriyga aytib berishni xohlaydi virtuoz opera ijrochisi qanday va nima qilish kerak - bu ba'zilar uchun hech qachon ko'rilmagan hubris, bunday ijrochilarning oyoq kiyimlarida bo'lish u yoqda tursin. Oson pishiriladigan pech pishirishda kanton operasida ekvivalenti bo'lishi mumkin. Cheung Wood Yau o'zining o'g'li uchun tayyor kek aralashmasi edi, direktor yordamchisi Chor Yuen 1956 yilgi filmda.

Kanton operasida vokal uslubi ijrochilarning shaxsiy belgisi, markasi, imzosi bo'lib, ular pullik yoki boshqacha tarzda o'qitishga / baham ko'rishga qaror qilishadi. Yam og'iz va atrofdagi bo'shliqlarni qanday qilib asbob sifatida ishlatishni faqat Loong bilan baham ko'rdi, boshqalari Yam singari qo'shiqni to'g'ridan-to'g'ri yoki bilvosita o'rgandilar. According to herself, Yam was a home body who needed only 3-meals a day, sleep and mahjong solitaire to make her day since retirement. Actually, she was alone often photographed guiding Loong and others or talked to her buddy Leung Sing Bor during rehearsals in 1970s or others in the troupe since his death.

Loong and crew, so used to Yam looking over their shoulders, were not natural in speaking up on film set in 1976. Eventually, Loong picked up the necessary mentality as the chief and then Lang Chi Bak slowed Loong down when classmates were behind at manuscript reading as a group. Back in 2004, Loong requested musicians to pick up their pace but in vain. Returning after 12 years, Loong was caught off guard by the prevailing melodramatic style. All that happened in front of the Press in 2004. What made the performance "stale jau⁴ zaa³ gwai ² " (就像隔夜油條) was caught on tape in 2005. Finally Loong could put back on stage the Yam signature style in 2015/6, without undue influence any more and working with compatible co-stars and musicians. At the same time, Loong stopped hiring performer who refused to play the designated roles. Her hands were tied by coat tails back in 1980s. A performer got away with big fat paychecks without, playing all roles designated, filling the shoes left behind by the one before him.

The Choice Made

Yam went one step further by telling her supporters to see herself in Loong when time spent with Loong came to fruition. (Loong has been widely known as a quick learner.) That's the most important ringing endorsement from a mentor/Sifu. Lam gave the lad of his choice a brand (troupe) name just like Yam gave Loong the Chor Fung Ming brand name in 1982. Fung (phoenix), since the Golden Fung Ping, has been a popular reference for more than seven decades and used by many actresses as newcomers. It is golden. Early 1980s, with her successor well established as a professional career Cantonese opera performer, Yam moved to Canada. In 1989, she died at home in Hong Kong due to plevra effuziyasi.

The 2004 emotional reunion backstage caught on tape was the best resonance of Yam's endorsement. Mrs. Ho^[23] from Macau passed away (age 98) on 16 June 2016 but wanted no attention from Cantonese opera community. She was a well-known enthusiast just like her husband and a renowned vocalist. (Her opera voice was male.) She held Loong nose-to-nose for long minutes after the 2004 performance, Loong's return to stage after the 12-year sabbatical. Mrs. Ho continued to be in the audience as well as backstage for the next few years of Loong's performances, the 2007 homecoming as successor of Yam in particular.

In 2011, Loong mentioned an "Auntie" group^[13] who reprimanded her "must return to stage (to guard Yam's reputation)". Mrs. Ho probably knew Yam before her husband financed and then gave Yam the New Voice Opera Troupe. An "Auntie" to Loong, (何賢的三姑娘), rumored to have been in charge of Yam's funeral arrangements, definitely was not brainwashed by the "Big Leap since 1990" (認三認四認乜認七) as the neither knowledgeable nor intelligent general public did. After more than 70 years, she knew that tag-along playbook like the back of her hand. Mr. Ho Yin was said to have taken Loong under his wings like his own brother as well. However, he didn't call himself a parent. Neither Yam nor Luo Pinchao did. That speaks to the respect all of them had for Loong's own birth parents.

Yam let Loong run free generally since day one but didn't refrain from making sure Loong learn only what's good. When Yam found too disgraceful an unwanted comparison by the Press, meant to be an insult or not, Loong never performed that one title again to put that image, a disgrace from Yam's past, out of Yam's mind. Yam was embarrassed by any association with that episode of her life in 1960s but it has always been beneath a master to throw a "hissy fit" under any circumstances. Neither has it been appropriate to speak ill of the dead in the Cantonese opera community.

Yam's reputation^[8-eslatma] as Jia Baoyu since 1945 has become a myth to contemporary and future audience because of the lack of any films/videos.^[10-eslatma] Cut & paste private comments to serve as evidence can never beat the unshakable proofs, although infants and toddlers cannot, the knowledgeable public can see/watch with their own eyes. Records as hard evidence can include:-

1. DVDs (composites speak volume)
2. DVD of full stage, wide shots
3. fotosuratlar
4. current stage performances

By the same token, it was pointless for Yam to clarify in 1980s that myth from 1960s disgraceful episode. The truth spoke for itself on stage in recent years. Neither did Loong need to in 2014 as insiders already called out what's obvious to their eyes and ears.^[24]

Yam allegedly declined to sing in front of members of her last birthday trip. Her legacy would have been jeopardized by such "last poor taste left in their mouths" kind of (Xitoy : 露底攞嚟衰!) irreparable damage to her reputation and brand. Any decent human being like Loong, with a shred of respect left for Yam in their hearts and minds, wouldn't associate such disgraceful 1960s episode with the hard earned legacy of Yam, let alone those that ate off her hand for decades.

AAA on stage

Yam shared her AAA (art, acrobatics, acting) on stage, in return for combined, no more than, HK$2.00 worth of Christmas gift in the form of a pair of nylon stocking, with more than a dozen enthusiasts, age 10 to 20, for the sake of preserving the art form of Cantonese opera as she knew it for future generations. She asked for nothing else, tangible or intangible, implicit or explicit, from them, except studying hard.^[20] Yam was never heard talking about her sacrifices (For example, September 1965 told how not put on new clothes for months. Xitoy : 幾個月沒穿新衣服!) in paving the way for her 'next' generation or made any move for her own vanity for close to 30 years, ceding the limelight for benefit of her 'next' generation.

Moreover, Yam declined to entertain any academics' requests, whether to share her AAA in Cantonese opera with them or to be back on stage for their studies/researches.^[25] This preserved the demand (hunger) from her admirers for her 'next' generation to supply (feed) in due course.^[26]

When these female enthusiasts were good and ready, Yam shared the spotlight with them every step of the way if she was not actually the spotlight that introduced to the community these then up-and-coming performers with years of training under her guidance and with a given stage name (劍 in the middle) to match hers for four of them.^[2][15] (This method of naming a next generation is similar to training schools in the north for other Chinese operas such as Peking opera in the past. However, 劍 is not a registered trademark and is very popular in Cantonese opera community. Chan Kim Sing (陳劍聲 ) was not one of the four.)

Yam was said to be the only^[7] actress competitive in male lead role of a generation and survived when the ban on "male/female in same troupe" was lifted in 1930s. Yam's protégée Loong Kim Sang (Loong) is considered by some as the first actress in male lead role that dominated the field although she was dueling with one actor very often in 1972-1992. Yam and Loong together had more than leveled the playing field for generations of actresses who have joined the Cantonese opera community since 1980s.(^[21] Ro'yxati halollik bilan, insof bilan Cantonese opera actresses in male lead roles since 1960, excluding those up-and-coming still being tutored. One of them was known as the Singapore version of Yam since 1970s and greeted Loong's crew^[14][15] there in 1975. Before that, Loong was in Vietnam^[2] when Chan Kim Sing was already busy in Hong Kong working for Yuen's Sifu. Chinese New Year was main business in city center for performers. The unemployed 'why not me instead' cladded in checkered jacket, with bright red socks and sweater, sat idle on a broken armchair green with envy.)

Rule of Thumb

In 1999, the 10th anniversary of passing of Yam, Loong disclosed the first time on camera, Yam's rule of thumb, "Be Natural" (Xitoy : 自然就是美). "2015 Talk on the Rendition of Yam Kim Fai", as just about all those have been speaking publicly since 1999, referred to this term first coined by Loong. Jeyms Vong, in his 2004 piece, also referenced Loong about Yam's style.^[27]

"Prepared but be spontaneous to keep the performance refreshing in every show, as if it were the debut (first show) even for the Nth time in the same role", a bar set by murabbiy Yam for Loong, resulted in close to 40 versions of each of two titles from 2005 to 2008.^[28] This requirement from mentor Yam explains the challenge for Loong to be on stage within a six-month period and provide 40 different (in some way in one or two acts out of total 6 to 8) but still GOOD interpretations without changing the show as a whole. This organic way, to hunt/harvest for the meal instead of "frozen" or "canned", was the only way acceptable to Yam and therefore set Loong apart from classmates or performers of a generation from very early days. That makes it worthwhile for those who pay for their tickets^[29] to be back every day for every show.

「養兒一百歲，長憂九十九。」

She was backstage, as well as in the audience, on 20 February 1989 when Loong's troupe, Chor Fung Ming (Young Phoenix) Cantonese Opera Troupe,^[20] performed The Purple Hairpin for Tong Wah (a charity event), according to one veteran audience who kept that ticket as souvenir.

^[26]"Over years, legacy projects of mentor Yam, being staged frequently, have become a very poor quality shablon o'rniga a xerox with the best technology available." - according to one contemporary librettist. Loong calls herself "old school" continuing to follow Yam's teaching to a T even though, as described by the Press, already "in a league of her own".^[30]

The remaining other two of the six 1972 backup singers, since retiring as cast member (six pillar) of Chor Fung Ming, have been tutoring students of all backgrounds,^[14] ba'zilari bilan Daun sindromi^[15] for years in Hong Kong. They are wise not to brand themselves as representatives of Yam style or even compare themselves with Yam while sharing what they have learnt in the decades of Yam's guidance. Yam's (style or school of) AAA on stage has only been observed and commented on by third parties. There has been no authentic account yet since neither Yam nor Loong had published on the topic.

Contrary to some comments by columnists/academics, some of the well-known signature acrobatics happened to be unintended consequence. Yam and Loong had/have spine damage from bending forward all the time to accommodate co-stars of very short statue. In 1952 film The Twelve Beauties, height difference was close to a foot when Yam still stood fairly straight in the Fantasy of Heaven of Parting Sorrow, ending scene of Qizil palataning orzusi.

Cart Before The Horse

The "a performance did take place" ("做咗") generations of performers known, per Yuen, as feel too good about themselves (Xitoy: 自我感覺過份良好), would not bother to even study the script meticulously, scripts generally agreed to have all needed information from Tang, before going on stage in roles been legendary since 1950s. Instead of preparing for the task ahead by being fluent in a classic novel, they, the bottle blonde (靠黐二代), just ask for story time to attain mazmuni. Once upon a time, performers were illiterate and had no access to novels or other publications so readily available today. Why would contemporary performers bother? Story time is just another coat of garlic paint on top of layers of such garlic body-paint^[29] for a decade or so already. That is not bold (大膽) but plain hubris (斗膽) for someone who had been told-off getting involved in Loong's productions from the beginning other than as investor and to provide supports in areas like promotion and stage production techniques, no matter how accommodating Loong has been with the poor choices made in many other aspects. Were there any hostage situation, such individual is also another dark soul in Cantonese opera community with nothing but a gravy train in mind. It is also obvious not the way to heed the 2012 maslahat to'g'ri.

The Yam legacy titles have been instantly gratifying for generations still in infancy as a performer. As a result, they skip the essential foundation courses and perform these legendary titles en masse. Contemporary performers took in o'quvchilar within years as six-pillar member of troupes to elevate themselves to the status of guru. They have audiovisual resources from the market as well as private collection to copy/learn from or even, in return for remunerations, teach followers of their own (the let's watch the video sinf). Yam and Loong were never hubris and claimed teacher status at any point. In 2004/5, Loong disagreed when one reporter suggested a performer, albeit successful to some, as a copy of her.

1. Yam is two generations Loong's senior and had complete control over whether Loong taking in students or not throughout the 30-year mentorship. (Lam Kar Sing, who has his own version of Jia Baoyu, is the generation in-between Yam and Loong. Lam spent last six years of his life grooming a protégé as successor almost from scratch, having seen a good match instantly in the lad. One want-to-be has been hanging around Lam for fifty years, yet never learnt the proper order of cast listing and had no place around super idols. Misspent youth.)
2. Loong is one to two if not three generations more senior to any contemporary career performers, except those do not take both hands to count.

「有人辭官歸故里，」

Spin-offs or rip-offs, a dime a dozen, playing fast and loose with the Yam-Loong brand to steal their thunder do not come and go.Recent demise of Yam's legacy titles could be the work of:-

• Sponges (靠嗦) who were in the audience in 1970s to 1990s and since 2004, excluding, for example, Lam Kar Sing in the audience only as a competitor since he never on the record performed any of Yam's legacy titles since 1970s.

• sponges in their audiences to watch and learn
• their students, excluding those hobbyists in grade/high school classes

• Scavenger (靠執) carrying water for the worst childhood Shirli ibodatxonasi xayol. Misspent youth. Never good enough to play second fiddle to Loong or last around Lam.

• bitirmoq, respectably, opined that Cantonese opera was not alive without someone like Loong around in 2009 and 2016
• student not aware of gimmicks available to some (such as radio host to promote personal agenda or tag along big, deserved or not, names with shaxsga sig'inish to get attention in the community) was respectably online looking to boost the box-office of Tai Nui Fa 2015 yilda

• Garlic-coated generations^[29] (靠黐)

• watched Loong videos to learn in 1990s in private (宗師)
  • bitiruvchilar let's watch and learn together class (二代)
• watched Loong videos to learn in 2000s in private (一代)
  • students still in the let's watch and learn together class (二代)
• watched Loong videos to learn in 2010s in private

The aroma^[29] came from a brew started a year before Loong was born and decades longer than the summation of all garlic coatings of these performers. To fool (around) again and again with bu iconic image of Jia Baoyu, instead of any other version, within a five-year period can be fetish, a stunt, a con, yoki boshqa bir narsa. Get in line.

「有人漏夜趕科場。」

Yam only finished grade school while Loong did not finish high school when they had roles like Jia Baoyu in 1943 and 1964 respectively. In 1964, Yam taught Loong, age 20 with one year of formal training, line by line and word by word while there is no information as to how Yam came to be in that role so well received in Macau. Neither of them ever claimed to be bola prodigy. They both wrote for publications and are known most for their roles as romantic scholars, well-educated and fluent in literature. Contemporary performers benefiting from Yam-Loong perspiration take it that they can just clock in/clock out and produce what is now known as poor quality stencil and the demise of such repertoire once propped up the Cantonese opera community for five decades.^[31][32][33]

2011 yildan beri

Since 2011, Loong (金牌),^[2] with a producer (製作人) in tow, have put biroz of those Yam aroma back on stage. The mythical character (金牌製作人) dreaming big to build an empire on quicksand mavjud emas. The votes (box-office records) they received came from the pocketbooks of new as well as veteran audiences coming from the time of Yam as well as of Loong, the two career performers.^{[28][33][34][35]}

Yam legacy titles were not as well received in 1950s as a decade since the debut. That was achieved with exposure across several media.^[36] The deal was sealed with audiences from the 1970s and 1980s known to be more educated than those from the 1950s or before in Hong Kong. This is also the group that witnessed the dueling between two leading erkaklar sifatida tanilgan super idols who dominated the only decade or two that there was an increase in audience for Kanton operasi. They can recite line by line and verse by verse of these legacy titles of Yam. These veteran audiences are not craving for run-of-the-mill low-quality performances with famous titles. They know better than even columnists (nationwide or not) or academics (worldwide or not) who are mostly motivated or paid to be biased if not just recycle second hand information or pull it out of thin air. Accommodation for entourage, including Troyan oti (二五仔), ends at water edge as always.

Vokal uslubi

Yam was once upon a time known as the female version of and is still one of the more famous exponent of Kwai Ming Yeung style, both AAA and vocal.^[37]

Yam demonstrated the "Kwai" trait of her AAA in film The Red Robe (1965) and on stage titles like "Wong Fei-fu's Rebellion" or "The Revolt from Huang Feihu’s Rebellion" (Xitoy: 《黃飛虎反五關》) instead of the roles (as romantic scholars) she spent more time on in her 40s and later years on stage. However, the voice still rose to the occasion. In 1960 for charity, Yam performed a duet with the late Leung Sing Bor, the song called "Gaoping level" (Xitoy: 《高平關取級》).

^{[2][14][15][11-eslatma]}According to experience of Jeyms Vong in 1960s as backup singer for this song,^[11-eslatma] Yam was louder than the four of them. They were shocked by the "little old lady" met that day.^[27]

Yam reprised her role as Liang Shanbo (Xitoy: 梁山伯) more than once since the title debut. A film with Fong Yin Fun (芳艷芬) released in 1958 was followed by CD with Li Bo Ying (李寶瑩) released in 1960s, (Xitoy: 《梁祝恨史》之《樓台會》) but often nicknamed (Xitoy: 《梁祝恨史》之《映紅霞》). The leads each in this title also has a solo from this title in CDs. Fong performed her solo for charity in mid-1980s on stage, almost 30 years since retirement. Several more CDs with Lee as co-star are very popular including sets^[12-eslatma] just like sets with others.^[13-eslatma] Yam made many CDs^{[12][14-eslatma]} with many co-stars or solo^{[12][15-eslatma]} since what believed to be the first one^[16-eslatma] 1937 yilda.

Naamyam (Xitoy: 南 音 ) is one particular type of songs that Yam is very respected for. Paying Nocturnal Sacrifice to Kam-Kiu^[17-eslatma] related to the film released in 1954 is an example quoted when Yam's name comes up on this topic. Good portion of the 1957 film Prosperity Knocks also has such demonstration of Yam vocal style.

Reflecting the lighter/grassroots side of Yam's formal training with Wong Lui Hap (Xitoy: 黃侶俠) is a duet^[18-eslatma] bilan Au Yeung Kim. The play, co-star Chan Yim Nung, sarlavha bilan Siu Yuet-Pak (Xitoy: 蕭月白) was very popular in Makao right after the Ikkinchi Xitoy-Yaponiya urushi. Filmlar Cheung Ying and others are:-

1. How Two Naughty Girls Thrice Insulted Xiao Yuebai (1952)
2. The True Story of Siu Yuet-Pak (Part 1) (1955)
3. The True Story of Siu Yuet-Pak (Part 2) (1955)

Yam has shared this lighter, but cleaned up, side with her protégée as well and put Loong on the map globally with just one move. In 1974, Yam and Loong in matching sweater and scarf, were in studio to record for Loong's first starring role in a film as male lead. The solo (with some Leung/Tam/Lang/Sum) scene about picking uning wife-to-be became the hit theme song many now contemporary performers could even recite in reverse even though they were still a pre-teen or barely teenagers back then.

Xotira

In recognition of the talents of four late artists, Hongkong Post issued the first series of special stamps on movie stars on 15 November 1995.^[38] This stamp set focused on Hong Kong's movie stars, saluting four stars who have left their marks on film history. Yam, in Cantonese opera costume, was featured on the HK$2.60 shtamp.

For her 100th birthday, Yam Kim-fai centenary celebration at HK Film Archive^[39]

	Yil	Yulduz	Sarlavha	Xitoy tilida
1	1954	Tang Pik Wan	Paying Nocturnal Sacrifice to Kam-kiu	夜祭金嬌[17-eslatma]
2	1959	Fong Yim Fun	The Story of Little Cabbage and Yeung Nai-mo	小白菜情困楊乃武
3	1959	Fong Yim Fun	Bahor fonari va tuklar muxlisidan pushaymon	春燈羽扇恨
4	1959	Bak Sheut Sin	Butterfly and Red Pear Blossom	蝶影紅梨記
5	1958	Bak Sheut Sin	The Peach Blossom Fairy	桃花仙子
6	1960	Yu Lai Zhen	Fan Ley-fa	紮腳樊梨花
7	1961	Ng Kwun Lai / Tam Lan Hing	The Courtship of the Queen	百鳥朝凰
8	1960	Law Yim Hing	The Story of Lee Sin	李仙傳
9	1961	Law Yim Hing	The Golden Cat	怪俠金絲貓
10	1955	Yam was the female lead	An Actress's Struggle	任劍輝舞台奮鬥史[Izoh 1]

2013 yilda, Cantonese Opera Legend Yam Kim Fai – Repertoire Select tomonidan libretist Tang Ti-sheng (Alias:Tong Tik Sang/Tong Dick-san).^[31][32] was organized by the Leisure and Cultural Services Department, Gonkong.

• Only one actress listed in male lead role (finished hkbarwo.com training school in 1983)
• Only one, age 60 or older performer, listed never worked for^[20] Chor Fung Ming (Young Phoenix) Cantonese Opera Troupe.

	Sarlavha	Xitoy tilida
1	Lute haqida hikoya	琵琶記
2	The Daughter of the Horse Trader	販馬記
3	Malika Cheung Ping	帝女花
4	Armut gullarining romantikasi	蝶影紅梨記
5	Go'zallikning reenkarnatsiyasi	再世紅梅記
6	Sweet Dew on a Beautiful Flower	一枝紅艷露凝香
7	O'n to'rt yil davomida buddistlar tomonidan qayta tiklanishi	火網梵宮十四年

On 4 February 2016, her 103rd birthday, Google Hong Kong's homepage (Google.com.hk) Google Doodle was her illustration by Google artist Sophie Diao.^[40][41]

Izohlar

Shuningdek qarang

• Bak Sheut Sin
• Hung Sin Nui
• Tan Pik Van

Adabiyotlar

Tashqi havolalar

• Yam Kim-fai kuni IMDb  
• Yam Kim-fai da Gongkong filmlari ma'lumotlar bazasi