Sai Shing Yung 容世誠
Sex：Male 男
Nationality：UK 英國
Period for Grants：7個月
CCS Grant
1989/2~1989/8
Instituion：Department of East Asian Studies, Princeton University美國普林斯頓大學東亞系
Topic：Chinese Lyrical Tradition and The Aesthetics of Ch'uan-Ch'i Drama
Specialty：中國文學、元明雜劇
Present
Instituion：Department of Chinese Studies, National University of Singapore, Singapore
新加坡國立大學中文系
Specialty：中國傳統戲劇與文學、元明雜劇、粵劇社會史、木偶戲
Homepage：National University of Singapore
Work catalog
- Sai Shing Yung. 1997. Anthropology of Chinese Drama: Ritual, Theatre and Community. (in Chinese) Taipei: Rye Field Publishing Company
- Sai Shing Yung. 2006. Cantonese Opera from the Gramophone: A Cultural History (1903-1953). (in Chinese) Hong Kong: Research Institute for Humanities, Chinese University of Hong Kong, Cosmos Press
- 容世誠2012。《尋覓粵劇聲影：中國古代文化史論集》。香港：牛津大學出版社。
- From Opera Boat to Silver Screen: Visual and Sonic Culture of Cantonese Opera 尋覓粵劇聲影：從紅船到水銀燈 (Hong Kong: Oxford University Press, 2012).
- Self-selected Essays of Chinese Drama Historians from China and Overseas: Yung Sai-Shing Volume 海內外中國戲劇史家自選集：容世誠卷 （Zhengzhou: Daxiang chubanshe 2018）
- 1992. A critical study of "Han-tan chi" / Yung, Sai-shing
- 2014. 胸懷祖國 : 香港「愛國左派」運動 / 趙永佳, 呂大樂, 容世誠編
- 2003. 戲曲人類學初探 : 儀式、劇場與社群 / 容世誠著
Article catalog
- Sai Shing Yung. 2006. ‘Close Encounters of the Third Kind’: Chinese Opera Record and Chinese Opera Study”, in Chen Zishan, Luo Gang (ed), Liwahe ban lun wenxue (Discussing literature at the River Liwa: a collection of essays) (Shanghai: East China Normal University Press), pp. 328-343.
- Sai Shing Yung. 2006. “Revaluating Liang Cibo in the Context of Cultural History of Cantonese Opera: From Xinguohua Troupe to Shengshounian Troupe (1923-1941)” in Lu Weiluan, Zhang Minhui (ed.) Wusheng wang Liang Ci Bo (The king of martial male role in Cantonese opera) (Hong Kong: Joint Publishing Company), pp. 48-85.
- Sai Shing Yung. 2006. “Celebrating Modern, Dazzling Sensation: Kong Ngee Movies and Urban Media” in Wong Ainling (ed.), The Glorious Modernity of Kong Ngee (Hong Kong: Hong Kong Film Archive), pp. 22-35.
- Sai Shing Yung. 2005. “Moving Body: the Interactions between Chinese Opera and Action Cinema,” in Meaghan Morris, Siu-leung Li, Stephen Chan Ching-kiu, (eds.), Hong Kong Connections: Transnational Imagination in Action Cinema (Durham: Duke University Press; Hong Kong: Hong Kong University Press), pp. 21-34.
- Sai Shing Yung. 2005. “Technology and Sensation: Impact of ‘Sound-Light-Chemistry-Electricity’ on Chinese Theater ” ，Li Shaoen (et al) (eds.), Xianggang xiqu de xiankuang yu qianzhan (Chinese Opera in Hong Kong: Presence and Preview)（Hong Kong: Cantonese Opera Research Project, Chinese University of Hong Kong）, pp. 349-372.
- Sai Shing Yung. 2004. “Synthesizing wen and wu, Fusing Ying and Yang: Yam Kim Fai’s Great Red Robe” in Mai Ke (ed), Yam Kim Fai: A Reader (Hong Kong: Hong Kong Film Archive), pp. 36-45.
- Sai Shing Yung. 2003. “The Worships of Patron Deities of Chinese Operas in Singapore,”, in Mei-rong Lin (ed.), Belief, Ritual and Society: Papers from the Third International Conference on Sinology: Anthropology Section (Taipei: Institute of Ethnology, Academia Sinica), pp. 397-426.
- Sai Shing Yung. 2003. “The Joy of Youth, Made in Hong Kong: Patricia Lam Fung and Shaw’ Cantonese Films,” in Wong Ain-ling (ed.) Shaoshi dianying chutan, (The movies of the Shaw Brothers: a preliminary study) (Hong Kong: Hong Kong Film Archive), pp.183-193.
- Sai Shing Yung. 2003. “Leisure, Pleasure and Consumption: Ways of Entertaining Oneself” (co-authored with Chan Kwok Bun), in Chan Kwok Bun, Tong Chee Kiong (eds) Past Times: A Social History of Singapore (Singapore: Times Editions), pp. 153-181.
- Sai Shing Yung. 2005. “Commodifying Cantonese Music: Qian Guangren and his New Moon Gramophone Company (1926-1936)” （1926-1936）, Journal of Oriental Studies，39:1: 3-20
- Sai Shing Yung. 2005. “Chinese Entertainment, Ethnicity, and Pleasure.” (co-authored with Chan Kwok-bun), Visual Anthropology, 18 : 103-142.
- Sai Shing Yung. 2003. “Recording Cantonese Opera and Music in the 1920s and 1930s: from a Viewpoint of Cultural History” , Journal of Chinese Studies, NS 12 : 473-502.
- Sai Shing Yung. 2001. “Gramophone Record Industry and the Cantonese Musical Culture (1903-1913),” Journal of Chinese Studies , NS 10 : 511-538.
- Sai Shing Yung. 2000. “Recording Cantonese Opera during Guangxu period (1875-1908): the Cases of the Gramophone Company and Edison Company.” Lingnan Journal of Chinese Studies , NS 2 : 241-260.
- “Bell Sound, New Moon, and Grand Vision: the Career of Qian Guangren, a Cantonese Music Entrepreneur ”鐘聲；新月；大觀：粵樂商家錢廣仁 ，Yan Jiajian (ed.) Diversity in Unity: Studies of Chinese Religion and Culture, A Festschrift in Honour of Dr Soo Khin Wah on His Sixtieth Birthday, (Sungai Buloh: The Malaya Press Sdn Bhd. 2017), pp. 154-175.
- “The Cantonese Opera Enterprise of the Yuen Family: A Study of the Taiping Opera Troupes (1914-1932),” “一統永壽，祝頌太平”：源氏家族粵劇戲班經營初探 in Yung Sai-shing (eds), A Study on the Taiping Theatre Collection (Hong Kong: Hong Kong Heritage Museum, 2015), pp. 134-153.
- “One Chicken, Three Dishes: The Cultural Enterprises of Law Bun” (co-authored with Christopher Rea), in Christopher Rea and Nicolai Volland (eds), The Business of Culture: Cultural Entrepreneurs in China and Southeast Asia, 1900-65 (Vancouver, BC: UBC Press, 2015; Hong Kong: Hong Kong University Press, 2015) , pp. 150-177.
- “Incorporating into the Global Network: the Production and Circulation of Cantonese Opera Gramophone Records in Modern China (1903-1913)”, in Peng Hsiao-yen (ed.), Transcultural Practice: Modern Sinophone Literature and Culture (Taipei: Academia Sinica, 2014). 〈嵌入全球網絡：近代粵曲唱片的生産與傳播（1903-1913）〉，彭小妍 （編）《跨文化實踐：現代華文文學文化》 （台灣：中央研究院，2014），頁99-120。
- “Who is Yam Kim-fai ?: Fans Culture of Cantonese Opera in the Late 1930s as Reflected in the Art Land ”〈“誰是任劍輝？”: 從《藝林》讀者信箱看三十年代後期粵劇“粉絲文化”〉，黃兆漢（編），《驚艷一百年》 An Astonishing Beauty on the Cantonese Opera Stage for a Century: A Collection of Essays Studying Yam Kim-fai （香港：中華書局，2013年 12月），頁119-140。
- “‘A Native Sound is Worth a Million’: The Interaction between China-Hong Kong-Southeast Asia in the Chaozhou-dialect Film Industry during the 1960s, “鄉音抵萬金”：六十年代潮劇電影工業的三地互動” May Ng (ed.), The Chaozhou-dialect Films of Hong Kong 香港潮語電影尋跡 (Hong Kong: Hong Kong Film Archives, 2013), pp. 60-72.
- “The Performance Contexts of Han-tan chi,” (trans. Bai Junfang) 邯鄲記的表演場合 in Xu Yongming and Tian Yuan Tan (ed.), An Anthology of Critical Studies on Tang Xianzu in Western Scholarship (Hangzhou: Zhejiang guji chubanshe, 2013), pp. 330-349.
- (Co-authored with Shaun Choh, Trans Morita Kenji), “Mass Entertainment and National Building: a Preliminary Study on the History of Chinese Broadcasting of Singapore (1945-1969)” in Shin Kawashima, Takumi Sato, Mamie Misawa (ed), Denpa den'ei denshi : gendai higashiajia no rensa suru media (電波・電影・電視 : 現代東アジアの連鎖するメディア) (Tōkyō : Seikyūsha, 2012), pp. 186-208.
- “Heading to King’s Road: the Geography and Network of Hong Kong Amoy Movie,” 告別桃花鄉，步向英皇道：香港廈語片的地理表述 May Ng (ed), Exploring Amoy-dialect Cinema of Hong Kong 香港廈語電影訪縱 (Hong Kong: Hong Kong Film Archive, 2012), pp. 76-87.
- “Reforming Cantonese Cinema and Cantonese Opera of Hong Kong in the 1950s: Between ‘The Union Film’ and ‘Xianfengming Troupe’” 在“中聯”和“仙鳳鳴”之間：五十年代香港電影和粵劇的改革工程, Grace Ng (ed), One for All: The Union Film Spirit 我為人人：中聯的時代印記 (Hong Kong: Hong Kong Film Archive, 2011), pp. 36-47.
- “A Journey of the Returning Soul: Tang Xianzu, Bai Xuexian, and Bai Xianyong”, “還魂之旅”：湯顯祖、白雪仙、白先勇 Hua Wei (ed) , Kunqu: Chun San Er yue tian 昆曲-春三二月天 (Kun Opera: The Second and Third Month of Spring) (Shanghai: Shanghai Guji Chubanshe, 2009) , pp. 516-530.
- “Yam Kim Fai in the Era of All-Female Troupes: A Critical Study on two Cantonese Opera Artifacts from the Taiping Theatre Collection”, 女班時期的任劍輝: 太平戲院文物資料閱讀扎記, Wong Shiu-hon (ed), Ren Jianhui : (Yam Kim Fai, 1913-1989) : Portrait of a Chinese Opera Performance Prodigy ）長天落彩霞——任劍輝的劇藝世界 (Hong Kong: Hong Kong Joint Publisher, 2009), vol 1, pp. 136-153.
- “Cantonese Opera Writing and Nationalism: Re-interpreting the Everlasting Zhang Yuqiao, the Most Respectable Courtesan”, 粵劇書寫與民族主義：芳腔名劇《萬世流芳張玉喬》的再詮釋, in Hoyt Tillman (ed) In Pursuit of Culture and History: Essays in Celebrating the 80th Birthday of Professor Yu Ying-shih 文化與歷史的追索：余英時教授八秩壽慶論文集 (Taipei: Lian Jing Chubenshe, 2009), pp. 879-904.
- “Territorialization and the Entertainment Industry of the Shaw Brothers in Southeast Asia”, in Poshek Fu (ed.) China Forever: The Shaw Brothers and Diasporic Cinema (Urbana and Chicago: University of Illinois Press, 2008), pp. 131-153.
- “From Shanghai Pulp to Hong Kong Movie: Universal Publisher and the Huang Ying Stories” 從偵探雜誌到武打電影：“環球出版社”與女飛賊黃鶯 in Jiang Jin (ed.) Popular Culture of the Modern Metropolis (Shanghai: East China Normal University Press, 2007), pp. 323-344.