繁體中文
陳瑛專演老旦，1960年加入初成立嘅東山潮音劇藝社成為基本演員，係最早一批加入東山劇藝社嘅成員。東山潮音劇藝社1959年成立，積極籌組演出，為拍攝潮語片鋪路；劇社由潮劇界人士籌組，成員兼演舞台同銀幕，佢哋嘅出品令香港一度成為潮語片嘅主要生產地。陳瑛喺陳翼青執導嘅《蘆林會》（萬聲出品，1960）首度演出，此後參演近四十部潮語片。1961至1962年產量尤高，演出東山影業公司出品嘅《雙珠鳳》（1961）、《蕭端蒙一板打死江西王》（1961）、《藍繼子哭街》（1961）、《天波樓》（1962）、《清官審誥命》（1962）、《龍虎群英會》（1963）等二十餘部電影，經常飾演心腸惡毒嘅悍婦或妒妻，偶爾以喜劇形式呈現妒婦形象，戲路近似粵語片界嘅譚蘭卿。1964年她開始參演其他公司嘅潮語片，如新加坡影業公司特約光華電影製片公司出品嘅《四紅鼻》（1964）、榮華製片公司特約藝業電影製片公司出品嘅《秋戀》（1964）等，亦曾參演新天彩潮劇團後期嘅《崔鳴鳳晉袈裟》（1968）。潮語片以潮州話拍攝，1955年香港首部潮語古裝片《王金龍》面世後產量日增，1960年代全港拍成嘅潮語片達一百六十部以上，主要面向新加坡、馬來亞同泰國等地嘅潮州華僑，係佢哋嘅娛樂同情感寄託，香港本身亦係重要市場。呢類電影多以家庭倫理、民間故事同戲曲為題材，講求忠奸分明，老旦往往負責製造衝突。由於演出潮語電影，陳瑛喺東南亞廣為人熟悉，並曾隨樂聲潮劇團往泰國登台；她同莊雪娟、陳楚蕙等名伶多次合作，作品喺香港同南洋嘅潮州人戲院上映，係潮語片老旦行當嘅代表人物之一。
English
Chan Ying specialised in elderly-woman roles and was one of the earliest members of the Dongshan Chaozhou Operatic Art Association, founded in 1959 by figures from the Chaozhou opera world, whose members acted both on stage and on screen and whose output helped make Hong Kong a main production centre for Chaozhou-dialect films. She made her debut in Chan Yik-ching's The Innocent (produced by Bian Sing, 1960) and went on to appear in nearly forty Chaozhou-dialect films. The years 1961 and 1962 were especially prolific, when she performed in more than twenty productions from Tung Shan Film Co, including Pearl Phoenix (1961), Xiao Duanmeng Kills the Prince of Jiangxi with One Blow (1961), An Upright Stepson Crying on the Streets (1961), The Ancestral Manor (1962), The Incorruptible Judge Tries an Official's Wife (1962) and Congregation of Heroes (1963). She was usually cast as the vicious shrew or jealous wife, and sometimes played that type of role for comedy; her range led critics to compare her to Tam Lan-hing of Cantonese cinema. From 1964 she began acting in Chaozhou-dialect films made by other companies, among them Four Red-Nosed Clowns (1964), a Guang Hua production commissioned by the Singapore Film Company, and Romantic Autumn (1964), made by Ngai Yip Film Co; she also appeared in The Scholar Cui Mingfeng Dons the Robe (1968), a later work of the Xintiancai troupe. Chaozhou-dialect films, shot in the Chaozhou language, were made in large numbers in 1960s Hong Kong — the first, Wang Jinlong, appeared in 1955 and more than 160 titles were made in all — and were aimed mainly at Chaozhou emigrants in Singapore, Malaya and Thailand, for whom they were both entertainment and emotional relief; they often drew on family drama, folk tales and opera, with clear-cut heroes and villains and elder women driving the conflict. Through these films she became a familiar face in Southeast Asia, toured Thailand with the Lesheng Chaozhou Opera Troupe, and worked repeatedly with such stars as Zeng Xuejuan and Chan Chor-wai, with her pictures screening in Chaozhou cinemas in Hong Kong and Nanyang, making her one of the representative lao dan (elderly-woman) actors of Chaozhou cinema.
