Today, she is a teacher of traditional Chinese music and she is recognized as one of the top young singers in Cantonese Opera in Hong Kong and Southern China. While at McGill, Yemina had founded the McGill Students Chinese Music Society. Finally, the Kyu, or act five, wrapped up the story in a quick and satisfying conclusion.Our alma mater doesn’t produce only one type of people and accomplished McGillians can be found in all walks of life.įor this episode of the McGill Asia Alumni Interview Series, it is utmost interesting for us to feature a Hong Kong-based McGill Science graduate Yemina Chung, who excels in a rather niche performing art. The Ha, or acts 2-4, sped up the action leading to a great dramatic moment or tragedy in act 3, with battles being common in acts 2 or 4. The Jo, or first act, was a slow opening, introducing the characters and the story.
Kabuki also has a five-act structure, following a very traditional rise and fall of a story. The colors of the costumes were also very important, since the colors expressed the character's primary emotions. Specific poses and make-up represented very specific emotions and characters.
However, they took over the Kabuki and began to transform the art form, using all male actors. The upper and royal classes did not approve of this "mixing" of the classes and banned women from performing in 1629. This was very popular with lower and middle classes. The earliest form of Kabuki was actually started by women in the early 1600s, as comic playlets that depicted ordinary life. Kabuki theater is most known for its iconic red and white makeup and its elaborate costumes. In order to prevent this, the puppets were taken apart each night, with the heads and bodies of the puppets stored separately. In both Cantonese and Pekingese shadow puppetry, superstition said that the puppets could come alive at night. The rods for Pekingese puppets were visible, but attached at the neck of the puppet before bending out of the way, so they didn't not interfere with the shadow figure. Pekingese puppets were smaller and more delicate than Cantonese puppets. Both types of puppets were constructed from colored leather, with incredible detail. Cantonese puppets were larger and the puppetry rods attached perpendicularly to the puppets, so that they would not cast a shadow. Their primary differences were how the puppets were constructed. Two distinct types of shadow puppetry developed in China. Shadow puppet plays often depicted stories of great adventures or fantasy. By the time we reach the Han dynasty (206 B.C.E-220 C.E), shadow puppetry is beginning to become a popular theatrical form.
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