Externalizing inner feelings and thoughts

Every emotion is expressed through measures. The very simple Rhythmic Pattern:

“da da… yi dei” (da = the sound of the Drum Stick; yi = the sound of the Clapper, or a

pause; dei = the sound of the Small Gong),has no specific meaning on its own, so it can be used to convey different states of mind according to the performer’s acting.

Here are some further examples from The Legend of the White Snake.

The storyline: The monk Fahai tells Xu Xian that he has married a monster. Xu does not believe him. Fahai then instructs him to persuade his wife Bai Suzhen to drink the Xionghuang wine on the day of the Dragon Boat Festival, which turns her back into her snake form.

a) Xu Xian’s states of mind

Video 64 : The Legend of the White Snake《白蛇傳》 Role : Xu Xian 許仙

(played by Cai Zhengren 蔡正仁) Fa Hai法海

(played by Zhang Baozhi張寶志)

Text:

Xu Xian : Where is the monster? Fahai : Right next to you. [ Xu Xian makes two symmetric turns.

The Rhythmic Pattern: “da da… yi dei”, twice in quick tempo, coordinates with the actor’s turns, as well as emphasizing his sudden fear after hearing what Fahai has said. [ He then looks to his left, and his right, and at himself, making sure that there is truly nothing evil beside him.

The same Rhythmic Pattern “da da… yi dei”, this time in a much slower tempo, externalizes his emotion and extends the process of his thinking (which, in real life, may

have taken only two seconds) – as he reassures himself that “there is nothing strange on my left, nor on my right”; and finally, “I am still OK”.

Xu Xian : There is none. 無有啊。

b) Revealing two similar inner states, both using the same Rhythmic Pattern. Video 65 : The Legend of the White Snake《白蛇傳》

Role : Bai Suzhen 白素貞

(played by Tang Yuen Ha 鄧宛霞) Xu Xian 許仙

(played by Cai Zhengren 蔡正仁) Xiao Qing 小青

(played by Qiu Xiujuan 邱秀娟)

Text:

Xu Xian : They all want me to make a toast with the Xionghuang wine to my beloved wife on their behalf. Let me make a toast first.

[ Bai and Xiao Qing are startled when they hear the word “Xionghuang wine”.

They share the same Rhythmic Pattern “da! (pause)dei” although Xiao Qing’s reaction is greater (because her powers are lesser) while Bai’s is more subtle (as she cannot overreact in front of her husband).

c) Revealing two different inner states, both using the same Rhythmic Pattern

Video 66 : The Legend of the White Snake《白蛇傳》 Role : Bai Suzhen 白素貞

(played by Tang Yuen Ha鄧宛霞) Xu Xian 許仙

[ Xu looks at Bai, and finds that she is perfectly normal. How could she be a snake? He bursts into laughter.

[ Bai thinks to herself: Why is he looking at me like that? Is there anything wrong with me? What is the matter?

Here the inner thoughts of Xu and Bai are hinted at by the same Rhythmic Pattern

“da da…da da! (pause) dei”.

d) Lin Chong’s inner thoughts

Video 67 : Wild Boar Forest《野豬林》 Role : Lin Chong 林沖

played by Li Shaochun 李少春)

[ Lin Chong林沖has never been to this place. He quietly observes his surroundings. The percussion also shows a quiet and peaceful mood.

[ He suddenly has a strange feeling. But he tries to control himself and stays calm. The percussion speeds up, then slows down, indicating the emergence of that feeling and the controlling of his emotion.

Text:

Lin Chong : Look here, the hall is so quiet, the ambiance so tense and severe. What place could this be?

The tempo of the percussion (the trill) accelerates, expressing a higher and higher degree of anxiety (although he still tries to appear calm); this also foreshadows that something ominous is going to happen. The percussion suddenly ends with a very sharp, short decisive crash (played simultaneously by the entire ensemble), confirming that he is truly in danger.

[ He is shocked to see the plaque “White Tiger Hall” 白－虎－節堂 (two beats on the drum and once again a sharp, short decisive crash stress these four words), and realizes that he has entered the forbidden area.

Before Lin Chong resumes the recitation, the ensemble plays a quick Pattern called

Jiaotou 【叫頭】(“Crying Out”), indicating in advance that the character is in an

agitated state.

Lin Chong : Wait a minute! (Jiaotou Pattern ends) “White Tiger Hall” is where they secretly discuss the military situation. How can I intrude into such an important place with no reason? I’d better get out of here!

Even before the end of the last phrase the percussive ensemble gives a musical cue for the strings to join in and lead into the singing passage. The pressing speed shows that Lin Chong is in great haste.

Lin Chong : (sings)

I must hurry away….

Conclusion

After centuries of development, Kunqu and Jingju percussive music has attained a very sophisticated level, both in terms of quality of sound, and expressivity. From the above examples we see that none of the artistic means (acting, body movements, singing, recitation, martial skills) could be executed without the participation of the percussive ensemble. It commences 開導 an action, and regulates 調 節 it during its course, collaborating with and highlighting whatever the actor is expressing on stage. Conversely, none of the Rhythmic Patterns has any specific meaning. Although some of them have a certain emotional colour, such as the “Riot of Hammers” luanchui 【亂 錘】(which usually expresses a feeling of defeat and mental confusion), the meaning becomes concrete only when it is matched (used together) with the acting of the performer.

Chapter IV

Traditional Education and Training for the Classical