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The legend of the Deity of Fortune is known. It is understandable that the deity is incorporated in the ritual as he has the power to eliminate disaster and bring fortune. In the modern performance of the ritual, the deity's magical weapons are represented by a wooden staff and a chain. Troupe members often call the deity hak min (black face).
Stage Setting and Preparation
A wooden table and chair are placed in the middle back portion of the frontstage. Another wooden chair is put on its side at the edge of the stage left. Occasionally, additional wooden chairs are put in front of the accompanying musicians who sit at stage right.
A better understanding of the ritual enables one to discover the different functions of these pieces of furniture. The wooden table and chair together symbolize a high mountain, and the chair facilitates the actor's climbing to the top. The other chair that is put on its side at the stage edge has a piece of raw pork hung from one of its legs, so as to facilitate the White Tiger's consumption of the pork. The chairs placed in front of the musicians function to protect them from the possible harm caused by the White Tiger. Ward has mentioned that a row of chairs had been seen at the edge of the stage to protect the audience (1979:31). However, the use of these chairs has not been noticed during the several White Tiger rituals observed by the present writer.
The accompaniment to the ritual is provided by three percussionists: the gong and cymbal players, and their leader who is responsible for the wood blocks and the zin gwu "kök (battle drum). Such players usually set their instruments ready one to two hours before the ritual and then stay away from the stage until shortly before the time assigned to hold the ritual comes.
According to several experienced actors, traditionally the White Tiger ritual should be held immediately before the evening's operatic items start, which is approximately 8 to 9 p.m. In modern Hong Kong, as many troupe owners find it extremely inconvenient to maintain the taboo, they prefer to hold the ritual in the afternoon, usually at around 3 p.m. on the day that the series of performances begin.
Within the whole course of preparatory work for the offering, the
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legend of the Deity of Fortune is known. It is understandable that the deity is incorporated in the ritual as he has the power to eliminate disaster and bring fortune. In the modern performance of the ritual. the deity's magical weapons are represented by a wooden staff and a chain. Troupe members often call the deity hak min if (black face).
Stage Setting and Preparation
A wooden table and chair are placed in the middle back portion of the frontstage. Another wooden chair is put on its side at the edge of the stage left. Occasionally additional wooden chairs are put in front of the accompanying musicians who sit at stage right.
A better understanding of the ritual enables one to discover the different functions of these pieces of furniture. The wooden table and chair together symbolize a high mountain and the chair facilitates the actor's climbing to the top. The other chair that is put on its side at the stage edge has a piece of raw pork hung from one of its legs, so as to facilitate the White Tiger's consumption of the pork. The chairs placed in front of the musicians function to protect them from the possible harm caused by the White Tiger. Ward has mentioned that a row of chairs had been seen at the edge of the stage to protect the audience (1979:31). However, the use of these chairs has not been noticed during the several White Tiger rituals observed by the present writer.
The accompaniment to the ritual is provided by three percussionists: the gong and cymbal players, and their leader who is responsible for the wood blocks and the zin gwu "kök (battle drum). Such players usually set their instruments ready one to two hours before the ritual and then stay away from the stage until shortly before the time assigned to hold the ritual comes.
According to several experienced actors, traditionally the White Tiger ritual should be held immediatedly before the evening's operatic items start, which is approximately 8 to 9 p.m. In modern Hong Kong, as many troupe owners find it extremely inconvenient to maintain the taboo, they prefer to hold the ritual in the afternoon, usually at around 3 p.m. on the day that the series of performances begin.
Within the whole course of preparatory work for the offering, the
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