5.4. Importance of speech and recitation

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En provenance du cours de The Chinese University of Hong Kong

The Beauty of Kunqu Opera

116 notes

The Chinese University of Hong Kong

The Beauty of Kunqu Opera

116 notes

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.

À partir de la leçon

The Art of Kunqu Performance: Integration of the Painted Face and Warrior Role-Types

The colorful and complex facial makeup of the painted face role-type is probably the most noticeable feature in the eyes of the audience. But what does facial makeup mean and how is it done? This week, Maestro Hou Shaokui will unfold the mysteries for us. He will also share with us his portrayal of Lord Guan, a well-known household character based on the most famous Chinese historical novel Romance of the Three Kingdoms. What is more, this unique character combines the essence of both the painted face and warrior role-types.

5.4. Importance of speech and recitation6:44

Rencontrer les enseignants

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

Now I will talk about dialogue (speech and recitation).

There is a traditional saying:

“Seven parts speech, three parts singing”,

(about) the relative difficulty between speech and song.

We always say that the mouth and lips must have strength.

Whether singing or speaking

the mouth must be clean cut;

speech must be clear.

Even in private life we must speak clearly.

Talking like swallowing dates,

can’t hear (anything) clearly (will not do).

“Chopping words on a dry board”:

each and every word must be

heard very clearly.

(If) you enunciate clearly,

(the) audience will like (what they hear).

When my father was teaching, he used to say:

“You must (practice) reciting;

(practice) recitation when you have nothing else to do.”

Recite. You cannot focus on singing only.

Recitation (and speech) is very important.

When practice vocals you must practice recitation also.

<i>Baikou </i>(stage speech), we used to say<i> baikou.

<i>Baikou</i> is very important.

It expresses the feeling between characters.

(Especially) feelings of conflict.

The speaking dialogue, the expression, must be meticulously done.

I will give an example.

For example, in “Into the Enemy Camp Alone”

Lu Su (the enemy minister) greeted Lord Guan and led him to the reception tent.

(But) before arriving at the great tent

after Lord Guan disembarked,

Lu Su greeted him by presenting him with three cups of wine.

Lu Su said: “You’ve come a long way,

I must welcome you with three drinks.

This first drink I respectfully present to you.”

Lord Guan replies: “If the host does not partake; the guest will not drink.”

This recitation is very important:

“Minister, if the host does not…”

I asked my father,

I asked: “Should the (word) ‘partake’ be “tone rhymed?”

<i>“chee” or “Zhü bu chi”?

My father said unrhymed. Why?

(He said) given the image of Lord Guan

the rhymed pronunciation doesn’t seem consistent with his persona.

(It) does not have that majestic feeling.

“(If) the host does not partake” is enough.

If you (say) “the host does not <i>chee</i>”

<i>chee</i>, is not a question of neglecting the rhyme.

Actually <i>chee </i>is tone rhymed.

Then, Lu Su continues: “…the guest will not drink.”

Lord Guan gives him a smirk; his skin smiles but his face muscles do not.

Because Lord Guan cannot say: “Haha.” That won’t do.

He will lose his dignity.

Given Lord Guan’s status

his skin smiles but his flesh does not move:

a deeply disdainful smile…

I know very well you invited me to an ambushed banquet,

maybe your wine is poisoned.

You drink first.

“If the host does not partake, the guest will not drink.”

(Meanwhile) Lu Su is thinking:

you suspect the first cup might be poisoned,

all right, (I’ll) drink it for you to see.

Zhou Cang then says: “show the cup!”

Show the cup is to let the guest look into the cup.

See? I drank it.

I present the second cup to you.

You would drink it now.

Lord Guan says: “Drinks aren’t taken singly…”

Lu Su rejoins: “beauty is not shared in bed”.

Let me see if the second cup is poisoned.

Lu Su downed another cup…

See, I did not poison the drink.

Turn over the cup… no poison.

You will drink the third cup, will you not?

I already drank two cups.

If you don’t drink the third…

Then Lord Guan had an idea,

a clever idea.

“Zhou Cang!” “Here.”

“My halberd!” He calls for his weapon.

Zhou Cang places the huge halberd here.

Lord Guan takes the cup of wine,

pushes his beard to one side,

and accompanied by percussion…

this section of dialogue is very critical,

very powerful.

I want to demonstrate for all of you.

“Oh halberd, my halberd,

on battle field of thousands of men and horses,

you take the heads of generals as if retrieving objects from a bag.

Today, Minister Lu has invited me to a banquet across the river.

Should there be unfortunate events

I might have to trouble you again.

Have a drink first!”

Then he poured the wine on the halberd.

This act is to forewarn Lu Su.

See? My weapon is drinking first.

Actually the halberd is used to test for poison.

When poured on the blade if the wine is poisoned

the Blue Dragon halberd will turn black.

He saw there is no reaction to the wine.

No poison. At this point…

(We) were working on the play,

continuously refining it.

What did I add?

(I added) interaction with Zhou Cang.

He saw no poison.

Shows (the halberd) to Zhou Cang.

Zhou Cang, no poison.

The third cup has no poison either.

Zhou Cang took his own clothing

and quickly wiped the halberd.

(Meaning) the first hurdle is passed.

Lord Guan was not poisoned.

What if the third cup had poison?

What if he had a revolving lining in the wine pot?

He was afraid of a revolving pot, inside there is a revolving lining.

(The wine before) had no poison.

(But) the poisonous wine comes out when the pot is turned.

Then, Lord Guan will be poisoned.

Now he has passed through the first hurdle.

That is, there was no poison.

Seeing no poison,

Lord Guan felt somewhat relieved.

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