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David L. Rolston

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In: Inscribing Jingju/Peking Opera

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David L. Rolston

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Abroad, Jingju 44–50;

in the Chinese diaspora 44;

commercial tours 44, 48;

diplomatic tours 45–46;

diplomatic use 47, 47n;

tours of Taiwan 48, 664–65;

Lincoln Center performances by Zhang Huoding in 2015 2n, 61–62.

Mei Lanfang’s tours outside China

Abstracts, with scenarios or plot information 531;

connection with demand for new plays 199–201;

first stage in playwriting 397n, 419, 497;

for military scenes 495

Abstracts, without scenarios or plot information 167n, 198–99, 242n;

costume abstracts 118n, 198, 199n, 545–46;

musical accompaniment abstracts 198;

prop abstracts 198, 199n, 545–46;

combined costume and prop abstracts 198–99n;

performance abstracts listing scenes, roles, and actors performing the roles 199.

tigang, banzou tigang, xingtou tigang, jianchang tigang/qiemo tigang, chuanguan, and changmian tigang

Acting versus reading playscripts 210n, 525–26;

Performance or acting editions

Actor input into/consumption of Kunqu play anthologies 164n, 166n, 525n

Actor literacy IX, 264n, 267, 279–80, 432;

readers of Sanguo yanyi 271n

Actor versus playwright 473–74

Actor-playwrights VII, 210, 264n, 266–80, 288–91, 508n, 518, 521n;

decline of 520

Actors playing more than one role-type ;

criticized for mixing them 139;

praised for 139–40

Actors reluctant to share their plays and skills with others 121–22n, 540;

keep something back when do recordings 88

Actors, only given single-role scripts 163, 164n, 266n;

didn’t tend to have playscripts early on 164n

Actors’ guilds ;

Beijing 27, 99, 139;

Shanghai 57;

and enforcing performance rights 436;

hualian actors’ guild 507n

Actors’ world as closed or open, Beijing versus Shanghai 36n

Actor-tabooed plays 465n

Actress as spy 78

Actresses (kunjiao 坤角, kunling 坤伶, nüling 女伶) 8, 424;

warlords like to marry 58;

gang leaders like to marry 64;

thought not to specialize in role-types 137;

regular sections on them in periodicals 304–305n;

not at first permitted to act with males on stage 386n;

Xikao shukao on 391;

photos in Xikao 402–403

Actresses perform male characters 64

Actresses, got start in Shanghai and Tianjin 34

Adorno, Theodor 104

Ads for performances; in newspapers 75, 110–11, 118, 149n, 242n;

replace display of props and star’s surnames 333n;

progressively contain more information 197–98;

used to study Taiwan repertoire 116

Adultery, plays about 447

Advertising and Jingju 80, 84–86, 91–92;

written testimonies by actors 84n, 279n;

cigarette ads 84–85;

cigarette cards 84–85

Age; and role-type 132

Aiguo fu 愛國賦 (Ode to patriotism) 439n

Aiqing 哀情 (nostalgia and regret); Xixue huikao topical category 160

Ajia 阿甲 519n

Akutagawa Ryūnosuke 芥川龍之介 ;

consulted Xikao while in China 407n

All-female troupes 74;

got start in Shanghai and Tianjin 34

Alternate versions included in playscripts 559–560;

Qi Rushan claim that Baiben Zhang manuscripts included alternative versions of arias 173–74;

comments about in edited and commented playscripts 559

Amateur actors (piaoyou 票友) 24, 44, 57, 63n, 64–65, 281–282, 419, 423n, 424, 482, 525, 539, 559–60, 565;

turned professional 89n;

need submit list of plays can perform before turn professional 112n;

and Baiben Zhang manuscript playscripts 174–75n;

demand for playscripts spur circulation and publication of playscripts 177n, 530;

consulted by actors 281–82;

and Xikao 295;

demand for play manuscripts 392n;

photos of in Xikao 402–403;

use of jun 君 to label in photo captions 403n;

and performance rights 439–40;

censorship of amateur plays 451–52;

amateur teaching amateur 501n;

rare to be able to perform military plays 501;

Weng Ouhong able to make some money (less than professionals though) 505, 509;

turned professional 513;

and yangban xi 525;

some interested in limiting direct contact with professional actors 530, 565;

playscripts for 531–32;

Jinghu player 539–40;

playscripts promise that with them you don’t need a teacher 543;

as audience for new media shuoxi 580

Amateur Drama Club of Shanghai 38n

Amateur Jingju clubs 44, 64, 543;

and playwriting 281, 483, 501;

and play publishing 344n;

demand for play manuscripts 392n;

and yangban xi 476n

Anchang

暗場

;

offstage treatment of material 496

Andian ben

安殿本

;

manuscript copies for imperial use 12, 167n;

focus on spoken text 166–67, 192n

Anglo-Chinese School (Ying Hua Shuguan 英華書館) 421–22

Angong laosheng

安工老生

132

Anhui merchants 15

Anhui troupes (Huiban 徽班) 13–16, 108, 141n, 393n

Annotation in Jingju playscripts 344, 529, 542, 555–57;

annotated in detail 542, 565.

Pronunciation glosses, Cuture notes

Anthologies of playscripts 530–35.

Collections of Jingju playscripts

Antian hui 安天會 (The bringing-peace-to-heaven banquet) 57

Anti-Rightist Movement (1957–1959) 469

Antou zhi ju 案頭之劇 (desktop [closet] plays) XVI, 7, 218n.

Closet plays

Aoki Masaru 青木正兒 426n

Applause and yelling bravo; and Kunqu 11n

Aria music composition ;

professionalization in the PRC 520

Aria only playscripts, with musical notation 173n

Aria type ;

added to manuscript 176n;

in table of contents and scenes 255–56n, 258–59;

leave certain amount of choice in specific aria type 259;

include in playscripts 420, 548, 552n;

required in Taiwan playscript model 463n;

Chen Moxiang says leave up to actors 495;

more flexible aria types 526n

Arias ;

separate circulation 201, 561–62n

Armor 67

Artistic director 523n

Attribution (shuming 署名) ;

personal (geren 個人) versus collective (jiti 集體) 474n

Audience desire for textual material 204, 205n;

read playscripts before see performances 204n;

take playscripts to see performances 204–205n;

consulting libretti during Western opera performances 205n

Audience discipline 62

Audio recording of Jingju performance elements XII

Auspicious plays 142, 172n

Auteur theory in film XVIIn

Authentic (zhenzheng 真正, zhenci 真詞, zhenben 真本, etc.) ;

claims about playscripts 177n, 178–80, 181n, 177n, 180n, 355n, 363–64, 392–93, 394n, 416, 418n

Authorship attributions in playscripts ;

in zaju playscripts 215–18;

in nanxi playscripts 218–20;

implied author in zhugongdiao 223n;

implied author and pennames in chuanqi prologues 220, 223–24;

in Jingju using pennames 226, 251;

in Jingju using own name XII–III, 226;

to Tongsu Jiaoyu Yanjiu Hui and not individual playwrights 430–31n;

of Feng huan chao to Qi Rushan 434n;

in play programs 483

Authorship attributions, classical Chinese theater 213–26, 394–95n;

in zaju 109, 214–18;

in nanxi playscripts 218–20;

and the divide between nanxi and chuanqi 220;

in chuanqi 220–26;

sets of zaju and chuanqi plays published by author 225;

zaju and chuanqi play reference works organized by plays’ authors 225–26;

translators and not playwrights credited in translations 341n;

drawing of playwright in Shijie xinju play summary 401;

photo of playwright in Heiji yuanhun tushuo 401;

Mei Lanfang on 397n, 429n;

to stars rather than playwrights 396, 431n, 483–84n, 533n;

collective versus individual XVII, 242, 473–75, 507n;

Weng Ouhong play 508n

Authorship in East Asian literature XVIIn

Authorship in Xikao ;

rare mentions XIII, 396–97, 397n;

ad highlights play by Wang Xiaonong 363

Authorship, romantic conception of the author as all controlling XVII;

as a composite of functions XVIIn;

theater owner held responsible for the content of plays performed and not the playwright XVI;

Jingju literati playwrights publish under own name or pseudonym XIII;

Jingju activist playwrights publish plays in periodicals under own name XIII 183–87;

of zaju plays 109;

of chuanqi plays 109, 178;

and Jingju plays 178, 392–93n, 394–97;

authorship and textualization before Xikao 210–92;

chuanqi playwrights try to prevent actors and revisers changing their playscripts 212–13n;

chuanqi playscripts read as literature 212;

collaboration in playwriting 395n, 507n;

collective versus individual XVII, 242, 773–75

Autobiographical plays 225

Aying 阿英 (penname of Qian Xingcun 錢杏邨) 254n, 552n

Ba che 八扯 (Eight bits) 207n

Ba da na 八大拿 (Eight great grabs) 153, 288–89

Ba Jin 巴金, “Di’er de muqin” 第二的母親 (My second mother) 77

Babai ba nian 八百八年 (Eight hundred and eight years) 120n

Bachang 把場 (oversee performance) 495

Bad plays (huaixi 壞戲) 470

Bada chui 八大錘 (Eight [generals using pairs of] big mallets) 574n

Bai bi gong 白逼宮 (White pressuring of the throne) 411n

Bai fu wei ji 白傅遺姬 (Imperial tutor Bai [Juyi] sends off his concubine) 374n, 378n, 391n

Baiben Zhang” 百本張 70n, 171–74, 207n, 413n;

photo-copies of their playscripts 171;

catalogues with prices 158n, 172–73, 413n;

Kunqu appended at ends of their Jingju catalogues 172–173;

at temple fairs in Beijing 172;

mechanical copying 172;

catalogue for zidi shu 172n;

zidi shu piece that describes Baiben Zhang manuscripts on sale at temple fair 174n;

musical notation optional for some plays 173;

claim that some included alternative versions of arias 172–73;

and amateur singers 174;

musical notation 190n

Baibi congshu 百弊叢書 (Collectanea of the various [social] maladies) 385

Baikou xi 白口戲 (dialogue plays) 3n

Baimao nü 白毛女 (White haired girl) 443

Baimen

擺門

;

display props outside theater as ad for specific plays 334

Bainian xilou 百年戲樓 (One hundred-year old theater) 522n

Baishe zhuan 白蛇傳 (The white snake) 320n;

digital film of 584n

Baitu ji 白兔記 (The white rabbit) 219

Baixi ming 百戲名 (100 play names) 71n

Baixue/Bai Xue 白雪 441n

Baiyu shuang 白玉霜 (Li Guizhen 李桂珍) 452n

Baiyue ting 拜月亭 (Pavilion for praying to the moon) 214n

Bajiao shan 芭蕉扇 (The plantain leaf fan) 417n

Bala miao 八蠟廟 (Bala Temple) 137n, 181n

Balanced character ;

and role-type 132

Ban 板 (clapper) 13n

Bandi 班底, Shanghai theater house troupes that backed up stars from Beijing 26, 35

Bangqiang 幫腔 (offstage choruses) 16

Bangzi 梆子 plays 13, 23, 52, 67, 72, 109, 120n, 186n, 254n, 332, 394n, 404, 494, 513, 533;

mistakenly referred to in English as clapper opera 13n;

prohibited in the Qing 23n;

early literati playwrights 226–27n;

adaptations of chuanqi plays as 226–27n;

early source for Jingju plays 266;

in Xikao 313n, 316–19

Banned plays 60, 116n, 117, 181n, 241n, 445;

Republican era lists of 448

Bannermen, prohibitions against going to theaters or become actor 33;

and zidi shu 70

Banqiang

板腔

;

arias with lines with equal numbers of characters organized into couplets 9, 15

Banquan ye 版權頁 (publication page) 437

Banquan 版權 (copyright, producer-centered) 439, 441n

Banshi 板式/ banbie

板別

. see Aria type

Banxiang pu 扮相譜 (stage appearance illustrations) 65–66n

Banyan

板眼

. see Beat notation

Banzou tigang 伴奏提綱 (musical accompaniment abstracts) 198

Bao gong xi 包公戲 (Judge Bao plays) 152, 153n

Bao Tianxiao 包天笑, Liufang ji 留芳記 (Record of leftover fragrance) 77n

Bao Zheng 包拯 . see Judge Bao

Bao zongjiang 抱總講 (keeper/keeping of the master script) 163–64n, 267, 393n

Baochang 報場 (announcement scene) ;

scene label in Chuqu plays 184–85n

Baogong 包公 (Lord Bao or Judge Bao) 152–153

Baowen Tang 寶文堂, woodblock playscripts 177–178;

typeset editions 182, 183n, 350n, 399n, 534n, 537–38

Baoyin 包銀 system (actors under yearly exclusive contract) 139

Bare stage 187

Bawang bei 霸王碑 (Hegemon king’s stele) 104n

Bawang bie ji 霸王別姬 (Farewell my consort) 52, 139n, 320n, 371, 528n, 547–48;

performance abstract 199n;

Qi Rushan mistake in 416n;

Mei Lanfang and Yang Xiaolou audio recording 548;

3D film of 583n

Bawang zhuang 霸王莊 (Hegemon king’s manor) 289n

Beards (artificial) ;

types 138n;

and role-type 132;

switch from none to black to gray or white to show age 261n

Beat notation 173n;

main and subsidiary beats (ban 板 vs. yan 眼) 191n, 259

Beckett, Samuel, attempts to enforce control of performance of his plays XVIIn

Beifang Kunqu Juyuan 北方崑曲劇院 (Northern Kunqu opera company) 10n

Beigong ti/beiyun ti 背弓體/背云體 (internal thoughts expressed aloud) 555–56

Beigong 背弓/功/供/躬 (aside) 555–56

Beiguan 悲觀 (pessimistic) 455n

Beijing and Jingju 1–2, 20–24, 31–33;

rotation system of troupes in the Qing 23;

cross-fertilization 24;

native place associations in Beijing and theater 31;

commercial theaters 31, 32n;

remains the center of Jingju training after Nanjing became capital 32–33;

actors’ world as closed 36n

Beijing changpan 北京唱盤 (Beijing phonograph records) 86n, 279n

Beijing Jingju baike quanshu 北京京劇百科全書 (Encyclopedia of Beijing Jingju) 106

Beijing Jingju Yuan 北京京劇院 (Beijing Jingju company) 39n, 479, 523n

Beijing opera 1–2

Beijing Shi Wen Shi Yanjiu Guan 北京市文史研究館 (Institute for research on the culture and history of Beijing) 571

Beijing Xiqu Xuexiao 北京戲曲學校 (Beijing Chinese indigenous theater school) 477n

Beijing-style Jingju 26, 86;

critical of Shanghai-style 137

Beimian fufen 背面傅粉 (whitening the background to bring out the foreground) 512n

Beiqu 北曲 (northern-style arias) 6

Ben 本 (episodes or installments) ;

in commercial serial plays 96;

volumes in palace serial plays 168

Bender, Mark ;

on textualization of ethnic minority epics XVIIn

Bengong 本工 (one’s own roles) 136

Benrimo 48n

Benxi 本戲 (complete plays) 102n, 123, 125;

synonyms: quanben 全本 (complete texts), quanben xi 全本戲 (complete text plays) 123n, 154–55, 337n, 369n, 374, 409–14, 409–424n;

zhengben xi

整本戲

493n;

manuscripts 409n;

lithographic editions 409n

Benxi 本戲 (own plays) 115n

Best new play ;

Shuntian shibao reader selection of 78, 78–79n

Bianbian 便便, (a.k.a., Bian 便) ;

author of some Shenbao “Xikao” column items 325n, 329;

might be Qian Jingfang 錢靜方 329n

Biandao 編導 (playwright and director) 507n

Bianjiang minzu 邊疆民族 (border nationalities 457n

Bianju huiyi 編劇回憶 (Memoir on composing plays) 162n

Bianju lilun yu jiqiao tanyou 編劇理論與技巧探幽 (An investigation into the secrets of playwriting theory and technique) 516n

Bianju qianshuo 編劇淺說 (Shallow talks on playwriting) 432–33, 488

Bianju zhuren 編劇主任 (director of play writing) 511n

Bianxi 編戲 (playwriting) 495

Bianyi 便衣 (ordinary dress) 262n

Bibliographies of Chinese drama 6–7n

Bibliographies of Jingju 96n, 100–102, 103n;

arranged by historical setting 145, 146n

Biegong 別宮 (Saying goodbye to the palace) 590n

Biemu cibei 別母刺背 (Parting from mother and tattooing the back) 319n

Bieye Tang 別埜堂 174

Bilingual projects 581.

Zhong Ying wen duizhao Jingju fushi shuyu

Bintie jian 賓[ 鑌] 鐵劍 (The finely smelted sword) 318n

Birch, Cyril 5n;

on scene division in nanxi and chuanqi 188n

Bishang Liangshan

逼上梁山

60n, 539n

Blocking (difang 地方) 555

Blood, artificial ;

plays with stage directions that call for a lot of 159, 248n.

Cai

Body-synching 61n.

Yin pei xiang

Bolang chui 博浪錘 (Bolang mallet) 392n

Bolding of text ;

aria and dialogue same size but aria text bold 253;

of second half of yinzi 260–61n

Bonus material for DVDs . see DVDs of performances and films

Boo performances 65n

Books about Jingju 80n

Books ;

Jingju playscripts published as 513, 513n, 536;

by early literati playwrights 187, 473–74;

rare early on 186–87;

annotation in 529n;

documentation of playscript variants in notes or appendices 528n;

increase in the PRC to widen circulation of good plays 536;

Republican era examples of addition of pgaratextual material and/or musical notation 539–46;

culmination of publication volume in the Cultural Revolution 537;

recent decline in yearly new editions 538–39;

factors that increase length such as including translation and visual material 545, 548;

Serial plays 548–49;

except for student-orientated editions costs have risen steeply 549.

Jile shijie, Fenmo qushu, Zhongguo Jingju baibu, Zhaodai xiaoshao, Jingju Zaixiang Liu Luoguo

Booksellers’ guild ;

and enforcing copyright 436

Boots, thick-soled 179n

Border nationalities (bianjiang minzu 邊疆民族) 457n

Bound feet, simulation of . see Qiao

Bowang fang xing 博望訪星 (Zhang Qian visits the Herdboy and the Weaving Maid) 300–301n

Boxer Rebellion indemnity funds 59, 458

Boxer Rebellion 176n, 446;

result of traditional Chinese theater’s influence 45n

Boxers and theater 53n

Brain trust XIV, 504;

pretend to offer their services for free XIII-XIV;

lack the amount of creative authority, freedom, and fame of the romantic author, similar to Hollywood scriptwriters XVII;

Mei Lanfang’s 52, 64n, 145.

also Xi mangzi

Brecht, Bertolt 48–49

Bu he guoti 不合國體 (offensive to national prestige) 449n

Bu’an tanxi 補菴談戲 (Talks about theater from Bu’an) 527n

Bujing sheji tu 布景設計圖 (drawings of scenery designs) 563n

Bujing

布景

. see Scenery

Cai 彩 (articificial blood) 159;

Caiqian 彩錢 (cai money; extra fee given actors to compensate for loosing [artificial] blood) 159n;

Caitou xi 彩頭戲 (bloody-head plays) 159, 506n;

Caitou xi 彩[ 頭] 戲 (bloody-head plays) 159, 506n

Cai[qie] 彩[ 切] (colored scenery) 149

Caidan

彩旦

133

Caihua ganfu 採花趕府 (Plucking flowers, Forced out of the mansion) 354n

Caizi jiaren 才子佳人 (literary geniuses and fair maidens) ;

possible Jingju play content category 161

Call courtesans to the theater to accompany patrons there (jiaoju 叫局) 74, 75n

Can wu renli 慘無人理 (inhumane) 449n

Canhen xi 慘狠戲 (plays featuring cruelty) 158–59

Canren xi 殘忍戲 (plays featuring cruelty) 158–59

Canren 殘忍 (inhumane) 449n

Cantonese opera (Yueju 越劇) 116, 200n, 349n

Cao Cao bi gong 曹操逼宮 (Cao Cao pressures the throne) 411n

Cao Cao yu Yang Xiu 曹操與楊修 (Cao Cao and Yang Xiu) ;

as product of cooperation between freelance playwright and actors of multiple Jingju companies 478

Cao Cao 曹操 271n, 344n, 411, 450–51, 555–56n, 560;

plays that feature him as a group 151

Cao Chunshan 曹春山 139n, 566n

Cao Kun 曹錕 58;

bans plays about Cao Cao 450–51

Cao Xinquan 曹心泉 489n, 499n, 566n

Cao Yinqiu 曹吟秋 550n

Cao Yu 曹禺 63, 63n, 452n;

award named after him 520n;

his stage directions 529n

Caolu ji 草廬記 (The thatched hut) 194n

Caoshe huixian fa 草蛇灰線法 (snake in the grass or discontinuous chalk line) 512n

Caotai ban 草臺班 (travelling troupes) 159n

Cards ;

character and scenery cards to play Jingju with 70n

Carr and Meek on textualization and the revitalization of indigenous languages XVIn

Categories of plays in lists of Jingju plays 154–55

CCP (Chinese Communist Party) 59

Censored content ;

lewdness 13, 158, 236, 238, 388, 449, 534n;

horror 158, 159n;

violence 448–49;

political sensitivity 447, 464n, 465n, 537n;

harmful to morality 464–65n;

superstitious 449, 459n, 464n, 470;

indecent 459n, 470;

offensive to the nation 449;

against the will of the Party (GMD) and the country 453, 455;

pessimism 455n, 464;

derogratory terms for ethnic minorities or Islam 457n;

threatening to other nationalities 470;

decadence 457n;

criticism of social ills 475n;

class struggle 461n;

plays tabooed among actors 465n;

disparagement of peasants 467;

“feudalism,” 467–68n;

disparagement of ethnic minorities 468n;

superstitious and obscene content 468n;

disloyalty to the nation 470;

slavish morality 470

Censorship and control of repertoire in foreign concessions in China 99n, 450n;

place where plays banned elsewhere in China could be performed 460n;

film censorship controversies 460n

Censorship and control of repertoire in Japanese-occupied China and Manchukuo 98–99, 203n, 453n;

ban plays about 1931 occupation of Manchuria 453;

Japanese advisor lobby Shanghai to ban plays thought to be anti-Japanese 453n;

GMD stop performance of play thought to be anti-Japanese 453n;

plays about Chinese resisting the Jurchens and Mongols taken to be anti-Japanese banned 453n, 460;

Chen Yunting die in jail for performing Silang tanmu without permission 461n

Censorship and control of repertoire in the Qing ;

programs to be submitted before performances 197, 446;

proposals that playscripts be submitted instead of just titles 446–47;

of lewd content 13, 240–41;

enforced most strictly and efficiently in the palace 445;

theater owner held responsible for the content of plays not playwright XVI;

most prominent term in scholarship (jinhui) and objections to its use 444n;

drama campaign centered in Yangzhou 97n, 98n, 444–46n;

surpass previous dynasties 445;

promotion of beneficial plays 445;

insist on the old name of plays be used 446;

eunuch monitoring theater performances replaced by public security personnel 447;

execution of Wang Zhongsheng 447n;

censor plays critical of the government 447, 550n;

ban current events plays 447;

Qi Rushan belief that late Qing censorship of lewd and violent plays unsuccessful 448–49;

stop serialization of Wang Xiaonong play 550n. See also Yangzhou Ciqu Ju, Yu Zhi

Censorship and control of repertoire in the Republic XIII, 98;

require playscripts for and advance notice of plays to be performed publicly 197, 448, 451;

explanatory programs had to be submitted with programs and playscripts 452, 456n;

inspections of performances to see that they matched approved playscript 454;

penalties for not perform as in approved playscripts 456n;

random inspections of performances 455–56;

institution of trial performances 455;

regulations supposed to also apply to private performances 448n;

comparatively lenient toward plays with horrific content 158–59n;

cut supernatural content in plays in Xiuding pingju xuan 389–90n;

list of things to be removed (includes the deities and filth) 420n;

Tongsu Jiaoyu Yanjiu Hui play inspection and promotion of good plays 429–33, 448;

censorship of content greater concern than enforcement of copyright 436;

theater owner held responsible for the content of plays not playwright XVI;

guides to Beijing and to theater quote police regulations for performances and mention prohibited plays 448;

Qi Rushan belief that Republican era censorship of lewd and violent plays pretty successful 448–49;

require plays to be peformed in complete versions so intended message clear 449;

censor lewd, violent, superstitious, inhumane, and offensive to national prestige content 449;

capricious due to political and local divisions 450;

theater review committees 451–54;

theater review committee reasons for rejections of playscripts and play categories 452–53;

not considered too onerous or absurd in Jingju circles 453;

criticism of the process and suggestions for reform 453–54n;

locally differing lists of approved plays 454;

changes in the Nanjing decade 451–53;

changes in the War of Resistance and Civil War 454–61;

new criteria for prohibiting plays 455;

inspection handbooks have survived 456;

even playscripts that have been published need inspection before performance 456n;

inspection forms and turn-around times 456n;

expectations of inspectors 456n;

restrict derogratory terms for ethnic minorities or Islam 457n;

greater concern about huaju plays 461n;

censorship of huaju play books 461n;

list of prohibited works 461n;

policy that only newly composed or adapted playscripts need to be approved might have been in effect 463n;

idea the inspection system was only interested in newly composed plays 463–64;

too pessimistic 455n;

awards for good plays 554n.

also Minzhong xiaoshuo xiqu duben, Theater review committees, Xiuding Pingju xuan

Censorship and control of repertoire on Taiwan 116–17, 461–65;

issue lists of plays approved to perform 116, 462–463;

only newly composed or adapted playscripts need to be approved 463n;

prohibit PRC plays 117n, 464;

Guoju dacheng censors crude language and women’s liberation language of Xikao versions of plays 391n;

Guoju dacheng leaves out some Xikao plays 418n;

changes from Republican practices 462;

can recommend good plays to troupes 463n;

playscript turn-around time 463n;

compositon of inspection committee 463n;

list of what information (aria types, etc.) a playscript should include 463n;

denial of permission to perform Yayin Xiaoji’s Dou E yuan 464;

reasons for prohibition 186;

play judged to be based on PRC play (Li Huiniang) cancelled 465n;

play entered into competition judged to be based on PRC play (Manjiang hong) and loses 465n;

Combined Performance of Prohibited Plays (2006) 465;

PRC troupes allowed to come 464–65

Censorship and control of repertoire under the CCP XIV, XVII, 98, 117, 418, 466–81;

resources invested XVII;

making things disappear XVIIn;

Beijing 1949 list of banned plays and their categories 470;

only 26 plays banned nationally 117, 468;

theater reform policy confusion creates extreme shortage of plays 468–69;

temporary repeal of ban of the 26 117, 468–69;

self-censorship 468–70;

ban of traditional plays in the Cultural Revolution lifted 117, 476–77;

focus on plays with horrific content 158, 159n;

suppression of adlibbing and improvisation 203n, 470–71;

cut supernatural material in plays in Jingju huibian 390n, 411n;

quarantine superstitious material 411n;

suspicious of cities and those who did underground work in them 466;

theater reform movement 468–72, 585;

Cultural Revolution 472–76;

disparagement of peasants 467;

“feudalism,” 467–68n;

two of the 26 banned plays involve disparagement of ethnic minorities 468n;

compared to GMD policy 469–70;

emphasis not on lists of approved plays 469;

promote directors and professional troupe playwrights 470,

promote/insist on fully written out playscripts 470, 585;

censorship internalized in troupes by insertion of more political staff members and cultural workers 471;

movement to survey and create juzhong 471;

collect and publish traditional playscripts for reference 471–72;

publish revised playscripts 472;

promotion of modern content plays 472;

post Cultural Revolution treatment of the 26 banned plays 477;

reliance on directives rather than campaigns 479–80;

in New Period demand for full scripts before performance less strict 480;

biggest concern is the internet 480;

lewd content 534n;

warn against change political direction of the playscript 537n

Censorship and control of repertoire ;

scope and power in China XV, 444n;

centralization of playscript inspection 455;

programs to produce good playscripts not very successful 455;

self-censorship 455–56;

strategies to avoid 99–100, 196, 445–46, 447n, 464;

claims that Western control of performances more serious than in China 447n;

demand for written-out playscripts 481;

increase penetration but never completely successful 481n.

Jinhui

Censorship and textualization/stabilization of performance practice XVII, IX, 162, 202–203n;

censors demand fixed texts before performance, and check them against performances XV

Chai Junwei 柴俊偽, expert on Jingju phonograph recordings 578n;

on using digitization of recordings to identify counterfeit phonograph recordings 582–83n

Chairs, The ;

Jingju version Xn

Chaitou feng 釵頭鳳 (The Phoenix Hairpin) 483n, 498;

Chen Moxiang on the source for the play 493n

Chan, Jackie (Cheng Long 成龍) 63n

Chandao chuxie 闡道除邪 (Exemplifying the way, Removing evil) 168

Chang Xiangyu 常香玉 513n

Chang zuo bingzhong xi 唱做並重戲 (plays that stress both singing and acting) 141n

Chang

場

;

measure word or label for scenes 184n

Chang, Michael G. ;

on Qing dynasty imperial tours of Jiangnan 10n

Chang, P. C. (Zhang Pengchun 張彭春) 46n

Chang’an Da Xiyuan 長安大戲院 (Chang’an GrandTheatre) 571;

and “tourist Peking opera,” 571n

Chang’e ben yue 嫦娥奔月 (Chang’e flees to the moon) 46n, 337, 552n;

and Fan Fanshan 397n

Chang’e 149n

Changban po 長坂坡 (Long Slope) 201n, 325n

Changben 唱本 (traditional theater play texts) 459n

Change words to prevent theft of one’s play 122, 278

Changgong laosheng

唱功老生

132

Changgong xi 唱工戲 (plays that stress singing) 141–42

Changkao wusheng

長靠武生

133

Changkao xi 長靠戲 (armor-and-weapons plays) 141, 144

Changmian tigang 場面提綱 (stage or scene abstracts) 199

Changshang 場上 (lit.: on stage) ;

orchestra 261

Changsheng dian 長生殿 (Palace of everlasting life) 149n, 231–32

Changxi zhinan 唱戲指南 (A guide to singing plays) 387n

Chao lengfan 炒冷飯 (stir-frying cold rice) 161

Chaodai bu ming 朝代不明 (dynasty not clear) 147, 155

Character types in Western theater and Japan 126–27

Charity performances 65, 76

Chartier, Roger 123n, 213n

Chayi chou

茶衣丑

134

Che 撤 (to remove [scenery or props]) 260n, 261n

Chen Baichen 陳白塵 408n

Chen Dabei 陳大悲 439n;

and the term huaju 25n

Chen Delin 陳德霖 143n, 290

Chen Diexian 陳蝶仙 305, 312, 375n, 376n;

photos of in Xikao 305n, 398a

Chen Duo 陳多 ;

on playscripts as fundamental 163n

Chen Duxiu 陳獨秀 (penname San’ai 三愛) 51, 53n, 429, 551

Chen Funian 陳富年 540

Chen Geng 陳庚 ;

on theater ROC theater review committee work 452–53

Chen Jiying 陳紀瀅 433

Chen Kaige 陳凱歌 50

Chen Lifu 陳立夫 460;

and his wife 59

Chen Moxiang 陳墨香 XVIII, 12n, 55, 77n, 229n, 265, 274n, 336n, 431, 434n, 482–504, 505n, 512;

father held jinshi degree 482;

amateur performer of huadan roles 482–83, 487n;

number of plays written 483;

not open about income from playwriting 482;

recognized as playwright on program 483, 484n;

playwriting credit often went to star he wrote for 483–84n;

high percentage of his plays performed 484n;

his pseudonym (Guanju daoren) is the same as that used by author of Jile shijie 484n;

gave copy of Jile shijie to Xun Huisheng 484n;

praised by Ri Rushan for more knowledge of miscellaneous affairs of the world of theater than himself 383n;

scholarly publication and research on Jingju 484;

employed by xiqu research institute to write articles and write and revise plays 487, 489–90n, 503;

published lecture given at the research institute 488;

friendship and collaboration with Wang Yaoqing after initial reluctance to meet him 487;

family had two opera troupes 487n;

his father believed plays such as Shuangding ji were educational 486n;

fictional and autobiographical writing on Jingju in storyteller novel (pinghua xiaoshuo 平話小說) form 484–98;

writings on playwriting 488–503;

lecture on playwriting in Huoren daxi 488–98, 504, 512n;

unfinished/unpublished novel on performer of shaozi wo (sexual women on loose morals) characters 485n;

relationship with xianggong 487n;

present self and his work as different from Chen Sen and his Pinhua baojian 487n;

and Li Yu’s writings on playwriting 492, 498;

did not keep copies of his plays 489n;

read chuanqi plays 493;

on selecting stuff material 493–94;

on using old material or create new material 493–94;

categorizing his plays according to their sources 493–94n;

finish plays begun by other people 493n, 500n;

on give happy endings to tragic plays 494;

on how playwriting can be done by literati but play staging needs to be done by professional actors 495–96;

amount and kind of detail needed in a playscript and what to leave to professional actors 495, 498;

too much petty detail is mark of amateur playwright 496;

treatment of material onstage versus offstage 496;

admits that his playwriting practice of following his brush (xinbi), fighting at night (yezhan), and not beinnning with an abstract does not match his advice 497;

collaboration the key to his success as playwriter 498;

open about receiving money for tutoring but not for playwriting 498–99n, 502;

Cheng Yanqiu ask Xun Huisheng to lend Chen as playwright to him 499n;

describe self as intimate advisor to Xun but want to retain independence 499n;

plays written for or given to actors other than Xun Huisheng 500–501;

took Pan Jingfu as his teacher 501n;

skeptical about amateurs teaching amateurs but did take one acting student 501n;

stages plays 501;

his qualifications to be playwright as given in Huoren daxi 501;

invited by Xun Huisheng to be his main playwright 501–502;

Chen in TV miniseries Xun Huisheng 502n;

persuades son’s friend who wants to learn to be a playwright out of that 502n;

lecture Xun Huisheng about Honglou meng 502n;

representative playwright of the Republic 503–504;

between early literati playwrights and Weng Ouhong 504;

compared to Fan Junhong 513–14.

Guanju daoren, Guanju shenghuo sumiao, Liyuan waishi, Jishui, Huoren daxi, Xun Huisheng

Chen Sen 陳森 74, 487n

Chen Shaoyun 陳少雲 479n

Chen Shimei 陳世美 ;

played as laosheng 330n

Chen Sixiang 陳嗣香 483n, 489n;

on Chen Moxiang’s playwriting practice 491n;

divides Chen Moxiang’s plays into categories 493n;

on Chen Moxiang and Pan Jingfu 501n

Chen Yanheng 陳彥衡 539–40, 554, 559;

phonograph recordings of him 540n

Chen Yaxian 陳亞先 478, 516n

Chen Yucheng 陳玉成 268

Chen Yunsheng 陳雲升 515n

Chen Yunting 陳運亭 461n

Cheng Changgeng 程長庚 22, 84n, 114, 163n, 291, 376–77;

and Tan Xinpei 277n

Cheng Yanqiu 程硯秋 199n, 235, 274, 274–75n, 276, 296n, 308n, 342n, 434n, 495n, 499n, 561, 561–62n;

study tour of Europe and report 45–46;

live radio broadcast 89;

collector of playscript manuscripts 166n, 194n;

rivalry with Mei Lanfang 425n;

criticism of theater reform movement execution 468–69;

his version of Dou E yuan 494n;

closeness between him and Luo Yinggong 502n;

and Chen Moxiang 503;

edition of performance versions of his plays 525n

Cheng Yongjiang 程永江 ;

on Cheng Yanqiu’s apology letter for Xizai Ju comment 468n

Chengnan Youyi Yuan 城南游藝園 (Southern city entertainment center), entertainment complex in Beijing 39n

Chewang 車王 collection of manuscript playscripts 101n, 170–71, 188n, 207n, 242, 242–43n, 246n, 248–49n, 441n

Chiang Kai-shek (Jiang Jieshi 蔣介石) 56, 58n, 59, 457n

Chibi aobing 赤壁鏖兵 (Fierce battle at Red Cliffs) 272–73

Child actors (youling 幼伶, tongling 童伶) 10, 14n, 79n, 107;

photos in Xikao 402–403

Children in the audience 62

Children performing plays 69–70

Chimeng 痴夢 (The mad dream) 129–30n

Chinese Academic Journal database (Zhongguo qikan quanwen shuju ku 中國期刊全文數據庫) 4n, 486n, 542n, 572n

Chinese characters in playscripts ;

characters used only by actors 171;

vulgar characters 171,

loan characters 171

Chinese diaspora ;

Jingju in 44

Chinese indigenous theater traditions (juzhong 劇種) 3–5;

1950s survey of and naming of 3–4;

guides to 4n;

reasons for inflated numbers of 4n

Chinese Text Project 573n, 583n

Chinese theater and foreigners 8n;

incomprehension 46

Chinese theater as university subject 351, 421, 423;

teaching graduate seminars on in the US XI.

Jingjuology

Chinese theater for/fit for Westerners XVII, 45–47, 196n.

Tourist Peking opera

Chisang zhen 赤桑鎮 (Chisang Town) 465n

Chishuo 痴說 (Crazy sayings) 251–52

Choice in playscripts ;

in manuscript playscripts XV, XVn, 259, 528;

in printed playscripts XV, XVn, 528, 555;

indicate alternate versions in comments, notes, or appendices 528, 555n, 559

Chongchang 沖場 (Rushing onto the stage) 233n

Chou po[zi] 丑婆[ 子] 133

Chou

丑

;

role-type 67n, 134, 138n, 140–41n, 207n, 261–62n, 271, 497, 537n;

one hundred chou roles 86n;

role-types that chou characters can also be played as 138n;

suppression of improvisation 203;

license to improvise 203;

left out of Shenbao “Xikao” columns 328;

first chou actor to lead a troupe 508n;

oral history 579n

Choudan

丑旦

133

Chouguan 丑官 (chou official) 134

Choujiao

丑腳

134, 369

Chousheng

丑生

140n

Chouyuan 丑院 (chou majordomo) 134

Chouza 丑雜 (chou miscellaneous role) 134

Chrysanthemum Club (Jushe 菊社) ;

amateur Jingju club 543

Chu jiaose 出腳色 (Arranging entrances of the characters) 233n

Chu sanhai 除三害 (Removing the three scourges) 561n

Chu 齣/出 ;

measure word for scenes in chuanqi plays 168, 184n, 187, 256n;

in early Jingju playscripts 255

Chuancha 穿插, play construction through interweaving 493–94, 496

Chuandai tigang 穿戴題綱 (Costume plot abstracts) 118n

Chuanguan 穿關 (combined costume and prop abstracts) 198–99n

Chuanju 川劇 (Sichuan opera) 116;

repertoire 103, 395n

Chuanqi 傳奇 (lit.: transmit the strange) plays 6, 68, 338, 492–93, 552n;

repertoire 6n, 97;

length of 7n, 536;

authorship of 109;

on evaluating systems for 109n;

role-type system for 129;

historical settings of 146–47;

predominantly about love 158;

topics of plays 158n;

topical categories of plays 159n;

chuanqi stage directions augmented by interlineal commentary 164n;

manuscript versus print copies 165n;

early literati Jingju plays and 177–78n, 185;

measure word for scene in 168, 184n, 178, 187;

from nanxi to chuanqi scene division moves from stage clearing based to content based 188n;

early bangzi plays and 226n;

need for annotation 529.

Reading material

Chuantong jumu 傳統劇目 (traditional play) 115n, 154–55, 472

Chuantou 串頭 (palace playscripts composed mostly of stage directions) 167n, 292, 292–93n, 565

Chuchu maolu 初出茅廬 (First departure from the hermit’s hut) 443

Chudiao 楚調 (alternate name for Hanju 漢劇) 19

Chuduan

齣段

;

measure word(s) or label(s) for scenes 252

Chūgoku kinsei gikyoshi 中國近世戲曲史 (History of Chinese theater in the modern period) 426n

Chuiqiang 吹腔 (lit.: blow singing), local performance style 15, 142n;

and Jingju 102, 316

Chun Juesheng 春覺聲 558n, 560

Chun Qiu pei 春秋配 (The marriage between Li Chunfa and Jiang Qiulian) 189n

Chun, Prince 醇親王 ;

owner of a private troupe 10n

Chundeng mi 春燈謎 (The New Year’s lantern riddle) 223n, 254n

Chungui meng 春閨夢 (Spring dream in the boudoir) 465n

Chunliu She 春柳社 (Spring Willow Troupe) 438n

Chunliu 春柳 (Spring Willow) 550–51

Chunqiu bi 春秋筆 (The Spring and Autumn brush) 553n

Chunsheng 春聲 303n

Chuntai ban ximu 春臺班戲目 (Chuntai troupe playlist) 106–107, 150n, 242n

Chuntai 春臺 Troupe ;

one of the Four Great Anhui Troupes 14, 19, 168–69

Chunxiang nao xue

春香鬧學

63n, 317n

Chunyu lihua guan congkan 春雨梨花館叢刊 (Collectanea from Chunyu lihua guan) 557

Chuqu 楚曲 (alternate name for Hanju 漢劇) 19

Chutou 出頭 (introduce characters) 494n

Ci Hu 刺虎 (Stabbing the tiger) 82n

Ci’an 慈安, Empress Dowager 57n

Cifu 賜福 (Granting good fortune) 110n, 120n

Cigarette cards and Jingju 85–86

Cinema and theater 24–25

Cipher notation (jianpu 簡譜) 189n, 191n, 343n, 427n, 540, 548

Cisha dan

刺殺旦

133

Civil plays (wenxi 文戲) 67, 142, 510

Civil troupes (wenban 文班) 204n

Civil versus martial status ;

and role-type 132

Cixi 慈禧, Empress Dowager 272;

patron of theater and Jingju 17, 24, 57, 110, 269n, 280n, 408n, 585;

rumors of affairs with actors and poisoning Empress Dowager Ci’an 57n;

and consumption of palace theater paintings 66n;

object of a play 148n;

50^th birthday celebrations 149n;

request changes to playscripts 167n;

and adaptation of Kun Yi plays for Jingju 169;

insist plays performed as in provided texts 202n;

her lyrics adapted by Wang Yaoqing 274;

official in trouble write play to impress her 290;

Xikao shukao on her and palace as source of superstitious content in plays 390;

watch plays while consult playscript 446.

Putian Tongqing Troupe

Cixiao tu 慈孝圖 (Picture of compassion and filiality) 319n

Claim to be based on manuscripts 182

Clapper (ban 板) 13n

Clapper opera ;

misguided translation for bangzi xi 13n

Classify aria and dialogue (Su Shaoqing) 555–56.

Daishu ti, Duihua ti, Xuda duihua ti, Beigong ti, Fuyu ti

Clay figurines (niren 泥人) of actors 69–70

Cleaning of the stage (jingchang 凈場) 262n

Closet plays XVI, 7;

later zaju 217–18

Coffee table playscripts 546–48, 571

Collected works of actors and playwrights 41n, 288, 533;

Ouyang Yuqian 41n, 533;

Cheng Yanqiu 46n, 468–69n;

Fang Rongxiang 114n;

Zhou Xinfang 161n, 285n, 441n, 533;

Tan Xinpei 279;

Mei Lanfang 451n, 533;

Xun Huisheng 484n;

Luo Huaizhen 506n;

Weng Ouhong 507, 508n;

Wang Zengqi 523n,

Tian Han 533,

Yu Dagang 533n

Collections of Jingju playscripts 80;

divided by role-type 141, 531–32;

with lists of topical categories 159–60;

with explicit scene divisions 188n;

actor input 306–307n, 344n, 415–16, 422n, 433n;

include photographs on Xikao model 334;

and amateurs 419;

and musical notation 419;

for more popular audiences 526–28;

divided by performance schools 532;

for performance tours 532n;

by locality 532;

by troupes 532, 532–33n;

organized by historical setting 532;

that first included Jingju or synonyms 533–34;

common to include Jingju in titles of collections or their sections in the PRC 534;

if include installments can be taken as periodicals 552.

Anthologies of playscripts

Collections of Jingju playscripts ;

with playwright/star in their titles 525n, 532, 532–33n;

Xiao Changhua 273n,

Wang Xiaonong 285n, 287, 550–51n;

Ouyang Yuqian 288n;

Mei Lanfang 416n, 530n, 532n, 535n;

Fan Junhong 443n;

Ma Shaobo 443–44n;

Lü Ruiming 443n, 513n;

Chen Yaxian 478n;

Xun Huisheng 483–84n;

Weng Ouhong 507n;

Fan Junhong 513n;

Xie Boliang 515n;

Hu Die 515n,

Chen Yunsheng 515n;

Han Meng 515n;

Zhong Ming 515n,

Kuisheng 516n,

Li Yuru 520n,

Liu Huifen 521n,

Wang Zengqi 523n;

Shang Xiaoyun 532n;

Wang Yaoqing 539n

Collections of photos of actors 81

Collections of xiqu playscripts, from literati-centric to actor and production centric 296n

Collective authorship, enforced most strongly in the Cultural Revolution XVII , 442, 519n

Colored lanterns (deng-cai 燈彩) 37, 149

Colored scenery (cai 彩 [short for caiqie 彩切]) 149

Comedy 142n, 156

Commedia del’arte 126n

Commentary editions of plays ;

chuanqi play and Xixiang ji editions treat them as works for reading and not the stage 224, 253n;

comments attributed to playwright 224–25;

early literati Jingju plays 229n, 231, 232n, 253;

use of fiction commentary terms 233n, 253n;

Hou yishi’s comments overwhelm Jingju play text 559;

comments attached to Jingju playscript 558n

Commercial theaters ;

begin to open in the Qing 10–11, 31

Compare performance versions (duixi 對戲) 203n, 344n

Competition ;

Republican era competition among stars and new plays in Jingju XII;

plays for stars written in response to other star’s plays XIII;

and fixity of plays 201–202n;

and innovation 201

Complete editions 245n, 409–14, 541;

claims in lithographed playscript collection titles 180, 182

Complete plays 343–45, 524.

Benxi

Complete versions versus extracted scenes 169, 483n, 499, 501;

ban on non-complete versions 449;

complete versions based on stringing together zhezi xi 493n.

Benxi, Zhezi xi

Concessions in treaty cities 34

Connected picture narratives/comics . see Lianhuan hua

widespread infringement of PRC material 441, 441–42n

rise of collective authorship in the Cultural Revolution then return to individual authorship 442, 519n;

recognition and compensation for dictators, editors, and revisers of playscripts 442n;

Ma Shaobo case 442–44;

Tianxian pei case 444n

influence of Japanese law 437n;

official patent granting publication rights 435;

first publication law 435;

favor producer over creator 436n, 442, 443n;

modern systems require seal of registration 437–38;

post-Cultural Revolution laws 442–44;

compared to Western laws 436;

claimed for plays in periodicals XIII, 438–42;

permission to reprint (zhuanzai) from periodicals 438;

lawsuits over 123;

personal rights versus public needs 123, 428, 430–32, 437n, 563–64;

non-legal assertions of copyright (if you pirate this book may your son become a robber, etc.) 175n;

Tsuji Chōka thanks actors for permission to quote from their plays 393n;

Xikao innocent of the concept 421;

Tongsu Jiaoyu Yanjiu Hui plays given to one troupe/actor only 431n;

Juxue yuekan general notice of copyright for institute members’ playscripts 434;

notice that copyright and performance rights for Chen Moxiang play reserved 434n;

book privileges in the West 436–37n;

moves from theaters to playwrights in the West 436–37n;

publisher’s mark (paiji 牌記) 437n;

who owned blocks (means of production) versus creator 437n;

knowledge of Western plagiarism cases involving playwrights 440;

new plays versus revisions of old plays 440–41.

Solely-owned or private plays

Copyshops for manuscripts of playscripts 171–75.

Baiben Zhang, Bieye Tang, Tongle Tang

Costume and make-up information in playscripts 526n, 531, 545–47, 567;

with photos 572;

Chen Moxiang on leave costume detail out of playscripts 495

Costume plots 567;

collections of 118

Costume, Jingju ;

based on Ming dynasty dress 145;

for traditional period plays, did not change by historical period 145

Costumes used in palace performances by commercial actors 66n

Courtesan novels 74–75

Courtesans ;

and oral performing literature 72;

and Jingju 72, 74;

and actor love affairs 74, 74–75n;

and photography 80;

photographs of in Xikao 403

Creativity, room for 526n

Cuanxi 攢戲 (put together plays) 266

Cuihua gong 翠花[ 華] 宮 (Imperial banner palace) 318n

Cuiping shan 翠屏山 (Kingfisher Screen Mountain) 449n

Cui-shi 崔氏 129–30n

Cultural Revolution 523n, 537;

and Jingju XVIIn, 43;

dominance of collective authorship in XVII, 442, 519n;

destruction of Jingju historical material 271–72n;

censorship during 467, 472–46

Cultural worker XVIII , 506

Culture notes ;

in Jingju playscripts 528–29n

Cuo zhong cuo 錯中錯 (Mistakes within mistakes) 250–55;

too early to be Jingju 250;

uses chuanqi conventions 250–51;

prologue echoes that of Taohua shan 250;

partextual material including some by the author 251–53;

authorial preface identifies as a chuanqi 252n;

commentary by Xu Xiyun 253;

author was an official 252n;

three of the paratext authors hold jinshi degree 253;

no stage life 254;

perhaps influenced by Shi cuoren 254n;

manuscript copy held in palace 254n

Cuo zhong cuo 錯中錯 (Mistakes within mistakes ;

a.k.a., Cu zhong cu 醋中醋 [Jealousy within jealousy]), bangzi play 254, 254–55n

Current events plays 148, 447;

historical plays thought to be really about current events 286, 447

Curtain on stage to hide scenery or props 234, 260n

Curtain raiser 143n

D’Oyly Carte 546n

Da bailian 大白臉, role sub-type for evil characters such as Cao Cao 151

Da baoguo 大保國 (Greatly protecting the state) 365n, 524n

Da gonghe ribao 大共和日報 (Great Republic Daily) 423, 438, 551

Da huagu 打花鼓 (Playing the patterned drum) 206n

Da hualian

大花臉

133

Da jinzhuan 打金磚 (Hitting with the gold brick) 56n

Da laoban Cheng Changgeng 大老闆程長庚 (Big boss Cheng Changgeng), 1994 TV miniseries 84n

Da longpao 打龍袍 (Beating the dragon robe) 365n

Da miangang 打麵缸 (Breaking the flour vat) 157n

Da piguan 大劈棺 (The great chopping open of the coffin) 465n

Da shaguo 打沙鍋 (Hitting the earthenware pot) 316n

Da Shijie 大世界 (Great World) ;

entertainment complex in Shanghai 39n

Da Tan Er

大探二

365n, 525n

Da Xiangshan 大香山 (Great Incense Mountain) 149n

Da xikao 大戲考, used to refer to Xikao 307n;

also used to refer to the genre of collections of texts for phonograph recordings 552

Da ximo 大戲魔 (The great opera demon) 71n

Da Yan Song 打嚴嵩 (Beating Yan Song) 441n

Da yingtao 打櫻桃 (Throwing cherries) 317n

Da zhizuo 大製作 (big [money] productions to win awards) 149

Dachang 大場 (big scene) 188n

Dachou

大丑

134

Dacuo , see Wang Dacuo

Dadan

大旦

133

Dadong Shuju 97n, 306–307n, 310–13, 557;

and Zhonghua Tushu Guan 306n;

theater books and journals they published 311–13, 322n

Dahun 打諢 (jokes and horseplay) 11n

Dai Bufan 戴不凡, recommend check in Xikao 407n

Daishu ti 代述體 (narration) 555

Daiyu fen gao 黛玉焚稿 (Daiyu burns her manuscripts) 377n

Daiyu zanghua 黛玉葬花 (Daiyu buries flowers) 305, 342n, 397n, 539n;

and Fan Fanshan 397n;

Mei Lanfang on its authorship 397n;

shukao mentions photo of Mei Lanfang as Daiyu 399n;

version of the collaborative origin of Ouyang Yuqian version 557–58n

Dalu 大路 (mainstream practice) 526n

Damian

大面

369

Dan 旦 (female roles) 107, 108, 128, 130, 264, 273, 413n, 482, 486, 496;

role-types that dan characters can also be played as 138n

Dance notation 193n, 574–75n, 587n.

Wupu, Labanotation

Dance ;

in Jingju 28n

Dancer in the Dark ;

film purportedly filmed with one hundred cameras 583

Danchang dengtai 單場登臺 (introduce characters singly) 494n.

Danchu xi 單齣戲 (single scene play) ;

synonym for xiaoxi 124n

Danchu 單齣 (single play) 197n

Dang bagu 黨八股 (Party eight-legged essays) 456n

Dang Youwang 擋幽王 (Blocking King You) 377n

Dangren bei 黨人碑 (The stele recording the names of the proscribed faction) 148n, 286n, 401n

Dangui hun 旦鬼魂 (hun soul of female ghost) 134

Dangui 旦鬼 (female ghost) 134

Danhun 旦魂 (female hun soul) 134

Danji tui huiqi 單騎退回紇 (A single horseman [Guo Ziyi] forces the Turks to retreat) ;

made available for performance by Tongsu Jiaoyu Yanjiu Hui 430n

Danjiao

旦腳

133

Dantou ben 單頭本, danben 單本, danci 單詞, danpian 單篇, danpian 單片 (playscripts with the words for only one role) 163, 163–64n;

rarely contain cues or stage directions 163n;

use slashes to show when the actor doesn’t speak 163n, 577n;

transcribed from audio recording 577n.

Single-role scripts

Dao zong’an 盜宗案 (Stealing the Royal Genealogy) 163n

Daode ju 道德劇 (morality plays) ;

Minzhong xiaoshuo xiqu duben content category 126

Daoma dan 刀馬旦 (Peking opera blues), 1986 film 84n

Daoma dan

刀馬旦

133, 136, 140n

Daoyan 導演 (director) 483n

Daozhou cheng 道州城 (The city of Daozhou ;

alternately known as Shen Yunying 沈雲英) 296n

Dapao xi 打炮戲 (shoot-the-cannon plays), plays picked for the opening day of a cycle of plays 141n

Daxi 大戲 (big plays) 20, 30, 102n, 124;

can be synonym for benxi 124n

Daxi 打戲 (put together plays) 266

Dayu shajia 打漁殺家 (Beating of the fisherman and Killing the [local bully’s] family) 580

Dazhou 大軸 (long, big, scroll; final play in program) 143, 273

Dazi 大字 (big characters), way to refer to the text of arias 228n

Dead bodies ;

how to handle 555–56n

Deng yin feng ci 等因奉此 (Following precedent) ;

play that mentions Xikao 408n

Dengcai 燈彩 (colored lanterns) 37

Dengchang 登場 (taking the stage) ;

scene label in Chuqu plays 184–85n

Dengmi 燈謎 (lantern riddles) 73n

Dengxi 燈戲 (lantern plays) 76, 120n, 149, 241;

Xixue huikao topical category 160

Desktop plays . see Closet plays

Detachable scenes ;

prefaced by “with” (dai 代/帶) after a play title 124n, 189, 413n;

in the palace 168

Dexin 德馨 270n

Deyi lu 得一錄 (Record of small insights) 236n, 238n

Di Xiaoping 邸曉平 251

Diagrams and charts 546n;

of the stage and movement on it 546n;

of the theater 545n

Dialect on stage ;

Subai 蘇白 (Suzhou dialect) in Kunqu 12;

edict making actors use Mandarin on stage 12, 21n;

the three phonetic systems of Jingju stage pronunciation 19–20;

in Shanghai-style Jingju 35;

chou roles 35n;

Jingbai 京白 (stage Pekingese) 207n;

need for textual help to deal with dialect barriers 215;

remarks about Pekingese in playscript preface 290;

Wang Yaoqing on transcribing Pekingese 544n

Dialect speakers perform Jingju 65, 72

Dialect ;

and role-type 132

Dialogue in playscripts ;

early editions can leave out but Zhu Youdun includes and Ming palace editions have 166n, 214, 217;

balance between singing and 497

Dianchang de xi 墊場的戲 (plays to pad out the program) 143

Dianfa 點發 (indicate tone contour by placement of circle) 261–62, 544n

Dianpai 滇派 (Yunnan-style) Jingju 41, 43n

Dianxi 墊戲 (padding plays) ;

plays insertable into programs at the last minute 143

Dianxi 滇戲 (Yunnan opera) 534n

Dianxi 點戲 (select a play) 72, 196

Dianzi dianying 電子電影 (digital films) 584n

Diaocha 調查 (survey) ;

of theater by the Tongsu Jiaoyu Yanjiu Hui 432

Dictation 10n, 37n, 134, 163n, 177, 182, 189n, 195n, 202n, 211–12n, 228n, 270, 271n, 272, 275n, 351n, 387n, 388, 442n, 534n, 556, 579n.

Oral history of Jingju

Difang xi

地方戲

. see Local/regional opera

Digital analysis of Jingju music XIV, 582–84. see “The Musical Dimension of Chinese Traditional Theatre: An Analysis from Computer Aided Methodology”

Digital humanities 583n

Digitization of Jingju playscripts XIV, 582–84;

hyperlink technology 583–84.

DVDs and films of performances and plays

Ding Ling 丁玲 59n

Ding Shumei 丁淑梅 ;

on Qing censorship surpass previous dynasties 445–46

Ding Xilin 丁西林, Qin’ai de zhangfu 親愛的丈夫 (Dear husband) 78n

Ding Xiuxun 丁修詢 7n, 124n, 163n, 192n

Ding Zhenyuan 丁振遠 ;

praised as “living xikao” 408n

Dingjun shan 定軍山 (Dingjun Mountain) 139;

silent film of excerpts 82n

Dingxian yangge 定縣秧歌, theatrical tradition that did not use written texts 211–12

Direction ;

traditional xiqu actors relatively less in need of 211;

Ouyang Yuqian and Wang Xiaonong as directors 287, 287n;

Wang Yaoqing acknowledged as director on program 482, 483n;

keeper of the master script could have directorial functions 164n

Directorial notes on performance ;

Xin Xiqu Shudian series 536, 537n

Directors ;

promoted in the PRC 470;

power not absolute 472n;

female directors 522n;

huaju directors direct Jingju 523n;

director as creator 523n

Dishi 笛師 (dizi masters) 164n

Diwang 帝王 (emperors and kings) ;

possible Jingju play content category 161

Dizi 笛子 (horizontal bamboo flute), lead melodic instrument in Kunqu 16, 191n

Dizikes, John 104

Dong Jieyuan 董解元 223n

Dou E yuan 竇娥冤 (Injustice to Dou E) 494;

reasons permission to perform denied 464;

change to happy ending 494

Dough figurines (mianren 麵人) ;

of actors 69–70

Douniu gong 斗牛宮 (Douniu palace) 346n

Dramatis personae 567;

in early playscripts 531;

short list of actor names at head of palace playscripts 267n, 412n;

arranged according to minor versus major and female versus male 252;

includes role-types 252, 430n;

provide list of role-types at beginning of scene 261

Dream of the Red Chamber . see Honglou meng

Du Fu 杜甫 378n, 380–81, 522n

Du Jianhua 杜建華 ;

on how to deal with anonymously authored playscripts 395n

Du Wenwei ;

on Chinese theater on Broadway 48n

Du you ximu 獨有戲目 (solely-owned or private plays) 99, 213n, 428

Du Yuesheng 杜月笙 64–65, 310;

relationship with Mei Lanfang 64

Duan Diankun 段殿坤 207n

Duan taihou 斷太后 (Judging the case of the empress dowager) 365n

Duan 段 (section) ;

label used to break sections of a long aria in a playscript or texts for the sides of a phonograph recording 550–51n;

measure word for segments of a work 253

Duanchang 短場 (short scene) 188n

Duanda xi 短打戲 (plays that feature hand-to-hand fighting and short garments) 34, 67, 141

Duanwu Festival 169

Dui’er xi 對兒戲 (pair play) 141

Duidao buzhan 對刀步戰 (Matched swords fighting on foot) 100n

Duigui 堆鬼 (heap of ghosts) 144n

Duihua ti 對話體 (dialogue) 555

Duixi 對戲 (compare performance versions) 203n, 344n

Dujiao xi 獨腳戲 (monologue plays) 72

Dujuan shan 杜鵑山 (Azalea mountain) 475n, 523n

Duke E (Eduotai 鄂多臺) 170

Dumen jilüe 都門紀略 (Concise record of the capital) ;

lists of actors and their roles in 18n, 108–109

Duxiu 讀秀 486

DVDs and films of performances and plays ;

material that could be added XIV, 580–81, 582n;

subtitling 580–81;

digital films (dianzi dianying) of plays 584n;

3D films of plays 583, 583–84n;

using large numbers of cameras 583.

Jingju dianying gongcheng

Early literati playwrights of Jingju 226–66, 396, 482;

compared to chuanqi playwrights 226;

compared to actor and literati-turned actor playwrights 227, 250n;

influenced by chuanqi conventions 228n, 232–33, 250–51, 281;

influenced by zaju 228n, 232;

extratextual commentary 229n, 231, 232–32n, 253, 261–62;

based on sources other than plays 227;

successful ones close to the world of Jingju 265–66;

use of pseudonyms 484n

Edit playscripts 203–204, 206n, 244, 307n, 345n, 359, 362, 392n, 409n, 414–19, 422n, 433n, 441n, 529, 534n, 540, 554–57, 559, 560n;

Xiju yuekan policy on 420;

in the West 418n

Edited, collated, fixed (jiaozheng 校正, jiaoding 校訂, jiaodui 校對, etc.) ;

claims in manuscript playscripts 176;

claims in lithographed playscript collection titles 180, 529n, 540;

claims in woodblock and typeset collections 298–99n, 307n, 333n, 345n, 351n, 381n, 386n, 392n, 409n, 416, 422n, 529;

in periodical playscripts 559

Ehu cun 惡虎村 (Evil Tiger Village) 289n

Eightieth-birthday celebration for the Qianlong emperor in 1790 when the first “Anhui troupe” (Huiban 徽班) went up to the capital ;

and Jingju 14, 102

En Xiaofeng 恩曉峰 399n, 402

Encirclement campaigns 466

Entering tone (rusheng 入聲) 258

Entertainment centers/parks (youle chang 游樂場) 38–39, 77n;

periodicals published by 77n

Entertainment newspapers/press 75;

and spread of Jingju 42, 75, 78;

and stardom 36;

and reader selection of top actors and plays 78

Entertainment ;

importance in Chinese theater 156–57;

entertain versus move an audience 498

Epai 鄂派 (Hunan-style) Jingju 40, 533n

Episodes (ben 本) ;

in serial plays 96,

Er hualian

二花臉

133

Er jin gong 二進宮 (The second entrance into the palace) 119n, 365n, 524n

Erchou

二丑

134

Erdan 二旦, secondary female role 134

Erhuang xi mulu 二簧戲目錄 (Catalogue of Erhuang plays) 172–73

Erhuang

二簧

52, 142n, 167n, 172, 255–56n, 258–59, 371n, 356;

performed by Huiban and then in Jingju 15;

as a term for Jingju 16, 18;

alternate orthography as erhuang

二黃

16n;

also known as erhuang qiang

二黃腔

18n;

erhuang as inclusive of xipi 18n;

popularity 19n;

suited to serious themes 19;

likely to be adaptations of chuanqi plays 19;

described as vulgar in authorial preface to Jile shijie 231–32.

Fan erhuang

Erkui 張二奎 282

Ernü yingxiong zhuan 兒女英雄傳 (Heroic lovers) 74n;

name of novel and stage adaptation of it 264

Ershi shiji da wutai 二十世紀大舞臺 (The great stage of the twentieth century) 79n, 185, 287, 358n, 438;

publish playscripts 550

Ershi shiji xiqu gaige de sanda fanshi 20 世紀戲曲改革的三大範式 (The three great paradigms of Chinese indigenous theater reform in the 20th century) 159n, 444n

Ershi shiji xiqu wenwu de faxian yu quxue yanjiu 二十世紀戲曲文物的發現與曲學研究 (The discovery of theatrical artifacts in the 20th century and the study of traditional Chinese theater) 66n

Erxiao xi 二小戲 (two littles play) 141

Ethnic classification (minzu shibie 民族識別) 4, 471

Evening performances (yexi 夜戲) 110n;

banned in Bejing in the Qing but not in Shanghai 34–35n

Evidentiary research . see Kaoju xue

Experimental Jingju ;

play with role-type barriers 140

Extracted scenes versus complete versions 169

Fa Zidu 伐子都 (Punishing Zidu) 325

Facai huanjia 發財還家 (Get rich and return home) 80n

Face paint 67n.

Lianpu

Face pattern/make-up ;

and role-type 132

Face-patterns 86, 152, 179n;

on cigarette cards 86n;

symbolize China 86;

hualian roles performed by other role-types without 139;

Lianpu

Falsetto, and role-type 132, 140–41n

Fan erhuang 反二黃/簧 (inverse erhuang) 255n, 258, 326, 330

Fan Fanshan 樊樊山 283n, 397

Fan Junhong 范鈞宏 272n, 443n, 513–14, 515n, 518;

gave lectures and published articles and books on playwriting 513–14;

number of plays written 513, 513–14n;

amateur actor who turned professional and led a troupe 513;

did not only write Jingju plays 513–514n;

only one of his plays not performed 514n,

filled in play for actor who only remembered his own part 514n

Fan Shiqu 范石渠 338–39n

Fan Xing ;

on PRC directors’ power not absolute 472n;

on broken conventions in yangban xi 571;

on the group skiing dance in Zhiqu weihu shan 571n

Fan xipi 反西皮 (inverse xipi) 255n, 258

Fan 犯 (repetition) 233n

Fanchao 反朝 (going against the [order of the] dynasties when setting up a program) 145n

Fanchuan xi 反串戲 (cross-role-type plays) 157n

Fanchuan 反串 (play role-type other than one’s own) 114n, 115n, 137, 137–38n;

fanchuan can become yinggong 137, 137–38n

Fanda xi 翻打戲 (plays that feature somersaults and fighting) 141

Fandong yanlun 反動言論 (reactionary discourse) 455n

Fang Rongxiang 方榮翔 114

Fang Wenxi 方問溪 136n, 199n, 207n, 228n, 351n

Fangjin chou

方巾丑

134

Fangshui 放水 (add water) ;

improvise 207n

Fanke/yin bijiu 翻刻/印必究 (unauthorized reprinting will be investigated) 437

Fanmian jiaocai 反面教材 (negative educational material) 476

Fanqie

反切

544

Fanxing Xiju Cun 繁星戲劇村 (Cluster of stars theater village) 522n

Farce (naoju 鬧劇; wanxiao ju 玩笑劇) 157, 366n;

farcical because of plot or lack of plot (emphasis on characters imitating stars to pass the time) 175n

Farewell my Concubine (Bawang bie ji 霸王別姬) ;

1993 film 50–51, 84n, 194, 371, 568;

echoes of Mei Lanfang in 52n

Female authorship and readership of fiction and tanci 220–221n

Female commentator ;

playscripts 229n

Female infanticide 236, 236–37n

Female playwrights ;

none known for Yuan zaju 215n;

several known for chuanqi and desktop zaju 221n, 520n;

for Jingju 222n, 520–21, 520–22n;

importance in Taiwan 521–22n

Female susceptibility to lewd plays 53–54, 76

Female versus male roles, predominance of one over the other 107–109, 419n

Feng Di 馮棣 (penname Pengdi 朋弟) 80n

Feng huan chao 鳳還巢 (The phoenix returns to its nest) 200n, 433–34n, 562n;

capricious censorship of 451

Feng jiao xue 風攪雪 (wind mixed with snowflakes), mixing different singing and performance styles 15n

Feng Menglong 馮夢龍 527n

Feng Shuluan 馮叔鸞 (Ma Er xiansheng 馬二先生) 28n, 305–306n, 338n, 351n, 422–23, 438, 557

Feng Zihe 馮子和, (a.k.a., Feng Chunhang 馮春航) 307n, 404n, 416;

director in charge of playwriting for a Shanghai theater 511n

Feng Zikai 豐子愷 and his daughter 61–62

Fengbo ting 風波亭 (Wind and Wave Pavilion) 377n

Fengcheng pinhua ji

鳳城品花記

81n

Fengliu jian 風流鑒 (Mirror for the romantic) 237n

Fengqing xi 風情戲 (love plays) 160n

Fengshen bang 封神榜 (Roster of the invested gods), Zhou Xinfang’s serial play version 86n

Fengshen yanyi 封神演義 (Roster of the invested gods), novel 169

Fengtai Photography Studio 82

Fengxue ye guiren 風雪夜歸人 (The returning person on a windy and snowy night) 78n, 91n

Fengyue meng 風月夢 (A dream of wind and moon) 290n

Fengzheng wu 風筝誤 (The kite’s mistake) 233n, 498

Fenhe wan 汾河灣 (Bend in the Fen River) 162n, 398–99n, 561–62n, 582n;

bangzi and Jingju versions in Xikao 317–19, 394n, 533;

supernatural content 389–90n

Fenmo qushu: Jingju jingdian jumu wutai guizhi zonglan: Baishe zhuan 粉墨氍毹: 京劇經典劇目舞臺規制縱覽: 白蛇傳 (Face paint and stage carpet: Overview of the stage regulations of the classical repertoire of Jingju: The White Snake) 526n, 545–47;

photos in 570

Fenmu 分幕 (division into acts) 188

Fenxi 粉戲 (powder plays) 158

Festival/seasonal plays (yingjie xi 應節戲) 110, 119–20, 149n, 168–69

Fictional representations of Jingju and theater 5–6n, 63n, 73–78, 302n, 541–42n, 558n

Fictional works about actors and actresses 76–78;

about Liu Xikui 76n;

about Yang Xiaolou 76, 76–77n;

about Mei Lanfang 76, 76–77n

Figurines of actors 69–70

Films ;

and Jingju 35n, 80–83, 139;

include more detail than playscripts XIV;

feature films featuring Jingju 83–84;

non-commercial 82n;

of yangban xi 83n;

stage recordings versus adaptations 82–83

Finding List of Terminology Used by Chinese Fiction Critics 253n, 512n

First Seventeen Years 467, 468n

Fixity of plays ;

through censorship IX, XV;

and textualization IX, XV-VI, 163, 201–209, 467–68, 537, 547n, 585–87;

and printing 203–209;

actors’ ability to reproduce series of stage movements exactly 202;

emphasis on exact reduplication in teaching and censorship 202–203;

wide variation among versions of the same play 202;

gaps between texts and performance 202, 415;

suppression of adlibbing and improvisation 203n, 470–71, 586;

effects of transportation, touring, and urbanization 203, 204n;

and competition 201–202

Flexibility versus strict rules 526n

Flower registers 79, 107–109, 183n, 265n, 298n

Folklorists and textualization XVn

Footwear ;

and role-type 132

Foreign countries, plays about ;

used to allegorize China’s fate/predicament 183–84, 286, 330n, 551

Foreign princess marries Chinese man 366

Foreign publications on Jingju 80, 146n

Foreigners and Jingju XIV;

don’t/can’t understand 46–47, 62;

perform 48–50;

perform professionally 48, 48n

Forke, Alfred 250n

Four Famous Dan Actors” (si da mingdan 四大名旦) 24;

two different lists 24n;

Chen Moxiang blames animosity among them to their hangers-on 499n

Four Great Anhui Troupes (si da Huiban 四大徽班) 14

Fryer, John (Fu Lanya 傅蘭雅) 422n

Fu Caiyun 傅彩雲 403n

Fu huadan 副花旦 (secondary huadan) 134

Fu Jin 傅謹 XX;

on Qi Rushan 52n;

on the theater reform movement 469n;

on the taking of huaju and Jingju as models in the theater reform movement 471n

Fu tian liang 弗天亮 (The postponed dawn) 414n

Fu Xiaoshan 傅小山 139

Fu Xihua 傅惜華 29n, 268

付

133

副

133

Fuchou

副丑

134

Fudan 付旦, secondary female role 134

Fugui yi 富貴衣 (clothes of wealth and honor) ;

auspicious name for a patched beggar’s robe 261

Fujian opera (Minju 閩劇) 116

Fujian, Jingju in 40

Fujing

副凈

133

Fuliancheng cang xiqu shiliao wenxian huikan 富連成藏戲曲史料文獻彙刊 (Compendium of Chinese indigenous theater historical material concerning Fuliancheng) 535

Fuliancheng 富連成 opera school 84n, 113, 195n, 271–73, 433n, 511;

as collector/producer of manuscript playscripts 166n, 508n, 535

Full versions 524.

Complete plays

Fully written out playscripts ;

promotion of in the PRC 470

Fumo 副末, secondary male role ;

opens the play in a chuanqi prologue 250n, 251n

Fusheng

付生

134

Fushou 福壽 (Prosperity and long-life) Troupe 235n, 290n

Fuxing Juxiao 復興劇校 (a.k.a., Foo Hsing Opera School) X , 114, 462

Fuyu ti 腹語體 (internal thoughts) 555–56

Fuzi chonghui 父子重會 (meetings between long-separated fathers and sons) ;

possible Jingju play content category 160

Gai Jiaotian 蓋叫天 25n, 37n, 42n;

and Wu Song 151–52n

Gaige taimian 改革臺面 (reform of the stage) ;

content category Qi Rushan for some of his plays 160n

Gaihang 改行 (Changing professions) 71n

Gaikou 蓋口 (symbols that mark up a single-role script to help remember what the other actors are doing) 163n;

text that should or should not be improvised (huo gaikou versus si gaikou) 207n;

short for si gaikou 555n

Gailiang 改良 (improved) 503;

in playscript collection titles 181n, 185

Gaizhi pihuang xinci 改制皮黃新詞 (Adapted and supplemented new texts for Jingju) 204n, 396n

Gamble, Sidney 211n

Gan sanguan 趕三關 (Pursuit through three passes) 457n

Ganban 乾板 (“dry” measures) 255n

Gang leaders and Jingju 63–65;

marry actresses 64

Gang of Four 472–73

Gao bozi 高撥子, local style influenced by bangzi, performed by Huiban and then in Jingju 15, 142n.

Gao Chong 高寵 211n

Gao Dengjia 高登甲, expert bachang, worked for Cheng Yanqiu 495n

Gao Ming 高明 53n, 220

Gao Qingkui 高慶奎 69–70n, 137n, 245n, 501n, 514n

Gaoqiang

高腔

108n, 172n, 482, 487

Ge Tao 葛濤 ;

on phonograph player terminology in Chinese 89n

Geju 歌劇 (opera) 3n, 293n, 469n, 519, 522n

Gelb, Ignace ;

on etymology of words for “writing,” XVIn;

on transcribing pronunciation 210n

Gender ;

and role-type 132

Genesis and Development of Hangdang in Traditional Chinese Theatre before the Emergence of Beijing Opera, The 131n

Gengsu Juchang 更俗劇場 (Change customs theater) 53n

Genre consciousness ;

fuzziness about fiction versus drama 156, 185n;

genres should address both what and how 157–58

Genre translations, from fiction to drama and vice versus 73, 73–74n, 527;

Liu Hui on 73n

Genü Hong mudan 歌女紅牡丹 (Songstress Red Peony) ;

1931 film 82n

Gezai/zi xi

歌仔戲

462n

Gezi longzhong de youji 鴿子籠中的游記 (Travels in a pigeon cage), work of fiction that mentions Xikao 408n

Goldman, Andrea Sue ;

on saozi wo plays 161n, 485n

Goldstein, Joshua ;

on names for Jingju 2n;

on touring circuits 34n;

on new theaters 38n;

on Mei Lanfang’s US tour 45n;

on Mei Lanfang/Meng Xiaodong marriage 64n;

on the Mei Lanfang/Huang Runqing performance rights case 429n

Gong Debo 龔德柏 55

Gong Li 鞏俐 63n

Gong Yunfu 龔雲甫 207n, 377n, 393n

Gong’an xi 公案戲 (court case plays) 152–53

Gongche 工尺, older system of musical notation 22n, 167n, 173n, 189n, 190–192, 248–49, 279n, 306n, 343n, 416, 420n, 427n, 540–41, 556n;

difficult to typeset 541n;

and Kunqu 190

Gongkai fabiao de Jingju juben tiyao (1949–2010) 公開發表的京劇劇本提要 (1949–2010) (Summaries of published Jingju playscripts) 538n

Gongting daxi 宮廷大戲 (huge palace serial plays) 168

Gordon, Kim Hunter ;

on the Kunqu performance tradition 193–94n;

on Kunqu baizhong, dashi shuoxi 579n

Government elites watch banned plays secretly 60, 445

Government elites’ input on theater productions 60

Government programs to have good plays performed ;

Yu Zhi’s proposal to use plays to improve society and an attempt to put it into effect in Shanghai 238n, 240–41, 241–42n, 244;

incentives for good plays 53

Government requested to deal with historical inaccuracies in Jingju 55

Governmental surveys and control of theater repertoire 98–100

Governmentally revised playscripts . see Tongsu Jiaoyu Yanjiu Hui, Guoli Bianyi Guan, Xiuding Pingju xuan, Guoju dacheng, Jingju huibian, Jingju congkan

Grant, Ulysses S. ;

turned down opportunity to see Chinese theater 47

Green Gang (qingbang 青幫) 58n, 64–65

Gu Jiegang 顧頡剛 62–63n

Gu Shuguang 谷曙光 ;

on Natong kneeling to Tan Xinpei 277n

Guaiyi xi 怪異戲 (plays about monsters and anomalies) 263n

Guan Hanqing 關漢卿 215, 217

Guan Hongbin 關鴻賓 344n

Guan Shaohua 管紹華 88n

Guan Sushuang 關肅霜 573n

Guan Yong 貫涌 516n

Guan Yu 關羽 (a.k.a., Lord Guan) 55, 110, 120n, 132, 267, 268n, 269–70, 465n;

plays that feature him as a group 151, 268n

Guanchuan 貫串 (well strung together) 256

Guandong pai 關東派 (east of the pass [Shanhai guan] style) Jingju 42

Guang Huguo si 逛護國寺 (Visiting Protect the Nation Temple) 174n;

translation by Margaret Wan 174n

Guangdong pihuang 廣東皮黃 (Cantonese opera) 18n

Guangdong ;

Jingju in 40

Guanghe Theater (Guanghe lou 廣和樓) 93

Guangong shengtian 關公升天 (Lord Guan ascends to heaven) 465n

Guangxu emperor 71n, 88n

Guanju daoren 觀劇道人 (Man of the way who watches plays) 226–237, 254;

and Chen Moxiang 229n, 484n, 504

Guanju shenghuo sumiao 觀劇生活素描 (Sketches from my life of watching plays) 12n, 139n, 161n, 174–75n, 317n, 484, 487–88n, 492n, 493, 502n;

compared to Liyuan waishi 484n;

manuscript version 484n

Guanlan ge 觀瀾閣 180n

Guanyu Xunju de jifeng xin 關於荀劇的幾封信 (Some letters concerning Xun [Huisheng’s] plays) 499n

Guazhong lanyin 瓜種蘭因 (Seed of the melon, cause of the orchid) 184n, 286n, 551;

translation 286n;

newspaper serialization 287n, 438n;

censored 447

Gucheng fanzhao ji 古城返照記 (Record of sunset in the old city) 18n, 34n, 77n, 139n, 162n, 293n

Gudian xiqu cunmu huikao 古典戲曲存目彙考 (Collected research into the known repertoire of classical Chinese drama) 97, 215, 218, 220, 222

Gudu gongwei liyuan mishi 古都宮闈梨園秘史 (Secret history of theater in the palace of the old capital) 408n

Gugong bowu yuan cang Qinggong Nanfu Shengpingshu xiben 故宮博物院藏清宮南府昇平署戲本 (Qing dynasty play texts from the Nanfu and Shengpingshu held in the Forbidden Palace Museum) 534–35

Gugong zhenben congkan 故宮珍本叢刊 (Collectanea of precious texts from the Forbidden Palace) 535n

Guidebooks to theater 301;

in Gucheng fanzhao ji 293n

Guifan 規範 (regularization) 203n

Guifang xi 閨房戲 (Fun in the bedroom) 397n

Guifei zuijiu 貴妃醉酒 (Consort Yang gets drunk) 50n, 528n, 530n

Guimen dan

閨門旦

133

Gujin xiaoshuo 古今小說 (Stories old and new) 527n

Gun dingban 滾釘板 (Rolling on the bed of nails) 159n, 414n

Guo Bintu 郭彬圖 252

Guo Jingrui ;

on luantan 17n

Guo Qitao ;

on Anhui merchants and opera 15n

Guo wu guan 過五關 (Passing through five passes) 325n

Guo Xiaozhuang 郭小莊 464n

Guo yin 過癮 (get a “fix” for “addiction” to theater) 91

Guo Yingde 郭英德 222

Guobao 果報 (retribution) 256

Guochang 過場 (transitional scene) 188n

Guojia Jingju Yuan 國家京劇院 . see Zhongguo Jingju Yuan

Guojia ju 國家劇 (nation plays) ;

Minzhong xiaoshuo xiqu duben content category 126

Guoju Chuanxi Suo 國劇傳習所 (Institute for the transmission and practice of Guoju) 425n

Guoju dacheng 國劇大成 (Compendium of national opera) 188n, 313, 418, 435, 462;

and Xikao 313, 411n, 414n;

censor crude language and women’s liberation language of Xikao versions of plays 391n;

leave out some Xikao plays 418n, 462n

Guoju huabao 國劇畫報 (National drama pictorial) 112n, 145n, 425n, 561–62n;

Guoju shenduan pu 國劇身段譜 (Roster of stage movements for National Drama) 195–96, 566n

Guoju Xuehui 國劇學會 (Association for the Study of National Drama) 28–29, 59n, 145n, 352, 384n;

library holdings 29, 163n, 213n, 433;

exhibit hall 433;

publications 196n, 425;

its copies of playscripts could be borrowed and copied for free 433

Guoju yuekan 國劇月刊 (Guoju monthly) 565n

Guoju yundong 國劇運動 (movement for Chinese theater) 29, 425–26

Guoju 國劇 (the national drama) 26–30;

definitions 28–29, 565;

use of the term in the PRC 29, 29–30n

Guoli Bianyi Guan 國立編譯館 (National Institute for Compilation and Translation) 433n, 460, 462n

Guoli Guoguang Jutuan 國立國光劇團 (National Light of the Country Troupe) 465, 478, 521

Guoli Taiwan Xiqu Xueyuan 國立臺灣戲曲學院 (College of Chinese indigenous theater of Taiwan) 462n

Guomen 過門 (instrumental lead-ins to and interludes during arias) 189n, 536, 539

Guomingdang (GMD, The Nationalists) ;

believe Jingju supports traditional morality 467

Guqu zhinan

顧曲指南

313–14, 353–55

Guqu 顧曲 (appreciation of music or theater) 353–55, 357, 360–63

Gushi tigang 故事提綱 (plot outline) 200n

Gushi 鼓師 (lead percussionist) 191, 277n, 269n

Guwen 顧問 (advisor) ;

used with reference to the writing of a play 519n

Guy, Nancy ;

on aria types 259n;

on names for Jingju 2n;

on Mei Lanfang’s US tour 45n;

on Jingju in Taiwan 462–63n

Guzhuang xinxi 古裝新戲 (new ancient-clothing plays [starring Mei Lanfang]) 154–55

Guzhuang 古裝 (ancient-clothing) plays 46n, 52, 145, 148n

Guzi [lao]xi 骨子[ 老] 戲 (bone [old] plays) 141

Hai Rui baguan 海瑞罷官 (Hai Rui dismissed from office) ;

and the Cultural Revolution 153, 473–74, 476n

Hai Rui 海瑞 153, 473–74

Hai Zhen 海震 XX;

on numbers of juzhong 4n;

on which character is correct for the huang in erhuang 16n

Haipai

海派

Jingju . see Shanghai-style Jingju

Haishang fanhua meng 海上繁華夢 (A dream of the splendor of Shanghai) 71–72n, 75

Haishang hua liezhuan

海上花列傳

74, 74–75n

Haishang liyuan zazhi 海上梨園雜志 (Miscellaneous notes on theater in Shanghai) “Xikao” chapter 76, 323–25;

provides alternate names and plot summaries 324;

includes two non-Jingju plays and one new-style play 324

Hama Kazue 浜一衛 459n

Han Bangqing 韓幫慶 74

Han Meng 韓萌 515n

Han Shichang 韓世唱 317n

Han Xibai 韓希白 64

Handiao

漢調

18n, 19

Handsome Monkey King (Meihou wang 美猴王) ;

plays that feature him as a group 152

Hang Renlian 杭人連 286n

Hangdang

行當

. see Role-type system

Hanju 漢劇 (Wuhan opera) 19, 39–40, 140n, 316, 350n;

role-type system 135

Hanzhan Taishi Ci 酣戰太史慈 (Fighting Taishi Ci with abandon) 96n

Hao Shouchen 郝壽臣 114, 207n, 271n;

edition of performance versions of his plays 525n

Hao Yinbo 郝蔭柏 514n, 516n

Hatano Kenichi 波多野乾一 146n, 150n

Hazelton, George C. 48n

He Haiming 何海鳴 415–16, 558n, 560n

Head pieces 545

Hebei bangzi

河北梆子

443n, 513n, 520n, 554n;

phonograph discography for 87;

role-type system 135n

Hebei Sheng Hebei Bangzi Juyuan 河北省河北梆子劇院 (Hebei Province Hebei bangzi institute) 24n

Hecai

喝彩

. see Applause and yelling bravo

Hechun 和春 (Mild spring) ;

one of the Four Great Anhui Troupes 14

Hehou ma dian 賀后罵殿 (Empress He curses the throne) 56n

Heifeng pa 黑風帕 (Blackwind handkerchief) 160n, 325n

Heiji yuanhun tushuo 黑籍冤魂圖說 (Wronged spirit of an opium addict illustrated and explained) 568;

scene summaries illustrated by photos 400–401;

prepared for producers in lieu of full playscript 400–401;

includes photo of playwright 400, 568

Heiji yuanhun 黑籍冤魂 (Wronged spirit of an opium addict) 82n, 184n;

film of the play 400n

Heijing

黑凈

133

Heinu yu tian lu 黑奴籲天錄 (Record of a black slave’s cry to heaven [Uncle Tom’s Cabin]) 25n

Heiqian 黑錢 (black money; extra fee given actors to compensate for losing [artificial] blood onstage) 159n

Heitou xi 黑頭戲 (Black head plays), plays featuring Judge Bao 152, 153n, 327

Heitou

黑頭

133

Henan bangzi

河南梆子

116, 513n

Henhai 恨海 (Sea of regret) 339

Hepai 合拍 (fit the music) 558n

Heshen 和珅, male favorite of the Qianlong emperor ;

supposed patron of Wei Changsheng 13

Hillenbrand, Margaret ;

on censorship in the PRC XVIIn

Hirabayashi Norikazu 平林宣和 ;

on modern dance and Mei Lanfang 28n

Historical inaccuracies in Jingju 55–56

Holm, David ;

on the CCP “drama movement” 467n

Hong Bi yuan 宏碧緣 (The marriage affinity between Luo Hongxun and Hua Bilian) 367–68n, 589n

Hong Kong, Mei Lanfang tour ;

playscripts printed beforehand 40

Hong Shen 洪深 ;

and huaju 25n;

assertion of performance rights 438n

Hong Sheng 洪昇 231–32;

tried to prevent actors and revisers changing his playscripts 212

Hong Xiuquan 洪秀全 240

Hong Yang zhuan 洪楊傳 (The story of Hong Xiuquan and Yang Xiuqing) 269

Hongdeng ji 紅燈記 (The red lantern) 663n;

change of attribution from Weng Ouhong to collective 507n;

change back to Weng Ouhong and Ajia post-Cultural Revolution 519n;

revision process 475n;

performance edition 475n

Hongjing

紅凈

133, 138n

Honglou meng 紅樓夢 (Dream of the Red Chamber) ;

source of Jingju plays 150–51;

lectured about by Chen Moxiang to Xun Huisheng 502n

Honglou xi 紅樓戲, plays based on Honglou meng 114n, 150–51, 160n, 237n, 366n, 557n;

competition between Mei Lanfang and Ouyang Yuqian 287

Hongmei ge 紅梅閣 (The red plum loggia) 318n, 364–65n

Hongmen yan 鴻門宴 (Banquet at Hongmen) 561n

Hongshe ji 紅蛇記 (The red snake) 244n

Hongsheng

紅生

132, 151, 268n;

role-types that hongsheng characters can also be played as 138n;

Guan yu is the most representative example 151

Hongyang dong 洪羊洞 (Hongyang cave) 189n, 415n, 528n

Hongzong liema 紅鬃烈馬 (The red-maned fiery horse) 55, 457n, 544

Honorific orthography, raise honored character(s) to next line 262;

leave space after honored character(s) 262;

done in case of references to the emperor 262;

done in case of references to deities 262;

practice in paratexts versus play text 262

Horrific (kongbu 恐怖) content of plays 100n, 158, 158–59n

Hou Baolin 侯寶林 71–72n

Hou Liushi zhong qu 後六十種曲 (Later sixty plays) 532n

Hou Xirui 侯喜瑞 408n, 578n

Hou Yishi 侯疑始 557–58

Hou’er/Houzi xi 猴兒/子戲 (Monkey [King] plays) 152

Household registration system 466

Hsü Dao-Ching 56;

on Chinese drama as product of collective imagination 395n

Hu Die 胡疊 515n

Hu Die 胡蝶 63

Hu Hanzhu 胡憨珠 343n, 351n

Hu Henian 胡鶴年 ;

actor who collaborated with Li Zhongyu on plays 264

Hu Jintao 胡錦濤 61

Hu Jisheng 胡寄生 408n

Hu Juren 胡菊人 343n

Hu Shi 胡適 195, 312

Hu Shijun 胡世均 516n

Hu Xilai 胡喜祿 264w

Hu Zhifeng 胡芝風 573n

Hua hudie 花蝴蝶 (Colored butterfly) 325n

Hua Huilin 華慧麟 483n

Hua Mulan 花木蘭 (Henan bangzi) 513n

Hua Wei 華瑋 221n, 520n

Huabang 花榜 (rosters of flowers [courtesans]) 75n

Huabu nongtan 花部農譚 (Rustic talk about popular theater) 236n

Huabu 花部 (flowery/ornamented division of Chinese theater) ;

used in opposition to yabu 9–13, 16–17, 67, 109, 177, 177n, 236n;

Qianlong emperor not originally against huabu performances 13n;

not classical theater 98

Huadan plays 295;

supposedly easier to perform 75n;

transcribed lectures on 578n

Huadan 花旦 (flowery/patterned dan) 13, 75n, 133, 136, 139–41n, 328, 452n;

role-types that huadan characters can also be played as 138n

Huadang 花蕩 (Ambush in the Reeds) 194n

Huaiju 淮劇 (Huai opera) 350n, 522n;

return to use of scenarios 480

Huaixi 壞戲 (bad plays) 470

Huaji Jingdiao daguan 滑稽京調大觀 (Compendium of huaji Jingju) 72n

Huaji 滑稽 (lit.: comic) 72n, 349n

Huaju 話劇 (spoken drama) 3, 25–26, 77n, 200, 212, 215, 253, 287, 420n, 452, 519–20, 551–52n;

assertion of performance rights 438–39;

greater censorship concern than xiqu under GMD 461;

censorship of huaju play books 461n;

taken as model in theater reform movement 471n;

huaju directors direct Jingju 479n

Hualian

花臉

133, 141n;

role-types that hualian characters can also be played as 138n;

hualian roles poached by wusheng and laosheng 139–140

Huang Boxuan 黃伯暄 252

Huang Chujiu 黃楚九 276, 450n

Huang Jinrong 黃金榮 64–65

Huang Runqing 黃潤卿 428–29

Huang Tianba 黃天霸 137n, 289n;

plays featuring him 153, 366n

Huang Wenhu 黃文虎 201n

Huang Wenyang 黃文暘 97n

Huang Yishu 黃義樞 251

Huang Zhong 黃忠 139

Huangdi meng 皇帝夢 (A dream of being emperor) 450n

Huanghe lou

黃鶴樓

71n, 140n, 582n

Huangqiang 黃腔, an abbreviation of erhuang qiang

二黃腔

18n, 22–23n

Huanxi yuanjia 歡喜冤家 (Karmic enemies/lovers) 440n

Huapu

花譜

. see Flower registers

Huashan

花衫

133–34, 136, 273, 369

Huatian cuo 花田錯 (The mistake in the flower field) 38n

Huayuan zeng zhu 花園贈珠 (Giving the pearl in the garden) 324

Hubei Sheng Jingju Yuan 湖北省京劇院 (Hubei province Jingju company) 40

Hudie bei 蝴蝶盃 (Butterfly cup) 337n, 366n

Huguang yin 湖廣音 (Huguang Province system of pronunciation) ;

one of the three phonetic systems of Jingju stage pronunciation 19–20

Huhua ling 護花鈴 (The flower protector) 498

Hui 回, measure word or label for segments or scenes in Liyuan jicheng 184, 184–85n

Huiban 徽班 (Anhui troupe) 14, 120n

Huidao 誨盜 (teaching brigandry) 455n

Huidiao 徽調 (Anhui tunes) 15, 107n, 268, 270;

as alternate term for Jingju 16

Huiguan 會館 (native place associations), in Beijing and theater 31

Huijiao 回教 (Islam) 457n

Huiling 回令 (Returning the [arrow of] command) 413

Huilu 悔盧, penname of Jin Zhongsun 275n, 490n

Huitou an 回頭岸 (A turn of the head and you are on the far shore) 242n

Huitu 繪圖 (illustrated) 180–81, 568

Huixi 徽戲 (Anhui plays) 15;

repertoire 103;

role-type system 135

Huixing nüshi 慧興女士 (Miss Huixing) 187n

Huiyin 誨淫 (teaching lewdness) 455n

Hujia zhuang 扈家莊 (Hu Family Village) 167n

Huju 滬劇 (Shanghai opera) 349–50n, 507n

Hunan-style Jingju 40, 533n

Hunbian 婚變 (divorce or neglect of the first wife when a scholar passes high in the examinations and powerful people throw their daughters at him) ;

possible Jingju play content category 160, 160–61n

Hundred Flowers Campaign (1956–1957) 469

Hunyuan he 混元盒 (Chaos box) 168–69

Huo gaikou 活蓋口 (adapt text to the circumstances of a play) 207n

Huo xikao 活戲考 (living xikao) 408n

Huoben 活本 (live text) 207n

Huocai 火彩 (stage pyrotechnics) 234

Huopan 火判 (infernal judge dancing and spitting sparks) 144n

Huoren daxi 活人大戲 (Living actor big plays), autobiographical novel by Chen Moxiang 20n, 55n, 77n, 191n, 212n, 264–65, 274n, 280n, 453n, 483n, 485–98;

publication history 485;

lecture on playwriting in 488–98, 512n;

on playwriting outside the lecture 500–503;

overlooked by scholars 495–96;

as storytelling novel 490n, 491;

as a novel based on facts 494n

Huoren daxi

活人大戲

;

a way to refer to plays with human actors 20n, 485n

Huoshao Honglian si 火燒紅蓮寺 (Fire burns Red Lotus Temple) 506

Huozhuo Sanlang 活捉三郎 (Taking the soul of Third Son) 317n

Huqin 胡琴 (spike fiddle) ;

the main accompanying instrument of Jingju 16n, 189–90n, 416.

Jinghu

Huzi dan 鬍子旦 (whiskers dan) 134

Hypertext and hyperlinks . see Digitization of Jingju playscripts

Ibsen, Henrik 253, 528n

Idema, Wilt ;

on Tianxian pei case 444n

Illustrations in texts teaching Jingju 568;

static images 568–69;

movement sequences 569,

drawings 568n;

abstracted, backgroundless drawings 569;

stage diagrams 568n, 569;

means of indicating movement in/with drawings and stage diagrams 569;

in stage diagram use shoes to show which way the actor is facing or two-tone circles 569–70n;

include percussion patterns 569–70;

include oral formulas (koujue) 570;

use photo sequences to show movement 568n, 570.

Xiqu shenduan biaoyan xunlian fa

Illustrations to playscripts 306n, 392n;

lithographic editions have illustrations that include elements of stagecraft 179–80, 181n, 399, 570;

titles of collections of playscripts that promise illustrations 180–81n, 306n, 324n, 345–46, 392n;

chuanqi playscript illustration basically the same as those for fiction 209n, 225;

paratextual claim that the illustrations can be a guide for performance costuming 209n, 399;

drawings replaced by photographs 399;

photographs on covers 399n, 536–37;

lithographic drawings in Shijie xinju play scene summaries 400–401;

drawings in playscripts 547;

scenery design drawings (bujing sheji tu) 563;

photographs in Heiji yuanhun tushuo 400–401, 401–402n, 568;

photos with dialogue 536–37;

photos in playscripts 302–303n, 400n, 541n, 545–46, 546n, 547 (no caption), 549, 570–74, 571–74n;

photos in yangban xi performance playscripts 570;

large number of photographs versus video 573–74.

Fenmo qushu, Jingju Zaixiang Liu Luoguo, Jingju jingdian pindu, Lianhuan hua, Lu Wenlong

Imperial mourning cause theaters to be closed 272–73

Improvisation and Jingju IX, 206–208;

more common in manuscript than printed playscripts XV;

forced by mistakes 278n;

discouraged in the PRC 470–71, 586

Inauspicious plays 120

Individual characters in the same play could be performed as more than one role-type . see Liangmen bao

Influence of theater ;

temple statues with flags strapped their bags 52

Inner Mongolia, Jingju in 41, 43n

Innovation 201

Inscribing as the fixation of any aspect of Jingju in any media XVI

Inscription and writing XVI, XVIn

Intangible cultural heritage (ICH) ;

Kunqu as 115n, 193–94n

International Phonetic Alphabet 544

Internet, the ;

and Jingju XIV , 582

Inverse erhuang . see Fan erhuangi

Inverse xipi . see Fan xipi

Ionesco, Eugene Xn

Islam (huijiao 回教) 457n

Japanese influence on late Qing and early Republican era reforms of theater 24–25

Japanese views of and scholarship on Chinese theater 45n, 426n.

Aoki Masaru, Hatano Kenichi, Tsuji Chōka, Hama Kazue

Jazz ;

and Jingju 587n

Jesperson, Otto 210n

Ji Changjiang 祭長江 (Making sacrifice by the Yangzi) 590n

Ji Tang 集唐 (collect lines from Tang dynasty poets to make up a quatrain that concludes each scene) 227n

Ji Yintian 紀蔭田 (personal name Shusen 樹森) 226, 250–55

Ji Yun 紀昀 251

Jiaban

家班

. see Private troupes

Jiamen 家門 (Prologues) 233n

Jian Guideng 簡貴燈 315–16n

Jian jiuling 監酒令 (Overseeing the drinking game) 412n

Jian 尖 (pointed) pronunciation 543, 545

Jian’er 健兒 . see Wuxia Jian’er

Jianchang/qiemo tigang 檢場/砌末提綱 (prop abstracts) 198, 198–99n;

using graphic representations 198n

Jianchang 檢場 (prop men) 161, 263n, 495n, 546–47;

system 187n

Jiang Guanyun 蔣觀雲 45n, 156n

Jiang Guyu 江顧羽 344n

Jiang Han yuge 江漢漁歌 (Fishermen’s songs along the Yangzi and Han Rivers) 537n

Jiang Miaoxiang 姜妙香 113–14;

shuoxi audio recording 576–77n

Jiang Qing 江青 54n, 60, 472–73;

and playscripts 162;

in Western theater 162;

and yangban xi 472, 474–75;

as director 475n;

interference in playwriting 512n

Jiang xiang he 將相和 (General and minister reconciled) 417n, 507n

Jiang Zemin 江澤民 60–61

Jiangjie 江姐 (Sister Jiang) 206n

Jiangliu ji 江流記 (River Float) 168n

Jiangnan tielei tu 江南鐵淚圖 (A portrait of iron tears [shed in] Jiangnan) 238n

Jianpu 簡譜 (cipher notation) 189n, 191n, 279n

Jianyi xi 箭衣戲 (archery-jacket plays) 141, 144

Jiao Juyin 焦菊隱 268, 292n, 295n, 457n, 490, 509

Jiao Xun 焦循 ;

advocate of huabu theater 236

Jiaoben 腳本 (playscript) 179n

Jiaoxue ben 教學本 (teaching version) 526n

Jiaqing emperor’s mother ;

was an actress 10n

Jiating ju 家庭劇 (family plays) ;

Minzhong xiaoshuo xiqu duben content category 126

Jiating 家庭 (family) ;

Xixue huikao topical category 159

Jiayue

家樂

. see Private troupes

Jiazi hualian

架子花臉

88n, 126n, 133, 140n, 202n, 508, 578n

Jiazu ju 家族劇 (family saga) ;

Minzhong xiaoshuo xiqu duben content category 126

Jiegou 結構 (structure) 493

Jiemu dan 節目單 (programs) 197

Jiepai guan 界牌關 (Safe-conduct Pass Pass) 390n

Jieyi 節義 (chastity) ;

Xixue huikao topical category 159–60;

content category Qi Rushan used to divide his own plays 160n

Jiguan bujing 機關布景 (machine-operated scenery or props) . see Machine-operated scenery

Jile shijie 極樂世界 (Realm of ultimate bliss) 177–78n, 222, 226–237, 247, 396n;

manuscript copy in palace collection 229n;

typeset 230;

commentary by Shixiang nüshi and Su sheng 蘇生 230n, 231;

aria types not indicated 231;

self identifies as a chuanqi 232–33;

commentary compares to fiction and other plays 233;

performability 233–35;

possible connections to palace performance conventions 234;

no performance history 235;

adaptations 235;

and Chen Moxiang 484n

Jin bainian lai pihuang juben zuojia 近百年來皮黃劇本作家 (Pihuang playwrights of the last one hundred years) 264n, 268n, 289–90n, 192n

Jin Ping Mei

金瓶梅

502;

depiction of Ming officials staying away from the pleasure quarters 6

Jin Shengtan 金聖嘆 224, 233n, 378, 378–79n, 380, 512

Jin Xiushan 金秀山 177n

Jin Yuemei 金月梅 520n;

female Jingju playwright 222

Jin Zhongsun 金仲蓀 275n, 434n, 457–58n, 490n, 499n, 510

Jinchun tang 錦春堂 180–81n

Jindai sanyi xiqu wenxian jicheng 近代散佚戲曲文獻集成 (Collectanea of uncollected material on xiqu from the modern period) 553n

Jindou/dao jindou 金斗/倒金斗 (forward and reverse somersaults) 260n

Jing Guxue 景孤血, playwright ;

did not know what actors wanted 283n;

on Republican censorship regime 463–64

Jing 凈, role-type 67n, 86n, 133, 207n, 291

Jingchai ji 荊釵記 (The thorn hairpin) 130n, 374n

Jingchao pai 京朝派 (Beijing-style Jingju) 18n, 534n

Jingdian Jingju juben quanbian 經典京劇劇本全編 (Complete collection of classic Jingju playscripts) 528

Jingdiao 京調 (Capital tunes) ;

refers to Jingju and other Beijing theater genres 21–22, 74, 75n, 180, 230n, 317n, 345–46, 533

Jinghu 京胡 (spike fiddle) ;

lead melodic instrument of Jingju 526n, 540;

amateur player of 539–40;

verbal imitation during shuoxi 576–77n.

Huqin

Jingjiao

凈腳

133

Jingju and/as literature IX, IXn, 208–209, 524;

vulgar and ungrammatical (culi bu tong 粗俚不通) 362, 509, 556.

Pihuang wenxue yanjiu, Qingdai Jingju wenxue shi

Jingju as a term in English ;

capitalize or not 2n;

ways of referring to it in English 1–5

Jingju changqiang xiezuo 京劇唱腔寫作 (Composing Jingju aria music) 516n

Jingju changtan 京劇長談 (Extended talks on Jingju) 134, 164n, 267, 269–70, 278

Jingju chuantong juben huibian 京劇傳統劇本彙編 (Collected traditional Jingju playscripts) 212n, 418, 480;

censorship in 418n;

continuation/sequel volumes 480, 548;

organized by historical setting 532n

Jingju congkan 京劇叢刊 (Collectanea of Jingju plays) 435, 472, 480, 514n, 538n;

plays revised so could be performed according to PRC standards 418

Jingju Da Tan Er yanchu ben 京劇大探二演出本 (Performance version of Da baoguo, Tan huangling, and Er jingong) 524n

Jingju dajia jueyi lu 京劇大家絕藝錄 (A record of the unparalleled art of masters of Jingju) 578–79n

Jingju diangu 京劇典故 (Classical allusions in Jingju) 529n

Jingju dianying gongcheng 京劇電影工程 (Project to produce Jingju movies) 583–84n;

accompanying books 584n

Jingju gechang ju 京劇歌唱劇 (play with Jingju singing) 522n

Jingju huadan biaoyan yishu 京劇花旦表演藝術 (The performance art of the huadan role in Jingju) 578n

Jingju huibian 京劇彙編 (Collected Jingju scripts) 122n, 204n, 212n, 435, 471–72, 480, 532n;

censorship of superstitious material 390n, 411n. Reprinted as Jingju chuantong juben huibian

Jingju in the classroom ;

in Chinese language textbooks 61n;

in English 49–50;

in foreign languages XIVn;

in the Jingju enters the classroom program in the PRC 61, 480

Jingju jiaoxiang jushi 京劇交響劇詩 (Jingju symphonic dramatic poem) 523

Jingju jingdian pindu 京劇經典品讀 (Connoisseurial reading of classic Jingju plays) 571–72;

contains both stage and studio photographs 572;

photo captions can include dialogue from the play 572n;

low priced and subsidized 572

Jingju juben bianzhuan lilun yu shiwu 京劇劇本編撰理論與實務 (The theory and practice of writing Jingju plays) 521n

Jingju jumu chutan 京劇劇目初探 (A preliminary investigation of the repertoire of Jingju) 96n, 100–101, 170–71, 590n

Jingju jumu cidian 京劇劇目辭典 (Dictionary of the repertoire of Jingju) 96n, 99n, 100–102, 170–71, 590n

Jingju jumu gailan 京劇劇目概覽 (An overview of the repertoire of Jingju) 105, 154–55

Jingju jumu kaolüe 京劇劇目考略 (Brief research on the repertoire of Jingju) 103n

Jingju jumu liupai huicui 京劇流派劇目薈萃 (Distinguished assemblage of plays representative of different liupai) 532n, 545n, 549n

Jingju lishi wenxian huibian: Minguo juan 京劇歷史文獻彙編: 民國卷 (Collected historical material on Jingju; Republican era section) 587n

Jingju playscripts 522–23;

importance of IX;

without arias 3n;

literati input increase over time 212–13, 396–97;

literati playwrights use allusion too much 249;

progressively larger amounts of information included XIV;

documentation of alternatives in notes or appendices 528n

Jingju playwrights ;

types XII;

anonymous at the beginning 211;

literati who were amateur actors, Chen Moxiang and Weng Ouhong XVII;

in Republican era write for one star or many stars XIV

Jingju qupu jicheng 京劇曲譜集成 (Compendium of Jingju plays with musical notation) 411n;

censor (by quarantining) superstitious content 411n

Jingju wenhua cidian 京劇文化詞典 (Dictionary for Jingju culture) 105, 154–55

Jingju xiao cidian 京劇小辭典 (Little dictionary of Jingju) 105, 154–55

Jingju xuanbian 京劇選編 (Collected Jingju plays) 480, 529n, 549, 575

Jingju yin pei xiang jingcui 中國京劇音配像精粹 (Selected Chinese Jingju body-synched plays) 61n, 581n

Jingju Zaixiang Liu Luoguo 京劇宰相劉羅鍋 (The Jingju Prime Minister Hunchback Liu) 548–49;

as product of cooperation between freelance playwrights and actors of multiple Jingju companies 478–79

Jingju zhishi shouce 京劇知識手冊 (Manual of Jingju knowledge) 105, 154–55;

expanded edition 105, 154–55

Jingju, alternate names ;

over time IXn, 1–95;

Huidiao 16, 16n;

erhuang 16, 18;

huangqiang and erhuang qiang 18n;

luantan 17;

pihuang 18

Jingju, fanatics (ximi 戲迷) 63n, 71n, 91–94, 174–75n;

demand fixity of playscripts 204;

focus more on the arias 206n

Jingju, history of ;

Republican era competition among stars and new plays XII–III, 201;

plays for stars written in response to other star’s plays XIII;

rising status of it and its actors IX;

history of 1–50;

use of multiple singing styles (shengqiang) 15–16;

minor musical systems besides xipi and erhuang 19;

influence of Hanju 19, 39–40;

the three phonetic systems of Jingju stage pronunciation 19–20;

Handiao and the change from dizi to huqin as the main accompanying musical instrument 20;

idea that people in Beijing did not use Jingxi or Pingxi to refer to Jingju 20n;

the term Jingju first used in Shanghai 21;

Jingdiao used to refer to Jingju and other Beijing theater genres 21–22;

Pingxi/Pingju used as alternate terms for Jingju after the name of Beijing was changed to Beiping and continued to be used in Taiwan 22;

troupes call themselves Jingju late 22;

first unit to have term for Jingju in its title 22–23;

first Shanghai troupe to use Jingju in its name 23;

increasingly elite audience 24;

prime example of “old plays” to reformers 24;

Qi Rushan’s principles for 28;

principle of economy 28n;

historical inaccuracies in 55, 55n, 56, 56n;

influence on Western theater 48–49;

influence on Hollywood cinema 49

Jingju, nature of ;

most influential xiqu genre IX;

boom in publishing on XI;

audiences for IXn;

aural versus visual elements IXn;

a local genre that borrowed from other genres and became a national genre XII, 2, 18–19, 30, 42–44, 50, 50n;

maturation in the 19^th century XII;

and classical Chinese theater XII, 98;

golden age in the Republican period XII;

early names stressed musical aspects 4;

as primarily urban product 23, 50;

falls between rarified and literary tradition of Kunqu and coarser more emotional bangzi 23, 396n;

bangzi actors switched to performing Jingju rather than vice versus 24;

imperial patronage of Empress Dowager Cixi 24;

as opposite of Western theater 28;

names for Jingju 30;

spread out from Beijing 30–42;

represents China in international marketing 50n;

paintings of scenes held in the palace 66n;

periodicals 79;

as good for your health 91–92;

memorabilia 93–94n;

music 191;

taken as model during theater reform movement 471n

Jingju, present state decline in performance revenue 47–48

general decline 93

Jingju, teaching methods personal and hands on instruction by teacher and replacement of traditional teaching methods by new media XIV;

teach full plays and not just roles 164n (Wang Hongshou) 271n, (Xiao Changhua);

use of texts 205, 213n, 419n, 306n;

Yu Zhi has old actors teach young boys to perform his plays 239n

Jingjuology (Jingju xue 京劇學) 427

Jingli chuisheng ke 鏡裡吹笙客 (The guest who plays the mouth organ in the mirror), wrote preface to Xikao 355–57, 397

Jingpai Jingju

京派京劇

. see Beijing-style of Jingju

Jingqiang

京腔

;

developed in Beijing from Yiyang 16;

role-type system 135n

Jingua ji 進瓜記 (Offering melons) 168n

Jinguo ji 巾幗集 (Collected female heroes) 58n

Jingxi gongche zhinan 京戲工尺指南 (A guide to the gongche musical notation system for Jingju) 387n

Jingxi 京戲, alternate name for Jingju 4n, 20n

Jinhui 禁毀 (prohibit and destroy) 444n

Jinqian bao 金錢豹 (Gold-cash panther) 412n

Jinshan si 金山寺 (Jinshan temple) 167n

Jinsuo ji 金鎖記 (The golden locket), adaptation of Dou E yuan in which Dou E does not die 494n

Jinsuo ji 金鎖記 (The golden locket), short story by Zhang Ailing 90n

Jinxi huiyan 禁戲匯演 (Combined performance of prohibited plays) 465

Jiqing ju 吉慶劇 (auspicious plays) 142–43

Jishui 吉水 (might be Chen Moxiang) 267–68

Jitai 吉泰, playscript dictator 177n

Jiugeng tian 九更天 (The night with nine watches) 158–59n, 407n, 414n

Jiuju jicheng 舊劇集成 (Old plays collected) 419n, 524, 534

Jiuju/xi 舊劇/戲 (old plays) 24–26, 75n, 148, 320–21, 339n, 452, 551

Jiulian deng 九蓮燈 (Nine lotus lamp) 175n

Jiulong shan 九龍山 (Nine Dragon Mountain) 297n

Jixiang hua 吉祥花 (Auspicious flowers) 256–58

Jixiang xi

吉祥戲

. see Auspicious plays

Jjinzhen 金針 (The golden needle) ;

used to speak of a secret art 354

Jokes (dahun 打諢) 11n

Jones, Andrew ;

on attempts to control radio broadcast content in the Republic 454n

Ju/xiping 劇/戲評 (theater reviews) 203, 330–31;

and Wuxia Jian’er 372

Jubang 菊榜 (chrysanthemum [actor] rosters) 75, 75–76n;

special one to counter dominance of dan actors 284

Juben huang 劇本荒 (playscript famine) 455, 469, 536, 563

Juben kaoshi 劇本考實 (An examination into the facts of the playscript) ;

subheading to some Shenbao “Xikao” column items by Bianbian 325n, 329;

signature changes to Erwo 二我 329n

Juben 劇本 (Playscripts), periodical 474, 478, 507n, 513, 523n, 562–63;

dominated by huaju playwrights 563n;

articles on playwriting 513–514n

Jubu congkan 菊部叢刊 (Theater collectanea) 425n, 429n

Jubu mingtong shenglu 鞠部明僮勝錄 (Record of winning child actors) 265n

Judge Bao 133, 192n, 327, 359n

Judge Shi 67n, 289

Juding guanhua 舉鼎觀畫 (Lifting the tripod and looking at the painting) 320n, 352n

Juehuo 絕活 (unique skill or talent) 120

Jung, Rosa (Yong Zhujun 雍竹君) 49n

Juping xiaoshuo 劇評小說 (theater critic/review fiction) 76n

Jushuo 劇說 (Comments on theater) 236n

Juxue yuekan 劇學月刊 (Theater studies monthly) 425;

general notice of copyright and performance rights reserved for institute members’ playscripts 434;

notice that copyright and performance rights for Chen Moxiang play reserved 434n;

instructions for editing playscripts 561–62

Juxue

劇學

424–25;

in names of journals, books, articles, publishers, and organizations 12n, 57n, 161–62n, 194n, 196n, 202n, 208n, 264n, 274n, 275n, 276, 280n, 283n, 336n, 351.

Theater studies

Juzhen Tang 聚珍堂 ;

firm closely associated with printing with moveable type 277n

Juzhong 劇種 (Chinese indigenous theater traditions) 3, 520;

national survey of 471

Kabuki 126n;

extract scenes versus full plays 123n

Kabuki theater yearly performance records (kabuki nendaiki 歌舞伎年代記) 106

Kaikou tiao

開口跳

, 134

Kailuo xi 開鑼戲 (open-gong plays) 143

Kaipian 開篇 (opening pieces) 72

Kan yuchuan 勘玉钏 (Investigating the jade bracelet) 503

Kang Jinbing 抗金兵 (Resisting the Jin troops) 453n

Kang Sheng 康生 473

Kang Youwei 康有為 62n

Kangxi emperor 10n, 13, 238n;

as a big patron of theater 13–14

Kao 考 (research), in titles of works on Chinese theater before Xikao 321–23

kao

靠

. see Armor

Kaoba laosheng

靠把老生

132

Kaoba xi 靠把戲 (armor-and-weapons plays) 141

Kaoju xue 考據學 (evidentiary research) 258

Kapakas, F. C. 46n

Kastan, David Scott ;

on digitized Shakespeare and use of hyperlinks 584n

Kawakami troupe tour of the US 45n

Keban 科班 (opera training school) 42n, 51, 164n;

Li Shizhong ran opera school 227–28n

Kechuan 客串 (acting) 75, 403n

Kejia xi 客家戲 (Hakka plays) 462n

Kejie 科介 (stage directions) 496

King of female actors (kunling dawang 坤伶大王), selection by Shuntian shibao readers 78n

King of the child actors (tongling dawang 童伶大王), selection by Shuntian shibao readers 78n

King of the world of actors (Lingjie dawang 伶界大王) 64n;

selection by newspaper and magazine readers 78;

granted and revoked by theater owner 276–77

King of the world of theater (Jujie dawang 劇界大王), selection by Shuntian shibao readers 78n

King, Michelle 245

Kong Shangren 孔尚任, tried to prevent actors and revisers changing his playscripts 212, 213n;

on jokes (dahun 打諢) 11n;

work penname into play prologue 223–24

Kongcheng ji 空城計 (The ruse of the empty city) 72n, 91, 208n, 278n, 302n, 415n, 590n

Kongque dongnan fei 孔雀東南飛 (Southeast Fly the Peacocks) 276, 434–35n, 483n, 493n;

objections about not being reformed enough or about the Army or the Nation 503

Kou Zhu 寇珠 , 189n

Koujue

口訣

. see Oral formulas

Ku Qinting 哭秦庭 (Crying in the Qin court) 501n

Ku zumiao 哭祖廟 (Crying in the imperial shrine) 389–90n, 550n

Kuang guli 狂鼓吏 (The mad drummer) 218n, 225n

Kuben 庫本 (palace storage or production copy of a playscript) 167n

Kuilei dengchang ji 傀儡登場記 (The story of the puppets taking the stage) 77n

Kuilei xiezhen ji 傀儡寫真記 (A true portrait of puppets) 558n

Kuisheng 奎生 516n

Kuixing xian 魁星現 (original title Wenxing xian

文星現

;

both mean “The apparition of the God of Literature”) 240, 241n

Kun Yi 崑弋, theater tradition in Hebei and Beijing that included both Kunqu and Yiyang 10n;

related to periodic trimming of the number of actors in the palace 10n;

palace playscripts 167n, 169

Kunju

崑劇

;

modern term for Kunqu as a stage tradition 131

Kunqiang

崑腔

108n;

alternate name for Kunqu

Kunqu and Jingju 82n, 102, 110n, 166n, 316;

easier to understand 329–30n;

hybrid Kunqu-Jingju play 523n

Kunqu as text-centric 164n, 211–12;

criticism for this 212n;

use of shenduan pu 193–94, 195n

Kunqu baizhong, dashi shuoxi 崑曲百種, 大師說戲 (One hundred pieces of Kunqu, Master performers talk about their scenes) 579

Kunqu biaoyan xue 崑曲表演學 (The discipline of Kunqu performance) 7n, 124n, 163n, 192n

Kunqu Chuanxi Suo 崑曲傳習所 (Society for the preservation and practice of Kunqu) 115n, 425n

Kunqu shenduan shi pu 崑曲身段試譜 (Experimental shenduan pu for Kunqu) 569n

Kunqu yishu dadian 崑曲藝術大典 (Grand compendium of the art of Kunqu) 587n

Kunqu zhezi xi, historical settings of 146–47

Kunqu 114–15n, 116, 120n, 268, 274, 320n, 332, 339n, 342n, 354, 356, 366, 383n, 404, 413n, 423n, 425n, 462n, 482, 487n, 494, 506n, 522n, 540n, 586n;

as a national drama 5–8, 29n, 31, 72;

taken to Beijing by exam takers and officials from Jiangnan 5;

patronage by the court in the Ming and Qing dynasties 5, 31, 197n;

predominance of romantic stories in 5;

literati playwriting input 10;

southern versus northern style 10n, 41;

loss of popular audience to huabu genres 11;

Kunqu items on a program as opportunity to go to the bathroom 11;

ordinary people don’t understand it 11;

applause and yelling bravo (hecai) not regularly done during performances of Kunqu 11n;

Taiping rebellion damage Kunqu because cut off north from south 12;

levels of language in Kunqu 12;

Qing emperors’ and northerners’ problems with southern dialect on stage 12;

considered “feminine” and well-suited to courtesans 12n;

one pole of spectrum, second is bangzi, Jingju falls in between 23;

rarified and literary tradition 23;

woodblock prints 67;

difficulty learning 72n;

in Pinhua baojian 74;

phonograph discography for 87n;

repertoire 103;

tangzi repertoire 107;

personal repertoires 115n;

decline in personal repertoires 115;

role-type system 130–31, 135, 233n;

lantern plays 149;

Baiben Zhang manuscripts, some with musical notation 172–73n;

as sleep inducing 226n;

bangzi adaptations 226–27n;

versions of Yu Zhi’s plays 239n;

early source for Jingju plays 266;

in Xikao 317n;

hard to understand 329–30n;

Li Huiniang 473–74;

and shenduan pu 565–66n, 566, 569n;

alternate titles in 590n

Labanotation 573n

Lady Precious Stream (Wang Baochuan 王寶川) 64n

Laing, Ellen Johnston ;

on theater in woodblock prints 69n

Languan xue 藍關雪 (Snow at Languan) 374n

Lanqiao yuchu ji 藍橋玉杵記 (Story of the jade pestle by the blue bridge) ;

paratextual claim that the illustrations can be a guide for performance costuming 209n, 399

Lantern plays (dengxi 燈戲) 76, 120n

Lantern riddles (dengmi 燈謎) 73n

Lanterns with scenes and actors from theater 69

Lao She 老舍, 561n ;

tried to persuade writers of new-style poetry (xinshi) to write xiqu playscripts 455n

Laochou

老丑

134

Laodan 老旦 (old woman role) 130n, 133, 137–38n, 139, 207n, 328, 369

Laojing 老凈 (old jing) 134

Laosheng xi 老生戲 (laosheng play) 141

Laosheng 老生 (older, mature male role) 19, 33, 36, 42n, 49n, 64, 82n, 89n, 107, 132, 134, 136, 140–41n, 196n, 211n, 245n, 247n, 284n, 291, 299n, 327, 366, 384n, 530n, 450n;

role-types that laosheng characters can also be played as 138n;

poach hualian roles 139–40;

can a laosheng character be bad 330n;

oral history 579n

Laowai

老外

133

Laoye xi 老爺戲 (His Lordship plays; plays featuring Guan Yu) 151n

Larger scale and more complex plays, many with martial and/or historical themes, important in the Anhui troupes’ and Jingju troupes’ repertoire 21

Legan wenhua 樂感文化 (pleasure culture) 156n

Leigong xi 累工戲 (strenuous plays) 141

Leixue yingxiong 淚血英雄 (Blood crying hero) 302n

Leiyu 雷雨 (Thunderstorm) 452n

Lenin, Vladimir 457n

Letterpress (qianyin 鉛印) 535n

Level of diction ;

and role-type 132

Lewd plays (yinxi 淫戲) 100n, 158, 236, 238, 385n, 388–89, 397n, 468n, 534n;

effects of 53–54;

appear in troupe registration playlists 111–12n;

manuscript and woodblock versus typeset copies (latter cleaned up a bit) 183;

plays against lewd plays 237n;

number of plays in Xikao with sexual content 388;

concern with acting as opposed to playscript content 389;

bans of 449, 470, 471n

Li Baishui 李白水 345n, 427n

Li Baojia 李寶嘉 63n

Li Boyuan 李伯元 284n

Li Chongshan 李崇善 580

Li Chunlai 李春來 37n

Li Dou 李斗 130n

Li Fusheng 李浮生 ;

on Minzhong xiaoshuo xiqu duben 457;

on GMD censorship focus on content 460

Li Hongchun 李洪春 267n, 269n;

on huashan 134

Li Hui 李慧 ;

on the history of the term zhezi xi 8n

Li Huiliang

厲慧良

;

looked in Xikao to find playscript 407n

Li Huiniang

李慧娘

465n,

lianhuan hua version 573n;

Meng Chao’s version 473–74

Li Jinhui 黎錦暉 294n

Li Jintang 李金棠 530n

Li Keyong 李克用 139n

Li Kui fu jing 李逵負荊 (Li Kui carries thorns) 129

Li Kui tanmu 李逵探母 (Li Kui visits his mother) 507n

Li Kui 李逵 129, 507n

Li Liangcai 李良才 263n

Li Ling bei 李陵碑 (The stele commemorating Li Ling) 326, 410–13

Li Lingxian 李靈仙, playscript dictator 177n

Li Liweng quhua 李笠翁曲話 (Li Yu on drama) 8n, 224n, 233n, 492, 512, 544n;

and playwriting classes 512n

Li Lizhong 李立中 345n

Li Ruihuan 李瑞環 61, 119n

Li Ruru ;

on names for Jingju 2n

Li Shaochun 李少春 513

Li Shikan 李釋戡 429

Li Shimin yu Wei Zheng 李世民與魏徵 (Li Shimin and Wei Zheng) 478n

Li Shizhong 李世忠 178, 227, 227–28n

Li Shoushan 李壽山 139n

Li Wanchun 李萬春 201n

Li Wei 李偉 ;

on Ma Shaobo 444n;

on the Yan’an Model 467n

Li Xiaochun 李小春 113–14

Li Xiaoping 李小平 522n

Li Xinfu 李鑫甫 268n, 500

Li Xiucheng 李秀成 269n

Li Yu 李漁 158n, 233n, 498, 504, 512;

author of chapters that are thought to be the most practical manual on how to write chuanqi plays 8;

urged chuanqi playwrights to write shorter plays 8, 493;

turned some of his stories into plays while others are saturated with theater 73, 73–74n;

on originality versus revision 95n, 161–62;

on Jin Shengtan 224n;

tried to enforce his copyright 436;

chapters on playwriting published separately 492;

Chen Moxiang’s references to 492–93

Li Yu’an 李玉安 ;

expert bachang, worked for Xun Huisheng 495n

Li Yuanhong 黎元洪 58

Li Yuru 李玉茹 63n, 507n, 520n, 528n

Li Yuru 李豫如 235n; see Li Zhongyu

Li Zhongyu 李仲豫 263–66;

known for his plays, calligraphy, and painting 263;

son of official 264–64;

lost post because too interested in Jingju 264;

reside with actor 264–65;

collaborations 264;

in Huoren daxi 264–65;

wrote a huapu 265;

wrote preface for his huapu but not for his plays 265n

Li zhunao 立主腦 (establish the controlling idea) 493, 512n

Li Zicheng 李自成 82n, 100n

Li Zigui 李紫貴 37n, 40n, 120n, 138, 140n, 189n, 200n, 549n;

on mechanical scenery 37n

Lian xiangban 憐香伴 (Cherishing the fragrant companion) 158n

Liancheng bi 連城璧 (Jade worth a string of cities) 73–74n

Liang Juchuan 梁巨川 (personal name Ji 濟) 186, 263n

Liang Qichao 梁啟超 51n, 53n, 185, 304;

wrote unperfromable plays 551

Liang Shiqiu 梁實秋 460

Liang Shuming 梁漱溟 63n, 186

Liang xia guo 兩下鍋 (two things into the wok at once) ;

term used to describe mixing different singing and performance styles in the same play or performance program 15n

Liang Zhangju 梁章鉅 204–205n

Liangmen bao 兩門抱 (embraced by two role-type specialties) ;

same role in same play can be played as different role-types 138;

not permitted in the palace 138n

Liangshi yin 兩世因 (Karma over two generations) 255–63, 544n;

only manuscript copy extant 255;

paratextual material 255–58, 262;

musical mode, aria type, and rhyme-categories specified in table of contents and before scenes 255–56n, 258–59;

plot source quoted 256–58;

quanguanchuan 全貫串 in title 256n;

authorial defense of filling in what was missing in source 257;

leave certain amount of choice in stage directions 259, 261, 262n;

stage directions 259–61;

stage directions mark end of aria 259;

list of role-types given at beginning of each scene 261;

attention to props 261;

lack of performance history 263

Liangxiang xi 亮箱戲 (show-off-the-costume-trunks play) 141n

Lianhuan hua 連環畫 (connected picture narratives/comics) 80;

some use stage photos or film stills to present Jingju plays or films 572–73

Lianhuan ji 連環計 (The interlocking plot) 441n

Lianhuan tao 連環套 (The linked plot) 369, 374, 410n

Lianpu 臉譜 (face-patterns) 86, 531n, 557;

painting of 509;

information on in playscripts 567

Liansheng dian 連升店 (Inn of successive promotion) 294n, 408n

Liantai ben xi 連臺本戲 (serial plays) 37, 96, 101–102, 106n, 116n, 124–25, 154–55, 161n, 264, 269, 272–73, 290–91, 365–68;

episodes in 96;

Xixue huikao category 160

Liaozhai zhiyi 聊齋志異 (Strange tales from Liaozhai) 228–29n, 232, 395n

Libai liu 禮拜六 (Saturday) 76, 302, 358, 358n, 384, 384n;

photo of editorial staff 375

Lighting 176n, 546;

gas 35n;

electric 35n, 37, 37n;

lighting effects 176n

Lihua zazhi 梨花雜志 (Pear-Flower Magazine) 557–59

Lihun ji 離魂記 (The departure of the soul), mistake for Huanhun ji 還魂記 (The return of the soul), an alternate title for Mudan ting . see Mudan ting

Limao huan taizi 狸貓換太子 (Exchange of a wildcat for the prince) 138n, 189n, 337n

Lin Daiyu 林黛玉, courtesan and actress 75n

Lin Daiyu 林黛玉, of Honglou meng 377;

photo of Mei Lanfang as 399n

Lin Shusen 林樹森 140n

Lin Wanhong 林萬鴻 344n

Lin Yutang 林語堂 54, 91

Lin Zhaohua 林兆華 523n

Lines of business of Western opera 126n

Ling Shanqing 凌善清 312, 351n

Linggong Xueshe 伶工學社 (Academy for Actors) 287;

library has copy of Xikao 407n

Lingjie dawang 伶界大王 (King of the world of actors) 64n

Lingyin 伶隱 (recluse hiding among actors) 283

Lingzi sheng

翎子生

133

Linpei 霖沛, playwright, member of imperial house 283n

Lishan 立山, playwright 283n

Lishi ju 歷史劇 (historical plays) 154–55, 160n;

book version of Hairui baguan subtitle labels the play as 474n. see Xinbian lishi ju

Lishi 歷史 (history) ;

Xixue huikao topical category 159

Listen to plays versus watch plays (tingxi/kanxi 聽戲/看戲) 356;

northerners versus southerners 356

Literary inquisitions (wenzi yu 文字獄) 98, 445

Literati input in playwriting 416–17;

much for Kunqu and Yiyang but not for huabu 10

Literati playwrights XII, 24, 473–74, 506, 508n;

connections with the world of Jingju affect getting their plays into the repertoire XII, 210, 212–13;

literati turned actor playwrights XII;

not good at writing singable lyrics 186;

zaju 216–18;

literati-turned-amateur-actor playwrights 281–82, 396;

literati-turned-professional-actor playwrights 282–88;

those able to collaborate with actors more successful 508n

Lithographed playscripts 178–82, 536;

Shanghai as the center 178–82;

tend to copy from each other 178;

claim to be associated with a particular actor or troupe 530

Lithography 524

Little theater (xiao juchang 小劇場) movement 522, 586

Liu Bilin 劉璧麟 343n

Liu Chun 劉純 (a.k.a., Liu Boliang 劉伯良) 121n

Liu Fu 劉復 (a.k.a., Liu Bannong 劉半農) 174n

Liu Gansan 劉趕三 207n, 377n

Liu Hongsheng 劉鴻聲/昇 326, 330, 394n

Liu Hui 劉輝 73n, 95n

Liu Huifen 劉慧芬 ;

on rarely performed (lengmen 冷門) plays in Taiwan 119n

Liu Huogong 劉豁公 77n, 286n, 311n, 341n, 343n, 351n, 384, 385n, 420n, 557, 558n;

his “Ximi zhi qi” 戲迷之妻 (The opera addict’s wife) 77n;

assert copyright and performance rights in journal he edited 440

Liu Juchan shuoxi: Silang [tanmu] 劉菊禪說戲: 四郎[ 探母] (Liu Juchan narrates plays: Silang [tanmu]) 542

Liu Juchan 劉菊禪 279, 344n, 541–45

Liu Muyun 劉慕耘 344n, 351n

Liu Naichong 劉乃崇 ;

on Chen Moxiang 483n, 488n, 491n

Liu San 劉三 (a.k.a., Niu San 牛三 [Niu the Third]) 397n;

juren degree, hired to write plays for troupe and specifically for Mei Qiaoling, supported by actors when old, three of his plays still performed 291–92

Liu Shaoqi 劉少奇 472

Liu Shouhe 劉守鶴 434n, 499n

Liu Tianhua 劉天華 191n

Liu Xianting 劉獻廷 52

Liu Xikui 劉喜奎 57;

and Cao Kun 58;

play about 58n;

fiction about 76, 76–77n;

selected king of the actresses 78n

Liu Xinwu 劉心武 63n

Liu Xiu 劉秀 56n

Liu Yansheng 劉雁聲 342n

Liu Yazi 柳亞子 358n

Liu Yi chuanshu 柳毅傳書 (Liu Yi delivers a letter), source for a play 558n

Liu Yingchun

柳迎春

562n

Liu Yizhou 劉藝舟 401n;

arrested by Yuan Shikai 450

Liu Yong 劉墉 67n

Liu Zengfu shuoxi juben ji 劉曾復說戲劇本集 (Collection of play texts told by Liu Zengfu) 577

Liu Zengfu 劉曾復 60n;

on Xiju yuekan 311n;

on difficulty obtaining playscripts 393n;

on Xixue huikao 416n;

audio recordings and published transcripts of him shuoxi 577

Liu, Siyuan ;

on impact of Shinpa on Chinese spoken drama 25n;

on theater reform as censorship 117n, 469n

Liukou 流口 (flowing mouth) ;

dialogue that was not set and could or should be improvised 207n

Liupai 流派 (schools of acting) 201, 271n, 273, 286n, 589;

and textual variation 206n;

number of as measure of health of Jingju 520;

playscript collections organized by 532

Liushi zhong qu 六十種曲 (Sixty plays) 220, 220–221n;

sequel 532n

Liushui ban 流水板 (flowing water meter) 316n

Liuyin ji 柳蔭記 (The Shade under the Willows) 276

Live (huo 活) versus dead (si 死) text 206–207n.

Liukou, Si gaikou, Huo gaikou, Huoben, Shuici xi, Fangshui

Living xikao (huo xikao 活戲考) 408

Liweng Shi’er zhong qu 笠翁十二種曲 (Li Yu’s twelve plays) 525n

Lixia he Huiban

里下河徽班

;

role-type system 135n

Liyi 立意 (the motivating intent) 493

Liyuan guan 梨園館 (The theater) 70–71n

Liyuan jiahua 梨園佳話 (Notable theatrical anecdotes) 16n, 527n

Liyuan jicheng 梨園集成 (Compendium of plays) 178, 207n, 227, 227–28n, 412–13n, 530;

includes two Kunqu plays 227n;

editing in 529n;

organized by historical setting 532n

Liyuan waishi 梨園外史, novel on Jingju history 484–85, 501n;

often cited as historical source 12n, 20n, 72n, 77n, 136–37n, 139n, 174–75n, 197n, 269–70n, 289n, 431, 486;

compared to Guanju shenghuo simiao 484n;

as novel based on facts 494n

Liyuan yishi 梨園逸史 (The forgotten history of the theater) 541–42n

Liyuan yuan 梨園原 (The origins of theater) 195

Liyuan zhoukan 梨園周刊 (Traditional theater weekly) 118

Local elites, sponsor plays 40

Local/regional theater traditions in China (difang xi 地方戲) ;

naming of 2;

loss of aspects of specificity under influence of national models and national and regional exhibition performances and new media 469n, 506n;

playwrights for local traditions end up writing for more prestigious, national forms 506n, 522;

collections of playscripts 534;

treat Jingju as 552n

Long ma yinyuan 龍馬姻緣 (The marriage affinity between dragon and horse) 235

Longfeng chengxiang 龍鳳呈祥 (Dragon and phoenix present auspicious omens) 366n, 571n

Longfeng pei 龍鳳配 (The matching of dragon and phoenix) 366n

Longjiang song 龍江頌 (Ode to Dragon River) 476n

Longtao

龍套

134

Longtu gong’an/Bao gong’an 龍圖公案/包公案 (Lord/Judge Bao’s court cases) 152

Lope de Vega 103

Love stories in Jingju 160n

Lowry, Kathyn ;

on the use of blank spaces instead of punctuation in popular song texts of the Ming and Qing 178n

Lu Fang 陸放 ;

given credit for the music for Meng Chao’s Li Huiniang 474n

Lü Gongpu 呂公溥 226–27n

Lu Jiying 盧繼影 409n

Lu Lanchun 露蘭春 64

Lü Meiyu 呂美玉 ;

and cigarette advertising 85

Lü Ruiming 呂瑞明 443n, 513n;

published lectures and interviews 579n

Lu Shengkui 盧勝奎/魁 177n, 272–72, 282, 291

Lü Tiancheng 呂天成 109, 159n

Lu Wenlong

陸文龍

;

playscript that uses 156 photos to illustrate the stage movements of the eponymous hero 574

Lü Xianlü 呂仙呂 355

Lu Xiaoman 陸小曼 63n

Lu Xun 魯迅 54–55, 278n

Lu Yingkun 路應昆 and Hai Zhen 海震 ;

on the meaning of luantan 17n;

on origins of the xipi and erhuang repertoires 19

Lu Yingkun 路應昆 ;

on factors distinguishing juzhong 5n;

on the practice of labeling theater as yabu and huabu as largely restricted to the troupes of the wealthy salt merchants of Yangzhou 9n

Lü Yueqiao zhenben Ximi zhuan 呂月樵真本戲迷傳 (True version of Lü Yueqiao’s Story of an opera addict) 184n

Lü Yueqiao 呂月樵 85n, 184n

Luantan 亂彈 (lit.: sloppy plucking) ;

new term for Anhui troupe opera, derogatory 16–17;

broad usage as a term for any non-yabu type of theater 17;

narrow usage as a term for bangzi performance styles 17;

alternate term for Jingju 17, 109–110n, 487n, 494n;

earliest performance of a play in the palace labeled as luantan, 1825 17;

prohibited 23n;

category in palace playscripts 167n, 197n;

Xikao shukao on 319, 319–20n

Lugui bu 錄鬼簿 (Record of ghosts) 109, 215

Luhua dang 蘆花蕩 (Among the reeds) 194n

Lun xiaoshuo yu qunzhi zhi guanxi 論小說與群治之關係 (On fiction and the government of the masses) 51n

Lun xiqu 論戲曲 (On traditional theater) 51–52, 551

Luo Baisui 羅百歲 137n

Luo Di 洛地 ;

on the term xiqu 3n;

on applause and yelling bravo (hecai 喝彩) not regularly done during performances of Kunqu 11n

Luo Huaizhen 羅懷臻 516n, 517;

playwright for local tradition who ended up writing for more prestigious, national forms 506n, 522

Luo Sihu 羅四虎 (Luo Sihu; a.k.a., Jingzhou cheng 景州城 [Jingzhou City]) 331n

Luo Yinggong 罗瘿公 235, 235n, 274n, 431n;

and xianggong 487n;

lack performance experience 501n;

Chen Moxiang called him a xi mangzi 502;

closeness of relationship to Cheng Yanqiu 502n;

not interested in true collaboration with actors 503

Luocha haishi 羅剎海市 (The rakshasas and the sea market) 232

Luogu dianzi 鑼鼓點子 (percussion patterns) 191–92

Luogu jing 鑼鼓經 (onomatopoeic system for vocally reproducing the sounds of the percussion orchestra) 192;

use in shuoxi audio recordings 576–77n

Luogu 鑼鼓 (percussion) 75n

Luoyang qiao 洛陽橋 (Luoyang Bridge) 120n, 200n

Luoyue 落月 (Setting moon) 78, 89n

Lüxing Jingju 旅行京劇 (tourist Peking opera) . see Tourist Peking opera

Lyceum Theatre (Lanxin xiyuan 蘭心戲院) 38n, 422n

Ma Fulu 馬富祿 139

Ma Haili, on financial stresses on Yueju in Shanghai 477n

Ma He 馬何 ;

playscript dictator 177n

Ma Ke 馬科 478n

Ma Lianliang 馬連良 113, 125n, 414n, 441n, 561n;

and Hai Rui baguan 473n;

edition of performance versions of his plays 525n;

shuoxi audio recording 576–77n

Ma Shaobo 馬少波 ;

administrator and playwright 518;

Ma Su 馬謖 76, 365n

Ma Xinyi 馬新貽 148

Ma Yi jiu zhu 馬義救主 (Ma Yi saves his master) 414n

Ma Zhiyuan 馬智遠 216

Macartney, Lord ;

palace plays (tributary drama) performed for 8n

Macbeth ;

adapted for Jingju 140–41n

Machine-operated scenery (jiguan bujing 機關布景) 37, 149, 260n

Mackerras, Colin ;

on the birth date of Jingju 14n;

on the importance of the civil versus martial distinction in the repertoire of Jingju 142n

Mai yanzhi 賣胭脂 (Selling rouge) 158n, 378n

Maicheng shengtian 麥城升天 (The ascension to heaven at Maicheng) 120n

Mainstream practice (dalu 大路) 526n

Male performers of female roles (nandan 男旦) 79

Male prostitution and Jingju 32, 183

Man erliu 慢二六 (slow two-six meter) 259

Manchu Jingju actors 42n, 283n

Manchu playwrights 282–83

Manchukuo 460;

Jingju in 41–42

Manchuria, Jingju in 41–42

Manchus 144–45

Mandarin duck and butterfly fiction 303, 303–304n, 311n

Manjiang hong 滿江紅 (Whole river red) 443, 465n

Manuscript Jingju playscripts 165–77, 229n, 530;

dated copies 175;

annotations concerning collation and editing 175;

evaluative comments rare 176;

annotations as to when copied and how 176;

lots of blank space and good calligraphy 176;

some provide pronunciation glosses 176, 175n, 258n, 261–62;

extra information added at time copied or later 176;

early literati play only extant in 255

Manuscript playscripts 101n, 165–77;

choice and improvisation in XV, XVn, 259, 528;

once written on scrolls 143;

collections of 165–66;

versus print copies of chuanqi and Jingju 165–66n;

imitate print 168n

Mao Jin 毛晉 220

Mao Lun 毛綸 and Mao Zonggang 毛宗崗 Sanguo yanyi commentary 378n, 380n

Mao Zedong 毛澤東 59–60, 466, 472, 472–73n, 476;

and Xikao 295n

Mao’er xi 帽兒戲 (cap plays) 143

Mao’er xi

毛兒戲

. see All-female troupes

Maojing

毛凈

, 133

Maqian poshui 馬前潑水 (Spilling water in front of the horse) 550–51n

Marco Polo Bridge Incident 510

Marginal notes ;

Chen Moxiang says should be left out of playscripts 496

Mark, Lindy Li 74n

Martial plays (wuxi 武戲) 11n, 34, 37, 40, 67, 142–43, 154–55, 165, 188, 510, 536;

and Anhui troupes 15;

quick changes of scene in 188;

hard for amateurs to perform 501;

and qingyin zhuo 509

Martial troupes (wuban 武班) 204n

Marx Brothers 157n

Marx, Karl 466

Masks of commedia del’arte 126n

Masks ;

in Jingju 136n

Masks ;

of theater characters, to play with 70n

Mass culture in China 73n

Master script (zongjiang 總講, zonggang 總綱, zongben 總本, quanchuanguan 全串貫, quanguanchuan 全貫串) 122n, 163, 164n, 242n, 256n, 266n, 277, 577n;

keeper of 163–64n;

not circulated 267

Match text to music 267

Matsuura Tsuneo 松浦恆雄 ;

on Xikao 298n, 315n, 332–33n, 373n, 375–76, 386;

on Minzhong xiaoshuo xiqu duben and revision in it 457–59n, 527–28n;

on tekan 553n

Maturity ;

and role-type 132

May Fourth, Movement 26;

activists 86

McGann, Jerome ;

on playscripts as products of collective effort 395n

McLaren and Zhang ;

on the textualization of folk epics in China XVIIn

Media ;

Jingju circulation in 42, 65–90

Mei jiang xue 梅降雪 (Plum falling snow) 318n

Mei Lanfang Cigarettes 84–85

Mei Lanfang gequ pu 梅蘭芳歌曲譜 (Selections from the repertoire of operatic songs and terpsichorean melodies of Mei Lanfang [original English title]) 191n

Mei Lanfang Jinian Guan 梅蘭芳紀念館 (Mei Lanfang Memorial Museum) 535n

Mei Lanfang yanchu juben huibian 梅蘭芳演出劇本彙編 (Collection of Mei Lanfang performance playscripts) 535

Mei Lanfang 梅蘭芳 (labeled as a Jingju jiaoxiang jushi 京劇交響劇詩 [Jingju symphonic dramatic poem]) 523

Mei Lanfang 梅蘭芳, 1994 TV miniseries 84n

Mei Lanfang 梅蘭芳, novel by Mu Rugai 77n

Mei Lanfang 梅蘭芳 60n, 63n, 110n, 143n, 155, 177n, 199–200n, 274, 275n, 277, 295n, 305, 306n, 312, 320n, 341, 342n, 364, 393n, 396–397, 416, 416–17n, 419, 425n, 433–34n, 440, 450–51, 453n, 469–70, 488, 488–89n, 528n, 535, 539n, 540, 542n, 557–58n, 561, 576n, 591;

influence of Shanghai on 26n;

and shizhuang xi (modern clothing plays) 27–28n;

and dance in Jingju and his US tour 28n;

and Wuhan 40n;

and his helpers criticized for not being conversant with modern Western stagecraft and having such bad taste in scenery and lighting 46n;

and Du Yuesheng 64;

and Meng Xiaodong 64;

fiction about 76, 76–77n;

selected king of world of theater 78n;

and photograpy 80n, 81–82n;

filmed by Paramount Pictures 82n;

his voice used for Genü Hong mudan 83n;

regrets about the films he made 83n;

written testimony for ads 84n;

and cigarette cards 85n;

personal repertoire 114–15;

and Kunqu 114n, 317n;

fanchuan performance 137n;

cross role-type boundaries 139–40;

on theater as entertainment 157n, 450;

collector of playscript manuscripts 166n;

and use of plot abstracts 200–201n;

in Xikao 367;

on authorship of Daiyu zanghua 397n;

shukao mention photo of him as Daiyu 399n;

and ticket prices 428;

Tiannü sanhua performance rights case 428–29;

authorship of Tiannü sanhua 429n;

authorship of Tongnü zhan she 430–31;

advisor to journal 441n;

special issue on in journal 440;

Qi Rushan reluctant to meet with him and communicate by letter instead 487n;

play about him 523;

edition of performance versions of his plays 525n;

playscripts printed for 1924 Hong Kong tour 532n;

audio recording of Bawang bie ji 548;

introduction and poems for Wang Yaoqing xiansheng shuoxi 577–78n

Mei Lanfang’s brain trust 52, 145, 429n.

Qi Rushan, Li Shikan

Mei Lanfang’s tours outside China ;

Japan (1919 and 1924), the U.S. (1930), and the Soviet Union (1935) 28n, 45–46, 82n;

first Hong Kong tour (1922) 40n, 532n;

preparations for the US tour 45n, 46, 196n;

Vice-President meets Mei on US tour 47;

musical scores prepared for US tour 191;

Japan tours 428n

Mei Qiaoling 梅巧玲 113, 140n, 280–81, 292, 377n

Mei xun 梅訊 (News of Mei Lanfang) 552

Mei Yutian 梅雨田 416

Meilong zhen 梅龍鎮 (Meilong Town) 295n

Melodrama 156

Meng Chao 孟超 473–74

Meng Xiaodong

孟小冬

522n

Meng Xiaodong 孟小冬 64

Meng Yao 孟瑤 314n

Mengchu 蒙初 374n

Mengheng 夢蘅 440

Meter ;

main and subsidiary beats (ban 板vs. yan 眼) 191n, 259;

Jingju and Kunqu arias divided between metered and meterless 191

Metropolitan Opera simulcasts 90n

Metropolitanization (dushi hua 都市化) 50

Meyerbeer, Giacomo Meyerbeer 162n

Mi Xizi 米喜子 269n, 484

Miao Huaiming 苗懷明 ;

on the Prince Che collection not being performance scripts 170

Miben 秘本 (secret/private copy) 122n, 181n, 182, 246n, 279n, 343n, 344–46, 349n, 392–93, 394n, 409n, 415n, 416, 433n, 441n, 507n, 533n, 542n

Microphones ;

body mikes 545

Mikado, The 546n

Mile xiao 彌勒笑 (The Maitreya Buddha’s laugh) 226–27n

Military scenes ;

playwright can leave details to actors 495

Miller, Arthur ;

attempts to enforce control of performance of his plays XVIIn

Mimeograph (youyin 油印) 535n

Mimeographed (youyin 油印) copies of playscripts used in teaching and by actors 530, 530n, 535n

Ming dynasty theater ;

written record dominated by elite connoisseurs and playwrights 5;

fictional representations as counter-balance to literati-centric accounts 5–6n

Ming Qing chuanqi zonglu 明清傳奇總錄 (Complete record of Ming and Qing chuanqi plays) 222

Ming Qing funü xiqu ji 明清婦女戲曲集 (Collected xiqu plays by women of the Ming and Qing dynasties) 221n

Ming Qing funü zhi xiqu chuangzuo yu piping 明清婦女之戲曲創作與批評 (Playwriting and play criticism by women of the Ming and Qing dynasties) 221n

Mingchang

明場

;

onstage treatment of material 496

Minghuang 明皇, Emperor 129, 359

Minguo shiqi qikan quanwen shuju ku (1911–1949) 民國時期期刊全文數據庫 (1911–1949) (Full text database of Republican-era periodicals [1911–1949]) 4n, 21n, 279n, 375n, 423n, 550n, 557n,

Minjian xiqu de qingjie ji zuozhe 民間戲曲的清節及作者 (Plots of commercial Chinese indigenous theater plays and their authors) 268n, 292n

Minzhong xiaoshuo xiqu duben 民眾小說戲曲讀本 (Readers in fiction-style of Chinese indigenous theater for the masses) 125–26, 457–59, 526–528, 536;

content labels 125–26, 526–27;

extended plot summaries written in traditional fictional form include dialogue 526–27;

underlines personal names and places 527;

cultural notes 527;

revision in 458, 458–59n;

inclusion of general comments (Zongping” 總評) for each play that can be very patriotic 459

Minzhong 民眾 (popular);

in book titles 458n.

Minzhong xiaoshuo xiqu duben

Minzu ju 民族劇 (nationality plays) ;

Minzhong xiaoshuo xiqu duben content category 126

Minzu shibie 民族識別 (ethnic classification) 4, 471

Minzu xingshi 民族形式 (traditional Chinese forms) 466–67, 467n

Mixed-sex troupes ;

bans on 34n,

Xikao shukao on 391

Mixing multiple performance traditions (juzhong) or singing styles (shengqiang) in the same plays or performances 15, 23;

known as feng jiao xue 風攪雪 (wind mixed with snowflakes) or liang xia guo 兩下鍋(two things into the wok at once) 15n

Mo 末 (secondary male role who opens the play and also serves as the troupe’s leader) 130, 133–34, 219

Model revolutionary opera . see Yangban xi

Modengjia nü 摩登伽女 (Matanga girl) 161n

Modern plays 114n, 148, 154–55, 472

Monkey King Looks West, The 44n

Monkey King, The 49n, 57, 152

Moqi 默契 (Secret/non-verbal connections/agreement) 505n

Moule, W. A. H. (Mu Yueli 慕悅理) 422

Mount revision of play to mock political rival 57

Movable type printed playscripts 177n, 178, 182–83

Movement notation 192–96;

detailed notation needed most for palace performance and Kunqu 192–93;

for Jingju 565–68, 566n;

3D animation 566n;

include musical notation (shen gong pu) 566n;

3D editions 567;

flipbook 573n

Movements are restrained or not ;

and role-type 132

Mu Guiying guashuai 穆桂英掛帥 (Mu Guiying takes command) 571n

Mu Rugai 穆儒丐 77n

Mu 幕 (act) 188, 189n

Mubiao xi 幕表戲 (scene outline plays; scenario plays) 37–38, 199–201, 480, 481n;

return of 586n

Mudan ting 牡丹亭 (The peony pavilion) 125n, 231–32;

“complete version” performed at Lincoln Center that took more than eighteen hours 7n;

song-suites in 187n;

need for annotation 529

Mulan cong jun 木蘭從軍 (Mulan joins the army) ;

received Republican era governmental award 448n

Mulian jiu mu 目蓮救母 (Mulian saves his mother) 325n

Mulian 目蓮 124n, 168n

Multi-color playscripts ;

palace produced, both manuscript and printed 168n;

some kept in emperor’s private quarters 168n

Multiple actors play the same character in a play 130n

Musical Dimension of Chinese Traditional Theatre: An Analysis from Computer Aided Methodology, The 583

Musical mode 9;

erhuang versus xipi indicated in table of contents and playscript 255–56n;

Chen Moxiang says leave up to actors 495

Musical notation 165, 189–92, 275–276, 441n, 454n, 525n, 526, 536, 539–41, 548, 556–67, 575, 580;

Erhuang xunsheng pu 二黃尋聲譜 (Scores for seeking out the sounds of Jingju) 89n;

palace Jingju playscripts typically lack 167n;

what appears in palace Jingju playscripts is removed for andian ben 167n, 192n;

manuscripts can have 173;

musicians generally not literate in 189;

prejudice against rely on during performance 189n;

Western notation not commonly used 191n;

include in playscript 248–49, 475n, 547;

difficult to typeset 541n;

shenduan pu can have 566;

in Jingju playscripts 575;

micronotes 575;

separate line of notation for the Jinghu 575;

notation of guomen 575;

compared to Western notation 575;

growth of size of orchestra and use of notation during performance require conductors 585n. see Gongche, Jianpu, Wuxian pu

Music-drama ;

as an English term for xiqu 3

Muyang ji 牧羊記 (Herding sheep) 558n

Muyang juan 牧羊卷 (Enclosure for penning in sheep) 558n

Muyou sheng 慕優生 76

Nakasawa Kikuya 長澤規矩也 181n

Nan dao nü chang 男盜女娼 (May your sons become brigands, your daughters become prostitutes) ;

threat against borrowers 175n

Nan zhong fu 難中福 (Good luck in the midst of bad) 241–42n

Nandan 男旦 (male performers of female roles) 79, 439n

Nanfu 南府, palace theater organization 17

Nanjing decade (1927–1937) 58–59

Nanjing Zhonghua Xiqu Yinyue Yuan Beiping Yanjiu Suo 南京中華戲曲音樂院北平研究所 (Nanjing Chinese indigenous theater music research academy, Beiping research institute) 275, 425, 458n, 487–88

Nanjing, capital of the Republic from 1928–1949 22

Nanqu 南曲 (southern-style arias) ;

encompass nanxi and chuanqi 6

Nanshe 南社 (Southern society) 358n, 375, 376n

Nantian men 南天門 (South gate of heaven) 399n, 459, 559

Nanwang de jiyi: Zhongguo Jingju yuan yishu jia koushu shi 難忘的記憶: 中國京劇院藝術家口述史 (Hard to forget memories: An oral history of Zhongguo Jingju Yuan) 520–21n

Nanxi 南戲 (lit.: southern plays) 7n, 160–61n;

repertoire 97;

structure and role-type system 129;

from nanxi to chuanqi scene division moves from stage clearing based to content based 188n

Nao gongtang 鬧公堂 (Causing an uproar in the court) ;

xiangsheng routine 72n

Nao tiangong 鬧天宮 (Causing an uproar in the heavenly palace) 369n

Naochang 鬧場 (farcical scene) 188n

Naoju 鬧劇 (farce) 157

Napoleon 156n

Nashou xi 拿手戲 (plays that show off special skills or talent) 120

Nashuying qupu 納書楹曲譜 (Musical notations from Nashuying) 212n, 415n

National drama ;

desire for a national drama in China XVII;

prior to Jingju 5;

Kunqu as a national drama 5–8;

definition of a national drama 5n;

Qi Rushan promotion of Jingju as 26–30;

Jingju as XVII, 1, 26–30

Nationalists . see Guomingdang

Nationalization of theater troupes 3, 43, 470–71

Natong 那桐 277n, 428n

Negative educational material (fanmian jiaocai 反面教材) 476

Neixue

內學

;

eunuch palace actors 17

Nengpai xi 能派戲 (show-off-ability play) 157n

Nengren si 能仁寺 (Nengren Temple) 264n

New media ;

can record more but can also distort 576;

less likely to be addressed only to one’s disciple(s) 576

New Period (Xin shiqi 新時期) 467

Newspapers 65;

and actor rosters 76n

New-style plays (xinju/xi 新劇/戲) 24–26, 75n, 148, 320–21, 327n, 330n, 404, 551;

huaju and wenming xi as examples 25;

versus old plays and Xikao 320–21

New-style theaters ;

Xin Wutai 新舞臺 (The New Stage) 37n, 38

Niangong xi 念工戲 (plays that stress dialogue) 141n

Nianhua 年畫 (New Year’s prints) . see Woodblock prints

Ningbo Kongcheng ji 寧波空城計 (Ningbo-style Ruse of the empty city) 72n

Ningwu guan 寧武關 (Ningwu Pass) 317n

Niren Zhang 泥人張 (Clay Figurine Zhang) 69

Niu Biao 鈕驃 ;

on the repertoire of Jingju 102–103;

on suppression of adlibbing 203n

Niu Zihou yu Fuliancheng 牛子厚與富連成 (Niu Zihou and Fuliancheng), 1996 TV miniseries 84n

Niu Zihou 牛子厚 84n

Nonverbal ;

importance of 211n

Northern ethnic groups 145

Northern Expedition (Beifa 北伐) 58

Northerners versus southerners 356

Notes on Flower Appreciation in the Phoenix City: Xiangxi yuyin 香溪魚隱, Fengcheng pinhua ji

鳳城品花記

81n, 298n

Nü qijie 女起解 (Transporting the female prisoner) 188n, 324n.

Su San qijie

Nüling Liu Xikui zhi zhanshi 女伶劉喜奎之戰史 (The battle history of the actress Liu Xikui) 76n

Nüzi aiguo 女子愛國 (Women who are patriotic) 186n, 445n

O’Neill, Eugene 440n

Officials and the pleasure quarters 6n

Offstage choruses (bangqiang 幫腔) 16

Okajima Kanzen 岡島冠山 262n

Ōkura Kihachirō 大倉喜八郎 428n

Old plays . see Jiuju/xi

Oldrecords.xikao.com 87–88n, 279n, 550n

On the Revolution in Peking Opera (Tan Jingju geming 談京劇革命) 54n, 472

One actor play multiple roles ;

in different plays in same program 140;

in same play 125n;

because the troupe is small 130;

to prove capability 140

Onstage versus offstage 496

Opening pieces (kaipian 開篇) 72

Opera schools ;

Li Shizhong ran opera school 227–28n;

modern opera schools 205, 403n.

Keban, Zhonghua Xixiao, Fuxing Juxiao

Opera ;

speaking of Jingju as opera 2–3

Oral epics and folk songs XVn

Oral formulas 194–95,

kept secret 195n

Oral history of Jingju 520–21n, 578–79;

and video recordings of interviews 578–79.

Nanwang de jiyi, Tanxi shuoxi, Jingju dajia jueyi lu, Kunqu baizhong, dashi shuoxi

Oral performing literature ;

spread of Jingju through 65, 70–73;

phonograph discography for 87n

Oral playscripts 199n.

Dingxian yangge

Oral transmission 213n.

Dictation

Orchestra, Jingju ;

size of 92

Ordinary dress (bianyi 便衣) 262n

Organized crime ;

and Jingju 63–65

Ouhong shi bianju zhaji 偶虹室編劇劄記 (Notes on playwriting from Ouhong Studio) 505n

Ouyang Yuqian 歐陽予倩 112n, 139, 396, 407n, 415, 539n;

grandson of prefect 284;

studied in Japan and translated Japanese theater items 284;

plays and collected works published 284n;

plays not always completely written out 286;

complained about what actors did to his plays 429n;

collaborative authorship of Daiyu zanghua 557–58n

Own plays (benxi 本戲) 115n

Pai 排 (rehearsal) 167n

Paichang 排場 (palace playscripts with lots of stage directions and other production information and a focus on tableaus) 167n, 192, 192–93n;

play structure 10n;

stage blocking 187n

Paihao jiaose 派好脚色, pick role-types for characters 497

Paiji

牌記

437n

Paixi

排戲

;

director 385;

stage plays 495

Paiyan quan 排演權 (performance rights) 439, 441n

Palace abstracts ;

notation of running times 167n, 242n, 247n

Palace costume plots . see Chuandai tigang

Palace lantern plays 149

Palace playscripts ;

types 167–68;

collections of manuscript playscripts 165;

printed 167–68;

patterns of revision in multiple copies of same play 167n;

as source of scripts to revise 432;

serial plays 548–49;

adapt serial plays for pihuang 548;

circulation and influence outside the palace 168–69. see Andian ben, Kuben, Paichang, Chuantou

Palace theater organizations ;

Nanfu 南府 and the Shengpingshu 昇平署 17, 169n;

false claim that a play was a miben from the Nanfu 507n;

publication of playscripts said to be from the Nanfu 533n

Palace theater ;

greater resources of 8;

three-tiered stages 8;

big productions 8n;

performances for foreigners 8n;

performers and teachers brought in from outside (waixue 外學) 17;

earliest performance of a play in the palace labeled as luantan 17;

Cixi organized her own troupe of eunuch performers 17, 169n;

individual performers and entire troupes brought in from outside 17;

performance lists/records 109–10;

performance of specific Jingju plays 110, 201n, 235, 242;

outside performers present list of plays can perform 111–12;

palace troupe playlists 111, 111–12n;

liangmen bao not permitted in palace 138n;

copies of playscripts demanded before performance 166;

focus on spoken text versus stage directions 166–67;

Ming palace also demand 166n;

emperors and empress dowagers consulted manuscripts of the plays during performance, and could enforce sticking to the playscript or demand changes 167, 202–203n;

after Puyi abdication 42n;

palace performances put on by eunuchs (neixue 內學) 169n;

quality of 487n

Palace visual arts ;

concerning Jingju 65–66

Palm puppet plays (zhangzhong xi 掌中戲) 116

Pan Jingfu 潘鏡芙 ;

co-author of novel on theater 12n, 77n;

Tongsu Jiaoyu Yanjiu Hui playwright 431, 431–32n;

relationship to Chen Moxiang 501n;

loves xiqu but does not understand it, needs actors to revise his plays 501n

Pan Xiafeng 潘俠鳳 485, 534n

Pan Yueqiao 潘月樵 39n, 113, 400–401n

Panchang dazhan 盤腸大戰 (Battling fiercely with intestines wrapped around) 248

Pang, Laikwan ;

on authorship versus ownership in the PRC 442n

Panhe zhan 盤河戰 (Battle at the Pan River) 297n

Pantomime 536

Pao matou 跑碼頭 (do the wharf circuit) 42n

Paodai chou

袍帶丑

134

Paramount Pictures 82n

Paratextual material in playscripts 525n, 526, 541, 545;

preface and fanli for palace serial plays 168n;

authorial prefaces for chuanqi plays 224;

authorial preface and commemorative piece in literati authored bangzi playscript 227n;

publishers’ prefaces 228n;

in Jile shijie 228n, 230–34;

in Shuji tang jinyue 228;

in Cuo zhong cuo 251–53;

in Liangshi yin 255–58, 262;

authorial preface for Shi gong’an xinzhuan 290;

chuanqi prologues as prefaces 396n;

rarity for Jingju playscripts 396n;

in book editions of Hairui baguan and Meng Chao’s Li Huiniang 474n;

Xun Huisheng write prefaces to his plays when published as anthology 484n;

in Yantai jucui 539;

Liu Juchan’s edition of Silang tanmu 539;

extended introduction to Jingju in Jingju baibu 547;

in Xikao 567;

in Zhongguo Jingju liupai jumu jicheng 567

Paris Opéra, The 458n

Parlors (tangzi 堂子) ;

private residences of Anhui troupe and Jingju actors that trained disciples to perform and engage in the secondary occupation of serving wine and waiting on patrons in the parlors and restaurants 21, 107, 111, 487n;

the disciples who attended tangzi patrons serving wine and other services tended to be performers of female roles 21n;

banned in the Republic 32, 183;

residence names (tangming 堂名) 107;

playlists for 107;

training and written playscripts 213n

Parts of playscripts that circulated separately 196–201

Peasants 466;

disparagement in traditional Jingju 467

Peking opera as a way to refer to Jingju 1–2

Peking ;

connotations of 1–2

Pekingese, one of the three phonetic systems of Jingju stage pronunciation 19–20

Peng bei 碰碑 (Bumping the stele) 410–11

Peng Ge 彭歌 78, 89n

Peng gong’an 彭公案 (Court cases of Judge Peng) 282n

Pengjue 捧角 (supporting actors) 93

Penshui 噴水 (spit water) 260n

Percussion (luogu 鑼鼓) ;

keeps things in order 75n;

accompanies most movement on stage 192;

verbal imitation in shuoxi audio recordings 576–77n

Percussion notation 171n, 539, 548, 567, 570;

in palace Jingju playscripts 167n, 192n, 526n, 547;

in Prince Che manuscripts 171n;

beat notation 173n;

onomatopoeic system 192;

rare in early Jingu playscripts 192. see Luogu jing

Performability of playscripts 218n, 233–35, 263, 551

Performance or acting editions (of playscripts) . see Yanchu ben

Performance practice, stabilization through censorship and textualization IX

Performance programs ;

Jingju 96, 97n, 110;

palace performance lists/records 109–10

Performance rights 123, 266, 439–441, 525;

proclamation of for plays in periodicals XIII, 439;

Arthur Miller and Samuel Beckett attempt to enforce control of performance of their plays XVIIn;

requests that other troupes not mount the play 186n, 438;

Ouyang Yuqian complain about actors’ changes to his plays 429n;

Juxue yuekan general notice of copyright and performance rights reserved for institute members’ playscripts 434, 483n;

notice that performance rights for Chen Moxiang play reserved 434n;

performance rights reserved to insure quality productions 434;

written into law 454;

private rights versus public good 563–64

Periodicals with Jingju or its synonynms in their titles 564–65

Periodicals ;

Jingju and Kunqu playscripts published in XII-III, 184–86, 287, 302n, 420, 431n, 434, 438–42, 474, 507n, 513, 523n, 540n, 542, 549–65;

flexibility 549;

assertions of copyright and performance rights 439–441, 483n;

editor assert copyright and performance rights 440, 500n;

newspapers 551–52;

in tekan 553n;

paratextual material 554–56;

commemorative poem 558n;

periodicals that printed many playscripts 561–64.

Tekan

Periodicals ;

statements of editorial policy 438–40, 439n;

right to edit 439;

compensation for submission of playscripts 439n;

reprints need to be labeled 439;

submissions can be labeled not permitted to reprint 439;

explicit notice of holder of copyright and performance rights 439

Peters, Julie Stone, Theater of the Book 104;

as a model XV;

on book privileges and theater as copyright holder to playwright 436–37n

Phonograph records and players 540n;

and spread of Jingju 42, 59, 80, 86–90, 101n, 277n;

phonograph recording harm your soul 86–87;

counterfeit recordings 86n, 270n, 279n;

source of income for actors 87n;

played publicly 87, 89–90;

intermediaries between actors and recording companies 87–88n, 181;

phonograph discographies for xiqu (Jingju is the longest) 87–88n;

first complete recording of a play 88;

replace live performance 88;

simulate private performances 88;

books with musical notation for arias on recordings 89n, 165n;

recordings of musical accompaniment for arias 89n;

learn to sing from recordings 89n;

live broadcasts of 90;

publication of the texts 201;

Wang Hongshou recordings 270;

publications with text of recordings (xikao) 294–95, 346–50;

playscripts based on phonograph records 306–307n;

difficulty in understanding early recordings 346n;

phonograph recording of Bawang bie ji 548;

recording technology and changes in playscripts 548n;

use of duan to label tracks 550–551n;

cache of old records found at Zhongguo Xiqu Xueyuan 578n;

using digital recordings to identify counterfeit phonograph recordings 582–83n

Photographs ;

and spread of Jingju 42, 80–82;

steals souls 80, 86–87;

given out at performances 81;

actors give to patrons 81;

and the history of Jingju 81;

take photo of yourself in Jingju costume 81;

of actors (usually in costume) on covers of Republican era typeset playscripts 182, 399n;

with multiple images of a person (shen wai shen 身外身) 189–90n, 401, 404n;

in collections of playscripts 334, 397–405;

tinting 398;

in periodicals 398n;

technical aspects 398n;

attribution of sources 398n;

in front pages of periodicals 403n.

Illustrations in playscripts

Photolithography 524

Photo-reprints of playscripts 534–56. see Gugong bowu yuan cang Qinggong Nanfu Shengpingshu xiben, Fuliancheng cang xiqu shiliao wenxian huikan, Mei Lanfang yanchu juben huibian, Zhongguo jindai difang xiqu juben congkan, Gugong zhenben congkan

Pian

篇

;

measure word or label for segments or scenes 185

Pian, Rulan Chao ;

on differences between the xipi and erhuang musical modes 19n

Piaofang/she 票房/票社 . see Amateur Jingju clubs

Piaoyou

票友

. see Amateur actors

Pihuang juben zuozhe caomu 皮黃劇本作者草目 (A draft list of the authors of pihuang plays) 264n, 268n

Pihuang jumu 皮黃劇目 (Catalogue of pihuang plays) 172–73

Pihuang wenxue yanjiu 皮黃文學研究 (Studies in the literature of pihuang; 1936) 18n

Pihuang 皮黃 (composed of the second characters of xipi and erhuang) 18;

other theater traditions that use pihuang 18n;

alternate name for Jingju 109, 163n, 172, 228n, 356, 535n, 540, 556;

appear in names of collection of playscripts 534

Pike, Kenneth L. 210n

Pinggui bie yao 平貴別窯 (Xue Pinggui says farewell at the kiln) 457n

Pinghua

評話

;

influence on Shen Xiaoqing 289

Pinghua xiaoshuo 平話小說 (storyteller novel) ;

term used by Chen Moxiang to describe his novels 485n

Pingju Chubanshe 平劇出版社 542

Pingju huikan 平劇彙刊 (Collection of Jingju playscripts) 427n, 533–34, 552

Pingju ximu huikao 平劇戲目彙考 (Collected research on the Jingju repertoire) 99n, 100, 341n

Pingju/xi 評劇/戲 30–31n, 348, 350n, 513n;

phonograph discography for 87n;

censored for lewdness 452;

appear in title of collection of playscripts 534n

Pingxi 平戲/Pingju 平劇, alternate terms for Jingju after the name of Beijing was changed to Beiping 20n, 22

Pinhua baojian 品花寶鑒 (Precious mirror for evaluating flowers) 74, 487n

Pipa ji 琵琶記 (The lute) 53n, 220, 236n, 244n, 498;

and Huizhou merchants 15n;

its prologue 498;

new performance version 586n

Plagiarism (chaoxi 剿襲; fanban 翻版) 440;

between early printed editions 183

Play format 187–89;

in Western plays 531

Play, definition of 589

Playing cards ;

use to work out cast of play 289

Plays are not easy to understand 335n, 361–62

Plays to be promoted, guidelines for ;

in the War of Resistance 457n

Plays to send off the audience . see Songke xi

Playscript famine . see Juben huang

Playscript layout and format conventions in Jingju playscripts ;

indicating which passages are to be sung in pihuang and which in bangzi 23n, 431n;

length 536;

aria and dialogue same size while stage directions smaller 228, 243n, 253n, 260;

chuanqi-style aria text larger than dialogue text 228n;

aria text begins new line 231;

stage directions in small characters in brackets 243n, 248;

aria and dialogue same size but aria text bold 253;

indentation 231n, 247;

aria text larger than dialogue 420;

font size distinguishes elements of the playscript in Xixue huikao 420n;

model on Western spoken drama playscripts 420n;

include role-types 420;

include aria types 420;

use of new paragraph when speakers change also pointed out in paratextual material 555;

comments overwhelm the text despite use of indentation 559

Playscript secrecy 163–64, 213

Playscript source material ;

identified in playscript . see Jile shijie, Liangshi yin

Playscript text claimed to be a famous actor’s 177n, 178–80, 181n;

lack of proof 183

Playscript text claimed to be authentic . see Authentic

Playscripts as fundamental 162–63

Playscripts containing the words for all of the roles . see Master scripts

Playscripts containing the words for only one role . see Single-role scripts

Playscripts published before performances ;

in Europe 339–40

Playscripts versus performance 536;

playscripts inadequate to transmit play performance 202n, 415

Playscripts, types of 162–96;

divided by length 143–44

Playwright attempts to enforce control of performance of their plays ;

Arthur Miller and Samuel Beckett XVIIn

Playwright income 564;

in the West 437n

Playwright preparation 508–509;

watch plays a long time, read many chuanqi plays 292, 496, 501;

Wang Jide on 395n;

able to sing arias and/or perform plays 496, 501;

seen a lot plays, including rare ones 501;

read a lot 501;

very knowledgeable 501;

very experienced 501;

compared to shopkeeper collecting stock before opening up store 508–509

Playwright versus actor 473–74

Playwright-officials 252n

Playwrights appear in other’s plays 225

Playwrights attached to troupes/in-house playwrights . see Troupe/resident playwrights

Playwrights known only by penname 215n, 222

Playwriting and abstracts . see Abstracts, with scenarios or plot information

Playwriting and the civil service examinations ;

claims about zaju 216;

many chuanqi authors had highest degree 220–221

Playwriting as trivial or playful 252n, 290, 358

Playwriting in the PRC ;

revise old plays, create new ones XIV

Playwriting, articles on 491n, 514–15n

Playwriting, as collective oral enterprise 266–67, 395n

Playwriting, books on/manuals of . see Bianju huiyi, Bianju lilun yu jiqiao tanyou, Bianju qianshuo, Jingju changqiang xiezuo, Jingju changqiang xiezuo, Jingju juben bianzhuan lilun yu shiwu, Li Liweng quhua, Weng Ouhong bianju shengya, Xiqu bianju chutan, Xiqu bianju gailun, Xiqu bianju jiqiao qianlun, Xiqu bianju lunji, Xiqu bianju qiantan, Xiqu juben xiezuo jiaocheng, Xiqu juzuo fa jiaocheng, Xiqu juzuo yishu tan, Xiqu xiezuo chuji jiaocheng, Xiqu xiezuo jiaocheng, Xiqu xiezuo lun

Playwriting, college degrees in 512

Playwriting, conferences on 516

Playwriting, departments that teach the subject . see Xiqu Wenxue Xi, Xiju Wenxue Xi

Playwriting, income from 482, 502, 505, 564. see Chen Moxiang, Weng Ouhong

Playwriting, lectures on 514, 514–15n.

Chen Moxiang

Playwriting, prizes for 519–20

Playwriting ;

verbs traditionally used ;

zhuan

撰

239;

modern terms (bian 編, bianju/xi 編劇/戲, bianyin 編印, bianpai 自編排, biandao 導演) 430n, 431n, 483n, 519, 558n.

Daxi, Cuanxi

Plot elements, consequential versus non-consequential 188n

Plot summaries 336–37, 524, 526–27, 561–62n;

detailed summaries better than full scripts for new-style plays 339n;

replace full script when that not available 400.

Shuoming shu, Programs

Plot summaries, for Jingju in English ;

in Taiwan X;

differences between foreign and Chinese audience needs X;

Chinese summaries laconic and do not make clear what part of the play will be performed X;

for American Association of Teachers in Northern China in Beijing 46n. see Shuoming shu

Plot summaries, illustrated . see Shijie xinju, Heiji yuanhun tushuo

Pochu mixin 破除迷信 (smash superstition) ;

content category Qi Rushan decided for his own plays 160n

Pocket editions (xiuzhen 袖珍, suoben 縮本) 525n, 549n

Poisonous weeds (da ducao 大毒草) 100, 469n, 476

Pola dan

潑辣旦

133

Poland, play about . see Guazhong lanyin

Popular education . see Tongsu jiaoyu

Popular performance genres ;

as vehicles to enlighten the masses 227;

as opportunities to show off literary talent 227

Pourazar, Ghaffar (Ge Fa 格發) 49n

PRC regulation of theater ;

nationalization of Jingju troupes 3, 43, 470–71;

reform and commercialization of troupes post Cultural Revolution 477–80;

freelance actors and playwrights 478–79;

private troupes 479.

Censorship and control of repertoire under the CCP

Prince Che (Chewang 車王) collection of play manuscripts 169–71. 183n;

not performance texts 170n;

and Duke E (Eduotai 鄂多臺) 170

Print, stigma of 213n

Printed playscripts 177–87;

and choice and improvisation XV, XVn, 528;

indicate alternate versions in notes or appendices 528;

tendency to hide details of editorial work 529;

annotation or glosses 529;

more influential than manuscripts 205

Printing and fixity of plays 203–209;

printed editions tend to echo each other 205

Printing of playscripts, effects ;

lower costs, increase number of copies, stabilize text, reveal quality (or lack of) of the writing 205

Private collectors (mostly actors) of playscript manuscripts 166, 441n.

Cheng Yanqiu, Mei Lanfang

Private performances (tanghui 堂會) 65, 88n, 99n, 448n, 482, 508;

phonograph recordings replace 88;

differences between and public performances 143n

Private plays (sifang xi 私房戲) . see Solely-owned or private plays

Private secretary (mu[you] 幕[ 友]) 255

Private troupes (jiayue 家樂, jiaban 家班) 5–6;

repertoires of Ming private troupes 6n;

because of emphasis on frugality there was a decline in the Qing except for princely households 11;

prohibition of officials maintaining private troupes in the Qing 11n;

owned by Li Shizhong 227–28n;

Wang Hongshou’s father 268;

Chen Moxiang’s family 487n

Privately printed playscripts 228

Production notebooks 546

Professional playwrights XII, XIV, 288–92, 482–523, 505, 511n;

training and professionalization in PRC XIV, 520;

lack of in Shanghai-style theater 38n;

promotion of troupe playwrights in the PRC 470;

present dire lack of XIII, 517;

first generation at Zhongguo Jingju Yuan 518,

second generation at Zhongguo Jingju Yuan have collge degrees but Jingju knowledge not as good 518;

Zhongguo Jingju Yuan now has to rely on outside playwrights 518;

rating system 518–19. see Troupe/resident playwrights

Program opening plays 142–43

Programs 336n;

fanchao (arranging items on a program without regard for the order of their historical settings) 145n.

Xidan

Prohibitions ;

of bad plays 53;

of performance styles (juzhong) 13, 23;

of theater 53n;

of officials patronizing sing-song girls and actors in the Ming 6n;

of officials maintaining private troupes in the Qing 11n;

severity depend on locality 34n

Prompters 267n;

promptbooks 546

Pronunciation glosses and markup ;

in playscripts 175n, 176, 258n, 261–62, 529, 543–45;

indicate tone contour by placement of circle (see dianfa) 261–62, 544n;

in Baiben Zhang manuscripts 173;

in manuscripts 176;

rare in PRC playscripts 545;

Su Shaoqing wants to indicate tonal contours of all characters but just does so for some 556;

markup of acting playscript 560n.

Fanqie, Zhuyin fuhao, International Phonetic Alphabet

Pronunciation, Jingju 543n;

and singing 234, 543n;

yangban xi and standard pronunciation 543n;

Shanghai-style Jingju and standard pronunciation 543n;

playscript that promises special annotation concerning 543n.

Jian, Tuan, Yunbai, Shangkou zi

Propaganda troupes (xuanchuan dui 宣傳對) 59

Props and scenery ;

description/lists of in playscripts 234–35

Props 536;

used as advertisement for plays in Beijing 334n

Proto-playscripts ;

early Chinese possibilities 214

Pu Songling 蒲松齡 228–29n, 231–32

Publication, private versus commercial publication 178

Punctuation in playscripts ;

use empty spaces in woodblock editions 178, 182n;

unpunctuated printed editions 180;

caesura in aria lines indicated by spaces 180;

no punctuation in manuscripts 228n;

paratextual material lack punctuation in early playscripts 247–48, 253;

caesura in aria lines indicated by punctuation 248;

regular and emphatic punctuation 253;

unpunctuated manuscript 290;

underline personal names and places 527;

use empty spaces in printed editions 550n

Puppetry and theater 485n

Putian Tongqing Troupe 普天同慶班 ;

Empress Dowager Cixi’s own eunuch troupe 17n, 169n

Puyi 溥儀 42, 57

Qi Rushan juxue congshu 齊如山劇學叢書 (Qi Rushan’s collection of books on Guoju) 196n, 425

Qi Rushan xiben 齊如山戲本 (Qi Rushan play texts) 431n

Qi Rushan 齊如山 275n, 425, 429n, 433n, 440, 521n, 566n;

editions of his collected works 3n;

on late Qing resistance to the idea of plays without traditional costumes (xingtou 行頭), singing (gechang 歌唱), and music (yinyue 音樂) 3n;

on ways the Four Great Anhui Troupes differed 14n;

on ways to refer to Jingju 20n;

background 26;

and Western drama 26–27;

promotion of national drama 26–30;

originally critical of Chinese theater, later regretted 27;

involvement with experimental Jingju 27;

collections of his writings 27n;

his principles for Jingju 28;

different definitions of national drama 29;

in Taiwan 29;

image of Jingju as unchanging 30;

help Mei Lanfang 46n;

on Jingju influence on Hollywood cinema 49;

fondness for taking credit for things 52n;

and Bawang bie ji 52;

on problems with play titles 96;

on decline of repertoire 118–19;

on xide 121n;

his topical categories for his own plays 160n;

his shenduan pu 195–96;

obsession for finding early sources for Chinese theater 195–96;

collect playscripts 213n;

consult Xikao 295n;

on difficulties understanding plays 335n;

as famous playwright 397;

on playwriting and recycling material 396n;

on Tan Xinpei and the two versions of the yinzi for Yang Yanhui 412n;

mistake in Bawang bieji playscript 416n;

gave radio lectures 426n;

on Guoju as pacifist and not authoritarian 426n;

claims authorship of Tongnü zhan she but Mei Lanfang does not mention him 431n;

Tongsu Jiaoyu Yanjiu Hui researcher 432–33;

believes Jingju supports traditional morality 467;

as playwright 483n;

on encouraging Chen Moxiang to write plays 483n;

on Chen Moxiang and Luo Yinggong and xianggong 487n;

reluctance to meet with Mei Lanfang and write letters instead 487n;

reminiscences on playwriting 488;

versus Mei Lanfang 488n;

lack of performance experience 501n;

Chen Moxiang called him a xi mangzi 502;

not interested in true collaboration with actors 503;

compared to Weng Ouhong 512;

criticism that his plays are too literary 529

Qian Baosen 錢寶森 195n, 202n

Qian Jinfu 錢金福 202n

Qian Jingfang 錢靜方 329n; see Bianbian

Qian Mu 錢穆 62, 208n

Qiangbi Tuolong 槍斃駝龍 (The execution of “Hunchback Dragon”) 452n

Qianlong emperor 8n, 10, 37, 13–14, 445;

big patron of theater 13–14

Qiao Jinchen 喬藎臣 86–87n, 281

Qiao yinyuan 巧姻緣 (The unexpected marriage affinity) 317n

Qiao Yuquan 喬玉泉, playscript dictator 177n

Qiao 蹺, small wooden stilts strapped to actors’ feet to simulate bound feet 13, 75n, 295n;

actress wears 75n;

revival in New Period 477

Qiemo 砌末 . see Props

Qilin bao 麒麟報 (Reward by qilin) 247n

Qin Liangyu 秦良玉 500–501

Qin Qiong mai ma 秦瓊賣馬 (Qin Qiong sells his horse) 179n, 181n, 273

Qin Shou’ou 秦瘦鷗 58n, 77–78

Qin Xuefang 琴雪芳 (Ma Jinfeng 馬金鳳) 58n, 404n

Qing Chunpu 慶春圃 137n

Qing dynasty imperial tours of Jiangnan 10n, 193n

Qing emperors as big patrons of theater who brought troupes to the capital for special celebrations 13–14

Qing Shengping Ban 慶升平班 (Celebrating Rising Peace Troupe) playlist 102, 108

Qingdai Yandu liyuan shiliao 清代燕都梨園史料 (Qing dynasty historical material on the theater in Beijing) 265n

Qingding zhu 慶頂珠 (Presenting the pearl) 181n

Qingfeng ting 清風亭 (Gentle Breeze Pavilion) 244n

Qingguan xi 清官戲 (incorrupt official plays) 152

Qingguan 清官 (incorrupt official) 138n

Qinghai ;

Jingju in 43n

Qingren xichu ce 清人戲齣冊 (Album of scenes by Qing painters), held in the palace 66n

Qingshan

青衫

133, 327

Qingshi shan 青石山 (Black Stone Mountain) 110

Qingwen sishan 晴雯撕扇 (Qingwen tears fans) 392n

Qingyi jushi 清逸居士 (Puxu 浦緒) 145n

Qingyi 青衣 (demure female roles that sing a lot) 122n, 133, 136, 139, 140n, 264;

plays that feature 114n, 327;

role-types that qingyi characters can also be played as 138n

Qingyin zhuo 清音桌 (perform plays sitting at a table) 509

Qingzhuang xi 清裝戲 (Qing-dynasty-clothing plays) 144–45

Qinqiang 琴腔, performance style designation used by the Sixi Troupe 22;

alternate term for xipi 22n

Qinqiang

秦腔

;

a variety of bangzi 梆子戲 play 13, 342n, 356, 404n, 513n;

prohibition because of lewd content 13, 23n;

as national drama 29n;

repertoire 103;

role-type system 135n;

in Xikao 317n;

in Xikao shukao 310

Qionglin yan 瓊林宴 (Banquet in Qionglin Park) 205n

Qiongsheng

窮生

133

Qipai 麒派 (Qi[ling tong] 麒[ 麟童] school]), Zhou Xinfang school of performance 441n

Qiu haitang

秋海棠

58n, 77–78;

sequel to 305;

made into play 77–78

Qiu Hu xi qi 秋胡戲妻 (Qiu Hu flirts with his wife) 162n

Qiu Huiying 丘慧瑩, on Qianlong era playwrights 395n

Qiu Shengrong 裘盛戎 , 523n;

shuoxi audio recording 576–77n

Qiu Shengrong 裘盛戎, by Wang Xinhua 523;

play of same name by Wang Zengqi 523n

Qizhuang xi 旗裝戲 (bannermen-dress plays) 144–45

Qu Nanjun 取南郡 (Taking Nanjun) 272n, 365n

Qu Yuan 屈原 , 232

Quanben 全本 (complete version) 245n

Quanbin 全賓 (complete dialogue) 217n

Quanshan cheng’e 勸善懲惡 (exhort goodness and punish evil) 455n

Quanshan jinke 勸善金科 (Golden measures for encouraging goodness ;

palace version of the story of Mulian) 168

Quanshan shu 勸善書 (morality book) 256

Quanshan Tai 勸善臺 (Stage for exhorting morality) 245

Quanye Chang 勸業場 (Exhort commerce center) entertainment complex in Tianjin 39n

Quben 曲本 (playscript) 179n

Quhai zongmu tiyao 曲海總目提要 (Annotated bibliography of the sea of plays) and related texts 97–98n, 312, 321–22n

Quick preparations for next scene 545–46

Qunxi 群戲 (crowd play) 141, 172n

Qunxi 群戲 (scene with many characters but allotment of singing more even) 188n

Qunying hui 群英會 (The gathering of heroes) 273, 291, 410n, 414n, 530n

Qupai 曲牌 (tune patterns) 6, 13, 16, 142n, 249, 526n, 548, 575;

sometimes have musical notation in palace copies of Jingju playscripts 167n;

use set scales so Jingju performers progressively worse at singing them 191;

Chen Moxiang says leave up to actors to specify 495

Qupin 曲品 (Evaluation of plays) 109, 159n

Quyi/shuochang wenxue 曲藝/說唱文學 . see Oral performing literature

Radio broadcasts ;

start of attempts to regulate 454

Radio ;

and Jingju 80, 89–90;

shuoxi broadcasts 90, 426n, 576;

recordings of shuoxi broadcasts 576–77n;

publication of texts broadcasted 201, 294–95

Rang Xuzhou 讓徐州 (Yielding Xuzhou) 465n

Rankou 髯[ 口] (stage beard) . see Beards

Reactionary (fandong 反動) ;

content of plays 100n

Reading libretti 204, 204–205n

Reading material (duwu 讀物) ;

playscripts as XVI, 208–209, 396, 546n, 551, 551–52n;

chuanqi and zaju editions for reading 225;

illustrations 399. see Coffee table books, Jingju jingdian pindu

Reading playscripts as research 182

Ready, Jonathan ;

on the process of the writing down of Homeric epics XVIn

Real weapons on stage 37

Recorded music ;

used in performance of yangban xi 476n

Recycle/rework/adapt old material versus creation 95–96, 161–62, 396n, 493–94;

Chen Moxiang said adaptation easier 500;

Western opera 162n

Regional Literature and the Transmission of Culture: Chinese Drum Ballads, 1800–1937 67n

Registration of troupes in Qing Beijing 22, 23n, 111, 111–12n

Regularization (guifan 規範) 203n

Rehearsal 167n

Reid, Robert ;

on hyperlinked materials for teaching Japanese theater 584

Ren Qingtai 任慶泰 82n

Renqing xi 人情戲 (human-emotion plays) 158

Rental libraries 175

Repertoire, classical Chinese theater 97–98;

difficulties in tabulating 96, 96–97n;

surveys of 98–100

Repertoire, Jingju 95–123, 369–71, 370;

categories XII;

difficulties in tabulating 96, 96–97n;

surveys of 98–100;

solely-owned plays 99;

difficulties in defining 102;

Taiwan data often ignored 102n;

in performance 104–112;

growth in 115;

adaptations versus new plays in 115;

in Taiwan 116–17, 119;

decline in PRC 117–19;

divided by content 126, 149–50;

divided by role-type or special skills 126–42;

divided by place in program 142–44;

divided by size 143–44;

divided by costumes 144–46;

divided by historical setting 144–48;

divided according to stagecraft 149;

divided according to (fictional) source 149–53;

divided by featured character 151–52;

topical genres 152–53, 159–62;

Baiben Zhang catalogue divided by role-types of lead actor or type of play 172n;

early plays adapted from Kunqu and bangzi 266

Repertoire, Kunqu 103

Repertoire, non-classical xiqu genres 137

Repertoire, Personal 99, 113–15;

submit to palace before perform 111–12;

Yang Xiaolou’s palace list 112;

submit list before join troupe 112;

qingyi don’t need so many plays 112n;

Fuliancheng students supposed to learn one hundred plus plays 113;

lists 114–15;

decline in number of plays known 115;

know more than one version of same play 208

Repertoire, Western theater 103–104

Repertory theater, Jingju as 95

Repetto, Rafeal Caro 583

Reprint (zhuanzai 轉載), deny permission to in periodicals 438–39;

begin to be covered in law 454

Republican period as the “golden age” of Jingju XII

Research institutes for Jingju and xiqu 166, 406, 425n, 427, 434, 458–59n;

as collectors of playscripts 166

Research ;

in Xikao and similar works 325, 350–52;

on historical settings 324;

despair as to what to research 324–25, 377;

playwrights sent down to do in the PRC 511–512n

Revision of playscripts 249;

notes about 537n. see Xiuding jingguo

Rhyme-categories (zhekou 轍口) 543, 550–51n;

specified 255, 255–56n, 496;

changed to test other actor 278n

Richter, Matthias ;

on text as essentially non-material XVIn

Riftin, Boris ;

on theater in woodblock prints 69n

Ritual plays 109, 142–43, 146

Ritual program opening plays (kaichang chengxiang chengying xi 開場呈祥承應戲) 109, 142–43

Riyue tu 日月圖 (Picture of the son and moon) 317n

Roberts, Margaret ;

on censorship in the PRC XVIIn

Robinson, Paul ;

on libretti different from ordinary texts 205n

Role-type system (hangdang 行當) of Jingju 131–42;

and personality characteristics 131n;

variables that distinguish role-type 131–32;

synchronic chart 132–34;

increasing cross-fertilization between role-types 136, 140n, 264, 277;

new role-types creating by combining elements of older ones 135;

barriers to crossing 136–39;

factors favoring border crossing 139–40;

character change role-type in same play 138n;

level of morality and role-type allotment 138n, 330n;

stealing roles not in your role-type 139–40;

in yangban xi 140;

revision changes role-type of character 537n

Role-type system (hangdang 行當) of xiqu ;

sheng 生 and dan 旦 in chuanqi plays 7;

historical trend toward complexity 128, 135–36;

obscurity of role-type names 128;

compared to that of Jingju 135

Rongqing She 榮慶社, northern-style Kunqu troupe, made a successful entry into Beijing in 1918 10n

Rosters ;

of civil service candidates 75;

of actors 75, 75–76n;

of courtesans 75n

Roy, David ;

plans to digitize and hyperlink his translation of the Jin Ping Mei 584n

Royalty system 123, 525

Ru ci guanchang 如此官場 (A world of officialdom [screwed up] like this; a.k.a., Ximi zhuan 戲迷傳 [Biography of an opera fanatic]) 71n, 197n, 305n

Ruan Dacheng 阮大鋮 , 223n, 254n

Rulin waishi 儒林外史 (Unofficial history of the scholars) 298n

Running time 167n, 211n, 242n, 247n, 463n, 545, 548

Sacred Edict . see Shengyu

Sai Jinhua 賽金花 (Rival of Jinhua) 403n

Sai Pipa 賽琵琶 (Rival to Pipa ji) 236n

San jieyi 三結義 (Three swear brotherhood) 380n

San mazi 三麻子 (Pockmarked Face the Third) . see Wang Hongshou

Sanda Tao Sanchun 三打陶三春 (Three Beatings of Tao Sanchun) 407n

Sanguo xi 三國戲 (Three Kingdoms Plays) 150, 366

Sanguo yanyi 三國演義 (Romance of the Three Kingdoms) 270–72, 378–80;

source for plays 494

Sanguo zhi 三國志 (Chronicle of the Three Kingdoms) ;

serial play 272–73;

official history by Chen Shou 353n, 379

Sangyuan ji zi 桑園寄子 (Abandoning the son in the mulberry garden) 420n

Sanmen jie 三門街 (Three gate street) 368n

Sanniang jiaozi 三娘教子 (Third mistress teaches the son) 119n, 203n, 332n

Sanqing Ban 三慶班 (Three celebrations troupe) 272, 291;

the first “Anhui troupe” (Huiban 徽班) to go up to the capital 14;

troupe members’ native place more commonly Suzhou than Anhui 14;

playscripts claim to be from this troupe 180, 181n

Sansha dan

三殺旦

161n

Sanshi nian lai lingjie zhi nashou xi 三十年來伶界之拿手戲 (The most famous plays of actors from the last thirty years) 120, 120–21n, 413n;

emphasis is more on the actors than the plays 396n

Sanxia wuyi 三俠五義 (The three heroes and five gallants) 152

Sanxiao xi 三小戲 (three littles play) 141

Sao song xia shu 掃松下書 (Sweeping under the pine; Delivering the letter) 317n;

order of the two scenes reversed 324n

Saozi wo 嫂子我 (lewd sisters-in-law) ;

possible Jingju play content category 161, 485n; see Goldman

Sau jing ;

actor hand signals to the orchestra in Cantonese opera 200n

Scenario plays . see Mubiao xi

Scene labels in Chuqu plays 184–85n. see Xiaoyin, Baochang, Dengchang, Tuanyuan

Scene titles in Jingju ;

rare until 20th century 189;

in Jile shijie 230–31;

in Cuo zhong cuo 250;

in Liangshi yin 255

Scenery and props 37, 149, 545, 545n, 558n;

stage directions to set out beforehand 233, 233–34n, 260–61;

stage directions to remove from stage 260;

caution against using in playscript 537n.

Bujing

Scenes (or acts) ;

measure words for . see Chu, Chang, Hui, Pian, Zhe, Chuduan

Scenes, division into 184–85, 187–89, 419–20n, 531;

skip to top of next line to show scene break 184n;

numbering of 184n;

use of elongated xia 下 (exit) character to show that stage has been cleared 184n;

scene division and clearing of the stage in Jingju 187, 187–88n;

reformers object to fragmented (sui 碎) nature of Jingju scenes and push for act divisions 188;

from nanxi to chuanqi scene division moves from based on stage clearing to content 188n;

rhythym of 188n;

explicit division of scenes 188n;

acts (mu) versus scenes (chang) 189n;

start on recto page 233, 254

Scenes ;

types of 188n

Schools of acting . see Liupai

Scott, A. C., 211n ;

on Jingju as easy to sing 91;

translation of Silang tanmu 541n

Scribe, Eugéne 205–206n

Se yi 色藝 (looks and acting skills) 284

Secret/private copy of playscript . see Miben

Sell playscripts prior to or at performances 183–84

Serial plays . see Liantai ben xi

Serialization 74;

in periodicals 549;

in the New Period 478–79

Sex, Shanghai audience interest in 37, 37–38n

Shadow theater 169

Shajiabang 沙家浜 (Shajiabang) 475n

Shakespeare, William 104;

and single-role scripts 163n

Shamao sheng

紗帽生

, 133

Shandong Sheng Shiyan Juyuan 山東省實驗劇院 (Shandong provincial experimental drama academy) 60n

Shang Changrong 尚長榮 478

Shang Heyu 尚和玉 123n, 203n

Shang Xiaoyun 尚小雲 161n, 254, 283n, 393n, 478, 501n, 561;

selected king of the child actors 78n;

and photograpy 80n;

caught not performing according to approved playscript 454n;

playscripts provided for Shanghai performances 532n

Shangchang men 上場門 (stage entrance) 179n

Shanghai Actors’ Association (Shanghai Lingjie Lianhe Hui 上海伶界聯合會) 57

Shanghai and Jingju 1, 34–39, 63–65;

the term Jingju first used in Shanghai 21;

use of dialect 35;

center of production of printed material on Jingju 293;

Shanghai audience need for textual aids 335

Shanghai as new media center 74, 293

Shanghai audience preferences 36

Shanghai courtesans 36, 72, 74–75

Shanghai Jingju Yuan 上海京劇院 (Shanghai Jingju company) 39n, 59n, 477–79n;

collection of playscripts 533n

Shanghai Jingju zhi 上海京劇志 (A record of Jingju in Shanghai) 106

Shanghai theaters have their own troupes 26, 35

Shanghai Xiju Xueyuan 上海戲劇學院 (Shanghai Academy of Theater) 517

Shanghai Xiqu Yanjiu Hui 上海戲曲研究會 (Shanghai society for the study of traditional Chinese theater) 352

Shanghai ;

exposure of Beijing Jingju actors there to Southern-style Jingju and cinema 26;

influence on Mei Lanfang 26n;

as photography center 80;

with lithography and moveable type becomes publishing center for Jingju 178

Shanghai-style (Haipai 海派) Jingju 500, 506;

impact of cinema on 25n, 26, 35, 86;

characteristics 36–39;

actors’ world as open 36n;

new-style Shanghai-style 39;

thought not to specialize in role-types 137;

Monkey King plays 152n;

serial plays 548

Shangkou zi 上口字 (special pronunciations) 543n

Shangshou

上手

134

Shangyou she 尚友社 ;

fan club for Shang Xiaoyun 532n

Shangzheng 商正/shangque 商榷/搉, terms used in a response to another writer 560

Shanhai guan 山海關 (Shanhai pass) 365n, 368n, 589n

Shanqi 善耆, playwright 283n

Shanzi sheng

扇子生

133

Shao Binru 卲彬儒 257–58

Shao Mingsheng 邵茗生 275n, 499n

Shaoju 紹劇 (Shaoxing opera) 349n

Shazi bao 殺子報 (Retribution for killing [her] son) 148n, 159, 392n, 448n;

authorship 270n;

left out of Guoju dacheng and Jingju huibian 418n;

most number of alternate titles 447n

Shazi 殺子 (the killing of a son by a parent) ;

possible Jingju play content category 160

She 設 (to set up [scenery or props beforehand]) 260

Shehui ju 社會劇 (social plays) ;

Minzhong xiaoshuo xiqu duben content category 126

Shehui 社會 ([criticism of] society) ;

Xixue huikao topical category 159

Shen gong pu 身宮/工譜 (gong 宮 refers to gongdiao 宮調, gong 工 to gongche 工尺), shenduan pu with musical notation 566n

Shen Naikui 沈乃葵 427n

Shen Xiaomei 沈小梅 50n

Shen Xiaoqing 沈小慶 ;

writes abstract for play 199n, 289n;

playwriting 282, 288–89;

and oral storytelling 289;

in jail 289,

in Liyuan waishi 289n;

wrote serial play with preface with his name 290

Shen zhong lou 蜃中樓 (The mirage tower) 233–34n

Shen, Grant Guangren ;

on elite theater in the Ming dynasty 5n

Shen, Jing ;

on evaluating systems for chuanqi plays 109n

Shenbao “Xikao” column 290, 325–32, 325–31n, 372, 374;

divided by role-types 326–29, 331–32, 531;

compare column to corresponding shukao 331;

obscure plays in 331

connection to Xikao 332.

Bianbian, Wuxia Jian’er

Shenbao Guan 申報館 79n, 230n, 297–300;

and Zhonghua Tushu Guan 302n

Shenbao

申報

185, 197, 298, 304;

Shanghai newspaper in which the term Jingju first appeared in print 21, 21n;

as a resource 101–102n;

indexes to theater material in 325–26n

Shencha 審查 (reviewing/evaluating plays) 430.

Censorship

Shendao shejiao 神道设教 (government use of superstition to instill fear to make people behave) 390

Shenduan pu koujue 身段譜口訣 (Stage movement rosters and oral formulae) 193n, 195n, 566n

Shenduan pu 身段譜 (rosters of stage movement) 565–66;

used mostly for Kunqu and rarely printed 192–95, 566;

printed versions 194;

versus oral teaching or shuoxi 說戲 (telling the play) or lectures 194n;

modern shenduan pu 569n.

Xingti pu

Shenduan 身段 (stage movement) 192

Sheng Heyu 盛和煜 522–23

Sheng 生 (male roles) 130, 132, 134;

poach hualian roles 139–40

Shengjiao

生腳

132

Shengju 嵊劇 (Sheng [near Shaoxing] opera) 349n

Shengping baofa 昇平寶筏 (Precious raft of ascending peace) 168n

Shengpingshu 昇平署, new palace theater organization established in 1827 17

Shengqiang

聲腔

. see Musical mode

Shengsi hen 生死恨 (A hate that will last past death) 542n, 453n;

1948 film 82;

new film never finished 512n

Shenguai xi 神怪戲 (supernatural plays) 390

Shenguai 神怪 (the supernatural) ;

Xixue huikao topical category 159

Shengyu 聖諭 (Sacred Edict) 238n

Shenhua xi 神話戲 (mythological plays) 160n

Shenhua 神話 (myth) 390;

Shenhua 神話 (mythological) ;

content category Qi Rushan used to divide his own plays 160n

Shenqu 申曲 (Shanghai opera) 349n

Shenshi chuantou 身勢串頭 (record of stage movements) 192n

Shenting ling 神亭嶺 (Spirit Pavilion Ridge) 96n

Shentou ci Tang 審頭刺唐 (Inspecting the head and assassinating Tang [Qin 勤]) 125n

Shenyin jiangu lu 審音鑒古錄 (A record of investigating sounds and antiquity) 194n

Shenying 神瑛 558

Sheriff, R. C. 440n

Shi cuoren 十錯認 (Ten misrecognitions) 254n

Shi gong’an xinzhuan 施公案新傳 (A new account of the Court Cases of Judge Shi) 290;

stage directions with lots of costume and make-up details 290–91

Shi gong’an 施公案 (The court cases of Lord/Judge Shi) 153

Shi Jieting 失街亭 (Losing Jieting) 76, 302n, 342n, 590n

Shi Kong Zhan 失空斬 (combines Shi Jieting, Kongcheng ji, and Zhan Ma Su) 365n

Shi Ling 石玲 344n

Shi Shilun 施世綸 67n, 153

Shi Songquan 史松泉 290;

official accused of a crime, wrote serial play to impress Cixi 290

Shi Xusheng 施旭升 ;

on singing and the birth of modern Chinese theater 25n

Shi 實 (full) 233n

Shi/xi qi 試/戲妻 (the testing of the fidelity of the long-abandoned wife by the returning husband who pretends to be someone else and flirts with her) ;

possible Jingju play content category 160–61

Shiba che 十八扯 (Eighteen bits) 157n, 185n

Shijie shuju 世界書局 457

Shijie xinju 世界新劇 (New plays of the world) 38n, 324n, 336n, 400–401

Shikuang 實況 (stage recording) 526n

Shinpa

新派

;

impact on Chinese spoken drama 25n

Shishi [xin]xi 時事[ 新] 戲 (current events [new] play) 148

Shishi xiang 石獅巷 (Stone Lion Alley) 256–58

Shishi 實事 (real events) 494

Shishi 時事 (contemporary events) ;

Xixue huikao topical category 159

Shixiang nüshi 試香女士 229–30n

Shizhong shuju 時中書局 299

Shizhong tushu 時中圖書 333, 335

Shizhuang xi 時裝戲 (plays set in modern times with characters wearing Qing dynasty or contemporary clothing) 25–26, 27–28n, 114n, 145, 148n, 155, 160n, 447, 450;

and abstracts 200–201

Shizhuang xinxi

時裝新戲

155

Shouju 瘦菊 327n, 428n

Shu Sheyu 舒舍予 561n.

Lao She

Shu[ban] 數[板] (counted-out measures) 255n

Shuaida hualian

摔打花臉

133

Shuaipai laosheng

衰派老生

132

Shuang Bao an 雙包案 (The case of the two Judge Baos) 192n

Shuang he yin 雙和印 (The double matching of the chop) 390n, 418n

Shuangding ji 雙釘記 (The story of two nails) 241n, 449n, 487n

Shuangkui Ban 雙奎班 (Shuangkui troupe) 177n

Shuangling ji 雙鈴記 (The story of the double bells) 148n, 163n, 323n, 325n;

left out of Guoju dacheng and Jingju huibian 418n

Shuangshi tu 雙獅圖 (Picture of a pair of lions) 320n

Shuchang 書場 (venues for tanci performance in Shanghai) 72

Shuhui 書會 (Writers’ clubs) 219n;

and nanxi 218–19

Shuici xi 水詞戲 (watery text plays) 207n

Shuihu xi

水滸戲

;

plays based on the Shuihu zhuan 150–51

Shuihu zhuan 水滸傳 (Story of the water margin) 233n, 378;

source of Jingju plays 150

Shuilu ban 水陸班 (water-route troupes) 40, 42n

Shuixiu yu yanzhi 水袖與胭脂 (Water sleeves and rouge) 522n

Shuji tang jinyue 庶幾堂今樂 (Music of the day from Near to a [Moral State] Hall) 228, 530;

paratextual material 238–39n, 243–44, 247;

put together and published by Yu Zhi’s disciples 239n, 240, 244n;

nine plays published in his lifetime 240n, 244n;

Kunqu versions 239n;

performances of some of the plays part of agreement between his disciples and Shanghai government 240–42;

historical settings of 242n;

distance self from literati 243n;

criticism of chuanqi 243n, 245;

criticism of zhezi xi 245n;

illustrations 245;

singability of the arias 249;

text too plain and awkward 249;

translations into German 250n

Shuji tang xinxi 庶幾堂今戲 (New plays of Shuji Tang) 238, 238–39n

Shukao 述考, play introductions in Xikao . see Xikao, shukao

Shuntian shibao 順天時報 (Capital daily paper), 1917 reader selection of kings of the world of theater 78n

Shuo Yue quanzhuan 說岳全傳 (The complete story of Yue Fei) 152n

Shuobai 說白 (dialogue) 255n, 306n

Shuodan 說但 (On actors of female roles) ;

lecture by Chen Moxiang 488n, 490

Shuoming shu 說明書 (programs) 197, 336–37;

one appears in Shenbao 327n, 336–37;

important for new plays 337;

come late to Beijing 337;

required for permission to perform 452;

early English programs 337

Shuoming 說明 (explanations) 306n

Shuoxi 說戲 (telling the play) 194n, 200n, 542, 574;

use photos to illustrate 570;

and radio 90, 576, 576–77n;

and modern media 576–80, 576–79n;

the voice of the teacher as central 576;

audio recordings of radio broadcasts of master performers 576, 576–77n;

archived audio recordings 577;

published audio recordings 577,

transcribed audio recordings of (stage directions added) 577;

use of visual aids 578;

transcribed lectures (or interviews) published as books 578–79;

transcribed lectures published as books illustrated with photos 578;

transcribed lectures (or interviews) published as books accompanied by DVD recordings 578–79;

video recordings of shuoxi 578–80;

replace in-person teaching 580. see Jingju dajia jueyi lu, Kunqu baizhong, dashi shuoxi, Liu Zengfu shuoxi juben ji, Nanwang de jiyi, Tanxi shuoxi, Wang Yaoqing xiansheng shuoxi, Zhongguo Xiqu Xueyuan Jingju biaoyan zhuanye zhuxiu jumu ke jiaocai

Si da Huiban 四大徽班 (Four Great Anhui Troupes) ;

differences between them 14

Si da mingdan 四大名旦 (Four Famous Dan Actors) 24;

first used in 1921 to refer to different set of actors, most famous list did not appear until 1930 24n

Si gaikou 死蓋口 (text the same whatever the play) 207n

Sichuan opera . see Chuanju

Sieber, Patricia ;

on authorship attribution in classical Chinese theater 394–95n

Sifan 思凡 (Thinking of worldly pleasures) 52n

Silang tanmu quanji 四郎探母全集 (Complete collection of Silang tanmu) 279n, 344n, 541–45, 566n

Silang tanmu 四郎探母 (Fourth son visits his mother) 211n, 302n, 371n, 407n, 412–14, 461n, 496n, 529n, 536, 539–45;

and Zhaodai xiaoshao 169n;

1933 film 83;

1937 complete audio recording 88, 90n;

and Zhang Erkui 282n;

controversy over Silang’s loyalty to China 371n, 465n;

two versions of Yang Yanhui’s yinzi 412;

failure to ban or revise 481. see Tanmu xiantu, Yantai jucui, Silang tanmu quanji, Zuogong

Sima Qian 司馬遷 356

Similarity between plays 162n;

plagiarism 162n;

mold plays (tao’er xi 套兒戲) 162n

Single-role plays, more common in Kunqu than Jingju 124n

Single-role scripts 163, 235n, 247n, 267, 530, 535n, 539n, 561n;

Western single-role scripts 163n.

Dantou ben

Siping diao 四平調 (Siping tunes) banqiang style performed by Huiban and then in Jingju 15, 142n

Sisheng yuan 四聲猿 (Four cries of the gibbon) 225n

Sitang

司堂

;

synonym for tangzi 487n

Siwei Jingju 思維京劇 (a thinking Jingju) ;

label for a Chen Yaxian play 478n

Sixi 四喜 (Four happinesses), one of the Four Great Anhui Troupes 14, 70n, 121n, 163n

Slash (xiegang 斜杠), used to show when actor stops speaking or singing in single-role scripts 163n

Small gong (xiaoluo 小鑼) 509

Small-scale plays (xiaoxi 小戲) 124;

prominent in local drama types 21

Social status ;

and role-type 132

Sokōdō 雙紅堂 181n

Solely-owned or private plays (du you ximu 獨有戲目) 99, 120–23;

similar system enforced by storyteller guild 121n

Solitary genius XVIIn

Song Guangzu 宋光祖 517, 532n

Song Jiaoren yuhai 宋教仁遇害 (The Assassination of Song Jiaoren) 386n, 450

Song Jiaoren 宋教仁 386n, 450

Song Maocheng 宋懋澄 533

Song Maoru 松茂如, playwright 283n

Song Taizong 57n

Song Yuchun 宋遇春 271n

Songbin 頌斌 299n, 333n;

courtesy name of Jin Qiang 金鏘 355;

author of a preface to Xikao 298n, 320n, 355, 357–58, 371–72

Songke xi 送客戲 (plays to send off the audience) 143n

Song-Ming Chinese indigenous theater, divided into two types depending on aria type, northern style (beiqu 北曲) versus southern style (nanqu 南曲) 6

Song-suites 6, 129;

one per act in zaju plays 187, 256n;

some chuanqi scenes have two 187n, 256n;

sets of arias in Jingju 256n

Songzhu Ban 嵩祝班 (Songzhu Troupe) 288–89

Sou zhao bi gong 搜詔逼宮 (Searching out the edict and pressuring the throne) 411n

Sound ;

sound effects in stage directions, indicated as made by orchestra 261;

sound amplification 545

Source (claimed) of playscripts ;

famous actors 177n;

famous troupes 177n

Sources, for Jingju plays ;

and repertoire categories 150–55;

proximate versus ultimate source 150;

fictional versus dramatic 150

Soushan Dache 搜山打車 (Searching the Mountain and Striking the Carriage) 194n

Southeast Asia, Jingju in 40

Soviet theater as model of scientific approach to theater 470

Soviets 466

Special effects 545

Special issues 562n;

honoring actors 311, 440, 561;

on topics 145n, 276

Stabilization of performance practice through censorship and textualization IX; XV, 203n

Stage design material in playscripts 475n

Stage direction orthography and placement ;

in cartouches 177–78, 182n;

smaller characters, slightly to the right 180;

in parentheses with periods used to mark both phrases and sentences 182.

Playscript layout and format conventions

Stage directions 192–96, 541;

more detailed in PRC playscripts XIV, 567;

tendency to refer to characters by role-type and not name 128–29;

use character name and not role-type 248, 254;

lack of interest in spelling things out 135, 164–65, 211;

chuanqi stage directions augmented by interlineal commentary 164n;

increase of stage directions in zaju 164n;

history of in Western drama 164–65n;

movement stage directions typically very brief 165, 525, 536;

palace playscripts demanded before performance focus on spoken text versus stage directions 166–67;

lack or limited amount in Yuan zaju printings 214;

paratext apologizes not enough 234;

use other play as example 248;

attention to character’s psychology 253–54;

indicate where choice is possible 259, 261, 262n;

give information about costume and make-up 260;

how stage should be cleared at end of play 260;

use of technical language 261;

referred to as shuoming

說明

420n;

Chen Moxiang says should not be too detailed 496;

flexibility 496n;

Chen Moxiang advises to use names instead of role-types to avoid confusion 496;

and reading 525;

can include extreme detail 526;

character psychology in 528n;

very detailed editions 539, 567;

mention stage left, etc. 541;

mention of yinchang 545;

extremely laconic because audio recording used as base text 548;

classify aria and dialogue as daishu ti, duihua ti, xuda duihua ti, beigong ti, fuyu ti (Su Shaoqing) 555–56;

give time and geographical setting 556;

on stage setting 558n;

seasoned performers don’t need 565

Stage entrance (shangchang men 上場門) 179n

Stage photos 81n

Stage pyrotechnics (huocai 火彩) 234

Stage recording (shikuang 實況) 526n

Stage regulations (wutai guizhi 舞臺規制) 562n

Stalin, Joseph 457n

Stanford Center in Taibei X

Stanislavsky, Konstantin ;

as model of scientific approach to theater 470

Star system 139–40, 428, 520

Steal plays (touxi 偷戲) 122–23;

change performed text to prevent theft 201;

Western audience members memorize plays and sell scripts 122n;

professionals not supposed to watch other professionals perform 278–279n

Steineck and Schwermann ;

on author as a composite of functions XVII

Stent, George Carter 582n

Stillinger, Jack ;

on multiple authorship versus solitary genius XVIIn

Stone Lion Alley . see Shishi xiang

Strindberg, August 528n

Structure, lack of in Jingju 189n

Studio photos 81n

Study of theater as a discipline in China . see Theater studies

Su San qijie 蘇三起解 (Transporting Su the Third) 567, 575.

Nü qijie

Su Shaoqing xiqu chunqiu 蘇少卿戲曲春秋 (Su Shaoqing’s world of Chinese indigenous theater) 554

Su Shaoqing 蘇少卿 191n, 346n, 431, 558n;

edited version of Zhuofang Cao 554–58, 560;

Tongsu Jiaoyu Yanjiu Hui play inspector 431–32n

Su wenxue congkan 俗文學叢刊 (Collectanea of folk literature) 171

Su Wu miao 蘇武廟 (The temple to Su Wu) 410–11

Su Wu 蘇武 410–11

Su Yi 蘇移 ;

on growth in the Jingju repertoire 115–16;

on Pan Jingfu 501n;

on Xun Huisheng most able to mount new plays 503n

Subai 蘇白 (Suzhou dialect) in Kunqu 12

Subsidization of Jingju 59

Subtitles/surtitles and Jingju IX, 204, 524, 530n;

reveal how bad the text of the playscripts are 206n;

English surtitles for foreign tours X;

English surtitles for performances at Lincoln and Kennedy Centers XI 581;

need of English subtitles for performance DVDs 580–81;

and performance fixity 586

Subtitles/surtitles 215n;

need for sung portions of Chinese film IX–X;

Yuan printings of zaju could function as 293n

Suchou

蘇丑

134

Suibai 隨白 (talk as you will), in stage directions 261

Suichu 燧/遂初 299n,

credited for editing Xikao installments 386;

might refer to the same person, who might be Songbin 386

Suiyi 隨意 (as you wish), in stage directions 260n

Sun Chunshan 孫春山 281–82

Sun Juxian 孫菊仙 57, 122n, 139, 177n, 282, 332n, 393n;

counterfeit recordings of 86n;

on being recorded 87n;

criticized for changing playscripts 203n

Sun Ping 孫萍 535n, 547

Sun Wukong 孫悟空 57, 152;

plays featuring 116n

Sun Xichen 孫羲塵 559

Sun Yat-sen 孫逸仙 57–58, 440n, 448, 457n

Sun Yusheng 孫玉聲 (a.k.a., Sun Jiazhen 孫家振; pennames: Jingmeng chixian 警夢痴仙 and Sushi 漱石) 36n, 71n, 75, 121n, 149n, 385n, 450n, 557

Suo wulong 鎖五龍 (Locking up five dragons) 140n

Suolin nang 鎖麟囊 (The purse to encourage having excellent sons) 571n

Suona 嗩吶 (a reed instrument) 255n

Supernatural punishment for playwriting 225

Superstition (mixin 迷信), content of plays 100n, 325, 430–31, 459n;

revision of 249n;

Xikao shukao attitude on 389–90;

versus myth 390;

cut or quarantine 309n, 411n, 418n;

plays that are anti-superstition 389, 497;

ban 449, 452n, 468n, 470;

supernatural content without intent to persuade to goodness to be censored 455n

Supporting actors (pengjue 捧角) 93

Suzhou Kunju Company 586n

Table of contents in playscripts ;

aria type and musical mode specified in table of contents 255–56n, 258–59

Table, perform plays (including martial ones) sitting at . see Qingyin zhuo

Tableau photos 82

Tabloid press 65;

and Jingju stardom 36;

and spread of Jingju 42

Taihe zhengyin pu 太和正音譜 (Formulary of correct sounds of an era of great peace) 159n

Taiping Rebellion 12, 34n, 240, 241–42n, 247n, 268–69, 276;

surrended general Li Shizhong 227n;

troupe maintained by Chen Yucheng 268–69;

troupe maintained by Li Xiucheng 269n

Taiwan National University and Jingju 521n;

class on X;

student club X

Taiwan opera 116n

Taiwan, Jingju in 40–41;

preservation of Jingju under Nationalists 41n;

attempts to nativize (bentu hua 本土化) 41n;

lack of specialization in role-types seen as problem 137n;

policing of unauthorized use of PRC Jingju material 442, 464, 464–65n;

once held near monopoly of government support 461;

main troupes once attached to military branches X, 461–62;

experimental Jingju 464;

PRC troupes allowed to come perform 664–65;

playwriting 521

Talks at the Yan’an Forum on Art and Literature 466

Tan Chuyu xiyu chuanqing ;

Liu Miaogu quzhong sijie

譚楚玉戲語傳情

;

劉藐姑曲中死結 (Tan Chuyu conveys his love through acting; Liu Miaogu dies for chastity when the aria comes to an end) 73–74n

Tan Fuying 譚富英 90n, 247n, 541n

Tan Huangling 嘆[ 探] 皇陵/靈 (Sighing [Paying a visit] at the imperial mausoleum) 365n, 524n, 590

Tan qinjia 探親家 (Visiting the in-laws) 143n

Tan Wei 譚偉 ;

on Huidiao 徽調 (Anhui tunes) 15n

Tan Xiaopei 譚小培 560n;

recorded in place of his father 87n, 279n

Tan Xinpei quanji 譚鑫培全集 (The Collected Works of Tan Xinpei) 279

Tan Xinpei 譚鑫培 (Xiao Jiaotian 小叫天) 57, 113, 178–79n, 181n, 265n, 311n, 317, 318n, 326, 334n, 391n, 393–94n, 397n, 399n, 402, 416–17, 419, 438n, 485, 540n, 541, 554, 559, 561;

no formal schooling 276;

melded together the three phonetic systems of Jingju stage pronunciation 19–20;

and Tianjin 33;

got start in Shanghai and Tianjin 34;

testimony for Pathé recordings booklet 86–87n;

fees for recordings 87n;

counterfeit recordings 87n;

poach hualian roles 139–40;

stage name appears at head of some palace playscripts 167n;

change performed text to prevent theft 201;

insist on Yu Shuyan not change aria text 202n, 280;

as playwright/adapter 267, 276–80;

granted official rank and name changed by Cixi 277;

official kneel to him 277;

reputation for changing play text 278;

no brain trust 278;

problems with his play texts because of his poor literacy 279–80;

apparently rare example of him use a playscript 280n;

and his Silang tanmu 412–413

Tan Yinshan 探陰山 (Investigating Mount Yin) 125n

Tanaka Issei ;

on Anhui/Huizhou merchants and the transmission of opera 15n

Tanci 彈詞 (lit.: plucking songs) 72

Tang Xianzu 湯顯祖 104, 220–21, 231–32;

try to prevent actors and revisers changing his playscripts 212–13n;

work penname into play prologue 223;

chuanqi play about him as playwright 225n;

supernatural punishment for writing Mudan ting 225n

Tang Yunsheng 唐韻笙 42n, 271n, 283n

Tanghui

堂會

. see Private performances

Tangzi 堂子, parlors or private residences of Anhui troupe and Jingju actors in which disciples waited on male patrons and performed arias or playlets for them 21;

banned in the Republic 32

Tanizaki Junichirō 谷崎潤一郎, consulted Xikao while in China 407n

Tanmu Huiling 探母回令 (Visiting mother ;

Returning the [arrow of] command) 413

Tanmu xiantu 探母獻圖 ([Silang] visits his mother and offers a map) ;

revised version of Silang tanmu 465n

Tanqin Xiangma 探親相罵 (Visiting the in-laws, Mutual cursing) 143n, 207n

Tanselle, Thomas ;

on the work as immaterial and the text as material XVIn

Tanxi shuoxi: Baiwei mingjia koushu bainian Jingju chuancheng shi 談戲說戲: 百位名家口述百年京劇傳承史 (Talking of plays, speaking plays: An oral history of the transmission of Jingju according to one hundred masters) 520n, 578–79n

Tanzhuang 探莊 (Scouting out the manor) 540n

Tao Baichuan 陶百川 310

Tao Junqi 陶君起 96n.

Jingju jumu chutan

Tao Xiong 陶雄, on Anhui troupes and martial plays 15n

Tao’er xi 套兒戲 (mold plays) 162n

Taohua shan gangling” 桃花扇綱領 (The warp and weft of Taohua shan) 252n

Taohua shan 桃花扇 (Peach blossom fan), prop list in early edition 198n;

prologue 223, 250–51, 253n

Taohua wu 桃花塢, woodblock print producer 67n

Teaching plays orally . see Shuoxi

Teaching version (jiaoxue ben 教學本) 526n

Teaching, single-roles versus entire plays 164n;

old versus new plays 163–64;

commercial playscripts promise to replace teachers 165, 419n;

texts replace go to opera club to learn 419n

Teaching/teachable plays 119n

Technical terms (shuyu 術語), glossing of 555–56

Tekan 特刊 (special publications) 552, 553n;

for Mei Lanfang, Shang Xiaoyun, Xun Huisheng, and Zhou Xinfang 553n;

for a play 553n

Television and Jingju 80, 83–84;

main way Chinese relate to Jingju 83;

CCTV xiqu channel 83;

TV miniseries related to Jingju 83–85;

New Year’s galas and Jingju 84

Text, common sense definition of XV

Texts as tangible and material rather than non-material, immaterial, or intangible XVI, XVIn

Textual fixity 585–587, 587–89n;

and textualization XVn, 259,g 585–587;

and censorship XVII, 585;

and subtitling 586;

and audience decline 586;

last minute changes 586n.

Choice in playscripts

Textualization (transcription) and preservation and/or revitalization, in folklore studies XV-VI;

and non-native scholars XVII, XVIIn

Textualization and authorship 210–92

Textualization and fixation XV;

textualization can leave room for choice or improvisation XV;

of performance practice IX, XII;

and teaching XV;

and standardization of Jingju performance tradition 540, 547;

of parts of plays 196–201;

1948 claim that there are plays without playscripts that have been in circulation for many years 463n

Textualization as way to deal with dialect ;

for Mei Lanfang Hong Kong tour playscripts printed beforehand 40n. see Dialect on stage, Subtitles/Surtitles

Textualization of theater, studies of XV

Textualization reveals how bad Jingju playscripts are 205–206

Textualization studies XVI

Textualization, common sense definition of XV

Textualization, degree of by Chinese theater genre, spectrum from high to low 211–12

Theater (in house) periodicals 337n

Theater and education 51–56, 418n, 429–33

Theater and organized crime 39

Theater in China, ubiquity of 51;

belief in the power of theater 51, 445, 467, 524

Theater maxims (xiyan 戲諺) 194–95

Theater periodicals 185, 552–54

Theater review committees (xiju/xiqu shencha [wenyuan] hui 戲劇/戲曲審查[ 委員] 會) 451–524;

abolition 463n

Theater reviews . see Ju/xiping

Theater studies XIII, 302n, 351–52n, 352, 400–427

Theater, importance of in the West XVII, 340, 340n, 361, 423n

Theorization XV

Thirteen famous actors of Yiyang 69n;

Thirteen Stars of the Tongzhi and Guangxu Eras (Tong Guang shisan jue 同光十三絕) 567–68

Thirty Six Dramatic Situations, The 157n

Three Celebrations Troupe . see Sanqing Ban

Three Kingdoms plays 146, 150, 272–73, 366

Three Kingdoms serial plays 124n

Tian Han 田漢 215, 537n, 538n, 539n, 545;

on watching actors instead of plays 396n;

his plays banned by GMD and Japanese occupation 461n;

playwright and administrator 518;

playwriting prize named after him 519n

Tian Jiyun 田際雲, actor-playwright 183–84, 254n;

Tongsu Jiaoyu Yanjiu Hui play inspector 432n

Tian, Min ;

on increase of stage directions in zaju 164n

Tianbao shiyin shuju 天寶石印書局 190n

Tianchan Wutai 天蟬舞臺 (Tianchan Theater) 507n, 511

Tianhe pei 天河配 (The match by the Milky Way) 119n

Tianjiang qilin 天降麒麟 (Heaven grants a qilin) 245n

Tianjin and Jingju 33–34, 42n

Tianlei bao 天雷報 (Punishment by lightning) 138n, 167n

Tiannü sanhua 天女散花 (Heavenly maiden scatters flowers) 45n, 552n, 570;

performance rights case 428–29;

criticism of being too literary 529

Tianshui guan 天水關 (Heavenly Water Pass) 191n

Tianxian Chayuan 天仙茶園 242n

Tianxian pei 天仙配 (Match between heavenly immortal and mortal) case 444n

Tiao huache 挑華車 (Turning aside the carts sliding down the hill) 211n

Tiao jiaguan 跳加官 (Dance to ensure promotion) 136n, 142n

Tiaoshui kuangsheng 苕水狂生 304–305n

Tie gongji 鐵公雞 (The iron rooster) 37n, 242n, 269n, 449n

Tie 貼 (secondary female role) 130

Tiedan

貼旦

133, 233

Tiegong yuan 鐵弓緣 (The marriage affinity of the iron bow) 573n

Tigang xi

提綱戲

. see Mubiao xi

Tigang 提/題綱 . see Abstracts

Titles of plays ;

alternate titles 96–100, 102, 116, 196, 240, 244n, 446, 446–47n, 589–91;

alternate titles and censorship 99–100, 196, 463–64;

multiple titles for same play 96;

problems with titles 99n, 411, 441n;

alternate titles on the first pages of playscripts 183;

Xikao shukao complains about a title 411n;

performance works made from them 71n;

literary games/works using them 196–97, 302n;

numbers of characters in 107n, 196–97n

Tong Jingxin 佟晶心 352n

Tongchang 同場 (scene with many characters but allotment of singing uneven) 188n

Tongchui hualian

銅錘花臉

133, 137n, 508

Tongchun Ban 同春班 (Shared Spring Troupe), Tan Xinpei’s troupe, registration playlist 111–12n, 278n

Tongchun 同春 Troupe, owned by Taiping general 268–69

Tongku Shanhai guan 痛哭山海關 (Crying in Pain over Shanhai Pass) 453

Tongle tang 同樂堂, playscript copyshop in Beijing 174n

Tongnü zhan she 童女斬蛇 (The maiden decapitates the snake) 27n, 389;

Tongsu Jiaoyu Yanjiu Hui anti-superstition play authorship 430–31

Tongsu Jiaoyu Yanjiu Hui 通俗教育研究會 (Bureau for research on popular education) 429–33, 435, 445n, 448, 501n, 554n;

evaluation functions 430, 432n;

playwriting activities 430–33;

wrote about one hundred plays but only several tens performed 431–32n;

conditions of use and revision for Bureau plays 430–431n;

criteria for censorship or promotion 430n;

publications 432–33;

list of banned plays sent to 448n;

Hebei branch 449n. see Tongnü zhan she

Tongsu jiaoyu 通俗教育, (popular education) 429

Tongxia 同下 [all exit] 411

Topical categories of plays other than Jingju ;

for zaju 159n;

for chuanqi plays 159n

Touring circuits 34

Tourist Peking opera 47–48, 118, 370, 410n, 571n

Touxi

偷戲

. see Steal plays

Traditional plays (chuantong jumu 傳統劇目) 115n

Tragedy 142n, 156, 156n;

and the tragic 156n;

Western valuation of 156

Transcribing pronunciation 210n

Transcription and inscription XVI, XVIn

Transcription and preservation or revitalization, in folklore studies XVI

Transcription versus rewriting XVI

Transcription, impossibility of transcribing all aspects of performance XVI, 210n

Translation of playscripts 581–82;

bilingual editions 545, 547–48; see Scott, Zhongguo Jingju baibu, Zhongguo xiqu haiwai chuanbo gongcheng congshu

Translation, mistakes in translation in English subtitles and programs XI

Transportation, new forms of, and spread of Jingju 42

Trigault, Nicholas 51n

Trilogy of plays about actors (lingren sanbu 伶人三部) 522n

Troupe playlists 102, 106–107;

to perform in palace 111, 111–12n

Troupe/resident playwrights XIV, 272–73, 282, 288–189, 291–92, 506–507, 511, 513, 518–20;

asked to write for actor outside the troupe 507n

Troupes and exclusive use playscripts (zhuanyong 專用劇本) 438

Troupes, number of actors in a troupe 7, 130;

number of actors put on stage in palace theater 8;

number of actors in Anhui troupes large, able to mount plays at different venues at the same time 20n;

eighteen insufficient 233

Tschanz, Dietrich ;

on spoken drama in Shanghai schools 25n

Tsuji Chōka 285n, 393n, 448, 557n;

on actors and photographs 80n;

thanked actors for permission to quote from their plays 393n;

helped Tanazaki watch plays 407n

Tu niu bao 屠牛報 (Retribution for [privately] butchering an ox) 248–49

Tuan 團 (rounded) pronunciation 543, 545

Tuanyuan 團圓 (reunion), scene label in Chuqu plays 184–85n

Twelve-category role-type system 130n, 233n

Twenty-six nationally banned (in the PRC) plays 118, 159n

Types of plays, Jingju 123–62;

definition of “play,” 96, 589;

oscillation between short and long forms 124

Types of playscripts 162–209

Typeset editions of Jingju playscripts, early 182–83;

Jile shijie 230

Typesetting, problems caused during 414n, 418n;

characters upside down or on their sides 417n;

sight loans and phonetic loans 417n

Uncle Tom’s Cabin 25n

Variety acts (shijin zashua 十錦雜耍) 262n

Victims of Opium, 1916 film 82n

Video, transcribed lectures (or interviews) . see Oral history of Jingju, Shuoxi

Vietnam, play about 183–84

Village Compact (xiangyue 鄉約) lectures 237–38;

criticism of in Yu Zhi play 138n

Voice of the teacher and shuoxi in new media 576;

less likely to be addressed only to one’s disciple(s) 576

Voice quality ;

and role-type 132

Wai 外 (secondary male role) 130, 133, 134, 299n

Waiguo 外國 (foreign lands) ;

possible Jingju play content category 161

Waixue 外學, performers and teachers brought into the palace to teach eunuch actors 17, 167n

Wan Fengshu 萬鳳姝 , 568n

Wan 完 (complete) written at the end of the entire play 243n, 411;

added in Guoju dacheng version 411n

Wan, Margaret B. 67n

Wang Anqi 王安祈 295n;

on xiaoxi in Jingju 124n;

on scene divisions in Jingju 187–88n;

on categories of plays prohibited in Taiwan 464n;

on actor-centered versus playwright-centered drama 473n;

as playwright 521

Wang Baochuan 王寶川 (Lady Precious Stream) 64n

Wang Cheng 王程 524n

Wang Dacuo 王大錯 38–39n, 297n, 323n, 371, 373–75, 388–90, 399, 590n;

penname Lilao 櫪老 373–74;

lament some plays drop out of performance 119;

non-Xikao activities 301–302n;

and Wuxia Jian’er 315–16n, 373–74;

author of shukao in Xikao 317n;

ad for third installment introduces him and his work on the shukao 362;

editorial work on Xikao 363;

variety of signatures to his calligraphy 364n, 375n, 382;

and Wang Ding 375–76;

Wang Dacuo of Qingpu 376–78;

Wang Dacuo of Suzhou 378;

Wang as Wang Ding 381–82;

Xikao editorial responsibilities 377–78, 384n;

commentary editions of Sanguo yanyi, Xixiang ji, and Du Fu’s poetry 378–81;

concerns about included plays in Xikao 388–91

Wang Ding 王鼎 375–76. see Wang Dacuo

Wang Dungen 王鈍根 203n, 303–305, 326, 341n, 363, 371–72, 374–75, 376n, 381, 384–86, 391;

director and stage manager of theater group 385–86;

editor and writer of preface and liyan for Xikao 356, 363;

opinion of ordinary actors 386

Wang Fengqing 王鳳卿 318n

Wang Fushou 王福壽, praised as one great big xikao 408n

Wang Guifang 王桂芳 413n

Wang Guifen 汪桂芬 179, 398n, 399n, 402;

counterfeit recordings of 86n

Wang Guowei 王國維 322–23

Wang Hongshou 王鴻壽 164n, 325n,

as actor-playwright 267–71;

son of official who owned opera troupes but had to flee when father and family executed 268;

calligrapher 270;

served twice (briefly) as an official 270

Wang Hongwen 王洪文 472

Wang Jide 王驥德 212–13n;

on preparation to be playwright 395n

Wang Jingwei 汪精衛 423n, 460

Wang Junqing 王均卿 , 310

Wang Limei 王麗梅 ;

on Kunqu as “feminine,” 12n

Wang Mengsheng 王夢生 16n, 527n

Wang Qinruo 王欽若 138n

Wang Qiugui 王秋桂 (C. K. Wang) 308n, 314n, 373

Wang Shaolou 王少樓 561

Wang Shifu 王實甫 231, 233n

Wang Xiaonong xiqu ji: Jingju 汪笑儂戲曲集: 京劇 (Collected Chinese indigenous theater plays by Wang Xiaonong: Jingju) 285n, 287n, 550n

Wang Xiaonong 汪笑儂 40n, 148n, 184, 278n, 282–87, 363, 391–92n, 396, 401n, 418n, 550–51;

Manchu and an official 282–83;

recluse among actors 283, 404;

had juren degree 283n,

published poetry 285, 550;

gave and published lectures 485;

wrote book on theater reform 285n;

anthology of his plays published 285n;

plays not always completely written out 286;

publish plays in periodicals 438n;

political criticism in his plays 447;

Wang school of performance 550n;

very long arias 550n;

wrote commemorative poem for playscript 558n

Wang Xinhua 王新紀 523

Wang Yan 王岩 343n

Wang Yangming 王陽明 237

Wang Yaoqing xiansheng shuoxi 王瑤卿先生說戲 (Mr. Wang Yaoqing tells plays) 577n

Wang Yaoqing 王瑤卿 88n, 162n, 263, 284, 318, 394n, 403n, 570;

playwright who focused on matching text with music 267, 268n, 273–76;

adapter rather than creator 273–74;

friendship and collaboration with Chen Moxiang 275, 374n, 487, 491n, 493–94, 497–98, 501, 503;

perform in palace 274;

adapt Empress Dowager Cixi’s lyrics to make them singable 274;

studied to go into trade 274;

combine role-types 277;

acknowledged as director on program 483n;

not willing to perform salacious plays 482;

credited as advisor for a play 519n;

play series 539n;

on notating Pekingese (Jingbai) 544n;

photos of him shuoxi 570;

phonograph recordings of him shuoxi 577

Wang Yufang 王玉芳 556

Wang Yurong 王玉蓉 88n

Wang Zengqi 汪曾祺 523n

Wang Zhengyao 王政堯, on Prince Che 170, 170–71n

Wang Zhongsheng 王鐘聲 447n

Wang Zicheng 王梓丞 526n, 546n

Wangmao laosheng

王帽老生

132

Wanhua xi 浣花溪 (Flower washing brook) 342n

Wanli xunfu 萬里尋夫 (Searching for her husband over ten thousand li) 297n

Wanxiao dan

玩笑旦

133, 207n

Wanxiao ju 玩笑劇 (farce) 157

Wanxiao 玩笑 (broad comedy) ;

Xixue huikao topical category 160

Wawa sheng

娃娃生

133;

role-types that wawa sheng characters can also be played as 138n

Wax cylinder recordings 88n

Wei Changsheng 魏長生 ;

male Qinqiang performer of female roles of loose morals, created new ways to simulate women’s hair and bound feet 12–13;

forced to leave Beijing 13

Wei Xiaoping 魏曉平 479n

Wei Ziyun 魏子雲 521n

Weiman 圍幔 (curtain used on stage to block view of scenery or props) 260n

Weisheng 尾聲 (Coda), short instrumental piece used to mark the end of a play, in playscripts 243n

Weishui he 渭水河 (The Wei River) 120n

Weixie 猥褻 (indecent) 449n

Wen Jiabao 溫家寶 61

Wen Ruhua XX

Wen Zhaoguan 文昭關 (Civil Zhao Pass) 299n

Wenchang 文場 (civil scene) 188n;

civil (melodic) half of the orchestra 450n

Wenchou

文丑

134, 139

Weng Ouhong bianju shengya 翁偶虹編劇生涯 (My life writing plays) 70n, 206n, 395n, 417n, 458, 475, 489n, 504–505n, 506–507n, 508–12, 513n;

as material for playwriting class 512n

Weng Ouhong 70n, 482, 504–13, 518–19;

literati playwright how was an amateur actor XVIII;

correct playscripts 206n;

complains [Jingju] playwrights’ names are forgotten 395n, 507n;

on literati input on playscripts 417n;

and Minzhong xiaoshuo xiqu duben 457–58n;

on Hongdeng ji 475n;

open about earning income from playwriting 482, 505;

lower percent of plays performed than Chen Moxiang 483;

chair of Xiqu Gailiang Weiyuan Hui 489n, 510;

on Chen Moxiang 489n;

number of plays written 504n;

why so many of his plays did not get performed 511–12;

most prolific Jingju playwright 504;

connections and comparison to Cheng Moxiang 504–505n, 512;

collaborated with Chen Moxiang on one play 505;

wrote memoir that focuses on his career as a playwright 505;

claimed to have been a professional playwright all his life 505;

wrote two articles on playwriting 505n;

amateur performer of hualian roles who was interested in and did get paid for perfomances 505, 509;

well-known performer of hualian roles and expert on lianpu 505n, 510n;

got surcharge for tickets of performances of his plays 505, 505–506n;

resident playwright for Zhonghua Xixiao student troupe and staff playwright for theater companies but retained a certain amount of independence 506;

organized a troupe of Zhonghua Xixiao students after the school closed and took them on tour 506, 506–507n, 511;

able to register the student troupe because his name had been included in a list of hualian performers by their guild 506–507n;

advertised as a master playwright by the Shanghai theater that hired him to be resident playwright 507, 511;

credited as playwright and director 507n;

his plays published as separate booklets and in an anthology 507;

wrote for fairly wide spectrum of actors 508, 512;

competent in staging and technical aspects of playwriting 508;

divides playwrights into three groups (actor playwrights, literati playwrights in general and those able to collaborate with actors) 508–509n;

on preparing to become a playwright like shopkeeper collecting stock for his store 508;

father against him become actor so performs secretly till found out 508–509;

graduates high school and gets job teaching but decides to quit and write articles for publication in the morning and act in the afternoon and evenings 508–509;

learns to play xiaoluo and paint his face 509;

gets paid (if less than professionals) for acting 509;

offered job teaching culture courses at Zhongghua Xixiao but conflicts with acting but agrees to do external work 509;

asked to correct and then to write plays for Zhonghua Xixiao and help stage them 510–511;

Zhonghua Xixiao teachers resent implied criticism of them and keep testing him but are won over by his competence 510–11;

visualizes small stage in his head as he writes plays 511;

collaborates with actors writing plays and gives them credit 511, 513;

political interference on his playwriting 512n;

used Jin Shengtan’s techniques 512;

successful in teaching playwrighting skills to others 513;

compared to Fan Junhong 513–14

Wenji gui Han 文姬歸漢 ([Cai] Wenji returns to the Han) 308n

Wenkang 文康 74n, 264

Wenming xi/xinxi 文明戲/新戲 (civilized plays/new civilized plays) 148, 450;

as examples of new plays 25;

participation of Jingju actors and singing of Jingju arias in 25;

supposedly easier to perform 75;

and abstracts 200–201;

and Ouyang Yuqian 286;

and Wang Xiaonong 286

Wenren bianju 文人編劇 (literati playwright) 506

Wenwu laosheng

文武老生

132, 136

Wenwu quanchang 文物全場 (combined civil and martial scene) 188n

Wenxi 文戲 (civil plays) 67, 154–55

Wenyi gongzuo zhe

文藝工作者

. see Cultural worker

Wenyi shuju 文宜書局 178

Wenyi shuju 文藝書局 180n

Wenzi yu

文字獄

. see Literary inquisitions

Western drama in China 38n

Western gaze, Chinese theater and XVII, 46

Western ideas of drama in China XVII

Western mechanized printing technology (lithography, etc.) and the creation of mass audiences 73

Western music, thought to be more scientific in China and Japan 585n

Western opera libretti, sold and consulted at performances 205n

Western opera 3, 126n;

repertoire of 104;

addicts of 92;

recycle old material 161n;

supremacy of composer over librettist recent 205n;

librettist income 205–206n;

increasing notational fixity 585n

Western theater, associate gravitas and seriousness of purpose to 156

What’s on the stage is real/true 53–54

White Snake , see Fenmo qushu

Wichmann, Elizabeth (Elizabeth Wichmann-Walczak, Wei Lisha 魏莉莎), on names for Jingju 2n;

direct English language productions of Jingju 49–50, 59n;

on the “emotional-progression structure” in Jingju 189n;

on Jingju music and aria types 259n;

on reform at Shanghai Jingju Company 477n;

on Cao Cao yu Yang Xiu 478n;

on the “Jingju symphonic dramatic poem,” Mei Lanfang 523n

Wilder, Thornton 48

Without fixed scripts 無固定劇本, category of play to be banned 470

Woodblock printing (muke ban 木刻版), xylography 177

Woodblock prints, spread of Jingju through 42, 65–69, 186n;

portrayal of stages in 68;

of children performing plays 68–69, 84n

World as stage 356, 359

Wu erhua

武二花

133

Wu Han 吳晗 153, 473–74;

asked by Mao Zedong to write on Hai Rui 473

Wu Jiang 吳江 571

Wu Jinlin 吳金林, playscript dictator 177n

Wu Kunfang 吳堃芳, expert bachang, worked for Xun Huisheng 495n

Wu laosheng

武老生

132, 136, 139

Wu Mei 吳梅 312, 351n, 423n

Wu Qiechang 吳契厂, on Chen Moxiang 502n

Wu shi zi tong 無師自通 (without a teacher able, by oneself, to penetrate [all the secrets]), a claim made in some commercial playscript collections 165

Wu Song 武松, plays that feature him as a group 151, 151–52n

Wu Xiaoling 吳曉鈴 255n

Wu Xiaoru 吳小如 90n, 279n;

on Yu Lianquan perform banned plays 470n

Wu xiaosheng

武小生

133, 139

Wu Xingguo 吳興國 140–41n

Wu Xinmiao 吳新苗 268n, 516n

Wu Yuehua 伍月華 441n

Wu Zhaoguan 武昭關 (Martial Zhaoguan) 14, 561n

Wu Zhenxiu 吳震修 46n

Wu Zuguang 吳祖光 78n, 91n;

as supporter of actors 93;

consulted Xikao 407n

Wubai chu ximing 五百齣戲名 (500 play titles) 71n

Wuban 武班 (martial troupe) ;

name for Anhui troupes 15n

Wucai yu 五彩輿 (The fivecolored carriage) 199n

Wuchang 武場 (martial scene) 188n

Wuchou

武丑

134, 139, 271n;

role-types that wuchou characters can also be played as 138n

Wudan

武旦

133, 328;

role-types that wudan characters can also be played as 138n

Wudi dong 無底洞 (Bottomless cave) 465n

Wuhan Hanju Yuan 武漢漢劇院 (Wuhan Hanju company) 40n

Wuhan shishi: Huiyin tang 武漢時事: 誨淫堂 (Current event in Wuhan: Hall for the proselytization of lewdness) 53–54

Wuhan ;

fourth most important city for Jingju 39

Wuhang

武行

134

Wujia po 武/五家坡 (Wu Family Slope) 162n, 302–303n, 388

Wujing

武凈

133, 202n, 328

Wuju

婺劇

;

a local theater tradition in Jinhua, Zhejiang, one of the last places where there is a professional troupe that uses Huidiao 15n

Wukong xi 悟空戲 (Sun Wukong plays) 152n.

Hou’er/Houzi xi

Wupen ji 烏盆計 (The black pot plot) 144n

Wupu 舞譜 (dance notation) 569–70n, 573–74n

Wuqiang 武強 woodblock prints 67n

Wuren yi 五人義 (Five righteous men; a.k.a., Shisan taibao fan Suzhou 十三太保反蘇州 [13th “Prince” rebels in Suzhou]) 508n

Wusheng 武生 (male martial role) 37n, 114n, 123n, 133, 136, 137n, 140n, 141n, 291, 328;

role-types that wusheng characters can also be played as 138n;

poach hualian roles 139–40;

oral history 579n

Wusong ling 蜈蚣領 (Scorpion Ridge) 206n

Wutai guizhi 舞臺規制 (stage regulations) 562n

Wutai shenghuo sishi nian 舞臺生活四十年 (Forty years of life on the stage) 52, 488;

on Tongnü zhan she 431n

Wutong yu 梧桐雨 (Rain on the pawlonia) 129

Wuxi 武戲 (martial plays) 142, 154–55;

hard for amateurs to perform 501

Wuxia Jian’er 吳下健兒 (Strong fellow from the Suzhou area) 203n, 299, 372–74, 376, 391, 399;

photo of him whose caption identifies him as Gu Qianyuan 顧乾元 and Xuanlang as penname 373;

and Xikao xinbian 299, 315–16n, 335–36, 373;

source of playscripts and notes for Xikao 359–60;

author of shukao in Xikao 317n, 319n, 332–334, 333n, 258;

Shenbao “Xikao” column self-introduction 326, 372;

author of other theater pieces in Shenbao “Ziyou tan” section 330, 330n;

and the development of theater reviews 372, 372n;

wrote fiction 373n;

and Wang Dacuo 315–16n, 373–74, 374n.

Shenbao “Xikao” column

Wuxia ju 武俠劇 (martial arts plays) ;

Minzhong xiaoshuo xiqu duben content category 126

Wuxian pu 五線譜 (five-line score), Western musical notation, used to transcribe Jingju music 190–91, 276, 548

Xi Jinping 習近平 61–62

Xi mangzi 戲忙子 parasites who do things for star actors 502

Xi tidiao 戲提調 (someone who puts theater programs together for others) 32, 277n, 508

Xi Xiaobo 奚嘯伯 89n

Xi yinyuan 戲姻緣 (A playful marriage affinity) 319n

Xi Zipei 席子佩 384

Xi’er ji 洗耳記 (Washing out his ears) 286n, 551n

Xia Renhu 夏仁虎 ;

on similarities between Kunqu and Yiyang 10n

Xia Yuerun 夏月潤 122n, 400n, 404n

Xia Yueshan 夏月珊 184n, 351n, 400–401, 422n

Xian Xichuan 獻西川 (Offering up Western Sichuan) 297n

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