good comparison, i have been thinking about whom he sounds like (it does not matter, everyone is unique - just curious); his 倒板 is good, stable , to point/note. He is one of the few male artists these days can sing with 粤曲韻味,拉腔轉腔,準而有韻,不单是練出來,很大部分是观摩前輩和吸引,很難得這樣集大成,,這広.好!
from 編劇 perspective: 戲劇若要發展和長青, 其主題必須與時並進, agreed; we chatted before: not those unbelievable stories/ plots or those only dedicated to help certain artists to demonstrate his skills and talents (thus restricting plot/story development) for various purposes - i don't want to mention names again
Cantonese Opera are mostly old plots from Court, love stories, fairy tales etc. We have been accepting their tends of development years ago. The renowned 唐 script writer tailored all his stories based on the players character to develop his plot on scripts. We have been watching his scripts in areas where people are interested in Cantonese Opera all over the world. Can we change the audience towatch newly written scripts? China has been working hard to modernize the scripts , is it successful ? Did you watch 廣東省或深圳團？It is good comparison and knowledgeable! As for HK, 謝 小姐 has tried to write scripts and brought in new ideas for Cantonese Opera. Has it been recognized ? Just noticed she played in 唐 scripts also !
I think I understand where you are coming from. My response is: (a) yes, too some extent, people are familiarized with those themes/plots, and to a great extent socialised into it meaning believing 粵劇 is like that, must be based on /include as a key theme love stories etc (i am not talking about some worship certain artists, another issue). (b) but from a higher level perspective, this is more a generational issue. I am in my 60s, those preferences belong to my parents' and grandparents' generations, I am already different and i believe the world keeps changing. Basically, there should not be a fixed genre/format for粵劇 stories/plots in that direction. Right now, it is still heavily influenced by tradition - but generational changes have been happening, slowly though. Once my generation or older generations are gone, i dont expect that tradition will carry much weight BECAUSE there is no more socialization, teaching people to accept that tradition. (c) modernize the scripts , 廣東省或深圳團？In HK, may not be successful and you, me and others may not like it (preferences only) but those plays are welcome and well-attended (I dont want to judge on quality and taste of audience - all very subjective). At least they tried including modern 粵劇; (d) also, since 1970s, 粵劇 are not totally based on/focused on Court, love stories, fairy tales; look at Lam Kar sing's; many historical, not courtly, stories stressing heroism, humanity etc. (e) , 謝 小姐 has tried to write scripts and brought in new ideas for Cantonese Opera. who knows what holds for the future? I am no prophet. I am not trying to argue but my point is progress, development and ever-green is essentially organic - part of growth, inevitable and should be encouraged and facilitated 發展和長青, if we want a future for 粵劇, not to be fixated on our preferences, tradition. Look, 1930s and 40s 粵劇 were kind of different from 1950s and 1960s (i am not saying good or bad, but there had been changes, but not major ones I have to admit. Sorry for my long-winded comments @@annieu30
also, FYI - i do have some understanding of this sector: i have gone through some but short term personal/private 粵曲program; my father befriended some older 粵劇 artists/performers in 1950s, so got some insights into this field ,@@annieu30
Yes, we can change the audience to watch newly written scripts, but the main point is, can we write a new script to reflect the Zeitgeist? I don't think the troupes from Canton are successful, because they have thought limitations. 謝小姐, I don't want to comment on her.@@annieu30
I watched 大龍鳳with my mom, where I came from. I am staying in N. America. Watched a lot of HK and China Cantonese Opera in recent years. Conclusively speaking, audience, even in China are in favor of 帝女花，鳯閣, even overseas. Not 林？ 林is too one man show ! Dominated character lacks group operation etc. We are just talking casually , not commenting as we are just audience. Watched Cantonese Opera, especially in China , you can have a glimpse what the trend of change is operation. HK did not do much in this respect. Care has to be taken for the ticket sale to cover the expensive costs of a troupe ! HK has to avoid 武埸，文武生aging , 一字馬都唔掂！水髮？ And yet they like to perform their weakness all the time !
亞倫，心怡！好合拍！唱做佳！ 加油！😍🤩👍👂👏👏
謝謝, 請繼續支持他們和粵劇。
好好聽👍👍👍👏👏👏
謝謝, 請繼續支持演員和粵劇。
謝謝!香港粵劇的青年新秀落力演出。預祝此劇團未來所有的公演,演出成功!票房高滿!支持所有演員!旗開得勝!💪💪💪🙏🙏🙏
謝謝, 承你貴言, 因為現在做班不容易, 在人人都靠資助的情況下, 穎怡聲這幾個台期都要靠自己, 沒有資助, 真希望大家入場支持。😂
佢地吾係班主組班？🌹
班主就係我, 賺蝕都係我, 但蝕多賺少, 因為經濟差特別難做, 而且新秀蝕多啲, 因為除咗兩個主角人工平啲, 其他支出一樣, 但票價要減, 入座率會低啲, 申請資助都少三分之一, 你話難唔難做, 只有我呢啲蠢人, 搞理想至攞錢出嚟做, 新人若非屋企肯俾錢, 都唔使諗自己做老板組班演出。最重要一點, 香港而家情況, 幾大嘅佬倌, 冇資助都百分百蝕梗。移民走嘅人太多, 老人家怕病唔出嚟睇戲, 疫情又改變一般人生活習慣, 冇晒夜生活, 真係好難做。@@dabbylau4057
亞倫現在好 fit, 好靚，尤其是身形。
謝謝, 請繼續支持他們和粵劇。
有曲式
👏👏👏🙏🙏
謝謝
嘩！－聽他開口就被攝住他的唱功和身段之美就目不轉睛 看到最後 真的太美了 👍🏻👍🏻👍🏻👍🏻心怡亦很美麗可人， 9:56 一台好戱 好享受❤
謝謝, 會繼續為他們搞演出, 請繼續支持他們, 也支持粵劇。
Alan,心怡，好！！！🙂👍👍👍👏👏👏
謝謝, 請繼續支持他們, 也支持粵劇。
洛童演繹也很生鬼❤加油喔!
謝謝, 請繼續支持她和粵劇。
@@manfungau1948 一定會🫡😊
🙏🙏🙏💕💕💕
👍👍👍👍👍💯💯💯💯💯
👏👏👏
亞倫唱非常有感情，及好聽，好睇演出👍👍👍👏👏
謝謝, 請繼續支持他們和粵劇。
一段反線二王下句心怡唱很很婉轉，動聽，而且很有感情!👍👍👍還有周洛憧都唱做好好，她的聲音響亮，清脆，同樣有感情!👍👍👍
謝謝, 請繼續支持他們, 也支持粵劇。不過, 我都覺得佢兩個唱做都好, 否則我也不會搞班支持他們。😅
周洛憧如果唱陳好逑的鬼馬紅娘應該會好聽!😅
搵次叫佢做折子戲試吓。@@yuetkwanma8461
@@manfungau1948老師:多謝接受我的提意將曲譜和曲詞分色,十分感激🙏🙏🙏😂
唔緊要, 只係呢排有啲忙, 因為納蘭性德要演出, 鎖碎事務多到不得了而已, 但上傳視頻, 也是我的娛樂, 說坦白, 我也借寫曲式, 重溫廿幾三十年前的功課, 尤其是專腔, 咁樣講一講, 自己都清晰啲。仲有嘅劇目演員等, 我都佩服自己三十年前原來做咗咁多功課。🤣@@yuetkwanma8461
梁心怡在劇中的演繹非常好出色,從她的表情看到少女的天真可愛,很自然，好討人歡喜，尾段的一句捨不得哥哥的表情都演繹好靚,不會公式化。( 比較有現代感)再加讚一句,心怡是我最理想的昭容!❤❤❤👍👍👍
心怡令我驚艷的就是她能演繹到少女的感覺, 可能她還年青, 也較理想化, 所以能夠保持到較多純真的感覺, 我就是因為看到同一感覺, 中場休息就走到後台稱讚她, 大抵也因此令我和她結下更深的緣份, 要知道我是一個不斷尋找演員的編劇。😊
老師👍👍!老師可不可以考慮將曲式句格用另一種顏色與曲詞分開,使看曲詞時.可以看得快些!
試試看@@yuetkwanma8461
謝謝❤❤❤
不用謝@@yuetkwanma8461
👂😍👍🙏🏿
只聽到呀倫第一句的合尺倒板，便知道他現在唱曲的功力非凡。
以後我會買票支持他的演出。
我感覺他的唱腔有文千歲的影子。
謝謝, 也請支持所有粵劇。
good comparison, i have been thinking about whom he sounds like (it does not matter, everyone is unique - just curious); his 倒板 is good, stable , to point/note. He is one of the few male artists these days can sing with 粤曲韻味,拉腔轉腔,準而有韻,不单是練出來,很大部分是观摩前輩和吸引,很難得這樣集大成,,這広.好!
I agree. When he was three years old, he was taught by his grandfather how to sing Cantonese Opera.@@andrewtam3185
👍👍👍👍👍
花旦唱得很好🎉
謝謝，請繼續支持她和粵劇。
👍👍👍💕💕💕
亞倫心怡好聽靚仔靚女💙💙👍👍💜💜✌✌💗💗🌷🌷💚💚🌼🌼
謝謝, 請支持阿倫心怡, 請繼續支持粵劇。
👍👍👍👍👍💯💯💯💯💯👏👏👏👏👏❤️❤️❤️❤️❤️
from 編劇 perspective: 戲劇若要發展和長青, 其主題必須與時並進, agreed; we chatted before: not those unbelievable stories/ plots or those only dedicated to help certain artists to demonstrate his skills and talents (thus restricting plot/story development) for various purposes - i don't want to mention names again
Cantonese Opera are mostly old plots from Court, love stories, fairy tales etc. We have been accepting their tends of development years ago.
The renowned 唐 script writer tailored all his stories based on the players character to develop his plot on scripts. We have been watching his
scripts in areas where people are interested in Cantonese Opera all over the world. Can we change the audience towatch newly written scripts?
China has been working hard to modernize the scripts , is it successful ? Did you watch 廣東省或深圳團？It is good comparison and knowledgeable! As for HK, 謝 小姐 has tried to write scripts and brought in new ideas for Cantonese Opera. Has it been recognized ?
Just noticed she played in 唐 scripts also !
I think I understand where you are coming from. My response is: (a) yes, too some extent, people are familiarized with those themes/plots, and to a great extent socialised into it meaning believing 粵劇 is like that, must be based on /include as a key theme love stories etc (i am not talking about some worship certain artists, another issue). (b) but from a higher level perspective, this is more a generational issue. I am in my 60s, those preferences belong to my parents' and grandparents' generations, I am already different and i believe the world keeps changing. Basically, there should not be a fixed genre/format for粵劇 stories/plots in that direction. Right now, it is still heavily influenced by tradition - but generational changes have been happening, slowly though. Once my generation or older generations are gone, i dont expect that tradition will carry much weight BECAUSE there is no more socialization, teaching people to accept that tradition. (c) modernize the scripts , 廣東省或深圳團？In HK, may not be successful and you, me and others may not like it (preferences only) but those plays are welcome and well-attended (I dont want to judge on quality and taste of audience - all very subjective). At least they tried including modern 粵劇; (d) also, since 1970s, 粵劇 are not totally based on/focused on Court, love stories, fairy tales; look at Lam Kar sing's; many historical, not courtly, stories stressing heroism, humanity etc. (e) , 謝 小姐 has tried to write scripts and brought in new ideas for Cantonese Opera. who knows what holds for the future? I am no prophet. I am not trying to argue but my point is progress, development and ever-green is essentially organic - part of growth, inevitable and should be encouraged and facilitated 發展和長青, if we want a future for 粵劇, not to be fixated on our preferences, tradition. Look, 1930s and 40s 粵劇 were kind of different from 1950s and 1960s (i am not saying good or bad, but there had been changes, but not major ones I have to admit. Sorry for my long-winded comments @@annieu30
also, FYI - i do have some understanding of this sector: i have gone through some but short term personal/private 粵曲program; my father befriended some older 粵劇 artists/performers in 1950s, so got some insights into this field ,@@annieu30
Yes, we can change the audience to watch newly written scripts, but the main point is, can we write a new script to reflect the Zeitgeist? I don't think the troupes from Canton are successful, because they have thought limitations. 謝小姐, I don't want to comment on her.@@annieu30
I watched 大龍鳳with my mom, where I came from. I am staying in N. America. Watched a lot of HK and China Cantonese Opera in recent years.
Conclusively speaking, audience, even in China are in favor of 帝女花，鳯閣, even overseas. Not 林？ 林is too one man show ! Dominated
character lacks group operation etc. We are just talking casually , not commenting as we are just audience. Watched Cantonese Opera,
especially in China , you can have a glimpse what the trend of change is operation. HK did not do much in this respect. Care has to be taken
for the ticket sale to cover the expensive costs of a troupe ! HK has to avoid 武埸，文武生aging , 一字馬都唔掂！水髮？ And yet they like to
perform their weakness all the time !
很😅有柔情，兩位继續努力唱腔，必
謝謝，請繼續支持他們和粵劇。
心怡唱得好過燕姐梅雪詩，好喜歡，穎倫拍心怡才多人看！❤❤
他倆自小相識學戲, 心怡早期演出, 主要都是和阿倫拍檔演出, 所以兩人很有默契, 演出很自然也好看。心怡是燕姐的徒弟, 她唱腔發口頗像燕姐, 但聲底卻有相當先天的因素, 至於是否好過師傅和嗲姐, 就不好說了。
今天聽吧此曲,有点動容,所以多手留下心.心,😂沒想到還被老師送小小(心仔)😅!睇了多月,依然很喜歡這曲💖(眼睛唔好,有時只聽唔望手机)😢😢
謝謝，但這曲是寫於２０１１年，最初是龍貫天和鄭詠梅開山，經過幾個演員重演，還是梁心怡最有少女的情懷味道。
@@manfungau1948未知何時再有重演這劇的安排!又未知到時我會否在港!本人妈想
@@manfungau1948剛才按错制!抱歉現在繼續(本人好想入場欣賞此劇!❤)
@@yuetkwanma8461 會重演，但我現時也不知，其實這劇也是我十分喜愛的劇作之一，所以開山後我都請過不同演員演出，本來我也打算把部分劇本公開給其他人演出，只收部分版稅，不過此劇是我一直想留下來給喜愛演員演出的劇作，或者過兩三個月有時間考慮清楚再公佈吧！
@@yuetkwanma8461 唔緊要，其實我新收的編劇學生也向我提同一個要求，想進場觀看此劇的現場演出。
戲服，和裝置真係好貴好貴！對年青/新進演員們真係好艱難嘅負擔，就算上了位的名角們在戲服裝置上都係一筆好大好主要嘅支出！
演員大部分酬金都用作買戲服, 這是不爭的事實。
他/她們真好愛好愛粵藝才可有動力支持呢！
我都很愛這門藝術, 所以也欣喜於他們的努力, 希望你繼續支持他們, 也繼續支持粵劇。精神上的支持也可以, 藝術唔應該拖帶金錢, 雖然粵劇演出很費錢, 演員置戲服頭飾也很費錢。但@@kittytsui8387
支持粵藝，會買票進塲。🌹
謝謝。也請支持其他劇團演出。@@kittytsui8387
👍👍👍👍👍💯💯💯💯💯