| Summary: | 博士 === 國立中興大學 === 中國文學系所 === 99 === This study aims to delve into Mu-Lian Opera of the Ming and Ching dynasties in Chinese history. Aside from preface and conclusion, this paper consists of five chapters.
Chapter 1 describes general situation of spreading and performance of Mu-Lian Opera during the Ming and Ching dynasties. The study was conducted based on geographical areas, with the contents covering theatrical troupe performance, vocal characteristics, scope of performance, preserved stage edition and theatrical program. In the wake of upsurge in the study of Mu-Lian Opera, large amounts of data collected from Jiangxi, Hunan, Sichuan, Anhui and Zhejiang witnesses the performance of the opera to be extended to the late Ching Dynasty and the early years of the Republic of China that especially thrived in central China.
Chapter 2 discusses subject matter and contents, plot strands, guan mu (plot of a play extended in meaning as rendition) and different ideological purposes between the folk interpretation and that of the imperial court. Mu-Lian Opera is characterized by its complex themes which feature contents not connected with Mu-Lian Zhuan, vertically extended forwardly to the tales about father and grandfather of Luobo (Mu-Lian’s childhood name) and backwardly to life after reincarnation. Those horizontally-collected small plays popular then were incorporated into Mu-Lian Opera through a sort of causality. In response to 49-day Luotian Grand Sacrificial Ceremony, gods and spirits and historical romance were combined into the beginning and latter part of the opera that the “main plot strand” of Mu-Lian rescuing his mother from the underworld was the central part of the play. There are two “secondary plot strands” of Zhang You-da and Cao Sai-ying in the version by Zheng Zhizhen. Puxian theatre version, Henan Opera and version of imperial court also developed reversed plot strands that made the story more colorful and rich. Guan mu, which means “key plot,” of Mu-Lian Opera and that which is similar to romances of the Ming Dynasty were then analyzed. The analysis indicates that different aesthetic tastes can be embodied in the contrasts between distinctive traits of folk interpretation and those of imperial court interpretation. This chapter further discusses the official-civil ideological interest from the perspectives of philosophy of compilation and plot arrangement.
Chapter 3 emphasizes literary aspect of Mu-Lian Opera. Lyrics and dialogue were induced and organized respectively to see genres of folk literature covered by Mu-Lian Opera and characteristics of rhetoric and writing prior to delving into the methods of revision changes by imperial court on folk literatures. Different folk literatures were incorporated into the scenario, including folk songs and proverbs which could be inserted into the opera at any moment and had commentary effect that there was no close correlation with scenario content. The incorporation of tag lines and couplets popular by civilians that required writing skills into the plot produced close match. This chapter further expounds on four literary characteristics of folk Mu-Lian Opera: local and folk languages, nimble and ebullient imagination, simplicity is better than rhetoric, and complicated contents and ideology. After being introduced to the imperial court, the opera interpreted in simple words was then revised on the parts of ideology, situations and aesthetic value which did not meet the demands of the imperial court, with most of the folk words preserved. The preserved parts of lyrics and dialogue were polished by being transformed into the style of courtly wealth and power.
Chapter 4 probes into the aspects of folk customs and sacrificial rites. In terms of its wide range, sacrificial ritual is one part of folk customs. The motive for Mu-Lian Opera performance in one village during regular season would indicate the cognitive perspective of Mu-Lian Opera in its function of being to drive away evil spirits. The function was extended to delivering the performance in celebration of the birthday of deities, or making a vow to the gods and performing it, and performing Mu-Lian Opera to remove impending ill fortune after the inauguration of a new stage from which the purposes for peace and auspiciousness was derived. The aspect of sacrificial rite expounds building altar and stage before the performance that date and sector selection for base, material selection and layout embodied the folk beliefs. Sacrificial activities held before the start of Mu-Lian Opera performance included inviting deities to make the circuit of villages, running bamboo horse dance on and off the stage and play of zhen tai (ghost suppression) on stage to announce the start of the performance. The ceremony of sending off the deities would be held after the end of the performance. The festivities of folk customs further derived from a long run of Mu-Lian Opera, such as sacrificial offerings including sacrificial pitchfork, seeing son off and exorcism by Wen Tai Shi (Grand Tutor Wen) that varied from place to place during the performance. This performance reviving the ancient folk customs of eating black rice further generated plentiful Mu-Lian-related common sayings, and even Ching Ti Town in Sichuan was determined as Mu-Lian’s native place. Despite the fact that there was no relation between Mu-Lian Opera and Nuo Drama in the past, the former one nowadays is deemed as Nuo Drama as this chapter discusses “Nuo culture” of Mu-Lian Opera in deity greeting, function of play and witchcraft.
Chapter 5 focuses on artistry of Mu-Lian Opera. This chapter starts with the analysis of role types in Mu-Lian Opera in each area as well as the different role requirements in singing, speaking, acting and acrobatic fighting. This part aims to explore the artistic requirements on singing, speaking and acting in Mu-Lian Opera and brilliant “acting and acrobatic fighting” as well as discuss the close relationship between acrobatics and plot. Performance on the stage set up in imperial court and rules of propriety and the temporary stage set up on civil plaza thus manifested different performance styles of Mu-Lian Opera. Folk performance removed the limit of onstage and offstage performance at times that hustle and bustle atmosphere would never been a scene in imperial court. The application of paper offerings and fireworks craftsmanship to decorate stage or embellish drama performance operated in coordination with mise-en-scène, while performance of Mu-Lian Opera in civil plaza, theatre and imperial court generated distinguishing features respectively.
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