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sw-chinese-opera-qupai-cases

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Worked qupai-system (曲牌体) opera scripts, act by act. Guan Hanqing's three surviving zaju (窦娥冤／救风尘／金线池 — twelve acts, 126 tunes, one mode and one rhyme per act, sung/spoken ratios); Tang Xianzu's 牡丹亭 (55 scenes, ~420 tunes, 集唐 closing quatrains, the 圆驾 south-north composite suite); Kong Shangren's 桃花扇 (44 scenes plus four unnumbered, the 副末 frame line, upper/lower halves, a fan's seven transformations, his sixteen 凡例); 长生殿 (Wang Jilie's fifty-scene staging table); Wei Minglun's 巴山秀才 (1983 Sichuan 高腔, 43 tunes, nine 帮腔 passages). Every case states its edition and collation status, then structure, tunes, stage conventions and transferable devices. Method is in sw-chinese-opera-qupai; this skill holds the worked scripts. Use when you want a real example of how a 传奇 or 杂剧 is assembled, need actual scene counts and tune counts to imitate, are judging where a famous script breaks prosody, or need models for 副末开场, 集唐下场诗, 南北合套 or 帮腔 (曲牌体全本／牡丹亭／桃花扇／窦娥冤／救风尘／长生殿／巴山秀才／唱段表／结构表).

When to use

• Guan Hanqing's zaju (Dou E Yuan, Jiu Feng Chen, Jin Xian Chi)
• Tang Xianzu's Peony Pavilion (Mudan Ting)
• Kong Shangren's Peach Blossom Fan (Taohua Shan)
• Changsheng Dian (Palace of Eternal Life)
• Wei Minglun's Bashan Xiuzai
• Scene and tune counts for imitation
• Judging where famous scripts break prosody
• Models for Fumo Kaichang, Ji Tang, Nan-Bei He Tao, and Bang Qiang

When not to use

• Method statements (refer to sw-chinese-opera-qupai)
• Banyang system (板腔体) scripts
• General suspense techniques (not applicable to opera)

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