Back in the days when television was a luxury which few could afford, video movies was unheard of and cinemas were far away, the opera was an important aspect of the local Chinese community. It was where people gathered to celebrate the glories of eras past and relive the myths and fables of the great Gods and warriors that unfolded before the canvas backdrop amidst the cacophony of clanging cymbals, squeaking 'er hu' and thunderous drums accompanied by flashing spotlights. The Chinese opera was a much awaited affair and often performed in conjunction with some religious festival. It was when young and old gather at the open ground before the traditional timber opera theatre to listen to the tales of the opera performers.


The Chinese opera, which comprised three major types; i.e. the Cantonese opera, Teo Chew opera, and the Hokkien Opera were popular among the older generation, most of whom were migrants from China. The opera was one of the popular outdoor entertainment available. Unlike the western version, most of the Chinese opera were usually held during special occasions, such as religious festivals, birthday celebrations of the rich and famous, and during the third death anniversary to appease the spirit of the dead. Even the set-up is different. The stage is a simple huge house-like structure with zinc roofing. Where operas rare regularly held, wooden benches are provided for the audience. Otherwise, the audience have to stand and watch or bring their own stools, benches or chairs to sit on. You don't have to pay to watch a Chinese opera usually. If held in celebration of a religious occasion like the birthdays of Chinese deities, the cost was borne by the temple. Sometimes, the rich who wish to earn the blessings from the deities of a particular temple may sponsor an opera performance or two. Each show may cost between RM2,000 to RM5,000 in the seventies. Today, they cost more.


Performances during religious celebrations are held twice a day, once at 2.00pm and another at 7.00pm. During religious festivals, like the birthday celebrations of the Tai Seng Yeah, the Monkey God or Kuan Ti, the God of War, the very first performance usually held in the afternoon is avoided by seasoned opera goers. It is believed that the maiden performance is for the deity whose birthday is celebrated and his 'guests'. Failure to heed this may cost the opera goer his sanity or health. Back in the seventies, a story went around in a village that there was a young lady who went mad because she disregarded the advice of a temple caretaker not to watch the first performance of the birthday of Monkey God at the village temple. The truth of this story cannot be ascertained however.

Each performance lasted between three to four hours, depending on the storyline. Watching one is an experience to be treasured. Each performance is expertly executed through song and the various roles are cleverly projected by highly stylized makeup, voice intonation and elaborate costumes. For an actor playing the role of Magistrate Pao, for instance, his face is always painted black; Kuan Ti, the God of War, has his face painted red and carries a 'kuan tao', a long wide blade sabre.


The stage is normally bare and the scene changes are easily portrayed by merely changing the canvas backdrop painted with scenes of mountains, countryside, temples, the interior of a house, the emperor's court or the sea. The mood of the story is enhanced by a group of traditional musicians at the side of the stage, hidden from the views of course. Musical instruments used in the Chinese opera include the cymbals, flutes, clarinets, 'er hu' (a vertical chinese violin), 'pipa' (a guitar-like musical instrument) and drums. The musical instruments are also used in enhancing the effects of each scene. For instance, the clarinet is used to portray the squawk of the black crow, which signifies impending doom or misfortune. The effects of a thunderstorm is depicted using drum rolls and spotlight flashes. A warrior going into war riding a horse is symbolised by waving a cane with strips of cloth which represents a horse's mane. All these symbolism, unlike the more direct western opera, often look alien to the newcomer to opera scenes. To the more seasoned ones, the symbolism enhances the storylines which can be about men and their follies, warriors and their feats or gods and their virtues. Stories like the Courts of Magistrate Pao, Madam White Snake, Adventures of Monkey God, Romance of the Three Kingdoms, The Water Margin and other epics are popular opera pieces. Originally most of the parts were played by men, even the female roles as it was considered highly improper for women to be seen in public. It is amazing to watch how well these male opera singers could portray such feminity.


Because of the limitations of the opera, often special effects are incorporated into each story to make it more realistic. If held a t night and a story requires a scene where the sea is involved, apart from the static backdrop featuring the sea, special effects are created. Two stagehands standing on each side of the screen and hidden from the viewers hold a long piece of blue silk which they wave up and down. The stage-lights are then dimmed and the floor light beneath t he silk is switched on. The blue light enhances the movements of the silk cloth, making the 'sea' come alive with waves. The illusion of flight is also created with the lights dimmed and the actors/actresses sent 'flying' across the screen by strapping themselves to a cable which is looped over an overhead pulley and the other end pulled by some stagehands. Sometimes, to the chagrin of views, the 'flying' actors/actresses were left suspended in mid-air because the stagehands forgot their cue or when the pulley got jammed. Funny all these may be, but they signify ingenuity on the part of the opera director to keep his audiences thrilled as his actors/actresses transport them into a world of make belief, even for a few hours.

An opera troupe, like the circus family, also travels around the country to perform during festive occasions, staging about a hundreds performances a year. While it was once a glamorous profession, few people today are attracted to it as a means of earning a living. It is a dying art which is currently being promoted by clans and associations.


Inspired by the love of Chinese opera

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