<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://learning.hku.hk/ccch9051/group-35/items/show/42">
    <dcterms:title><![CDATA[The Happy Marriage of Red Phoenix]]></dcterms:title>
    <dcterms:subject><![CDATA[Play Script]]></dcterms:subject>
    <dcterms:description><![CDATA[Legend has it that Hongluan used to be a fairy attendant of the Queen Mother of the West. Hongluan is banished to the mortal realm because of her worldly desire to fall in love with a man. Later she returns to heaven and becomes the goddess of marriage. Both the princes of Jinare in love with Liu Hongluan. She fancies Prince Chen, who is handsome, and conceives his child after a drunken rendezvous with him. Prince Hong, the ugly one, thinks of a deceitful plan that will land him Hongluan and leave her ugly sister to Chen. Hong feels guilty and gives up his wicked plan. Hongluan then marries Chen. Later, returning to heaven, the fairy maiden realizes the fact that all love in the world is transient and cannot compare to the eternal bliss of heaven. She descends back into the world, where she delivers her son and, with him, all her worldly emotions.]]></dcterms:description>
    <dcterms:creator><![CDATA[ Lee Siu Wan]]></dcterms:creator>
    <dcterms:source><![CDATA[Major Plays of Hong Kong Cantonese Opera: A Translation Project]]></dcterms:source>
    <dcterms:publisher><![CDATA[Alice Chow and Siu Leung Li]]></dcterms:publisher>
    <dcterms:date><![CDATA[1957]]></dcterms:date>
    <dcterms:contributor><![CDATA[ Cantonese Opera Development Fund]]></dcterms:contributor>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Text]]></dcterms:type>
    <dcterms:identifier><![CDATA[thehappymarriageofredphoenix197]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://learning.hku.hk/ccch9051/group-35/items/show/13">
    <dcterms:title><![CDATA[坐宮（選段）]]></dcterms:title>
    <dcterms:subject><![CDATA[Beijing opera; Zuo gong; Chinese opera]]></dcterms:subject>
    <dcterms:description><![CDATA[Zuo Gong is an excerpt from the Chinese Opera &quot;Si Lang Tan Mu&quot; (四郎探母). The story happened during the time of Song Dynasty.]]></dcterms:description>
    <dcterms:creator><![CDATA[CCTV11]]></dcterms:creator>
    <dcterms:source><![CDATA[shegiang from Youtube.com]]></dcterms:source>
    <dcterms:publisher><![CDATA[shegiang from Youtube.com]]></dcterms:publisher>
    <dcterms:date><![CDATA[Published on 9 Jun 2011]]></dcterms:date>
    <dcterms:relation><![CDATA[Beijing opera; Chinese opera]]></dcterms:relation>
    <dcterms:format><![CDATA[.mp4]]></dcterms:format>
    <dcterms:identifier><![CDATA[zuo gong]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://learning.hku.hk/ccch9051/group-35/items/show/7">
    <dcterms:title><![CDATA[Chan Ho Kau]]></dcterms:title>
    <dcterms:subject><![CDATA[&#039;Queen&#039; of hua dan performer - Chan Ho Kau]]></dcterms:subject>
    <dcterms:description><![CDATA[Chan has followed different Cantonese opera actors to learn the skills of being a &#039;hua dan&#039;. She specialised in performing qing yi (married woman), hua shan (lively girl) and daoma dan (woman warrior) roles with ease and charisma, and is one of the leading female roles in Cantonese Opera.<br />
<br />
She showed continuous support to the Academy’s Chinese Traditional Theatre programme and expressed valuable opinions to students’ performances. In August 2018, she performed in the Cantonese Opera &#039;The Return of Lady Wenji&#039;.]]></dcterms:description>
    <dcterms:creator><![CDATA[Chan Kai Hung<br />
]]></dcterms:creator>
    <dcterms:date><![CDATA[1930]]></dcterms:date>
    <dcterms:contributor><![CDATA[Deng Xiao Lan Fang]]></dcterms:contributor>
    <dcterms:rights><![CDATA[No]]></dcterms:rights>
    <dcterms:relation><![CDATA[Connie Chan Po Chu]]></dcterms:relation>
    <dcterms:relation><![CDATA[Dr. Lam Kar Sing]]></dcterms:relation>
    <dcterms:format><![CDATA[Male]]></dcterms:format>
    <dcterms:language><![CDATA[Cantonese]]></dcterms:language>
    <dcterms:type><![CDATA[Person]]></dcterms:type>
    <dcterms:identifier><![CDATA[chanhokau1930]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://learning.hku.hk/ccch9051/group-35/items/show/8">
    <dcterms:title><![CDATA[Laosheng

]]></dcterms:title>
    <dcterms:subject><![CDATA[Sheng - Male Role]]></dcterms:subject>
    <dcterms:description><![CDATA[Laosheng actors are required to attain the dignity of bearing and gentle, polished manners of the middle-aged mandarin official or scholar. Laosheng roles included generals or high-ranking officers of the military, but they had a more cultivated disposition than those of real life.]]></dcterms:description>
    <dcterms:creator><![CDATA[Chinese Opera]]></dcterms:creator>
    <dcterms:source><![CDATA[Peking Opera]]></dcterms:source>
    <dcterms:date><![CDATA[1949]]></dcterms:date>
    <dcterms:available><![CDATA[1949 - 1985]]></dcterms:available>
    <dcterms:relation><![CDATA[Dan]]></dcterms:relation>
    <dcterms:language><![CDATA[Chinese]]></dcterms:language>
    <dcterms:type><![CDATA[Character]]></dcterms:type>
    <dcterms:identifier><![CDATA[laosheng1949]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://learning.hku.hk/ccch9051/group-35/items/show/10">
    <dcterms:title><![CDATA[Hongsheng]]></dcterms:title>
    <dcterms:subject><![CDATA[Sheng - Male Role]]></dcterms:subject>
    <dcterms:description><![CDATA[Hongsheng meant the character had a red face, a sub-category of Laosheng.<br />
<br />
There are only two roles known as Hongsheng. One is Guan Gong and the other is Zhao Kuangyin. Guan Gong is one of the important roles in the Chinese classical novel “The Romance of the Three Kingdoms”. A Hongsheng’s voice is vigorous and high-pitched.]]></dcterms:description>
    <dcterms:creator><![CDATA[Chinese Opera]]></dcterms:creator>
    <dcterms:source><![CDATA[Peking Opera]]></dcterms:source>
    <dcterms:date><![CDATA[1949<br />
]]></dcterms:date>
    <dcterms:available><![CDATA[1949 - 1989]]></dcterms:available>
    <dcterms:relation><![CDATA[Dan]]></dcterms:relation>
    <dcterms:language><![CDATA[Chinese]]></dcterms:language>
    <dcterms:type><![CDATA[Character]]></dcterms:type>
    <dcterms:identifier><![CDATA[Hongsheng1949]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://learning.hku.hk/ccch9051/group-35/items/show/16">
    <dcterms:title><![CDATA[Xiaosheng]]></dcterms:title>
    <dcterms:subject><![CDATA[Sheng - Male Role]]></dcterms:subject>
    <dcterms:description><![CDATA[Xiaosheng is a handsome young male with no beard in Peking Opera roles. The roles sings in a high-pitched and shrill voice, with sudden breaks from his high-pitched voice to represent the voice changing period of adolescence.<br />
<br />
Xiaosheng can be division into Wen Xiaosheng (a young scholar) and Wu Xiaosheng (a young warrior). Depending on the role&#039;sposition in society, the costume of the Xiaosheng may be either elaborate or simple. The feature of a young warrior is his long pheasant feathers, which rise in sweeping curves from his hat.]]></dcterms:description>
    <dcterms:creator><![CDATA[Chinese Opera]]></dcterms:creator>
    <dcterms:source><![CDATA[Peking Opera]]></dcterms:source>
    <dcterms:date><![CDATA[1949]]></dcterms:date>
    <dcterms:relation><![CDATA[Dan]]></dcterms:relation>
    <dcterms:language><![CDATA[Chinese]]></dcterms:language>
    <dcterms:type><![CDATA[Character]]></dcterms:type>
    <dcterms:identifier><![CDATA[Xiaosheng1949]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://learning.hku.hk/ccch9051/group-35/items/show/17">
    <dcterms:title><![CDATA[Wusheng]]></dcterms:title>
    <dcterms:subject><![CDATA[Sheng - Male Role]]></dcterms:subject>
    <dcterms:description><![CDATA[Wusheng actors must be good at martial arts roles. The actor performs with swords and spears wielded deftly and quickly without the attacker actually touching his opponent. There are Changkao Wusheng and Duanda Wusheng. The features of Changkao Wusheng are wearing a helmet, heavy-bottomed boots and the use of long-handled weapons. The features of Duanda Wusheng are wearing short and simple clothes and the use of short-handled weapons. Although Wusheng roles requirea highly standard of acrobatics, they must also have a natural voice when singing.]]></dcterms:description>
    <dcterms:creator><![CDATA[Chinese Opera]]></dcterms:creator>
    <dcterms:source><![CDATA[Peking Opera]]></dcterms:source>
    <dcterms:date><![CDATA[1949]]></dcterms:date>
    <dcterms:language><![CDATA[Chinese]]></dcterms:language>
</rdf:Description><rdf:Description rdf:about="https://learning.hku.hk/ccch9051/group-35/items/show/23">
    <dcterms:title><![CDATA[Zhengdan(Qingyi)]]></dcterms:title>
    <dcterms:subject><![CDATA[Dan - Female Role]]></dcterms:subject>
    <dcterms:description><![CDATA[Qingyi is the main woman roles in traditional Chinese drama. Qingyi is the most important role in Peking Opera and plays dignified, serious, and decent characters, which are mostly wives or mothers. The roles dress in yellow clothes and feature a small range of motion, and singingwith a pure and high-pitched quality.<br />
<br />
Mei Langfang played an important roles in shaping Peking Opera, and created a new role called Huashan, which combines the status of the Qingyi, with the sensuality of Huadan.]]></dcterms:description>
    <dcterms:creator><![CDATA[Chinese Opera]]></dcterms:creator>
    <dcterms:source><![CDATA[Peking Opera]]></dcterms:source>
    <dcterms:date><![CDATA[1949]]></dcterms:date>
    <dcterms:identifier><![CDATA[Zhengdan1949]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://learning.hku.hk/ccch9051/group-35/items/show/24">
    <dcterms:title><![CDATA[Guimendan]]></dcterms:title>
    <dcterms:subject><![CDATA[Dan - Female Role]]></dcterms:subject>
    <dcterms:description><![CDATA[Guimendan is an unmarried and young girl role. Her immaturity is clearly shown in her reactions. Though naughty and slightly mischievous. T, the characteristics of the role are mostly are introverted and shy.]]></dcterms:description>
    <dcterms:creator><![CDATA[Chinese Opera]]></dcterms:creator>
    <dcterms:source><![CDATA[Peking Opera]]></dcterms:source>
    <dcterms:date><![CDATA[1949]]></dcterms:date>
    <dcterms:language><![CDATA[Chinese]]></dcterms:language>
    <dcterms:identifier><![CDATA[guimendan1949]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://learning.hku.hk/ccch9051/group-35/items/show/25">
    <dcterms:title><![CDATA[Daomadan]]></dcterms:title>
    <dcterms:subject><![CDATA[Dan - Female Role]]></dcterms:subject>
    <dcterms:description><![CDATA[Daomadan is a female warrior role in Peking Opera. Like the male role of Wusheng, Daomadan actors train mainly for action, singing, and performing skillfully. The features of the role are the head-dress and military weapons. The most famous Daomadan role is Mu Guiying, who is a heroine in Chinese history, famed for her military prowess.]]></dcterms:description>
    <dcterms:creator><![CDATA[Chinese Opera]]></dcterms:creator>
    <dcterms:source><![CDATA[Peking Opera]]></dcterms:source>
    <dcterms:date><![CDATA[1949]]></dcterms:date>
    <dcterms:relation><![CDATA[Sheng]]></dcterms:relation>
    <dcterms:language><![CDATA[Chinese]]></dcterms:language>
    <dcterms:type><![CDATA[Character]]></dcterms:type>
    <dcterms:identifier><![CDATA[daomadan1949]]></dcterms:identifier>
</rdf:Description></rdf:RDF>
