A Preliminary Discussion on the Early Evolution of Martial Opera in Late Qing Period: Taking CHEN Jinque's Draft Manuscript as an Example

The exchange between court and folk opera following the reform of the Nanfu (南府), coupled with the social changes following the Opium War, were the main factors contributing to the transformation of martial opera during the Daoguang (道光) reign and its subsequent prosperity in the late Qing era. CHEN Jinque's (陈金雀) manuscript of Chihuchuan(《螭虎钏》) from 1840 stands as the sole extant martial play script compiled by former Southern Court performers during their engagement with the four Hui troupes in Beijing, in the period between their dismissal from the palace and their later recall. CHEN structured the play in October-November of that year according to the sequence of its first, third, and second segments. After revision, he distributed it for copying among his peers in March of the following year. Its final textual form was not entirely fixed, with some revisions influenced by his contemporaneous transcription of the performance treatise Mingxinjian (《明心鉴》). The climactic scene Dawei Jiujia(《打围救驾》) underwent significant refinement by CHEN, who 'revised the lyrics, musical notation, stage transitions, costumes, and key moments,' resulting in a mature form of stage direction. He specifically added a plotline depicting SUN Xiuying's hunting expedition and, 'according to his own conception,' created the image of Daomadan (刀马旦) who 'wore a female helmet and armor,' 'grasped a spear,' and 'mounted a horse.' This portrayal diverged from the traditional martial female warrior archetype within the original narrative system and stood in stark contrast to SUN's portrayal in other opera adaptations. This evidence is sufficient to challenge the established conclusion that the refinement of martial role types in Chinese opera only reached maturity during the Xianfeng (咸丰) to Guangxu (光绪) reigns. This manuscript embodies both the artistic aspirations of the chief instructor of the Shengpingshu (升平署) and the artistic explorations undertaken by folk troupes during the nascent development of martial theatre in the late Qing period.