The Book of All Things: Born for Joy

178. Youth Culture and Tourism - Drama (Part Two)

Xue Qingrou's singing was beautiful and melodious. Although it was somewhat disadvantaged compared to other songs, it was still well-received by everyone after the performance.

Gu Qianyi gave a brief, as usual, introduction: "Puppet theater, also known as string puppet theater. The puppets are mostly made of wood, about a foot in size, with strings attached to their limbs, head, and other connecting parts. The performer manipulates the puppets by pulling on the strings from above. It's also called suspended puppet, string marionette..."

As he explained, the staff quickly set up the backdrop behind him, changing scene props one by one in a short time, and soon a professional performance venue was set up.

"Next, please welcome Li Jiawei to perform 'Puppet Show' for us."

As Gu Qianyi began to narrate, the curtain slowly rose on the story.

In a dilapidated temple, there is a scholar, a puppeteer, and a life-size wooden puppet.

A scholar was traveling to the capital for the imperial examinations when he encountered a snowstorm on the way. He decided to take shelter in a dilapidated temple on the outskirts of the capital.

In that temple, he met them: an old man who performed a puppet show and his puppets.

It was a very strange feeling. The old man was dressed in tattered clothes, old enough to be halfway to the grave, and had nothing of value with him except for the puppet—the puppet was made to look like a delicate girl, so well-made that it looked as if it had just been painted, with a lifelike expression, and a tear hanging in the corner of its eye that made the scholar's heart flutter. Luckily, he didn't reach out to take it.

Needless to say, these tears could not be caught.

The scholar snapped out of his daze and looked at the two people in front of him again.

It's quite a coincidence to meet in this kind of weather. With nothing to do as the night deepened and the snow was heavy, I decided to sit with the old man around a campfire, roasting and chatting. Once we started talking, we couldn't stop. I listened to him ramble on for more than half an hour, and he told me everything that had happened in the past.

It turns out that when the old man was a child, he was so playful that he couldn't stop when he heard the bell. He knew that a puppet show was coming, so he would rush to the small stage and be captivated by the puppet show performed by the puppets on the three-foot red cotton carpet. In his excitement, he simply started to learn puppet shows.

Over time, his family tried everything—beating and scolding him—but seeing that they couldn't stop him, they had no choice but to let him be. That's how he entered the industry and acted his whole life.

Having wandered through countless mountains and rivers, a street performer is still just a street performer. What's left besides the carefree and unrestrained spirit of youth?

He had no home, no companion, and nothing left in his life except for this puppet that had been with him his whole life.

The old man burst into tears before he could finish speaking. He wiped his face with his patched-up sleeves, but no matter how much he wiped, he couldn't get it clean.

The scholar didn't know what to say, so he went along with the old man's words and coaxed him a couple of times. He then asked the old man to show off his skills. Unexpectedly, this trick worked. The old man blew his nose and stopped crying, and actually put on a show for him.

The old man who plays this role is a veteran of the theater and a national-level inheritor of the craft, so his culinary skills are naturally excellent.

A puppet flipped and bounced in his hands, dancing on the spot as if it were a living person.

In fact, scholars don't usually understand the bittersweet emotions in the plays, but the puppets dancing to the accompaniment of bells are breathtakingly beautiful. Even though they know that the puppets are just made of silk threads, they seem to come alive, making people want to hold their hands and help them. After watching, one can't help but sigh: This skill, this work, truly deserves a lifetime of performance.

After the dance ended, the scholars were stunned and said with heartfelt admiration: "Old man, you truly deserve to have performed your whole life."

Upon hearing this, the old man smiled while holding the puppet, but his expression changed immediately afterward.

He looked at the flickering campfire in front of him and muttered to himself, "My whole life, all I've done is this one thing, I've lived such a pathetic life, I've just wasted my whole life."

"Whose fault is it? It's all this thing's fault."

He stared at the exquisite wooden puppet in his arms for a long time: the snow was so heavy that we couldn't even get cotton clothes. We were about to not get through the winter. What use was it to you?

It's better to burn it—at least it can keep you warm.

Before the scholar could react, the old man flicked his hand, and the puppet went into the fire.

The scholar couldn't stop him, and couldn't even speak. He only regretted that he was too slow and couldn't stop him in time. All he could think of was "what a pity".

However, what happened next was something he would never forget.

The firelight licked at the puppet's beautifully adorned dress, scorching the delicately carved linden wood bones and producing crackling sounds.

In that instant, it suddenly moved and rolled over to its feet.

This person was none other than Yang Qingqing, the dancer who had been hidden among a pile of firewood since the beginning of the show.

Li Zichun had previously collaborated with him on "Moonlight" and had great confidence in her dance skills, so he called her over when he needed someone this time.

Her clothes were exactly the same as the previous puppets, and they looked even more lifelike in the firelight.

She gracefully bowed, the beauty mark at the corner of her eye gleaming. With a mixture of elegance and allure, she gave the old man a deep bow, her voice trembling with tears as she spoke: "I am grateful for your lifelong companionship, which allowed me to traverse countless mountains and rivers, and experience the warmth and coldness of human nature. Now, our bond ends here. At this moment of parting, my heart is like a cold candle, my sorrow boundless. Only a wisp of my soul remains, a lonely shadow and lingering fragrance, a shame to your heart. I can only offer myself to the fire, a dance as a gift, wishing you peace and warmth this night, so that our companionship may not have been in vain."

After Yang finished speaking, she slowly began to dance to Li Jiawei's song from the shadows: "I only wish your heart were like mine, then I would never betray your love."

Who mocks those who flaunt their beauty and arrogance? How can someone who has lost their soul be worthy of such treatment?

The spiderweb dancers are intoxicated; the lights are dim behind the curtains. You and I are the perfect match.

Losing you is the original sin; losing my soul is the only way we're a good match.

You are ragged, I am painted; side by side we walk through mountains and rivers.

You look haggard, but I'll brighten your day.

It was you, with tender eyes, who kissed the tears welling in my eyes, enacting the drama of separation and reunion, joy and sorrow, for whom?

Outside the cave, the trees are lush and green; all I see is darkness. Where in the world could there be anything more perfect?

Orchid fingers caress the mortal world like water

Hidden arrows are no problem, but the pangs of unrequited love are a real concern.

Singing of parting, a sorrow that has faded into nothingness, a soul-stirring melody that turns the heart to ashes.

May someone remember whom in their best years.

When you sleep, my dreams soar; when you wake, my soul returns to its source.

Joy and sorrow go hand in hand; the net of heaven and earth will never let you return.

Turn humility and gentleness into absolutes

You're wrong, but I refuse to be right; you're ignorant, and I'm clueless.

How could the burning anger in my heart be willingly stopped by adding more boiling water?

Even if you wither, I will not fade; even if you are weary, I dare not tire.

What can warm you for a thousand years?

The wind and snow faintly illuminate the white ends of autumn hair

A gentle glimpse of autumn waves lightly touches your brows

If you shed a single tear, if I can accompany you in your old age

Even when the spider silk turns to ash, it is a perfect departure.

The wind and snow faintly illuminate the white ends of autumn hair

A gentle glimpse of autumn waves lightly touches your brows

If you shed a single tear, if I can accompany you in your old age

Even if the spider silk turns to ash, it is still a perfect departure.

After the song ended, Li Jiawei disappeared into the darkness again.

Yang danced lightly, her movements as graceful as a flower, the silk threads on her body snapping as she raised her tearful face in the firelight. Suddenly, she smiled at the old man, then with a snap, she crumbled into the ashes, never to be seen again.

The fire burned exceptionally long and warm that night. Despite not having much firewood, the fire didn't gradually cool down until dawn.

The old man and I were lulled to sleep by the heartwarming warmth and drifted off to sleep in the dim firelight.

I don't know how much time passed, but I was awakened by the old man's loud crying. Looking at the white charcoal ash in front of me, he wailed just like the child who was stopped by his parents from watching the puppet show back then.

The scholar looked at the white ash before him and sighed. He had given his all, offering warmth just once. That one moment of warmth, and a lifetime of loneliness.

As dawn broke the next day, the old man finally realized that he was now truly alone!

The old man slowly stood up and bid farewell to the scholar. He was now truly alone, utterly desolate and forlorn.

Suddenly, as if he had thought of something, he laughed sadly and walked out of the dilapidated temple. The scholar did not know how to comfort him and watched him walk further and further away.

Amidst the glistening white snow outside, the scholar seemed to see the broken threads binding him, and couldn't help but laugh self-deprecatingly: "Ha, who isn't a puppet on a string in this mortal world?"

The scholar straightened his clothes, laughed loudly, and walked outside, muttering to himself Emperor Xuanzong of Tang's poem "The Puppet's Lament":

He carved a wooden figure of an old man, his skin wrinkled and hair white, just like the real thing.

After a short while, the music ended and all was quiet; it was as if life had been but a dream.

As the scholars departed, the stage lights suddenly went out, and the curtain slowly closed.

No one knows where the old man went in the end, what became of the scholar, or where the painted puppet's soul returned. No one can say for sure.

The skills one pursues throughout one's life in youth are reduced to ashes in a campfire. Aren't people in reality often the same way?

In today's world, where interests and pragmatism reign supreme, who didn't have a few unfulfilled dreams in their youth?

A moment of silence fell over the audience, followed by thunderous applause.

Gu Qianyi slowly went on stage after the applause subsided. He was also deeply moved when he saw the play. Such profound emotion is rarely seen nowadays.

Gu Qianyi smiled and said with intonation, "After the wine, I was inspired by the play 'Puppet Show,' which also accompanied the children to see the future."

"Alright, that's enough of the story for now. Let's move on to the next song."

"Please welcome Jiang Yiyi and the members of the Kunqu Opera troupe to perform the song 'Green Silk' for us."

As the curtain rose, Zheng Conghu and Jiang Yiyi, dressed in theatrical costumes, stood by the lotus pavilion and began to sing "Green Silk" to the music:

Fallen petals flutter and scatter, blurring my vision.

Fishing boats on the misty riverbank, their lights dim tonight.

I still live a life of blissful ignorance, laughing at the ever-changing world.

She sighs, her lamentations endless, a bitter longing for her lost love, a memory of bygone days.

Have you not seen my concubine dancing gracefully?

Have you not seen how I played the zither so beautifully?

Have you not seen my enchanting smile that captivates the soul?

Have you not seen my beauty fade and my redness diminish?

Don't you see my tears streaming down my face?

Don't you see a single strand of black hair evokes a lifetime of sighs?

Before we knew it, another year had passed.

For whom do the fireworks shine so brightly? Tonight, I'm still sleepless.

I sighed softly; the world is intoxicated.

The scenery outside the window changes as you please

The flickering lights invite the bright moon to join us in raising our cups and reminiscing about the past...

I tie up my black hair, hold onto my emotions, and fear not the storms of life. With drunken eyes, I see the world as but a fleeting dream.

Both are veterans who have been in the music scene for many years, so their collaboration was naturally smooth and effortless. The variations in their operatic singing were also catchy, beautiful, and pleasant to the ear, without being harsh at all.

After everyone finished singing, they smiled, bowed, and left.

Next, as Gu Qianyi introduced, the theater actors performed a selection from the Huangmei Opera "The Fairy Couple".

It is that fresh and simple pastoral song, which is also a popular love duet that is sung all over the country, "Husband and Wife Return Home Together": "Birds on the trees are in pairs, green waters and green mountains are smiling."

I casually plucked a flower, and my wife and I adorned our hair with it. From now on, we'll no longer suffer the torment of servitude; husband and wife, we'll return home together. You'll till the fields, I'll weave cloth; I'll fetch water, you'll water the garden. Though our humble abode is broken, it shelters us from wind and rain; with our love, even hardship is sweet.

We are like mandarin ducks, flying wing to wing in the human world.

"The Fairy Couple," also known as "The Seven Fairies Descend to Earth" and "Dong Yong Sells Himself," is one of the "Thirty-Six Great Plays" accumulated in the early days of Huangmei Opera and a repertoire piece of Huangmei Opera. It was also the first Huangmei Opera to be presented as a film. The work tells the love story of the Seventh Fairy, who defied heavenly rules and descended to earth to marry Dong Yong, yearning for a beautiful life, only to be forcibly separated by the Jade Emperor.

In 1952, Ban Youshu and others adapted the play "Encounter on the Road," changing Dong Yong from a scholar to a peasant and the Seventh Fairy Maiden from "marrying by imperial decree" to "desiring to marry a mortal." In 1953, Lu Hongfei adapted the entire play, forming seven scenes: "Selling Oneself," "Magpie Bridge," "Encounter on the Road," "Going to Work," "Weaving Silk," "Completing Work," and "Separation." Later, through long-term performance practice, the play was refined and finalized into six scenes, beginning with "Magpie Bridge" and ending with "Separation."

Chen Yunyan, a lecturer at the School of Music of Huaibei Normal University, wrote: "The classic play 'The Fairy Couple' has undergone significant changes in both character portrayal and theme before and after its adaptation. The character of Dong Yong has become thinner after the adaptation, and the theme has changed from 'filial piety and brotherly love' to 'romantic love.' This has both successes and shortcomings. The most important reason why the adapted 'The Fairy Couple' is so popular is its singing style, which is soft, gentle, delicate, and melodious, possessing the quality of pure music."

The full play is too long to be performed on stage, so only musical excerpts can be selected.

After they finished singing, they went offstage, and another group of performers came on stage and started singing the next song.

PS: Data is from the internet.

"Puppet Show" is a traditional Chinese style single with lyrics by Vagary, music by Yin Lin, arrangement by Huiyuan Qiong, and vocals by Yin Lin and Aki Ajie. It was released in 2015. Later, Gan Hu rearranged the music, and it was sung by Huang Ling and released on October 20, 2020.

"Green Silk" is a song with lyrics by Xu Donghui and Sun Yiyong, music by Xu Donghui, arrangement by Time Capsule, and sung by Time Capsule. It is included in the album "The Gift of Memory" and was released on November 13, 2013.

"The Fairy Couple" is one of the "Thirty-Six Great Plays" accumulated in the early Huangmei Opera period. It is based on the story of Dong Yong's encounter with a fairy in the Eastern Han Dynasty. The earliest version included in vernacular stories was "The Tale of Dong Yong's Encounter with a Fairy" in the Song and Yuan Dynasties. The earliest adaptation into a zaju (a type of Chinese opera) was in the Yuan Dynasty, with only one set of plays, "Encounter on the Road," recorded in "Shangdiao Jixianbin" compiled by Guo Xun in the Ming Dynasty. In November 1951, Ban Youshu completed the first draft of the adaptation of "The Fairy Couple." It was later revised by Ban Youshu, Liu Fangsong, Zheng Lisong, Wang Shengwei, and others. In May 1953, Lu Hongfei adapted the entire play, making additions and deletions to the script. Qiao Zhiliang used traditional dances from Peking and Kunqu Opera to completely transform the original performance form, making it a small-scale dance drama. In 1954, the author of "The Fairy Couple" was officially credited as "Lu Hongfei." After 1956, the stage performance script was revised several times, and Pan Hanming, Wang Wenzhi, Fang Shaochi, Shi Bailin and others participated in the music design of the whole play.