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The real rotating stage of the ancient theater appeared in the Japanese Kabuki Theater in the middle of18th century. In the eighth year of Bao Li (1758), Kazusaki, a kabuki artist in Osaka, invented the world's first rotating stage, that is, saw the table board, and installed a mechanism under the table board so that the table board itself could rotate. Whenever the plot and scene change, the props, sets and actors already arranged behind them will turn around to face the audience. This is a sign of the high development of Japanese drama, showing the realistic performance characteristics of kabuki. There is a turntable in the existing Japanese kabuki theater. /kloc-In the 8th century, the Qing Palace Grand Stage in China also had lifting, underground well installation and movable cart "stage", which showed a realistic pursuit different from freehand brushwork in court drama performance.

? Keywords rotating stage kabuki Qing Palace drama

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Although there were simple turntables and carriages in ancient Greek theaters as early as the 5th century BC, they were only inferred from the script tips, and there was no physical or image evidence, which made it impossible for future generations to see the whole picture. [1] At the same time, this stage installation has not been inherited by western drama. Therefore, the rotating stage of the real ancient theater appeared in the Japanese Kabuki Theater in the middle of18th century.

Kabuki is a typical national performing art in Japan, which originated in the early Edo period in the17th century. It, together with Zhilu and Ren Jing Glaze, is called the three major Japanese dramas, and it is also the intangible cultural heritage of the world. Mr. Zheng Sheng, the county secretary, pointed out: "Kabuki was born a rebel of' energy'. While "Neng" clung to the interests of the dynasty, pursued the artistic realm outside the people's life and gradually divorced from the civilian society, a kind of literary interest and symbolism that abandoned the previous "artistic ability" was born with the prosperity of Xinmin. This is kabuki. " [2] At present, kabuki is more popular than any kind of classical drama in Japan, and many new scripts and works have been produced in recent years. Kabuki and Chinese Peking Opera are known as "sisters of oriental art tradition".

Kabuki theater is usually called "Zhiju Cabin", which means drama in Japanese. "Zhi" is grassland, and "Ju" means existence. In other words, the original ancient drama was not performed on the stage, but on the grass. In the edo period (1603- 1867), theaters or places where folk arts and acrobatics were performed were called huts, which were named after the early primitive buildings. At the same time, it is contemptuous to call kabuki actors or theater personnel "cabin people" Kabuki first borrowed energy to perform on stage, and then gradually developed, became independent, improved equipment, and formed a Kabuki theater like a modern theater. Kabuki stage has a large area and a rectangular plane, with a width of 10 meter, a depth of more than 20 meters and a depth of about 10 meter. In addition, there is a "flower path" with a width of about 1 m that extends into the audience seat, which is not available in other countries. The Flower Diameter was first produced in the period of Zhenheng (1684— 1687). At first, when the audience presented flowers to the actors, it was called the flower path, and later it became a special performance area. Many actors began to perform on the flower path. Because it is close to the audience and easy to communicate with the audience, it can often achieve good dramatic effects. In addition to being used as a walkway, it is often used as a space such as mountains and rivers, becoming a special stage device.

According to the Kabuki Story, the so-called "basin back" was invented by Kawasaki Nakamura, an Edo playwright, during the period of the festival (171-1736), that is, setting up a rotatable small stage, also known as "back props" [3 In the eighth year of Bao Li (1758), Kazusaki, a kabuki artist in Osaka, invented the world's first rotating stage, that is, saw the table board, and installed a mechanism under the table board so that the table board itself could rotate. Whenever the plot and scene change, the props, sets and actors already arranged behind them will turn around to face the audience. This is a sign of the high development of Japanese drama. The kabuki turntable performance that Huang Zunxian, a poet and diplomat in the late Qing Dynasty, saw when he was in Japan: "There is a stage in front of the field, and there is a big round under the field. The runners go out first, and then go out. Under the steps of Tian is a bridge (flower diameter-the introducer's notes), and there are also people who play from the steps. " [4] That is to say, unlike China opera, the transformation of kabuki events is mainly realized by the actors going up and down the stage, but by rotating the stage and turning the wheels. Edo (now Tokyo) introduced the rotating stage technology from above (around Kyoto and Osaka) around the fifth year of Kuanzheng (1793). In addition, during the Tianbao period (1830- 1843), Kanbee Hasegawa, the "big prop" of Edo, designed the so-called "snake eye return", that is, the second return. A small turntable is arranged on the original turntable, and the inner ring and the outer ring can rotate freely. When the inner ring and the outer ring rotate reversely, people, scenes and people can be displayed. In the past, the diameter of the turntable was three "rooms" (about 5.45 meters), but now the diameter is expanded to five "rooms" (about 9.09 meters).

Tadashi Kanahara is a typical kabuki theater in Japan. Located in Qinping Town, Kagawa Prefecture, it originally belonged to the affiliated theater of Jinyuan Palace, facing north and facing the hall. The existing theater has been moved to a few hundred meters west of the shrine, so the theater faces east and faces the shrine. Dazhiju, founded in the sixth year of Tianbao (1835), is the oldest existing kabuki theater in Japan. Showa forty-five years (1970) was designated as an important national cultural property. Covering an area of 3,079 square meters and a building area of 850 square meters, Eryuta Records Museum retains the form of traditional Japanese kabuki theater. The audience has no seats, but follows the style of seats. Two people can sit in each carriage, and the battens between adjacent carriages can be removed. After the demolition, two carriages can seat five people. The entire theater is about 12 rooms (about 26 meters) wide and about 19 rooms 1 foot (about 4 1 meter) deep, and can accommodate 740 spectators. There are two watchtowers on the opposite and both sides of the stage. The width of the stage is 6 rooms (about 13m) and the depth is about 4 rooms (about 9m). There is a music bed above the stage. [5] The height 1.74m, depth 1.85m and width 1.2 1m of the lower floor. There is a "shady" [6] on the opposite side, which is about the size of a music bed. The diameter of the return stage is 3 rooms and 4 feet (about 7 meters); The flowers are 6 rooms with a length of 4 inches and 5 minutes (about13m) and a width of1.30m; There is a "turtle" at the flower diameter of Sanqi, [7] with an area of 2.5×5 square feet; There is a fake flower path opposite the flower path, which is an extension of the stage according to the needs of the plot. In this theater, its main function is the passage for the audience to go in and out. Below the stage is "Naraku", which is necessary for the kabuki stage. [8] 2.30 meters high. All the rotating and lifting devices in it are operated by manpower by mechanical principle, which will not affect the drama performance in Naraku.

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Another example is the kabuki stage in Shimonoseki, which belongs to the open-air theater. It is located in Yamada-CHO, Shibei District, Kobe City, Hyogo Prefecture. It is an affiliated building of Tianyang Shrine in Shimonoseki, which was built in the 11th year of Tianbao (1840). It is an important tangible folk cultural wealth of a country. The stage is in the south of this hall, 7.9 meters away from it.

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At the top of the stage, the traditional Japanese method of "thatching the mother house" (resting on the top of the mountain with one eaves) was adopted. Due to the light weight of the roof, the whole stage is supported by only four corner posts. The width of the stage is 12. 12 meters, the depth is 8.09 meters, the height of the column is 3.6 meters, the height of the foundation is 0.86 meters, and the diameter of the backstage is 5.68 meters. Although the rotating device is located under the stage, the power required for rotation is also manpower, but unlike Jin's big support, it needs people to push it back to the stage on the stage to realize rotation. There are some concave holes equidistantly carved around the backstage. When it is necessary to rotate, the relevant personnel will insert the bamboo pole prepared in advance into the concave hole, and everyone will push the bamboo pole together to make the background rotate. There is no fixed flower path on the stage, but a longitudinal ditch is dug in the northwest direction of the stage, which leads directly to the northwest exit of Naraku. Therefore, it is not only the channel for actors to enter the stage, but also the lower part of the flower path temporarily built during the performance. Under the stage, Naraku is also a fantastic house, with a height of1.72m. The actors make up here. At the beginning of the performance, the actors went out from the northwest exit of Naraku, and then went to the garden.

Although kabuki is stylized and exaggerated in performance, its essence is "the joy created by splendor". [9] So, we need scenery and physical props. As Huang Zunxian said, "Everything displayed in the field is lifelike. It is a castle in the forest and a wooden tree, so doubt it. " [10] At the same time, as the golden age of kabuki, Lu Yuan kabuki era, [1 1] kabuki has quite a realistic spirit, "from the initial' real thing' to a realistic drama". [12] As the predecessor of the turntable, the basin back props just appeared in this period, and the reason is self-evident. The inventor of "Return to the Stage" is to show the events that happened in different places at the same time, which also deeply influenced the content, skills and director scheme of kabuki.

/kloc-In the 8th century, the China Qing Palace Grand Stage also had a platform for lifting, underground well installation and mobile carts.

There are 5 original Qing Palace theatres, all of which are huge buildings with no history: Yin Qing Pavilion in Yuanmingyuan Paradise, Shou 'an Palace Theatre in the Forbidden City, Yin Chang Pavilion in Ningshou Palace in the Forbidden City, Yin Qing Pavilion in chengde mountain resort and Deheyuan Theatre in the Summer Palace. Among them, the Yuanmingyuan Theater was built from the 4th year of Yongzheng to the 2nd year of Qianlong (1726- 1737), the Forbidden City was built in Qianlong, and the Summer Palace Theater was built in the 16th to 20th year of Guangxu (1891-kloc-0/894). At present, only the Yin Chang Pavilion in the Forbidden City and the Yin Qing Pavilion in Dehe Garden in the Summer Palace remain. They are basically the same in architecture, all facing north, and consist of a stage and a clothing building. The stage has three floors and rests on the top of the mountain, with a total height of 2 1 m. The ancient costume building has two floors, divided into north and south parts, both of which are on the top of the mountain and connected by double eaves. There are three rooms with a wide surface and a deep depth. The lower floor is called "Shoutai". The width14.44m, depth14.62m, abutment [14] height10.2m, eaves column 4.55m (the total construction area of Yin Chang Pavilion is 685.94m) of the Yin Chang Pavilion of the Forbidden City. Deheyuan Theater has a width of 14.5m, a depth of 14.7m, a height of [15]10.25m, a total area of 276m2 and a cornice column height of 4.27m.. The Yinqing Pavilion in Tong Yuan Garden of Yuanmingyuan is14.43m wide,14.43m deep and 4.39m high. [16] The inner area of the eaves column axis of the middle-level "Lutai" is the same as that of the Shoutai, which is divided into indoor and outdoor parts by the Huang Jinzhu screen, and the outdoor part in the north is the performance area, only about 40 square meters. The upper "Futai" eaves axis is about 1 m inward than the Shoutai eaves column axis, and the area of the gold column axis is 1, 0 1 m2.

There is a patio between floors. Upstairs "Futai", the front desk is a smaller performance area, and the middle table has a movable cover. Futai's background is the equipment layer and the operation layer. It has a terrace with pulleys on it. The large winch has 9 working positions, one of which is at the wellhead. 18 people rotate the winch at the same time, so that the actors can ride up and down on the cloud board. The "Lutai" in the middle floor is much smaller than the first floor, almost all of which are movable covers. Actors can enter the mezzanine from here and then go down to the first floor of the first platform. Of course, there are doors between the front and the back. The backstage of Lutai is much bigger than the front stage, and it is the place where actors go up and down and load and unload bricks when the lifting cloud plate passes by. Shoutai on the lower floor is the main performance area. There is a row of fixed platforms with a height of about 2.2 meters, the same width as the stage and a depth of about 4 meters between the upper and lower doors behind the front desk. They are called Shoutai Ming Ge, also known as Fairy Pagoda, and there are four wooden stairs on the front to communicate with the desktop of Shoutai. The fairy building is separated from the background by a gate, with upper and lower doors. The first backstage is spacious, with big stairs on both sides leading directly to the backstage of Lutai on the second floor. There are seven courtyards on the top of the Shoutai. In the middle of the performance area is a square courtyard, with a rectangular courtyard on each side and a courtyard at each corner. There are two kinds of patios: one is the passage for lifting machinery, and the other is the passage for actors to go up and down. The patio in the middle of the three-story platform is vertically connected (the second and third floors are located in the background). There is a well under the Shoutai, and there are fixed stairs leading to the table in the background. In the middle of the underground well is an ancient building in Dashuijing Ancient Buildings, with two rows of winches on both sides. The setting of the movable platform and basement of Shoutai can increase the variety of performances, realize the lifting of machinery from the basement to the table on the first floor, and also set channels for actors to go up and down at will. This well can provide water source for water-based finishing performance. The dressing building is not as high as the stage, but it covers an area larger than the stage. ,

The Japanese Kabuki Theater has set up a small lifting platform near the Huadao Stage, which is 2.5 feet wide (about 0.76 meters) and 5 feet long (1.52 meters). There are also cinemas that divide it into two pieces for easy operation. The lifting platform can only be used for the appearance and exit of "ninja" (a spy with climbing skills), ghosts, ghosts and other unreal characters. Because it looks like a turtle shell, it is called "turtle".

Although it is a special case, with the support of the royal financial and material resources, the Qing Palace Opera has made unprecedented progress in stage architecture, stage technology and scenery. Up to now, there are many large-scale masonry devices in the backstage and basement of Changyinge Grand Stage. There is a large mobile platform with four wheels with universal shafts under a rectangular frame, and several people can stand on the frame. After being decorated, it can be used as a car or a boat, and people can push it to move on the stage. For this kind of device, Mr. Yu Jian "also called it the automobile platform for the time being", and this article is derived from it. [ 17]

There are both factors to show the royal demeanor and the need to adapt to the grand opera performance. There were also a large number of performers in the Qing Dynasty. For example, from the forty-first year of Qianlong (1776) to the forty-second year of Qianlong (1777), there were 230 artists from Fu Nan and Jingshan, and 65,438 artists from Neifu. After the celebration of Qianlong's eightieth birthday, the number of foreign scholars was unexpectedly much higher. [18] With regard to the drama of the Qing Dynasty, the information is relatively complete and the relevant research is relatively sufficient. Drama is written by Chen Ci, and there are generally 10 books, each with 24 scripts, totaling 240 scripts. Famous places include Shengping Baofa, Quanshan Jinke, Zhi Ding Chunqiu, Zhongyi, Zhao Shaoshao and so on. The grand theater building can be said to be specially built for the performance of a series of major plays. For example, the preface to Zhao's Xiao Shao requires: "There are gods, gods, immortals and ghosts in the play, and their access should be divided into Futai, Lutai, Shoutai, Xianlou, patio and underground well. Or when entering or leaving a station, please indicate it separately. " [ 19]

Never play, only two doors up and down, probably from the entrance door, next door. However, some people have to go through the entrance door, some people have to go through the entrance door, and some people still have to go through the entrance door; Note that those who have already gone out still have to go out. If the husband is a god and a fairy of Sakya school, it is inconvenient to get in and out with dust all over his body. Where there is heaven, there will be hell, and where there is right path, there will be a side door. The distinction between people and ghosts should also be clear, and every exit should be marked. [20]

Usually, the scene layout of the celestial world is centered on the intermediate Lutai, that is, the highest-ranking people live in Lutai, and the rest of the gods are divided into three stations, namely, Fu, Lu and Shou, which surround the main god. When different gods appear, the position of each god should be adjusted according to the situation. Cao Xinquan, a court official in the late Qing Dynasty, wrote in his memoirs that all kinds of equipment on the big stage are very practical:

There are three largest stages in the Summer Palace, the Rehe Stage is the largest, followed by Ningshou Palace and Le Yi Hall in the Summer Palace. These three stages are called grandpa, sir, sir. These three buildings are divided into three floors, and there are five wells below, which are extremely magnificent. There are several plays that cannot be performed without these three stages: 1. The pagoda is solemn, which contains a scene in which five pagodas are twisted by the iron wheel of a well. The second is "Jin Ping Mei", in which five golden lotus flowers are twisted out of the well, petals are placed on the stage, and five giant buddhas are seated inside. Third, "Lohan Crossing the Sea", there is a kind of anchovies made of big bricks, which can hide dozens of people, suck water from the well with buckets, and spray it out of the anchovies' mouths. Up to now, this huge stone is still displayed on the stage of Ningshou Palace. Fourthly, the Dragon Boat Festival drama also draws water from the well to the stage. Five, "Three Changes of Fu Lushou", this drama is staged on the stage in three layers. At first, the first layer is blessing, the second layer is luck and the third layer is longevity. When you change, you live in the upper class, in the middle class and in the lower class. Then move to the upper floor, the middle floor and the lower floor. The scenery of the above five plays is great, but these three plays are not enough for decoration. Elsewhere, the stage is too small to perform the play. [2 1]

Based on the data in Yan Yanji by Park Jiyuan, South Korea, this paper describes the performance of Park Jiyuan in the Jehol Palace at the seventieth birthday of Emperor Gaozong in the forty-fifth year of Qianlong (1780):

August 13 is the birthday of the emperor, and there are three days after the first three days. ..... There are trees, rockeries and lofty pavilions around the platform, and there are Qionglin hidden on it, cutting ribbons for flowers and beading for fruits. [22]

As can be seen from the description, the grandeur of the performance scene, the large number of characters, the gorgeous costumes and the ingenious changes have all reached surprising levels.

The realistic "car platform" is also often used. The eighth volume of Zhi Ding Chunqiu first wrote: "Disguised as a water cloud, on a big ship. Guan Gong and Zhou Cang boarded the ship. " [23] "Water Cloud" is the abbreviation of "dressing up as a sailor and holding a water cloud flag" around the ship. For example, the treasures such as "cornucopia, coral tree, Zhao Baofan and Mu Nizhu" which first appeared in the sixth part of "Persuading the Good and the Golden Branch" were all staged with physical props. In order to present the scene of hell, copper snakes, iron dogs, clothes skeletons, iron beds, blood tanks, swords and trees, etc. , also in kind.

The Qing Palace Theater was formed on the basis of the traditional stage in China, which originated from the temple stage and borrowed from the theater structure as a city theater. It was created according to the needs of the court drama and showed the royal style. No matter from architectural modeling or practical function, it has reached the peak of traditional stage architecture in China.

As we all know, China traditional opera performance is freehand, virtual and stylized. The performance of Qing Palace Opera used a lot of realistic means, and at the same time, influenced by western culture, there appeared hard and soft realistic scenes such as drawing lessons from western painting methods and using organ. This is an innovation of traditional opera performance, not just a boast of royal momentum. Although, due to the limitations of manpower, financial resources, material resources and technology, this exploration can not be extended to the vast urban and rural theaters, but it is a great pioneering work in the history of China opera.

Although the cultural exchange between China and China's plays never stopped, it was not until the Republic of China that the rotating stage affected the construction of China's plays. According to Mr. Zhou, "In recent years, the maritime traffic has become increasingly developed, and the architecture of the stage has gradually become exotic. For example, the rotating stage is a feature of the Japanese stage. In the early years of the Republic of China, large commercial ports such as Shanghai, Hankou and Changsha all had this kind of imitation rotating stage, but it was quickly eliminated. " [24] Lifting devices often appear in the history of western theaters, and ancient Greek theaters also have simple turntables and carriages. Whether the rotating stage and lifting device of the above-mentioned Oriental Theater are influenced by the Western Theater is unknown at present, and this issue needs further study.

Postscript: With the help of tutor, curator Takemoto and Miss Tadashi buried in the museum, Ding Man, a doctoral student at Waseda University Drama Museum, provided me with pictures of the turntable and lifting platform in Edo era. Thank you!

Precautions:

[1] Li Daozeng's Western Drama &; #8226; History of Drama (I), Beijing: Tsinghua University Publishing House, 1999, p. 35.

[2][ Japan] county teacher Zheng Sheng "Introduction to Kabuki", translated by Li Mo, China Drama Publishing House, 2004 edition. Page 37.

[3][ Japan] County Secretary Zheng Sheng's "Introduction to Kabuki", Chapter III, Page 90, Note 230 "Back to the Stage".

[4] (Qing) Huang Zunxian's History of Japan, Volume 36, History of Etiquette and Custom III&; #8226; "Music and Dance", reprinted by Shanghai Ancient Books Publishing House, 200 1 edition, p. 377.

[5] Music bed, a special place for kabuki accompaniment, is mainly used by a Taifu (Sanweixian) performer, so it is also called Taifu Block.

[6] Black royal curtain, a special place for kabuki actors, has special sound effects. Because it is located at the "starting point", it is also called "adjacent seat", and the music played here is also called "adjacent seat music".

[7] Turtle, a kabuki stage device, is a kind of lifting platform, which is mostly located at the 37 th place of Huadao, and is used for the appearance and exit of unreal characters such as ghosts and ghosts. It is named because its lifting mode is similar to the expansion and contraction of glans penis.

[8] Naraku, the basement below the kabuki stage, is used to place equipment for manipulating stage props (such as stage and tortoise).

[9] Introduction to Kabuki, p. 1 16.

[10] (Qing) Huang Zunxian wrote A Record of Japan (Volume 36) A Record of Etiquette and Custom III&; #8226; Music and Dance, p. 377.

[1 1] generally refers to the Lu Yuan era (1688- 1703) as the center, including the first five years and the last fifteen years. See page 83 of kabuki introduction.

[12] Introduction to Kabuki, page 43.

[13] See Zhai's "Research on the Stage of Deheyuan", the second collection of research papers on the Forbidden City in China, Beijing: Forbidden City Press, Palace Museum, 2002, pp.161-kloc-0/66. Or it was built in the early years of Qianlong. See Liu Dunzhen's Historical Materials on the Reconstruction of Yuanmingyuan in Tongzhi, Collected Works of Liu Dunzhen (I), Beijing: China Building Industry Press, 1982, p.291.

[14] According to the measurement of Dr. Luo Deyin from the School of Architecture of Tsinghua University, the doctoral thesis "Research on Ancient Stage Architecture in China", 1 17, Beijing: Tsinghua University, April 2003. Another encyclopedia of China &; #8226; "China Opera Quyi Volume" is square 14m, Beijing: China Encyclopedia Publishing House, 1983 edition, p. 28.

[15] According to the records in the Engineering Practice Manual of Deheyuan in the 16th year of Guangxu (1890), some researchers infer that the overall width is 17m, the penetration depth is 16m, the eaves column is 4.48m high and the middle width is 12m. See Zhai's Study on the Stage of Deheyuan, and Essays on the Study of the Forbidden City in China, 2nd edition.

[16] Luo Deyin, according to Table 5-/kloc-0 of Li Xueshi's thesis "Research on the Restoration Design of the Same Paradise"/List of Main Dimensions of the Architectural Stage of China Grand Theatre, p.1/7-165438.

[17] See Yu Jian's Qing Palace Grand Stage and Stage Technology, Art and Technology 1999 No.2. Zhou Huabin and Zhu Lianqun's History of Chinese Drama Volume II.

[18] Zhu Jiajin and Ding Ruqin, Textual Research on the Palace Drama in Qing Dynasty, Beijing: China Bookstore, 2007, pp. 37-38.

[19] Xiao Shao of Zhao Dynasty, Volume I, An Example, the sixth episode of the ancient drama series, Shanghai: Photocopying by the Commercial Press 1964, page 12 of this volume.

[20] The first volume of "Persuading Good Golden Branches" is "Example", and the ninth episode of "Ancient Opera Series" is the fifth volume, and the page number of this volume is 1 1.

[2 1] Cao Xinquan's dictation and Shao's notes "Memoirs of Acting in the Palace of the Former Qing Dynasty" Volume II, No.5 Drama Monthly 65438+May 0933.

[22] Park Duoyuan's Diary of Jehol, Volume 4, Villa Miscellaneous Notes &; #8226; Notes on Drama Names, Shanghai: Shanghai Bookstore Press, 1997, p. 250.

[23] "Zhi Ding Chunqiu" has eight volumes, the ninth set of "Ancient Opera Series" is the third volume, and this volume is 1.

[24] Zhou History of Chinese Drama and On Novel and Drama, Jinan: Qilu Bookstore, 1986, p. 48 1 page.

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