Zhang Jun

01 · Lineage & Regional School

Zhang Jun, Male, Han, from Linyi, Shanxi, is a fourth-batch national representative bearer of Luoguza Opera (Ⅳ-88). The tradition is documented in Linyi, Shanxi. Within the regional tradition and school record of Luoguza Opera in Linyi, Shanxi: Luogu zaxi is also called "naogu zaxi"; it circulates mainly in the Hedong area of southern Shanxi and shares a common lineage with the jumping play of Heyang. There are several accounts of its origin. According to the stele of Longyan Temple in Linyi County dating from the second year of Zhenyuan in the Tang dynasty, zaji play existed as soon as Longyan Temple did; by an old custom, every first lunar month Longyan Temple in Linyi County performed luogu zaxi to honour the gods and worship the Buddha, and so luogu zaxi is also called "Longyan zaji". The "dabaozhe" (announcer) is also responsible for drawing on the first part of the programme, passing on orders and making reports, explaining the plot to the audience and doubling as props such as trees and stones, much like the "zhuganzi" of the Song-dynasty zaju. The repertoire of luogu zaxi consists mainly of military subjects, with "Three Kingdoms plays" especially numerous; more than a hundred survive to the present day, such as the Campaign on Xiqi, Leyi's Conquest of Qi and Three Summons to Zhuge Liang.

02 · Mastery & Signature Works

Male, Han ethnicity, born in September 1937 in Linyi County, Shanxi Province. From childhood he took a keen interest in all kinds of folk custom activities, and he was especially devoted to luoguza opera. After graduating from senior high school at the age of eighteen, he studied the verse rhythms and performance techniques of za opera under Yao Jitang of his own village, and he collated and restored a number of play scripts. Blending stage elements from Qinqiang and Puzhou opera and making skillful use of guttural voice, he gradually formed a distinctive performing style of his own. He has a particularly deep understanding of the function of the baozi (herald) and often acts as the yixiren (play leader) in performance, able to rescue a scene at the right moment and to improvise. He preserves six hand-copied scripts, including Fan Xiliang (Rebellion Against Xiliang), San Qing Zhuge (Three Visits to Zhuge Liang), Tongque Tai (The Bronze Sparrow Terrace), and Huogong Ji (The Fire Attack Stratagem). Within the documented technical tradition of Luoguza Opera in Linyi, Shanxi: The singing of luogu zaxi takes the form of chanting and recitation, with a small number of tune patterns such as Yuediao, Guandiao and Youhulu. There is no string accompaniment; the band consists of drums, gongs and the suona, with the large drum leading and at the same time acting as conductor of the band. Eight basic drum patterns include the rolling drum, the battle drum, the walking drum, the halting drum, the file-of-men drum, the stage-fall drum and the marching-camp drum. The performance of luogu zaxi is formulaic, and its movements and stage steps also follow fixed patterns. The roles played by the actors are fixed and are handed down within families. All the roles are male, and each play involves several dozen performers. In performance, an "announcer" in a long robe and a formal hat leads the various roles on to the stage and seats them at the left corner. Entering roles announce their own identity in a recited formula, and the raising of hands, the stepping and the singing, chanting, recitation and speech are all accompanied by gong and drum. More than ten handwritten copies of luogu zaxi plays survive, among them the Bronze Sparrow Terrace; the Meeting at Luoyang among them is a copy made in the twelfth year of the Qianlong reign (1747). The music, vocal style, performance, instrumental set-up and presentation formula of luogu zaxi preserve the form of the zaju of the Song, Jin and Yuan dynasties, and are of great significance for understanding the primordial form of Chinese drama, the history of drama and the laws of its development. Representative repertoire, works and technical entries recorded for the project include: "The Campaign on Xiqi": The repertoire of luogu zaxi consists mainly of military subjects, with "Three Kingdoms plays" especially numerous; more than a hundred survive to the present day, such as the Campaign on Xiqi, Leyi's Conquest of Qi and Three Summons to Zhuge Liang. "Leyi's Conquest of Qi": The repertoire of luogu zaxi consists mainly of military subjects, with "Three Kingdoms plays" especially numerous; more than a hundred survive to the present day, such as the Campaign on Xiqi, Leyi's Conquest of Qi and Three Summons to Zhuge Liang. "Three Summons to Zhuge Liang": The repertoire of luogu zaxi consists mainly of military subjects, with "Three Kingdoms plays" especially numerous; more than a hundred survive to the present day, such as the Campaign on Xiqi, Leyi's Conquest of Qi and Three Summons to Zhuge Liang. "The Bronze Sparrow Terrace": More than ten handwritten copies of luogu zaxi plays survive, among them the Bronze Sparrow Terrace; the Meeting at Luoyang among them is a copy made in the twelfth year of the Qianlong reign (1747).

03 · Transmission & Safeguarding Status

National representative bearer of Luoguza Opera, a fourth-batch national intangible cultural heritage project. Over the years he has actively taken disciples and taught skills, training nearly twenty performers of the roles of Cao Cao, Zhang Fei, and Zhuge Liang.

04 · Associated Heritage Item Dossier

05 · Fellow National Bearers Lineage

National representative bearers recorded under the same item code, ordered from the first to the sixth batch. Batch order is not a teacher–student relationship.

06 · Archival Sources & Bibliography

1. Zhang Jun · National Representative Bearer Archive