Rise of Cantonese Opera

Born and raised in Hong Kong, Wing Chung Ng is a professor of history at the University of Texas at San Antonio and author of The Chinese in Vancouver, 1945-80: The Pursuit of Identity and Power.

"A distinctive new contribution to our understanding not only of Cantonese opera itself but of the social conditions impacting Chinese theater more widely in the first half of the twentieth century… Ng's account is distinctive in coverage, and he makes a clear demonstration of the rich potential source materials available to the researcher of China's manifold opera traditions and its recent history. His focus on Cantonese opera in transnational perspective is a particularly timely extension of existing knowledge, one that encourages us to take seriously the longer history of the Chinese arts on a global level."--China Review International  "Ng's well-researched study addresses the rise in popularity of Cantonese opera in the early 20th century, tracing its origins in popular rural entertainment, the influence on it of Peking Opera, and its subsequent growth among the urban population. In showing the sociopolitical discourses that complicated this trajectory, Ng masterfully incorporates oral histories to reveal how the genre impacted not only the artistic, cultural, and ethnic spheres, but also the political and economic aspects of Cantonese society. . . . Ng writes in an engaging style, and he includes a comprehensive bibliography and footnotes. Recommended."--Choice  "A comprehensive and colorful picture of the birth and growth of what we know as Cantonese opera today. I applaud his achievement."--Daphne Lei, author of Alternative Chinese Opera in the Age of Globalization: Performing Zero

• CoverTitleContentsList of IllustrationsAcknowledgmentsNote on RomanizationIntroductionPart I: Formation of Cantonese Opera in South ChinaChapter One: Itinerant Actors and Red Boats in the Pearl River DeltaChater Two: Urbanization of Cantonese OperaChapter Three: Urban Theater and Its Modern CrisisPart II: Popular Theater and the StateChapter Four: The Cultural Politics of Theater ReformChapter Five: The State, Public Order, and Local Theater in South ChinaPart III: Local Theater, Transnational ArenaChapter Six: Popular Theater in the DiasporaChapter Seven: Theater as Transnational BusinessChapter Eight: Theater and the Immigrant PublicConclusionList of CharactersNotesBibliographyIndex