繁體中文
黃鶴聲又名黃金印，1913年生，廣東花縣人，喺佛山長大，祖父係佛山清平戲院嘅股東之一。二十年代末，佢瞞住父母投考廣東戲劇研究所，學習粵劇同崑曲，並練「拉山」、「走圓台」等北派功架，後來把京劇身段融會喺粵劇演出，係推動粵劇改革嘅其中一員。研究所停辦後，佢轉到廣州八和會館粵劇人才養成所學藝，成為首屆畢業生，同羅品超、劉克宣、張活游等份屬同門。畢業後佢加入薛覺先嘅覺先聲劇團當第七小武；薛班結束後轉入普齊天班，其後加入白玉堂嘅唐天寶班，亦曾喺勝壽年班同《國華報》老闆劉蔭孫組織嘅大羅天班演出，代表作有《傾國桃花》。1937年佢加入萬年青粵劇團，擔正文武生；1940年加入馬師曾嘅太平劇團，隨團往安南（今越南）走埠。佢係最早投身電影且少數執導筒嘅伶人之一，首部參演電影為《大破銅網陣》（1939）。1940年赴美登台時，佢結識大觀聲片有限公司（美國分廠）老闆趙樹燊，隨佢學習攝影、收音、佈景，並進修彩色電影技術。1941年到三藩市演出，其後自導自演《金粉霓裳》（1947）等片，成為大觀嘅主力導演之一。1948年回港後繼續發展粵劇同電影，由1940至1970年共演出逾六十部、執導逾二百部電影，尤擅鑼鼓歌唱片。六十年代佢為大龍鳳劇團改編戲寶，名作包括《鳳閣恩仇未了情》（1962），又為麗士影業公司拍攝《哪吒劈天救母》（1962）、《情俠鬧璇宮》（1967）等逾五十部影片，其他粵劇電影名作尚有《雷鳴金鼓戰笳聲》（1963）、《再世紅梅記》（1968）。佢嘅作品記錄咗唔少粵劇傳統功架，例如《大紅袍》（1965）中任劍輝嘅「十奏嚴嵩」、《大戰泗洲城》（1962）裡粉菊花嘅「挑水桶」絕技，以及《觀音得道香花山大賀壽》（1966）中一眾老倌嘅演出，皆異常珍貴。佢亦執導潮語片《潮州女狀元》（1965）同廈語片《水蛙記》（1964），時裝片則有《木屋沙甸魚》（1965）、《999離奇三兇手》（1965）等。1963年6月1日，佢同黃岱、莫康時、龍圖、胡鵬、李鐵、吳回、馮志剛、盧雨岐同珠璣九位導演結拜，人稱「十大導」。1969年佢移民三藩市，晚年為黃卓漢管理華聲戲院，並為香港八和會館處理事務，1994年喺三藩市離世。
English
Wong Hok Sing, also known as Wong Kam-yan, was born in 1913 to a family from Huaxian in Guangdong and grew up in Foshan, where his grandfather was a shareholder of the Qingping Theatre. In the late 1920s he secretly sat the entrance examination for the Guangdong Drama Research Institute, studying Cantonese opera and kunqu and training in northern-style movement, later blending Peking opera technique into Cantonese performance as one of the reformers of the form. After the institute closed he trained at the Guangzhou Bahe Cantonese Opera Training Institute, graduating in its first class alongside Law Pin-chiu, Lau Hak-suen and Cheung Wood-yau. He joined Sit Kok-sin's Kok Sin Sing troupe as its seventh xiaowu, then passed through the Po Chai Tin, Tong Tin Bo and other troupes, and also performed in the Da Luotian troupe run by Liu Yinsun, proprietor of the Guohua newspaper, with The Beauty Who Toppled a Kingdom as a signature role. In 1937 he joined the Man Nin Ching troupe as a wenwusheng, and in 1940 he joined Ma Si-tsang's Tai Ping troupe on a tour of Annam, now Vietnam. One of the earliest opera performers to enter film and among the few to direct, he first appeared in The Broken Bronze Net (1939). While touring the United States in 1940 he met Chiu Shu-sun, owner of the American branch of the Grandview Film Company, and learned cinematography, sound recording and set design, later studying colour film technique. Performing in San Francisco from 1941, he directed and starred in White Powder and Neon Lights (1947) and became one of Grandview's leading directors. He returned to Hong Kong in 1948. Between 1940 and 1970 he acted in more than sixty and directed more than two hundred films, specialising in gong-and-drum sung operas. In the 1960s he adapted opera classics for the Tai Lung Fung troupe, including Romance of the Phoenix Chamber (1962), and made over fifty films for Lai Si, among them Na Zha Breaks the Heaven to Save His Mother (1962). Other opera films include Thunder of War Drums (1963) and The Red Plum Blossoms (1968). His films preserved rare traditional techniques, such as Yam Kim-fai's 'ten memorials to Yan Song' and Fan Kok-fa's water-carrying feat. On 1 June 1963 he and nine fellow directors formed the 'Ten Great Directors' brotherhood. He emigrated to San Francisco in 1969, managing the Wah Sing cinema for Wong Cheuk-hon in his later years, and died there in 1994.
