A Study On The Rap Cihua Of The Yuan Dynasty

The old villages, enclosed life, religious ceremony, simple music, enthusiastic participation, vent type outcries, and the "Anhui Guichi Nuo opera" that is still alive, all those organically link and echo the "Banchang Cihua" hidden deep in the historical record of the Yuan Dynasty.The word "Cihua" was first appeared in the Yuan Dynasty, and there were many records about the "Singing Cihua", "Ziban Cizhuan" "Banshuo Cihua" and "Banchang Cihua" in the historical data of the Yuan Dynasty. Based on the field study of the "Anhui Guichi Nuo opera" and the relevant historical documents, taking the "Rap Cihua in the Chenghua Period of the Ming Dynasty" unearthed in Jiading of Shanghai in 1967 as a reference, this dissertation" studies on the "Cihua" version and the performing style in the Yuan Dynasty, so it was set a title of "Research on the Rap Cihua of the Yuan Dynasty".The"Rap Cihua in the Yuan Dynasty" is not a focus in academic circle. Before liberation, Ye De-jun, Sun Kai-di and other scholars did lots of pioneering research mainly on the title, system of the "Rap Cihua in Yuan Dynasty", the compilation of the "Cihua" in the Yuan Zaju, the relations between the "Rap Cihua in Yuan Dynasty" and the Song&Jin Zaju, meat puppets, shadow plays. However, owing to the lack of empirical data at that time (Most of them did not see or failed to use the "Rap Cihua in the Chenghua Period of the Ming Dynasty" unearthed in Jiading of Shanghai in 1967), many of their views were put forward under the premise of hypothesis, many issues still remain unresolved.The Anhui Guichi Nuo opera, performed for the purpose of worshipping ancestors and characterized by "Xian sheng" rapping on the backstage or the stage side, masked actors performing dumb show on stage simultaneously, is called the living fossil of Chinese drama. The academic research on the Anhui Guichi Nuo opera over the last decades of years has a main tendency to the "Dance culture anthropology", "Musical anthropology", "Nuo Culture itself, "Guichi Nuo opera ritual and performance", and so on and so forth. But for the following questions: Why the script of Guichi Nuo opera and the text of the "Rap Cihua in Chenghua period of Ming Dynasty" are highly similar? In which why we saw the emergence of a large number of the folk characters, the proper name and the alien customs such as "Huihui" and "Dada" of the Song& Yuan Dynasties? And why the Nuo opera text and performance reflect the early Southern Drama form? Some scholars came to those issues occasionally, but they never had a special research on that, so we have no definite answer till now. This dissertation aims to explore all those issues, so as to clarify the formation time, background, and the performance form and text feature of the "Rap Cihua in Yuan Dynasty".The research on the "Rap Cihua in the Yuan Dynasty" has the following several points:firstly, to position the "Rap Cihua in the Yuan Dynasty" that has disappeared for hundreds of years in the development history of the Chinese traditional opera and folk art; secondly, to show more clearly the transition of the Chinese drama script from "Qi Yan body lyrics" to "music lyrics", and so as to provide the scientific support for the "research on Southern Drama"; thirdly, to explore a new research method in the field of rap literature by the documentary study of the ancient literary tradition in combination with the living field survey Fourthly, to provide specific examples for the assumption by Sun Kaidi that the opera Zaju since Song&Yuan Dynasties came from the puppet shadow play, and to demonstrate a complete template for the theory of "How Societies Remember" by the American sociologist Paul Connaughton. This dissertation is divided into ten chapters:the first chapter, introduction, it explains the basic concept, the origin of the topic, a review of the previous research achievements and the research value and significance of the "Rap Cihua in the Yuan Dynasty". The second chapter, further discussion on the basis of the research results by scholar Ye De-jun and Sun Kai-di with conclusions of approval or denial. The third chapter, to launch the microscopic study on the "Rap Cihua in the Yuan Dynasty" by taking Bao Gong Defeating Monsters as an example and analyzes the interactions between the "Rap Cihua in Chenghua period of the Ming Dynasty" and the "Rap Cihua in the Yuan Dynasty". The fourth chapter, the author discusses the typical characteristics of the "Rap Cihua in the Yuan Dynasty" from the perspective of text features, performance form, performance time and locations. The fifth chapter, the social commemoration of the "Anhui Guichi Nuo opera" in the Yuan Dynasty number one--the "Commemoration ceremony", based on a large amount of original data obtained from the solid field investigations, the author explores a series of "commemorative ceremony" of the Guichi Nuo opera for the purpose of "worshipping ancestors", so as to analyze its deeper purpose behind that--the continuation of the royal family Zhao of the Song Dynasty. The sixth chapter, the social commemoration of the "Anhui Guichi Nuo opera" in the Yuan Dynasty number two--the "Body practice", the author explains the characteristics of the Yuan Dynasty that the Guichi Nuo opera shows from many aspects, based on the Nuo opera text, genealogical literature of the family that participate in the Guichi Nuo opera performing, records and interviews at the scene of the Nuo opera. The seventh chapter to the ninth chapter, the author starts detailed discussion on the "Writing practice"--the social commemoration of the Anhui Guichi Nuo opera in the Yuan Dynasty, taking the three plays "Zhang Wen-xuan ", "Hua Guan-suo" and the "Xue Ren-gui conquest" as an example respectively to analyze the origin, characteristics of the "writing practice" of the Anhui Guichi Nuo opera and its relationship with the "Rap Cihua in the Yuan Dynasty". The tenth chapter is the conclusion.It should be noted that the structure of this dissertation is focusing on the theory "How Societies Remember" proposed by the American sociologist Paul Connaughton:"For the social commemoration to work, then, we are likely to find it in the commemoration ceremony. When (if and when) the ceremony is put into acting, we can prove that it has the commemorative significance." The author believes that "How Societies Remember" theory can not only help us to better understand the historical data in the related records of the "Cihua" in the Yuan Dynasty, but also explain how the text and performance of the "Anhui Guichi Nuo opera" become the retrospect and proof of the "Rap Cihua in the Yuan Dynasty". And that also is another academic originality of this article.