繁體中文
麥嘯霞（1904年2月11日－1941年12月17日），號宏澤，祖籍南海西樵，生於廣州西關。他是畫家、粵劇撰曲人、電影導演與演員，一生橫跨美術、戲曲與電影三界。1921年他畢業於廣州陸軍學校，其後以教書為業，1928年在香港島基立小學任教。經盧有容、陳天縱介紹，他先後為大羅天及覺先聲兩個粵劇團編劇，分別替馬師曾與薛覺先撰寫劇本，並曾任覺先聲劇團宣傳部主任。他編寫的粵劇逾百齣，包括與馬師曾、盧有容合編的《粉墨狀元》與《聲震白門樓》，與馬師曾、陳天縱合編的《腸斷蕭郎一紙書》，以及與容寶鈿合編的《攪碎西廂月》、《念奴嬌》、《鬼火烹鸞》等；撰曲名作則有〈半開玫瑰〉。1928年他加入黎北海創辦的香港影片公司旗下香港演員養成所受訓，1930年參演該公司的默片《客途秋恨》（1931年公映）。1933年他首次執導，與周永萊合導、自編自導自演的局部聲片《良心》；1934年首次獨立執導《繁華夢》，此後每年執導一至兩部影片，較著名者有《半開玫瑰》（1935）及與薛覺先合導的《荼薇香》（1936）。他擅長以古寓今的題材：1938年編導、陳雲裳主演的《花木蘭》（1939）借木蘭代父從軍的故事，鼓勵當時女子參與抗戰；1940年編導的《血灑桃花扇》則借三百年前的舊事，激發當時不問國事的港人的抗戰意識。1940年中國文化協進會主辦廣東文物展覽並出版《廣東文物》一書，他在書中撰寫長篇論文〈廣東戲劇史略〉，梳理明清以來粵劇的源流與撰曲家，成為粵劇史的一篇重要文獻，後世經校注重刊。1941年12月8日日軍進攻香港，他於12月17日在港島中彈身亡，年僅三十七歲。他的一生橫跨晚清至日佔初期，見證粵劇與早期香港電影的變遷。
English
Mak Siu-ha (11 February 1904 – 17 December 1941), courtesy name Wang Chak, was born in Xiguan, Guangzhou, his family rooted in Xiqiao, Nanhai. A painter, Cantonese-opera librettist, film director and actor, he worked across three fields. After graduating from the Guangzhou Military School in 1921 he taught, and from 1928 taught at a primary school on Hong Kong Island. Introduced by Lo Yau-yung and Chan Tin-chung, he wrote scripts for the Tai Lo Tin and Kok Sin Sing opera troupes, scripting for Ma Si-tsang and Sit Kok-sin respectively, and also served as publicity chief of Kok Sin Sing. He wrote more than a hundred Cantonese operas, among them Pink Ink Scholar and Sound Shakes the White Gate Tower (both with Ma Si-tsang and Lo Yau-yung), a number with Chan Tin-chung, and works with Yung Po-tin; his song Half-Open Rose became a popular number. In 1928 he trained at the Hong Kong actors' school founded by Lai Pak-hoi, and in 1930 he acted in the company's silent film Kau To Chau Han, released in 1931. He made his directing debut in 1933 with Conscience, co-directed with Chow Wing-loi and partly a sound film, which he also wrote and starred in; in 1934 he directed his first solo feature, and thereafter made one or two films a year, notably Half-Open Rose (1935) and, with Sit Kok-sin, the 1936 co-direction. He liked to use the past to comment on the present: his Mulan (1939), written and directed in 1938 and starring Chan Wan-sheung, urged women to join the war effort, while The Blood-stained Plum Blossom Fan (1940) invoked a three-hundred-year-old story to rouse Hong Kong people from apathy. In 1940, when the Chinese Cultural Association held a Guangdong relics exhibition and published a companion volume, he contributed the long essay A Brief History of Guangdong Theatre, tracing Cantonese opera and its librettists back to the Ming dynasty; it remains an important source and has been reprinted in annotated form. When Japan attacked Hong Kong on 8 December 1941 he was killed by gunfire on Hong Kong Island on 17 December, aged thirty-seven. His career spanned the late Qing to the early years of the Japanese occupation.
