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)
Bibliographic record
Abstract
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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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.002 | 0.001 |
| Scholarly communication | 0.001 | 0.001 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.246 | 0.049 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".