Wanfa Drama

Author: Zhang Zhijiang
Publisher:
Publishing Date: 2004-10-01
Features: "Zhonghua Wanjia Shu" is rooted in Chinese tradition while embracing human civilization. It comprehensively organizes, re-examines, annotates, and appraises classic works, classifying and compiling them for serial publication. It is the first massive cultural project in Chinese history independently operated by scholars and intellectuals. Unlike the imperial nature of the "Siku Quanshu," "Zhonghua Wanjia Shu" reaches households across the nation, allowing everyone to benefit from its pages. This enables the deep-rooted dissemination of outstanding Chinese culture, enhances the quality of the nation, and reshapes the spirit of the people. "Zhonghua Wanjia Shu" is a premium publication conceived and planned by the renowned young scholar Li Angang, meticulously edited by Daliying Studio, and vigorously produced by the China Social Sciences Press. It is a crystallization of collective wisdom among Chinese traditional culture scholars at home and abroad. We cordially invite fellow patriots to join in this grand endeavor.
Chinese opera, alongside ancient Greek drama and Indian Sanskrit drama, is known as one of the world's three oldest theatrical traditions. To this day, it continues to flourish with artistic vitality. Born from the "Le" (music and dance) of the pre-Qin period, Chinese opera evolved through various stages—Han and Wei period's "Baixi," Tang and Song dynasty's "Zaju," Northern and Southern Song opera, Ming and Qing dynasty's "Chuanqi," and the local operas of the 17th and 18th centuries. It gradually developed into a highly integrated art form blending literature, music, dance, fine arts, and craftsmanship, accumulating millions of artists and works. It is both a profound synthesis of time-based and space-based art and a harmonious fusion of epic and lyrical art.
Chinese opera is composed of lyrics, spoken dialogue, and actions, with music at its core, hence it is also commonly referred to as "qu" (lyric drama). Zaju employs Northern tunes, characterized by a bold and majestic style. The script structure is based on the "zhé" (act), with one play consisting of four zhés, each zhé featuring a set of Northern tunes, collectively known as the "Four Great Northern Tune Sets." The dan (female role) or mò (male role) sings throughout, referred to as a "danben" (dan-centric play) or "moben" (mò-centric play). Southern opera and chuanqi, however, use Southern tunes, with a more graceful and tender style. The "chu" (scene) serves as the basic structural unit, with scenes ranging from seven to even dozens. While primarily centered on the sheng (male role) and dan, all performers on stage can sing, introducing forms such as duet, ensemble, chorus, unison singing, and linked singing. Later, "mixed Northern and Southern tunes" sets also emerged. Most local operas adopt a scene-based structure, with "scenes" becoming the script's basic unit, differentiated by weight and length. These are often based on a single tune with variations in rhythm, resolving the conflict between the earlier linked-tune format and the dramatic structure of opera.
The script is the foundation of Chinese opera performances, with its main body consisting of lyrical texts composed of poetry, lyrics, and tunes, collectively known as "quwen" (lyric literature). The prosperity and brilliance of Chinese quwen literature are closely tied to the rise of capitalism in China, naturally reflecting many characteristics of the social transformation. For instance, the aesthetic preference for the ordinary, shifts in values, the prominent expression of modern romantic consciousness, and the persistent and heightened sense of urgency among intellectuals regarding historical mission and social responsibility—all are vividly embodied in the works.
This anthology selects eighty-six zhés (acts, scenes) from the vast body of zaju, southern opera, chuanqi, and local operas spanning over seven hundred years. For the convenience of readers, each piece includes author introductions and annotations. Since zaju originally lacked titles, the editor added them for consistency. During the selection and annotation process, reference was made to relevant publications, and valuable insights were gained from opinions of fellow experts.