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新马大众文化资料库
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歌舞团研究相关参考资料
蔡欣欣,〈1960年代“牡丹桂闽剧团”新加坡演出印记〉,《民俗曲艺》第194期(2016),页1-51
蔡欣欣,〈1960年代台湾歌仔戏“柏华闽剧团”新加坡演出印记考索〉,《戏剧学刊》第21期(2015),页97-133
蔡欣欣,〈一九六〇年代台湾歌仔戏赴星洲展演印记〉,《台湾文学学报》第39期(2021),页1-34
蔡译萱,〈陈子谦电影场景中歌台构建的意义——以《881》《12莲花》为例〉,《鞍山师范学院学报》第3期(2015),页64-68
陈春燕,《游艺场里的话剧(1930-1950)新加坡商业剧场初探》(新加坡:新加坡国立大学硕士学位论文,2000)
陈凯欣,《新加坡歌台年轻化现象探析》(新加坡:南洋理工大学学士论文,2012)
陈雪薇,〈在记忆中认同?——阅读电影《大世界》〉,《世界华文文学论坛》第4期(2013),页72-76
郭美堯,《重返声色场:舞女、大众文化和新加坡战后女性话语的建构(1945-1965)》(新加坡:新加坡国立大学硕士学位论文,2021)
郭美堯,〈翩跹入世:战后新加坡舞女劳动形态和社会实践的两面性〉,《依大中文与教育学刊》第4期(2023),页46-66
郭玉琼、林威康,〈新加坡福建方言戏曲演出空间及其变迁研究〉,《云南艺术学院学报》第3期(2024),页43-49
黄文车,〈闽南语歌谣的传播与在地化发展:以新加坡1970至1980年代为观察对象〉,《华人研究国际学报》第4卷第1期(2012),页35-51
黄露、杨敏,〈边界消解与文化想象:二十世纪二三十年代粤剧在新加坡传播场域的变迁〉,《艺术百家》第6期(2023),页76-83
李威颖,〈纵看电影《881》和《12莲花》中的七月歌台〉,《世界华文文学论坛》第4期(2013),页67-71
林鹤宜,〈从演出剧目看新加坡在地职业剧团对台湾歌仔戏的接受和创发——以“新赛凤”为例〉,《民俗曲艺》第191期(2016),页5-70
林鹤宜,〈马来西亚职业歌仔戏戏班在困境忠的经营策略与剧种形塑:从“新麒麟”到“筱麒麟”〉,《民俗曲艺》第216期(2022),页141-200
凌德,〈邵逸夫的慷慨和吝啬〉,《党史文苑》第4期(2014),页55-56
刘富琳,〈客家山歌在新加坡、马来西亚的传播〉,《中国音乐》第5期(2022),页32-41
彭慧,〈新加坡华族文化的建构与彷徨——以新谣运动与七月歌台为例〉,《世界民族》第5期(2015),页65-72
仇莉莲,《大众娱乐vs身份建构:槟城的戏院(1930-1934)》(新加坡:新加坡国立大学荣誉学士论文,2008)
王伟,〈闽南戏曲跨界传播的世界版图及其现实影响——以闽台歌仔戏在新加坡的传承发展为例〉,《艺苑》第5期(2017),页80-84
王振春,《王振春说梨园话歌台》(新加坡:海南文化学会,2015)
王振春,《新加坡歌台史话》(新加坡:青年书局,2006)
许永顺,《一九六五年至一九六九年新加坡音乐 舞蹈 戏剧》(新加坡:许永顺工作厅,2022)
杨松年,〈战前新马剧团研究之一:马华巡回歌剧团〉,《亚洲文化》第13期(1989),页13-14
张媛,〈“侨民舞蹈”:20世纪初至1956年中国民族舞蹈在马来亚的跨文化传播〉,《北京舞蹈学院学报》第5期(2021),页63-69
赵琬仪,《新加坡游艺场初探:一个社会史的研究》(新加坡:新加坡国立大学硕士学位论文,2000)
Bollen, Jonathan, Touring Variety in the Asia Pacific Region, 1946-1975 (Cham: Springer International Publishing; Imprint: Palgrave Macmillan, 2020)
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Chong, Terence, “Chinese Opera in Singapore: Negotiating Globalisation, Consumerism and National Culture”, Journal of Southeast Asian Studies, 34, 3 (2003): 449-471
Chua, Joey, “The Emergence of Chinese Dance in Postcolonial Singapore, 1960s–1970s”, Dance Chronicle, 40, 2 (2017): 131-164
Chua, Soo Pong, “Chinese Opera in The Park”, Performing Arts, 1, 1 (1984): 9-12
Chua, Soo Pong, “Creative Process of Chinese Theatre Dance in Singapore, 1946-1976”, Journal of South Seas Society, 39, Parts 1-2 (1984): 89-99
Chua, Soo Pong, “The Dynamics of the Singapore Malay Dance: A Preliminary Study”, SPAFA Digest, 11, 1 (1990): 44-52
Foo, Adeline, Lancing Girls of Happy World (Singapore: Ethos Books, 2007)
Ho, Hui Lin, The 1950s Striptease Debates in Singapore: Getai and the Politics of Culture (MA Dissertation, National University of Singapore, 2013)
Kiew, Li Lian, Public Entertainment vs. Identity Construction: Movie Houses of Penang (1930-1934) (Honours Thesis, Department of Chinese Studies, National University of Singapore, 2008)
Kong, Kam Yoke, “The Three Worlds (大世界、新世界、繁华世界): Great, New and Happy” (Singapore: National Library Board, 2012)
Lee, Tong Soon, “Professional Chinese Opera Troupes and Street Opera Performance in Singapore”, Asian Music, 31, 2 (2000): 35-70
Lee, Tong Soon, “Chinese Street Opera Performance and the Shaping of Cultural Aesthetics in Contemporary Singapore”, Yearbook for Traditional Music, 34 (2002): 139-161
Lee, Tong Soon, Chinese Street Opera in Singapore (University of Illinois Press, 2009)
Liew, Kai Khiun and Brenda Chan, “Vestigial Pop: Hokkien Popular Music and the Cultural Fossilization of Sub-alternity in Singapore”, Journal of Social Issues in Southeast Asia, 28, 2 (2013): 272-298
Lim, Amanda Shi Yee, Development of Modernity in Singapore: The Three “Worlds” 1920s-1940s (Final Year Paper, Nanyang Technological University, 2020)
Lim, Tin Seng, “Old-world Amusement Parks”, BiblioAsia (Singapore: National Library Board, 2016), available at: https: //biblioasia.nlb.gov.sg/files/pdf/Biblioasia%20APR-JUN%202016.pdf
Lockard, Craig A., “Malaysia and Singapore: Pluralism and Popular Music”, Dance of Life: Popular Music and Politics in Southeast Asia (University of Hawai’i Press, 1998)
Ng, Wing Chung, “Popular Theater in the Diaspora”, The Rise of Cantonese Opera (University of Illinois Press, 2015)
Orlando Woods, “Affective Cosmopolitanisms in Singapore: Dancehall and the Decolonisation of the Self”, Transactions of the Institute of British Geographers, 46, 1 (2020): 135-148
Perera, Loretta Marie and Perera, Audrey, “Music in Singapore: From the 1920s to the 2000s” (Singapore: National Library Board, 2010)
Tan, Kar Lin, The ‘Worlds’ Entertainment Parks of Singapore (1920s-1980s): New Urban Form and Social Space for Culture and Consumption (MA Dissertation, National University of Singapore, 2004)
Wong, Yunn Chii and Tan, Kar Lin, “Emergence of a Cosmopolitan Space for Culture and Consumption: The New World Amusement Park Singapore (1923-70) in the Inter-war Years”, Inter-Asia Cultural Studies, 5,2 (2004): 279-304
Woods, Orlando, “Free Bodies, Segmented Selves: Paradoxical Spaces of Dancehall Culture in Singapore”, Gender, Place & Culture, 28, 7 (2020): 1-20
Zhang, Beiyu, Chinese Theatre Troupes in Southeast Asia: Touring Diaspora, 1900s–1970s (Routledge, 2021)
Zhang, Beiyu, Encountering Chinese Performing Troupes in Nanyang: Transnational Circulations, Diasporic Localizations and Changing Chineseness, 1850s-1980s (PhD Dissertation, National University of Singapore, 2017)
Zhang, Beiyu, “Multicultural Dance-Making in Singapore: Merdeka, Youth Solidarity and Cross-Ethnicity, 1955–1980s”, Inter-Asia Cultural Studies, 23, 4 (2022): 645-661
Zhang, Beiyu, “Travelling with Chinese Theatre-Troupes: A ‘Performative Turn’ in Sino-Southeast Asian Interactions”, Asian Theatre Journal, 38, 1 (2021): 191-217