Under the direct influence of Jin Heqiang, Yuan Zaju is a complete drama form which combines various performing arts forms. He also created mature literary scripts on the basis of scripts, lyrics and aria literature since the Tang and Song Dynasties. This can be said to be a qualitative change compared with the drama of joining the army or the drama of the Song Dynasty, which is mainly funny and ridiculous. As a mature drama, Yuan Zaju not only enriched the stories sung among the people for a long time, but also widely reflected the social reality at that time, and became one of the popular literary forms.
Development and evolution
The formation of Yuan Zaju is the result of the development of various performing arts in the history of China, and it is also the product of the times. The process of Jin destroying the Northern Song Dynasty and the Yuan Dynasty was also the process of the northern people's resistance to the Jurchen nobles and Mongolian nobles. The people's hard struggle against national oppression and class oppression needs to be expressed in a combative and mass literary form; By this time, various factors that constitute the art of traditional Chinese opera have been brewing for a long time and integrated. In this way, Yuan Zaju greatly expanded the theme and content on the basis of Jin and all kinds of Gongdiao rap, and opened a glorious page in the history of China opera due to the requirements of reality and the hobbies of the masses.
In the case of great changes in the meta-society, scholars also have differences. Especially in the early Yuan Dynasty, ethnic contradictions and class contradictions were very acute, and the imperial examination system was not restored, which greatly reduced the career of middle and lower-class literati and led to their decline. Except for a few bureaucrats attached to the rulers of the Yuan Dynasty, most literati and the broad masses of the people were also brutally persecuted, so they had close ties with the masses. Some scholars and folk artists formed a book club. On the one hand, they learn the achievements of folk art, and at the same time contribute their talents to the creation of zaju. The organization of the book club and the cooperation between folk artists and literati have promoted the prosperity of Yuan Zaju.
The development of urban economy in Song, Jin and Yuan Dynasties prepared rich material conditions for the prosperity of zaju. In order to meet the cultural requirements of the ruling class and the general public, various geisha have appeared in major cities in the north and south, especially Kaifeng, Dadu and Hangzhou, which are the capital cities, are more prosperous. At the same time, traditional Chinese opera activities are often carried out in rural areas, and the existing theatres and murals in southern Shanxi are a good proof (Note: Yuan theatres are widespread in southern Shanxi, and eight Yuan theatres have been preliminarily identified in Xiangfen, Linfen, Hongdong, Xinjiang and Yicheng in southern Shanxi. There is also a mural in the Ming Wang Ying Temple in Zhao Hong County, Shanxi Province, which is performed by Yuan Dynasty zaju, and the title on the account is "Dou Xiu comes to show"). Festivals and temple fairs are performance days in rural areas, and some famous actors often go to various places to perform. In this way, China traditional opera has maintained close contact with the broad masses of the people in the development process.
In addition, the Yuan Dynasty had a vast territory and developed transportation, which strengthened the ties between international and domestic ethnic groups. Cultural exchanges between ethnic groups, especially the spread of northern folk music, also played a certain role in the prosperity of zaju.
The opera art of the Yuan Dynasty is called Yuan Zaju. The "singing", "cloud" and "reasoning" of Yuan Zaju are its artistic expression means. Among them, the "subject" is mainly work, including expression, dance and martial arts. Among them, dance is intrusive, such as the fourth discount of "Tie Guai Li Du Huangjin Couple": "You can watch the Eight Immortals dance once (singing and dancing in the Eight Immortals)." In addition, the folk dance team "Village Dengaku" is used in Liu Xuande Drunk Up the Yellow Crane Tower, and the running bamboo horse is used in Chasing Han Xin. This intrusive dance in Yuan Zaju also includes An Lushan's "Hu Xuan" dance and Yang Guifei's "Nishang" dance in Tang Qiuyu. Martial arts in Yuan Zaju also contains many dance factors, such as various instrumental dances, duet, somersault, flying flags, walking on stilts and so on. Other plays, such as Xiao Weichi's "doing the tune" and Maling Road's "fighting in formation", are a kind of formation dance. Other works in Yuan Zaju have gradually evolved into stylized dance movements to express the modality of characters, such as "Zheng Dan as the master of shame" and "Zheng Dan as the master of sorrow" in Moon Pavilion. At that time, the zaju artists also gave names to some technical dance movements, such as "flying the red flag", "dragging the white" and "walking on stilts".
The religious dances in ancient China were mainly witchcraft, Taoism and Buddhism. Witchcraft and Taoism are inherent religions in China. Since the Eastern Han Dynasty, Buddhism introduced from India flourished and lasted for a long time from the Southern and Northern Dynasties to the Sui, Tang and Five Dynasties. Emperor Huan of the Eastern Han Dynasty, etc. , the temple Buddha "advocates music for fun"; Jingle Temple in Luoyang, Northern Wei Dynasty, with female music, "singing around the beam and dancing around the sleeve"; During the Southern Dynasties, Liang Wudi made "kindness" and "great joy", which was called "positive joy" and publicized Buddhism. One of the ten pieces of music in the Tang Dynasty, Xiliang Music, contains the Buddhist music of Hetian, and a group of bodhisattvas in the court of the Song Dynasty presented fragrant flowers in the team dance, all of which were music and dances to promote Buddhism.
Shamanism (witchcraft) and Lamaism (Buddhism) were the main beliefs in the Yuan Dynasty, and the court team dance in the Yuan Dynasty was full of religious superstitions. In the Yuan Dynasty, the court dance team was divided into four teams, namely, the King of Music team on New Year's Day, the Shouxing team on Tianshou Festival, the ritual and music band on Zhaohui, which preached Buddhism, and the Yili team. Each team is divided into 10 teams. In the team of King of Music 10, the leader is a band, and there are two women's groups, one is playing the song of willow in Changchun, and the other is performing the characteristic danhua dance. 10 team, there are also women inspired by flowers, and the rest are men's teams dancing and playing ghosts. There is also a dance dressed as a photo of donkey kong in Debate Team. In addition, there are Bao Gai Dance, Sun Moon Fan Dance, Loutai Dance, Umbrella Cover Dance and Golden Wing Peng Dance, all of which are religious dances.
The most famous Buddhist ode dance in Yuan Dynasty was Yuan Shundi's "Sixteen Magic Dance", which was called Buddhist ode dance. It's actually very interesting. Only eunuchs who have received secret training are allowed to watch while performing in the palace, and folk performances are strictly prohibited.
Yuan Zaju is a drama style developed on the basis of predecessors' drama art, Song Zaju and Jin. It first appeared in the late Jin Dynasty and early Yuan Dynasty, during which it experienced a development process from incomplete to complete. The Mongolian dynasty said that after the Yuan Dynasty, the system of zaju was complete, mature and began to flourish. During Yuan Zhen and Dade years, the creation and performance of zaju entered its heyday.
Zaju was first popular in the north, centered on Dadu (now Beijing) and spread all over Henan and Hebei. Influenced by dialects, it has different genres of tunes. Wei Liangfu's Nan Ci Andrew said that the zaju has Zhongzhou tune, Jizhou tune and Xiaojiazhou tune. This drama with a northern accent quickly swept the country.
The Collection of Brothels written by Xia Tingzhi in Yuan Dynasty describes the activities of more than 40 famous opera actors (including more than 30 male actors) in Yuan Dynasty. These actors are either "famous actors in the capital" or "giants in the capital song club"; Or "Famous Jinling"; Or "one step in Jiangsu and Zhejiang"; Or "Huai and Zhejiang are famous"; Or "the famous Jiang Xiang Room". There are also "Shandong famous prostitutes", "Weiyang famous prostitutes" and "Huzhou corner prostitutes" and so on. The Collection of Brothels was written in Zheng Zheng in the 15th year (1355), and has been updated since then, not far from Yuan Wu. Its description shows that the performances of Yuan Zaju developed from north to south and spread all over the country.
plant conditions
There are many conditions and factors for the rise and prosperity of Zaju in Yuan Dynasty: the development of various opera arts in the previous generation provided various references for the form of Zaju, the foreplay activities of many literati promoted the prosperity of script creation, and the appearance of many famous actors also contributed to the prosperity of Zaju. At that time, theatrical performances were widespread, from the court to the civilian society. Watching drama performances has become an entertainment habit, and the competition brought by the commercialization of performances is also one of the reasons for the prosperity of zaju. In terms of literary scripts, a major factor is the emergence of some new writers who keep close contact with the people. Some of them are "talented with books", some are "professional actors", and more are incompetent or literati who act as low-level officials. This status and social status determine that their works can truly reflect people's thoughts, feelings and life aspirations, and also determine the general improvement of their artistic achievements.
Reasons for prosperity
First, the basic premise of the prosperity of China traditional opera
1, city
The development of urban economy provided sufficient material conditions for the prosperity of Yuan Zaju. Goulanwa Temple, where all kinds of geisha are concentrated, has appeared in all major cities in the north and south, especially Kaifeng, Dadu and Hangzhou, the provincial capitals, which are more prosperous.
2. Audience
Cultural requirements of the ruling class and the general public. There are many documents about the songs, dances and operas of the nobles in the Yuan Dynasty.
Second, several views on the reasons for the prosperity of Yuan Zaju.
As a representative of Yuan Dynasty literature, Yuan Zaju was very prosperous at that time, and it was as famous as Tang Poetry and Song Poetry in the history of literature. Later generations have different opinions on its prosperity. Shen Mingde's Qian's Wan Ye Li Shuo Bian and Zang Maoxun's Yuan Qu hold that the reason for the development of Yuan Zaju is to choose scholars by words and songs. Li Kaixian said that it was the result of the political decline and the decline of literati in the Yuan Dynasty. Wang Guowei attributed it to the abolition of the imperial examination in the early Yuan Dynasty. Sun Jiedi's understanding is comprehensive. He believes that the Yuan court was particularly interested in zaju, which was a hobby of people at that time, and the talents of the book club cooperated closely with you.
Three reasons for the prosperity of yuan zaju.
1. Artistic reasons: the accumulation and development of various traditional Chinese opera arts.
Under the direct influence of Jin Heqiang, Yuan Zaju is a complete drama art that combines various performing art forms. In the Tang and Song Dynasties, he created a mature literary script on the basis of scripts, lyrics and singing literature.
Legendary novels, storytelling novels, etc. Prepare story content for opera and provide people with familiar figures; The musical organization of rap Gongdiao and the combination form of Qubai directly affect the opera system; Various team dances beautify the dance image and appearance of traditional Chinese opera; Puppet shows and shadow plays also affect dance movements and facial makeup. Their development makes the performing arts of traditional Chinese opera gradually mature, and at the same time, it prepares the conditions for producing excellent literary scripts.
2. Political reasons: the cultural policy of the Yuan government.
At that time, Han intellectuals were discriminated against. "humble origins" and "low status" have prompted some people to engage in traditional Chinese opera activities.
3. Economic reasons: the abnormal development of the city.
stage of development
The development of Yuan Zaju can be divided into three periods:
Kublai Khan was in Yuan Shizu in the early period from the elimination of gold in Mongolia to the 31st year of Yuan Dynasty (1234- 1294).
In the middle period, from Zhenyuan period in timur, Yuan Chengzong to Tuer period in Yuan Dynasty (1295- 1332).
In the later period, Yuan Shundi was ruled by Timur (1333— 1368).
The regional changes of zaju creation in the early, middle and late stages and their respective characteristics in content and artistic expression.
A probe into the theme of zaju creation in yuan dynasty. Two types of writers who have the greatest influence on the creation of Yuan Zaju. Guan Hanqing is a representative of the prodigal scholar in Yuan Dynasty.
Ethnicity
Yuan Zaju is a drama style developed on the basis of predecessors' drama art, Song Zaju and Jin. It first appeared in the late Jin Dynasty and early Yuan Dynasty, during which it experienced a development process from incomplete to complete. The Mongolian dynasty said that after the Yuan Dynasty, the system of zaju was complete, mature and began to flourish. During Yuan Zhen and Dade years, the creation and performance of zaju entered its heyday. Zaju was first popular in the north, centered on Dadu (now Beijing) and spread all over Henan and Hebei. Influenced by dialects, it has different genres of tunes. Wei Liangfu's Nan Ci Andrew said that the zaju has Zhongzhou tune, Jizhou tune and Xiaojiazhou tune. This drama with a northern accent quickly swept the country. The Collection of Brothels written by Xia Tingzhi in Yuan Dynasty describes the activities of more than 40 famous opera actors (including more than 30 male actors) in Yuan Dynasty. The Collection of Brothels was written in Zheng Zheng in the 15th year (1355), and has been updated since then, not far from Yuan Wu. Its description shows that the performances of Yuan Zaju developed from north to south and spread all over the country. The playwrights at the end of Yuan Dynasty recorded in Zhong Sicheng's Ghost Record were written in the first year of Zhishun, and most of them also lived in the south. It can be seen that zaju eventually developed into a national drama. After the Southern Song Dynasty perished and the Yuan Dynasty unified the whole country, zaju began to move southward. In the twenty-seventh and eighth years of Yuan Shizu to Yuan Dynasty, that is, about 1 1 year after the death of Song Dynasty, Yuan Huai, who was an official in Liyang in the south of the Yangtze River at that time, had Ma Zhiyuan's Autumn of the Han Palace, Bai Pu's Wu Tongyu and other poetic dramas. At this time, it was only four or five years away from Yuan Zhen, but by Yuan Zhen and Dade, zaju had become a "world tour" and Guan Han.
During the prosperous period of Yuan Zaju, many writers and works appeared. Among all kinds of literary works in Yuan Dynasty, zaju works reflect the social life at that time the most widely. Among all kinds of literary works in the Yuan Dynasty, only zaju works achieved the highest achievement. The social life reflected by Yuan Zaju is broader and deeper than previous literary works. What is particularly prominent is that some ordinary people with low social status are generally written into works, and even become the main positive figures, which expands and perfects the new fields opened up by the Song Dynasty scripts in this respect. Many works of Yuan Zaju criticized the persecution and exploitation of ordinary people by bureaucrats, gentry and their accomplices and running dogs of the feudal ruling class, and at the same time praised the various forms of resistance of ordinary people to the feudal ruling group. One of the outstanding works, such as Guan Hanqing's Dou E Yuan, is regarded as the master of the world through the image of the wronged Dou E: "Earth, don't mind what is good or bad! God, you are wrong! " It also expressed a very strong spirit of resistance.
Yuan Zaju is a kind of drama that combines singing, reading and doing, and its script mainly describes the characters' stories through singing and reading. The lyrics of some excellent scripts show the color of poetic drama to varying degrees. Because of the influence of drama tradition since Tang and Song Dynasties, Nianbai is often gagged, which is quite humorous.
Yuan Zaju also experienced a process of prosperity and decline, which is roughly equivalent to this process. The creative activities of zaju writers can be divided into two periods. The early period was from Yuan Shizu to the beginning of Yuan Dynasty to the end of Chengzong Dade. This is a prosperous time when talented people come forth in large numbers and their works compete with each other. Besides Guan Hanqing, Wang Shifu, Bai Pu and Ma Zhiyuan, there are also Gao Wenxiu, Ji,,, Shang Zhongxian, Li and Li. Among them, writers with earlier activities are Guan Hanqing, Bai Pu, Li, etc. The later period is from Wuzong to New Year to the end of Yuan Dynasty. The characteristic of this period is that although writers still appeared constantly and produced many works, the works of Zheng Guangzu and Gong Tianting also had some characteristics, but the overall achievements were far less than those of the previous period. Generally speaking, it has been declining since the period of British orthodoxy. Another feature of this period is that the creative center moved from Dadu to Lin 'an (now Hangzhou).
After the middle of the Ming Dynasty, the aria of zaju gradually disappeared. Gu Qiyuan's Hakka Words said: "Before Du Nan Wanli, whenever there were banquets and small gatherings, princes, nobles and rich households sang them with scattered music, or more than three or four people sang a large collection of northern songs"; "When the seat is big, use the teaching workshop to play and proofread books (that is, perform zaju), which is the fourth set of Beiqu"; "Later, it became a southern singing method ... the conference used southern opera." According to the Ming Dynasty's "Four Friends", the singing of zaju was rare in Wanli period. At the end of Jiajing, he hired Professor Dunren, the only old artist who was proficient in northern opera at that time, to sing Yuan Zaju. I still remember Dunren saying, "These words (referring to zaju) have not been asked." By the end of Qianlong period in Qing Dynasty, there were 15 kinds of Tang Ye's "Na Shu Qu Ying Pu" (including works between Yuan and Ming Dynasties) that could be sung for Yuan people. These 15 kinds of zaju can only sing at a discount of one or two, and can perform less. Among the performances, the third part (Xunzi) and the fourth part (Single Knife) of Guan Hanqing's Single Knife Club are the most popular. However, China opera historians believe that the music score (Gongchi score) recorded in Nashuying Music Score is not the original singing method of Yuan Zaju, but the so-called "singing method of Kunqu opera in Yuan Dynasty". At the same time, the singing style of Yuan Zaju was lost or basically lost, and a large number of scripts were also lost, but many of them were still handed down. The description of zaju writers and works began at the end of Yuan Dynasty. Zhong Sicheng's Ghost Book records 152 writers and more than 450 works. Jia's ghost book sequel added 765,438+0 writers and 65,438+056 works from the Ming Dynasty. There were still many dramas in the early Ming Dynasty, such as Li Kaixian's Collection of Idle Houses? Zhang Xiaoshan's Preface to Xiaoling Mausoleum records: "In the early years of Hongwu, the vassal States gave 1,700 songs." Judging from the evidence that many of the existing Yuan Zaju are from Imperial Drama Supervision Edition and Neifu Edition in Ming Dynasty, Li Kaixian's statement may be well-founded, and there should be a large number of Zaju scripts in 1700 Edition. Zhu Quan, the son of Zhu Yuanzhang, the "Prince of Hongwu", wrote Taihe Yin Zhengpu, which recorded more than 560 kinds of zaju writers in Yuan and Ming Dynasties. Li Kaixian also said that he has more than 1000 kinds of zaju. Since then, a large number of works have been lost, and only a quarter of Li Kaixian's works exist. Due to the lack of literature and the difficulty in identifying works, there are different opinions on the evaluation of Yuan Zaju works. Generally speaking, 500 works of famous writers and 50 works of unknown writers can be tested in Yuan Dynasty. During the Yuan and Ming Dynasties, there were 187 anonymous works and * * 737 anonymous works.
artistic form
Yuan Zaju has a complete and rigorous structural system.
First, "40% off and one wedge"
It is the most common script structure form of Yuan Zaju, which is combined into one volume. Each script is usually composed of a 40% discount group, and sometimes a wedge is added. The so-called "folding" is equivalent to the current "screen", which is the unit of music organization and the natural paragraph of the contradiction and conflict in the whole drama; 60% off is the beginning, development, climax and end. In order to illustrate the plot or run through the clues, Yuan Zaju often adds a short independent play at the beginning or break of the whole drama, which is called "wedge". Arranged before the first folding is called an open wedge; What is placed between folds is called a wedge. The original meaning of wedge is to wedge a small piece of wood at the tenon joint of wood to fill the gap. In Yuan Zaju, it plays the role of sewing thread or connecting the preceding with the following. The form of 60% discount for a book is not immutable, such as 50% discount for Orphan of Zhao, 60% discount for Swing, 50% discount for The West Chamber and 60% discount for Wu Changling's Journey to the West.
In addition, at the beginning or end of the script, there is a kind of "correcting the name", that is, two or four sentences are used to express the outline of the plot and determine the name of the script. For example, the title of "Dou E Yuan" is two sentences: "Insist on a fair and honest visit to France and feel the injustice of Dou E".
Second, music tunes.
Yuan Zaju is based on northern music, so it is also called "northern Zaju" and adopts the form of northern music. Each fold uses a divertimento, and each divertimento is generally composed of several songs in the same palace tune. The divertimento is stacked once, the first stack is generally used, the second stack uses the southern rhythm, the third stack uses the clock rhythm, and the fourth stack uses the double tone. A few scripts are folded, and some use other palace tunes. There are dozens of qupai in each palace tune. The lyrics are filled in according to the qupai, and every qupai in a fold has the same rhyme, so it is not allowed to change rhyme. Sometimes borrowing one or several tunes from other palace tunes is called borrowing the palace.
Third, the role of zaju
Divided into Dan, final, clean and miscellaneous. Dan includes Zheng Dan, Waidan, Xiao Dan, Dadan, Lao Dan and Chadan. Zheng Dan: Singing the heroine. A foreign actress or a little actress of a foreign actress. The end includes a positive end, a small end, an impact end and a secondary end. Zhengmo is the main actor in singing, while Waimo and Auxiliary Mo are the secondary actors. Chongmo is a debut actor. Are all low-status comedy characters. Za is an actor outside the above three categories. There are orphans (officials), drivers (emperors) and Bo 'er (old women).
Fourth, the lead singer
Generally, Yuan Zaju is sung by one person as the lead singer or heroine. The lead singer's foot color is either the end or the end, and the lead singer's name is Dan Ben, such as the lead singer of Dou E in The Injustice of Dou E. The final lead singer is called the final version, such as Autumn Color in Han Palace and the lead singer of Emperor Han Yuan. Generally speaking, it is a universal law that a person sings the leading role of a play to the end. But there are also several scripts, and the characters have changed with the development of the plot. For example, in Earning Express, Sean appeared at the end of the first discount, and Express appeared at the end of the second, third and fourth discounts. This led to the transformation of the lead singer.
Verb (abbreviation of verb) Bai Bin
In later operas, it was also called Daobai or Daobai. Predecessors have roughly two explanations for the material whiteness of Yuan Zaju: Xu Wei's "Narration of South Ci": "Singing is the main thing, and white is the guest, so it is called material whiteness, which is easy to understand." Shan Yu's "Ju Po Cong Hua": "The Northern Song Dynasty was all a guest, all white. Two people say "guest" to each other, and one says "white." The latter explanation may be more accurate from the perspective of exegetics. It is what the actors say outside the lyrics, including the dialogues and monologues of the characters, which are composed of vernacular and some rhymes, also known as rhyme and white. Dialogue is similar to drama dialogue, and monologues are narrative in nature, which plays an important role in the development of plots and the shaping of characters.
Sixth, Jack.
Also called Ke Fan and Keke, it refers to singing and actions other than singing. Generally speaking, the "festival" in the scripts of Yuan Zaju has four meanings. First, the general movements of the characters, such as the first fold of Autumn in the Palace of Han Dynasty, in which Wang Qiang greets Emperor Wu of Han Dynasty; second, the expression of the characters; while the first fold of Mao Yanshou Plan means "Do I want to do something?"; third, it means martial arts; fourth fold is in Xiangyang Guild Hall, Gao Wenxiu, and "Four Will Close Combat"; fourth fold refers to the song and dance movements interspersed in the play. "Wu Tongyu" is a double Yuhuan dance, and "Zheng Dan is dancing" sometimes indicates the stage effect in the play. "Autumn in the Palace of Han Dynasty" "Wild geese call others".
Classification of Yuan Zaju
1. Classification of Zhu Quan's Taihe Yin Zhengpu
He divided Yuan Zaju into twelve sections: "One is immortality; Second, seclusion and happiness (also called Linquan Chou He); Third, wearing a robe (also known as the monarch and minister drama); Fourth, loyal subjects and martyrs; Fifth, filial piety and honesty; Six days, swearing; Seventh, chasing the minister soliton; Eight-day cymbals are used to catch sticks (also known as off-shoulder play); Nine, wind, flowers, snow; Ten joys and sorrows; On the 11th, fireworks and gunpowder (also known as Hua Dan Zaju); Twelve, the face of ghosts and gods (that is, the play of gods and buddhas). The points are too fine, and there are even overlapping parts.
2. Generally, it is divided into tragedy and comedy in genre; From the subject matter, it can be divided into case-solving drama, historical drama, love drama, social drama and divine drama.
Four tragedies: the injustice, the rain, the loneliness of Zhao, and the autumn of Han Palace.
Four major love dramas: The West Chamber, Horse on the Wall, Moon Pavilion and Ghost Story.
Related records
The playwrights at the end of Yuan Dynasty recorded in Zhong Sicheng's Ghost Record were written in the first year of Zhishun, and most of them also lived in the south. It can be seen that zaju eventually developed into a national drama. After the Southern Song Dynasty perished and the Yuan Dynasty unified the whole country, zaju began to move southward. Yuan Shizu reached the 27th or 8th year of the Yuan Dynasty, that is, around 1 1 year after the death of the Song Dynasty. At that time, Yuan, who was an official in Liyang, Jiangnan, was pregnant with Ma Zhiyuan's Autumn in the Han Palace, Bai Pu's Wu Tongyu and other poetic dramas (Jin□ set). At this time, it was only four or five years from Zhenyuan, but during the years of Yuan Zhen and Dade, zaju appeared.
The existing collections and selections of Yuan Zaju are as follows: ① There are 30 kinds of Yuan Zaju. (2) The Legend of Yuan Xian was revised by Li Mingxian. (3) Ancient Famous Zaju, edited and published by Ming, Chen and the suburbs. Some of them are works of Ming people. (4) the ancient and modern drama selection, Ming interest machine editor. There are some works in the early Ming Dynasty. ⑤ Selected Zaju of Yuan Dynasty compiled by the ancient songs of Ming Dynasty. Some of them are works of Ming people. ⑥ Zang Mao compiled Yuan Qu Xuan in Ming Dynasty. A few of them are works of Ming people. ⑦ Mai Wangguan Ancient and Modern School Zaju written by Zhao and others in Ming Dynasty. Some of them are works of Ming people. (8) Selected Works of Ancient and Modern Famous Plays edited by Meng Chengshun in Ming Dynasty (including Liu Zhiji and Juanjiang Ji). Some of them are works of Ming people.
The more important modern versions are: ① 194 144 kinds of Wang Jilie Yuan and Ming zaju published by Shanghai Commercial Press in 2000. The so-called "orphan" refers to the works of Yuan and Ming Dynasties that rarely spread outside the Selected Songs of Yuan Dynasty. (2) 1953, the first episode of "Ancient Opera Series" published by Ancient Books Publishing House and the four later episodes have photocopies of Yuan Zaju. Some of them are not included in Yuan Qu Xuan, and some of them are different from Yuan Qu Xuan. ③ 1959, Zhonghua Book Company published Yuan Qu Xuan compiled by Sui Shusen, which included 62 kinds of Yuan Zaju except Yuan Qu Xuan.
During the prosperous period of Yuan Zaju, many writers and works appeared. Among all kinds of literary works in Yuan Dynasty, zaju works reflect the social life at that time the most widely. In the preface to the Song Dynasty, Hu explained the extensive contents and diverse themes of the zaju at that time: "On the one hand, it is the gains and losses of the government's monarch and minister politics, on the other hand, it is the thickness of seven town's brothers, husbands and wives' friends, and even the humanity of medical doctors and Taoist businessmen, all of which are different in foreign customs and languages. "Among all kinds of literary works in the Yuan Dynasty, only zaju works have achieved the highest achievements. According to Luo Zongxin's preface to The Rhyme of the Central Plains in Yuan Dynasty, there is a saying that "Dayuan Yuefu" is also called "* * *" with Tang poetry and Song poetry. According to the phonological style of the Central Plains, the so-called "Dayuan Yuefu" refers to Sanqu and Zaju. Later generations also have this saying constantly, and some even compare Yuan Zaju with Tang poetry and Song poetry. This view reflects that Yuan Zaju is the representative of a generation of art.
Brief introduction of zaju writers in yuan dynasty
Writer temporary storage
1, Zhong Sicheng's Ghost Record divides the authors of Yuan Zaju into three periods:
In the first issue (1234- 1276), there were 57 authors, all of whom were northerners.
The second issue (1277-1340) is "what is known to the public today, what is unknown to the deceased".
The third issue (1341-1367) is about "known people and famous people who don't know".
2. Most researchers divide Yuan Zaju into two periods, with Dade period (1279- 1307) as the boundary. The early period was a period of high prosperity, and the number of writers' works was considerable. At that time, the activity center was in Dadu, and the main writers were Guan Hanqing, Wang Shipu, Ma Zhiyuan and Bai Pu. In the later period, the focus of activities shifted to the south, and the main writers were Qin, Zheng Guangzu and Georgie.
Brief introduction of the writer
Four people in Yuanqu:
Guan Hanqing, life information is scarce. According to the records of ghosts and gods, it is probably a doctor in Yuan Dynasty. He is a dramatist who is familiar with Goulan geisha. He is "naturally charming, knowledgeable, witty and intelligent, and he is the best at the moment" (analysis of Tianjin Record). He was a leading figure in the field of zaju in the early Yuan Dynasty, and he had contacts with writers of zaju, such as Liang and Fei.
He skillfully used the form of Yuan Zaju, and made outstanding achievements in characterization, conflict handling in drama and the use of drama language. In Dou E Yuan, the tricks are concentrated on Dou E from beginning to end. Write her miserable life first, then start her conflict with hooligans, then focus on the oppression of corrupt officials, and finally write her revenge struggle. Before the conflict between Guan Yu and Lu Su started in "Single Knife Meeting", Gong Qiao and Si Mahui set off Guan Yu's heroism at a 20% discount, which made Guan Yu have a strong dubbing effect although he didn't appear. In Wang Jiang Pavilion, Moon Worship Pavilion and West Shu Dream, excellent psychological description opens the window of people's inner world and becomes an indispensable artistic means to shape the main characters.
He is good at refining exciting dramatic plots, omitting minor plots and highlighting major events. In "Dou E Yuan", the miracle that the heaven and the earth changed color after Dou E was beheaded was arranged, but several words about Dou E's marriage and her husband's death were omitted, and no extra ink was wasted.
As an outstanding master of language art, he absorbed a large number of vivid folk languages, cast exquisite classical poems and created a vivid and fluent language style. This is mainly manifested in the personality of the character's language, which is cool and cool, and conforms to the identity of the character. For example, Dou E's Unjust said: "Mother-in-law, on the fifteenth day of the first month of the winter festival, there is not enough rice and water, and paper money can't be eaten in half a bowl. It's up to you to burn a stranger with Dou E. To put it bluntly, there is no trace of processing, which is very consistent with Dou E's status as a kannika nimtragol in feudal society.
Guan Hanqing wrote more than 60 zaju in his life. His tragedy "Dou E Yuan" "deserves to be included in the world tragedy" (in Wang Guowei's words). 1958, Guan Hanqing was nominated as a "world cultural celebrity".
Ma Zhiyuan, the masterpiece Autumn in the Han Palace.
Bai Pu, the masterpiece "Up the Wall at once".
Zheng Guangzu, whose real name is Dehui, was born in Xiangling, Pingyang (now Linfen, Shanxi). His life story is briefly recorded in Ghost Record, which says that he "supplemented Hangzhou Road Officials with Confucianism". People are straightforward and don't make friends with others. Therefore, many men despise them. After a long time, they will see their kindness, which is unmatched by others. He died of illness and was cremated in Lingzhi Temple in West Lake. Every traveler has his own poem. What the public did, I won't go into details, and it is famous all over the world. Linglun people call it' Mr. Zheng' and everyone calls it Dehui. " Zheng Guangzu is one of the most outstanding writers in the second phase of Yuan Zaju, and he is also known as "the Four Masters of Yuan Qu" with Guan Hanqing, Ma Zhiyuan and Bai Pu. There are eight kinds of zaju 18, such as "Away from the Soul", "Fragrance of Crepe Plum", "Wang Can Climb the Tower", "Yi Yin Hold the Soup", "Duke Zhou Regent", "Three Wars Lyu3 bu4", "Broken Chain Without Salt" and "Laojuntang". Among them, Away from the Soul is his masterpiece, a love drama, based on tang legends, which has a certain influence on the Peony Pavilion written by Tang Xianzu in the Ming Dynasty. Good at writing, Zhu Quan rated him as "the jewel of nine days" in the early Ming Dynasty. ("Taihe Zhengpu")
Yue Bochuan, a native of Jinan, talks about Zhenjiang. Life story is unknown. He wrote two kinds of zaju, Tie Guai Li and Yang Guifei, and now there is a Tie Guai Li.
Li Shouqing is from Taiyuan. He used to be a general and then a county magistrate. There are ten kinds of zaju, two of which are: cooking Xiao in the Dance Garden and cooking in Liu Du. Jia's inscription for it said that it "spread widely to Yanfu, 400 States, and gained a brothel with a fragrant name." It shows that his plays were widely circulated at that time and won the respect of brothel artists.
Li Ganfu was born in Jiangzhou (now Xinjiang County, Shanxi Province). Jia Gua said in a poem: "Jiangzhou is a high-ranking Tibetan Li Gongqian, who is covered by a reading door." Green mountains, green waters and white clouds are nothing. Insert toothpicks in the slender library to study the points of Zhouyi, including salt. It can be seen that Li Ganfu was a hermit in the early Yuan Dynasty, and what he wrote was a kind of "grey orchid", which exists today.
Shi Zizhang was born in Liucheng (now Chaoyang, Liaoning). After Shi Jin, he went to the Western Regions. Make friends with Yuan Haowen. There are two kinds of zaju, rain beating bamboo window and listening to bamboo dock piano.
Today, Qin Ting has a bamboo house.