The third aria is “Jade branches”.
In the aria “Jade branches” her mood changes from hope to despair:
also using eye expression, movement, and voice.
Using these actions to portray this section.
While singing the last line of “Yellow bean leaf” (previous aria)
“…my dreaming soul in turmoil”.
Look at the fan…
the mood changes with the drop (of the fan).
“…my dreaming soul in turmoil.” She looks around.
The surrounding is not right; it changed.
“Searching all over, everything has disappeared.
That peony pavilion, herb peony railing…
such desolation, no sign of anyone.
So sad.”
The voice seems to get stuck,
tears are about to fall.
The young girl is alone here,
her dreams, her desires, are not here.
She can’t find them, she is heartbroken.
My voice is not good now, I can’t make that feeling.
Should be like this: a little stuffy feeling.
“Searching all over, everything has disappeared.
The peony pavilion, peony lattice… so sad.”
There is a sobbing feeling.
Then, “This place is…” matching movement to her emotions.
“ever so…” pulls out the fan,
then “ever so desolate;” waves it on both sides.
“desolate place.” Before this point the fan was always moving upward.
Now the fan is moving down.
…then, close the fan… this kind of feeling.
“No pavilions on either side.
Are my eyes so dazed that I cannot see…
Even in broad daylight under a blue sky.
I cannot recapture what appeared in dream.
Just then so real and alive.
Pacing about, I linger.
Oh, this is where my golden bangle was bent.”
This is the aria... Thank you.
On the one hand, she cannot find her dream;
on the other, it seemed that I was really speaking with him here.
This part should be made clear:
the change in emotion,
using the voice, eyes, and action.
“…on the side…” here one must express this feeling.
“…pavilion on the side, are my (eyes)…” a <i>cloud hand</i> movement…
“…my eyes dazed that I cannot see…” points to stage center.
The stage blocking must be made clear.
You are in the garden, you have to make it clear
because there are no scenic props on stage.
You must confirm it by your action.
“Young scholar, young scholar”…
as if you clearly remember he is right there beside you.
You must immerse yourself in the role.
“Young scholar, young scholar”… nothing there, empty.
You are there alone. Now the percussionist will give you a hand.