Участник:Tatewaki/Ям Кимфай

Ям Кимфай / Жэнь Цзяньхуэй
иер. трад. 任劍輝, упр. 任剑辉 йель: Yam4 Gim3fai1, пиньинь: Rén Jiànhuī
Ям Кимфай (слева) и Пак Сютсин в образах кантонской оперы
Имя при рождении	Ям Лайчхо / Жэнь Личу (иер. трад. 任麗初)
Дата рождения	29 декабря 1912(1912-12-29)
Место рождения	Наньхай, Гуандун,  Китайская Республика
Дата смерти	29 ноября 1989(1989-11-29) (76 лет)
Место смерти	Гонконг
Гражданство	(гражданство)
Профессия	актриса
Годы активности	1927-1968
Амплуа	ман-моу-сан
Награды	Cantonese Opera Film Century Award Гонконгской кинопремии (1995), Звезда 19 гонконгской «Авеню звёзд»

Ям Кимфай, реже Жэнь Цзяньхуэй (иер. трад. 任劍輝, упр. 任剑辉, йель: Yam⁴ Gim³fai¹, пиньинь: Rén Jiànhuī), настоящее имя Ям Лайчхо / Жэнь Личу (иер. трад. 任麗初, упр. 任丽初, йель: Yam⁴ Lai⁶co¹, кант.-рус.: Rén Lìchū; 29 декабря 1912, Наньхай, Гуандун, Китайская Республика – 29 ноября 1989 года, Гонконг) - одна из известнейших актрис кантонской оперы 20 века.

Обладая способностью пения в низком регистре, почти неотличимом от мужского вокала, преимущественно известна работами в амплуа ман-моу-сан (женского исполнения молодых военных и гражданских персонажей), хотя имела в репертуаре и женские роли.

Биография и карьера

Born Yam Lee Chor (任麗初), Yam had been performing with a Cantonese opera troupe since she was young. When Yam was 14, her aunt (小叫天), another Cantonese opera actress, began Yam's formal training. Later, Yam furthered her musical studies with Wong Lui Hap, who was known for being the female version of Ma Sze Tsang.

In 1939, Yam joined an all-female opera troupe (群芳艷影) and, for ten years, was stuck in Macau when her hometown in Guangzhou fell to the Japan during the Second Sino-Japanese War.

Yam played the male lead in many Cantonese opera stage productions in those years opposite many actresses, including Tsui Yan-Sam, Tam Lan-Hing и Tang Pik-wan. Meanwhile, she moved her family, including her younger sister Yam Bing-Yee into her new home in Macau. With the financial help from Mr. Ho Yin, father of Edmund Ho, in Macau, she formed a new opera troupe called New Voice Opera Troupe (新聲劇團) that included Chan Yim Nung, Au Yeung Kim, Lang Chi Bak, Yam Bing-Yee и Bak Sheut Sin.

Yam played the male lead in many Cantonese opera stage productions in Hong Kong, post-war, opposite many actresses, including but not limited to Fong Yim Fun, Yu Lai Zhen, Chan Yim Nung, Tang Pik-wan and Hung Sin Nui.

For movies, Yam played the male lead opposite just about every female lead, young like daughter of Leung Sing Bor included. In the 1961 movie, Fun on Polygamous Marriage (八美審狀元), Yam is married to eight wives; Yu Lai Zhen (余麗珍), Tam Lan-Hing (譚蘭卿) and Yam Bing-Yee (任冰兒) are three of the actresses opposite Yam in it as the wives.

Since 1956, Yam was limited to only work on stage opposite Bak Sheut Sin, fifteen years her junior and green from debut only in 1953, as the abandoned woman, a character like Eliza in My Fair Lady, in Red Cherries and a Broken Heart (紅了櫻桃碎了心). Between 1953 and 1956, continuing to collaborate with Bak on supporting roles, Yam was the male lead opposite Chan Yim Nung, Fong Yin Fun и Hung Sin Nui.

They reprised many of those roles when the operas were adapted for the screen between 1951 and 1968. The only two made into movies are Li Yi (李益) in The Legend Of The Purple Hairpin and Zhou Shixian (周世顯) in Tai Nui Fa.However, some of Yam's major roles include Liu Mengmei (柳夢梅) in the Cantonese opera version of The Peony Pavilion and Pei Yu (裴禹) in The Reincarnation of Lady Plum Blossom were never made into movies. The later is available only in vocal record. Her Liu Mengmei (柳夢梅) was never recorded for commercial purpose.

Последнее публичное выступление Ям Кимфай состоялось летом 1972 года, когда она и Bak Sheut Sin sang the final scene from Tai Nui Fa together for the TVB telethon event that was hosted for the victims in the 18 June landslide. Yam never performed in public again since then. Instead, she kept her protégée close by for training and proper upbringing to be her successor. With her successor well established as a professional Cantonese opera performer, she moved to Canada during the early 80s. In 1989, she died at her home in Hong Kong due to pleural effusion.

Ссылки

• Kylie Knott. Google Doodle shows off ‘sexually ambiguous’ Cantonese opera legend Yam Kim-fai to the world (англ.). South China Morning Post (4 февраля 2016). Дата обращения: 7 марта 2016.
• Paul Fonoroff. Yam Kim-fai (англ.). South China Morning Post (13 декабря 2009). Дата обращения: 7 марта 2016.
• David Desser. A New Orphan Island Paradise: Hong Kong Cinema and the Struggles of the Local, 1945—1965 // Small Cinemas in Global Markets: Genres, Identities, Narratives / Ed. by L. Giukin, J. Falkowska, and D. Desser. — Lexington Books, 2014. — P. 128-133. — ISBN 9780739196533.
• Helen Hok-Sze Leung. Trans Formations // Undercurrents: Queer Culture and Postcolonial Hong Kong. — UBC Press, 2009. — P. 82. — ISBN 9780774858298.
• Laikwan Pang, Day Wong. Masculinities and Hong Kong Cinema. — Hong Kong University Press, 2005. — P. 22, 67-70, 96. — ISBN 9789622097377.
• See-Kam Tan. The CrossGender Performances of Yam Kim-Fei, or The Queer Factor in Postwar Hong Kong Cantonese Opera/Opera Films // Queer Asian Cinema: Shadows in the Shade / Ed. by Andrew Grossman. — Psychology Press, 2000. — P. 201-212.
• Lisa Odham Stokes. YAM, KIM-FAI (Ren Jianhui) 1912-1989 // Historical Dictionary of Hong Kong Cinema. — Scarecrow Press, 2007. — P. 512-513. — ISBN 9780810864580.
• Bell Yung. Social context // Cantonese Opera: Performance as Creative Process. — Cambridge University Press, 1989. — P. 33. — ISBN 9780521305068.
• Stephen Teo. The Hong Kong Cantonese Cinema: emergence, Development and Decline // The Chinese Cinema Book / Ed. by Song Hwee Lim, Julian Ward. — Palgrave Macmillan, 2011. — P. 105. — ISBN 9781844575800.

Yam Kim-fai