9.1 Development of zaju drama and its structure

The Yuan Dynasty saw the rise of zaju, a unique form of Chinese drama. This theatrical style featured a four-act structure, blending music, dialogue, and distinct character types. Zaju plays captivated audiences with their engaging storytelling and rich artistic elements.

Zaju's development marked a significant shift in Chinese literature and performance. Its structured approach and incorporation of musical modes allowed playwrights to craft complex narratives. The interplay of various role types created dynamic performances that resonated with both courtly and common audiences.

Origins and Development of Zaju

Emergence of Zaju in the Yuan Dynasty

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• Zaju, a form of Chinese drama, originated and flourished during the Yuan Dynasty (1271-1368)
• Developed from earlier forms of Chinese theater, such as the nanxi (southern drama) of the Song Dynasty
• Zaju became the dominant form of drama during the Yuan period, enjoyed by both the court and the general public
• Playwrights of the time, such as Guan Hanqing and Wang Shifu, wrote numerous zaju plays that are still performed today

Distinctive Four-Act Structure

• Zaju plays are characterized by their unique four-act structure
• Each act is known as a "fold" (折, zhé) and serves a specific purpose in the development of the story
• The four acts are:
  1. "Opening" (开场, kāichǎng): Introduces the main characters and sets the scene
  2. "Developing" (发展, fāzhǎn): Presents the main conflict or problem of the story
  3. "Twisting" (转折, zhuǎnzhé): Introduces a twist or complication in the plot
  4. "Concluding" (结局, jiéjú): Resolves the conflict and brings the story to a conclusion
• This structured approach to storytelling allowed playwrights to create complex and engaging narratives within a relatively short performance time

Components of Zaju Plays

Musical Elements: Qu Songs and Arias

• Zaju plays heavily incorporate musical elements, particularly qu songs (曲, qǔ) and arias
• Qu songs are a type of lyrical poetry set to music, featuring a combination of variable line lengths and rhyme schemes
• Arias, known as "set tunes" (曲牌, qǔpái), are the main musical components of zaju plays
• Arias are performed by the lead actor or actress and serve to express the character's emotions, thoughts, or actions
• The music of zaju plays is based on a complex system of modes and melodic patterns, with each aria following a specific musical structure

Spoken Dialogue and Prose Passages

• In addition to musical elements, zaju plays also feature spoken dialogue and prose passages
• Spoken dialogue is used for conversations between characters and to advance the plot
• Prose passages, known as "wedges" (楔子, xiēzi), are interspersed between the arias and serve several purposes:
  • Provide background information or context for the story
  • Describe characters' actions or the setting
  • Offer commentary on the events of the play
• The combination of spoken dialogue and prose passages with the musical elements creates a dynamic and engaging theatrical experience

Prologue and Role Types

• Zaju plays typically begin with a prologue, known as the "opening tune" (开场曲, kāichǎng qǔ)
• The prologue is performed by a special character called the "wedge" (楔子, xiēzi), who introduces the story and sets the scene
• Zaju plays feature a range of role types, each with its own specific characteristics and performance conventions
• The main role types include:
  • Sheng (生): Male lead roles, further divided into subcategories based on age and social status
  • Dan (旦): Female lead roles, also divided into subcategories such as the young maiden (正旦, zhèngdàn) and the older woman (老旦, lǎodàn)
  • Jing (净): Male supporting roles, often portraying villains or characters with distinct personalities
  • Chou (丑): Comic roles, responsible for providing humorous relief and social commentary

Characteristics of Zaju

Musical Modes and Performance Styles

• Zaju plays are characterized by their use of specific musical modes, known as "gongdiao" (宫调)
• The two main musical modes used in zaju are:
  1. Xianlü (弦律): A mode characterized by its bright, lively, and energetic melodies, often used for happy or exciting scenes
  2. Qinqiang (秦腔): A mode known for its sorrowful, plaintive melodies, used for sad or tragic scenes
• Each musical mode is associated with specific performance styles, including singing techniques, instrumental accompaniment, and acting conventions
• Actors and actresses specialize in particular role types and must master the specific singing styles and performance techniques associated with their roles

Significance of Role Types in Zaju

• The role types in zaju plays are not merely characters, but rather represent archetypal figures with specific attributes and functions within the story
• Each role type has its own distinct costume, makeup, and performance style, making them easily recognizable to the audience
• The interaction between different role types creates a dynamic and layered storytelling experience, with each character serving a specific purpose in the development of the plot
• For example, the sheng and dan roles often represent the main romantic interests, while the jing and chou roles provide conflict, humor, or social commentary
• The conventions associated with each role type allowed playwrights to create complex characters and relationships within the structured four-act format of zaju plays