參軍戱 一考
A Study of Canjun(參軍) Drama
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Popular play of Tang(唐) Dynasty, Canjun drama was a comic play performed at the court originated from Actor(優) and Actor Play(優戱). Spirit of satire without upsetting power man was identity of this drama. Maintaining satire part regardless of change in content and formation was crucial. As politics shift as time passes by, however, Role of Actor in Canjun drama faced change as well: the fixed part was added for easier production, content of the play was diversified and more performing techniques were developed. True identity of Canjun drama faded away as it adapts to the new time period. Pungent satire was substituted by dry jokes and other techniques. Singing of actress was added in attempt to bring Canjun drama back, but it ended up merged into other plays in Song(宋) Dynasty. It does not mean Canjun drama didn’t dedicate in the history of Chinese drama. They should not take it for granted of the fact that Canjun drama has become nutritious element of performing arts in Song Dynasty and further periods. The play has carried on the tradition of Actor for a long time. It is evident that Canjun directly influenced Fuijing(副淨) as well as Clown which mainly consists of farces. You could say that humorous effect and satire in every old Chinese drama was anyhow affected by Canjun drama. These two factors were significant in attracting audiences regardless of the genre and the size of drama; small play led by actors and large play led by actresses. As follow, Clown is the preserve of Actor also inherited in tradition of ancient ‘Actor’. It’s unfortunate that Canjun drama could not developed as main frame of spoken parts of small play while large play had song and dance. We blame it for failure in maintaining the identity of Canjun drama.
Abstract
Popular play of Tang(唐) Dynasty, Canjun drama was a comic play performed at the court originated from Actor(優) and Actor Play(優戱). Spirit of satire without upsetting power man was identity of this drama. Maintaining satire part regardless of change in content and formation was crucial. As politics shift as time passes by, however, Role of Actor in Canjun drama faced change as well: the fixed part was added for easier production, content of the play was diversified and more performing techniques were developed. True identity of Canjun drama faded away as it adapts to the new time period. Pungent satire was substituted by dry jokes and other techniques. Singing of actress was added in attempt to bring Canjun drama back, but it ended up merged into other plays in Song(宋) Dynasty. It does not mean Canjun drama didn’t dedicate in the history of Chinese drama. They should not take it for granted of the fact that Canjun drama has become nutritious element of performing arts in Song Dynasty and further periods. The play has carried on the tradition of Actor for a long time. It is evident that Canjun directly influenced Fuijing(副淨) as well as Clown which mainly consists of farces. You could say that humorous effect and satire in every old Chinese drama was anyhow affected by Canjun drama. These two factors were significant in attracting audiences regardless of the genre and the size of drama; small play led by actors and large play led by actresses. As follow, Clown is the preserve of Actor also inherited in tradition of ancient ‘Actor’. It’s unfortunate that Canjun drama could not developed as main frame of spoken parts of small play while large play had song and dance. We blame it for failure in maintaining the identity of Canjun drama.
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