Chapter 8 Overview of Yuan Zaju in the first section

The Southern Opera of the Song and Yuan Dynasties marked the maturity of Chinese opera art, while the Northern Opera Zaju that appeared later brought Chinese opera into a golden age.Beiqu Zaju is a unique form of drama that is gradually formed on the basis of Song and Jin Zaju and Yuanben, incorporating the nutrition of northern popular music, dance, rap and other arts.Northern Zaju in Yuan Dynasty is also called Yuan Zaju.It shows a landscape of rolling waves and steaming clouds, which is worthy of being a grand and magnificent miracle of human culture. "Chinese, Tang Poetry, Song Ci, and Yuan Qu are all unique." (Preface to "Shengming Zaju") Yuanqu is a representative of a generation of literature and art.

Yuan Zaju is the result of the development and evolution of opera art itself, and is closely related to the political, economic and humanistic factors at that time.The rule of the Yuan Dynasty was dark and barbaric, and the conflicts between ethnic groups and classes were extremely intense and complicated.Under the policy of ethnic discrimination and ethnic oppression, all ethnic groups are divided into four classes: the first class is the Mongols, the second class is the Semu people, that is, the ethnic minorities in the northeast and northwest, and the third class is the Han people, mainly the Han people in the north. The fourth class is the Southerners, that is, the Han people in the South and the people of various ethnic groups in the Southwest.The Mongols enjoyed various privileges. When they beat a Han Chinese to death, the Han Chinese were not allowed to fight back.The Mongolian rulers imposed harsh laws and punishments on the Han and southerners, and implemented the Lijia system. Assembly, association, field hunting, and martial arts were strictly prohibited, and weapons were not allowed to be collected.The Yuan Dynasty levied a lot of miscellaneous taxes, corrupt officials were everywhere, unjust, false and wrong cases continued one after another, coupled with floods, droughts and natural disasters, it led to a situation of people's livelihood and turmoil.Such social reality provided an inexhaustible source of material for Yuan Zaju.

Opera is a comprehensive art, and its development requires a certain material foundation.The partial prosperity brought about by the unbalanced economic development in the Yuan Dynasty was another important reason for the prosperity of Yuan Zaju.Due to the ravages of successive years of war, the agricultural economy and handicraft industry of the Central Plains were severely damaged.However, in order to satisfy the extravagant life, the Mongolian aristocrats gathered a large number of craftsmen to cities and towns, and set up official workshops and management agencies to force them to produce military supplies and luxury goods.A large number of Li people who were displaced by the war, abandoned their homes due to poverty, and migrated due to loss of land also flocked to cities and towns to seek livelihoods.Dadu (now Beijing) at that time was a well-known metropolis both at home and abroad. "There are countless business travelers and foreigners coming and going, so they are all overwhelmed." ("Marco Polo's Travels") In addition, Zhending (now Zhengding, Hebei), Pingyang (now Linfen, Shanxi) and other places are also very prosperous.These towns became the bases and centers of Yuan Zaju. Under the sinister and turbulent historical conditions, they provided a large number of actors, audiences and venues for the prosperity of Yuan Zaju.

After the end of the Yuan Dynasty, only one imperial examination was held, and there was no imperial examination for nearly 80 years, which blocked the official career of most intellectuals.The literati had to give up the closed life of "keep their ears off the outside world and only read the books of sages", and went to the society to make a living and "hang around" among the lower class people.It is difficult for traditional poetry to reflect the real world seen and heard. How can elegant singing dispel and express deep and wide worries and indignations?Therefore, together with folk artists, they jointly created many dramas with real feelings and suitable for performance.

Yuan Zaju is different from impromptu burlesque performances and loosely structured skits in Tang and Song Dynasties. It fundamentally reverses the tendency of Song Zaju to play and entertain, and makes operas truly mature.Yuan Zaju has a unique and brand-new system, a strict and varied music structure, which is mainly influenced by rap literature and Zhugong tunes.Singers can choose several songs in the same palace tune to form a set to sing stories.After Zhang Wuniu's reform, his performance ability has become stronger and stronger.According to legend, Zhugong tunes were created by Kong Sanchuan, a folk artist in Zezhou in the Northern Song Dynasty. According to the needs of content and plot, several sets of different palace tunes can be sung together, which not only overcomes the monotony of singing music, but also enriches the content and increases the The length is improved, which provides reference and influence for the formation of Yuan Zaju.

The basic form of Yuan Zaju is four folds and one wedge [xie some].Folding is roughly equivalent to the "act" of modern drama.From the perspective of content, a fold is a natural paragraph of the development of the storyline, and the content of each fold generally has a center.From the perspective of music, within one fold is a complete divertimento, a relatively independent music unit.The palace tunes used in the various episodes of Yuan Zaju generally have a certain pattern: the first episode mostly uses Xianlu Palace, the second mostly uses Nanlu Palace, the third mostly uses Zhonglu Palace, and the fourth mostly uses Shuangtune.Of course, it will also change according to the plot.Within each fold, a set of tunes of the same palace tune also has a rough order, and the tunes can be used repeatedly, which is called "Yopian".There are nine palace tunes (music tunes used in ancient times) actually used in Yuan Zaju, namely: Zhenggong, Zhonglu Palace, Nanlu Palace, Xianlu Palace, Huangzhong Palace, Dashi Diao, Shuangdiao, Shang Diao and Yue Diao.There are about ten or twenty commonly used tune cards for each palace tune.

Wedge, originally refers to the tenon (sun damaged) head inserted into the wood, which can make the wood more firmly connected.Extended to Yuan Zaju, it becomes a short opening or cutscene that makes the structure of the script more complete and compact.Putting it at the beginning can act as a prologue.Placed in the play, it has the function of connecting the previous and the next, and becomes an organic part of the whole play.The number of wedges is variable, one or two can be used, and some dramas do not need it, and it is determined entirely according to needs. The vast majority of Yuan dramas are 40% off and 1 wedge, and there are a few exceptions. For example, Guan Hanqing's "Five Marquis Banquet" is 50% off, "The Swing" is 40% off, five books are 21% off, and six books are 24% off.In order to summarize the main plot of the whole play and point out the stories of the characters, Yuan Zaju also has "title rectification", usually two or four rhymes.Some are placed at the beginning of the script, and some are placed at the end of the script.Putting it in the front is to introduce the plot, and putting it in the back is to summarize the plot, both of which can play the role of publicity and advertisement, in order to attract the audience.

Yuan Zaju consists of three parts: singing, speaking, and performance. Its singing style is very unique. Most of them are sung from beginning to end by Zhengdan or Zhengmo, which is called "one-person lead singer".The script written by the lead singer of Zhengdan is called "Danben".The script written by Zhengmo's lead singer is called "Moben".This form of singing is obviously borrowed or derived from rap arts such as Zhugongdiao.Wang Jide's "Melody" pointed out: "Northern song can only be sung by one person", and "the meaning can be stretched by one person."Singing is the main means of shaping and portraying characters. The main characters sing divertimento in several important places in the plot development of the whole play, which can fully express the emotions of the characters, express the character of the characters, and achieve a coherent and complete artistic effect.However, with one vocalist, from beginning to end, even if the actor has a good voice, it is very difficult.If you don't have strong singing skills, it is difficult to be competent.Moreover, adhering to the system of one-man lead singer to the end, so that other characters can only speak plainly and cannot sing a straight song, will also make the images of these characters monotonous and dry.Sometimes, in order to accommodate the lead singer of the character, it is often necessary to add characters to the play, piece together the plot, and expose the disadvantages of a single lead singer.

The Daobai of Yuan Zaju is called "Binbai", which is often prompted by the word "cloud". It can be divided into monologue, dialogue, reciting, side-by-side, same-bai, inserted-bai, inner-bai, and narration-with-bai. Sanbai, some are rhyming rhyme, and some are similar to allegro and jingle.Generally speaking, the prose is lyrical, and the words are narrative.The so-called narration roughly includes characters notifying their names, describing their life experiences, explaining the ins and outs of events, explaining the environment of characters' activities, dialogues between characters, or expressing their thoughts alone, etc.Since the Yuan Zaju uses a single lead singer, apart from the lead singer who can both sing and speak, other characters of all kinds can explain their relationship with each other, express their situation, reveal their inner world, and express their personality traits through guest words.In particular, the wedge of Yuan Zaju usually only sings one or two tunes, and the main body of the opera is Binbai, so it is even more necessary to give full play to the role of Binbai.

There are few records about the performances of Yuan Zaju. According to the only records, before performing in Goulan, colorful posters are posted or hung around to attract audiences.Before the start of the performance, there is "participation", all the actors meet the audience and show the lineup.Then, introduce the plot to the audience through the "Kaihe" announcement.The opening is over, and the show is over.After the main play is over, there will be "breaking up" and a small show to see off guests. The performance movements, expressions and stage effects of Yuan Zaju are called "Ke" or "Kejie", which mainly include two aspects of workmanship and martial arts.The subjects of Yuan Zaju are not a lifelike imitation of real life, but refinement, omission, exaggeration and exaggeration.Through virtualized performance actions, combined with certain "building blocks" (props), artistically express life.The roles of Yuan Zaju are divided into five categories: Dan, Mo, Jing, Wai, and Zaju, and each category is divided into several types.Such as the end is divided into positive end, outer end, small end, red end and so on.The denier is divided into Zhengdan, Fudan, Waidan, Tiedan, Xiaodan, Laodan, Sedan, Shadan and so on.Outsourcing includes all male characters except Mo and Jing.Net is divided into net, vice net, outer net and so on.Miscellaneous include Bo Lao (old man), Bu Er (old woman), Bang Lao (robber), Zu Er (child), Jia (emperor), Gu (official), Wo (farmer), fine acid (scholar), dragging Assassin (walking pawn), only follow (follower) and so on.Among all the roles, Zhengmo and Zhengdan are the main roles.

Yuan Zaju is "living literature" (in Wang Guowei's language) with its natural qualities.It has a wide range of themes, rigorous structure, reasonable plot, sharp contradictions, strong suspense, beautiful libretto, concise dialogue, vivid characters and strong stage action, which is very suitable for stage performances.In the Yuan Dynasty, drama activities were frequent and there were many troupes. The relatively large troupes were all located in Dadu or other cities.The family theater troupes all over the country are called "Luqi", and the artists are called "Luqiren".Rural amateur temporary theatrical troupes are called "shehuo", and they mostly perform "wildering" on temple stages or temporary paddocks. A large number of zaju writers emerged in the Yuan Dynasty.According to Ye Zhong Sicheng's "Recording Ghost Book" in the middle of the Yuan Dynasty, Zhu Quan's "Taihe Zhengyin Pu" in the early Ming Dynasty, Ming Jia Zhongming's "Recording Ghost Book Sequel", Wang Guowei's "Song and Yuan Opera Research" in the late Qing Dynasty, and Fu Xihua's "Yuan Dynasty Zaju" Quanmu" shows that there are about 200 named Yuan Zaju writers, about 737 Yuan Zaju repertoires, nearly 200 scripts preserved, and 29 preserved remnants. Yuan Zaju writers can be divided into two periods, the first period and the latter period.In the early stage, talents came out in large numbers and excellent works were like a forest, which was the heyday of Yuan Zaju.Almost all the writers in the early period grew up and were active in northern China centered on Dadu.In addition to Guan Hanqing, Wang Shifu, Ma Zhiyuan, and Bai Pu, there are Yang Xianzhi, Gao Wenxiu, Li Wenwei, Shi Junbao, Ji Junxiang, Zheng Tingyu, Li Zhifu, Li Haogu, Shang Zhongxian, Wuhan Chen, Li Shouqing, Kang Jinzhi, Li Qianfu, Dai Shanfu, Fei Tang Chen, Zhang Guobin, Scarlet Letter Li Er, Li Xingdao, Meng Hanqing, Wang Zhongwen, Sun Zhongzhang, Yue Bochuan, Yu Jifu, Shi Zizhang, Shi Jiujingxian, Di Junhou, Kong Wenqing, Zhang Shouqing, Liu Tangqing, Gong Dayong, etc. In the later period, the center of Yuan zaju moved southward, showing a trend of decline, and many zaju writers were active in the Jiangsu and Zhejiang regions centered on Hangzhou.Many of them, or lingering in the mountains and rivers, or buried their heads in the classics, lost the courage and spirit of the previous writers, and only a few writers achieved higher achievements.Later writers include: Zheng Guangzu, Qiao Ji, Zeng Rui, Gong Tianting, Qin Jianfu, Yang Zi (zizi), Jin Renjie, Zhu Kai, Xiao Dexiang, Luo Guanzhong, Wang Ziyi, Liu Dongsheng, Gu Zijing, Jia Zhongming, Yang Wenkui, Yang Ne et al.People generally call Guan Hanqing, Ma Zhiyuan, Zheng Guangzu, and Bai Pu the "Four Masters of Yuan Opera". The composition of Yuan Zaju writers is complex, they come from various classes such as Shuhui talents, Goulan artists, doctors, merchants, lower-level officials, famous officials and powerful officials, forming a brilliant situation.Their styles are solemn and majestic, bold and unrestrained, elegant and beautiful, gentle and mellow, cold and steep, gentle and graceful, natural, or quiet and refined...their styles are really diverse. Yuan Zaju extensively and profoundly reflected the social life of the Yuan Dynasty, and vividly and truly expressed the mentality and emotion of people from all walks of life.From the emperor's concubines, civil officials and military generals, and scholars of letters, down to servants, local hooligans, doctors and astrologists, prostitutes, all three religions and nine streams are involved.There are major military and state affairs, government disputes, battles on the battlefield, and family disputes. Fugu Boxi (xixi) outlines a panoramic picture of social life in the Yuan Dynasty.For the themes of Yuan Zaju, predecessors have classified them in many ways. For example, Zhu Quan divided Zaju into 12 subjects in "Taihe Zhengyin Pu", namely: Immortal Daohua, Recluse Le Dao, Phi Robe Binghu (huhu) ], loyal ministers and martyrs, filial piety and integrity, scolding rape and slander, chasing ministers and orphans, cymbals [ba pull] swords and sticks, wind and snow and moon, joys and sorrows, fireworks and powder, gods and ghosts.Although the classification is very detailed, it is not scientific enough, and it exalts and highlights the content of feudal morality and hermitism.In fact, a large number of works of Yuan Zaju carried forward the ideal of patriotism and the traditional virtues of the nation, praised the democratic spirit of resisting feudal ethics, pursuing freedom of love, and independent marriage, praised the upright officials who acted impartially, and affirmed the peasants' rebellion. , vented the grievances of the feudal intellectuals after they were poor, and comprehensively exposed and accused the crimes and ugly social reality of the feudal ruling class.These are the essence of Yuan Zaju.As for those works advocating feudal ethics, propagating feudal superstition, slandering peasant uprisings, advocating passive avoidance of the world, and admiring prosperity and prosperity, although there are quite a few, they are only tributaries.These dross cannot cover up the dazzling brilliance of Yuan Zaju in the history of opera and literature.