Loong Kin Sang

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This is a Chinese name; the family name is Loong.
Loong Kim Sang
Chinese name 龍劍笙
Chinese name 龍劍笙 (traditional)
Chinese name 龙剑笙 (simplified)
Pinyin Lóng Jiànshēng (Mandarin)
Jyutping Lung4 Gim3 Saang1 (Cantonese)
Birth name Lee Pui Sang (李菩生)
Born (1944-11-04)4 November 1944
Hong Kong
Occupation Actress, Performer (文武生)
Genre(s) Cantonese opera
Years active 1972-1992, 2004 onwards
Associated acts Chor Fung Ming Cantonese Opera Troupe 雛鳳鳴
Influenced by Yam Kim Fai (mentor)

Loong Kim Sang (born 1944) is the Cantonese opera performer known as Yam Kim Fai's protégée and successor (Chinese:「接班人」)[1][2][3] since[4][5][A] mid-1960s, inter alia, in particular the vocal style Yam Hong (Chinese: 任腔).[6][7]

See § AAA on Stage. Loong, off stage, is also described as sharing Yam's temperament and mannerisms.


Yam used to say humbly: "What do I know? What good am I?"


Loong says humbly: "Learn from mentor Yam, not from me!"

Yam was said to be the only actress competitive in male lead role of a generation[8] and survived when the ban on "male/female in same troupe" was lifted in the 1930s. Loong is considered by some as the first actress in male lead role that dominated the field,[9] although she was dueling[10] with one actor very often in 1972-1992. Yam and Loong together had more than leveled the playing field for generations of actresses[11][12] who have joined the Cantonese opera community since the 1980s.

Early life[edit]

Loong was born Lee Pui Sang on 04 November 1944 (Lunar 19 September 1944) as the fourth child to parents, a teacher father and a stay home mother, who have one son (eldest) and seven daughters. Against the will of father/brother but with the support (financially for the decade of training) of mother/sisters, she joined in 1960, as dancer, the then Sin Fung Ming troupe[4][5][A] created by her mentor Yam and Bak Sheut Sin.

1960 Dancer Class[edit]

  • Advertisement: 25 October 1960, female, age 16-22, 4'9" to 5'1", 85-100 Lb.
  • Applicants: 800 to 1000 (different sources)
  • Dancer Class: 44 recruited but eliminated down to 22 members on stage
  • Class Started: 26 December
  • Duration: 8 months (48 shows started on 19 September 1961)
  • Training: gender neutral as background dancers
  • Location: Kom Tong Hall (Chinese: 甘棠第) since day one[13]Issue#105/106[B]

1963 Training class started with the 12 recalled members of 1960 dancers including four, playing male roles, each had a solo part, order of appearance 蕭纓, 龍笙, 朱丹, 蓋奎 in 1964 CD, in finale theme song of The Story of Emperor Li. Members, new and recalled, number peaked in 1965 and went down to total nine (9) in 1969, including one married with a baby on the way. For example, 蕭纓 departure after the 1965 Excerpts performance led to the smaller group over time.

1964 Charity performancesIssue#106[B]

  • Given stage name according to the year (1964, the year of dragon, ) and the mentor (middle name )
  • Took after mentor Yam the first time formally on stage (Overseas Chinese Daily News (OCDN) 華僑日報 Education Fund) and was taught line by line and word by word in home of mentor Yam as Jia Baoyu, an iconic role of Yam (recognised as a famous interpreter since the early 1940s in Macau during the Second Sino-Japanese war)
  • Debuted as romantic scholar character Jia Baoyu to rave review from the Press and mentor Yam passed her stage outfit "Precious Jade" to Loong, her most favorite Jia Baoyu. Loong went on in this same role to represent mentor Yam in the 1980 ensemble cast, the first since 1949, with performers of all generations before Loong from Guangdong and Hong Kong to live audience and TVB broadcast afterwards.Issue#134[B]

Jia Baoyu, the full-faced 12/13-19 years old with pure, clear and clean soul, was no stinky, smelly, mud-dirty character with no soul.

1968 to 1970 Shared the stage with mentor Yam as one of the six pillarsIssue#108[B] and debuted in 1969 "Farewell, My Husband" (first full title, on August 8 to 14)Issue#109[B][C] in between those four titles as understudy. Mentor Yam staged (演出機會)[D] total five titles with the "kids" (細路) - she called affectionately in interviews. Yam made clear to the Press that there would never be a structured curriculum she could give them. Moreover, the essential qualities[D] in any potential heir/successor were to study meticulously (要鑽研)[D] and persevere (有恒心)[D] through the necessary training.


Fool me once, shame on you. Fool me twice, shame on me.

Those played hooky, being caught red-handed, eventually never learnt the essentials like ending rhyme[14] 韻腳 or endured the prescribed training sessions, were never "kids" mentor Yam could be proud of, let alone heir or successor to Yam. According to Loong, the only way mentor Yam taught[D] her was for her to "watch and learn". Mentor Yam had never been verbal about her Art even when she showed Loong the rope. Without the basic knowledge accumulated over a decade, some complained that mentor Yam never taught by more than letting them watch (Cantonese: 係睇人哋嘅戲)[D] the 1968/69/70 performances. It had been a privilege for former generations in Cantonese opera community in the past being allowed in the audience when a senior performer was on stage. Illiterate performers needed the manuscript read out loud or explained word by word for them. Yuen called such "story telling" an understandable need/habit in the past but not in modern days.


Takes a decade of training for any performer to be decent, let alone professional, for even only one minute on stage.

1970 Passing the Baton[edit]

  • Yam-Loong-Chor[15][16](任、、雛), breadwinner (票房的主力) to breadwinner (票房的主力) of the whole group, started with full time stay with mentor Yam (任姐) for more than a year. Loong called that duration (actually never stopped 跟隨任姐學藝和服侍任姐 for close to 30 years) the best time of her life.[17]
  • Mentor Yam, like a second mother, left to/saved for Loong, fame and all. Her teaching Loong behind closed door of one room at home is an universally known arrangement but no reference is available since Loong has not talked about that. What transpired between mentor and protégée has been beyond anybody's knowledge. From 1965 onwards, Yam provided all necessary assistance or guidance for "kids" to get experience on stage. For example, she showed the "kids" a trick, to overcome shyness at 1969 photo shoot, Loong still employed in 2015 to get into her character instantly. However, Yam did not take the bow again at curtain calls, steal thunder from "kids" for vanity unlike in 1965 when she had to since no "kids" was in charge. Moreover, Yam declined to entertain any academics' requests, whether to share her Art in Cantonese opera with them or to be back on stage for their studies/researches.
  • Lid was on distractions like limelight seeking by any and all group members. This has been rudely violated upon mentor Yam's death with corrosive and damaging, at times, comments in public, by those jockeying for position and limelight seeking, those from within & without and those from nooks & crannies.

1970s Upbringing

  • 1971 Brief sabbatical and worked as assistant editor since there was no future in sight as mentor Yam saw it.
  • 1972 Stepped up on behalf of mentor Yam to perform in Vietnam[E] and ran with it. Then, debuted "The Sword of a Loyal Family" (second full title, on June 1–8 and June 16–22)[F] but out on June 18. TVB telethon event hosted for the victims in the June 18 landslide {L to R from mentor Yam, 朱丹(Chu, in orange dress), 蓋奎(Koi, in green dress), 龍笙(Loong), the team leader, and three more as backup singers}.
  • 1973 Kicked-off as career performer (in mentor Yam's Sequin(珠片) costume[2] made for Yam's 1968 North America tour) under brand name Chor Fung Ming (Young Phoenix) Cantonese Opera Troupe (雛鳳鳴). Was flanked at press conference each side by veterans Leung Sing Bor and Lang Chi Bak. There were five (briefly including Koi who died in 2007) remaining dancers from 1960 and the youngest one from 1963 class (peaked at 7 only total). This brand name has been hot[15] reference in resume of Cantonese opera community for half a century (Like The Beatles, Bee Gees, etc.) Former classmates even from 1960, no more or never mentor Yam's "kids", showed up to bask in the glory since the death of mentor Yam in 1989 - Yam MIC. Loong, the Principal member since day one, is the last remaining as of 2016 since there never was revolving door when members stepped out for journeys of no return for any reason. Loong, the registered owner, is also the only performer consistently associated with this brand name (given to Loong by mentor Yam in 1982 ?) for over five decades.

Dark Horse[edit]

Nepotism in general, pay-to-play and quid pro quo, the norm in HK Cantonese opera community, make it difficult for outsiders even today to get ahead. Second generations also still see themselves as entitled to even resources from NGOs or HK Government. In addition to what Man referred to generally as late bloomers against the odds to be successful, Loong also has no family or other connection in Cantonese opera.For comparison purpose, Man (retired in 2011 at age 70) started at age 9, Law (career performer until 1991) started at age 8 and Yuen was even younger. All three were brought up by family or friends of family in the Cantonese opera community as well.


Never seen or heard coming until thunderous debut.


Loong was recognized as promising during the late 1960s and 1970s,[18] and acted in various types[19] of Cantonese opera as male leads in full versions since 1969 with several female leads as co-stars. However, the residue value of her "down-ballot effect" is minimal for her co-stars.

Law, a peer of Loong, recounted the business environment,[20] 1973 to early 1990s in particular how Cantonese Opera was "rescued" from total collapse and the role Loong played, including missing in action for 12 years, in the ups and downs in April 2015. However, the frequency Loong performed initially was very limited (e.g. nine times for a week in 1973 and total 11 titles for 1973/74)Issue#113[B] for the first few years in Hong Kong.[21] To go from this slow pace to months long of fast pace overseas tour was not easy, as per Loong's remark in 1975 after the SE Asia tour of four months. The pace didn't pick up in Hong Kong until the troupe showed how profitable it was for investors to hire them. It was a business decision for theatres to accept their month long performances notwithstanding what was alleged by some so called insider, unlike what[22] is happening in Hong Kong.

On Stage Live Productions[edit]

1972-1992, Loong has performed in full version of over 50 well-known titles, one to two titles a day usually. Those titles could be just requested the day before by theatre owners (investors who hired the troupe), like the request written on a beverage napkin in a piano bar, during overseas tours. Loong, therefore, performed many titles that the audience in Hong Kong did not witness. A few mostly with Kong[23] as co-star are listed below.

Title In Chinese Notes
1 Lin ChongIssue#125[B] 林沖 Mou (武, "martial arts")
2 Legend of the White SnakeIssue#124/125[B] 白蛇傳 2 Versions, 2 co-stars
3 Meng Lijun 孟麗君 Loong or Kong[23] was Daan, 2 Versions
4 Sword as Matchmaker 劍為媒 《珠聯壁合劍為媒》
5 Time to Go Home 胡不歸 Mou + Man, 薛覺先 debut
6 The Dragon's Order 蟠龍令 Law 1973 debut
7 Death of a Loyal WarriorIssue#123[B] 碧血寫春秋 Mou (武, "martial arts")
8 Young's Female Warrior (12 Widows) 十二寡婦征西 Mou (武, "martial arts")
9 Merciless Sword Under Merciful Heaven 無情寶劍有情天 Mou (武, "martial arts")
10 The Chivalrous Thief & His Beloved PrincessIssue#118[B] 玉龍彩鳳渡春宵 Mou (武, "martial arts")

Law, a peer of Loong, says that there are over 60 titles he can perform on stage at the drop of a hat. He performed in 2015 one title just from memory, having been in the audience as a child. His first cousin, also a very well-known performer, did that actually in front of Bak Yuk Tong 白玉堂 with one of his well-known title. That is the common quality in professional career performers.

Having learnt the essential basics like ending rhyme[14] 韻腳 in the decade of training from 1960 to 1970, Loong could honor new requests without even a day's notice in the evening by studying the manuscript overnight and rehearsing in the afternoon. Loong actually compared such challenges to taking the Hong Kong Certificate of Education Examination (HKCEE) although Loong never sat for such examinations. This was the only way to survive extension after extension since repeating of titles were not acceptable except for just a handful of very popular ones during first overseas tour in Vietnam. Loong said she talked her way out of performing in that first trip but had to perform with Kong[23] in SE Asia the all-time popular title "Time to Go Home (胡不歸)". The 21-day Singapore trip planned became 66-day stay (77 shows) in 1975. Mentor Yam did not agree to further extension even when approached by Ketra Ayers People's Theatre which had seen 77 full houses, including Buddhist nuns, with overflow at times. Chairs were added in the aisle and front of stage to accommodate the overflow.

Loong's memory power, which, among other qualities in Loong, impressed mentor Yam, served her well in these occasions. Loong was said to have never studied or kept the manuscript at her make-up counter backstage. A manuscript in those days was like a phonebook in size written in Classical Chinese 文言文 instead of Yue Chinese, the everyday spoken language. Mentor Yam herself was known to "study" by just having younger sister to read it out loud for her while busy playing Mahjong. The general consensus has been that mentor Yam had very "good" memory power. Yet, Yam was impressed by Loong.

Repertoire Select[edit]

Martial Arts[edit]

With the departure of Kong Suet-Liu in 1976 after the second tourIssue#125[B] in SE Asia, Loong could not find a compatible co-star for these three. The first two were originally created for young performers, all classmates, to have a part. Therefore, these were only staged sporadically since then to provide opportunities for new hires from training schools,Issue#137[B] otherwise only as pedestrian A or other "human prop". Kong[23] was also Loong's only co-starIssue#116[B] who could play the female lead Zhu Yingtai (祝英台) in Butterfly Lovers, one of China's Four Great Folktales.

Mou (武, "martial arts") Category by Yip Shiu-Tak (葉紹德)
Cast - Loong as male leads, a General officer and then a young warrior; Kong Suet-Liu (江雪鷺)[23] as female leads, the General's wife and then sister of Jialie, in a young woman warrior role, Dou1 Maa5 Daan2 (刀馬旦).
  1. Island of Farewell or Farewell, My Husband (plot) (Debut 1969)Issue#109[B][C]
  2. The Sword of a Loyal Family (Debut 1972)[F] - Yip in collaboration with Lee Siu-Wan (李少芸)Issue#111/112[B]
Plot with modifications highlighted below.
Meng Kui (Leung Sing Bor) colludes with pirates in a plot to attack Huainan. Xun Ru wants to borrow from Madame Long (Lang Chi Bak 靚次伯) the sword with a hidden blade to assassinate Meng. Madame Long agrees and even sends her grandson Jialie (Loong) to be the assassin.Unfortunately Jialie is driven off a cliff in the end. On Madame Long's birthday, Meng Kui announces his visit and presents her with a silk box - inside is a human head. Madame Long decides to mobilise the entire family to fight the villain and die for an honorable cause.At this point an injured Jialie appears. He has learnt of Meng Kui's return route via the treacherous Bolang Cliff. Madame Long picks up her arms and leads her men to lay an ambush. Meng Kui's army is duly trapped and Meng Kui is killed. The story of the sword of the loyal Long family is passed down the generations.
Butterfly Lovers (pdf) full libretto of Man (文, repertoire of mentor Yam and Fong Yin Fun) Category by other librettist . Loong released CD with the solo theme song in this title with three others of mentor Yam's in 2012. Mentor Yam also reprised her role as Liang Shanbo (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 Lee Bo-Ying (李寶瑩) released in the 1960s.
Man (文, Cantonese Opera Legend Yam Kim Fai) Category
By Tang Ti-sheng (Alias: Tong Dick-san) (唐滌生), in tribute to mentor Yam's iconic roles, but often adapted by Yip Shiu-Tak (葉紹德) for various reasons. He talked about some of those reasons on radio at least twice.
  1. In 1989, the 30th anniversary of Tang's passing, 6 episodes of Interviews with those around Tang "唐滌生藝術迴響" including Tang's wife.
  2. In 1985-6, 30 episodes of Tang Ti-sheng's Art "唐滌生的藝術" - a comprehensive look of Tang's work.
Title In Chinese Plot Notes
1 The Story of the Lute 琵琶記 [24] understudy to mentor Yam in 1968/69Issue#108[B]
2 Di Nü HuaIssue#113[B] 帝女花 [24] understudy to mentor Yam in 1968/69Issue#108[B]
3 The Reincarnation of a BeautyIssue#127[B] 再世紅梅記 [24] understudy to mentor Yam in 1968/69Issue#108[B]
4 A Romance of Pear BlossomsIssue#125[B] 蝶影紅梨記 [24] Singing (唱段) replaced rapping (口白) "spoken or chanted rhyming lyrics" the 1985 female lead could not deliver (Lack craft to use mouth as an instrument "口鉗" as original cast) although rapping is more effective than singing for those who are good with it.「千斤口白四両唱」
5 The Daughter of the Horse Trader 販馬記 [24] 唐滌生藝術迴響/唐滌生的藝術
6 Goddess of the Luo River or The Fairy Of LuoshuiIssue#125[B] 洛水神仙 * Yam movie released in 1957 prevails although not her debut
7 The Summer SnowIssue#125[B] 六月雪 * (pdf) full libretto
8 The Gilded FanIssue#113/135[B] 穿金寶扇 * Yam's solo "金扇緣" CD.
9 Mistake at the Flower FestivalIssue#113[B] 花田八喜 * 金鳳(喜)迎春 from "Golden Phoenix Opera Troupe" (金鳳屏劇團) era also has similar challenges for the male lead. Yam movie was renamed The Merry Phoenix (彩鳳喜迎春) (1958-2-17).
10 Goddess from Ninth Heaven / Fairy from the Highest Heavens / Jiutian XuannüIssue#131[B] 九天玄女 *
11 The Outburst of a ShrewIssue#113[B] 獅吼記 * Yam movie released in 1959 prevails although not her debut
12 Younger Brother Bridge 三年一哭二郎橋 * 1990 major re-choreographed and re-sequenced to iron out the wrinkles existed since 1950s debut
13 Red Cherries and a Broken Heart 紅了櫻桃碎了心 *
14 Reunion at Rouge AlleyIssue#114[B] 胭脂巷口故人來 * solo (male lead 沈桐軒) theme song released in 2012 CD
15 The Swallow's Message 燕子啣來燕子箋 * 唐滌生藝術迴響/唐滌生的藝術
16 The Dream Encounter Between Emperor Wu of Han and Lady WaiIssue#125[B] 漢武帝夢會衛夫人 * Yam movie released in 1959 prevails although not her debut
17 Marrying the Sister-in-Law or Romance in Another World 再世重溫金鳳緣 * 金鳳 from "Golden Phoenix Opera Troupe" (金鳳屏劇團) era, Yam died early morning of 29 November 1989 the last day (26-29) Loong performed this with title Romance in Another World as Hong Kong Cultural Centre kick-off program
18 Dream of the West Chamber 西樓錯夢 * 1975 Charity performance with both co-stars
19 The Peony Pavilion, (see Tang Xianzu)Issue#116/122[B] 牡丹亭驚夢 solo[25] theme song released in 2012 CD but generally Kunqu (崑曲) prevails
20 The Purple Hairpin, (see Tang Xianzu)Issue#114[B] 紫釵記 * understudy to mentor Yam in 1968/69Issue#108[B]
New productions by librettist Yip Shiu-Tak (葉紹德)
Debut Title In Chinese Plot Notes
1981 Liu Yi Delivers a Letter[26] 柳毅傳書 * theme song 1982 Gold Disc Award
1982 The Story of Emperor Li / The Last Emperor of Southern TangIssue#131/138/139[B] 李後主 * finale theme song created and CD released, in 1964, Loong's part as 胡則 pdf
1983 The Handsome Pan'anIssue#131[B] 俏潘安 * Mou/Daan (武+花旦)
1983 The Dream of the Red ChamberIssue#131[B] 紅樓夢 * Loong first performed finale theme song in 1964

Loong performed following titles at various time of her career for different reasons. #2 did not register with the audience as the female lead in it should be fairly easy as a prostitute (type of role the original cast was very famous for). Loong learnt Ping Gui Leaves the Cave Dwelling from godfather in the 1980s but #7 and #13 were probably only for overseas tours in 1972 to 1976 while new martial art titles since then, #8 and #9, were not as big a draw with the only co-star left.

Title In Chinese Notes
1 Xi Shi 西施 Legend of Fan Li and Xi Shi
2 In Denial About Their Matrimony 賴婚 Ho Fei Fan (1919-1980)
3 Pearl Pagoda 珍珠塔 Ho Fei Fan (1919-1980)
4 The Reunion by a White HareIssue#131[B] 白兔會 Ng Kwun Lai and Ho Fei Fan (1919-1980)
5 The Romance of the Western Tower 西廂記 Classic
6 The story of Lee Sin 李仙傳 From Yam's 1960 film The Story of Li Xian with Law Yim Hing
7 Wang Baochuan 王寶釧 Or Ping Gui, her husband, Leaves/Returns after 18 years Plot in Chinese Language
8 驊騮配 Loong 1970s debut of libretto by Lee Siu-Wan (李少芸)Issue#129[B]
9 烽火姻緣 Loong 1980s debut
10 Taming of the Princess 金枝玉葉 Classic
11 Prince and the Waitress 游龍戲鳯 Yam debut with Hung Sin Nui
12 The Merry PhoenixIssue#115[B] 金鳳迎春 Yam debut with Fong Yim Fun
13 Three Plays at Zhu Family Mansion (Zhujiazhuang) 三打祝家莊 From Chapters 47–50 of Water Margin
14 The Moon Pavilion or The Blessings of the Moon 雙仙拜月亭 Ng Kwun Lai and Ho Fei Fan (1919-1980) - original version, not current mixed version
15 The Spy Who Loves Me 百花亭贈劍 Ng Kwun Lai and Ho Fei Fan (1919-1980)
16 When Swallows Return 多情燕子歸 Is 《燕歸人未歸》 not Yam's film Homeward Flies the Swallow
17 潯陽江上月 Classic
18 A Dream in Yangzhou 重續金陵未了緣 《十年一覺楊州夢》
19 The Festive Lantern 多情紅粉布衣郎 Loosely from Yam's 1960 film The Festive Lantern with Law Yim Hing
20 Lunar New Year Valentine's Day 花開錦繡賀元宵 Loong debut

Historical Overseas Tours[edit]

Loong has performed in Vietnam (1972), the United States, Canada, Singapore, Malaysia, Macau (Cinema Alegria 永樂戲院, Cinema at Portuguese: Travessa do Auto Novo 清平戲院, among others) and Australia (1985). (According to Law, the pay for one day in those years could be as high as US$50,000.) Her "path to Las Vegas" has been a 2 to 4 page monthly special feature of an opera magazine from 2011 (Issue 105) to end of 2013.[B]

22 July 1975, Princess Royal of Tonga (Title also Lady Tuita since 20 July 1976) visiting Singapore was backstage at intermission of afternoon performance "The Chivalrous Thief & His Beloved Princess" (玉龍彩鳳渡春宵). She spent some time in the audience and was accompanied by Mr. Wang (黃仕英). Loong apparently tried to explain the plot to Her Royal Highness backstage while they were being photographed.


By the numbers:-

  1. 1972, Vietnam,Issue#110[B] over 40 shows in 37 days, at a theatre in Cholon, Ho Chi Minh City, in lieu of mentor Yam who received the invitation. The crew included Kong[23] and one more dancer from 1960. Early April 1972, Loong and two classmates were welcomed at Kai Tak Airport by, inter alia, So Siu Tong (蘇少棠) when returned from the first overseas performance. (see the Nguyên Huế Offensive (also called the Easter Offensive) 30 March 1972.)[E]
  2. 1975, SE Asia, 106 shows in 91 days,Issue#118-120[B] at Ketra Ayers People's Theatre and others, Kong[23] as one (80% ?) of two co-stars.
  3. 1976, SE Asia, 117 shows in 102 days,Issue#125[B] at Ketra Ayers People's Theatre and others, Kong[23] as one (80% ?) of two co-stars.
  4. 1978, US and Canada, 89 shows in 71 days,Issue#130[B] in 18 cities, Image from 1968 Movie Tragedy of the Poet King can be seen in Poster(粵劇在海外「雛鳳鳴粵劇團」美加巡迴演出的海報)

In 1982, Loong was invited to perform for Christmas season by the Las Vegas casino Caesars Palace at the debut of The Story of Emperor Li in Lee Theatre that November. Therefore, Loong and troupe had about one month to mobilize. Usually, such a long distance trip took years of planning in advance.Issue#140[B]



Titles Advertised

Sing Tao Daily 29 November

Title in Chinese Full libretto(pdf) Librettist
18th The Tragedy of Princess Chang Ping 帝女花 (pdf) Tang Ti-sheng (唐滌生)
19th The Story of a Purple Hair Pin 紫釵記 pdf Tang Ti-sheng (唐滌生)
20th The Rebirth of a Beauty 再世紅梅記 pdf Tang Ti-sheng (唐滌生)
21st Strange Dream at the Pavilion 牡丹亭驚夢 pdf Tang Ti-sheng (唐滌生)
22nd The Story of Emperor Li 李後主 pdf Yip Shiu-Tak (葉紹德)

1968 Movie Tragedy of the Poet King, a financial disaster (paid for mostly by mentor Yam) for Sin Fung Ming, was banned/boycotted in North America for theatrical release because of the political background of production team. Despite objection of film producer (for unknown reason), Loong hired Yip Shiu-Tak (葉紹德) to adapt it for stage with the support of mentor Yam and godfather Luo Pinchao whom Loong called Daddad "爹爹" as suggested by Yam. Both, Loong's second parents, were in the audience for debut.

1982 Stage production The Story of Emperor Li with the same plot/characters was invited by Mr. Hop Louie Woo, VP of Caesars Palace. Being the first to perform Cantonese opera in Las Vegas, Loong was welcomed by Mayor William H. Briare and Mr. Harry Wald. As a pioneer in Cantonese opera community, Loong was visited by the other very active male lead in the 1980s, a keen competitor,[10] backstage in the theatre. Local TV station was also on hand to film and interview. This win as a pioneer also promoted the former 1968 movie and a finale theme song (used in 1982 stage production but not the movie) released in 1964.Since 1998, the 1964 CD has been receiving CASH Golden Sail Most Performed Works Awards (Chinese Operatic Work) just about every year. CD of two more theme songs from the stage production was released in 1990. Songs from the 1968 movie were never released in any form or shape for commercial purpose.

Yam wore the costume (king's wedding attire) from this movie in her casket while Loong donated her own costume (king's wedding attire) to museum in Hong Kong. Generations of performers continue to use a similar wedding attire as well as all the costume designed specifically for this 1982 stage production, like most of Yam-Loong costumes. These are from a different era compared to regular Cantonese opera costumes. It is a tradition for protégée like Loong to copy costume from mentor like Yam as much as the protégée receiving the mentor's used costume in Cantonese opera community. That's an honor for the younger to be announced as the anointed heir and successor. Loong also appeared to take that honor to heart. Generally, there is no respect for copycats (performers copying the costume) or worse (using a stolen sword once used by a prior generation).

During the 1984 North America tour, Mayor of New York honored the troupe she led just like Mei Lanfang was honored in the 1930s after the performance at Sun Sing Theatre.

  • Address: 75 East Broadway, New York, NY 10002
  • Ticket: US($50, $40, $30, $20 and $15)
1984 Title In Chinese Debut
Aug 30 Prime Minister of the Six States 六國大封相 Opening Routine
Aug 30 The Marriage of Three Smiles 三笑姻緣 Clean version of Yam's grassroots version from 1956
Aug 31 The Outburst of a Shrew 獅吼記 Chan Kam Tong 陳錦棠 (1906-1981) HK
Sep 1 Goddess of the Luo River 洛水神仙 Chan Kam Tong 陳錦棠 (1906-1981)
Sep 2 Liu Yi Delivers a Letter 柳毅傳書 1981
Sep 3 (Labor Day) The Dream of the Red Chamber 紅樓夢 1983
Sep 4 The Handsome Pan'an 俏潘安 1983
Sep 5 The Reincarnation of a Beauty 再世紅梅記 Yam
Sep 6 The Story of Emperor Li 李後主 1982
Sep 7 The Happy Wedding 跨鳳乘龍 Yam
Sep 8 Goddess from Ninth Heaven 九天玄女 Yam
Sep 9 The Peony Pavilion 牡丹亭驚夢 Yam
Sep 10 Mistake at the Flower Festival 花田八喜 Yam
Sep 11 The Purple Hairpin 紫釵記 Yam
Sep 12 Di Nü Hua 帝女花 Yam

In Movie Theatres[edit]

In 1973 or 1974, Loong preferred stage over film not long after the kick-off of her commercial performance.[21] Loong made only four films, including three remakes of Yam's, as instructed by mentor Yam who was certain that easy money (HK$20,000 a film for Yam in the 1960s but in 1970s rumored to be HK$100,000 a film offered for Loong to leave the troupe after staring the first film.) from films would not take Loong from stage performance.[27] As per John Woo, Loong and co-workers were pure (純), not big-headed or horsing around on set, not like those worldly in jianghu (Chinese: "不似跑慣碼頭" or "冇江湖味"). It was a compliment since those IN would/could not stop, by any means and at all costs, until they get what they, deserve or not, set out for. (「人在江湖,身不由己」)


Credited as Lung Kim-Sang by this particular webpage.[28]

Year Movie Title Title In Chinese Character In Movie In Chinese Director Director In Chinese
1968 Tragedy of the Poet King 李後主 King's Brother Li Congshan 皇弟李從善 Lee Sun-Fung 李晨風
1975 Laugh in the Sleeve 三笑姻緣 Tong Pak-Fu 唐伯虎 Lee Tit 李鐵
1976 Princess Chang Ping 帝女花 Zhou Shixian 周世顯 John Woo 吳宇森
1977 The Legend of the Purple Hairpin 紫釵記 Li Yi 李益 Lee Tit 李鐵

DVD Viewings[edit]

Live recordings of stage productions have been in movie theatres for limited releases in 2012 (2011 on stage), 2015 (2014 on stage) and 2016 (2015/6 on stage) as promotion as well as opportunities for audience that missed the stage production events.

In April 2016, 2015 version of the 2016 DVD was a highlight feature of 《myTV SUPER呈獻: 萬千星輝睇多D》 while 2016 version was screened in one movie theatre, for HK$160 (am) or HK$220 (pm).[29]

Life-long Learning[edit]

"A performer has the responsibility to better oneself, with or without awards in sight." was Loong's response upon 1990-trophy presentation. Among others, learnt[D] from:

  1. Luo Pinchao, Loong's godfather since 1979Issue#133[B] and a guru, such as "Ping Gui Leaves the Cave Dwelling (Chinese: 平貴別窯)" - a southern style 南派 well-known title, swordsmanship but with jian (Chinese: 清平劍術), some nanquan (Chinese: 南拳) and through Mr. Luo, many more from PRC.
  2. Sichuanese opera (川劇) actor Xiao Ting (Chinese:曉艇, Xiǎo Tǐng) - the art of Chinese foldable/folding hand fans (Chinese: 扇子功)
  3. Generally, ("睇人哋嘅戲")[D] just being in the audience with mentor Yam or classmates for Chinese opera, ranging, but not limited to, from Beijing opera, Kunqu, Shanghai opera to Cantonese opera (e.g. when Loong first met godfather Mr. Luo).
  4. Performers with all backgrounds while supporting the students.[30]

Loong is known to admire, including but not limited to:


Loong later retired[13] in 1992, and moved to Canada, as ultimate loyalty to the mentor who asked for nothing in return, tangible or intangible, implicit or explicit, of close to 30 years.

10 March 1992, the retirement announcement shocked the Cantonese opera community. At 48, Loong was supposed to be at her prime as a Cantonese opera performer. In 2004, a veteran member of the Press thought Loong "gain weight" compared to 1992. In addition to weight loss observed by audience, she was actually suffering itchy rash, except face and hands. Since costume covered most of the body, Loong said[13] it was "Thanks to Sin(先) Si(師) Wah(華) Kong(光)!" that she finished performances already scheduled without being noticed.


Blessing from Sin Si Wah Kong![31]

In 2012[13] and 2014,[17] Loong disclosed her trips seeking medical treatment and other events leading up to her decision. The death of mentor Yam in 1989 was instrumental to her poor health in those days. However, the decision to end the career on stage stemmed from mentor Yam suggestion[17] in mid-1980 since there were not any good manuscripts in sight. (Yip Shiu Tak died in 2009.) Her troupe could only keep staging 'run-of-the-mill' productions from mentor Yam's iconic roles as "clean-shaven scholars".

Must Excel[edit]

Two very outstanding brothers, passed away in 1981 and 1985, were musicians who also composed some very well-known scores for Yam and many others of that generation in 1950-1980. Island of Farewell, the inaugural title for Loong, also was composed by the elder brother who was also one of the very first music teacher for Loong.

Mentor Yam wanted more than just her legacy projects for Loong, the bread-winner[10][16][25] for a troupe with over 100 employees who were mostly paid per number of show instead of a salary. Loong would have been just a promotional tool of her mentor's legacy to keep running for decades that gravy train.

(Over HK$350,000 ticket for one 12-show performance was sold out at 4am, in less than 24 hours, in the 1980s. When the box office opened at Sunbeam Theatre, Loong found lines of anxious customers around the building. She arranged with the theatre all-hands-on-deck, veteran of Art Department fondly remembered in 2012, and box-office not to close until sold out.)

Structural Deficit[edit]

Other events also explain her exhaustion include the close to 150 a year live productions on stage with only the stage manager, Mr. Leung, by her side.

As patriarch of her troupe, Loong used to have two lieutenants from the dancer class of 1960. The two amigos with Loong were known as the three musketeers. They moved on in 1988 when her godfather Luo Pinchao also left China for the United States.

Her troupe was further re-organized in 1988/9 and two long time veterans also left the troupe. Since 1972, they had been the "Madame Long" from The Sword of a Loyal Family and crew for Vietnam tour. Lang Chi Bak 靚次伯 (1905-1992) was over 80 years old in 1988. He stayed loyal to Loong's troupe till the very end by not taking jobs on the side like others always do. Lang Chi Bak, like the uncle of Man and Chan Kam-Tong, also volunteered to teach Loong and others for debuts, whether he had a role or not, in 1965 (no role), 1969 (no role) and 1972 (yes). They were not always given the credits even when it was due. There were photographs which marked the occasions.

Those replacing these lost members listed above were not as disciplined or loyal.Yam was backstage and in the audience on 20 February 1989, to check on Loong when the troupe performed The Purple Hairpin for Tong Wah (a charity event), according to one veteran audience who kept that ticket as souvenir.

Last Straw[edit]

Mentor Yam managed the lid by refusing radio interview requested by Yip Shiu Tak although she couldn't stop someone (related in a way Yuen called 'no divorce mechanism'「陀名掛字」) showing up without invitation at Kai Tak Airport for photo-op with a school age child on a school day to bid her farewell in front of the Press which 'happened' to be there. That resulted magazine cover was the only public photo Yam had with former acquaintance since the December 1969 wedding banquet of a musician. Record speaks volume about the intention. The acquaintance paid Yam a visit backstage for the Press only after movie roles dried up. Prior to such reality, a group photo as one of the "kids" in 1968 at Kai Tak Airport did not happen. Opportunities to work with mentor Yam in a film or on stage were all rejected.

Before leaving for Canada, Yam was busy talking business with Luo Pinchao and holding on to Loong as a walking stick, before joining three co-workers of Loong for a press conference. To the Press, however, Yam always kept a distance since 1982 debut of The Story of Emperor Li. Her involvement would have otherwise cast a long shadow on Loong. Yam named all four (Kong,[23] the fifth, left months ago) remaining "kids" individually in 1977 to the Press, talking how proud of the box-office they achieved and refusing, too old and weak, to take in more "kids". (Records set by all five in SE Asia tours still hold today.) Loong, the assigned messenger, also was keeping the Press posted in all fronts[4][5][A] and writing a newspaper column called "阿刨話你知" (Translate: Loong "阿刨" tells you) for a while in 1985.

The Yam MIC (as Eisenhower's MIC) was born on 29 November 1989. All hell broke loose. Book deals, interviews on TV, by the Press in general, academics' researches, former acquaintances, etc. became the livelihood of those not even remotely related to the group. Distractions from performances on stage as predicted long time ago popped up everywhere but mentor Yam cannot rein them in from six feet under. There were enough "kids" of Yam to form two soccer teams all of a sudden although Yam did not associate with them at all. 29 August 1982, Yam returned from Europe to Hong Kong with a broken left-wrist. Loong was the one photographed holding/helping (服侍) the mentor who looked agitated/frightened at Kai Tak Airport.

Loong realized the exhaustion and illness could show up on stage one day. Better be safe than be sorry (獻醜不如藏拙) is Loong's motto. That would bring shame to mentor Yam who is known to mind very much the reputation as reflected by this offspring (子侄) shaped by her own two hands and introduced to the wider audience on 24 June 1972, TVB telethon event that was hosted for the victims in the June 18 landslide.


In November 2004, in commemoration of 15th anniversary of her passing, her mentor Yam Kim Fai, Loong returned to the stage. Her work from 2005 onwards were considered the only game in town by Lai Po Yu and many others[10][32][33][34] Repeatedly returning investors as well as three generations of returning and growing audiences, Loong remains the Cantonese Opera performer with best box-office record.[13][35][36]

Decline to Accept Invitations[edit]

From September 2005 to September 2008,[G] Loong performed 80 shows to full houses (mostly full version of two titles[37]) for charity purpose in Hong Kong and Macau. Having had a Microscopic surgery just two months ahead and not yet fully recovered in 2006, Loong took on a very demanding, physically and emotionally, iconic role as male lead in Di Nü Hua as already scheduled. (Her absence would mean huge financial loss for the investor but not for her since she was not paid for those jobs.)

"Prepared but be spontaneous to keep the performance refreshing in every show, as if it were the first show even for the Nth time in the same role", a bar set by mentor Yam for Loong, resulted in close to 40 versions of each of those two titles. 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[38] to be back every day for every show. Yuen talked about how the practice, by those who could afford would keep going by giving away tickets as a habit, damaged the business environment of the Cantonese opera community for good. That is, small businesses without deep pockets could not get audience to pay for tickets anymore.[39] There was a report that backstage staff of even a particular performance, "cream of the crop" female lead and close to 70-year veteran, at one theatre was approached for expected free tickets.

Mentor Yam also inspired then young performer, Leung Hon-wai (1944-2011), that low audience turnout still would not warrant insincere or low quality performances (欺場冇衣食)[40] even before Leung was on stage at Kai De Amusement Park Cantonese Opera Theatre. The reason is supposed to be that the single or two in the audience would have been the only and best word of mouth a performance would get that way. The reputation so resulted could make or break a troupe. (Leung was the villain, later played by Leung Sing Bor, in 1969 full version "Farewell, My Husband" - the debut title of Loong.)

22 February 2009, Leung and others talked about how, without star power as stimulus, to get audience back. Loong's name came up at such forum that was live-streamed on TV/radio in Hong Kong. In the 1970s, Loong apparently was the daily topic at lunch for white collars[41] in Central (financial district of Hong Kong) and young girls[10] (some still in school uniforms at backstage exits).

Talk of "basking in the glory" was a popular topic months[33] before the 30 October UNESCO announcement, Loong did not join fellow performers on one of those days, 31 October 2009.

In 2009, 60th anniversary of the People's Republic of China, a series of celebration activities were held in Hong Kong,. Loong was invited as one of two special guests "specifically 31 October (Saturday) 特邀嘉賓" in Cantonese opera gala to celebrate National Day to perform in the Hong Kong Coliseum.[42]

In August 2010, when a new manuscript was sent to her in Canada,[43] Loong replied within couple of days that she had no plan to return to stage.

In 2011, Loong refused to give a seminar or a speech when requested/threatened/extorted, depending on the yet to be disclosed exact communication between the event organizer and The Hong Kong Academy for Performing Arts (HKAPA). The investor booking Lyric Theatre, HKAPA, was required to donate HK$500,000 eventually. Being exposed, one anonymous HKAPA student complained about their benefiting from such a demand not taken as righteous work of HKAPA.[44] 2012 CD released as a result, Loong paying back the investor in full and some more, had not been reported so far as such. Easy Come Easy Go. Neither were there any announcement, advertisement, ceremony, plaque or bursary in Loong's name yet. How the investor squandered that in the following venture was implied in some reports.

Rod Tidwell in Jerry Maguire would have said: "Show me the money!"

However, Loong has no cult of personality character (沽名鈞譽) in her.

Since 2014[edit]

Loong described the sessions with new "love interests" as sharing all she learnt, about being a female lead, with performers who were too young to be in the audience from 1973 to 1992 (Loong) or way back from 1956 to 1969 (Yam). However, she did not take in pupils or students, if not for a fee, to elevate herself as many do in the Cantonese opera community. Instead, she called them "young ladies" in radio interview (Vancouver, BC) when three of them visited her to get some rehearsals and training done for the 2015/6 event. Loong sat idle waiting for rehearsals back when she worked with female leads who were being trained right in the middle of a rehearsal/review session. Having had those close encounters as a male lead on top of having been trained for other female roles herself performed, though few and far between because of the voice she has, Loong put all those years/months/days/hours of observations/trainings to good use. Cherie Chung is said to be a fan of Loong because of her (female role) performance in The Handsome Pan'an.

Excerpts of Cantonese Opera by Lung Kim-sang[45][edit]

In 2014,[46] Loong, for the first time, shared stage with and opposite new "love interests" to commemorate the quarter of a century since the passing of her mentor Yam. Cheng Nga-kei[H] (鄭雅琪) and Li Pui-yan, Eliza[H] (李沛妍) were chosen as the new "love interests". They travelled to Vancouver BC for intensive training in September 2013 but the announcement was not made until April 2014.[47]

Title of this event in Chinese is "Ren Yi Sheng Hui Nian Long Qing" (任藝笙輝念濃情), a series of 25 shows in tribute to mentor Yam's iconic roles and AAA (art, acrobatics, acting) on stage.

Male Lead:Lung Kim-sang Liu Mengmei[25] in The Peony Pavilion Famous interpreters include Yue Meiti Li Yi in The Purple Hairpin
Female Leads (love interests): Du Liniang (age 16) Famous interpreters include Mei Lanfang Huo Hsiao-Yu (age 18)
Nov 2014, Grand Theatre, Hong Kong Cultural Centre[48] * Cheng Nga-kei # Li Pui-yan, Eliza
Dec 2014, Lyric Theatre, The Hong Kong Academy for Performing Arts # Li Pui-yan, Eliza * Cheng Nga-kei

Program detail[edit]

Two acts from The Peony Pavilion
  1. "A walk in the Garden / The Interruption of a Dream" 《牡丹亭驚夢之遊園驚夢》
  2. "Spectral Marriage" 《牡丹亭驚夢之幽媾》

--- Intermission ---

Four acts from The Purple Hairpin (plot)
  1. Recover a purple hairpin 《紫釵記之燈街拾翠》
  2. Departure 《紫釵記之陽關折柳》
  3. Meet "Yellow Gown" 《紫釵記之花前遇俠》
  4. Reunion 《紫釵記之劍合釵圓》


  1. In 1964, in mentor Yam's costume, Loong first performed the first act opposite assistant tutor (Miss Lee, 大師姐李居安) for the press as graduation report. In the second act, the way, acrobatics in particular, Loong performed on stage since very early days has been the protocol for all performers that followed. In 2014, Loong did not follow what used to be the routine she created in the two acts from The Peony Pavilion.
  2. "A Walk in the Garden" received mixed reviews from audience and critics about the use of abstraction by acrobatics instead of a physical "swing" on stage for the "love interests" to sit on.
  3. The "Yellow Gown" was wearing an orange gown.
  4. The choice of Meet "Yellow Gown" instead of the act before, Decline to Accept Marriage Proposal, which is generally accepted as one of the two best reflections of mentor Yam's martial arts background on stage as "clean-shaven scholars". (In 2005/6/7, Loong has already illustrated (走鑼邊花) on record the other well-known performance of mentor Yam in the second-to-last act of Di Nü Hua)
  5. Loong could not hit the high note in December because of a cold. She managed to perform as scheduled just by avoiding high pitch, that is, modifying the intonations when necessary. Technically, a computerized pre-taped version could have been used but Loong did not resort to cheating.
  6. Veteran audience noticed that the new "love interests" are almost half-foot taller than Loong's usual co-stars for 55 years.

The Purple Hairpin[edit]

Early 2015, the Press praised the effort in 2014 and called for continuation of such opportunities in the future for other up-and-coming performers of other main roles.[49] Loong answered the call by announcing the 2015/2016 event in January 2015. The two new "love interests" for this full version are following the first one in Vietnam, then in 1973 the youngest classmate from 1963 and lastly a classmate from 1960.

The 2015/2016 Lyric Theatre, HKAPA, follow up is a 16-shows opportunity for group of all, but Loong, up-and-coming performers in main roles in front of nightly crowd of over 1000. Loong's effort, headlining The Purple Hairpin (龍劍笙:紫釵記全劇) on 16 nights and keeping the role of Li Yi (李益 ), is supported by Artistic Director Yam Bing Yee (任冰兒), younger sister of mentor Yam.

In 2015, Loong has also, for the first time ever, taken Man Wah[H] under her wing as understudy to play the same character Loong played as understudy for mentor Yam in 1968/9.[50]

Leung Wai-hong, Wyborn[H]Up-and-coming performers(梁煒康) and Lai Yiu-wai[H] (黎耀威) completed the six main members (六柱制, six pillars system in Hong Kong) of this event and played three characters (the two[51] created by Leung Sing Bor and one created by Lang Chi Bak) between them.

Choreography of those scenes already performed in 2014 were re-arranged/re-designed in 2015 and again in 2016 to a more demanding pattern. The bar was raised for the "love interests" and other pillars as well.

Musicians of live band were required to go back to the "original" rhythm/beat in tribute to mentor Yam's "crisp (brisk, forceful & clear)" 爽快 vocal style.[7]

In 2004, Loong expressed such desire already but in vain.

"Over years, legacy projects of mentor Yam, being staged frequently, have become a very poor quality stencil instead of a xerox with the best technology available." - according to one contemporary librettist.[15]

Law, a peer of Loong, called the most active performers a '2nd' generation compared to himself as 'tier 1' generation and those being tutored by various NGOs as '3rd' generation. The '2nd' generation[11][12] were in the audience in the 1970s and 1980s to observe Loong performance. From 1973 to 1992, Loong was fully engaged in multi-generational competitions, dueling[10] at times, as the youngest among them.

Loong summarized[52] her own role as "showing this particular generation how Cantonese opera was done" in her time. No director, choreographer, set designer or costume designer was hired[37] like back in her days as career performer. Male leads, the breadwinners, take all these roles generally.[53]

She had some of these performers in Vancouver BC for training in April 2015. In Hong Kong, she had all performers for training/fine tuning/rehearsal since late August 2015. For these performers' benefit, Loong played all characters, singing, acrobatics and acting included, opposite them in one-to-one rehearsals or just to show them how to improve. Loong also shared from memory the cliff notes (私伙介口), individual manner original cast played those characters. Loong shared the stage with the original cast in 1968/9 and then the rest of their lives.


  1. Veteran audience praised Loong spending a year to fine tune a complete set of performers of all six generic positions.[52]
  2. Looking perfect as lovers on stage opposite new "love interests".[54]
  3. As if Yam Kim-fai were back alive on stage.[55]
  4. With "Loong Kim Sang" as brand name, Loong is THE Male Lead and illustrated again the Yam's AAA of Cantonese opera.[56]
  5. Yam "crisp (brisk, forceful & clear)" vocal style[7] was in full display when Loong portrayed the Li Yi character in two scenes, Decline to Accept Marriage Proposal and Princely Favors.[57]
  6. Loong demonstrated how to build the character up with frequent but small body movements.[57]

The Peony Pavilion[edit]

The Peony Pavilion was one of the five titles mentor Yam shared the stage with Loong and classmates in 1968/69/70. Chu (1972 in orange dress) and Koi (1972 in green dress), instead of Loong, shared the two characters usually played by second male lead in this title. Chu was the emperor while Koi (1941-2007) was the cousin. They did not have much interaction with Yam on stage. (That may or may not be the reason, as an exception, Loong did not get to play these.) Chu talked about her own experience in an interview as to how to cope with realizing the wrong name out of her mouth and the mentor Yam who could deal with it.

Another highlight of this title is the major role of second female lead, originally (as well as in 68/69/70) played by Art Director Yam Bing Yee (任冰兒), younger sister of mentor Yam. She was part of the main theme of original Act One in 1956 but not since. Audience was not patient to see the first and second female leads on stage for over half an hour before the character played by mentor Yam showed up. The third female lead, the younger nun, had very interesting scripted interaction with mentor Yam but did not get good review.Issue#108/116/122[B]

Putting full version of this title (Chinese: 龍劍笙 - 牡丹亭驚夢全劇) on stage completes the 2014 event in remembrance of mentor Yam.

AAA on Stage[edit]

AAA (art, acrobatics, acting) and stage presence, eye popping to Yam, described and compared to mentor Yam by Cantonese opera veterans and up-and-coming performers, as:

  1. With grace or chic (瀟灑) and charm, take the stage (亮相), ooze charisma and enchant their audiences.[38][55][58][59]
  2. Loong's eyes (關目) can talk, according to Yip Shiu Tak, and communicate emotions to fellow performers and audiences, according to new "love interests". Some would swoon from just a glance upon them, according to Law. Yam Bing Yee (任冰兒), younger sister of mentor Yam, said Yam was born with a pair of eyes that shine on stage.
  3. Natural with connotations coming from the heart according to their experience in rehearsals.[60][61]
  4. "Look effortless", comparing the mentor and protégée to someone taking garlic everyday that the aroma just comes off and one can feel it three feet away (Chinese: 完全沒有斧鑿痕跡),[38] said Yuen, a peer to Loong. This veteran shared the stage with both Loong (including 2014) and Yam (only once according to himself in 2009 TV interview).

In 1999, the 10th anniversary of passing of mentor Yam, Loong disclosed the first time on camera, Yam's rule of thumb, "Be Natural" (Chinese: 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.

Again in 2013 to 2016, Loong shared more of her "heritance" with up-and-coming performers. For example, the new "love interests" were asked to study meticulously the manuscript and to memorize the lines before meeting Loong in September 2013 for rehearsals in Vancouver BC. Moreover, Loong suggested that studying beyond their own lines would give them an advantage on stage generally.

No painting the town red. As ethical standard, Loong instituted in them responsibility to stay warm/eat healthy and compete only by performance on stage. (That was the manner Yam preferred, no fighting with classmates, per Chu, 丹師傅.)


1990 Artists of The Year Awards in Acting[edit]

Loong was awarded in 1990 the best actor's award by the Hong Kong Artists Alliance.

2015 IFPI Awards[edit]

Loong, credited as Lung Kim Sheng, just received encouragement for her effort to remember her mentor Yam Kim Fai and pay-it-forward to bring up-and-coming performers onto stage in 2014.

DVD of the event "Ren Yi Sheng Hui Nian Long Qing" (任藝笙輝念濃情), one of the 2015 Best Sales Releases, Classical and Operatic Works Recording, was live recording of 2014 stage production.[62]

Loong was one of "Ten Best Sales Local Artistes" (Order in Chinese Stroke Counts) for the third album after the award for two released in 2012.

2012 IFPI Awards[edit]

Loong, credited as Lung Kim Sheng, DVD "Ren Qu Sheng Yun" (任曲笙韻) and "Long Qing Shi Yi Ban Shi Ji" (龍情詩意半世紀).[63]

2011 IFPI Awards[edit]

Loong, credited as Lung Kim Sheng, was awarded The IFPI Hong Kong Award for Excellent Contribution to Cantonese Opera IFPI (香港粵劇貢獻大獎).[64]

1982 Gold Disc Award[edit]



  1. ^ a b c Biography
  2. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at 50th Mark
  3. ^ a b Debut 1969
  4. ^ a b c d e f g h i Perspiration
  5. ^ a b Vietnam Tour 1972
  6. ^ a b Debut 1972
  7. ^ September 2005 to September 2008
  8. ^ a b c d e Up-and-coming performers

No biography[edit]

YLC - "梨園客(1986)". 細說任、龍、雛 香港 : 香港周刊出版社

第一章、第二章、第三章、第四章、第五章:雛鳳鳴一枝獨秀 (第76-104頁)、第六章

L - "龍劍笙 - 細說當年". 創藝文化企業有限公司出版.

Loong was indicated by these authors to be the ONLY spokesperson on behalf of the group and had been the member-in-charge, giving a fairly comprehensive, accurate or not, account of the training years up to that point of time (late 1980s ?). Loong was indicated by this author to be the ONLY interviewee who spoke on behalf of the group. Please note that these are NOT biographies of Loong. There is NO authorized biography, by and of, mentor Yam or protégée Loong. They did not put themselves on a pedestal.

"Genius is one per cent inspiration, ninety-nine per cent perspiration"[edit]

Yam said to the Press (1962 to 1969) that it took hard work, studying meticulously and persistence, to say the least, for anyone with potential, to actually have a career in Cantonese opera down the road. Yuen and others talked about exactly what it took them in the past to get ready for their career in Cantonese opera when audio-visual device was not as readily available as today. This '3rd' generation has one problem they did not have - too many performances but too little time to learn. Following conversation was written mostly in Cantonese not Chinese.秘訣:功夫唔夠就衣食搭夠!【on.cc東網專訊】2016年09月28日 有何秘訣傳授給新血?兩人表示沒有秘訣,...最重要勤力及有恒心:「要多鑽研,花時間去浸淫,跟完師傅學咗基本嘅嘢,再要自己消化,將自己嘅優點加落去。」阮兆輝亦指不相信有天材。 ...「冇話邊代嘅,睇吓你有冇心,依家有好多演出場地同機會,但唔好嘅就係太多機會,佢哋冇時間去鑽研,以前我哋係要等機會。」阮兆輝則認為...:「以前我哋起身之後,除咗瞓覺之外,都係學戲,一係睇人哋嘅戲,唔會覺得辛苦,因為已經習慣咗。」...以前連錄影、錄音器材都很缺乏,學戲要全靠死背:「我哋靠個腦去記,唔記得就冇,所以要死背。」阮兆輝大嘆:「科技進步,但藝術退步。」 Yuen at some point only commented, when asked by some '3rd' generation, "a performance did take place" ("做咗") upon the end of a performance, according to himself. One HKAPA student's view here[44] is definitely not reflecting the principle outlined above. Entitled is the impression given the report (in Chinese) that HKAPA took HK$23million without prior permission for benefit of even smaller than desired class size.

September 2005 to September 2008[edit]

  1. 2009 UNESCO, The announcement of Cantonese opera being officially inscribed onto Representative List of the Intangible Cultural Heritage of Humanity had encouraged the Guangdong, Macao and Hong Kong SAR governments, the Under Secretary for Home Affairs, Ms Florence Hui, said today (30 October).
  2. 2008 UNESCO, In collaboration with the Guangdong and Macao cultural authorities, we successfully enlisted the Central People's Government's support in September 2008 for applying to the UNESCO for inscription of Cantonese Opera on the Representative List of the Intangible Cultural Heritage of Humanity. The application is being vetted by the UNESCO and the result is expected to be announced before the end of 2009.
  3. 2006 UNESCO, Official from Ministry of Culture of the People's Republic of China (文化部副廳長白潔女士) was accompanied by veterans (both deceased in 2016) as well as contemporary performers in the audience on 12 December 2006《戲曲之旅》第57期13頁
  4. 2006 UNESCO, Lisa Lu 盧燕 was among the celebrities who attended the pre-function cocktail and then in the audience for 12 December 2006 performance.《戲曲之旅》第57期12頁
  5. 2006/7 Di Nü Hua performances in Hong Kong and Macau (40 total). Retrospective October 2007 talk show on radio is available online. 2007年十月推出全新節目「細說帝女花」第1-10集,Yuen Siu-fai 阮兆輝指出,《帝女花》自仙鳳鳴公演後,被眾多小戲班帶出來在「遊樂場仔」演出,漸被更多觀眾認識,但以這樣文雅而有深度的一齣劇,之所以進入全城的意識範圍,則有賴七、八十年代大紅大紫的雛鳳鳴劇團把戲帶落鄉演出,而所謂落鄉的「鄉」,在其時已漸漸變成「都市」。...指出愈是有本領的演員,演這齣戲則愈能真正感受劇力,故演得更辛苦,並舉出戲中的張力為例...(第3-4集) some transcript in ChineseTranslation: Di Nü Hua has become this popular today is mostly by word of mouth since the mid-1960s being staged at Kai De Amusement Park Cantonese Opera Theatre and the performances of Chor Fung Ming throughout the 1970s and 1980s in newly developed satellite cities and towns were very well received. The role of male lead is extremely heavy by design and demonstrates the ‘masculine’ traits of Yam style. The more organic actors/actresses in this role would find it more emotionally demanding. It was non-stop and exhausting after intermission. Yuen Siu-fai also opined that Loong learnt from Yam while all those since then learnt from Loong. This opinion is shared by Chan Kim Sing 陳劍聲(1949-2013)"說現時戲行的文武生那裏是學任劍輝,不過是學龍劍笙吧。" and many others. 葉世雄 (雛鳳鳴努力不懈 2003-10-28)【文滙報】:其次,由於教育水平提高,欣賞力也相對提升,所以曲詞較艱深的唐滌生作品也被接受。至於「雛鳳鳴」能成為七、八十年代最賣座的粵劇班,和這些因素有多大關係,則尚待進一步探討。..."新晉都有阿刨影子" 最後,我要指出行內人多忽視「雛鳳鳴」的影響力。..其次,八十年代在舞台出現的新晉文武生,有多少個不帶幾分龍劍笙的影子呢?..葉世雄 (仙鳳餘蔭造就雛鳳 2003-10-21 【文滙報】):"龍劍笙扮相俊俏,深受戲迷喜愛。"...不過,龍劍笙的「柔情」和「俊俏」,也許是「雛鳳鳴吸引年輕戲迷的重要因素。
  6. 2005 UNESCO, According to Lai Po Yu, (黎鍵), the Proposal for UNESCO Representative List of the Intangible Cultural Heritage of Humanity Application, had been rejected by the Central People's Government (PRC) as of 6 September 2005. "粵劇的弔詭" 《信報財經新聞》 2005-9-6

Up-and-coming performers[edit]

Law, a peer of Loong, called the most active performers a '2nd' generation compared to himself as 'tier 1' generation and those being tutored by himself, Yuen (also a peer of Loong) and some others through various NGOs as '3rd' generation. The '3rd' generation, age 50 or under, is being groomed to take over, as career performer in Premier League, as soon as possible.

  1. Cantonese Opera Young Talent Showcase - Artists (Ticket price: HK$120, HK$70) shared the stage with Loong in 2015/6 are Leung Wai-hong, Wyborn (梁煒康),Lai Yiu-wai (黎耀威),Cheng Nga-kei (鄭雅琪) and Li Pui-yan, Eliza (李沛妍).
  2. Lai Yiu-wai (黎耀威) and Cheng Nga-kei (鄭雅琪) are also members of Hong Kong Young Talent Cantonese Opera Troupe, Ticket price: $100 to $140,(香港青苗粵劇團有限公司)
  3. A 3-part review outlined the threshold, the essential qualities, expected from career Cantonese opera performers (「職業班」) as per this columnist.
  • However, he noted that the (Hong Kong) Cantonese opera community does not support PUBLIC grading/assessment/examination since MANY GURU in the community would NOT "measure up". 戲曲視窗:藝術家要註冊﹖ 2012-06-12 「一位前輩坦白,他說現時沒有公開評核試,位位都是名師,如果有了公開評核試,很多人便沒法在梨園界立足了。」
  • Plum Blossom Prize 中國戲劇梅花獎 has been one award created and given out in PRC but not specifically for Chinese opera performers.
  • 1990 Artists of The Year Awards in Acting that Loong was presented on stage (at intermission of "Goddess of the Luo River" 洛水神仙) by Lang Chi Bak 靚次伯 was one of the first ever given out to the Cantonese opera community from an organization of artists of all art forms. That organization did not give out the same title, or to Cantonese opera performers, regularly every year either. For example, 1997 recipient of same title is a Cantonese film actress.


  1. ^ 《戲曲之旅》第115期22頁 龍劍笙得天獨厚 龍劍笙是繼薛覺先馬師曾仼劍輝以後,粵劇生角人才,只此一員新秀而已。...龍劍笙可以說是天賜給任劍輝的禮物,任誰也估不到龍劍笙不單只繼承任劍輝的衣缽,且在往後的日子裏,因雛鳳鳴的成功,龍劍笙的成功,將仼劍輝這三個字重新注入每一位七十年代後的戲迷心中,地位有增無減。
  2. ^ a b Maybe The Cantonese Opera Diva 01 January 2016 Australia or 舞台下的龍劍笙 14 November 2015 Hong Kong
  3. ^ TVB最具欣賞價值大獎節目《The Art of Cantonese Opera 合晒合尺》 Episode One: The Top-billed in Cantonese Opera 第一集 - 介紹粵劇之首-文武生: 二零零八年一月二日
  4. ^ a b c "梨園客(1986)". 細說任、龍、雛 香港 : 香港周刊出版社. 
  5. ^ a b c "龍劍笙 - 細說當年". 創藝文化企業有限公司出版. 
  6. ^ youTube 任派唱腔有節奏爽快流暢的感覺,刨姐發口技巧是學任姐。 2014年10月10日 新光網上數碼電台 [第八輯] and 女史唱平喉很多會仿效任姐唱腔,踏入八十年代,更索性以龍劍笙為師。 五十年代香港名家名腔
  7. ^ a b c "任腔" (1) Impression as per Eunice Lam 明周第2402期林燕妮:聲含情 字含韻 (2) Mainly influenced by - 聽"桂派"名曲 Masculine traits (字字鏗鏘) of Yam style(任腔) is one of the more famous exponent of Kwai Ming Yeung style. (3) Detail description 戲曲視窗:任劍輝唱片曲知多少?2013-01-15 有評論說任劍輝唱腔爽、清、脆,乾淨利落,毫不拖泥帶水,自然而不造作,行腔運氣渾然天成,隨心隨意。無論七字清、反線中板、滾花、南音、小曲都唱得字字清晰入耳,唱到傷心處,更真情流露,哽咽聲只此一家,淒楚動人。唱激越的快中板、滾花下句亦火辣威猛,咄咄逼人,單聽錄音已感到她渾身是戲。2013年01月15日【文滙報】
  8. ^ 女戲班雙城記 文:凌寧 資料來源 : 星島日報
  9. ^ 2011-09-27 相信近年接觸阮兆輝(輝哥)的朋友,都會聽過他說,要粵劇有希望,最重要是培養出像龍劍笙般的演員。【Wen Wei Po】 2011-09-27 戲曲視窗 :粵劇票房接班人
  10. ^ a b c d e f 戲曲視窗:有聲粵劇歷史 2011-01-04...自龍劍笙和林家聲退出舞台後,香港粵劇舞台缺乏八十年代的競爭氣氛,這是有目共睹的。2011年01月04日【文滙報】 戲曲視窗:粵劇觀眾大量流失 2009-12-29 參照香港粵劇發展的歷史,只有一個時期是成功吸納新觀眾同時又能留住舊觀眾,那就是八十年代至九十年代 (Should be mid-1970s to mid-1990s) 的「雛鳳鳴劇團」和「頌新聲劇團」,其中「雛鳳鳴劇團」擁有一班相當年輕的觀眾群(Chor Fung Ming had young fans),出現追車一族(car chasing followers),更是使人嘖嘖稱奇(surprising)。究其原因,最重要是出現兩位超級偶像 (TWO SUPER IDOLS, no 'if', 'and' or 'but', a badge of honor for Loong) 龍劍笙林家聲 (who was 20 years Loong's senior by training or 10 years older than Loong by age, the other special guest, 30 October specifically, for 2009 celebration gala)。我對十年 (next decade) 後本地粵劇的發展絕不樂觀,就是在現時四十歲至五十歲正在上位 (age 40 to 50 up-and-coming to step-up) 的演員中,找不到三、兩個有潛質成為超級偶像的演員,以魅力凝聚戲迷,帶動粵劇產業繼續自給自足 (still lack potential, both commercially successful and critically acclaimed) 的運作模式。2009年12月29日【文滙報】
  11. ^ a b 戲曲視窗:雛鳳鳴努力不懈 2003-10-28 至於「雛鳳鳴」能成為七、八十年代最賣座的粵劇班,和這些因素有多大關係,則尚待進一步探討。 ...新晉都有阿刨影子...其次,八十年代在舞台出現的新晉文武生,有多少個不帶幾分龍劍笙的影子呢?...2003年10月28日【文滙報】
  12. ^ a b 戲曲視窗:女文武生 2013-05-28 來自任劍輝的影響,「女文武生」成為粵劇的「聖物」,令人肅然起敬。其實,上世紀六十年代起,真真正正坐上「女文武生」寶座的香港粵劇演員不多,我知道的有陳劍聲、龍劍笙、......等,至於近年嶄露頭角的青年演員,不累贅列出。2013年05月28日【文滙報】
  13. ^ a b c d e Women Pioneer in Hong Kong, population Seven million, the Debut guest 七百萬人的先鋒 07 April 2012 Hong Kong "獻醜不如藏拙" - Loong's motto
  14. ^ a b 戲曲視窗:我看香港青苗粵劇團的成長(中)2010-12-21 如果說瑕疵,不同演員多次唱錯曲詞,顯示他們存在準備或排練不足的情況,缺少「爆肚」的功力。「紅褲子」出身的粵劇演員必定要有「即興表演」的能力,以應付舞台上各種沒法預計的意外。能夠「爆肚」,演員必定是演出經驗豐富,更重要者是熟悉粵曲的梆黃曲式和歌詞的韻腳,這樣才可以發揮即時創作的造詣,補救錯失。 2010年12月21日【文滙報】
  15. ^ a b c 說「流派」,便是指「師承」。戲曲視窗:重視流派有助粵劇承傳 2010-11-02 在沒有「留聲機」的年代,說「流派」,便是指「師承」,很少人能在沒有師傅指導下,學懂某藝人或派別的藝術精粹,因為表演藝術在舞台上演出一瞬即逝,如非過目不忘,又怎能把握細節。...現時粵劇界六、七十歲的名伶,在他們學習粵劇的年代,錄像技術不發達,只能拜師學藝,所以人人都應該有師傅的,不過是否想強調自己的師承或屬某一門派,又是另一回事。一個人不願提自己的師承,可能考慮到自己的師傅沒有「來頭」,說出來無助提升自己的身價。...那就是唐滌生先生為任劍輝...等名角撰寫的劇本風靡一時,尤其是「仙鳳鳴」的幾齣名劇。試想自己不是任姐...的徒弟,...使戲迷感覺自己不擅長演唐滌生先生的名劇,不肯買票今天,唐滌生先生的作品已不再是票房靈丹,..。 2010年11月02日【文滙報】戲曲視窗:香港粵劇不重流派?2010-10-19...年,內地負責撰寫申請粵劇列入「世界文化遺產名單」文本的工作隊來港搜集資料,...一是缺乏完整和具學術水平的歷史資料,二是沒有流派的資料。...除了林家聲堅持以發揚「薛派」藝術為己任,龍劍笙...不用多說也是任...徒弟。...尤其是在沒有錄像的年代。...是名角原來已有一批支持者,作為藝術繼承人有很大機會吸引這批戲迷來支持自己,票房便有保證了。...說出來不會提升身價和增加票房收入,又或...呢?根據戲行人說,這和過去大半個世紀唐滌生的作品獨領風騷有關。 2010年10月19日【文滙報】
  16. ^ a b 跟著她「吃飯」的人可不少 - 呂大呂 戲迷情人任劍輝 轉自1973年12月1日出版《大成》第一期
  17. ^ a b c 阿刨夢中見任姐 師徒生死相分「寶玉失通靈」感迷茫 身體消瘦 入院兩次 一九九零年,阿刨依然忙碌於舞台上,可是身體日漸消瘦,任何東西都吃不下,曾試過一日之內看四個醫生檢查身體,秘密入院兩次,就是找不出病源,就在那段時間,任姐著她休息的話,開始在阿刨腦海中迴旋。 【明報專訊】2014.10.09 發表
  18. ^ "Princess Chang Ping". The Illuminated Lantern. Retrieved 26 December 2010. 
  19. ^ 1961年「小魚兒」,1968年退休電影《李後主》,1969年,刨姐跟任姐難得同台,當晚兩師徒合演《紫釵記》,任姐飾演「李益」,刨姐則扮演二幫角色「韋夏卿」。 1980年《省港紅伶大會串》,與數十位省港紅伶同台演出《六國大封相》及與雛鳳鳴成員演出《紅樓夢》之《幻覺離恨天》,1972年在《英烈劍中劍》,1982年刨姐首演粵劇《李後主》,1983年《俏潘安》 Note that photo "Yam-Loong backstage" for Happy Valley Athletic Association (HVAA) Fundraising 05 March 1976 was annotated erroneously as 1979. That event erroneously referred to in the news article actually happened in 1980, the year before Leung Sing Bor passed away.
  20. ^ 變通是本土粵劇妙藥 – am730 (02-04-2015) 雛鳳鳴73年崛起,頂住了整個粵劇界,...宣布收山,雛鳳鳴減產,戲行又沉寂了一段時間,直至最近十年,..
  21. ^ a b youTube Loong interview in 1973/74.
  22. ^ Per RTHK radio 1 【Free as the Wind】 02 January 2017 Episode with Yuen as the guest.
  23. ^ a b c d e f g h i 江雪鷺是以「雛鳳鳴劇團」六、七十年代開山戲《辭郎州》和《英烈劍中劍》著名的刀馬旦,《戲曲之旅》 第109期 34-37頁、 第110期 32-33頁、 第111期 28-31頁、 第112期 34-37頁、 第115期 23頁、 第116期 30-31頁、 第125期 28-29頁。 淡出舞台多時,身懷優質演藝細胞的江雪鷺。 江雪鷺 的新搞作 2006年《戲曲之旅》第50期第16至17頁 文武全才江雪鷺,《戲曲之旅》第134期 106-109頁 第十一期《大學線》有血有淚有汗︰「當年考上了仙鳳鳴劇團當舞蹈藝員,在八個月的訓練中要學會合步及舞蹈,例如一字馬、雲步、採海等。現在回想起來真的有血有汗又有淚。」有「仙派文武旦后」美譽的江雪鷺說從前的戲迷,熱情不比現今流行歌手的歌迷遜色︰「我和戲迷已經成為了好朋友。」"Open with Firefox"
  24. ^ a b c d e YamTongRepertoire Select "Sweet Dew on a Beautiful Flower" and "A Buddhist Recluse for Fourteen Years" are two popular titles of mentor Yam that Loong never had a co-star who could be the female leads aging 15-20 years as mothers at the end. Loong had included one solo theme song from the first title in CD released in 2012. Mentor Yam reprised the role as male lead, father and son, in two movies of the first title. Sound track of movie is the only work left of mentor Yam of second title.
  25. ^ a b c 牡丹亭來的男人 周耀輝 這篇舊文,原發表於1990年3月23日《信報》文化版。... 她迷上的是台上的龍,那就是說,是戲中的他,是台上那個男子的形象。
  26. ^ a b 1982 Gold Disc Award
  27. ^ "Open with Firefox" 梨園青黃不接 記者:曾錦玲/黃渭瑜 編輯:陳綺娜 舞台跳上銀幕:著名編劇家葉紹德認為一個粵劇伶人,如果不是為了生活,不應拍電影熬夜,影響精神及聲線,以至不能專心練功,令藝術退步。他說:「我從未見過拍電視的粵劇演員,再演粵劇會做得好。」第十一期《大學線》
  28. ^ HKMDB 01/30/1968, 02/08/1975, 01/30/1976 and 02/12/1977
  29. ^ The Purple Hairpin Opening 02 April 2016
  30. ^ 中文大學京崑課程出成果大公報】 葉中敏 2016年10月13日 《姹紫嫣紅 – 2016中國傳統戲曲曲藝推廣巡演》。 Lee Woo Sing College CUHK
  31. ^ Birthday of Sin Si Wah Kong The 28th day of 9th month of the Lunar Calendar
  32. ^ 戲曲視窗:粵劇寒風何時減退 2003-12-09...但九七「金融風暴」為粵劇界帶來不明朗的因素。...到職業粵劇團的演出基地「新光戲院」傳出業主有意拆卸改建,業界或許也感受到寒風凜冽,不知這個冬天會逗留多久!?2003年12月09日【文滙報】
  33. ^ a b 戲曲視窗:粵劇前途未卜 2009-10-06 我雖然在今年中的粵港澳三地政府的文化會議上已知粵劇列入申報名單中,... 本地粵劇最大的隱憂在年輕一輩中暫時看不到有賣座力的演員,換上簡單的說法,就是沒有「偶像」。雖然我不屬娛樂界,但半生的工作也和歌影視界打交道,所以略窺商業運作的表演事業成功竅門。如果能夠捧出三幾個「偶像」,讓市場有 了「焦點」和「競爭」,觀眾群自然活躍起來,發展這個行業就事半功倍。2009年10月06日【文滙報】
  34. ^ 戲曲視窗:粵劇新世代 2009-12-22 觀眾層面的變化也會很大,習慣大鑼大鼓廣場式演出的觀眾不再成為主要消費者,一批有較高消費力、習慣會堂或劇場的觀眾取而代之,他們對製作的要求當然也較高。但從商業運作的角度來看,未來十年,擔得起票房的主要演員應該是現時四十歲至十歲正在上位 (age 40 to 50 up-and-coming) 的演員,這批演員又較受傳統演出的影響。所以未來十年本地粵劇發展既出現新局面,同時亦是決定它能否繼續成為「文化產業」的重要時刻。2009年12月22日【文滙報】
  35. ^ 11月騷 10月8日開售 頭條日報 20140914 報導 開售前六天(10月2日),已有不少刨迷在售票處門外排隊。龍劍笙十場折子戲門票30分鐘賣清光!【on.cc東網專訊】 20141008 報導 龍劍笙宣布加場【文滙報】馮仁昭四圍超:阿刨加開10場【蘋果日報】 阿刨開心賀壽(農曆生日)宣布加10場【東方日報】 阿刨慶生宣佈 《任藝笙輝》加場【頭條日報】阿刨慶生宣佈加場【澳門日報】20141014 報導 刨姐演《牡丹》《紫釵》懷念恩師 已故粵劇編劇家葉紹德曾經說過:「龍劍笙是自有粵劇史以來最賣座的演員。」【大公報】20141111 報導
  36. ^ 粵劇不死 "刨姐"龍劍笙過去兩、三年都有回港演出,刨姐每次回來演出,場場爆滿。【澳門日報】20160509 報導
  37. ^ a b 戲曲視窗:粵劇導演不懂粵劇 2010-06-15 單只看舞台的一半演區搭了個沒梯級的斜台,便知道導演和他的班底是外行人,不明白戲曲動作。近年,「雛鳳鳴」演《西樓錯夢》和《帝女花》,據聞舞台設計也是邀請話劇界幫忙,不過看見《西樓錯夢》彎彎曲曲的樓梯和《帝女花.香夭》一場長長的樓梯,也肯定設計者不了解戲曲的舞台,先要照顧演員的動作,不能叫演員心存顧慮,或要他們在演出時一眼關七,唯一不明白是團內為甚麼沒有人提出異議。 2010年06月15日【文滙報】, 戲曲視窗:冬寒花更香 2008-12-16 裴老師當日演講的主題是戲曲欣賞。她指出戲曲演員在舞台上表演最重要有美感,每一個動作都應該是一個「post」,這是戲曲有別於話劇和舞蹈的地方。2008年12月16日【文滙報】 and 戲曲視窗:身段是戲曲的標誌 2010-05-04 戲曲身段經過不斷繼承和實踐,在不斷創造過程中,形成了一種富有民族特色的藝術程式。它舉手投足都有尺寸,眼神流轉都有規定,形成在形體造型、肢體動作、手勢步法、眼法傳神等方面都有獨特的身法韻律。...戲曲演員根據人物身份的不同,出場、下場及在舞台中表演的台步也有固定的規範。優秀的程式演出是由內而外,目的是刻劃戲中人物,重點在形神俱備。不同的人物用不同的程式化來表現,正是戲曲藝術不同於其他表演藝術的根本區別。 2010年05月04日【文滙報】
  38. ^ a b c For the 20th anniversary, 10 December 2009 RTHK radio 1 【Free as the Wind】 任劍輝逝世二十周年− (二零零九年十二月十日) 香港電台第一台:《講東講西》節目主持人盧偉力、馬恩賜、嘉賓:潘步釗、阮兆輝:天天以及場場新鮮fresh ,有內涵Connotation而好自然natural ,有自然又有光彩luster ,完全沒有斧鑿痕跡look effortless。....佢行出嚟就係㗎啦,冇得教㗎喎。 To capture attention the way like Loong can is not taught. (More like a quality born with. A quality has yet to be found in later generation as of that day.)
  39. ^ 09 January 2010 亞視(ATV) 時事追擊 - 粵劇的生存空間 "The survival of Cantonese opera"
  40. ^ 戲曲視窗:嚴師出高徒 『有衣食』 2014年05月20日【文滙報】
  41. ^ 2009 Discussion on Promoting Cantonese Opera Culture, Bandstand, Victoria Park, Causeway Bay. 到了七十年代,龍劍笙憑藉本身的藝術水平、老師的包裝、嚴謹的舞台制作,成為一顆新星,當時中環白領都日日講龍劍笙,佢成為香港時尚。
  42. ^ 龍劍笙壓軸演國慶騷 2009年5月23日 but 龍劍笙不作「回巢燕」2009年9月19日
  43. ^ 原載《成報》2012年6月15日,B08-09版,編輯:朱開通 ...2010年8月完成了《蝶海情僧》劇本,當時他向元海諮詢起用哪個老倌去擔演時,元海表示:「站在商家的立場,找一些沒有名氣、水準未夠班的演員擔大旗,到頭來只會糟蹋了一個好的劇本,得不償失,與其如此,倒不如試試向大老倌敲敲門吧。」他們經過商量之後,首選的便是龍劍笙,於是,通過朋友的介紹,二話不說馬上把劇本寄去加拿大給龍劍笙過目,不到三幾天的時間,龍劍笙已經給了回覆,她以暫時無意復出為由,婉轉拒絕再登上舞台。
  44. ^ a b Exposed. 竟然有「演藝學生」之名於網上留言者,內容如下:「作為粵劇學院的學生,只知道學校爭取回來,受惠的一定是我們學生,試問有哪個學生不希望,能夠親自觀摩到最有權威代表前輩的演出。我們這班學生,不計前途,不問回報,而決心學習,是真正對粵劇的熱愛,相反有能力之士,竟然吝嗇一分一毫的捐獻,還大聲聲討,而資源不足情況持續下,學校與學生還有能力繼續推動粵劇文化?不加強培育新一代演員及觀眾,丘先生還有機會在粵劇上賺錢嗎!」...自願買票,自願看戲,商業社會,一切你情我願,逼人捐獻,說甚麼也不應該。....【Eastweek】 你情我願 2012年01月13日
  45. ^ Dates - See 2014 Hong Kong protests
  46. ^ 「任白」得意門生龍劍笙(阿刨)演出共25場《任藝笙輝念濃情》折子戲圓滿結束,阿刨在尾場淚浸戲台,教人動容。爆106歲母親長壽秘訣 【on.cc東網專訊】 對兩位年輕花旦而言,此乃天上掉下來、千載難逢的機會也!阿刨風采【澳門日報】台語國寶x粵劇國寶 江蕙香港交流龍劍笙 【蘋果日報】
  47. ^ 龍劍笙秘密練兵 11月返港開鑼 阿刨今次會夥拍兩位粵劇新花旦李沛妍和鄭雅琪,讓兩位新人同一晚都有演出機會。2013年9月,我與花旦親自飛到加拿大和阿刨排戲,大家都很認真看待今次的表演。
  48. ^ Programmes Commemorating the 25th Anniversary of the Hong Kong Cultural Centre
  49. ^ 任藝笙輝後 誰再念濃情? 龍劍笙扮相台風的確無人能及(演出特刊圖片)【大公報】葉中敏2015年1月15日
  50. ^ 韋夏卿 任姐(任劍輝)於1969年最後一次演出時,曾派重任予愛徒龍劍笙,着她做自己的小生,師徒唯一一次同台演出《紫釵記》,故而刨姐對韋夏卿一角有非常深的了解。 2015年05月09日【娛樂 - 東方日報】
  51. ^ The two characters 梁煒康飾演崔允明及黃衫客。 再刨紫釵 輕羽【大公報】2016年1月08日
  52. ^ a b 戲曲品味《紫釵記》 今次演出《紫釵記》全劇,不能說是薪火相傳,只是希望能讓新一代看看和感受一下她以往的演繹,時間永遠走在前,過程中使人生加添了一段又一段美好的回憶和無限思念。
  53. ^ 戲曲視窗:粵劇導演的職份 2010-06-01 自省港班以來,戲班由班政家掌行政權(劇團經理),提場 (stage manager) 掌製作權(舞台監督),文武生或正印花旦掌表演權(藝術總監),由於文武生或正印花旦是票房的主力 (breadwinner),自然擁有最大的話事權 (in charge),有時連班主也得讓其三分。2010年06月01日【文滙報】
  54. ^ 阿刨率新人演《紫釵記》 劇迷讚不老傳說 【on.cc東網專訊】
  55. ^ a b "《紫釵記》全劇 阿刨演繹師父任劍輝派功夫,儼如師父上身般". 【on.cc東網專訊】. 
  56. ^ 阿刨是粵劇奇才 【澳門日報】 2016 年1月3日 星期日
  57. ^ a b 戲曲品味《紫釵記》全劇的李益、崔允明與黃衫客
  58. ^ 1985 Radio broadcast June 15, 紅伶訴心聲: 靚次伯, Lang Chi Bak, the classmate of Sit Gok Sin and co-worker of both mentor and protegee at one point of their career.
  59. ^ 魅力老倌 明報 《左右飯局》李慧玲
  60. ^ 2016 Radio broadcast 1:00-1:30pm on June 9,June 10 and June 13 from Leung Wai-hong, Wyborn
  61. ^ 2016 Radio broadcast 1:00-1:30pm on 29 March from Lai Yiu-wai
  62. ^ 任藝笙輝念濃情 IFPI HKG 2015 List of Best Sales Releases, Classical and Operatic Works Recording (Order in Chinese Stroke Counts)
  63. ^ IFPI HKG 2012, first year List of Best Sales Releases, Classical and Operatic Works Recording (Order in Chinese Stroke Counts)
  64. ^ IFPI HKG 2011 The IFPI Hong Kong Award for Excellent Contribution to Cantonese Opera.

External links[edit]

  1. Glossary from Resources Depository, Education Bureau (edb), Hong Kong. (In Chinese 粵劇常用辭彙) 香港教育局 中文(香港)
  2. Lang Chi Bak was voted as the 'KING' among all performers in male warrior role "Mou5 Sang1" (武生) in the 1950s, Hong Kong. Biography was released in 2006. 紀念一代武生王——靚次伯 文︰小華 2006年11月14日【文滙報】
  3. HK strives to revive Cantonese Opera's heyday."...once energized by legendary figures like librettist Tong Dick-san 唐滌生 and actor Yam Kim-fai." - China Daily/Agencies, 04 December 2009
  4. Yip Shiu Tak 葉紹德's Cantonese Opera Manuscripts (in Chinese and English) New Publication 12 Dec 2013
  5. Two peers of Loong - HK City Hall commemorative exhibition to revisit venue's glorious past ...and interviews with Lung Kim-sung (Loong), Yuen Siu-fai 阮兆輝, Law Kar-ying, ...and other artists on their various performances and experiences at City Hall. (03 March to 09 April 2012).
  6. Loong and Yuen are the only two Hong Kong performers listed on this videorecording combo.
  7. Central Library exhibition to showcase treasured documents and collectables ... the souvenir booklet for the debut performance of the Chor Fung Ming Cantonese Opera Troupe (雛鳳鳴) in 1965 Excerpts only Performance. Jia Baoyu image therein was from 1964 debut of Loong for a charity event. Introductory description of Loong in booklet - "專攻文武生,擅長靠短打,文戲唱做細膩。舞台扮相尤其俊雅,清秀,風度翩翩,古代之貴冑王孫,痴情兒郎,虎威凜然之元帥,或少將軍,皆被她演的栩栩如生。唱做與身段,尤酷似「戲迷情人」任劍輝。": 龍劍笙 - 雛鳳鳴第一屆公演場刊
  8. Cantonese Opera Heritage Hall Exhibit Highlights Special Issue of the 2nd Performance of the Chor Fung Ming Opera Troupe (雛鳳鳴) in 1969 Full version of Island of Farewell. (Full Libretto pdf) Introductory description of Loong in booklet - "具大將之材!文哉武哉,長靠短打,不但勝重任,且綽綽有餘。扮相俊秀潇洒,如純美摇曳百合花。做工細膩深情,如海之懷有萬物生息。唱腔甜美圓潤,令人有啖蜜梨香荔之妙。人謂其酷肖「戲迷情人」任劍輝,自非過譽。": 龍劍笙 - 雛鳳鳴第二屆公演場刊
  9. Loong was photographed getting ready as male lead for A Romance of Pear Blossoms in the late 1980s or early 1990s."龍劍笙(生角)化妝裝扮過程" (in Chinese). Archived from the original on 2002-10-26.  This set of information has been on display in International Airport (Chek Lap Kok Airport) of Hong Kong with descriptions in both English and Chinese. For example, 13."A black satin kerchief is tied around the forehead to secure the positioning." and 14."A padded jacket is worn to augment the figure." - (Note: Both actors and actresses usually wear this kind of jacket.)