NOTES ON CHIUCHOW OPERA
77
By that time the audience who were watching the opera* becomes aware of the medium, who is now rushing through the audience on to the stage, where the performance stops and the actors retreat. A table is placed on the stage, the medium stands behind the table facing the audience, shaking in trance, beating himself with the spiky iron ball. A dozen men surround him, one spraying water from a bucket in all directions, one throwing rice around, several beating gongs. They take away his weapon and give the medium some water to drink from a bowl, they hand him a sword which he brandishes into all directions of heaven. He then opens his mouth, sticks out his tongue with the tip downward, and holding the sword vertically pointing upward he inflicts small cut-wounds to the middle of his tongue. Stacks of yellow paper in various sizes are already prepared on the table, and he bends down and chops the paper with his bleeding tongue, whilst the helpers take away the marked ones to distribute them to the crowd. When the medium's tongue stops bleeding he again drinks water from the bowl, brandishes the sword and cuts his tongue and repeats this whole process several times, shaking all the while, and the deafening gongs never stop being beaten. He finally beats himself once more with the iron ball and blood streaks appear on the back of his costume. Then he is rushed back to the temple where he repeats once more the scene, as on stage. After that he takes off his costume and returns quietly home. They suppose that he is unaware of what he has been doing, and that the wounds of his lacerated tongue and back will have healed by the next morning.
The members of the opera-troupe who play the military roles, handling knives and swords also venerate Kuan-ti, the god of war on his birthday on the 13th day of the 5th month.
In recent years, the Chiuchow opera in Hong Kong has received a great boost when Hsiao Nan-ying, a top Chiuchow actress, came to Hong Kong and started to perform in 1974. She has re-trained the actors of the Sang Ngai opera troupe and has written some libretti for them in the style of the reformed traditional plays, a movement which was created under Mei Lan-fang's influence. She produced the libretti, directed the performance, played the leading role...
* From the stage a roof extends to shelter the audience, it rests on pillars and the 3 sides are open. As in church (in Europe and formerly in Protestant mission churches in China) the sexes are divided, women on the left and men on the right. There is a fenced passage-way through the middle up to the stairs leading to the stage.
NOTES ON CHIUCHOW OPERA
77
By that time the audience who were watching the opera* becomes aware of the medium, who is now rushing through the audience on to the stage, where the performance stops and the actors retreat. A table is placed on the stage, the medium stands behind the table facing the audience, shaking in trance, beating himself with the spiky iron ball. A dozen men surround him, one spraying water from a bucket in all directions, one throwing rice around, several beating gongs. They take away his weapon and give the medium some water to drink from a bowl, they hand him a sword which he brandishes into all directions of heaven. he then opens his mouth, sticks out his tongue with the tip downward, and holding the sword vertically pointing upward he inflicts small cut-wounds to the middle of his tongue. Stacks of yellow paper in various sizes are already prepared on the table, and he bends down and chops the paper with his bleeding tongue, whilst the helpers take away the marked ones to distribute them to the crowd. When the medium's tongue stops bleeding he again drinks water from the bowl, brandishes the sword and cuts his tongue and repeats this whole process several times, shaking all the while, and the deafening gongs never stop being beaten. He finally beats himself once more with the iron ball and blood streaks appear on the back of his costume. Then he is rushed back to the temple where he repeats once more the scene, as on stage. After that he takes off his costume and returns quietly home. They suppose that he is unaware of what he has been doing, and that the wounds of his lacerated tongue and back will have healed by the next morning.
The members of the opera-troupe who play the military roles, handling knives and swords also to the venerate Kuan-ti ✈ the god of war on his birthday on the 13th day of the 5th month.
In recent years, the Chiuchow opera in Hong Kong has received a great boost when Hsiao Nan-ying, a top Chiuchow actress, came to Hong Kong and started to perform in 1974. She has re- trained the actors of the Sang Ngai opera troupe and has written some libretti for them in the style of the reformed traditional plays, a movement which was created under Mei Lan-fang's influence. She produced the libretti, directed the performance, played the leading
* From the stage a roof extends to shelter the audience, it rests on pillars and the 3 sides are open. As in church (in Europe and formerly in Protestant mission churches in China) the sexes are divided, women on the left and men on the right. There is a fenced passage-way through the middle up to the stairs leading to the stage.
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