死水微澜010
Ripples in the Stagnant Water011
欲海狂潮082
Raging Waves in the Sea of Desire083
目连之母142
Mulians Mother 143
尘埃落定208
Red Poppies 209
下 卷
Volume 2
庄子与田氏002
Zhuangzi and Tianshi 003
马克白夫人072
Lady Macbeth 073
马前泼水088
Spilling Water in Front of the Horse 089
红梅记160
The Story Under the Plum Blossom Tree 161
徐棻戏剧出版物一览220
Overview of Xufen.s Published Dramas 221
1. Sichuan Opera and Chinese Opera
Sichuan Opera chuanju is a type of Chinese Opera xiqu, a style of theatrical performance unique to China. Chinese Opera was formed in the Yuan Dynasty; in 1240 these melodic qu plays xi were first designated, giving the form a history of over 700 years.
Chinas territory is vast. Because of the differences in regional dialect and folk music styles, over 360 different kinds of regional Chinese Operas difang xi have formed. These regional Chinese Opera styles are named after their place of origin; for example, Beijings Chinese Opera style is called Beijing Opera jingju, Sichuans Chinese Opera is called Sichuan Opera chuanju. Sichuan Opera is one of Chinese Operas ancient forms, with over 280 years of history.
Despite differences in dialect and music, each of the regional Chinese Opera forms is a composite art form, similarly consisting of dramatic literature, orchestra and percussion, vocal work and dance, aesthetics, martial arts, acrobatics and more. This high degree of comprehensiveness is one of the Chinese Opera art forms special characteristics. On the foundation of this key characteristic, each regional Chinese Opera form has developed its own geographic personality.
Because of the importance of music in Chinese Opera, Westerners have used the term opera in Chinese： geju, ge musical, ju theatre to translate Chinese Opera in Chinese： xiqu, xi plays, qu melodic, making jingju（ jing from Beijing, ju theatre into Beijing Opera and chuanju chuan from Sichuan, again, ju theatre into Sichuan Opera. However, what is called Chinese Opera and what is understood by Western Opera are two different art forms.
Chinese Opera is a kind of highly composite folk art. Through the organic composition via actors body of singing chang, reading nian, doing zuo, fighting da, and dance wu, Chinese Operas composite nature is most comprehensively and prominently reflected. Singing refers to the actors singing; reading refers to recitation; doing refers to physicality and expression; fighting refers to battle and combat actions; dance refers to performance of a characters emotions or dance within the dramas scenes. Through a combination of the means singing, reading, doing, fighting, and dance, Chinese Opera is presented as a strongly form-based drama; thus, Sichuan Opera should also be considered a strongly form-based drama.
2. Chinese Opera and Sichuan Opera／chuanju and its mime, codification, and freehand aesthetic
The Chinese Opera stage is one that for the most part does not use scenic backgrounds. The establishment of the theatrical environment is done through the activities of the characters. When the characters are on stage performing, the stage will have a scenic environment; after the characters exit the stage, the stage is simply an abstract space. For example, a person enters the stage, says he is coming into the city; thus, the city is on the stage. Afterwards, he says he wants to leave the city and cross a river. At this point, he moves from one side of the stage to the other; now the environment onstage has changed to a riverside. At this point, a boatman rowing an oar enters; now the environment onstage is a riverside where a small boat has arrived. The man makes a jumping motion as if jumping on to the boat, and the boat man begins to use movements indicating rowing again; now the environment onstage is that of a boat moving down a flowing river. From the above description you can see one of the most important features of Chinese Opera is its non -material based mime. Through the performer.s movements and text, the time and space of the stage is expressed, as well as the transformation of said time and space. Sichuan Opera and all other regional Chinese Opera forms all use this
kind of performance style. In recent decades, Chinese Opera stages have begun to use scenic elements. However, these scenic elements all strive to not affect the performers mimed performance.
Mimed actions within Chinese Opera performance of course are different from everyday actions. For example, in the description above, the actions of walking, boarding the boat, rowing, etc., all must adhere to the codification of Chinese Opera. Codification, then, is the process of taking everyday actions and refining them, generalizing them, aestheticizing as well as forming them to have a more exaggerated, dancelike specification. Chinese Opera performers, when performing daily actions on stage such as closing a door, ascending a staircase, opening a window, riding a horse, rowing a boat, walking, fighting, marching every move of a character, their every facial expression all use a fixed codification for said actions. This codification is a performance rule every Chinese Opera artist must obey; it is the basic skill set of a Chinese Opera performer, just as a ballet dancer must have strong toes, good lift, and solid jumps, and every performer must receive strict basic skill set training. Those performers without this basic skill set cannot perform Chinese Opera. Whether one.s basic skill set is strong or weak will determine a Chinese Opera performer.s artistic quality.
Although the codification of Chinese Opera performance is fixed and standardized, it does want to be combined with everyday realism. For example, as one is performing the codified action of rowing a boat, the boat is mimed but the oar is real. When performing the codified action of riding a horse, the horse is mimed but the horsewhip is real; the attitude of the performer rowing the boat or whipping the whip, atop the boat or on horseback must adhere to the codification of Chinese Opera but at the same time must also adhere to one.s feelings in everyday life. Through the actor.s body and facial expression, codified actions come to be called
physicality shenduan.
Chinese Opera has an expression that reads three steps, five steps to walk all across the world. When a character in a Chinese Opera piece uses text to indicate that he is going somewhere, and at the same time moves from one side of the stage
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