<h1 class="pgc-h-arrow-right" > the distribution and value of ming and qing dynasty opera historical materials*</h1>
Huang Yishu
Abstract: The existing Ming and Qing diary documents contain rich historical materials of opera, but not all diaries record opera information. There are relatively few historical materials of opera in war diary and reading diaries, while the daily life diaries are often rich in a large number of opera historical materials, and the degree of detail of the historical records of opera varies from diary to diary. The historical materials of opera in the diary are very convincing, and some historical materials have laid a solid foundation for the construction of opera history. However, due to the difficulty of reading the diary text, the previous cited only a very small part of the existing diary historical materials, in fact, there are still a large number of diary opera historical materials that need to be excavated and studied. The rich historical materials of diarized opera will provide a reliable factual basis for all dimensions of opera research.
Keywords: Ming and Qing dynasty diaries; opera historical materials; distribution; value
A diary is a record of an individual's daily life, language, thoughts, and actions. This style records the author's personal experience and observations in chronological order, as well as the author's views on people and things, and has always been considered to have the value of direct historical data, and is a necessary reference for historians. Ancient diaries have many names, such as "daily records," "calendars," "chronicles," "chronicles," "chronicles," "even records," "trivialities," "chronicles," "chronicles," "essays," "records," "miscellaneous records," "notes," "notes," "notes," "notes," "notes," and so on. A large number of existing manuscript diaries do not have names, many only indicate the year, such as "Yihai Diary" and "Nongchen Diary", etc., posterity in order to facilitate the distinction, often generally use the name of the diary author, table character, nickname or book name, call it a certain diary, such as "Weng Tonggong Diary", "Qi Zhongmin Gong Diary", "Yuhuatang Diary", "Xiao Zhai Diary" and so on. In addition, there are some diaries that mark the name of their books as "diaries", but in fact they are not diaries, such as Xu Hao's "Diary of Fuzhai" in the Ming Dynasty, which records that do not indicate the time, and most of the records are rumors, which are actually note-taking styles. Ming Yang Yusun 'Xitang Diary', Qing Zhangwen
The "Luojiang Diary" also does not indicate the time, and the content recorded is also a daily feeling, not a note body. From a bibliographic point of view, unlike traditional diaries, which are classified as part of the History Department, these diaries should actually be classified as sub-divisions. The Ming and Qing diaries discussed in this article mainly refer to the style of daily life that has a clear chronological record, such as a running account.
< h1 class= "pgc-h-arrow-right" > the distribution of opera historical materials in the Ming and Qing dynasties</h1>
Ancient diaries are an important part of China's cultural heritage, they are not only huge in number (the total number of existing diaries is more than a thousand, of which the number of late Qing diaries is the majority), and they are of great historical value. The Ming and Qing dynasties were the golden age for the development of classical Chinese opera, and were also the two dynasties with the most surviving diaries. As one of the most important daily entertainment methods of the Ming and Qing dynasties, watching drama is bound to be reflected in their diaries. The late diary historian Mr. Chen Zuogao tried to say: "The layers of the diary's dramas are stacked, and there is no shortage of manuscripts and huge sums. He considered such historical materials to be compiled".[1]
However, most of the diaries exist in manuscripts or manuscripts, because of their scarcity, libraries mostly include them in rare books and do not easily borrow them, coupled with the fact that the historical materials of opera recorded in diaries are relatively scattered, although researchers recognize the value of these historical materials, most people are reluctant to do this laborious thing. At present, although some diaries have been photocopied and published, such as the series of diaries of the past dynasties (200 volumes), the complete collection of Yan Xinglu (continuation) (150 volumes), the selected diaries of the National Library of China (60 volumes), the Series of Banknote Diaries of the Shanghai Library (86 volumes), the Manuscripts of the Qing Dynasty (23 volumes of the diary), the series of manuscripts of Beijing Normal University (4 volumes of the diary), the series of manuscripts of Peking University (4 volumes of the diary), etc., the manuscripts of these manuscripts are sloppy, and some of them are simply impossible to read, so the manuscripts are sloppy, so It has also attracted less attention from opera researchers. To this day, with the exception of a few well-known diaries, a large number of historical sources of opera recorded in other diaries have not been disclosed, let alone cited by researchers.
The historical records of opera recorded in the ming and qing dynasties are quite rich. However, due to the different emphases of the diary, in fact, not all the diaries record the historical records of opera. Judging from the writing mentality of the diary owner, the diary can be divided into a public record and a private record, and the official record is for the public to see, generally to explore academic issues or record some important historical events. Private notes are more trivial matters in life, mainly for the help of writers. Therefore, relatively speaking, the opera historical materials in the private records are much richer than the official records, such as Lu Longqi's diary does not have a single opera historical material, and Pan Yunduan's diary has a large number of opera historical materials. However, it cannot be absolute, and it cannot be said that there are more historical materials of private opera than public records, such as Li Ciming's diary is obviously a public record, and his diary discusses academic issues, and when he was alive, his diary was circulated for his protégés, Wang Yanwei's diary often copied the contents of Li Ciming's diary, and Li Ciming's diary recorded a relatively rich historical material of opera. Although some diaries are private records, such as Xu Yinlin's diary, daily expenses are mandatory, but the historical materials of opera recorded in their diaries are not too many, and the reason is nothing more than two points: either the diary author himself does not like to watch dramas, or he himself thinks that watching dramas is too common and there is no need to record them. Some diaries not only record important events, but also record daily chores, but when posterity publishes them, in order to save costs, some life trivia such as watching dramas are often deleted, such as Tan Xian's "Futang Diary", which is a collated version of his original diary, and there are few records of watching dramas in the book. In fact, Tan Xian loved to watch dramas and had close ties with the lingren, whose name was Mi Yue Lou, and there were "Yanshi Qunfang Small Collections" and other legends, the original diary should have a wealth of opera historical materials, and later after the addition of the "Futang Diary Supplement", there are many content related to opera. There are also some diary manuscripts, and some records of the drama that the copiers consider insignificant have also been deleted, which can be seen from the comparison of the original manuscripts of Wang Jilie's "Diary of YuanduLu" and Ye Changchi's "Diary of Yuandulu".
The existing ancient diaries can be roughly divided into four types in terms of content: reading diaries, war diary, travel notes, and daily life diaries. There are very few historical records of opera recorded in the reading diary, such as Dou Keqin's "Records of The Searching Hall" in the Qing Dynasty, Liu Yuanzhuo's "Reading Diary", and Song Xianxi's "Diary of Song Shiyin". War diary such as Wang Xiuchu's "Ten Diaries of Yangzhou", Qin Zhenjun's "Diary of Shou Linqing", and Liu Yunan's "Diary of a Foreign Soldier Entering Beijing in the Ten Years of Qing Xianfeng", these diaries contain quite rare historical materials of opera. There are many itinerary diaries in ancient diaries, such as Fang Xiangying's "Diary of Making Shu" in the Qing Dynasty, Li Tiaoyuan's "Record of ExportIng Cheng", Li Xuan's "Diary of JinYou", Juru's "Chronicle of DianXing", Zhao Heng's "Lead Difference Diary", Yang Enshou's "Tanyuan Diary" and so on. There are two kinds of such diaries: one is to record geographical information and the cultural and natural landscapes along the way in a large number of pages, some also examine the geography of the history in detail, such as Xu Jiong's "Diary of Envoy Dian", etc., and some depict the scenes along the way in literary techniques, such as "Xu Xia's Travels" and Dai Mingshi's "Diary of Yi Hai's Journey to the North", which contain very few historical materials of opera. The other does not fully record geographical information, but also takes into account the personnel of the itinerary, these diaries have some opera materials, such as Ju such as "Dian Xing JiLuo", Zhao Hengju's "Lead Difference Diary", etc., and some record a considerable amount of historical information on opera, such as Li Xuan's "Jinyou Diary", Yang Enshou's "Tanyuan Diary" and so on. Daily life diaries are often voluminous, many up to hundreds of volumes, these diaries have developed the habit of keeping diaries for many years, often recording all kinds of life details such as human exchanges, consumer entertainment, reading and learning, etc. Some of these diaries record a fairly rich historical material of opera, such as "Yuhuatang Diary", "Qi Zhongmin Gong Diary", "Zhang"
Diary", "Zheng Xiaoxu's Diary", etc. Of course, there are also some daily life diaries, but the author rarely talks about opera, such as Hu Qinggu's "Gengfu Diary", "Zhang Wenhu's Diary", "Li Xingyuan's Diary" and so on. In my opinion, these diaries are not years without watching a play, but their diaries are selective in their daily life.
The distribution of opera historical materials in a diary is also uneven, with some years recorded a lot by the author and very little recorded in other years, which is mainly related to the author's life experience. For example, Wang Yanwei's early diaries recorded a wealth of opera information, and in the later diaries, it was rare to see opera historical materials, which was mainly due to his busy official duties in the later period, as were the diaries of Lin Zexu, Zeng Guofan and others. Weng Zenghan liked to watch drama, and his diary recorded a wealth of opera historical materials, but in the eleventh year of Tongzhi (1872), he did not see any opera historical materials, which was mainly caused by changes in his family, it was the death of his grandmother and daughter in the same year, the author was in the mourning period and his own mental exhaustion caused him to no longer linger in the dance hall.
Most of the contents of the historical materials of the diary opera are related to the viewing of opera, most of which are the records of the diary author's usual viewing of the opera, but there are also a few diaries that mention the stage yanglian, the author's interaction with the actors, learning to sing Kunqu opera, reading the script, and studying opera. For example, the historical content of opera in Xu Zhaowei's diary includes three aspects: theater viewing, script reading, and opera research.
The watching records in the diary, the emphasis and detail of the records are also significantly different, can be divided into a variety of levels, the following from two extreme examples. The most brief is to say "listening to the play" and "watching the play", and does not involve the location of the play, the repertoire, the actors, the origin, the perception, etc. For example, in the "Diary of Xu Dihui", Daoguang Eighth Year (1828) March 18 Diary Cloud: "Read the "Six Books and Say". Give a notice, bring a question. Night watching drama. [2] 481 The amount of historical information such as this is too small to be used by opera researchers. Some diaries record opera with a lot of information, try to see Ryan Ren Zhang
In the twenty-fourth year of Guangxu (1898), february 20 diary: "Danger. clear. In the morning, he ordered his wife to row a boat to watch the play at the Zishi of the Iwashita Du House, and the surname of Guy Du was played by the circle spectrum. The class is Fujian old Rongsheng also. After lunch, he went to see a play with Sha Du Chen Weiru and Du Shiru. There was a light rain in the evening. Went to the theater again. It is a new play of "Willow Essence" performed at night, and the twists and turns are similar to the "Painted Skin" in "Liaozhai Zhiyi", which is quite entertaining. [3] In this diary, who went to and where to watch the play with whom, the origin of the act, the acting class, the time span of the act, the repertoire performed, the plot, and the feelings after watching the play are all recorded, and the diaries who describe the opera information in detail like this are often people who are particularly enthusiastic about opera, such as Yang Enshou and Zhang
There are also some foreign envoys who are curious about Chinese opera, such as Ma Garni and Hong Darong. More historical materials often provide opera information between the above two, involving the origin of the opera, actors, repertoire, class society, performance perception, drama funds and so on, these historical materials provide people with rich and valuable information for understanding the history of ancient drama. Compared with the historical records of opera in the notes of the literati and the novels, the records of these diaries define the time and space, and the records do not have the tendency of literary description and the need for intentional distortion, so their records are generally accurate and reliable, which can provide a solid factual basis for the study of the history of opera and related aspects.
<h1 class = "pgc-h-arrow-right" > second, the Ming and Qing dynasties contain precious historical materials of opera</h1>
Historically, those who have ruled the history of opera have attached importance to diary historical materials. Looking through the history of opera, we can see the frequent quotations of the former sages on the historical materials of the diary. For example, Hu Ji and Liu Zhizhong's "History of the Development of Kunqu Opera" quotes Zhan Yuanxiang's "Diary of Fearing Zhai" and Huang Zhen's "Diary of Xieyangguan"; Lu Caoting's "Historical Draft of Kunqu Opera Performance" frequently quotes diaries such as "Youju Zhaolu", "Yuhuatang Diary", "Qi Zhongminggong Diary"; Zhu Jiaxuan's "Examination of the Beginning and End of qing Dynasty Inner Court Drama" derives a large number of arguments from the "Diary of Grace Reward"; the important arguments of Zeng Fan'an's "Late Qing Dynasty Drama Research" are also from "Weng Tonggong's Diary", "Wang Wenshao's Diary", "Xiangqilou Diary", etc.; Li Zimin's "History of Ou Opera" The composition also depends on Zhang
The Diary provides historical materials on Ou opera performances, and so on. Therefore, in recent years, with the deepening of academic research, more and more diaries have entered the field of vision of opera researchers, and some have also been written into a single paper to reveal the historical value of opera, such as "Yuhuatang Diary", "Qi Zhongminggong Diary", "Li Rihua Diary", "Kuaixuetang Diary", "Jiaqing Ding wei, Pengwu Guan Opera Diary", "Guan Tingfen Diary", "Wang Zhongshun Diary", "Wang Wenshao Diary", "Tanyuan Diary", "Li Ciming Diary", "Daiyunguan Diary", "Forgotten Mountain Lu Diary", "Zhang"
The historical value of the opera in the "Diary of Retreating Thoughts", "The Diary of Ding Zhitang", "The Diary of Du Fengzhi", "The Complete Collection of Yan Xinglu" and the "Diary of Grace" of Qing Shengping Department have all been revealed to varying degrees.
In fact, according to the author's investigation, the diaries rich in opera historical materials are far more than the above diaries. The following diaries contain a large number of opera historical materials, such as: Xiao Shiwei's "Xiao Zhai Diary", Tang Mengzhao's "Wu Yue Tongyou Diary", "Wang Jihua's Diary", "Qianlong Tian's Bottom Account", "Yuan Ming's Diary", Zhang Xuanhua's "Diary of Cha Xueshanren", Xie Lansheng's "Diary of Chang Yu Zhai", "Li Xuan's Diary", Bi Huai's "Bus Diary", "Zhang Tingji's Diary", Shen Baochang's "Diary of Qi YuChao", Fan Daosheng's "Diary of Zhan Daixuan", Ni Daosun's "Haifeng Diary", Wang Wenrong's "Records of the Decay Scandal", "Wang Yanwei's Diary", Lu Yixiang's "Diary of the Northbound Journey", "Diary of He Zhaoying", He Yinfeng's "Diary of Hoe Yueguan", "Diary of Na Tong", "Diary of Zhu Zhisan", "Diary of Weng Zenghan", "Golden Terrace" "Listening to the Rizhi of the Oriole Pavilion", Yang Tinggui's "Diary of the Northbound Journey", "Diary of Rongqing", "Diary of Zheng Xiaoxu", Lin Jun's "Diary of Po Yitz Room", "Diary of Wu Chengxiang", "Diary of Xu Zhaowei", "Diary of Su Fengzhi", "Diary of Su Geng", "Diary of Yun Yuding", "Diary of Chengzhai", "Diary of Xu Baoxun", "Autumn Fence Drama", Wen Shilin's "Kunlun Travel Diary", Wait a minute. I believe that through further search and reading, more discoveries will be made.
Although some diaries record only a small amount of opera information, they are also very noteworthy because their information provides key information for the study of opera. These historical materials are frequently quoted in the treatises of predecessors, such as: the record of Zhu Chusheng, a tuning actor in MaoXiang's "Records of the Southern Yue Province", the record of the Guangfu class in Zhang Tenglong's (菉天) "Yue You Jicheng", Ye Shaoyuan's "Notes on the Day of the First Line" on the pinghu folk drama in the fifth year of Shunzhi (1648), Yao Tingxuan's "Chronicle of the Calendar" on kangxi's twenty-third year (1684) record of watching opera in Suzhou during the southern tour of the holy car, and so on. In fact, there are many historical records of opera in diaries that have important value but have not been discovered. as:
Wen Zhenmeng wrote in his diary on November 20, 1621, the first year of the Ming Dynasty :"In the early morning of the day, thirty-six miles retrograde, Suyi County, there are performers in the city, and they return to Guan Yan, yiyang and siping are like the music of juntian." [4] The 506 siping cavity is a very important sound cavity in the late Ming Dynasty, and was once equal to the Kunshan cavity. The only historical materials of the Ming Dynasty Siping Cavity recorded by the academic community are Gu Qiyuan, Hu Wenhuan, Wen Zhenheng, Huang Jingfang, Zhang Dai, Zhang Dafu, Xiao Shiwei, Niu Shaoya, Ji Liuqi, Shen Zongsui, Li Yu and other 11 people. The diary provides information about the fact that the Siping Cavity had been circulated in Zaozhuang, Shandong during the Ming Dynasty.coma.
"Qianlong Adds and Subtracts the Bottom Account" Qianlong Thirty-first Year (1766) Diary Cloud on the Fourteenth Day of the First Month: "As far as zhang Shize, the leader of this day, flowers sing and play with six pounds of black charcoal, do not sing to stop. With the leader Yu Baolin returning, the general manager Wang Changgui and Ma Guoyong remembered this. [5] 312 The earliest record of "Yu Opera" is now considered by scholars to be in the "Will File" of May 5, 1802, the seventh year of Jiaqing (1802), and the diary pushes forward the record of the performance form of "Gong Opera" by 36 years.
Wang Jihua wrote in his diary on the thirteenth day of the first month of the thirty-fifth year of Qianlong (1770): "Qing... Wei Zheng, to the Zhejiang Shao Guild Hall, the previous generations of Zhongshu worshiped, Cao Shao sikong, Jiang Shao Sima and Yuan Tongshan, and Yu four people were the first seat, and about forty people arrived. Yuan Shaozai was also with Yan, and he was stunned by the younger generations. It is the Japanese Huang Zhonghan Yingyuan Division, Bohol Class Drama. Late-year rituals are preceded. [7] 161 This is the earliest record of the famous Kunban Baohe class in the existing diaries, and this drama class is only found in the "Yanlan Xiaopu" in the fifty years of Qianlong (1785) and the "Monument to the Reconstruction of the Ancestral Temple of the Xishen Ancestors" in the fifty years of Qianlong. In addition, on November 24, the thirty-fifth year of Qianlong (1770), Yun: "That is, to celebrate the birthday feast of the Great Life, it was not returned." Yuqing class. Yuqing Class ranked fourth in the "Reconstruction of the Monument of the Ancestral Master of the Xishen Ancestor Temple", and Li Tiaoyuan listed it as one of the six major departments of the Beijing Class. Unfortunately, there are no other historical records of this class, so that when some people studied the specific class society referred to in the "Six Classes of The Beijing Cavity", they excluded this class society because the historical materials provided by the "Stele" were isolated evidence [8]. The information provided by the diary is also valuable.
Wang Jihua Qianlong 35 August diary cloud: "The emperor celebrates the sixtieth anniversary, and gives grace permission to accompany the crown prince and the ministers of the inner court to celebrate with the same paradise." A total of 103 people performed "Nine Nine Great Qing" sixteen outs: "Eight Caves and Nine Ru", "Fulu Tianchang", "Lin Feng Chengxiang", "Qianqiu Caisuo", "Sea House Add Chips", "Yongshou Boundless", "Nuwa Chengrui", "Lin toe Zhenzhen", "Rainbow Bridge Now Sea", "Neon Feather Dance Heavens", "Immortal Effect", "Xi Fu Xi Min", "Dancing Flowers on Shou", "Sheng Shi Chongru", "Fu Yuan Shan Qing", "Ru Huan Zhuan". Take the three engravings of The Drama, and the Shen Zheng one moment. "The Repertoire of the Qing Palace Wanshou Drama "Nine-Nine Daqing" and the Taiwan script are mostly found in the archives of the Shengping Bureau, and there is no other information to refer to at present, and there is no other information to refer to. The diaries of the Dpron envoys Xu Haoxiu and Park Toe-won provide the specific repertoire of Qianlong's seventy-year-old and eighty-year-old performances of "Ninety-Nine Great Celebrations", and are also the only records of existing historical materials, and the repertoire of Qianlong's sixty-year-old longevity performances of "Nine-Nine Great Celebrations" is also provided by the diary documents.
The diary of the English envoy Ma Garni Qianlong in the fifty-eighth year (1793) of December 20 of the Western calendar: "... The Chinese officialdom receives guests, and when the guests arrive at the museum on the first day and end on the day of departure, they are ordered to continue to perform the drama, from morning to dusk, and there is no rest, and it is disrespectful to rest. [9] 48 This record indirectly points out the reasons for the official performances that flourished during the Qianlong period of the Qing Dynasty.
Gu Tinglun's diary on August 22 of the seventh year of Jiaqing (1802): "卯正, Zhongcheng went out to visit guests all over the outer city, Yu and Xiaotong went to Guangde Lou to watch a play after dinner, the class name Sixi, the most timely one in the capital at the moment, is the daily performance of "Pink Zhuang Lou", about the southern Fengtai scenery, the number of special people is more ears, see Shen Chu return to the pavilion to pack his bags, will set off to the south. [10] 276 This record is of great significance to the study of sixiban. And Fu Jianyin's "Diary of Mr. Fu" Guangxu Eighteenth Year (1892) May 17: "Jia Shu, sunny and hot, get up from the theater at half past four, disembark at six o'clock at Da Ma Tou, and return to the headquarters by car." Chen De often came to teach foreign languages, and Sun Bichen prepared a seat to prepare a boat, and went to XiguanGuan Sixi Jingban. [11] The diary of 68-69 reveals that it was difficult for the Sixi class to develop in Beijing in the later period and sought development in Guangzhou.
Huang Shucai "West
Diary of Guangxu 5th Year (1879) September 13, 1879 in Penang, Malaysia: "... Suitable value of the Society Tournament (original note: land god, called: Tai Bo Gong), playing the story of the pavilion, fish and dragon lights, very gorgeous. There is a drama garden, male and female strings, Guangdong east class also. [12] 227-228 Wu Guangpei's "Diary of a Southbound Journey" Guangxu Seventh Year (1881) on July 28, 1881 in Penang Jiyun: "In the evening, Yan Di invited to Qingfang Pavilion to watch the drama, which was for the Min Gang Public Office. Shi Minguang's second class co-acted repertoire, although slightly discerning and noisy, the so-called unappreciative joy, and there are many scorpion worms on the ground, and the dust is full of support. The southern lowly wetlands are not a promised land. The drama was folded, so the car was ordered to return, and the clothes were undressed. [13] 430 Because there are more Fujian and Cantonese overseas Chinese in Southeast Asia, opera has important sacrifice and entertainment purposes, so it has also been brought abroad, guangdong Fujian opera in Southeast Asia spread is very common, but so far direct historical materials are rare, these two clear records of the late Qing Dynasty Fujian opera in Southeast Asia spread, especially precious.
Yao Pengtu Guangxu Thirty-first Year (1905) April 13 Diary: "... It was a day to listen to the "Hebao" in the Gongfu, not to Gu Su, not to listen to Kunqu opera for five years. Qu fei is not very workable, but it is better than The Shanghai Zhuji. Lingren Gai Fuzhong Jiale also. [14] 395 Scholars believe that the Kongfu Kunban died in the twenty-first year of Daoguang (1841) and declined, and the Later Kongfu class sang Peking Opera and Zizi Cavity. According to the Confucius archives, the latest time for the Confucius opera class to sing Kunqu opera was the Goldman Sachs class in the eighteenth year of Guangxu (1892). This diary is the latest record of Kunqu opera performed by the Kongfu family class to date.
There are many more diaries such as these that contain important opera information. The rich diaries contain these opera historical materials that can confirm, supplement and revise the conclusions of existing opera research.
< h1 class= "pgc-h-arrow-right" > third, The historical materials of Ming and Qing Dynasty diaries and opera should be studied as a whole</h1>
It is not enough to look at these historical materials from a small number of unique materials, these historical materials need to be comprehensively examined to show their academic value, which can be examined from multiple dimensions of the study of the history of acting.
(I) Actor Research Among the existing opera historical materials, the actor information quoted by the predecessors is mostly from the notes of the literati such as "Yanlan Xiaopu" and "Ming Shu Xiaolu", etc., which record the anecdotes of some famous actors in more detail, in addition to the records of poetry collections, these historical materials due to stylistic limitations, the record of actor information is relatively brief. The actor information recorded in the historical records of the diary opera has its own unique value. First of all, the diary details the process of close contact between the literati and the artists, such as Shen Baochang's diary of Yao Guifang (Qiu Yu), Mei Qiaoling and a number of other actors, Zheng Xiaoxu's close interaction with Wang Lingzhu in the diary, and Wang Yanwei's frequent interaction with the actor Lu Fen; secondly, some diaries record some actors even more in detail than the literati's notes, such as Wang Zhonglin's diary of Zhang Erkui, Wu Chengxiang's diary of Hou Junshan (thirteen Dan); finally, The unique time and space limitation of the diary itself is irreplaceable by other historical materials for specific understanding of the actor's activities. These historical materials will be the specific interpretation and necessary supplements of the historical materials of the "Yanlan Xiaopu", "New Songs for Cooling the Cold", "Huaifang Ji", and "Ming Shu Xiaolu".
(II) Study of drama classes As the basic unit of the history of acting, the more fully it understands, the closer it can get to the truth of the history of acting. At present, the materials used in the study of the history of opera are mainly derived from the notes of the literati and poetry collections, and this kind of information is very rich in the historical materials of diary-style opera. For example, Pan Yunduan's diary records many classes of Shanghai opera in the Ming Dynasty, such as Yuyao Pear Garden, Shaoxing Pear Garden, Huzhou Pear Garden, Yuhang Pear Garden, Wumen Pear Garden, Yiyang Pear Garden, Songjiang Pear Garden, Tulongjia Class, Fenglou Family Class, Guo Qinjia Class, Pan Yunduan Family Class, etc.; Wang Jihua's diary records the important opera classes in Beijing from the 35th year of Qianlong to the 39th year of Qianlong (1770-1774): Baohe Class, Wangfu New Class, Dacheng Class, Yuqing Class, Yafang Class, Jiagu Class, Hecheng Class, Yicheng Class, Taicheng Class, Yuqing Class, It is another important source of information on the Banshe in the Beijing area in the middle of the Qianlong period. Weng Zenghan's diary records the performances of the Sixi class, the Chuntai class, the Wan Shunhe, the Sanqing class, the Song Zhucheng, the Yongqinghe, the Xianghetai, the Shuangshunhe, the Quanshenghe, the Yongshengkui, the Ruishenghe, and the Liansheng class in the Same Light Year, and from them we can see the traces of kunqu opera, Zizi cavity, Erhuang and other dramas. Zhang
The diary even records more than 70 class clubs in Wenzhou during the late Qing Dynasty and the Republic of China, which shows the grand situation of Wenzhou's various chambers competing and performing in various classes during this period. If the historical materials of the drama classes in the diary are summarized and analyzed, it can be clearly seen which famous classes are in a certain area and the boom and bust trajectory of these drama classes.
(III) Repertoire Research In the past, the sources of information on ancient Chinese repertoire were mostly based on the records of repertoire classics, poetry collections, etc., while opera is a stage art, and the repertoire recorded in the repertoire texts may not be staged, which is inherently insufficient for people to understand the history of acting. The poetry collection preserves a lot of repertoire information, and the time of creation of these poems is often not reflected in the collection. Ancient diaries often mentioned the repertoire when recording the activities of the theater, after all, this was only a passing thing. The repertoire information in the diary historical materials is extremely rich, and even more only the content of the repertoire and the class society are recorded, and the anon.e. "Jiaqing Ding wei and Peng Wu Guan Drama Diary" is an example. Compared with the repertoire recorded in the repertoire texts and the literati poetry collections, the repertoire information recorded in the diary has its own unique value: these repertoire are really performed on the stage, and the specific time and place of their performance can be determined, which will be an important material library for the study of the history of acting. In addition, the diary historical materials also mention many plays that are not recorded in the repertoire, which will provide rich information for the compilation of ancient Chinese opera general repertoire and other works.
(4) Sound Cavity Research There are also rich historical materials on sound cavity in the diary, such as the Kun Cavity and Yiyang Cavity that were popular in the Songjiang region during the Wanli Period recorded in Pan Yunduan's diary, the Siping Cavity popular in Shandong and Yangzhou recorded in the diaries of Wen Zhenmeng and Xiao Shiwei, the Tune Cavity recorded in Hangzhou in the "Nanyue Provincial Diary" of Maoxiang Xiang, the Kunyi Cavity of the Qing Palace in Gao Shiqi's "Secret Record of Pengshan", the Qin Cavity circulating in Hunan in Gu Cai's diary, the Record of Quanzhou Xia nan Cavity in Taiwan in Yu Yonghe's "Sulfur Mining Diary", the record of Guilin Guang cavity in Zhang Tenglong's diary, and the "Hefen Travel Story" in Zhu Weiyu's "Hefen Travel Dialect" The record of Shanxi Zi Cavity, Wang Yanwei's diary, Weng Zenghan's diary recorded in Beijing's popular Zizi Cavity, Guan Tingfen's diary record of The Luo Luo Cavity in Beijing, Wen Shilin's diary recorded gansu String Cavity, Xiliang Cavity, and so on, and so on, these accurate and rich sound cavity historical materials will provide an important basis for the study of opera sound cavity.
(V) Research on Drama Customs Judging from the data currently available, there are mainly the following kinds of ancient drama origins: divine birthday dramas, birthday celebration dramas, group worship dramas, simple entertainment dramas and commercial dramas, etc. The diary verifies the mainstream of such dramas with rich historical materials. However, since acting was a major way of entertainment in ancient times, the origin of the play was in fact extremely rich, such as the official promotion drama and marriage drama recorded in Wang Jihua's diary; the court performances such as "Ban Dingyuan Fenghou" and "Han Fan Seeking Western Xia" before the army's expedition recorded in Song Daye's diary; the drama before the ship was recorded in Zhao Hengju's "Lead Difference Diary"; the funeral drama recorded in Li Qizhi's "Yi'an Yan Record"; the Miyue performance recorded in weng Tonggong's diary; and the "Zhang" recorded
The Diary records the xiuping drama and the ju gamble drama; the official welcome drama recorded in the diary of Ma Jiaerni; the diary of He Yinzhuo, the diary of Zhang Xiao, and other records of the performances of various local official offices during the longevity period of the Qing Dynasty. In addition, there is also the problem of the composition of the audience, whether there is a female seat, what additional performances are performed in addition to the main drama, and the soft bag drama and the sitting choir are generally performed according to what circumstances. These opera customs can be found in the Historical Materials of Ming and Qing Dynasty Diary Opera.
(VI) Economic Research on Drama The cost of the establishment of the drama class, the amount of the price of the drama, these materials are also very critical to the study of the history of opera, and some of them are recorded in the Ming and Qing Dynasty notes on novels and poetry collections, and novels and other literary works may be untrue. The diary is mainly a record of daily life, many authors keep a diary for the purpose of assisting memory, daily expenses have become an important part of the ancient diary. Especially in some daily life diaries at the end of the Qing Dynasty, the economic historical materials of the drama are even richer. Xu Yinlin's diary, Zhang
As for the previous diaries of the Daoguang Dynasty, due to the lack of these historical materials, some records are even more precious, such as Pan Yunduan's diary on March 22 in the sixteenth year of the Wanli Calendar (1588): "I also bought Suzhou Xiaowei Chenghan, silver two two and five dollars." Providing the price of the Ming Dynasty family class actors, the first diary of the first month of April in the eighteenth year of the Wanli Calendar (1590): "Shen, buy nine pieces of costumes, a total of four or two six dollars and seven cents." [15] Referring to the diary's other rich price information, it is possible to calculate the cost of the Ming dynasty's drama class. Ye Shaoyuan was in the fifth year of Shunzhi (1648) on February 11, 1648: "On the outskirts of Pinghu Lake, there is a divine drama, and the money is twelve or two. [16] 273 This material provides information on the cost of Pinghu folk dramas. Zhan Yuanxiang wrote in the twenty-sixth month of the first month of the forty-second year of the Kangxi Dynasty (1703): "In the village, the musician surnamed Qimen Zhang taught the drum, wrote Xie Jin thirteen two, and learned the fifteen sets of coarse music, fine music, ten fans, and fifteen sets of Kun Cavity (original note: each set of eight coins, plus one or two. ）。 [17] 242 This diary provides remuneration for Musicians in Huizhou during the Kangxi Dynasty. Wang Jihua's diary on February 30, 1939 in Qianlong, provided a specific price for a drama class: "... So to the Zhejiang Shao Guild Hall will be ugly in the same year... Yu Qingban performed the drama, until the beginning of the sea, a total of four seats... This day's play, a lot of money twenty-four thousand words, to give out also. The rest of the miscellaneous expenses were released in the same year, and the Shi'an cuisine was also made. [7] 375 Bi Huai spent on the opera in The Guanghe Building in Beijing on March 17, 1836: "Ticket money is one hundred and forty-eight per person, tea money is thirty, and snacks are thirty." [18]289 Although this price information is not the most important content in the diary historical materials, compared with other types of opera historical materials, these historical materials are far more concentrated and reliable than others, and are convenient to compare with other price information contained in the diary.
(VII) Drama review research The diary also contains a lot of drama review information, including plot evaluation, actor voice evaluation, performance skill evaluation, etc., which have important value and have a sense of scene that cannot be replaced by other historical materials. For example, on November 29, the second year of Wang Yanwei Guangxu (1876), in Beijing's FushouTang Guan Shanxi Zi Cavity: "Jie Cheng invited to listen to the Fushou Tang West Cavity... After the meal, Kaiyan Qingzhi went to play "Shetang Guan", obscene and incomprehensible; acted in "Catch and Release", good to the point; acted in "Luhua Dream", low back, sad, this is also the mainstay of the Western cavity. The martial arts of the Flying Fork Array are really invincible. [19] 164-165 Another example is Yang Enshou, who himself is a dramatist, with opera theory and drama works passed down, and the opera historical materials recorded in his diary have a remarkable nature of literary and artistic criticism, if you want to study Yang Enshou's opera theory and plays, the perception of opera recorded in his diary cannot be ignored.
In addition, due to its exact chronology, the diary historical materials will provide the most direct materials for the detailed chronicle of the history of opera, the detailed chronology of famous artists, the chronicles of famous opera classes, and the diachronic study of classical repertoire performances. A large number of diaries may contain a wealth of opera historical materials, and on the basis of comprehensively reading the Ming and Qing diaries, it will be a far-reaching work to hook, examine, and revise the opera historical materials in them and systematically study them.
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[Editor-in-Charge/Shen Wei]
The Distribution and Value of Diary Historical Data of the Traditional Opera in Ming and Qing Dynasties
Huang Yishu
Abstract：The existing diary literature in Ming and Qing dynastiescontainsrich historicalmaterialsofthe traditional opera，but not all diaries record the traditional opera information. There are relatively few historical materials of the traditional opera in the war diary and the reading diary，daily life diaries are often full of rich historical materials of the traditional opera. Various diaries have different details on the historical records of the traditional opera,The historical data of the traditional opera in the diary is very convincing,some historical data have laid a solid foundation for the construction of the traditional opera history. But it is not easy to read the diary texts，The former cited only a small part of the existing diary historical data. In fact,there are a large number of historical materials of the traditional opera to be excavated and studied. The rich diary data will provide a reliable factual basis for each dimension of the traditional opera research.
Key words:diaries in Ming and Qing Dynasties;historical data of traditional opera;distribution;value
Medium figure classification number: I237
Document identification code: A
Article ID: 2095-5669(2017)06-0104-07
Received:2017-04-21
*Fund Project: Humanities and Social Sciences Fund of the Ministry of Education "Compilation and Research on Historical Materials of Ming and Qing Dynasty Diary Opera" (12YJC760030)) Phased Results.
About author:Huang Yishu, male, Doctor of Literature, Associate Professor of The College of Literature of Zhejiang University of Communication and Communication (310018, Hangzhou, Zhejiang), mainly engaged in the study of ancient opera