余淑娟。〈潮州外江戲的傳播組織：新加坡餘娛儒樂社〉。《民俗曲藝》191 (2016.3):
71-108。
Yee Sok Kiang. “The Media of Chaozhou
Wai-jiang Opera: Er Woo Amateur Musical and Dramatic Association, Singapore
Abstract
為了突顯傳播戲曲文化的組織在戲曲傳播過程中的關鍵性地位，本文將討論傳播戲曲文化的組織，也就是傳播的主體（誰在傳播？），對於戲曲傳播的影響。本文認為被傳播的戲曲劇種、傳播的方式、傳播的對象和所欲達成的傳播效果等，都和傳播主體—文化組織脫離不了干係。
本文以 1960
年代以前流傳於新加坡潮州社群的外江戲為研究對象，透過該劇種在新加坡潮州社群中歷時性的發展脈絡，分析傳播外江戲的組織—業餘儒樂社，對於劇種內涵的形塑和發展。文章根據歷史文獻、劇本資料和口述歷史等材料，透過傳播主體潮州儒樂社自身角色的定位、樂社的外江戲╱外江樂的傳授、外江戲的觀眾等三個面向，勾勒出戲曲文化從文化母體（中國）到移植地（新加坡）的現象，以及該文化到移居地後的發展和演變。
In
order to highlight the critical role of cultural institution in the
dissemination of Chinese Opera, this article focuses on the cultural
institution, which is the propagation of disseminating an opera, arguing that
the opera genre, the way of disseminating, the audience, and the dissemination
effect are subject to the cultural institution.
Based
upon Er Woo Amateur Musical & Dramatic Association, a Chaozhou opera association
in Singapore, this paper argues that it helped to shape a strong image of a
so-called Wai-jiang opera (nonlocal opera) in Singapore before 1960s. According
to the development of this opera in Singapore ,
historical documents, scripts, and oral histories are utilized to sketch out
the actual cultural phenomenon from a cultural matrix (China ) to an immigrant society (Singapore
Also
in Journal of Chinese Ritual, Theatre and
Folklore:
余淑娟。〈戲曲贊助與街戲的變遷：以新加坡韭菜芭城隍慶典為例〉。《民俗曲藝》155 (2007.3):
227-64。
Yee Sok Kiang. “Theatrical Patronage and the Social Changes of Street Opera: A Case Study
of the Lorong Koo
Chye Sheng
Hong Temple
Festival in Singapore
余淑娟。〈馬來西亞的道教拔度儀式與目連戲〉。《民俗曲藝》151 (2006.3):
5-29。
Yee Sok Kiang. “Taoist Ritual of Soul Salvation and Mulian Drama in Malaysia