An Annotated Translation of Zhang Jiqing’s Lecture on Playing Cui-Shi in Chimeng (The Mad Dream): A Sample Lecture from Kunqu baizhong, Dashi shuoxi (One Hundred Pieces of Kunqu , Master Performers Talk About Their Scenes)
Notice bibliographique
Résumé
An Annotated Translation of Zhang Jiqing’s Lecture on Playing Cui-Shi in Chimeng(The Mad Dream): A Sample Lecture from Kunqu baizhong, Dashi shuoxi(One Hundred Pieces of Kunqu, Master Performers Talk About Their Scenes) Josh Stenberg (bio) Part 1. Click to view video Part 2. Click to view video Part 3. Click to view video Josh Stenberg University of British Columbia, Canada Josh Stenberg Josh Stenberg is a Social Sciences and Humanities Research Council of Canada postdoctoral fellow in the Department of Theatre and Film at The University of British Columbia. He works on and with xiqutroupes in Jiangsu, Fujian, and in the Chinese diaspora. Correspondence to: Josh Stenberg, University of British Columbia, 3883 W. 23rd Ave, Vancouver, BC, Canada V6S 1K8. Email: josh_stenberg@yahoo.ca. Footnotes Supplemental Material The full lecture video is available in three parts at on Project MUSE. 1. In Dashi shuoxiand in Kunqudiscourse generally, the term zhezi xi折 子 戲 or zhezi折子 refers to short scenes that were typically developed from chuanqiscripts and which form the basic unit of a typical Kunquperformance event. Narratively unrelated zhezi xiare most often performed separately as part of a single-evening or -afternoon program of zhezi xi, though zhezi xifrom the same narrative can also be performed in sequence to make a standalone show, which in that case is referred to by actors as daxi大戲 or quanben xi全本戲. In practice, in Dashi shuoxiand elsewhere, zhezi xican also be used to refer to short scenes with no such relationship to a longer script, but they make up a small minority. In the lectures in Dashi shuoxi, and in xiqudiscourse in general, zhezi xican be referred to just as xi戲, as can standalone adaptations. Since they are neither exactly “plays” nor “scenes,” when Zhang is referring to a zhezi xi, I will use that term instead of “play” or “scene.” 2. “One hundred” should be understood as a round rather than a precise number. See Kim Hunter Gordon’s review of this project in this issue of this journal. 3. The set of DVDs and their introductory booklet as well as the set of five volumes of written versions of the lectures all share the same title and the same publishers and publication date: Hunan dianzi yinxiang and Yuelu shushe of Changsha, 2014. The video of the lecture translated below can be found on the second of 110 DVDs and its written version can be found on pages 15–25 of the first volume of written versions. The original printing of Dashi shuoxiwas not large and only brief clips from eight of the lectures are available online. The project’s dedicated website gives an English title for the project: Masters’ Lectures on 109 Excerpts: The Performing Art of Kunqu. See http://www.dashishuoxi.com/ for that title and http://www.dashishuoxi.com/dashishuoxi_list_video.php?dii=436 for the clips; accessed August 26, 2016. The written version and the video of this lecture will be available as supplemental material on the websites for CHINOPERL and this journal. 4. For a translation of the relevant parts of this biography of Zhu Maichen, see Josh Stenberg, “Staging Female-Initiated Divorce: The Zhu Maichen Story in Twentieth-Century Drama from Opprobrium through Approbation,” NAN NÜ16.2 (2014): 308–40, 312. The biography itself can be found in the Zhonghua shuju edition (1962), pp. 62A.2791–93. 5. Fu Jin 傅謹, “Ruhe rang Zhu Maichen gushi you jiaoyu yiyi” 如何讓朱買臣故事有教育意義 (How to imbue the story of Zhu Maichen with educational meaning), Bolan qunshu博覽群書 (Wide reading in multitudes of books) 2006.3: 49...
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».