There are a few words of dialogue between Su San and Chonggong Dao in front of the large section of anti-Erhuang before the solution, Su San said: "So the old uncle went to pack some luggage, wait for me to bid farewell to the prison god, or take a long road", some actors changed "farewell to the prison god" to "wait for me to say goodbye", it is really unnecessary. The original recitation of the white let us know that there is a prison god in the prison, and the prisoner must worship the prison god before he is relieved, which is the rule. This allows later viewers to understand a little bit about the prison situation, and this detail is very real.
Moreover, Su San's lyrics were a prayer to the prison god, so that Su San's thoughts and emotions at this time, her worries and hopes, also had an object to talk to. Change it to "farewell and farewell", with whom to say goodbye? With the victim of the same prison? But singing lyrics is not like communicating with a friend.
Remove the prison god, presumably because it is superstition. How can it be superstition? Hell God is an objective being. This play does not render the spiritual experience of God, not to promote superstition. In the 1950s, there was often such a simplistic approach to changing plays, and when gods and ghosts were mentioned, they were cut off with one knife, and the result was to damage the reality of life.
Nan Tiesheng and Rong Diexian's "Yutang Spring"
The lyrics seem to be a bit contradictory. "Su San left Hongdong County and will come in front of the street", he has already left Hongdong County, how can he come in front of the street again? I sang "Leaving Hongdong County" in the front, but why did I sing "Bow My Head Out of Hongdong County" later?
It can only be explained like this: "Leaving Hongdong County" is leaving Hongdong County, and "bowing down out of Hongdong County" is out of Hongdong County. The main street is a cross street, so that Su San can kneel on the street and ask someone to bring a letter to Wang Jinlong. Out of the city, there were fewer people coming and going, and Only by advocating justice could Su San remove the shackles. This makes sense. Hongdong County is in the south of Taiyuan, and Susan and Chonggong Road are the north gates of Hongdong County. I have seen it in Hongdong County (assuming that the story of Su San is from Hongdong County), and the geographical direction is generally good.
There are two sentences in the lyrics of the flowing water board: "People say that Luoyang flowers are like brocade, but when I come, it is not spring" Many people do not understand the so-called. This is not Luoyang, and there are no flowers. This is Luo Yin's poem. Su San sang this, just to say that it was not a coincidence. Luo Yin's poems are very popular, Su San has read or sung, that is, Jing Shengqing, and it is possible to use them into sentences.
Huang Guiqiu's "Starting Solution"
The lyrics of the third and fourth sentences of the Xipi slow board were originally changed to "I wanted to be wrapped in the courtyard like a brocade" and changed to "hard work". "Wrapped in the head" and "sin clothes and sin skirts" are the contrast between the present and the past. "Hardships endured" and "sin dresses" mean the same thing. The people who changed the play probably thought that all prostitutes were very "hard", but Yutang Chun was a famous prostitute with a high value! Or think that Su San should not dwell on the past life, she should accuse the old society!
"Yutang Spring" ("Three Churches Triage") is a very chic play. Peking Opera screenwriters have two major taboos. One is to sing the plot that has been played again, the jargon is called "pouring dung"; the first is that there is no action, and the light is that a person sings endlessly. "Yutang Chun" dared to take the risk and forge ahead in spite of difficulties. Su San counted the past events from beginning to end. The level of lyrics is very clear. The mood of the singing voice and the lyrics are very consistent. This play uses all the plates of Sippi, with ups and downs, both rapid and slow, and extremely beautiful.
The singing voices of "Yutang Chun" and "Shilang Visiting Mother" are the two masterpieces of Peking Opera singing. Su San's external movements are not much, but his inner activities are very rich. The whole scene is about one person kneeling below and singing, and three interrogators sitting on it and listening, but all four people are communicating at any time, with a little perseverance. Such an treatment is rare in drama all over the world.
Zhang Junqiu's "Triage"
Xiqu attaches great importance to the communication between actors and audiences. The scene has a clever schedule – "kneeling face outward". Originally, if you were talking back to the top, where was the reason for turning your back on the officials? This is to make the audience really hear and see clearly. This is the same as the "meditation forward" of "Shiro visiting his mother". For no reason, what do you do to ask Yahuan to meditate forward?
"Yutang Chun" has two white harmony songs: "Which one is the first one?" "Sixteen years old is the king... Prince", someone changed "cheerful" to "make friends", what is this for? "Cheerful" is the jargon of a brothel, and it is not "tooth-wrenching."
There are also two sentences below that sing, "Regardless of the pickles in your arms, tell the old love under the case of god." An actor sang the play and deleted the two sentences, thinking it was because it was yellow. It is natural for a prostitute to express her feelings in this way. As long as the singing is not too colorful, I see nothing wrong with it.
Who changed "Yutang Spring"? Probably Zhu Xi.
(New Plays, No. 3, 1992)