Shangdanglaozi
01 · Historical Records
Shangdang luozi is a local genre circulating in the Shangdang area of Shanxi; it formed in the Daoguang reign of the Qing on the western bank of the Zhuozhang river at the border of Li (Cheng) and Lu (Cheng), where the Licheng variety is also called “Licheng luozi”. Historical records show that in the eighth year of Tongzhi (1869) the Luhe village of Lucheng founded the Heyi troupe to sing luozi, after which troupes were successively set up in Lijiazhuang village, Weizi town, Huangniuti and Xiaochang village, so that Shangdang luozi spread through Lucheng and on into the neighbouring Pingshun, Huguan, Zhangzi and Tunliu. In 1955 the genre was formally named “Shangdang luozi”. As recorded in the Shanxi volume of the Annals of Chinese Xiqu, Shangdang luozi formed in the Daoguang reign at the Li (Cheng)-Lu (Cheng) border and was formally named “Shangdang luozi” in 1955; Lucheng was an early centre of its circulation, the Luhe village founding the Heyi troupe in the eighth year of Tongzhi (1869), after which the neighbouring villages successively formed troupes.
02 · Core Techniques & Process
Besides the Shangdang area, Shangdang luozi is also performed in Zuoquan and Yushe in central Shanxi and in Wu'an and She county in Hebei. Its music is in the gong mode, chiefly in the banqiang system with qupai vocal styles secondary. Its most important banqiang ban styles are “liushui”, “qing liushui” and “sanban”, while its qupai styles include “aoban”, “baban” and “suoban”, mostly used for specific purposes and based on four-line sections, finally joined to the “liushui” ban. It sings simply and movingly, naturally and warmly, impassioned and high yet not without lingering grace, with clear rhythm and flowing articulation, able both to narrate and to express feeling, much loved by audiences in its areas of circulation. In its early period Shangdang luozi staged “three-small plays” and “household plays” with only the xiaosheng, xiaodan and xiaochou roles; later it developed a fairly complete range of roles, with one more secondary xusheng than other genres, hence the saying “seven tight, eight habitual, nine easy”. As the repertory changed the roles gained clear divisions of labour and the practice of one actor doubling two roles disappeared.
Swapping the Crown Prince for a Civet Cat
One of the representative works of Shangdang luozi.
The White-Haired Girl
One of the representative modern plays adapted and staged by Shangdang luozi.
Taking Tiger Mountain by Strategy
One of the representative modern plays adapted and staged by Shangdang luozi.
03 · Regional Records & Related Items
Lucheng Shangdang luozi is popular in Lucheng city, Shanxi, and the villages along the Zhuozhang river; because of the rise of such troupes as the Luhe village Heyi troupe in the Tongzhi reign, its performances spread from Lucheng to Pingshun, Huguan, Zhangzi and Tunliu, forming an early performing network.
Other submitting regions for the same item: Shangdanglaozi.
04 · Cultural Value & Contemporary Safeguarding
Shangdang luozi shares its area with the folk cultures of Shangdang gongdiao, Shangdang pihuang, Shangdang nuo opera and Shangdang dui opera, with a deep deposit and research value in folklore, religion, history and culture; its repertory includes both traditional plays like Swapping the Crown Prince for a Civet Cat and modern ones like The White-Haired Girl and Taking Tiger Mountain by Strategy, performed without decline at temple fairs and festivals in south-eastern Shanxi.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Li Xianbao 03-1098
- Li Shan
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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