繁體中文
陳麗麗1941年10月28日出生，原名陳麗榆，廣東澄海人。她自幼酷愛潮劇，初中時獲玉梨潮劇團取錄，習花旦，屬科班出身；學戲不久便主演《挽面案》，其後隨戲班四出下鄉演戲。潮劇源出粵東，講究唱、做、唸、打，她在戲班中練就紮實的身段與唱功，童年在澄海濃厚的潮劇氛圍中成長。五十年代中後期，她舉家移居香港，加入香港汕頭進出口商會戲劇團（即香港潮劇團與韓江潮劇團的前身），演出潮劇《救風塵》、《告親夫》等劇目；五、六十年代，潮劇在泰國、新加坡及馬來西亞的潮州人社群中十分流行，潮語片的主要市場亦在當地。1961年，她與泰蘭影業公司簽約，成為泰蘭當家花旦，接連主演《趙盼兒》（1961）、《挽面案》（1962）、《清官斬孝女》（1962）等多部電影，多與女小生陳淑華、生旦兼擅的李美英及南雁合作。1962年，她轉投新加坡光藝機構旗下、專拍潮語片的潮藝製片公司，簽下多部片約，夥拍新天彩潮劇團台柱女小生陳楚蕙，主演《牡丹亭驚夢》（1963）、《紅梅記》（1963）、《仙姬送子》（1963）等電影。她擅演活潑嬌憨、外柔內剛、果敢堅定的機靈少女角色；電影作品雖只有十多部，形象卻鮮明獨特，作品多發行至泰國、新加坡等地。她所演的多為戲曲片，須兼顧唱腔與身段，與一般時裝片演員的要求不同，而與陳楚蕙這對「女小生配花旦」的組合，在星馬一帶頗受觀眾歡迎。1965年，她隨藝星潮劇團，與轉演小生的著名潮語片女演員丁楚翹到泰國等地演出，其後移居加拿大。
English
Lily Chan Lai-lai was born on 28 October 1941, originally named Chan Lai-yu, of Chenghai descent in Guangdong. Having grown up amid the strong Chaozhou-opera culture of her hometown, she was drawn to the art form from childhood and was taken into the Yuk Lei troupe as a female lead, appearing early in the opera The Face-Plucking Case; Chaozhou opera, rooted in eastern Guangdong and stressing singing, acting, recitation and martial movement, gave her solid stagecraft, and she toured the countryside with the company. In the mid to late 1950s her family moved to Hong Kong, where she joined the drama troupe of the Swatow Import and Export Association, the forerunner of the Hong Kong and Hanjiang Chaozhou opera companies, performing operas such as Saving the Courtesan and Suing the Husband; in the 1950s and 1960s Chaozhou opera was popular among Teochew communities in Thailand, Singapore and Malaysia, where Chaozhou-language films found their main market. In 1961 she signed with Thailan Films and became its leading actress, starring in Zhao Pan'er (1961), The Face-Plucking Case (1962) and The Honest Official Beheads the Filial Daughter (1962), often opposite the female sheng Chen Suk-wa and the versatile Lee Mei-ying. In 1962 she joined the Chaoyi production company of Singapore's Kong Ngee organisation, which specialised in Chaozhou-language films, signing several contracts and pairing with the Xin Tian Cai troupe's leading female sheng Chen Chu-hui in films including The Peony Pavilion (1963), The Red Plum Story (1963) and The Fairy Sends a Son (1963). She specialised in lively, outwardly gentle but inwardly resolute and spirited young heroines. Her screen output was modest, little more than a dozen films, yet her image was distinct; many were opera films requiring both singing and movement, unlike conventional contemporary pictures, and her pairing with Chen Chu-hui proved popular in Singapore and Malaysia. In 1965 she toured Thailand with the Arts Star troupe alongside the Chaozhou-film actress Ding Chu-qiao, who played male roles, before later settling in Canada.
