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sw-chinese-opera-qupai

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Chinese opera playwriting for the qupai (曲牌体) system — 元杂剧, 明清传奇, 昆曲, 川剧高腔, where sung text is filled into fixed tune patterns (填词) rather than built from paired lines varied by metre. Covers stage vs study (李渔 vs 吴梅/王季烈), the 清曲/剧曲 switch, the zaju branch (四折一楔子, one 宫调 and one rhyme per act, 一人主唱, 题目正名), the chuanqi branch (出, 副末开场, 南北合套, 集唐下场诗), tune-filling (格律, 前腔/换头/幺, 衬字, 务头, 尾声, 四十禁), the seventeen 宫调 and their affects, 套数, 排场 alternation, the spoken-to-sung cue, 帮腔, adaptation, and modern practice. From 李渔《闲情偶寄》, 吴梅《顾曲麈谈》《曲学通论》, 王季烈《螾庐曲谈》, 孔尚任's 凡例, 关汉卿, 汤显祖, 魏明伦. Use when writing or revising a 曲牌体 script, choosing a 宫调 for an emotion, laying out a 套数, filling one tune pattern, writing a zaju act or a chuanqi scene, cutting an old 传奇 into a playable version, writing a modern qupai opera, or judging whether a famous script's prosody may be copied. Not for 京剧/豫剧/越剧, which are the banqiang system; see sw-chinese-opera-banqiang.

When to use

• writing or revising a 曲牌体 script
• choosing a 宫调 for an emotion
• laying out a 套数
• filling one tune pattern
• writing a zaju act or a chuanqi scene
• cutting an old 传奇 into a playable version
• writing a modern qupai opera
• judging whether a famous script's prosody may be copied

When not to use

• 京剧/豫剧/越剧
• banqiang system
• pure literary style issues (四十禁 17-34)
• adaptation four questions
• props and entrances/exits

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