Chapter 36 facebook speculation

When it comes to drama, I'm a complete layman.But when I come across articles on Chinese drama, I sometimes take a look.I find it very interesting to ask whether recent Chinese operas are symbolic, or whether there are symbolic techniques in Chinese operas. In the 11th issue of "Xi" Weekly (Supplement to "China Daily"), Mr. Bohong admitted that Chinese opera sometimes uses symbolic techniques when talking about facial makeup, "For example, the white watch is 'treacherous', the red watch is 'loyalty', and the black watch is 'loyalty'. 'Mighty', blue watch 'bewitching', gold watch 'spirit' and the like, in fact and Western white watch 'pure and clean', black watch 'sorrowful', red watch 'enthusiastic', gold watch 'glory' and 'Effort'" is no different, this is the "symbol of color", although it is relatively simple and low-level. 〔2〕This seems to be very good, but when I think about it again, I have doubts again, because white shows treachery, red shows loyalty and bravery, and so on, they are only limited to the face, and when they go to other places, white is not A symbol of treachery, red does not mean loyalty and bravery.

As for the history of Chinese drama, I am a complete layman.I only know that in ancient times (Northern and Southern Dynasties) the story of acting was to have a mask, [3] the mask must show the characteristics of the character, on the one hand it is also the rule of the character's face.It seems that no one has studied the relationship between ancient masks and today's face-slapping. If there is some relationship, then "white table treachery" and the like are probably just classifications of characters, not symbolic devices. Since ancient times, China has liked to talk about "the art of looking at people" [4], but it is naturally different from the current "face-to-face". It is not from the complexion that we can see the blessings and misfortunes, but the so-called "sincerity in the heart, it must appear on the outside" [5] , to distinguish the good or bad of this person from the face.Ordinary people also have this kind of opinion. We still often hear the words "he is not a good person just by his appearance".The specific manifestation of this "appearance" is the "face makeup" in drama.Rich people have no heart at all, they only know selfishness, they eat for nothing, they can do anything, so they are treacherous.Red represents loyalty and bravery, which comes from Guan Yunchang's "face like heavy jujube". I don't know what kind of "heavy jujube" is, but it should always be red.In fact, a loyal and brave person is relatively simple in thinking, does not suffer from neurasthenia, and his skin is prone to redness. If he wants to remain neutral forever and call himself "the third type of person", he will inevitably suffer mentally from time to time, and his face will be blue and white. , finally showing the white nose.It is very common for a black watch to be mighty and mighty. After driving on the battlefield all year long, how could his face not be dark? The young master who is wearing cream will definitely not want to go out to fight by himself.

Gentlemen often classify people one by one, and ordinary people are also classified. I think this "face makeup" is the classification map gradually agreed upon by actors and spectators.However, common people's discrimination and power of feeling are not as delicate as those of gentlemen.Moreover, the way our stage was set up in ancient times was different from that in Rome,[6] making the spectators very loose. If the performance is not aggravated, they will not feel it or see it clearly.In this way, the facial makeup of various characters has to be exaggerated and caricatured, and even in the end, it is weird and far from reality, as if it is a symbolic technique.Face makeup, of course, has its own meaning, but I always feel that it is not a symbolic device, and when the structure of the stage and the degree of spectators are different from those in ancient times, it is just a kind of superfluous wart, and there is no need to support its existence.However, it is still very interesting to use it in another meaningful game.October 31st.

CC [1] This article was not published before it was printed in this book, please refer to the "Appendix" of this book. [2] The eleventh issue of "Xi" Weekly (October 28, 1934) published Bohong's article "Why the Soviet Union Invited Mei Lanfang to Act (Part 1)", which first quoted "Shen Shen "" "Reading Questions and Answers" column "Mei Lanfang and the Future of Old Chinese Dramas (3)" said: "Most of the materials used in Chinese old dramas are historical legends, and their arguments are generally the old-fashioned way of 'encouraging good and punishing evil'. , there is no mysterious emotion in it, and there is no need to use specific symbols of perception to symbolize anything... Even the facial makeup that most people think is the most symbolic, and the stuff that replaces the horse with a whip, only It can be said that it is used to help the audience understand the plot, but it cannot be regarded as symbolism.” So he continued: “This is very correct. But because he denied the symbolism of old Chinese dramas, he also denied the use of symbolism in old Chinese dramas. Some 'symbolic techniques'. For example, 'treacherous' in white and 'loyalty' in red...Because 'symbol of color', 'symbol of sound' and 'symbol of shape' are also used consciously or unconsciously... These are all symbolic techniques, but most of them are relatively simple and low-level."

〔3〕Guide to the song and dance drama "Da Mian" in the Northern Dynasties.According to the "Old Tang Book·Music Records": ""Da Mian" originated from the Northern Qi Dynasty. Chang Gong, the king of Lanling in the Northern Qi Dynasty, was talented in martial arts and had a beautiful face. If the man is strong, he dances for this purpose to imitate his countenance of pointing and stabbing, which is called "Lanling King Entering the Battle Song"." 〔4〕 "The art of meeting people" "Zuo Zhuan" in the first year of Wengong: "Uncle Neishi came to be buried; Gongsun Ao heard that he was able to meet people, and saw his second son." The category is described in the book "Xiang Ren".

〔5〕"Sincerity is in the middle, it must appear on the outside" comes from "Da Daxue": "A person sees himself as if he sees his lungs and liver... This means that sincerity is in the middle, and the appearance is on the outside; therefore, a gentleman must be careful about his independence. "[6] The ancient Roman theater, with a circular performance venue in the middle, surrounded by stepped auditoriums, is similar to a modern stadium.