Cantonese Opera absorbs the essence of Wooden Clapper, Southern music, Cantonese Ballads, Cantonese Love Songs as well as Saltwater Songs. Tang Ti-sheng is a very important scriptwriter who plays an essential role with his adaptations of the classical Chinese Opera to inject new blood into Cantonese Opera. Tang’s adaptations starts from The Immortal Zhang Yuqiao (1954), followed by Peony Pavilion Dream (1956), Floral Princess (1957), Purple Hair Pin (1957), Butterfly and Red Pear (1958), as well as The Reincarnation of Red Plum (1959).
Adaptation can be regarded as a kind of “misreading” of the previous texts (Harold Blooms, A Map of Misreading). In the process of adaptation, the writer can incorporate new meaning in the adapted work which can be viewed as a kind of “creative treason” (Robert Escarpit, Sociology of Literature). Tang’s adapted works which based on the texts of classical Chinese opera is also a kind of “creative treason” with remarkable success in the history of Cantonese Opera.