Huang opera research

Author: Chen Jianyi / Country: Mainland China
Publisher:
Publish Date: 2006-06-01
Features: Hang Opera, a local opera genre of Hangzhou. It was once popular in the water towns of Hangzhou, Jiaxing, and Huzhou, as well as southern Jiangsu. It originated from Hangzhou Quyi Xuanjuan and had a lifespan of only half a century from its birth to decline. Hang Opera and Xuanjuan Hang Opera originated from Xuanjuan. Xuanjuan is a quyi genre, where monks or believers in Jiangsu and Zhejiang regions would recite "Baojuan" as "Xuanjuan." According to the entry in The Dictionary of Chinese Opera and Quyi, Baojuan traces back to the "secular lectures" of the Tang Dynasty and the "sermons" of the Song Dynasty. The themes were mostly Buddhist stories and edifying scriptures, promoting karma and retribution, so it was often called "scripture" in its early days. In Jiangsu and Zhejiang, reciting Baojuan was referred to as "Xuanjuan." Xuanjuan emerged professional performers in the Qing Dynasty. The sitting performance was mostly sung by multiple people, though there were also solo performances. During the Tongzhi and Guangxu years of the Qing Dynasty, it spread to Hangzhou. Initially, it had strong religious connotations, with content often focused on preaching Buddhist doctrines and encouraging people to do good. Later, it gradually evolved into folk storytelling art. The main repertoires include "Ping" (Taipingji Baojuan), "Pa" (Pipaji Baojuan), "Tai" (Huaibaitai Baojuan), and "Pa" (Shiluo Baojuan), as well as Selling Oil Lad, Pearl Pagoda, and Double Treasure Map. According to old artists, Hangzhou Xuanjuan was a storytelling form popular among silk weavers in the late Qing and early Republican era for self-entertainment. Due to its simple and popular lyrics and melodies, it was quickly embraced by the masses and became widely popular both inside and outside Hangzhou. At the time, Buddhist followers in Hangzhou were said to celebrate the birthday of Guanyin Bodhisattva three times a year: the 19th day of the second, sixth, and ninth lunar months. Male and female devotees would visit temples to worship Guanyin. To compete for the "first incense," many stayed overnight in the temples. On these long nights, to alleviate loneliness, the temple attendants (xiangtou) would invite Xuanjuan singers to sit around square tables in front of the Buddha hall and recite from the scripts. They would begin with joyful songs like The Eight Immortals Celebrating Longevity, then transition to main repertoires like Pearl Pagoda. The recitation resembled a Buddhist chant, without instrumental accompaniment, only beaten with wooden clappers for rhythm. Due to its popularity, numerous Xuanjuan groups were established. Later, wealthy families hosting celebratory banquets also loved to invite Xuanjuan groups to perform. For a time, Xuanjuan became a highly favored quyi form in Hangzhou, laying a solid foundation for its later development. In 1923, the Hangzhou Daxi World Amusement Park was completed. It invited various opera troupes, including Peking Opera, Yang Opera (Weiyang Wenxi), and Shao Opera (Shaoxing Daban), to perform. Among them, Yang Opera rarely appeared before Hangzhou audiences, but its simple and easy-to-understand lyrics and melodies were very popular. Xuanjuan singers and silk weavers like Qiu Fengchun befriended Yang Opera artists and learned that Weiyang Wenxi had evolved from Yangzhou Flower Drum and Yangzhou Qingqu. Inspired by this, they believed Xuanjuan could also be adapted to a stage performance format like Yang Opera. Thus, Qiu Fengchun, along with Jin Yuohong, Fang Zhipeng, and Jiang Jinfang, initiated the organization of a troupe called Min Yue She (People's Music Society). The society was officially established in August and began rehearsals at Zhong'an Bridge. In 1924, at Hangzhou Daxi World Amusement Park, they gave their first public performance of Selling Oil Lad Takes the Flower Beauty. The music incorporated not only the original Xuanjuan tunes but also singing styles like Shuzhuangtai from Yang Opera. For the first time, they used the huqin, sanxian, small cymbals, and drumbeats for accompaniment. Due to its innovative content and form, the play was deeply loved by the audience and called "costumed Xuanjuan." Because Hangzhou was historically known as Wulin, the troupe was named Wulin Ban. This marked the birth of Hang Opera. P1-3