6.3. Acrobatic action with lyrical singing: "Shi Qian Steals the Armor"

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From the course by The Chinese University of Hong Kong

The Beauty of Kunqu Opera

115 ratings

The Chinese University of Hong Kong

The Beauty of Kunqu Opera

115 ratings

This course will focus on the historical and cultural background, literary aesthetics, music, and performance of Kunqu, China’s classical opera. After viewing the lecture videos presented by scholars and renowned maestros in the field of Kunqu, students’ understanding and appreciation of Chinese performing arts, classical literature and traditional culture will be enhanced.

From the lesson

The Art of Kunqu Performance: the Comic Role-Type

When appreciating the well written script and the beautiful melody of Kunqu, sometimes audiences just want a good laugh in the theatre. This cannot be done without the contribution of the comic role-type. This week, Maestro Zhang Mingrong will explain the characteristics of the different subtypes of the comic role-type, namely young chou, fu chou and martial/acrobatic chou. From Maestro Zhang’s demonstration we will also see that mastering the comic role-type requires much more skill than just natural talent.

6.3. Acrobatic action with lyrical singing: "Shi Qian Steals the Armor"4:00

Meet the Instructors

Prof. Wei Hua 華瑋
Professor and Division Head
Department of Chinese Language and Literature
Prof. Kenneth Hsien-yung Pai 白先勇
Wei Lun Professor of Humanities
Faculty of Arts
Prof. Lindy Li Mark 李林德
Professor Emerita
Anthropology

“Shi Qian steals the armor” is a masterpiece of martial <i>chou</i> scene, a classic program.

The old <i>Chuan</i>-generation masters preserved only two martial/acrobatic comic scenes:

“Shi Qian steals the armor” and “Asking the way”, just these two.

“Shi Qian steals the armor” has preserved the essence of Kunqu music.

We know that Kunqu is predominantly <i>southern</i> music (five tone modes),

(although) there are some <i>northern</i> tunes (seven tone modes).

Civil scenes (non fighting) especially tend to be <i>southern</i> music.

Early on the music has only five tones, mostly <i>southern </i>music.

Southern music is melismatic, romantic and moving.

Its music is unique, (with) lyrical flute melodies.

But fight scenes in Kunqu,

such as scenes mentioned previously by Wang Zhiquan: “Borrowing the plantain leaf magic fan”, “The Hu manor”,

“Night flight of Lin Chong”, “Shi Xiu spying on the manor”,

these are all northern musical scenes.

Martial scenes are rather straightforward, more words, fewer melisma.

But “Shi Qian steals the armor” is peculiar in having southern tune-types.

I have often wondered, why the author

Monk Qiutang of the Qing dynasty,

wrote this scene in southern musical tune-types.

I couldn’t understand why at the time.

Over the years I began to have insights into this scene.

Plus my frequent performance of this scene…

I discovered “Shi Qian steals the armor” to be especially representative of Kunqu artistry.

The music consists of a southern song suite titled “Beautiful garden”,

all in the southern mode (five tones).

(Melodies in) “Beautiful garden” have <i>holding-three-beat </i>melismas:

one word may be drawn out over eight beats.

Especially the first tune “Beautiful garden”,

in which the melody portrays traveling stealthily at night.

The tempo cannot be fast,

(the actor) be careful of guards and soldiers.

(When) going to the city to steal something

one must be very careful.

In a dark, windy, moonlit night,

the action must be “silently, I go with caution”.

One must be aware of all these things.

(My) teacher often said: lyrical plays should be sung with martial spirit;

Fight plays must be sung with lyricism.

To sing (lyrical scenes) with martial spirit means that some passages must be rhythmic.

Such scenes cannot be always slow;

sometimes you must push it a little

to give it some spirit, with controlled rhythm.

Of course it cannot be overdone.

Fight plays should be sung with finesse.

I think the aria “Beautiful garden” in “Shi Qian steals the armor” expresses precisely the feeling

of a silent night in the eastern capital city,

where Shi Qian must move speedily and stealthily.

To portray out this kind of situation.

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