NEWS & EVENTS > INTERVIEW
"A nation's culture resides in the hearts and in the soul of its people"
-Mahatma Ghandi
Ms. Wang Kit Ching- Cantonese Opera Actress
December 2015
The behind-the-scenes life of a Cantonese Opera Actress, the challenge in attracting new audiences, and balancing traditional and modern productions.
Ms. Wang Kit Ching, in front of her dresser, before the start of the show. Tin Hau Festival, Lamma Island. Photo by Joanne Ng, 2015.
How did you become involved in the world of Cantonese opera?
I guess you can say that I am someone who is quite traditional and old-fashioned; I have always been interested in traditional Chinese culture and history, and mainland China would always be my first choice in terms of holiday destination. When younger I frequently made concerted efforts to go sight-seeing in different cities in China, so my affection for China is quite deep.
Cantonese opera is not merely a form of theater, but is also an art that is richly saturated with distinguishing qualities of Chinese culture. My favorite opera productions have more than just beautiful costumery and elegant body movements—a key point is if the actors are able to embody and reflect the spirit of what it means to be a Chinese, traditionally. For example, maybe the plot touches upon a passionate love story, but the love is expressed in a reserved manner, maybe the content touches upon the emotions that can be found in human nature between two individuals—these expressions of humanity are very satisfying.
I prefer Cantonese opera over Chinese opera because firstly, the Cantonese language is used and secondly, I feel that the emotions as portrayed in Cantonese opera seem to be more true to life and relatable. Often, the other types of Chinese opera are more exaggerated forms of art, but when I watch Cantonese opera, I often encounter scenes that are very realistic, albeit in an ancient setting. It can be said that opera has its origins in real life but is greater than real life; Cantonese opera could be said to be greater than real life, but also isn’t separated from or removed from how real life is like.
Mr. Lai Yiu Wai and Ms. Wang Kit Ching, performing at the Tin Hau Festival, Lamma Island. Photo by Joanne Ng, 2015.
As a full-time Cantonese opera actress, what does your normal day look like? How is the time in your day allocated?
Besides my weekly yangqin and bi-weekly dance lessons, the rest of my activities are not set. Time slots for rehearsal and performances are scheduled differently according to the specific production. Usually, between performances and rehearsals, I will take time to meet with my teacher for singing lessons. Sometimes I also need to find time to practice on my own. For “mun cheung” shows (文場; the category of Cantonese opera that is more refined and calm, with emphasis on singing skills and hand motions) you don’t really need a big space to practice, but for “mo cheung” (武場; the category of Cantonese opera that emphasizes acrobatic fighting, with focus on body posturing) you do need a bigger space. There really isn’t a day out of the month that that I can stop and rest—days where I only have classes I consider as rest days!
Friends sometimes ask me how I can find the time to memorize all the lyrics and the script, given my packed schedule. The time that I have to actually sit down and memorize songs is limited, so whenever I get a new script, I will do my best to save time by recording the song lyrics and then listen to it while I am cleaning, brushing my teeth, washing my face, or showering. Until the time I lie down to sleep, each moment is spent reviewing the script or practicing out loud. People are familiar with the saying, “three minutes on stage is equal to ten years of preparation off-stage,” but the reality of the hard work that happens off-stage cannot be easily understood by the audience.
I guess you can say that I am someone who is quite traditional and old-fashioned; I have always been interested in traditional Chinese culture and history, and mainland China would always be my first choice in terms of holiday destination. When younger I frequently made concerted efforts to go sight-seeing in different cities in China, so my affection for China is quite deep.
Cantonese opera is not merely a form of theater, but is also an art that is richly saturated with distinguishing qualities of Chinese culture. My favorite opera productions have more than just beautiful costumery and elegant body movements—a key point is if the actors are able to embody and reflect the spirit of what it means to be a Chinese, traditionally. For example, maybe the plot touches upon a passionate love story, but the love is expressed in a reserved manner, maybe the content touches upon the emotions that can be found in human nature between two individuals—these expressions of humanity are very satisfying.
I prefer Cantonese opera over Chinese opera because firstly, the Cantonese language is used and secondly, I feel that the emotions as portrayed in Cantonese opera seem to be more true to life and relatable. Often, the other types of Chinese opera are more exaggerated forms of art, but when I watch Cantonese opera, I often encounter scenes that are very realistic, albeit in an ancient setting. It can be said that opera has its origins in real life but is greater than real life; Cantonese opera could be said to be greater than real life, but also isn’t separated from or removed from how real life is like.
Mr. Lai Yiu Wai and Ms. Wang Kit Ching, performing at the Tin Hau Festival, Lamma Island. Photo by Joanne Ng, 2015.
Besides my weekly yangqin and bi-weekly dance lessons, the rest of my activities are not set. Time slots for rehearsal and performances are scheduled differently according to the specific production. Usually, between performances and rehearsals, I will take time to meet with my teacher for singing lessons. Sometimes I also need to find time to practice on my own. For “mun cheung” shows (文場; the category of Cantonese opera that is more refined and calm, with emphasis on singing skills and hand motions) you don’t really need a big space to practice, but for “mo cheung” (武場; the category of Cantonese opera that emphasizes acrobatic fighting, with focus on body posturing) you do need a bigger space. There really isn’t a day out of the month that that I can stop and rest—days where I only have classes I consider as rest days!
Friends sometimes ask me how I can find the time to memorize all the lyrics and the script, given my packed schedule. The time that I have to actually sit down and memorize songs is limited, so whenever I get a new script, I will do my best to save time by recording the song lyrics and then listen to it while I am cleaning, brushing my teeth, washing my face, or showering. Until the time I lie down to sleep, each moment is spent reviewing the script or practicing out loud. People are familiar with the saying, “three minutes on stage is equal to ten years of preparation off-stage,” but the reality of the hard work that happens off-stage cannot be easily understood by the audience.
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