Argosies of Wonder on the Rivers and Lakes: Memories of the Quanfu Troupe
- Argosies of Wonder on the Rivers and Lakes: Memories of the Quanfu Troupe1
Footnotes
1. “Jianghu Shang de Qimiao Chuan Dui: Yi Kunqu Quanfu Ban” ~工 i胡 上 奇•妗‘ 船 JA.: t乙 昆 曲 “全 超i”, originally published in Xiju Luncong 又 戈 創 沦乂, 1982: 183–88.
2. The author Madame Yunhe Zhang is a member of the Beijing Kunqu Society and a well known piaoyou. She has written several articles on various aspects of Kunqu and its recent history. Yunhe Zhang is one of four sisters, all accomplished in the art of Kunqu.
Yuan-ho Chang Koo /硕 5R 7g 和, wife of the late Chuanjie Koo [Gu Chuanjie], famous actor of the first graduating class of the Kunju Chuanxi Suo, is the eldest sister. She now resides in Oakland, California and teaches Kunju acting. Mrs. Koo did the beautiful calligraphy for the place names on the map.
3. Professor Qixiang Tan is a noted historical geographer and a devotee of Kunqu. He teachers at Fudan University in Shanghai and has written several important books including a Historical Atlas of China.
4. Section titles for which Chinese characters are given are qupai 曲 牌 names, i.e., titles of aria types.
5. According to dynastic statutes, the entire empire observed mourning for an emperor or empress for 27 months. Celebrations of weddings, birthdays, and other joyous events, including theatrical performances were prohibited. In outlying rural areas, these prohibitions were more difficult to enforce.
6. The expression zou jianghu 走 ~咲 胡 [roaming the rivers and lakes] is a metaphorical expression for itinerancy or nomadism.
7. In fanchuan xi, actors who normally play female roles take male roles.
8. The Kunju Chuanxi Suo, Institute for the Transmission and Practice of Kunju was established in Suzhou in 1921 and existed for a little more than a decade. The first class of students all had Chuan 传 as one of the characters of their given names. Despite the institute’s short life, it did indeed fulfill its goal of “transmission.” See CHINOPERL Papers 6 (1978): 83/4 and 13 (1984–5): 135.
9. Zuodan 作 旦 is one of the seven major female roles; also known as tiedan 貼 旦 and most frequently portraying a maid or a flirtatious girl.
10. The four major role types are: sheng 生 : various male roles; dan 左: various female roles; jing 净: various painted face and minor male roles; chou 左 : comic roles male and female. Each role type is further subdivided according to age and personality characteristics being represented.
11. Mei Lanfang also performed Kunju but he was basically a Jingju or Peking opera actor. His Kunqu singing had a decidedly Jingju “accent.”
12. A quotation from the poem by Du Fu 苏 七南, “Meeting Li Guinian in the South.”
13. An allusion to the old court music master, Li Guinian, in “Tanci” 弓f 词, a scene from Chang Sheng Dian 故 生 殿 [The Palace of Eternal Youth] by Hong Sheng 勺头 ~ (1645–1704). During the rebellion of An Lushan, Li Guinian became a poor street singer. He was recognized by music lovers and given home.
14. Flute accompanists, indeed all instrumentalists, play entire scenes by heart. The flute being the lead melodic instrument which supports the singing parts, it is absolutely essential for the flautist to memorize the intricate melody and keep his eyes on the action on stage.
