War. Politics. Morality. Love. Desire. Martial arts. Cross dressing. Could this be opera? For one day only, renowned performer Wilfred Aw-Yeong Peng Mun will lecture on and demonstrate the art of female impersonation in Cantonese opera at the Dorothy Somerset Studio Theatre, courtesy of UBC Theatre.
This style of opera has enjoyed immense success since the late thirteenth century. Despite being rooted in tradition, modern themes are easily adapted to the framework of Cantonese opera. Accompanied by traditional Chinese wind, string and percussion instruments, actors in Cantonese opera are recognised by their falsettos (boy, are they ever), distinctive robes, elaborate feathered headpieces and juxtaposition of red and white makeup centred on the eyes, cheeks and nose. Male characters tend to be scholars, warriors, or centres of wisdom, while female characters tend to be literary beauties, warriors (princesses too, sometimes), or centres of virtue.

Regardless of age, males performed both male and female roles, much like Elizabethan theatre. It was not until the 20th century that female actors were permitted to form legitimate theatre troupes. All of these groups soon faced unprecedented challenges. The introduction of cinema, increases in commercialization and the innovation of television had a profound impact on Chinese theatre. Some performance elements requiring particular skills vanished from Cantonese opera stages all together.

Aw-Yeong is a rare talent in modern Cantonese opera as a nandan, or a male actor performing a specific female role. With the tutelage of opera master Hong Xian (a formidable actress in her own right) firmly tucked within his performance sleeves, Aw-Yeong’s has continued to develop a distinguished career as the qingyi, or woman of virtue, for more than 20 years. He has receiving critical acclaim for stage performances such as Zhaojun Crosses The Border, Thrashing the Sea God and The Willful Princess. Another of Aw-Yeong’s distinctions includes becoming the first featured performer of the Chinese Opera Society’s Young Opera Artists Series in Singapore.

Opera is more than fat ladies, high towers and doomed romancers wailing about a mad, mad love. Performing female characters competently and artfully requires detail, commitment, dexterity and style. This Tuesday, November 10, come out and watch the recovery and careful reconstruction of Cantonese opera’s lost art forms revived through Aw-Yeong’s expertise.

The Art of Female Impersonation in Cantonese Opera lecture commences on Tuesday, November 10, at 1pm in the Dorothy Somerset Studio Theatre. Admission is free.

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