Top Graduate: Zhang Xie's summary
1 media/luoposhi_thumb.jpg 2023-06-18T17:23:34+00:00 Li Zhao 30df883cbdcaf8dca2208e6a06794129acdb9cbc 1 3 Fig. 10: Zhang Xie summarizes that the dynamic between reputation and life is pretty flexible: when you are in a lowly spot, it is life that matters; but when you are at your apex, reputation is more important. plain 2024-01-15T18:02:29+00:00 The production on Bilibili. Credit: Screenshot by author. Julia Keblinska 8a3e8d98762f87c0579d0d96f52acf9bb4742f98This page is referenced by:
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Top Graduate Zhang Xie 张协状元（2017）
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2025-01-28T15:55:54+00:00
Recording of a Live Performance
Troupe: Yongjia Kunju Troupe 永嘉昆剧团LINK TO RECORDING
INFORMATION
- Title: Top Graduate Zhang Xie 张协状元
- Year: 2017
- Style: Yongjia-Style Kunqu Opera 永嘉昆曲
- Troupe: Yongjia Kunju Troupe 永嘉昆剧团
- Cast: Lin Meimei 林媚媚 (as Zhang Xie), You Tengteng 由腾腾 (as Poorlass, Shenghua)
- Director: Sun Jianghai 孙江海
- Language: Chinese Mandarin
- Duration: 120 minutes
INTRODUCTION
Top Graduate Zhang Xie (Zhang Xie zhuangyuan 张协状元), the earliest extant nanxi 南戏 play (see HTRCD, chap. 7), is famous for its many forms of raucous and farcical humor. It has been adopted into many traditional theatrical styles, that is, Peking opera (Jingju 京剧, Beijing), Puxian opera (Puxian xi 莆仙戏, Fujian), and Yongjia-style Kunqu (Yongjia Kunju 永嘉昆剧, Wenzhou). Among these, the Yongjia version is arguably the most influential.
Yongjia-style Kunqu (hereafter Yongkun 永昆) fuses the singing style of Kunqu with a local theatrical tradition with roots in the early nanxi form in the region of modern-day Wenzhou (温州, Zhejiang Province) (see HTRCD, “Introduction”). After a decade of decline during the Japanese occupation of China (1931-1945), in 1951, the Wenzhou Giant Wheel Kunqu Troupe (Wenzhou Julun Kunju tuan 温州巨轮昆剧团) was founded to enable the continued transmission and performance of the Yongkun style. Signature plays included The Lute (Pipa ji 琵琶记), The Thorn Hairpin (Jingzhai ji 荆钗记) and The Embroidered Jacket (Xiuru ji 绣襦记), leading acclaimed director Yu Zhenfei 余振飞 (1902-1993) to comment that “Southern and Northern Kunqu do not rival Yongjia Kunqu” (南昆北昆，不如永昆). In 1957, the troupe assumed its current name, the Yongjia Kunju Troupe (Yongjia Kunju tuan, 永嘉昆剧团) named for the city of Yongjia 永嘉 , an alternate name to designate Wenzhou in dynastic times. Due to the adverse impact of the Cultural Revolution (1966-1976), when many traditional forms of theater came under fire, the future of Yongkun performance was increasingly in peril in the 1980s. In 1999, recognizing the historical significance and value of Yongkun, the Yongjia County Government set out to revitalize the tradition. To that end, the Yongjia-Style Kunqu Transmission Institute (Yongjia Kunju Chuanxi suo 永嘉昆剧传习所) was founded with government support to begin research, script work, and actor training.
In 2000, the Yongjia-Style Kunqu Transmission Institute commissioned Zhang Lie 张烈 (1941- ) to create a modern adaptation of Top Graduate Zhang Xie with a view toward participating in the Inaugural National Chinese Kunqu Arts Festival (Shoujie Zhongguo Kunju yishujie首届中国昆剧艺术节). The new adaptation featured veteran performer Lin Meimei 林媚媚 (b. 1941) in the title role. Having studied Chinese musical theater since she was a child, she had followed in the footsteps of Yang Yongtang 杨永棠 (1903-1975) and Yang Yinyou 杨银友 (1910-1993), two famous Yongkun artists in the 1950s, specializing in the “secondary young male” role (xiaosheng 小生). In 2000, Lin performed Student Zhang Xie opposite of Yang Juan 杨娟 (b. 1974) in the role of Poorlass. The new version won prizes at the Kunqu Arts Festival and secured a firm place for the play within the Yongkun repertoire.
In his adaptation, Zhang Lie considerably streamlined the original version of Top Graduate Zhang Xie. To condense the original 53 scene (chu 出) play, he removed some minor characters and modified the plotline. For example, Zhang omitted some of the spirit roles such as the Earth God (tudi 土地) and the Deity of the Temple (miaoshen 庙神), retaining only two supernatural characters, namely the Divine Judge (miaopan 庙判, played by a comic jing 净) and Little Demon (miaogui 庙鬼 played by a clown chou 丑), both of whom reside in the temple where much of the action of the play takes place. While modifying the original dialogue, Zhang Lie nevertheless aimed to make the verbal interchanges funny. Moreover, Zhang also capitalized on another special practice in Yongkun to amuse the audience, that is, the use of human actors to impersonate stage props (e.g., doors, tables, etc).PLOT SUMMARY
Zhang Xie 张协 (in the role of young male, xiaosheng), an aspiring scholar, is traversing the Five Rooster Mountains 五鸡山 on his way to the capital to attend the civil service examinations when he is robbed by bandits. When seeking refuge in a dilapidated temple, he meets an impoverished orphan girl, Poorlass, (Pinnü 贫女, in the role of the young female, dan 旦), who lives there. Grandfather Li (in the role of the intermediary additional male role, mo 末) and his son Xiao’er (in the role of the clown, chou 丑 ) live near the temple. Being a respectful elder, Grandfather Li considers Poorlass as his daughter. He wants to find Poorlass a husband, and Zhang Xie becomes an option. Zhang Xie refuses this proposal in the beginning because he doesn’t think Poorlass is qualified to be his wife after he succeeds in the civil examination. Xiao’er takes Zhang Xie’s clothes by force, reminding him that by refusing this marital offer he will have nothing to eat or wear, but accepting it will bring him travel funds for his trip to the capital city.
Faced with life-threatening hunger and cold, Zhang Xie agrees to marry Poorlass. After two months together at the temple, Zhang Xie departs for the examination where he secures the top rank. Minister He (He Wang 赫王, in the role of clown, chou 丑) by the name of Wang Deyong 王德用 wants to marry his daughter Shenghua 胜花 (in the role of dan) to Zhang Xie. After having been refused by Zhang Xie in a face-to-face encounter on the street, Shenghua dies of melancholy. After learning that Zhang Xie has won the title of Top Graduate, Poorlass sets out for the capital to look for her husband. Zhang Xie refuses to see her or recognize her as his wife. To scrape together enough travel funds to return home, Poorlass begs by singing chantefable songs (zhu gongdiao 诸宫调) about how Top Graduate Zhang Xie cheated on her. When Zhang Xie passes through the Five Rooster Mountains en route to a new position, he nearly kills Poorlass with his sword. At this juncture, Poorlass is rescued by Wang Deyong, who later recognizes her as his adoptive daughter. Eventually, Wang Deyong arranges a marriage for Poorlass and Zhang Xie.THEME: Humorous Techniques
In the opening scene of Top Graduate Zhang Xie, the comic roles jing and chou serve as the two opening characters, setting a humorous tone for the entire performance. In contrast to typical Kunqu plays where the “young male” (sheng 生) and the “young female" (dan 旦) are characterized as serious roles, in Top Graduate Zhang Xie, they also contribute to the comic amusement. In what follows, we will offer examples of various humorous techniques, namely physical humor, physical exaggeration, farcical mimicry, jokes, puns, inappropriate use of informal language, situational irony, dramatic irony, and metatheater.Physical Humor (zhiti youmo 肢体幽默)
Comic roles of the “comic” and the “clown” use a wide range of vivid and specialized body movements to create humorous effects.
The Liberated Deities (02:00-03:26)
In the opening scene, Divine Judge (cast as the comic, jing 净) and Little Demon (cast as the clown, chou 丑) perform a routine of dynamic actions, showing that they are delighted to no longer be confined to their statues in the temple and instead being able to move around freely. Acrobatic movements such as somersaults and the like underscore the comic nature of what should be “awe-inspiring deities.”Physical Exaggeration (kuazhang biaoyan 夸张表演)
Comic roles use exaggerated facial expressions, body postures, and bodily movements to create humorous effects.
Innuendo (08:27-08:45)
Divine Judge explains why he refuses to let Poorlass into the temple. He has some concerns about the potential risk of letting Poorlass and Zhang Xie meet each other there, since they are both single, and he fears that "it would be a disaster if they did any inappropriate thing" 万一作出不该做的事来，可就坏了. When Little Demon hears what Divine Judge says, his facial expression and body movements are both very exaggerated to insinuate potential sexual impropriety.Click to expand/collapse Translation Notes
Chinese Subtitles CTC Translation 庙判：贫女回来，一个孤男，一个寡女。 Divine Judge: After Poorlass is back, there will be a lonely man and a single woman. 这孤男寡女聚在一起， If these two single individuals came together, 干柴遇着烈火， Just like dry firewood encountering a fierce flame, 万一做出不该做的事来， Were they to do something they shouldn't, 可就坏了！ It would be troublesome!
Foreshadowing (08:49-09:08)
Similarly, when Divine Judge later suggests that he hopes that Poorlass and Zhang Xie could get married and raise children together so that the temple may be bustling with excitement, his vivid facial expression foreshadows his passion in matchmaking.Click to expand/collapse Translation Notes
Chinese Subtitles CTC Translation 庙鬼：哈哈哈！坏倒不坏。一个没有老公， Little Demon: Hahaha! It's actually not bad. One has no husband, 一个没有老婆。 The other no wife. 只要他俩真心相爱， As long as they truly love each other, 结成夫妻，也是人间一桩美事。 It would be a wonderful thing if they become a married couple. 我还巴望他们在庙内生儿育女， I am looking forward to them raising children in this temple, 图个热闹呢！ Making this a lively place!
Slapstick (16:24-16:34)
Xiao'er (cast in the role of chou 丑) attempts to break the door played by Divine Judge and Little Demon. He first exercises his muscles with Divine Judge looking at him in panic. Once Xiao’er dashes against the door, all three of them fall to the ground.Farcical Mimicry 模仿
Comic roles use all kinds of imitations to create comic effects. The humorous rendition of a sound is a favorite comic strategy.
Human Doors (09:32-09:40)
In this interlude, Divine Judge and Little Demon "assume the role of a door” (zuomen, 作门 ). Along with their bodily movements that imitating the rotating leaves of the door, they make strange sounds that resemble the squeaking of a door hinge. The seriousness of their efforts to impersonate a door and the unlikely fact of “living doors” made up of “deities” create an amusingly surreal scene.Click to expand/collapse Translation Notes
Chinese Subtitles CTC Translation 庙判、庙鬼：好！作门！ Little Demon and Divine Judge: Okay, let’s perform a door. Jokes 插科打诨
Self-mockery (1:02:50-1:03:27)
Zhang Xie asks the Little Demon and Divine Judge to perform a door for the new house assigned to him, the top graduate. Feeling exploited, Little Demon and Divine Judge use jokes to complain. While the Little Demon criticizes Divine Judge for accepting Zhang Xie’s request, he says, “This is called ‘money can move gods.’ You are selling yourself to him." 这叫钱能通神，你把自己卖了. To turn the tables on him, Divine Judge implies that “demons” are similar to “deities” when dealing with money. Little Demon confesses that there is another old saying that goes, “With money you can make the ghost turn the millstone" 有钱能使鬼推磨. It is the self-mockery that makes the figure of Little Demon more comedic.Click to expand/collapse Translation Notes
Chinese Subtitles CTC Translation 张协：留步！ Zhang Xie: Wait! 庙鬼：坏了，在喊你我哪！ Little Demon: Oh no, he’s calling you and me! 张协：相烦作门。 Zhang Xie: Could you please perform the door? 庙鬼：作门哪！哎呦，判爷，都怪你！有了一次就有二次三次…… Little Demon: Performing the door? Ah, Judge, it’s all your fault! Once such a thing happens, it keeps happening… 庙判：诶，如今他是天子门生。听他的作一回状元府大门也还可以。 Divine Judge: Well, now he is in the employ of the emperor, It is not that bad to do as he says and turn into the grand gate of the Top Graduate’s mansion. 庙鬼：哦，我明白啦！你把自己给卖了。 Little Demon: Oh, I see now! You are selling yourself to him. 庙判：还有话呢！ Divine Judge: There’s another saying! 庙鬼：叫“有钱能使鬼推磨”。 Little Demon: It’s called, “With money you can make the ghost turn the millstone.” 庙判：作门吧！ Divine Judge: Let’s perform the door. 庙鬼：好，作门！ Little Demon: Alright. Let’s perform the door!
Mockery (1:17:13-1:17:25)
Here, Zhang Xie meets up with a eunuch from the palace. After hearing that he is going to work together with Wang Deyong, Zhang Xie is so fearful that he sits directly on the ground. The eunuch responds by drawing attention to Yongkun’s performative techniques. The eunuch says: “You are so quick-tempered. You sit down even before I perform the chair." 也太性急了，我还没作坐椅你就坐下了.Click to expand/collapse Translation Notes
Chinese Subtitles CTC Translation 公公：状元公，可喜可贺呀！万岁爷恩典你为梓州府佥判。 Eunuch: Congratulations, Top Graduate! The emperor has assigned you the position of assistant prefect of Zizhou Prefecture. 张协：小小佥判何喜可贺？ Zhang Xie: What’s there to celebrate about being a humble assistant prefect? 也好。远离京城，避开赫王王德用，倒也清净。 Alright. At least it means I’ll be far away from the capital city and thus I can avoid Minister He, Wang Deyong. My life will be peaceful. 公公：如此说来你是清净不了了。 Eunuch: In that case, you won't be able to find peace. 张协：为何清净不了？ Zhang Xie: Why won't I find peace? 公公：赫王相公在万岁爷面前请下旨来，也外放梓州。 Eunuch: Minister He has also requested an imperial decree to be sent to Zizhou. 他作通判，你作佥判。他大你小。 He will be sent to Zizhou Prefecture as the chief prefect, while you will be his assistant. His official title is higher than yours. 张协：啊哟哟哟哟哟哟！ Zhang Xie: Oh no, no! 公公：你也太性急了，我还没作坐椅你就坐下了。 Eunuch: You’re too impatient. I haven’t performed the chair and you’ve already sat down on the ground. 起来，起来吧。状元公，明白了吧？ Stand up, stand up. Top Graduate, do you get it now? Puns 一语双关
A Failed Attempt (52:18-52:41)
After Zhang Xie returns the betrothal token to Shenghua, who becomes very anxious as a result, Wang Deyong decides to have a talk with Zhang Xie. He requests that Zhang Xie dismount from his horse. However, Zhang Xie refuses Wang’s request, saying that he is granted the grace of riding the horse on the street by the emperor, in other words, he is following the imperial decree. Wang Deyong summarizes: “I want to prevail over him from the first encounter, but he refuses to get down from the horse? 给他下马威，他还不下马？”
In Chinese, the severity shown during the first encounter is called “xiama wei 下马威,” while the act of getting down the horse is “xiama 下马.” In this event, Wang Deyong wants to give Zhang Xie a hard time, so he requests Zhang Xie to get down from the horse. At the same time, Wang Deyong’s act could be considered as a “xiama wei.” The pun between these two words creates a comedic effect.Click to expand/collapse Translation Notes
Chinese Subtitles CTC Translation 王德用：张协状元下马说话！ Wang Deyong: Top Graduate Zhang Xie, dismount and talk to me. 张协：好。 Zhang Xie: Sure. 庙鬼：别下马，别下马！ Little Demon: Don’t dismount, don’t dismount! 张协：赫王见谅。皇命所赐，走马御街，恕难下马。 Zhang Xie: Please forgive me, Minister He. By the Emperor's command, I am to ride through the streets. I apologize for not dismounting. 王德用：给他下马威，他还不下马？ Wang Deyong: I want to prevail over him from the get go, but he refuses to get down from the horse?
Shared Bitterness (37:30-38:00)
The following excerpt plays with the double meaning of the character ku 苦. One meaning refers to the bitterness of food, and the other one to the hardship of life. When Wang Deyong asks his assistant to perform a chair, the clerk appears to be reluctant to take on this task. Wang thus asks: “Why do you look so gloomy? 作啥一付苦相?” The clerk claims that he sprained his waist yesterday and thus performing chair would cause pain. Wang Deyong then uses “food” to tempt the clerk into performing the chair. After the clerk agrees, Wang Deyong reveals that the so-called "food" was actually a traditional Chinese medicine for treating colds and eye diseases. The clerk complains that the medicine is very "bitter" (ku 苦), and now he has to play the chair and endure the bitterness of the medicine, his life is so "full of suffering" (ku 苦.) Wang Deyong, who at that moment worries about his daughter’s marriage, retorts, "You think you're suffering (ku 苦)? I am the one who’s suffering (ku 苦)!"Click to expand/collapse Translation Notes
Chinese Subtitles CTC Translation 王德用：去，取把坐椅来。 Wang Deyong: Go, fetch a chair. 祗侯：前厅去取？ Clerk: Should I go to the front hall? 王德用：太远。 Wang Deyong: That’s too far. 祗候：去后堂拿？ Clerk: Should I get it from the back hall? 王德用：费时！你就作坐椅。 Wang Deyong: It takes too much time! You just perform the chair. 祗候：啊？我作坐椅？唉唷喂。 Clerk: Ah? Perform a chair? Oh my goodness. 王德用：只是临时使用，又非一年半载。作啥一付苦相？ Wang Deyong: It's just for temporary use, not for a long time. Why do you look so gloomy? 祗候：昨日扭伤腰，腰疼。 Clerk: I sprained my waist yesterday, it's hurting. 王德用：有吃的！ Wang Deyong: You will have something to eat! 祗候：有吃的倒还可以。 Clerk: If there's something to eat, I can accept that. 王德用：一剂驱风散！ Wang Deyong: Here's a dose of medicine! 祗候：苦药啊，苦嗬！ Clerk: Bitter medicine. My life is so difficult! 王德用：你苦？我才苦呢！ Wang Deyong: You think you're suffering? I am the one who’s suffering! Inappropriate Use of Informal Language 语言错置
Drama is a capacious genre that accommodates all kinds of language registers. One of the favorite ways to make audiences laugh is to use either high-brow or low-brow language in situations where such language would not be expected to be used in everyday life.
Something Fishy (1:48:58-1:49:55)
After being appointed as a local official in Zizhou 梓州, Zhang Xie visits Wang Deyong (cast in the role of the clown, chou 丑) upon his arrival. Wang Deyong blames Zhang Xie for showing hesitation regarding the marriage with his daughter Shenghua. Wang asks why Zhang Xie had accepted the betrothal token at first only to refuse it later on, Zhang Xie explains that it was because he takes marriage seriously.
Wang answers: “Good point! When you go to a stall to buy salted fish, you pick it up when you want it and put it down for fear that it is not fresh; when you want it again, you pick it up again, but put it down, fearing that the price is too high. It is indeed a common thing to think twice" 有道理！去小摊上买咸鱼，想要时拿起，怕不新鲜放下；再想要时又拿起，怕价钱不对又放下。这思之又思之确乃人之常情.
Here, Wang Deyong sets up a parallel between the solemn matter of marriage and the mundane activity of purchasing a salted fish. The rhetorical juxtaposition of these two events dissolves the dignity of the marriage while diffusing the sadness of Shenghua's death.
To add to the humor, Wang Deyong suddenly realizes the inappropriate nature of his comparison, but rather than taking it back, he now accuses Zhang Xie as the perpetrator of this rhetorical transgression: "How dare you! Do you think my daughter is a salted fish?" 大胆！你当我女儿是咸鱼啊？ Hence, far from being an earnest minister, Wang Deyong comes off as a buffoon.Click to expand/collapse Translation Notes
Chinese Subtitles CTC Translation 张协：婚姻大事岂可儿戏？ Zhang Xie: Marriage is a serious matter that cannot be treated lightly. 我接了丝鞭又递丝鞭，此乃思之又思之。 I accepted the silk whip and then gave it back, this is a matter of deep consideration. 遇事思之又思之也是人之常情哪。 It’s natural to think twice when dealing with important matters. 王德用：有道理。 Wang Deyong: That makes sense. 去小摊上买咸鱼。 If one goes to buy some salted fish from a small stall. 想要时拿起，怕不新鲜放下。 When you want it, you pick it up; when you are afraid it’s not fresh, you put it back. 这再想要时又拿起，怕价钱不对又放下。 When you want it again, you pick it up. When you worry about the price, you put it back. 这思之又思之确乃人之常情。 It’s normal to think twice in such situations. 大胆！你当我女儿是咸鱼啊！ The nerve! Do you consider my daughter a piece of salted fish?! 张协：张协并无此意。 Zhang Xie: That never crossed my mind. Situational Irony 反配
Situational irony arises when a particular interchange runs counter to either common knowledge or to a plot element previously established in the play.
Divine Gluttons (30:00-31:00)
While gods and deities should typically present themselves as imposing authorities, the two roles with supernatural powers, Divine Judge and Small Demon act in ways that belie all expectations of solemnity. When Grandfather Li (in the role of the intermediary additional male role, mo 末) makes a food offering to these two deities, they reveal themselves as greedy gluttons who seek to gobble up the meat.
Voluble Officials (14:40-15:00; 26:25-26:40; 54:53-55:15)
Zhang Xie discusses the importance of life and reputation several times in the course of the play. When he was robbed and first understood that life is more important than reputation, Poorlass corrected him, saying that the old saying says that "reputation matters" (名节事大). Later, when Zhang Xie is forced to marry Poorlass, he repeats this statement to persuade himself. However, when he obtains an official title as a scholar, he suggests that "when you are in a lowly spot, it is life that matters; but when you are at your apex, reputation is more important."Click to expand/collapse Translation Notes
Chinese Subtitles CTC Translation 张协：读书读到此时，我明白了一个道理。 Zhang Xie: After learning classics for so many years, I have understood a principle. 叫做“名节事小，性命事大。” It is called, “Preserving reputation matters little, but saving one’s life matters greatly.” 贫女：相公你说错了。 Poorlass: Sir, you’re wrong. 是“性命事小，名节事大。” The old saying should be, “Saving one’s life matters little, but preserving reputation matters greatly.” 张协：留得青山在，才能有柴烧。 Zhang Xie: Only if we keep the mountain can firewood be obtained. 人若死了，就什么都没有了。 If a person dies, nothing will be left at all.
Officials are supposed to be steadfast in their adherence to Confucian principles. While rationalizing his hesitation, the inconsistency of Zhang Xie's beliefs reveals his character flaws. His opportunistic embrace of different stances satirically discloses just how hypocritical Zhang Xie as well as other officials could be.Click to expand/collapse Translation Notes
Chinese Subtitles CTC Translation 王德用：其实不管有妻房无妻房你都是我家女婿。 Wang Deyong: In fact, whether you are married or not, you will be my son-in-law regardless. 就算有妻房， Even if you have a wife, 休了前妻，再娶后妻， divorcing the former wife and marrying a new one, 也是当官的常有的事。 Is a common practice for officials. 张协：这不有丧名节吗？ Zhang Xie: Doesn’t that hurt their moral reputations? 庙鬼：你不是说名节事小吗？ Little Demon: Didn’t you say that preserving reputation matters little? 张协：名节事大！ Zhang Xie: Preserving reputation matters greatly! 落魄时名节事小，得意时名节事大。 When you are in a lowly spot, it is life that matters; but when you are successful, reputation is more important. Dramatic Irony 上帝视角
Another comic strategy involves exploiting the fact that the audience knows more than the characters on stage.
Divine Doors (16:34-16:40）
When Xiao’er breaks the door, which is played by Divine Judge and Little Demon, he says: “The door is so soft that it is not steady today" 今朝这门软哄哄的不经碰. As a character in the play, Xiao'er is neither aware of how the door had previously been broken by Zhang Xie, nor does he realize that the two gods are pretending to be the door. When Xiao'er hits the door and falls on the ground, especially after having complained about the softness of the door, the audience will be amused by his ignorance (dramatic irony) as well as the slapstick (physical) humor.Click to expand/collapse Translation Notes
Chinese Subtitles CTC Translation 小二：今朝这门软哄哄的不经碰。 Xiao’er: The door is so soft that it is not steady today. Metatheater 间离
Metatheater refers to the moments when a play discloses or emphasizes the fact that it is being performed. For example, at certain points in Top Graduate Zhang Xie, actors quit their roles and explain the action to the audience. The switch between embodied character (role) and onstage commentator (narrator) reminds the audience of the fact that they are watching a performance. Such a theatrical rupture may amuse the audience.
Voracious Tables (30:00-31:00)
Xiao’er, the son of Grandfather Li, plays the table. Instead of being immobile and mute, this human table can talk to the deities and grab food on his own.
Self-Aware Characters (5:01-5:17)
After introducing themselves in the beginning of the play, Divine Judge and Little Demon observe Zhang Xie being chased and robbed by the bandits. When being requested to go back to his place, Little Demon sighs: "How miserable! He and I are both characters in a play now” 这下惨了，我与他都成了戏中人.
As a narrator, Little Demon is aware of the entire plot; as a character, he is powerless to step outside the plot. The cognitive dissonance between “role” and “narrator” is underscored by the emphatic exclamation “How miserable!"Click to expand/collapse Translation Notes
Chinese Subtitles CTC Translation 庙鬼：戏唱人间百态，描摹芸芸众生。 Little Demon: The play depicts the myriad human emotions, portrays the lives of countless beings. 庙鬼：说是假，亦是真。 What is said might be false, yet it could also be true. 庙判：归座！ Divine Judge: Back to our seats! 庙鬼：这下可好，我与他都成了戏中人喽！ Little Demon: In that case, both he and I have become characters in this play!
Fake Sitting (1:47:35-1:48:11)Click to expand/collapse Translation Notes
Chinese Subtitles CTC Translation 张协：张协拜见赫王。 Zhang Xie: Greetings, Minister He. 王德用：坐呀！没椅子，虚坐。 Wang Deyong: Sit down! There is no chair. Just pretend you are sitting. 张协：何为虚坐啊？ Zhang Xie: How can I pretend to be sitting? 王德用：哎呀，过来过来过来。 Wang Deyong: Come on! 拿着。 (Taking off his beard) Take it. 列位看官，他连虚坐都不懂啊。虚坐就是戏场里的看官见你像坐着，其实屁股底下没椅子，像蹲不蹲的。假坐！ Ladies and gentlemen, he does not even know how to sit in a fake way. When you pretend to sit, the audience next to the stage will see you as if you are sitting, but in fact, there is no chair under your buttocks. It is close to squatting. Fake sitting! The Arbitrariness of Social Roles (35:21-37:11)
Wang Deyong is played by the same clown role actor (chou 丑) who played Xiao'er in the first scene. In this excerpt, Wang changes his costumes as well as his identity on stage. Later in a conversation with his subordinate, who is played by the actor who previously played Xiao'er's father, Wang Deyong says: "You are no longer my father. You are my subordinate now” 此刻你不是我爸，是我的堂后官. In this manner, the inversion of roles appears to poke fun at the arbitrary nature of social hierarchies.Click to expand/collapse Translation Notes
Chinese Subtitles CTC Translation 小二：还当我是小二？拿行头来！ Xiao’er: Do you still consider me as a waiter? Bring me my official attire! 待我戴起官帽，穿起官衣，迈起官步，让你看看我是谁。 After I put on my official hat, don my official robe, and stride with official’s steps, you will see who I truly am. [Xiao’er changes his costumes on the stage.] 王德用：别再当我小二，此刻改扮赫王。 Wang Deyong: Don’t treat me as a mere waiter anymore, for now I transform into Minister He. 若问官有多大，群僚都听我讲。 If you wonder how huge my title is, my rank is so high that all the officials will listen to me. 王德用：堂后官！ Wang Deyong: My subordinate! 末：儿啊！ Mo: My son! 王德用：此刻你不是我爸，是我的堂后官！ Wang Deyong: You are no longer my father. You are my subordinate now. 末：哦。 Mo: Oh. WORKS CONSULTED: CLICK TO EXPAND/COLLAPSE
Qu Liuyi 曲六乙. “Zhang Xie Zhuangyuan: cong nanxi dao Yongjia kunqu 《张协状元》： 从南戏到永嘉昆曲” (Top Graduate Zhang Xie: From Nanxi to Yongjia-style Kunqu). In Kunju Zhang Xie Zhuangyuan pinglun ji 昆剧《张协状元》评论集 (A Collection of Essays on Zhang Xie Zhuangyuan), edited by Zhongguo xiqu xuehui 中国戏曲学会 et al., 71-79. Beijing: Zhongguo xiju chubanshe, 2004.
Yongjia County Government 永嘉县人民政府, “Yongjia Kunju” 永嘉昆剧.
Zhongguo Dabaike quanshu 中国大百科全书. “Wenzhou Kunqu” 温州昆曲.
Zhongguo Dabaike quanshu 中国大百科全书.Yang Kun 杨崑 (Yang Juan 杨娟)
AUTHOR
Li Zhao
