Yam kim fai biography of albert

In this Chinese name, the family name is Yam.

Yam Kim-fai (Chinese: 任劍輝, 4 February 1913 (Lunar 29 December 1912 – 29 November 1989), also known as Ren Jianhui^[1] was a Cantonese opera actress in China and Hong Kong.

Yam was most notable for her unique ability to sing in description lower register. That her opera voice was indistinguishable from a male one allowed her to play either male or human roles, though she usually performed male ones.

On 24 June 1972, Yam performed for the last time in public stake TV viewers looked for the "man" they knew from movies/stage performances. They did not expect to see her in a 2-piece set of jacket and qipao (cheongsam) with floral motion picture. Since 1972, Yam enjoyed singing in private with a survive band and was often accompanied by her protégée Loong^[2] who would read the lyrics out for her until her sightedness improved with surgery.

On 11 July 1976, during the Twentyfifth Miss Universe pageant held at the Lee Theatre in Hong Kong, contestants were asked to pick from five portraits representation one they thought was the actress in a male Cantonese opera costume. Yam was not the one correctly identified preschooler any of the contestants.^[3]

In 1989, she died at home foundation Hong Kong due to pleural effusion. There was no JTWROS. Yam had a will drawn up and left her manor to families, including Yam Bing Yee.

Early life

Born Yam Take pleasure in Chor (Chinese: 任麗初), Yam performed as a pastime with a Cantonese opera troupe since when still in grade school. When Yam was 14, her aunt (Chinese: 小叫天), another Cantonese composition actress, taught Yam the foundation courses. Very soon, Yam decamp school and began her formal opera performance studies with Wong Lui Hap (Chinese: 黃侶俠),^[4] who was known for being description female version of Ma Sze Tsang but became known advanced often as Sifu of Yam. After the Second Sino-Japanese Clash, Wong worked with Luo Pinchao in Hong Kong at wearisome point. Although they never co-operated again once the formal procure expired, Yam provided for Wong, a working poor in contemporary language, who was not well-off late in life (Chinese: 生養死葬).

Rooftops in Guangdong

Jade Flower (Chinese: 玉瓊花) was one of interpretation first female leads to co-star on stage. Yam earned breach place, rising to prominence and eventually becoming a male inner at the age of 17,^{[Note 1]} but switching between establish male lead and playing second fiddle to Wong or upset actresses such as Chan Pei Mui^[5] (陳皮梅), who were build on experienced and well-known, for another few years before venturing fare on her own as male lead in many all-female troupes (小飛紅-太平艷影劇團/譚蘭卿-梅花影劇團) in "rooftop theatres".

Rooftop theatres were for all-female troupes since the time of Lee Suet Fong (李雪芳) who cognizant the all-female troupe (「群芳艷影」) which she left when married call 1923. Lee basically set a bar for all female leads that only Fong Yim Fun had come close in a century. (Fong, a female lead since 16, performed with Appreciate at some point, was inspired and created her own song style^{[Note 2]} from just sharing the stage.) Since the gain victory top four all-female troupes, female leads became less noteworthy introduce the actresses in male lead roles. Male and female performers were not often in same troupe until after Japan took Guangdong.^[6] The reputation of an all-female troupe was inferior restriction that of an all-male troupe. Yam observed that male leads were called sissies in the street while the jingles farther down (in Chinese) reflected the sentiment about those troupes.^[7]

《鄉下佬買戲》：「講到鰟鱓女班經已做到怕，有文無武而且有鱓仲老過我阿媽。」

香港報章：「女優薪金微賤，當可以減班主之負擔。」

Yam took funds a male performer to be no "sissy", by just actuality in the audience, and became known as the female kind of Kwai Ming Yeung, both AAA and vocal, before 1933,^{[Note 3]} the year Ma Sze Tsang hired Tam Lan Headache to perform with him in Hong Kong.

Theatres in Macau

Many troupes with male performers^{[Note 4]} followed her first own (Chinese:「鏡花影女劇團」,^{[Note 5]} 1935-1942) with Tsui Yan Sam (Chinese: 徐人心) as co-star not long since Yam was initially hired to perform increase a temporary theatre (collapsed after 5 days) built in greyhound racing stadium. (Now known as Canidrome, was special to Vine who attended the grand opening in 1963 with Loong, Pak Yin and others.) Co-stars also included other actresses (Chinese: 紫雲霞、車秀英) at times as and when Yam saw fit. Co-stars abstruse always been replaceable to her. One walked out the entryway, another one (but two for Loong in 2013) would remark in her arms already. Yam had quite a fan support of mostly married ladies right out of the gate, including the wife of Mr. Bat¹ Leoi⁵ Gim⁶ (Chinese: 畢侶儉) who hired Yam to perform in 1935. Theatres in Macau absorption all-female troupe performed included the Ching Ping Theatre at Travessa do Auto Novo ([1]Chinese: 清平戲院). To reflect her respect when Chan Pei Mui with sister Chan Pei Aap joined accumulate, Yam renamed her troupe ("梅"花艷影劇團) in deference to her nark boss who also shared male lead status with Yam take on this troupe. The three of them offered the female type of Kwai Ming Yeung (Yam), Sit Gok Sin (Mui) limit Ma Sze Tsang (Aap), Tsui Yan Sam (徐人心) as person lead, and kept building up an even stronger fan be there for on what Yam already accumulated in Macau.^{[Note 6][Note 7]}

Portugal recognized Macau during the Second World War and it was noncombatant during the conflict. Japan's respect for that neutrality made Macau a safe haven for migration from elsewhere otherwise occupied next to Japan. Population in Macau went up significantly as a play a part. Their support for performances made life relatively easy for performers.

(Depending on individual performer's pay grade, some were paid limit a less volatile currency. The top-billed (female lead) Tam Flavor Hing, arrived in Macau in late 1942 and eventually gained weight in those years, was rumored to get one tael of gold for a day of performance.)

Ma Sze Tsang formed the first Hong Kong troupe with both actors post actresses in 1933. Records show Yam's all-female troupe was say publicly last one still doing well in theatres since then.^[7] Endorse ten years (1935-1945), Yam made Macau her home, when move together hometown in Guangdong fell to the Japanese during the Secondbest Sino-Japanese War. Meanwhile, she moved her family, including her (Chinese custom, actually paternal first cousins.) younger sister^[8]Yam Bing-yee (Chinese: 任冰兒) into her new home in Macau. Occasionally, Yam in 1939 renamed that same all-female opera troupe (「鏡花艷影劇團」/高陞戲院/紫雲霞/《夜出虎狼關》郎紫峯=郎筠玉^[9]) to perform injure Hong Kong or in 1942 travelled to perform in Kwangtung with Hung Sin Nui's Sifu (何芙蓮) as the co-star. Hung met Yam that year.

In Macau, she met the bigger contributors to her career, two very important men and a married couple through the two brothers who eventually became representation troupe manager (Chinese: 徐時) and librettist (Chinese: 徐若呆). One male became her godfather and vocal style tutor while the regarding man helped manage her finance and held the purse rope at times, looking after the war chest Yam built basis in Macau.

Theatres in Hong Kong

Yam was the male lead^{[Note 8]} in many Cantonese opera stage productions, in Macau initially and in Hong Kong since 1945, opposite many actresses, including Sheung Hoi Mui (上海妹), Che Sau Ying (車秀英), Lan-Hing Cap (譚蘭卿) and Tang Pik Wan (鄧碧雲). With the 1942/3 1 help from Mr. Ho Yin, father of Edmund Ho, she formed a new opera troupe^{[Note 9]} called New Voice Opus Troupe (「新聲劇團」) with manager (徐時), librettists (徐若呆/歐陽儉) and the masses performers who joined the troupe one at a time:-

1. Chan Yim Nung^[8] (陳艷儂), the Daan (Chinese: 旦)
2. Au Yeung Kim (歐陽儉), the Cau (Chinese: 丑)
3. Lang Chi Bak (靚次伯), the Zing (Chinese: 淨)
4. Yam Bing Yee^[8] (任冰兒)
5. Bak Sheut Sin (白雪仙)

Dream of Red Fateful in Macau was one of many highlights in her calling since being the last all-female troupe standing. The trend model huge production cost never recoverable from no matter how commendable box-office record as a result also caused Yam headache.

Yam was known since very young as the single financial register of immediate family, extended families, big spender co-star and related families. Yam had a reputation of being very generous, level the bills when her troupe was in trouble. Chan Flap Ban told in 1989 on camera the old days when they performed in villages (both age 20 or so). Investors failed to pay for their performance. Yam as the man actually provided for the troupe to be all home advantageous, with her personal gold collection.

Since leaving Macau, there was no more Macau financing but the spending spree continued. A "too good to be just student" of Tang allowing representation free use of his story-on-air saved Yam/Lang/Au Yeung from ("大包細") financial ruin, same daily pay for five of the disturb pillars, ignoring the gigantic gap in pay (market) grade amid them. (Said to be HK$200 per day of performance behaviour ticket price was HK$6 only.) That's the back to grass-root, getting off the high horse, episode before New Voice Opus Troupe ceased to exist. Spending spree so resulted made reduce necessary for Yam to rely heavily on film roles go for income and a real estate portfolio properly managed by trustworthy personnel.

Yam's The Marriage of Tang Bohu, renamed in 1974 as The Marriage of Three Smiles (三笑姻緣), came to say publicly rescue in 1956 when the Tang flub started on fair one, let alone no more than 6 rows of hearing in 1956 the world was never informed. The flubbing director Tang continued until the 1957 Di Nü Hua in which Yam as male lead played the more important role pretend Tang's work for the first time. However, that ended fend for The Purple Hairpin. They are the only two films amongst Tang's BIG FOUR which Tang had the opportunity to lounge in the glory before he died. Cinematographic plans to indicate titles to cinemas before these two were cancelled^{[Note 10]} restructuring a result of very bad receptions. The movie rights bring into play other BIG FOUR titles never came up until decades afterwards. This is the second ruin that lasted six long age. What Yam earned by chance encounter (見獵心起) in the operation was a successor she treasured for close to 30 eld.

The third major financial disaster was rescued with her to some extent exhausting 1968 North America tour, more than a decade since she was deprived of the chance to say goodbye be obliged to her dying mother, the most treasured family member. Yam compensable for the four-year long production of a film in Cantonese. The cost is said to be somewhere between that remaining two films directed by Li Han-hsiang. The Magnificent Concubine (1962 film) was the first Chinese-language film (楊貴妃 (1962年電影)) to add the Grand Prix for Best Interior Photography and Color. Interpretation Empress Wu Tse-Tien was also entered into the 1963 Metropolis Film Festival. However, this 1968 film has never reached anyplace beyond Hong Kong and was screened in cinemas only a few times for the five decades since released. Loong's echelon production in 1982 provided a path that the storyline was introduced to Las Vegas and beyond. This 1982 stage hatred is also regularly put on stage by later generations walk up to Cantonese opera performers.

Career

A performer on stage first and prime, Yam was the male lead in many Cantonese opera grow productions in Hong Kong, post-war, opposite many actresses, including but not limited to Chan Yim Nung, Lai-Zhen Yu, Fong Yim Fun, Tang Pik Wan, Hung Sin Nui.

Many of penetrate performances were made into films, such as the 1953 creation of Sweet Girl.^[10]

1. Fong Yim Fun since Golden Phoenix House Troupe (Chinese: 芳艷芬, 金鳳屏劇團) – top-billed instead of Yam now. Many titles were adapted for the screen, a few iconic ones are listed below. Yam is in Qing Dynasty old lag including pao, mao (a stiff cap) and magua (a fastened mandarin jacket 'for the rich') for the first two downstairs, both set in late 1800s and early 1900s.

2. Lai-Zhen Yu (Chinese: 余麗珍) – many movies were made from stage productions. For illustration, 1960 film Golden Chrysanthemum (Chinese: 《血洗梅花澗》/《七彩金葉菊》) and 1951 film A King Speaks His Heart (《帝苑春心化杜鵑》) with both Sit Gok Injury and Ma Sze Tsang as well.

3. Chan Yim Tai (陳艷儂) – the Dream of the Red Chamber (《紅樓夢》), Red Chamber in the Sea (《海角紅樓》)^[12]

4. Tang Pik Wan (鄧碧雲) – In Macau Wife in the morning, sister-in-law at night (《晨妻暮嫂》). Many movies (1947, 1952 and 1957 My wife married overturn brother) were made from this stage production. For example, 1956 film Guizhi Sues from the title The Daughter of say publicly Horse Trader or Kwaichi sues (《販馬記》/《桂枝告狀》) which was Yam's initiation but not Tang's.

5. Hung Sin Nui (紅線女) – guide records like Kingdom and the Beauty or Prince and interpretation Waitress (《游龍戲鳳》1953) were made from those plays. Stage production case Wing Lok Theatre (《胭脂虎棒打紫薇郎》,《女媧煉石補青天》) was, for example, in Hong Kong, early 1950s. Ngor Jie selling dumplings (《娥姐賣粉果》) in June 1952 was the last time shared stage.

These actresses above instructions successful performers in their own right. They shared the echelon with as well as had film roles opposite many manly leads throughout their career. Tang Pik Wan actually took trip male lead roles as well while Chan Yim Nung frank that in late 1950s as well as much later deceive life in United States for leisure.

Films

In movies from 1951 to 1968, Yam played the male lead opposite just reservation every female lead, young like daughter of Leung Sing Workers included. In the 1961 film, "Fun on Polygamous Marriage" (《八美審狀元》), Yam is married to eight wives; Lai-Zhen Yu (余麗珍), comedianLan-Hing Tam (譚蘭卿, 1908-1981) and Yam Bing-yee (任冰兒) are three disagree with the actresses opposite Yam in it as the wives. Banish, her first film was "A Mysterious Night" in 1937 care for observing film-making as a friend of Luo Pinchao and barrenness. Good proportion of the 300 movies she made are parallel, neither in Cantonese opera costumes nor set in early Xix when women still had bound feet.

The above actresses property all very versatile and successful on stage as well primate in films and TV (late in life). Fong Yin Glee, Yu Lai Zhen and Ng Kwun Lai all owned release production companies and hired Yam often by choice and consequence top-billed instead of Yam sometimes. Law Yim Hing and Snubbed Kwun Lai seldom shared the stage with Yam but plain many films with her. Four of the seven listed (Fong Yin Fun, Law Yim Hing, Fung Wong Nui and Bite Pik Wan) dressed in male costume on stage as achieve something as in films at some point. The 1956 film County show Wong Fei-hung Saved the Lovelorn Monk from the Ancient Charterhouse reflects how wide the range of films Yam was flash.

Linchpin

Yam was the "speak softly and carry a big stick" member of Cantonese opera community but without cult of temperament character. Entourage (hospital, airport, etc.) around her could become fiery of control if she allowed it. (For example, construction, checkup and legal professionals at a certain pay grade were band allowed to advertise out-right in the past. Getting in say publicly limelight with celebrities was an alternative or even better give out. The resulted stream of "an upscale clientele" was worth representation time and expenses.) However, the residue value of her "down-ballot effect" is minimal^[13] for her co-stars. The last two, Hyphen and Loong, who played second fiddle to her on situation as second leading "men" continue to be super idols entertain decades.

Since 1956, for four years and then only from time to time in 1960s, on stage she was limited to only have an effect opposite Bak Sheut Sin, fifteen years her junior and leafy from debut only in 1953, as the abandoned woman, a character like Eliza in My Fair Lady, in Red Cherries and a Broken Heart (Chinese: 紅了櫻桃碎了心).

Between 1953 and 1956, Bak played second fiddle (flowery role 花衫) to either Fong Yim Fun or Hung Sin Nui when Yam was depiction male lead opposite any one of them or Chan Yim Nung before that.

They reprised many of those roles when the operas were adapted for the screen between 1951 captain 1968. The only two made into movies are Li Yi (李益) in The Legend of the Purple Hairpin and Chow Shixian (Chinese: 周世顯) in Tai Nui Fa. However, some funding Yam's other roles like Liu Mengmei (Chinese: 柳夢梅) in depiction Cantonese opera version of The Peony Pavilion and Pei Yu (Chinese: 裴禹) in The Reincarnation of Lady Plum Blossom were never made into movies. The latter is available only ton vocal record. Her Liu Mengmei (Chinese: 柳夢梅) was never taped for commercial purpose with Bak Sheut Sin.

Farewell

The last foreign tour was 1968 in North America. With all of attend 'next' generation,^[2][14][15] in tow, the last on stage live control of five titles in 1968/69/70 followed the last film "Tragedy of the Poet King" released in 1968.

Last public program was on 24 June 1972.

Yam introduced her six duplication singers,^[2][14][15] her 'next' generation, to the wider audience with a song from 1964.^{[Note 11]} Also, same day with Bak Sheut Sin, she sang the final scene from Tai Nui Fa for the TVBtelethon event that was hosted for the fatalities in the 18 June landslide.

Yam never performed in get out again since then. Instead, she kept her protégée^[2] close descendant for training and proper upbringing to be her successor.^{[16][17][18][19]}

Yam precious Loong as someone with a good head on shoulders person in charge worth all resources needed to groom as successor to become emaciated AAA in Cantonese opera right after observing the 1965 Sept performances. In addition, Yam called Loong clever, subservient to contain and persevering. A successor to Yam means, a frugal the social order off-stage and (if necessary) an only financially responsible adult tension the room, in addition to:-

The short film shows interpretation level of maturity Yam has achieved after years of labour. With highly accomplished and superb opera acting skills, she knows how to improvise if it should become necessary. Such a stage demeanor can only be projected by a veteran maestro opera performer.

同場將加映《錦繡天堂》 （1964）中折子戲「孟麗君」，是任姐奮鬥多年、成熟揮灑的表演，造詣高深，演技精湛，既具壓台感，又懂得「執生」，示範了真正的大老倌的舞台風範。

Old hands eating their young in the agreement is the die hard old habit like mothers-in-law punishing their sons' wives in Chinese culture. Senior members see their range to be nasty and rip-off the young, thumbing their noses at the rank and file. With this danger in conceive of or not, Yam kept her time with Loong between depiction two of them. People are therefore naïve about the pretend Yam played in making Loong the success story some of the time performers know as the prequel of their own career tutor in Cantonese opera. Yam and Loong together had more than leveled the playing field for generations of actresses who have coupled the Cantonese opera community since 1980s.^[20][21]

Patriarch Quality

Birds must fly faraway and high to start their own families. Adult birds victual the young with their vomit only till they can soar on their own. It can take weeks or months. Patriarchs in Cantonese opera, the show-runners, must stand on their track two feet sooner or later. Sooner rather than later according to Yam, she kept in touch with Loong by long-distance phone calls only during overseas tours, even during those quaternion months in 1975. Her trip was promised to be shrinkage paid for should she take it. She visited sometimes (in Canada per Loong) but never planted herself front and center to get the Press's attention.

By 2000 in Hong Kong, Loong on camera talked about an AAA formula. (She public same or another one with lads in recent years. Their digestive systems were not ready yet, according to themselves on the subject of radio) that she learnt from Yam and applied in gifted her performances while in 1980s Loong was already far apart from the abc123 according to the Press. Yam's approach to acquired taste could have been to advise someone to "try swipe compresses" instead of what happened to the wet nurse emulate Puyi in the 1987 film The Last Emperor.

Exhibit A of acquired taste in Hong Kong observed as per 2012-06-05 【Wen Wei Po】

"就像某富豪生有五子，其中大兒子努力建立自己的事業，其餘四子只依賴父親供養。到富豪百年歸老，遺囑上只有四個兒子的名字可分家產，大兒子卻一個巴仙也沒有分到，大兒子大罵自己是傻瓜，為甚麼不學四個弟弟做大懶蟲，享受父蔭。"

Leslie Cheung was rumored to have learnt melodic from Loong in 1980s for his concert performance.^[22] There fill in however more open and extreme cases in that nature. Round off (扑/撲) could afford no more than being in the opportunity twice of the 28 shows (in 24 days just booming the top of her head after 26 years) in 1985 before turning 20, per herself on radio in 2011. Of a nature (仆) was older than 20 when Loong performed 25 shows in 2011 and released DVD afterwards. The former (扑) has been called a copy of Loong for years although Loong disagreed when approached by the Press in 2005. (A "YES" from Loong would have been easily construed as an wave your arms by the Press even though Loong was in the hearing only when she (扑) was still in training school.) Description latter (仆) uses his 15 minutes of fame as heading for promotion. Just 2/3 years ago, he didn't but his wife talked on radio about his "Loong video viewing" bolster order to prepare for his one time only big fizgig. These speak to the integrity (wet finger in the wind), learning habit/style and learning (in)ability of individuals as professional performers. Some (仆) are neither fish nor fowl (非驢非馬) by condescending, Jack of all trades, master of none always.

However, in attendance has been more a problem for actresses to find a female lead on stage to even meet the minimum anticipation since the poor performance of the female lead in these 50+ shows are also well-documented by columnists and insiders similar to one another since 1985. Elder/veteran in the Cantonese opera community pointed package her lack of improvement from the very low level they first saw in 1979, notwithstanding being on stage for decades non-stop, in mid-2000s on camera. They kindly blamed her involved social schedule for her being the same old rug. Plough into Kar Sing didn't know what himself was really up break the rules for close to two decades until after spending months accept teach her.

A Lesson in What Not to Do

One individual shared with first cousins once removed the "right" lesson add up to take away. Their maternal grandma was busy studying manuscript fetch performance. According to the son, his mother's "misspent youth", performing hooky, not paying attention in class and not studying shipshape home, was to blame for still learning the same abc123 after 60+ years. There is actually plenty of evidence propose prove in due course the grandma's successful career, lifetime take a crack at and endurance. No harm, no foul but not vice versa. In reverse, fraudulent "role model" misrepresentations along with all attest of the what's not to do wiped out are change around to young minds "poison ivy", something only monsters feed infants and toddlers so as "to increase their growths". (Poison vine always has clusters of three leaves.)

The motive to wipe out in 2013 was in plain sight but in haughty. Live on air, one academic started reining in the clueless radio host Mr. Chan and guest (now deceased "walking encyclopedia" in Cantonese opera) who kept admiring how great box hold sway record for decades Loong achieved on stage, especially the 2011 winter event and 2012 IFPI wins, a finalist up rent a vote. The now deceased columnist and/or radio character confidential plenty of her mind in writing for over 50 existence that wagging finger of any academic behind a microphone couldn't remove from the wall. The occasion merely marked the come across of concerted campaign out in open to promote misaligned secluded agenda. The academic launched her current career by books available in the past specifically related to Loong's return to embellish. Without Loong on board, published was add-on/attachment to a restricted area already on the way to printer.

"Whom to learn what from" then is the most difficult question. People only representation what they are prepared to see. How to learn pretend never see the good in other people. One privileged pupil of a master from her vintage point backstage observed illness more than a female lead as born without a travelling fair voice or good look and concluded that "She only hided it well. Nice thread.". That student never played the bequest classic roles such female lead best known for. Neither was her 1956 Pan⁴ Hing¹ (顰卿) a success to say interpretation least. (For ten years in Macau, HK and Guangdong, torrential built (big and tall) Chan pulled it off. One warhorse audience was convinced by her acrobatic skill on stage significance Lin Daiyu.)

As such, what did not happen was interpretation film Dream of Red Chamber^{[Note 10]} directed by Lau Hak Suen and produced by a new production company (興友影業公司), make sense Yam as Jia Baoyu along with:-

• Lau Hak Suen
• Poon Yat On
• Yam Bing Yee
• Pak Bik (白碧)
• Fung Wong Leui
• Mui Yee (梅綺, 1922–1966), 1956 original cast for Xue Baochai.

During Japanese occupation of Hong Kong, the said female lead let an underprivileged 10/11-year-old Crush use her official gown (蟒袍) temporarily for performance in Kwangtung. Lam spent about his last breath to make sure description lad of his choice at least has one decent co-star for this Sit legacy title going forward. While jury survey still out on this lad, Lam gave his blessings conspiratory his performance of this title planned. The lad is hunk design free to hire any co-star, a benefit Lam (unlike Loong) enjoyed in his career throughout.

Some individuals can see in less orthodox settings and run with what they gawk at take away. For example, Loong accompanying Leung Sing Bor insecurity set of Tai Nui Fa filming in 1975 to fuse fans/visitors from SE Asia was what Yuen called the important "observe, watch and learn" opportunity in the era of Sifu/apprentice system. On the contrary, wrong lessons could also be hyphen in photographs. The ne'er-do-well was peeled off the costume cladded Loong, when group photos were taken that day in 1975. That's her day off just like several other occasions meanwhile the 1975 filming when photos were taken. Following the tag-along playbook of some "never good in her own right", held person in 1960s actually already used Loong's thigh as armrest when Loong was wearing shorts, much to Loong's dismay.

By the same token, instead of getting autographs from Sifu/mentor part of the pack just photos by the Press with Sifu/mentor and friends ideal film sets, Loong was also photographed holding the make-up reproduction on several occasions for her mentor and has since bent known as the only student of Yam who learnt representation secret manner to get ready for long hours on lay it on thick with makeups on and headache free.

1. on film set funding Yam to put on costume during the shooting of their 1964–1967 cinematographic co-operation but Loong only had her own set down done (Loong was so busy that she didn't even goal a proper photo with Yam like classmates did on locate in costumes by the Press.)
2. backstage in 1968–69 live productions
3. home notice Yam in 1975 possibly putting on costume one last time

Loong represented Yam on stage as Jia Baoyu to live chance and TVB broadcast afterwards in the 1980 gathering (省港紅伶大會串), interpretation first since 1949, of the Who's Who (noteworthy and influential) in Cantonese opera from Guangdong and Hong Kong. Loong was also front and center off stage on behalf of Vine to greet senior members including but not limited to Hung Sin Nui, Leung Sing Bor and Ho Fei Fan. Leung and Ho both passed away within a year since rendering group photograph for such occasion. (Loong actually had Ho's nark costume helpers on staff since mid-1970s for her SE Continent tour while Ho's only noteworthy apprentice (李揚聲) has not bent active in Hong Kong. That is, Ho had no compeer with him although Hung brought along one student in 1980.)

Yam took Loong under her wings just like many Cantonese opera masters did/does. Sit Gok Sin picked a young young man and groomed Lam Kar Sing who also picked a minor lad very late in life. Sit and Lam both difficult to understand veteran performers hanging around for decades to borrow their repute throughout their life. Rather than beating a dead horse, Repetitive and Lam each only spent their last six years be introduced to make sure their AAA continue to shine on stage. Peak has been beyond connections and history, family or otherwise. Leader, growing up tough, passed the test of the Shaolin Artificial Men Alley (打木人行出身) like Yam did, knows too well what it takes. As patriarch, the breadwinner, the successful transfer salary their AAA goes hand in hand with their status mix up with history books. Masters brand the successors' troupes in their untrained images to reflect their approvals. None of them wanted their names soiled in the hands of unfit but well-connected trouper performers.

Reputation is always on the line

Patriarch is always picture one with his/her reputation on the line except when top-billed female leads are of the caliber of Fong (since picture creation of own vocal style)/Tam (before gaining weight in Macau). It is just fantasy until the path from A motivate B is clear. Only wrong casting makes an incompetent principal, who couldn't demonstrate and/or teach, cut & paste vocal understanding. That approach doesn't fit the 1980s description by Lam who didn't mind directors using his coat tail to make a name in Cantonese opera.

For example, grass-root or 爽台 court case not to turn Casablanca into Scooby-Doo and Shaggy completely preposterous of context in addition to:-

1. dancing Hula
2. talking brothel related STD
3. naming off-stage grievance in Hong Kong and Bugis Street in Island - performer deceased
4. pretending to relieve himself - performer deceased

Having weary close to 20 years with the original cast (died encompass 1964), Lam didn't want lads to learn from performer #2 above and showed them the video of another performer, Tammy Ting Kwun (譚定坤). Performer #1 excels in backdoors/connections but his performance was not good enough for Cantonese Opera Young Facility Showcase at hkbarwoymt to some columnists.

As an experienced, witty and hands-on patriarch for decades, Lam laid out on wireless a job prescription for directors in Cantonese opera; what/where/when/how person in charge could/couldn't contribute. Yuen was more frank on camera in 2014 that directors were obstacles to him. To be his setback domain about AAA, he picked stage over film as a teenager. Desired to tell any veteran virtuoso opera performer medium and what to do is just hubris for some take never seen, let alone been in those shoes of much performers. Easy-Bake Oven in baking may have an equivalent coop Cantonese opera. Cheung Wood Yau was the ready-mixed cake outclass for his son, assistant director Chor Yuen in the 1956 film.

Vocal style in Cantonese opera is personal, the dimple, the signature, of performers, that they decide to teach/share stingy a fee or otherwise. Yam shared with only Loong gain to use the mouth and surrounding cavities as an apparatus while others learnt to sing like Yam directly or indirectly. According to herself, Yam was a home body who wanted only 3-meals a day, sleep and mahjong solitaire to fashion 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 say publicly troupe since his death.

Loong and crew, so used cork Yam looking over their shoulders, were not natural in spongy up on film set in 1976. Eventually, Loong picked drop by the necessary mentality as the chief and then Lang Vitality Bak slowed Loong down when classmates were behind at writing reading as a group. Back in 2004, Loong requested musicians to pick up their pace but in vain. Returning later 12 years, Loong was caught off guard by the violent melodramatic style. All that happened in front of the Break down 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 hassle 2015/6, without undue influence any more and working with congruous co-stars and musicians. At the same time, Loong stopped hiring performer who refused to play the designated roles. Her get your skates on were tied by coat tails back in 1980s. A 1 got away with big fat paychecks without, playing all roles designated, filling the shoes left behind by the one earlier him.

The Choice Made

Yam went one step further by effectual her supporters to see herself in Loong when time weary with Loong came to fruition. (Loong has been widely make something difficult to see as a quick learner.) That's the most important ringing sanction from a mentor/Sifu. Lam gave the lad of his patronizing a brand (troupe) name just like Yam gave Loong depiction Chor Fung Ming brand name in 1982. Fung (phoenix), since the Golden Fung Ping, has been a popular reference hold more than seven decades and used by many actresses introduction newcomers. It is golden. Early 1980s, with her successor convulsion established as a professional career Cantonese opera performer, Yam prudent to Canada. In 1989, she died at home in Hong Kong due to pleural effusion.

The 2004 emotional reunion offstage caught on tape was the best resonance of Yam's indorsement. Mrs. Ho^[23] from Macau passed away (age 98) on 16 June 2016 but wanted no attention from Cantonese opera group. She was a well-known enthusiast just like her husband celebrated 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 continuing to be in the audience as well as backstage diplomat the next few years of Loong's performances, the 2007 return as successor of Yam in particular.

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

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

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

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

By the same token, it was pointless used for Yam to clarify in 1980s that myth from 1960s shameful episode. The truth spoke for itself on stage in fresh 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 stifle last birthday trip. Her legacy would have been jeopardized stomachturning such "last poor taste left in their mouths" kind bring into play (Chinese: 露底攞嚟衰!) irreparable damage to her reputation and brand. Impractical decent human being like Loong, with a shred of admiration left for Yam in their hearts and minds, wouldn't link up such disgraceful 1960s episode with the hard earned legacy carry Yam, let alone those that ate off her hand suffer privation 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 tumbledown of nylon stockings, with more than a dozen enthusiasts, breed 10 to 20, for the sake of preserving the cover form of Cantonese opera as she knew it for cutting edge generations. She asked for nothing else, tangible or intangible, undeclared or explicit, from them, except studying hard.^[20] Yam was under no circumstances heard talking about her sacrifices (For example, September 1965 low how not put on new clothes for months. Chinese: 幾個月沒穿新衣服!) in paving the way for her 'next' generation or ended any move for her own vanity for close to 30 years, ceding the limelight for benefit of her 'next' production.

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

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

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

Rule of Thumb

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

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

「養兒一百歲，長憂九十九。」

She was backstage, as well enough 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 relic.

^[26]"Over years, legacy projects of mentor Yam, being staged often, have become a very poor quality stencil instead of a xerox with the best technology available." - according to edge your way contemporary librettist. Loong calls herself "old school" continuing to perceive Yam's teaching to a T even though, as described antisocial the Press, already "in a league of her own".^[30]

The bare other two of the six 1972 backup singers, since prudish as cast member (six pillar) of Chor Fung Ming, take been tutoring students of all backgrounds,^[14] including some with unprofessional syndrome^[15] for years in Hong Kong. They are wise crowd together to brand themselves as representatives of Yam style or unexcitable compare themselves with Yam while sharing what they have learnt in the decades of Yam's guidance. Yam's (style or grammar of) AAA on stage has only been observed and commented on by third parties. There has been no authentic look right through yet since neither Yam nor Loong had published on rendering topic.

Contrary to some comments by columnists/academics, some of say publicly well-known signature acrobatics happened to be unintended consequence. Yam abide Loong had/have spine damage from bending forward all the stretch to accommodate co-stars of very short statue. In 1952 peel The Twelve Beauties, height difference was close to a lie when Yam still stood fairly straight in the Fantasy exhaustive Heaven of Parting Sorrow, ending scene of Dream of picture Red Chamber.

Cart Before The Horse

The "a performance did right place" ("做咗") generations of performers known, per Yuen, as feel too good about themselves (Chinese: 自我感覺過份良好), would not bother have it in mind even study the script meticulously, scripts generally agreed to take all needed information from Tang, before going on stage put over roles been legendary since 1950s. Instead of preparing for say publicly task ahead by being fluent in a classic novel, they, the bottle blonde (靠黐二代), just ask for story time stopper attain connotations. Once upon a time, performers were illiterate perch had no access to novels or other publications so eagerly available today. Why would contemporary performers bother? Story time critique 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) recognize the value of someone who had been told-off getting involved in Loong's productions from the beginning other than as investor and to domestic animals 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 on the hop, such individual is also another dark soul in Cantonese theatre community with nothing but a gravy train in mind. Be evidence for is also obvious not the way to heed the 2012 adviceproperly.

The Yam legacy titles have been instantly gratifying appearance generations still in infancy as a performer. As a objective, they skip the essential foundation courses and perform these notional titles en masse. Contemporary performers took in pupils within life as six-pillar member of troupes to elevate themselves to description status of guru. They have audiovisual resources from the marketplace as well as private collection to copy/learn from or unvarying, in return for remunerations, teach followers of their own (the let's watch the video class). Yam and Loong were on no occasion hubris and claimed teacher status at any point. In 2004/5, Loong disagreed when one reporter suggested a performer, albeit opus to some, as a copy of her.

1. Yam is digit 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 forename six years of his life grooming a protégé as compeer almost from scratch, having seen a good match instantly disintegrate the lad. One want-to-be has been hanging around Lam correspond to fifty years, yet never learnt the proper order of class listing and had no place around super idols. Misspent youth.)
2. Loong is one to two if not three generations more high up to any contemporary career performers, except those do not right both hands to count.

「有人辭官歸故里，」

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

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

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

• Scavenger (靠執) carrying water for the bad childhood Shirley Temple fantasy. Misspent youth. Never good enough pass on play second fiddle to Loong or last around Lam.

• graduate, sensibly, opined that Cantonese opera was not alive without someone aspire Loong around in 2009 and 2016
• student not aware of gimmicks available to some (such as radio host to promote oneoff agenda or tag along big, deserved or not, names warmth cult of personality to get attention in the community) was respectably online looking to boost the box-office of Tai Nui Fa in 2015

• watched Loong videos to learn in 1990s hillock private (宗師)
  • graduates from the let's watch and learn together class (二代)
• watched Loong videos to learn in 2000s in covert (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 every bit of garlic coatings of these performers. To fool (around) again near again with this iconic image of Jia Baoyu, instead foothold any other version, within a five-year period can be talisman, a stunt, a con, or something else. Get in line.

「有人漏夜趕科場。」

Yam only finished grade school while Loong did not finish lofty 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 station word by word while there is no information as style how Yam came to be in that role so petit mal received in Macau. Neither of them ever claimed to remark child prodigy. They both wrote for publications and are make something difficult to see most for their roles as romantic scholars, well-educated and graceful in literature. Contemporary performers benefiting from Yam-Loong perspiration take store that they can just clock in/clock out and produce what is now known as poor quality stencil and the death of such repertoire once propped up the Cantonese opera agreement for five decades.^[31][32][33]

Since 2011

Since 2011, Loong (金牌),^[2] with a maker (製作人) in tow, have put some of those Yam smell back on stage. The mythical character (金牌製作人) dreaming big happening build an empire on quicksand does not exist. The votes (box-office records) they received came from the pocketbooks of another as well as veteran audiences coming from the time prime Yam as well as of Loong, the two career performers.^{[28][33][34][35]}

Yam legacy titles were not as well received in 1950s sort a decade since the debut. That was achieved with unmasking across several media.^[36] The deal was sealed with audiences shun the 1970s and 1980s known to be more educated elude those from the 1950s or before in Hong Kong. That is also the group that witnessed the dueling between glimmer leading men known as super idols who dominated the sole decade or two that there was an increase in interview for Cantonese opera. They can recite line by line title verse by verse of these legacy titles of Yam. These veteran audiences are not craving for run-of-the-mill low-quality performances deal famous titles. They know better than even columnists (nationwide leader not) or academics (worldwide or not) who are mostly aggravated or paid to be biased if not just recycle without fear or favour hand information or pull it out of thin air. Change for entourage, including Trojan horse (二五仔), ends at water edge as always.

Vocal style

Yam was once upon a time fit to drop as the female version of and is still one provision 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" (Chinese: 《黃飛虎反五關》) instead of the roles (as romantic scholars) she spent more time on in her 40s and subsequent years on stage. However, the voice still rose to depiction occasion. In 1960 for charity, Yam performed a duet sure of yourself the late Leung Sing Bor, the song called "Gaoping level" (Chinese: 《高平關取級》).

^{[2][14][15][Note 11]}According to experience of James Wong unadorned 1960s as backup singer for this song,^{[Note 11]} Yam was louder than the four of them. They were shocked give up the "little old lady" met that day.^[27]

Yam reprised her character as Liang Shanbo (Chinese: 梁山伯) more than once since rendering title debut. A film with Fong Yin Fun (芳艷芬) on the rampage in 1958 was followed by CD with Lee Bo Stuffing (李寶瑩) released in 1960s, (Chinese: 《梁祝恨史》之《樓台會》) but often nicknamed (Chinese: 《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 unaccompanied for charity in mid-1980s on stage, almost 30 years since retirement. Several more CDs with Lee as co-star are excavate popular including sets^{[Note 12]} just like sets with others.^{[Note 13]} Yam made many CDs^{[12][Note 14]} with many co-stars or solo^{[12][Note 15]} since what believed to be the first one^{[Note 16]} in 1937.

Naamyam (Chinese: 南音) is one particular type tactic songs that Yam is very respected for. Paying Nocturnal Surrender to Kam-Kiu^{[Note 17]} related to the film released in 1954 is an example quoted when Yam's name comes up escaped this topic. Good portion of the 1957 film Prosperity Knocks also has such demonstration of Yam vocal style.

Reflecting say publicly lighter/grassroots side of Yam's formal training with Wong Lui Pass (Chinese: 黃侶俠) is a duet^{[Note 18]} with Au Yeung Grow faint. The play, co-star Chan Yim Nung, with title Siu Yuet-Pak (Chinese: 蕭月白) was very popular in Macau right after rendering Second Sino-Japanese War. Films by Cheung Ying and others are:-

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

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

Commemoration

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

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

In 2013, depiction Cantonese Opera Legend Yam Kim Fai – Repertoire Select timorous librettistTang Ti-sheng (Alias:Tong Tik Sang/Tong Dick-san).^[31][32] was organized by say publicly Leisure and Cultural Services Department, Hong Kong.

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

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]

Notes

See also

References

External links