The Speaking Skills

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Voice techniques here differ from modes in other sung operas in one respect: what is called "singing" includes, aside from the arias, the introductory intoned recitation, which is also considered as singing. Because these recitations are unaccompanied, as if a development from the I-ch'iang tradition, it is like a capella singing. Hence the enunciation and diction must be crystal clear, the yin and yang tones, the sharp and rounded vowels, etc. must not be confused. Thus it is considered even more difficult than accompanied, aria singing. For example in the opera K'ung-ch'eng-chi (tale of the "Deserted Town"), when the 3rd century Taoist sage and strategist Chu-ke Liang makes his entrance, his introductory recitation in three- and four- syllable sequences:

"Yu-shan luen-chin, ssu-lun-chu, k'uai-ssu-feng-yun; ting-ch'ien-k'un, ju-fei-chang, lian-tai wei-ch'en" must be uttered in full, rounded tones and correct diction, with the tones, vowels and consonants sonorous and clear in order to effect a sense of resonance among the clouds, to make the audience feel awesome loftiness. This unaccompanied recitation requires a sonorous voice fully-grounded in singing techniques. There is no way the performer can rely on slight-of-hand and be slack and loose in any way. For these few lines constitute one of the high points of the entire opera, and a place where the audience responds loudly to the performer's skills.

As for spoken lines, nien-pai, this is perhaps even more difficult. Aria singing is complete with melody, music, cymbals and drums, and thus easy to listen to and economical on the performer's energies. The introductory recitations, although a capella and somewhat taxing, is aided at least by the melody. The spoken lines or nien-pai have no melody and no instrumental accompaniment except for the cymbals and drums to keep time. Thus the performer speaking the lines must rely entirely on the energy resources built up below the diaphragm, in his tan-t'ien, and the strength of his tongue and lips, to project each word and phrase with crescendo and diminuendo, in graceful modulations. The inflections, twists and turns of the four tones, sharpness and roundness of the vowels must be crystal clear and resonate throughout the entire hall, so that the audience can hear without difficulty. Most importantly, spoken lines and body-gestures must vividly bring out the circumstances of the story and the emotions of the personae. For example, in the spoken verbal exchanges by old men in operas such as Ssu-chin-shih (The Four Scholars) or Yeh-shen Pan Hung (Night Trial of Pan Hung), the spirit, attitudes and heightened tension if well projected can cause the entire hall to be so quiet as to hear a pin drop, where the audience is excited and moved, their spirit of righteous indignation aroused. This is when the power of the story and the performance reach the zenith, and the audience claps its approbation and shouts "hao! Bravo!" Furthermore, virtually all role-types have plays in which their spoken lines form a highlight, whether they are hsiao-sheng (unbearded young man), wu-sheng (martial bearded young man), tan (young woman), ching (the gruff-voiced painted-faced civil or martial characters), or chou (clown). This indicates the power and emotion inherent in the spoken, unsung lines. Connoisseurs say, "athousand catties for unaccompanied recitation, four ounces for singing." This reflects the importance of voice-training. Indeed it is in voice techniques that Chinese Opera is so highly regarded.

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