Quanzhou's Liyuan opera may be one of the oldest existing form of Chinese opera in China, but it doesn't mean that they are so traditional to the point they become old-fashion. At least not in terms of character makeup (costume and hairdo). Instead of spotting regular "datou" on female roles as in more traditional opera genres like Peking opera and Cantonese opera, Liyuan opera had gone through a fair bit of "cosmetic surgery" to inject some modern elements in their character portrayal. Below are some pictures taken during Fujian Liyuan Opera Experimental Troupe's performance at Taiwan earlier this year. The troupe performed an excerpt from "Li Yaxian" for the opening of Koxinga Festival.
Actually, the "datou" system of hairdo has not been completely removed from Liyuan opera, but their style of "datou" is very different from other opera genre; some featured sharp pointed fringes, some had slanted gelled fringes, and typical the actors do not decorate their hair as elaborate as other opera genres, hence creating a more minimalist and elegant look. Here are some other character portrayals from other shows by the same troupe.
Fans of Hokkien Gezi opera will not be unfamiliar with "The Three Scholars of the Zhang Family" (一门三进士), as it's considered a gem of the genre, and has been an all-time favourite among local Gezi opera lovers.
This show, however, is seldom performed in Xiangju version. Today, I was lucky to find one on Tudou.com. There're 2 surprising points to note: it's performed by a Xiangju opera troupe from Quanzhou (Quanzhou is not a strong base for Xiangju, to start with), and secondly, the songs sung are exactly as they were in the Yang Lihua version decades back. Of course, however, their songs have more Xiangju feel, for afterall this is Xiangju and not Gezi opera. Although this troupe came from Quanzhou, they do not spot the typical Quanzhou accent as like in Gaojia opera, Liyuan opera or Dacheng opera. The reason for this was because Xiangju opera spread there during the period of time when Xiangju master Shao Jianghai was recuperating in that region. Shao Jianghai started teaching Xiangju opera there, and since he had stayed in Zhangzhou long enough, naturally he spotted a Zhangzhou accent, and his students picked up this characteristic as well.
This piece is taken from Liyuan opera titled "Zhu Bian", which tells the story of a Song dynasty official Zhu Bian, who was sent to the Jurchen kingdom on a foreign diplomacy mission and was forced by the Jurchen King to marry the Princess. When Zhu Bian refused, he was locked up, and after being persuaded by the palace maids, he finally agreed to marry the Princess, but only in name. For sixteen years, Zhu Bian and the Princess maintained a brother-and-sister relationship, and upon seeing that Zhu Bian was utterly unmoved by power and riches, the Jurchen King finally decided to let him return to his homeland. This piece of music is the duet between Zhu Bian and the Princess before Zhu Bian set off back home.
Rough English translation: (Zhu Bian:) Thank you Your Highness, for the kindness you've showered upon me, I, Zhu Bian, will never ever forget. (Princess:) Remember the day when you appeared in front of my chateau, I've fallen in love in you, and hoping that both of us will be married, But who would have thought that we will get separated as like today. (Zhu Bian:) There's nothing I can do, To repay Your Highness' deep love for me. (Princess:) My Lord, please do not forget, The deep relationship we had for the past 16 years, For we will not be able to see each other again, other than in our dreams.
Nanyin music, the classical music of the south, has got a history of about a thousand years or so, and is the oldest and most well-preserved musical form known to the Chinese presently, which still showed musical influences from the Han, Jin, Tang and Song dynasty. Quanzhou is the hometown for this form of music, otherwise known as Nan Guan, and every evening, such musical performances would take place all over the city in the major parks.
This is one of the pieces from a Nanyin ensemble performing next to Quanzhou cultural centre on one of the evenings I was there, titled "Why Did I?" (我为乜). This is a classical piece from the folk story of "Qin Xuemei", whereby unwedded widow Qin Xuemei (and her in-laws, I supposed) were lamenting that Shang Luo, the son of Qin's unwedded husband with another woman, is becoming unfilial and scolding Qin for punishing him when he's not even Qin's biological son.
Rough English translation: (Qin Xuemei:) Why did I ended up in such loneliness, Staying chaste and enduring all hardship just to make sure you grow up to be a useful person? Because of you I've chosen to remain as an unwed widow, But hearing you say such hurtful words today makes me feel like giving up all hopes.
(Shang Lin's parents:) What an unfilial grandson you are, making your mother angry, Our Shang family has got only an offspring in you, If you're to meet with any mishap, Who are we, your grandparents, going to depend on? (Qin Xuemei:) Shang Lin my husband, why did you pass away so early and made both of us your widow; How can you bear to leave us alone in this world? Jade must be polished to become useful; I have no choice and I'm not allow to cry, All I can do is to cry behind the backs of other people. (Shang Lin's parents:) Look at Shang Luo reminds me of my son Shang Lin, But alas, he's no longer around. The only way to see him again is only in my dreams.
Fujian province is one of the major Chinese opera districts in China as there're more than 30 different Chinese opera genres, both major (Liyuan opera, Puxian opera, Gaojia opera, Xiangju opera, Teochew opera) as well as minor (Zhuma opera, Dacheng opera, Siping opera, etc.)
Dacheng opera (打城戏), also known as the "Priests' opera" or "Monks' opera" (师公戏, 和尚戏), was originally a form of religious ritual performed during funerals or Hungry Gohst Festivals. The priests and monks would perform in front of a paper tower built in the form of a city tower, and hence got it's name. According to historical data, this form of opera was formed at the start of the last century, but it's origin dates back to as far as the Ming dynasty. It has the essence of Nanyin music as well as southern Shaolin martial stunts, truely one of the rarest form of opera still present.
Sad to say, due to various reasons, Dacheng opera now has got no professional nor government sponsored troupes, and it seemed that there was only one surviving amateur troupe left in the whole of China. However, all is not lost; earlier this year, the Dacheng opera performed "Mu Lian Saves His Mother" in a performing arts festival in India and clinched the highest award. This show, which had roots in India, was the hot topic during the festival, and news of the opera troupe were constantly being reported in the local papers and television. Well, it seemed like a light at the end of the tunnel of this opera genre!
Quanzhou's string marionette show has been regarded as one of the best forms of puppetry in China. No only are the puppeteers able to make the marionettes mimic human actions, they're good at doing innovative stunts like "face changing" and martial stunts.
The video clips are taken from marionette show "The Fiery Mountain". This is a famous excerpt from "Journey to the West", telling the tale of how Monkey God Sun Wukong tried to borrow a banana leaf fan from Princess Iron Fan to fan out the flames from the Fiery Mountain, but was rejected as the latter was still sore at Sun Wukong caused her son, the Little Red Boy, to be captured away by the Goddess of Mercy. Note that although all the classic elements of Quanzhou puppetry, from puppet movements to music, are present in the show, the songs and dialogues are actually in Mandarin.
