History of Yuan Dynasty Drama

Author: Li Xiusheng
Publisher:
Publishing Date: 2002-04-01
Features: The Yantai Stage of the Houti Temple in Gudao Village, Hejin, Shanxi Province, is located in the Houti Temple in Gudao Village, 15 kilometers north of Hejin City, Shanxi Province. It was first built in the first year of the Yuanzhen era (1295) and has been renovated multiple times during the Ming and Qing dynasties, but still retains its Yuan Dynasty architectural style. The stage is located in front of the main hall of the temple, facing south, with a platform width of 7.3 meters, height of 1.36 meters, and depth of 8.95 meters. The wooden structure of the stage was renovated in the 12th year of the Qianlong era (1747) of the Qing Dynasty.
Yantai Stage of the Erlang Temple in Dongcun, Yongji, Shanxi Province
The stage is located in the Erlang Temple in Dongcun, 35 kilometers north of Yongji City, Shanxi Province. It was first built in the second year of the Zhizhi era (1322) of the Yuan Dynasty and has been renovated multiple times during the Ming and Qing dynasties. Although there were some modifications, it basically maintains its original appearance. The platform height is 1.3 meters, width 10.4 meters, and depth 8.5 meters, while the stage itself is only 8.4 meters wide and 6.5 meters deep, in a rectangular shape.
Yantai Stage of the Qiaozemo Temple in Wuchi Village, Yicheng, Shanxi Province
Wuchi Village is located 7 kilometers south of Yicheng County. The stage is one of the auxiliary buildings of the Qiaozemo Temple. Qiaozemo is the god of water. The stage was first built in the first year of the Taiding era (1324) and was renovated in 1985 to restore its original appearance. The stage has four columns, with a width of 9.1 meters from east to west and a depth of 9 meters from north to south. Two auxiliary columns were added at the back, and one auxiliary column was added on each side. The two corner columns at the back and the four auxiliary columns are enclosed by a wall, forming the backstage.
Yantai Stage of the Dongyang Village Dongyue Temple in Linfen, Shanxi Province
Dongyang Village is located 15 kilometers north of Linfen City. The stage is one of the auxiliary buildings of the Dongyue Temple. The stage is located outside the temple gate and has a cruciform hip-and-gable roof. The distance between the corner columns of the front stage is 7.62 meters, the width of the back stage is 7.12 meters, and the depth of the stage is 8.8 meters. The upper part of the left front corner column is inscribed with the characters "Year and Month of the fifth year of the Zhizheng era, local craftsmen Wang Qie and Wang Er," indicating that the stage was built in the fifth year of the Zhizheng era (1345).
Yantai Stage of the Dianshan Temple in Zhangjiahe Village, Qianshan Township, Shilou County, Shanxi Province
The stage is located in the Dianshan Temple in Zhangjiahe Village, 45 kilometers west of Shilou County, Shanxi Province. The Dianshan Temple is also known as the (). The stage is located inside the temple gate and faces the main hall. According to the records of a damaged stele in the temple, the temple and the stage were built during the same period of the Yuan Dynasty (1341–1368) or specifically in the seventh year of the Zhengzhi era (1347). The stage faces south and has a brick-and-wood structure, with a width of 5.21 meters from east to west and a depth of 5.27 meters from north to south, making it the smallest surviving Yuan Dynasty stage.
Yantai Stage of the Sisheng Palace in Cao Village, Yicheng, Shanxi Province
Cao Village is located in the deep mountains, 60 kilometers southeast of Yicheng County. "Four Saints" refers to Yao, Shun, Yu, and Tang. The stage faces south and has a nine-gable single-eaved hip-and-gable style. The distance between the corner columns of the front stage is 6.7 meters, and the depth of the stage is 7.2 meters. There is one auxiliary column inside each of the two side walls, indicating that the front stage is 4.7 meters deep and the back stage is 2.5 meters deep. It is said that the stage was built during the Yuan Dynasty (1341–1368).
Yantai Stage of the San Guan Temple in Yuncheng, Shanxi Province
The stage is located in Sanluli, 33 kilometers north of Yuncheng City, Shanxi Province. It was originally one of the auxiliary buildings of the San Guan Temple. The temple has now been destroyed, leaving only the stage. The stage was built during the Yuan Dynasty, and its current appearance was restored during the Ming Dynasty, with some parts still retaining the Yuan Dynasty style. The stage is 10.5 meters wide and 8.2 meters deep, with a platform height of about 1.3 meters. The roof is a single-eaved hip-and-gable style. The square stone columns on both sides of the front stage extend directly to the bottom of the platform and are exposed, which is different from other Yuan Dynasty stages.
Yantai Stage of the Dongyue Temple in Wangqu Village, Linfen, Shanxi Province
Wangqu Village is located on the west bank of the Fen River, 15 kilometers north of Linfen City. The stage is one of the auxiliary buildings of the Dongyue Temple. The stage was originally from the Yuan Dynasty and has been renovated multiple times. The width of the stage opening is 6.76 meters, the width of the back stage is 6.4 meters, and the depth of the stage is 8.4 meters.
Additionally, according to the "Stone Mouth of the Dance Hall" stele from the Ji Wang Temple in Tai Zhao Village, Wanrong County, Shanxi Province, which records the villagers' construction of a dance hall, it is the earliest known Yuan Dynasty stage to be built, although the existing stage was renovated in the 10th year of the Republic of China (1921). Also, a photograph of the Yuan Dynasty stage in the Houti Temple in Siwang Village, Wanrong County, Shanxi Province, preserved in the 1932 Beijing (formerly known as Beiping) Exhibition Hall, is still available. This stage has been destroyed. According to Professor Liang Sicheng's review, it is a building from before the Ming Dynasty.
A theater needs a performance venue to connect the actors' performance with the audience. A space where actors can perform and the audience can watch is indispensable. Moreover, the overall scale, structural form, and performance conditions of the theater are closely related to the artistic characteristics and development level of the drama. From the above information, Yuan Dynasty theaters were already complete buildings, a product of the development of the guolán (a type of mobile theater) to a certain stage. At this point, the form of Chinese opera theaters has basically taken shape.
From the surviving Yuan Dynasty stages in the above regions, these stages have square or nearly square plans. The largest surviving Yuan Dynasty stage is 94 square meters, while the smallest is less than 19 square meters, with most being around 50 to 60 square meters. From the exterior, they resemble "clock towers." A supporting column is set at one-third of the back of each side of the stage, and a canopy can be set between the two supporting columns, dividing the stage into a front stage and a backstage. In the early Yuan Dynasty, there were no side walls on both sides of the front stage, allowing for three-sided viewing; in the middle and later Yuan Dynasty, side walls were added to both sides of the stage, forming a three-walled architectural style. The front stage is where performances and musical accompaniment take place; the backstage is called "xiufang" (), where actors change costumes and rest. The doors for entering and exiting the stage are called "gumen" () or "guimendao" (). Most theaters were open-air, with some even having sloped seating. Outside the theater, colorful "paper banners" (also known as zhaozi, meaning posters or advertisements) were posted before performances, listing the names of the main actors and the titles of the plays. In some places, the performance location was also written. People outside the theater would recruit audiences and charge fees. Canopies were hung above the stage, listing the troupe's name and the names of the main actors, such as "Taihang Sanle Zhongduxi is performing here." Some also hung embroidered curtains. Before performances, flags, divine banners, and (kàobèi) were arranged; female actors would sit in formation facing the audience; the accompanying orchestra would continuously play music to attract the audience.
(3) Actors of Yuan Dynasty Opera
The role division in Yuan Dynasty opera changed significantly compared to Song Dynasty opera and Jin Dynasty yuanben, becoming more detailed and distinct, with clear distinctions between main and supporting roles. In a single play, the main character is the zhengse (), the male lead is the zhengmo (), and the female lead is the zhengdan (). In Yuan Dynasty opera, only the zhengse sings, while the zhengmo sings in plays like "Single-Blade Meeting," and the zhengsi sings in plays like "Adjusting the Wind and Moon." The zhengmo and zhengdan can be played by the same actor, as evidenced by the numerous actors in "Qinglou Ji" who are skilled in both zhengsi and zhengmo roles. Therefore, Yuan Dynasty opera actors can be summarized as "one role, many feet."
In addition to the zhengse, there are jing () and za (). Later, there were also fumo (), wai mo (), wai dan (), tie dan (), and chou (). The za roles are not categorized by profession, such as xiaosuan (), bolo (), bo'er (), lai'er (), bang lao (), gu (), ziqong (), zuzi (), and yela (), etc.
The Yuan Dynasty opera murals in the Mingying Wang Temple in Hongtong County, Shanxi Province, depict 11 characters. One character is peeking through the curtain at the stage door on the left; five characters in the back row, some in Yuan Dynasty attire, some in makeup, holding musical instruments and props, are either part of the orchestra or attendants, while others play supporting roles. Five characters in the front row are dressed as actors. The central character in the front row wears a (zhǎnkai fútóu) with wings, a round-collar wide-sleeved red robe, and holds a court scepter in front of them, making a respectful gesture. This is the zhengse, likely played by the female actor Zhongduxi, who plays the zhengmo role, or "zhengmo" if she plays the zhengdan role. The second person to the left of the front row wears a soft silk hat and a bordered yellow open-fronted robe, with thick eyebrows and a white eye circle, stretching their neck and mouth, revealing their chest, standing sideways with hands raised in a pose, likely the jing role. The second person to the right of the front row wears a wrapped fútóu, a round-collar blue robe, and black boots, with three beards hanging down, standing with hands clasped, possibly the fumo role. The third person to the left wears a Tang-style hat, a round-collar blue robe with a rolling yellow dragon embroidery, and black leather boots, lifting the corner of their robe with one hand and holding a fan with the other, posing as a ziqong, likely a zhengdan role, belonging to the za category. The third person to the right wears a wrapped fútóu, a round-collar yellow robe with crane patterns, holding an ceremonial knife in both hands, posing as a servant, also likely a za role. The central character in the back row has a frowning brow and a full beard. The third person to the right in the back row is dressed as a woman, holding a fan in her left hand, all likely za roles. This largely reflects the role divisions in Yuan Dynasty opera.
The facial makeup of Yuan Dynasty opera actors is richer and more detailed than that of Song and Jin Dynasty opera, showing further differentiation in the makeup of zhengmo, zhengdan, jing, and their subcategories. The zhengmo in Yuan Dynasty opera, in addition to their natural face and powder makeup, also has red and black makeup. For example, in the Yuan Dynasty opera murals in the Mingying Wang Temple in Hongtong County, the zhengmo is dressed in a handsome style with powder makeup, but has a small white butterfly-shaped powder patch between their nose bridge, as a mark to distinguish them from real officials when actors portray officials. The jing role has a clownish powder makeup with a clear white circle around their eyes and nose, with ink-stained eyebrows. The fumo and za roles also have face paint and eye makeup, but they are clearly different from the main roles. The costumes are elaborate, and from this mural, one can also see the traditional stylized and decorative nature of opera costumes.
(4) Script System
Yuan Dynasty opera produced a literary script that combined rhyme and prose, forming a complete structure. It was also the performance script of Yuan Dynasty opera, the music performed on stage. Therefore, when Japanese scholar Seiji Aoki visited Wang Guowei and expressed his intention to study Ming Dynasty opera, Wang Guowei said, "There is nothing worth taking after the Ming Dynasty; Yuan opera is a living literature, while Ming and Qing opera is dead literature." While the Ming and Qing dynasties were the peak periods of Chinese opera art, in terms of the close relationship between Yuan Dynasty opera scripts and performances, this statement is not without reason. To adapt to Yuan Dynasty opera performances, the script system of Yuan Dynasty opera had its own unique characteristics and certain conventions.