The appearance of Zaju in Song Dynasty is a sign that China opera is maturing. Song Zaju is a new art that inherits the tradition of joining the army in the Tang Dynasty, widely absorbs folk rap, acrobatics, martial arts and Tang and Song Daqu, and combines song and dance with story performance. Because it is often performed simultaneously with acrobatics and music and dance, it is called zaju. China traditional opera performances, especially dance movements, are characterized by roles and occupations. This artistic and standardized professional performance of personality type is the characteristic of China traditional opera and dance. From the existing cultural relics, we can see the different costumes and props of different roles in Song Zaju, from which we can imagine their different dances and abilities.
1952 brick carvings of dramatic figures unearthed from Baisha Song Tomb in Yuxian County, Henan Province, can be used as video material evidence of the roles of Song Zaju. This group of brick carvings consists of four people, from left to right: the first person wears a hairpin hoe, a round neck gown, his left hand rested on his hips, and his right hand hung down, as if shaking his sleeves and his face was beaming; The second man wore a trumpet-shaped hat, a round-neck robe, a wide-sleeved double-breasted coat and his hands clenched; The third person is wearing a soft towel, coat, belt and shorts, with one hand touching his chest and one hand drooping; The fourth man was wrapped in a soft towel, wearing a round neck robe and a belt around his waist, holding a bamboo pole in his right hand and a belt in his left hand. Judging from the props and costumes they hold, these four people are consistent with the roles of Song Zaju recorded in the literature. Wu, a poet in the Song Dynasty, recorded the performance of zaju in twenty pieces of "Dream of Prostitution": "... in zaju, the ending is long and there are four or five people in each performance." It is clearly pointed out that these four roles are "mud", "drama", "auxiliary network" and "auxiliary end". If one person is added, it is a role called "pretending to be an orphan". The four brick figures in the above picture are the four fixed roles of Song Zaju. The first person who wears a hairpin and looks up at the audience with his hands is long "mud"; The second holder is "pretending to be lonely"; The third blouse caresses the chest as the "secondary end"; The fourth person with a bamboo pole is probably "leading the show".
The dance in Song Zaju is not as mature as that in later generations, but the scenes of solo, duet, rap and dancing may have existed for a long time. This can be seen from the form of five-person performance and three-person performance in the Song Dynasty. According to Lu, these three kinds of performances are as follows: "First, do an ordinary familiar thing called' acting segment', and then do an ordinary drama with a common name of two paragraphs ... and all kinds of costumes, or all kinds of courses ... after the play, they all dispersed." This kind of performance can be seen from 1958 brick carvings of zaju in the Song tomb unearthed in Jiuliugou, Yanshi, Henan Province. These five words are engraved on three bricks respectively. The first sculpture is of a person, wearing a hairpin, a round neck robe and a belt around his waist, facing the left side and drawing with his hands. A bun is exposed from the back of his head, and the female lotus hook with small feet can be inferred to be the role played by women; The second brick was carved by two people. The man on the right wears a horn and a long-sleeved robe, holding water in his left hand and water in his right hand. One person on the left is wearing a Dongpo towel, a round neck and narrow sleeve robe, a belt around his waist, Yin He in his right hand and pointing at each other with his left hand, as if talking; The third block is also carved with two people, one on the right, wrapped in a soft towel and wearing a blouse, with his left hand on his abdomen and his right hand pointing at the entrance, as if whistling; A man on the left, wearing a horn scarf and jacket, bare chest and abdomen, revealing navel, holding a birdcage in his left hand, with a bird in it. He reached for Doby Bird and looked at each other. Both of them did a T-step, and their gestures seemed to be talking. Among these three brick carvings, the first one depicts the performance of "Yan Duan", which is a hat play before the opening ceremony, mostly short songs and dances, and wishes Ricky and others to "do ordinary things first". The scroll performance shown here is very similar to the one-man show of "jumping and adding officials" before the opening of the main drama. In the whole performance, it has the function of static field, which can pave the way for the formal performance, and there is a similar situation in the performance of Song Dynasty. The two figures on the second brick, judging from the props in their hands, are putting on an official play-a play. In the Song Dynasty, the orthodox zaju actors mainly performed official life, which is the so-called "official zaju". The third chapter depicts "scattered fragments", also known as "rambling drama", which mostly shows urban life and has the color of comedy and ridicule. From the tradition of joining the military drama and stepping on the mother in the Song Dynasty, coupled with the development of urban economy and the differences between urban and rural areas in the Song Dynasty, the expression of local customs and customs in different regions in language and form may lead to some performances of ventriloquism and song and dance. Judging from their posture and gait, it is obviously a dancing life action. In addition to this funny performance, there are also some performances that absorb the coherent story of martial arts and dance. "Tokyo Dream Mid-Autumn Festival" contains: "Since Tanabata, such as the drama" Mu Lian Save Mother ",the audience doubled on the 15th." The performance skills of this kind of drama can be seen from the description in Amin Zhang Dai's Tao An Meng. Perhaps the Song Dynasty was not as lively as the Ming Dynasty.
In the genre paintings of the Song Dynasty, two silk colored paintings performed by zaju were preserved, both of which were the works of an anonymous person. The content depicted in one frame is similar to the "eye drops acid" recorded in Volume 10 "Official Zaju Series" of Old Wulin in Song Dynasty. A man on the left dressed as an ophthalmologist, wearing a strange soapy hat and a wide robe with orange sleeves. The eyes are covered on the front and back, and the medicine bag with inclined back has big eyes, thick eyebrows and fine eyes. Numerous eye patches show his status as a quack ophthalmologist, especially his big eyes like pompoms in front of the hero's crown in the late stage of Chinese opera, which is particularly strange. In the Song Dynasty, the clothing styles of various industries had certain specifications. The article "Folklore" in the fifth volume of Tokyo's "Chinese Dream" said: "Everyone sells medicine for divination, and as for beggars, there are also norms. A little slack is unacceptable to everyone. Its scholars, agriculture, industry and commerce all walks of life, each with its own true colors, dare not cross the line. That is, a person who spreads incense, that is, a top hat and a back; The warehouse is in charge of things, that is, wearing a soap shirt with horns and not wearing a hat. Pedestrians in the market will know what color this is. " Ophthalmologists were a specialized profession at that time. In the land and water paintings of Baoning Temple in Youyu, Shanxi Province in the Yuan Dynasty, there was an image of an ophthalmologist, wearing a robe, wearing a crown and carrying a medicine bag painted with eyeballs. However, the crown is not as high as the figures in silk paintings, and the eyeballs are particularly few and simple, only playing a cover role. It can be seen that the costumes of the characters in zaju come from life, but they are very different from life. From the picture, the doctor wears red hook shoes and has slender hands, which seems to be played by an actress. He stretched out his right hand, his forefinger stood upright, his thumb pointed forward, and pointed at the right eye of the patient in front of him, as if playing tricks; Another character has a stick on his right shoulder and a broken fan on his waist, with the word "Fu" in cursive script on it, which should be the last color and the net color of Mao Qiao. He is wearing a scarf that goes into the sky, a blue shirt with a round neck, a skirt that goes into a belt, white trousers and shoes, and his sleeves extend to his elbows, deliberately revealing the "green" of his arms, which looks like an ordinary dress. "Dianqing", also known as Zhaqing, means tattoo and embroidery. The so-called "weaving splendid flowers" is the remains of Wu Yuezhi's "wishing tattoo", an ancient folk custom, which became a popular custom in the Song Dynasty and was favored by ordinary people. The story of the nine songs tattooed dragon of Liangshan hero described in Water Margin is full of flower embroidery. In the Song Dynasty, it even became a community. There is "Jin She: Flower Embroidery" in the "She" in the third book of Old Wulin. Many members of this tattoo club are amateurs of martial arts and acrobatics. When they meet immortals, they are performers of various folk dances. There is an acrobat embroidered on the upper body in the amphibious painting of Baoning Temple in Youyu. The word "sour" in "sour eyes" generally refers to literati and scholars who talk big, but don't know much about the world. This ophthalmologist is obviously a young scholar. When he was selling eye drops along the street, he met this citizen and pointed to his eyes and said that he was ill. As a result, because I knew nothing about the present situation, I was beaten by that man with a stick, and dancing with all kinds of decorations on my clothes might be quite interesting.
Another silk painting shows two people bowing to each other. Its industry and repertoire are unknown, but from the outside, it is dressed in men's clothing, and the clothes exposed inside are small sleeve's double-breasted spiral coat, with a tube top, hooked shoes, scarves exposing her hair and temples, and earrings, all of which are women's clothes. They dress up as women and are very untidy. They just added some men's clothes as a symbol. A man on the left, wrapped in a hat, wearing a man's gown, carrying a pole on his shoulder and wearing a bamboo hat on the ground behind him, seems to be playing a farmer or a woodcutter. It is worth noting that the leggings under his knees are imitations of the so-called "diaodun" in Qidan costumes. In the Song Dynasty, when ethnic conflicts were sharp, ethnic exchanges also increased, and the "fishing" of Qidan costumes even became a fashionable decoration for women in the Song Dynasty, which can be said to be a very interesting cultural phenomenon of costumes. "History of Song Dynasty Yu" records the imperial edict of the seven-year rule (A.D.117): "Those who dare to take Khitan as a blanket and fish for the capital violate the imperial theory. Hanging shields, now called pantyhose, are also women's clothes. " The actor on the right wears simpler clothes and only wears a hat on his head as a symbol of men. There is a fan at the back of his waist, which is split in two, and the word "final color" is written on it in block letters. This is a special prop for the final color of Song Zaju. In addition, there seems to be a stick inserted in front of his waist, which seems to be used to strike, similar to the role of the stick held by the old man in the market in the eye drops picture. In the drama of the Song Dynasty, the people who often catch up with the vice end should be the vice network, and the vice network is the goal of the vice end. In these two frames of silk paintings, the role of the auxiliary network position is played by women, which is puzzling. Judging from the role dress in this painting, this performance may be a "fragmented" performance in the drama of the Song Dynasty. On the right side of the two pictures, there is a group of flat drums with brackets, which are also equipped with drum arrows and slings. It can be seen that this kind of drum is a common musical instrument in Song Zaju, which is not only the accompaniment of Wa Xi's rap and acrobatics, but also absorbed by Song Zaju. There are three kinds of musical instruments, namely, flat drum, flute and racket, in the figure of Guangji Cuju in Shilin in Yuan Dynasty. The "sling" made of four or five bamboo tethers on this picture is the only one seen in the cultural relics of Song Zaju. Maybe there will be a rap performance after this "break", or the characters in the play will play corresponding roles? Shuaizi, now called broken child, is a common instrument in some local operas and rap arts.
The performances of Zaju in Song Dynasty were widely spread. Besides Henan, Shanxi and other Central Plains areas and Kaifeng and Hangzhou, the remote areas in Southwest China were also prosperous. This can be obtained from the images of Song Tomb Opera and Daqu stone carvings found in the suburbs of Guangyuan, Sichuan. 1February, 975, during the construction of 072 hospital in Guangyuan city, a stone double-chamber tomb built in Jiatai, Ningzong, Southern Song Dynasty was discovered. The tomb door faces south, and the west is the female tomb. There are stories of filial piety embossed on the left and right walls. Toyo male tomb, two-sided stone relief drama performance drawings, * * * four, two on each side, carved on a stone. All the pictures have rectangular borders.
In the first picture, two people are carved, and the one on the left is wrapped in a right-angle hoe. Tie the trouser leg inside the waist, and one person turns right with the hand-twisted sleeve as the arch branch; The person on the right bends his elbow and sleeves in front of him, dances to the person on the left, refuses or responds, regrets the head injury, and wears long-sleeved shirts and underwear. For this image, some people say that it is a performance of "stepping on the mother", while others think it is inaccurate. Judging from the comparison of the four pictures, it is still the "colorful festival" of zaju. Compared with the brick carving of the Song Tomb of Jiuliugou Reservoir in Yanshi County, the "Yan Duan" dance performed by one person is obviously much richer.
The second picture depicts three people as an accompaniment band. The musical instruments he holds are staff drum, big drum and teaching workshop drum. The band is accompanying the zaju performance.
In the third picture, two people are carved, both dressed in civilian clothes, wrapped in handkerchiefs, wearing round neck and narrow sleeve robes, riding boots and breeches, sitting back to back on a big stone. One person on the left eats with his right hand, and the middle finger points back to the other person. One person on the right holds his left foot with his right hand and bends his right leg. Another person is like a resentful family, with several thick bamboo poles carved on his right back. These two people's expressions are extremely vivid, and their postures show their dance forms, which are the characteristics of traditional opera and dance in China. There are stones and bamboo in the picture, which is a description of the plot environment.
The fourth picture is also of two people, both dressed as officials, wrapped in horns, wearing robes with round necks and big sleeves, long and full, with straps around their waists, each holding a water board and facing each other as respectful courtiers. Obviously, this is a manifestation of official drama.
The discovery of stone carvings in the Southern Song Dynasty Zaju in Guangyuan not only proves the widespread spread of Zaju in the Song Dynasty, but also shows that the dance of Zaju in the Song Dynasty is gradually enriched with vivid dance and increasingly rich background. From these silk paintings and masonry carvings, we can also see that most of the performances of the "scattered sections" of Song Zaju are female artists, especially in the performances of Zaju, which is probably related to the fact that most of Song Daqu are actresses. The names of artists recorded in Old Wulin, such as Yan Qiao, Xiao Er, Yun Mei Tou and Zilai Qiao, all seem to be the names of female artists. Three of the four figures in the two silk paintings were played by women, which also showed the prosperity of female artists at that time. The discovery of the famous female zaju artist Ding Dusai's brick carving also showed people's love for female stars at that time.