seek:& gt； . On the expressive skills of traditional Chinese opera structural language & Also on the expressive skills of traditional Chinese opera structural language. . & lt& lt ramble on Chinese op

seek:& gt； . On the expressive skills of traditional Chinese opera structural language & Also on the expressive skills of traditional Chinese opera structural language. . & lt& lt ramble on Chinese opera writers >> Three papers ... The outstanding symbol of the maturity of traditional Chinese opera is the formation of foot color, and the development of traditional Chinese opera can not be separated from the development of foot color. It is of great theoretical significance to explore the evolution of foot color for the study of the history of China opera. Although the early performance of witchcraft and exorcism marks the early origin and occurrence of China's plays, witchcraft and exorcism are not the only colors. Under the influence of color in Tang Dynasty, the color of Song and Jin Zaju is the source of foot color. When five kinds of zaju performances, such as singing, dancing and rap, appear in the form of touching stories, foot color appears. The color of feet is divided in the process of moving stories and shaping characters. Therefore, the evolution of the foot color of classical opera is obviously divided into two stages: the foot color changes from the color of zaju to the appearance of ugliness, which is the evolution stage from geisha performance to foot color; It is the differentiation stage of foot color that the stereotyped foot color tillers into its own old, small and auxiliary foot color.

China's plays originated very early, but China's plays matured very late. Before the maturity of traditional Chinese opera, all kinds of drama performances, including the drama of joining the army, had no foot color, and the perfection of the foot color system is one of the important signs of the maturity of traditional Chinese opera. The foot color of traditional Chinese opera has gone through a long brewing period from Tang Dynasty to Song Dynasty, which has made good preparations for the maturity of traditional Chinese opera, such as the accumulation of geisha experience, the embryonic form of actor classification and the preparation of performance content. The combination of "drama" in geisha performance and "qu" in narrative content is finally completed through the expression of foot color. Through the discussion on the formation of the foot color of traditional Chinese opera, we can get a specific perspective to discuss the relationship between the origin and formation of drama.

The performance of primitive drama and ancient drama has no foot color. As an institutionalized personnel classification convenient for dispatching, the formation of foot color has been deeply influenced by the court color system. Although the name foot color is puzzling, its profound humanistic brand is beyond doubt. Once the foot color system was established, it began to have an independent personality, and began to combine with the evolution of China traditional opera forms and changed. Sorting out and discussing the evolution of foot color will help us gain a theoretical understanding of the evolution of traditional Chinese opera through specific textual research.

one

The appearance of the foot color of Chinese drama is not a one-off event, but it is a watershed in the development of China's drama.

Generally speaking, the foot color system marks the difference between China traditional opera and western drama.

Generally speaking, from the primitive drama in our country to all kinds of pan-drama forms, and finally to traditional Chinese opera, the foot color marks the maturity of traditional Chinese opera, which provides a path and way for all kinds of traditional Chinese operas to mature.

One question that is not a problem is: Is drama a drama? The answer is, of course, yes. On the other hand, ask a question: Can all drama styles be equated with drama? But there is no way to get a positive answer. From this, we can sum up in one sentence: drama is a type of drama, just as drama can include drama, opera and ballet, and it can also include drama that combines song, dance and spoken language. The essential difference between drama and other dramas lies in whether it is expressed by foot color system. Therefore, whether there is a foot color system is a watershed between drama and general drama. This problem can be deeply understood by discussing the history of drama development.

On the occurrence and origin of drama, Mr. Wang Tingxin said:

..... As far as historical facts are concerned, in the early history of China, the formal noumenon of drama performance has long been attached to religious ceremonies. The gestation of drama by primitive tribal religions illustrates this point. This phenomenon is related to the confusion of religious ceremonies of primitive tribes. With the evolution of human civilization, religion and drama will form their own qualitative regulations and develop in their own directions. ①

The role of religion in the occurrence and origin of drama is the same as that in the development of human civilization. Although this is somewhat general, it is indeed a historical fact confirmed by the religious ceremonies, cultural relics and documents of the existing primitive tribes. Therefore, Wang Guowei pointed out: "Spirit is the duty, or it is like a god, or it is dancing with joy, covering up the bud of later drama, and it already exists. ②"

Wang Guowei not only noticed the role of witches (ghosts) in the origin of drama, but also noticed that with the progress of civilization, the emergence of the state made the court have an excessive influence on drama production from another side, which can be summarized as follows:

Witches delight in God, but they are good at entertaining the public. Witches mainly sing and dance, and the best thing is teasing. Witches are women, and the best are men. If the best Meng was worn by Sun Shuai, the king of Chu remembered; When you give a dance, Confucius said that he laughed at the king, but it was beyond words. His flirting was also done by action, which was quite similar to the Excellence of later generations. The drama of later generations should be both self-illusory and excellent. ①

Whether Wu Ling or You, dramatic dress performance is only part of their respective responsibilities. In addition, the costume performance of national drama is quite different from the performance of these wizards.

Functionally speaking, the role of Wuling is to communicate with God and people, express reverence for God, and pray for disaster relief. Dressing up and performing itself is to realize your wishes better and more effectively. The focus of this role is not the dramatic effect, but the realization of their wishes. In the performance of Wuling, the dramatic form seen by modern people does not exist in the minds of the parties, and the dramatic form is only a means of Wuling performance. In this way, Wu Ling herself is not even an actor. His performance is not to let others enjoy the body and mind, but to let his people be infected by the emotional experience formed by the whole heart, and enter a devout religious atmosphere. Besides, the costumes of Wuling are also different from those of traditional operas in China. The effect of foot color dressing in Chinese opera is pleasing to the eye first, so as to make the audience pleasing to the eye, while the role of Wuling hopes to create an expected realistic atmosphere, so as to better realize his wishes.

After the institutionalized transformation of the ritual and music system in the Zhou Dynasty, the primitive witch soul still exists stubbornly. For example, even today, "villagers' Nuo" was widely popular among the people in the pre-Qin period, and there was a ceremony to expel the palace Nuo every year in the Han Dynasty. Today, there are still traces of primitive witchcraft among the people. Only with the progress of civilization, the religious atmosphere that can infect the audience's emotional experience in the original witchcraft performance has faded, so there are some dramatic factors gradually. More importantly, due to the coercive force of institutionalized ritual culture, activities with primitive religious characteristics such as witchcraft and exorcism have also been transformed into ritual forms. So we can see that the witchcraft and exorcism performances, which were tense at first, were gradually shrouded in parody ceremonies. Participants in this process basically have the characteristics of ritual drama performers, but after all, they can't be regarded as the footwork of drama, or even as drama actors.

Similarly, for Xi You, some of their remonstrance activities are specious, although we draw the conclusion of drama performance according to the decomposition of drama elements. The decomposition of elements and the conclusion of overall understanding are often out of line. For example, every plant can decompose protein and chlorophyll, but it does not mean that all organisms containing protein and chlorophyll are plants. Therefore, this kind of research can't change the essence of Nuo opera "exhortation": the history of opera in Song and Yuan Dynasties made the following distinction between burlesque and singing and dancing: "One is singing and dancing, the other is speech; One plays a story and the other satirizes current events; One is a festival dance, and the other is a casual movement; One can be implemented permanently, and the other cannot be applied to other places except one place at a time. (2) "can well explain the essence of remonstrance in comedy, and the early comedy is only in its infancy. That is to say, as far as the dream is concerned, what is the difference between the behavior and effect of dressing and the story of the dream being performed on the stage of drama? Mr. Zhou said to him:

In fact, it is obviously too early to say that this story takes the form of drama, because the basic condition of drama is to perform the story. You Meng's Dressing for Sun Shuaio has always been imitated by characters, but its purpose is only to remonstrate with him in this form. Sun Shuai 'ao's appearance and behavior are at best close to a foot color in the play, and the performance is only "Zhuang Wang buys wine and lives long in his previous life", and there is no plot at all. Can you call it a drama? ③

Zhou's "foot color" actually means to play a role, so the dream in "A Pass of Deep Dreams" only plays a certain person, far from playing a different role from the foot color of a drama.

As far as the duties of Xi You are concerned, they can be regarded as royal actors, but they mainly provide pleasing physical and mental performances for princes and nobles through the display of song and dance and geisha skills. Even if there is a play, it is only accidental and cannot be an important position. Therefore, it is not a dramatic actor at all, but "Xi You Zaju" is appropriate. Of course, this situation has changed since the Tang Dynasty.

The important value of the Tang Dynasty to the history of Chinese drama is reflected in the following four points: First, unprecedented ethnic integration and cultural exchanges have added a lot of nutrients to the evolution of drama forms; Second, the unprecedented prosperity of music and dance laid a solid foundation for the dance performance of drama; Thirdly, the initial accumulation of geisha-style experience means appeared in folk music performances, which opened the way for other geisha-style performance means to embark on the road of stylized development and experience accumulation; Fourthly, the court music department system established the classification of the voice color of court actors, and improved the mechanism of the emergence and maturity of opera foot color through the color of zaju from the perspective of humanistic system.

Look at the first three points first. When analyzing the characteristics and nature of the song and dance performances of "Da Mian" and "Diao Niang" in the Tang Dynasty, The History of Song and Yuan Opera holds that:

Although there were songs and dances before, they were not used to play stories; Although the story is performed, it has never been combined with singing and dancing, which is an example of a non-excellent drama. During the Three Kingdoms period, Gai Coffin entered China as a foreigner. He had frequent traffic with western countries, and Qiuci, Tianzhu, Guo Kang and Anguo all entered China at this time. Qiuci music has been used since Sui and Tang Dynasties. At this time, foreign dramas should be integrated into China. ①

It can be used as an example of Chinese and foreign drama exchanges since the Sui and Tang Dynasties. A large number of murals and music and dance sculptures in Dunhuang can be a powerful annotation for this statement. The music and dance materials in The Whole Tang Poetry (People's Music Publishing House, 1996) compiled by the Dance History Research Group of China Dance Art Research Association can provide strong literature support together with Dunhuang cultural relics. And these materials and quotations can let us see the dance fashion in the prosperous Tang Dynasty:

During the Sui and Tang Dynasties, especially in the Tang Dynasty, dance activities were extremely common. All walks of life frequently carry out colorful dance activities in various ways on different occasions. Dance is not only a performing art that people appreciate, but also an excellent way for people to entertain themselves. Therefore, the royal aristocrats have dance activities such as offering sacrifices to the ancestors of heaven and earth, court ceremonies, entertaining hundreds of people and foreign guests, or entertaining themselves; Buddhist temples promote religion, attract believers, worship Buddha and have dance activities; Folk wizards have to turn to dance to entertain the gods; In restaurants, squares and streets, musicians and dancers perform to make a living; Traditional festivals are held in Da 'an, and large-scale mass dance activities are spread all over cities and villages. For several days and nights, dance has become an indispensable part of people's lives. ②

Judging from the singing and dancing of the feet in traditional Chinese opera performances, it is closely related to the dance fashion in this period. As a matter of fact, the dance performed by traditional dramas in China began in the Tang Dynasty. "Song and dance performance is a rich form of carrier, which naturally breeds the elements of drama. In the process of narrative drama, it is necessary to have some specific means of word style to express these vividly portrayed dramatic elements and refine them into pure dramatic means. ③ These methods are mainly "teasing" and "beating" geisha, among which "teasing" geisha developed from various "teasing" performances in the Tang Dynasty. Moreover, these techniques are an important basis for the essential difference between ordinary characters and traditional operas.

Look at point four. In the first chapter, by discussing the origin and evolution of foot color in traditional Chinese opera terms, we know that before the formation of foot color in traditional Chinese opera, it was firstly the "zaju color" of actors who were good at performing arts, and the existence and production of these zaju colors were gradually formed after the "thirteen religions" of zaju, drawing lessons from the "partial color" system of court teaching. However, the subject management of Jiao Fang started from "Seven Songs" to "Nine Songs" in Sui Dynasty, and from "Nine Songs" to "Ten Songs" in Tang Dynasty, and then Xuanzong established "Liyuan" in Tang Dynasty. Since then, according to the level and type of performance, it has been further divided into "left geisha" and "inner geisha". In the Song Dynasty, this management method was embodied in the following aspects: Ba department, drum department, clapper department and song board color, pipa color, Zheng color, fragrant color, sheng color, dragon flute color, head tube color, dance color, zaju color and joining the army color. On this basis, the "miscellaneous" of zaju makes its various "miscellaneous" actors be divided into "miscellaneous colors" such as "muddy", "leading the play", "auxiliary network" and "pretending to be lonely" according to their own functions and performance forms. According to the number of dramas in Old Wulin and the original name of Jin Xuetang in Dropping Farms, it can be seen that although the drama has a story, it has not yet become a performance of the first-person narrator, but a form of singing and dancing. Although song and dance can also be developed into opera and ballet, song and dance in the performance of Song Zaju is the same thing for dancers and singers, and "performance" (singing content) and "performance" (dance performance) are separated.

Wang Guowei's Textual Research on Traditional Chinese Opera once wrote the following sentence after listing Water Turning and Dong Ying's Tao Gong Bo Mei: "Compared with the real drama, the movements in Zeng and Dong Daqu are customized and may not be suitable for the movements of the characters. His words are also the words of onlookers, not the characters he plays, so it is still far from the real play. " ③

That is to say, when singing and dancing stories, if the words, actions and singing are not suitable for shaping the plot and content requirements of the characters, such a drama is a form of performance, not a real drama. The real opera must "adapt the customized movements to the movements of the characters", that is, change lyric songs and dances into narrative songs and dances; In addition, it is necessary to combine the words of onlookers with the actions of actors. In a word, Wang Guowei's traditional opera is a kind of song-and-dance story performance with strong lyrical characteristics. When this lyrical "song and dance story" moves towards narrative performance, it becomes a "real opera". Expressing the content of the story through narrative songs and dances constitutes the so-called "real drama" in later generations. ②

Since the "real drama" has not yet formed, the color of zaju can not be regarded as the foot color of drama.

two

In the study of foot color in classical opera, one of the major defects is that the important role of foot color system in the development and formation of opera is not paid attention to. The "drama" element in China traditional opera art is neglected, which is mainly reflected in the process of narrative performance in the form of "geisha art". From this point of view, banter in Tang Dynasty is the preparatory stage of classical opera, but the maturity of opera should be reflected only after the stylized accumulation of "official drama number" and "academy name" and the birth of different performance forms and functions. This can be seen more clearly through the analysis of the evolution of foot color.

After the color of zaju appeared, the general division of labor was as recorded in the literature: "Mud powder, four or five people per performance. Do a familiar thing first, called Yan Duan; The second play, two paragraphs with the same name. At the end of the muddy color, lead the drama color to pay separately, send Joe the vice screen color, slap the vice screen color, or add a name to pretend to be lonely. It's called color to blow songs and ruin people. (3) "That is to say, the" end mud "in the five kinds of zaju colors is the" play head ",and in the system of" the color length has a head ",it is the color length of zaju. However, he is not on the side of the performance activities. "Advocacy" refers to his performance function, that is, to participate in the performance by singing or rhyming chanting. Excellent singing skills are the foundation of Monis' development as the lead singer of Jin and Yuan zaju, and the role played by women is the lead singer. In addition, "pink dress" has become a performance function to attract drama, that is, to participate in the performance of "pink dress performance" through dance body movements, and of course, to be assisted by reading aloud. The difference between the so-called "Fenfu Opera" in the second chapter of this book and the "Opera Head" in the last color can be seen as follows:

The role of "being the head of the play" and "being the leader" at the end of the play shows that he was the first to appear, and in many cases the earliest appearance also means "leading" the play; However, in the specific performance form, Meniser advocates that singing is the main performance, and the hero is also responsible for the continuous performance of the performers after the opening ceremony, which means "paying separately" to put it bluntly. And because both can be used at the same time, the earliest "leading role play" in Southern Opera is the "ending" after the "ending"

……

The "introduction" at the end of the "initial event" is the earliest appearance, and then you can stop and give it to other performances. The "introduction" of "introduction" is a progressive and sustainable manifestation. In the southern opera, it can naturally be named "the end" because the introduction of the opera replaces the opening, and it gives the raw foot performance through the "rushing field" of the opening.

Among the five colors of zaju, the most well-known is the performance of "playing tricks with pure colors and playing tricks with final colors". According to the comparison between its characteristics of "playing tricks" and "playing tricks" and the foot color of later operas, we can see that the only thing that can be similar to this kind of performance is the pure and ugly banter in the legend of Southern Opera, because the two sides in the legend of Southern Opera rarely participate in the main body. Through the intuitive display of traditional Chinese opera cultural relics, combined with the "slapping" of zaju, we have verified that it is actually a "clean" color that we can't find for a long time, and this fact has been demonstrated in the "clean color test" in the third chapter of this book. As discussed by Mr. Huang Tianji and the fifth chapter of this book, the "auxiliary scenery" color of zaju is the predecessor of the "ugly" color of opera feet. In addition, the practice of "adding people to pretend to be orphans" has also developed into a practice in later opera performances. When the number of second-level actors is insufficient, it is not just "adding one person".

At this point, we come to the conclusion that the development relationship between the color of Zaju and the legendary color of Southern Opera is as follows:

Zaju color

plaster

Lead a play

Auxiliary end

A flower-faced actor who is good at Peking Opera.

Or add one person.

function

Born (female is Dan)

Finally (the woman is Dan)

clean

ugly

External and post

In this table, the corresponding relationship between the color of zaju and the color of foot breaks the previous conclusion that the color of foot of opera ultimately comes from the secondary color and the secondary color of zaju, and restores the proper position of the dominant color in the evolution of the color of foot of opera. In addition, the textual research on the evolution process from the color of zaju to the color of drama feet also strongly illustrates the fact that the color of life and Dan appeared later than the color of zaju, and their background was that the opera performance activities adapted to the stage performance of geisha and moved towards the performance of narrative stories, that is to say, the change of opera performance centered on shaping characters and telling stories was the premise for the emergence of the color of drama feet. First of all, judging from the facts reflected in the script, "Sheng" always refers to the hero, and "Dan" is the heroine without exception; Secondly, combined with the phenomenon that the names of students and Dan appear successively, we come to the conclusion that the essence of students and Dan is a symbol representing the hero and heroine, and they are performers of the hero and heroine in narrative literature. In short, Dan is only a symbol of female identity in traditional Chinese opera; The living is just a symbol showing the identity of an actor in China traditional opera. Whether an actor is male or female, it is often determined by the name of "Sheng" and "Dan" that he must be the corresponding hero and heroine in the play, and there is no deep meaning beyond that.