李少恩. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 193-201) / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Li Shaoen.

This study sought to discover the principles of characterization governing the Sheng and the Dan roles in the Chinese opera. Seven Dan role divisions and three Sheng role divisions were studied. It was discovered that throughout its long history the Chinese opera had adhered to its original singing and dancing styles; that the creative activities involved in the opera's staging were subordinated to singing and dancing styles; that the actors in the Chinese opera perform only one role category in their career; that years of rigid training were required before the actors were allowed to perform on stage; that each role division had its peculiar method of characterization that was shown through their performances, their costumes, and their acting techniques.

戴淑茵. / "2003年3月". / 附歌譜. / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻 (leaves 172-178). / 附中英文摘要. / "2003 nian 3 yue". / Fu ge pu. / Dai Shuyin. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 172-178). / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 1.1 --- 研究目的與架構 --- p.1 / Chapter 1.2 --- 研究概況 --- p.3 / Chapter 1.3 --- 研究方法與資料 --- p.6 / Chapter 第二章 --- 創作背景 --- p.11 / Chapter 2.1 --- 香港的歷史與文化 --- p.11 / Chapter 2.2 --- 香港的粤劇音樂 --- p.15 / Chapter 2.3 --- 仙鳳鳴劇團的組織 --- p.16 / Chapter 2.4 --- 《再世紅梅記》的寫作背景與内容 --- p.18 / Chapter 2.5 --- 小結 --- p.22 / Chapter 第三章 --- 音樂的創意 --- p.24 / Chapter 3.1 --- 整體的結構 --- p.24 / Chapter 3.2 --- 「中」、「西」結合的器樂組合 --- p.32 / Chapter 3.3 --- 新作小曲的特色 --- p.49 / Chapter 3.4 --- 唱詞的特點 --- p.57 / Chapter 3.5 --- 小結 --- p.70 / Chapter 第四章 --- 創作過程中的創意 --- p.71 / Chapter 4.1 --- 改編的原創性 --- p.72 / Chapter 4.2 --- 創作的分工 --- p.84 / Chapter 4.3 --- 創作手法的改變一由「依曲填詞」到「依詞譜曲」 --- p.97 / Chapter 4.4 --- 創作流程的變遷 --- p.102 / Chapter 4.5 --- 小結 --- p.109 / Chapter 第五章 --- 結論 --- p.110 / Chapter 5.1 --- 創意與傳統的交融 --- p.110 / Chapter 5.2 --- 多元文化的結合 --- p.113 / Chapter 5.3 --- 文化演變的結果 --- p.115 / 附錄 --- p.119 / 參考資料 --- p.172

Thesis (M. Arch.)--University of Hong Kong, 1998. / Includes special study report entitled: Chinese theatre. Includes bibliographical references.

A Thesis (M.A.)--University of Hong Kong, 1987.

Intangible cultural heritage (henceforth ICH), a living expression of indigenous culture and traditions, have been orally transmitted through generations. As the heritage bearers are usually aged and have mere opportunities to pass on their knowledge to young practitioners, ICH are disappearing at a rapid pace. Safeguarding ICH is a battle against time. Since the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (henceforth the Convention) was adopted in 2003, China has been proactive in participating in the Convention and safeguarding its ICH. Ratified the Convention on 2 December 2004, China was the sixth out of the 143 State Members deposited the Convention1. China’s prompt response to the Convention could show how determined she was in safeguarding its ICH. Hong Kong agreed to apply the Convention in December 2004 but the early adoption of the Convention did not help Hong Kong to keep its pace on safeguarding ICH. During the 6 years practice of safeguarding ICH since 2006, China had already built its ICH inventory through announcing 3 batches of National ICH List and inscribing 2500 plus elements, established a ICH Transmitters List with 1400 plus transmitters, and most importantly, adopted the Safeguarding of the Intangible Cultural Heritage Law (henceforth the China ICH Law). In contrast, Hong Kong has not even completed its territory-wide survey until now for its first batch of inventory, not to mention setting up a safeguarding ICH policy. Hong Kong’s achievement in safeguarding ICH so far is inscribing Cantonese Opera onto The Representative List of the Intangible Cultural Heritage of Humanity (henceforth the UNESCO Representative List) with joint effort from Macao and Guangdong in 2009; inscribing Cantonese Opera and Chinese Herbal Tea onto the National Intangible Cultural Heritage List (henceforth the National ICH List) with joint effort from Macao and Guangdong in 2006. However, the first time Hong Kong successfully inscribe ICH elements onto the National ICH List with its own effort was in 2011, five years after its ICH safeguarding ICH work kicked off. Meanwhile, Hong Kong has paid a lot more effort in safeguarding Cantonese Opera. There have been research to preserve scripts and masterpieces; there is an advisory committee and a fund set up to dedicatedly support Cantonese Opera; new Cantonese Opera venues are developing by the Government; a programme developing young troupe for inheriting the skills from Cantonese Opera masters is set up. In this dissertation, I will study the safeguarding ICH progress made in UNESCO, China, Hong Kong and safeguarding Cantonese Opera progress in Hong Kong in terms of different safeguarding measures as defined by UNESCO. From the comparison between the safeguarding progress of Hong Kong on ICH and Cantonese Opera respectively, answers can be found to improve the safeguarding ICH situation in Hong Kong. / published_or_final_version / Conservation / Master / Master of Science in Conservation

published_or_final_version / Architecture / Master / Master of Architecture

published_or_final_version / Chinese / Master / Master of Philosophy

Thesis (M.A.)--University of Hong Kong, 1987. / Also available in print.

Thesis (M.Arch.)--University of Hong Kong, 1998. / Includes special study report entitled : Chinese theatre. Includes bibliographical references. Also available in print.