Swinging knowledge and renunciation
If the worship ceremony is the starting point or sign that those who will be abandoned by the main society are accepted by the bottom side society, then the "pendulum knowledge" when the master approves and approves his ordination after several years of arduous study is the boundary monument of the tianqiao street artist group to the new members.
The record that can be seen now in "Pendulum Knowledge" is only found in the "Discussion of the Rivers and Lakes": "When an apprentice has learned the art, he must first thank the master before he can earn wages to work, and the book critics call Xie Shi 'entering the pendulum knowledge'." Unlike worshippers, there are one or two tables of drinking dining, and there are twenty or thirty tables for those who know more, and more than ten tables for those who know less. (8) This situation is also often mentioned by the reporters in my investigation, but none of them have any exact individual cases, and they have only listened to the elders or the master. The absence of a case does not prevent the basic fact that "pendulum knowledge" is the final link and necessary process of the art of learning as a ceremony. The reason for inviting more people than during the worship ceremony is to let more people know that someone is someone's apprentice, and that they have achieved success and can perform independently as a member of the group of street performers.
In Tianqiao, most of the artists are poor people, and it is very doubtful whether they can also set up twenty or thirty tables or dozens of tables according to Lian Kuo as recorded, and this situation may occur more often when the disciples of famous artists in the street Beijing opera or other famous artists with very prominent reputations are discharged. But whether or not an apprentice can perform the art of the master, no matter where he is, the master has absolute authority.
Hou Baolin first studied drama with Yan Zefu as a teacher. Yan Zefu later ran away from Beijing because of the friction between foreigners making movies and "Flying in the Clouds". Before leaving, he did not forget to say to "Yun Lifei", "My apprentice has not learned a full master, you don't use him." Such a simple sentence pushed Hou Baolin back to the desperate situation of life. (9) Although Hou Baolin studied under his teacher and really learned art, because he was not recognized by his master, he was still rejected by the Tianqiao street performer community, and his identity was not finally recognized.
Chang Deshan, because he burned so much smoke that he could not teach Guan Xue Zeng to learn art, he transferred Guan Xue Zeng to Shi Jinrong and asked him to follow Shi Jinrong, and Guan Xue did not know whether master had transferred his previous writings to Shi Jinrong.
Among storytellers, the disciple is not allowed to ridicule the child (jargon) without thanking the teacher, and only after thanking the teacher can he know the question and answer speech of the "pan dao" of the bank. Because of the street performers, their performances are always fluid, and when they go to a different place to perform, their identity will once again be confirmed by their counterparts in different places, and the jargon is called "Pan Dao". Only after the successful passage of the "Pandao" can the right to perform in a different place be obtained.
Pan Dao
Few artists and old neighbors who were active in the late Republic of China have heard and witnessed and personally experienced "Pan Dao". They also listened more to the previous generation, and only knew the teachers and the characters in general, and the specific process was not clear. As far as the artists in various trades of Tianqiao are concerned, all that can be heard at present, and what you can see from the book is the whole process of the storyteller's "pandao" and the Q&A words. For a foreign storyteller who is unfamiliar with the art, the process of "panning the road" is as follows:
Fellow artists walked into the bookstore, saw the living people walking in the art, so they used the hand towel on the desk to cover the waking wood, put the fan horizontally on the hand towel, and then looked at what to do with the storyteller. If the storyteller does not understand what is going on, and says that he has not visited the teacher, the person who comes will take away the performance props along with the money earned, and the person is not allowed to read the book again. This is called "harvesting".
If the book has a portal and a master, and knows the rules in the industry, it will act according to the rules. First pick up the fan with his left hand and say: "The fan is a spear and a stick, the king of Zhou Zhuang pointed out to Yu Xia, the three ministers and five bright families, ten thousand peach blossoms and a tree were born (speaking of this, put down the fan, pick up the hand towel and put it to the left), why carry the left and right." Confucius traveled around the world, and the sub-road was civilized along the door. Liu Jingting tongue war group thieves, Su Ji said that the world. Zhou Jituo passed on to future generations, and learned to perform and educate in ancient and modern times. After saying the last sentence, as soon as he patted the waking wood and continued to speak, he did not dare to say anything more.
For example, if a storyteller is cunning, after saying this set of words, he will cover the waking wood with a hand towel, put the fan horizontally on the towel, and ask the dish to be taken away. Pan Dao also has to say another thing according to the rules of the industry - a set of words: "A piece of waking wood for the industry, a fan for the career, the rivers, lakes and seas for the home, the waves are not afraid." Waking wood can be made by people, and there are no wild grass idle flowers, and civilian officials and military generals also rely on it to enter under the three ministers. "After saying that, I can only leave after I can say the next paragraph of the book." If the words that do not speak the next paragraph cannot be replaced by the next paragraph, you will have to compensate for the "one-day loss" of the book. ⑩
During the Period of the Republic of China, the "Pan Dao" thing was not absolutely absent. In 1947, there was a "PanDao" incident in tianjin Pingxin Tea Society that shocked The Beijing-Tianjin artists. Xiao Guixiang originally learned to sing and comment on opera, and after becoming an artist, he performed in the urban and rural areas of Tianjin, Hebei Province. Because she did not want to "communicate", she could not continue to sing the commentary, and under the persuasion and guidance of a ticket friend (Li Qingliang), she changed to singing the big drum.
Because Xiao Guixiang is smart and willing to study, he will soon be able to sell his art. At the beginning, he made a field at the Hanging Foot Temple in Qiandezhuang, Tianjin, and hung up a water sign with his sister, taking his own stage names Sun Qingyan and Sun Qingxia. Because of his good singing, he later performed at the Dongxing Market and Pingxin Tea House in Tianjin Nanshi, and the audience was also full. But not long after the Pingxin Tea Society performed, thirty or forty artists from Tianjin who sang the Xihe Drum came and said, "Where did the Pingxin Tea Society come from with two aunts?" (In fact, Sun Qingyan was only eighteen years old at the time) said that they were "sea green legs" and were not allowed to perform.
Later, the sisters understood that among the characters of the Xihe big drum artists, the "Qing" character was one generation higher than the "Tian" character, and most of the Xihe big drum actors in Tianjin at that time were of the "Tian" generation, in order to continue to eat and sing the bowl of rice of the Xihe Big Drum, Sun Qingyan had to entrust someone to ask the old predecessor Tian Shi to face, and finally agreed that the two sisters would turn a portal from the Mei family to the Qing family, thus descending the next generation and the same generation as the Tian Zi generation. Next, sun Qingyan sisters spent three hundred yuan of ocean, invited all the artists in Tianjin to sing the Xihe big drum, set up a table in the artist Zuo Tianfeng's home, burned incense in public to worship the Xihe big drum actor Zhu Qiyun as a teacher, and then served wine and invited everyone to eat a meal before it was over. ”
The cause of this "Pan Dao" incident is obviously more complicated, not only is two new competitors suddenly emerging, but also a generation higher. The reason for the emergence of "Pandao" is that, despite the flow, street performers generally have relatively stable and lasting performance venues, more familiar audiences, and relatively stable incomes to maintain their own and their families' "waiting for rice to cook" life.
In order not to cause a vicious conflict, the Book Critics Research Association established in beijing in the early years of the Republic of China and the later Changchun Qu Art Association and other industry organizations have certain regulatory functions, especially the Book Critics Research Association, which stipulates the rules for artists who speak books in Beijing to turn once every two months. For the strange faces of the new rice bowl, the "pan road" is nothing more than a buffer and a pressure relief valve.
The decrease of "Pandao" during the Republic of China period also shows the impact of social unrest on the concept of street performers and the destruction of the sense of "territory", which led to the increase in the mobility of street performers. The convenience of modern means of transportation such as trains and automobiles has also accelerated the flow between cities, between cities, and between urban and rural areas. Local artists have to be more tolerant of foreign artists or artists who want to "encroach" on their territory, but in any case, the "PanDao" still remains in other weakened forms, which is especially evident in the overpass.
The overpass has the saying of "copying fat" or "picking up bench legs", Wang Xuezhi told me about "picking up bench legs" as a stage of practice, and Zhu Guoliang's narration reflected the weakened form or trace of "Pan Dao". Because of the efforts of his master, father and many uncles, Zhu Guoliang's family already had a fixed field in the tianqiao in the 20s and 30s, he said:
When selling art, it is generally placed on the ground around 9:00 a.m., that is, the bench is laid out, and it is generally collected at 4 or 5 o'clock in the afternoon or when it is dark. There are also "fat copies" on my family's field, also known as "picking up bench legs", that is, those artists who do not have their own venues borrow other people's venues, and do not perform intermittent performances before or after other people's performances or in the middle, neither pay taxes to the official, nor give dividends to the owner of the venue (specially placed on the ground or the artists who belong to the field), and the proceeds from the performance all belong to themselves.
"Copying fat" is also divided into "copying early" and "copying late", and those who have copied fat in my yard include Guan Xuezeng, who said piano books, Cao Mazi, Cao Dekui, who said counting treasures, Huang Huang, a big soldier who scolded the street for selling medicinal sugar, Luo Peilin, a small gold tooth who pulled foreign tablets, and Li Jiyou, who told books. Guan Xue used to copy early, and small gold teeth generally copied late. We artists are the most united, and we are righteous. If you're here, he's there, and the two of you do business at the same time, and if you start here, he won't get anybody there (no one to watch). You have to rest here, let him finish the seat and earn money, and then you can do it.
The poor are really united with the poor, they can't get in touch with the rich, they talk about crosstalk, acrobatics, and books are all without food (no food to eat), and only one person in the family is making money on the overpass. After earning money, hurry home, the family is still waiting for dinner. When Xu Yuanlun of "Shandong Xu" came to my house and went to the ground, he was introduced by Man Ye Man Baozhen (who was handed over). He also performed martial arts, and in Beijing he did not fold, so he had to shake the ground on our field. When he was on the ground, my son Zhu Youcheng helped him perform a performance, and all the money he earned after the performance went to him, we did not end the money, nor did we share the shares, and he did not buy one for my son's cake.
This shows that in the Republic of China period, as long as the Tianqiao street performers are acquainted, even if they are different trades, the meal bureau is really not compromised, they can tolerate each other and let them borrow the land to perform. For strangers from outside, as long as there is a trustworthy person to introduce them.
But a street artist, whether through strict discord or tolerant acquiescence, after obtaining the right to perform in a place, in order to stay and earn a living by selling art to earn a living and support his family, he also needs the recognition of his parents, the audience, that is, the audience's identification with all his identities.
exegesis:
(8) Lian Kuoru: Discussions on the Rivers and Lakes, pp. 336, p. 281, Contemporary China Publishing House.
(9) Hou Zhen and Tan Baosen: Hou Baolin and His Children, pp. 18-20, 33, Popular Literature and Art Publishing House.
(10) Refer to Pages 550 and 551 of Chinese Quyizhi Beijing Volume, edited by the Editorial Committee of China Quyizhi; Lian Kuoru: Pages 335--336, 332--334 of The Discussion of Jianghu Series, Contemporary China Publishing House, Zhang Cixi: A List of Tianqiao, Zhonghua Printing And Publishing Company. To be continued (
(10) Refer to Pages 550 and 551 of Chinese Quyizhi Beijing Volume, edited by the Editorial Committee of China Quyizhi; Lian Kuoru: Pages 335--336, 332--334 of The Discussion of Jianghu Series, Contemporary China Publishing House, Zhang Cixi: A List of Tianqiao, Zhonghua Printing And Publishing Company. To be continued (Source: China Xiangsheng Network, Author: Yue Yongyi, Original Title: The Construction and Acquisition of the Identity of Tianqiao Street Performers, selected from "Beijing Archives And Historical Materials", No. 1, 2002, Text Scanning And Proofreading: Xiangsheng Warehouse Administrator, Great Wall Quyi Network · · Small building editing proofreading)