Hakka Grand Opera

Hakka grand opera (in Hakka Sixian dialect: hagˋ gaˊ tai hi; in Hakka Hailu dialect: hag gaˋ tai+ hiˇ), also known as "refined tea-picking opera" or "tea-picking grand opera," is developed on the basis of the "Hakka three-character tea-picking opera" from China. Influenced by specific historical context and different types of opera in Taiwan, it has become one of Taiwan's unique traditional theater genres.Hakka grand opera has taken on various performance forms throughout its history, including "lo̍k-tē-sàu" (an informal performance that took place at the temple courts), "indoor plays," "outdoor plays," and modern cultural performances. With the rise of different media, it has also found its way into radio, television, and theater, adapting to various forms of performances.

The language used in Hakka grand opera is based on the "Taiwanese Hakka Sixian dialect." Its musical style is rooted in the original tunes of tea-picking opera, such as "Pingpan" and "Shankotzu," while also incorporating melodies from other opera genres, resulting in a unique musical form.

Historical Development

Qing Dynasty

Hakka grand opera was developed on the foundation of Hakka three-character tea-picking opera, which was brought to Taiwan by Hakka immigrants during the Qing Dynasty. It reached its peak of popularity in the late Qing Dynasty.

Japanese occupation period

In the early years of Japanese occupation, Hakka three-character tea-picking opera was influenced by the rise of commercial theaters in Taiwan and performances by theater troupes from China. It absorbed elements from other opera genres like Luantan opera, Siping opera, and Peking opera, attempting to transform the three-character tea-picking opera into a more elaborate theatrical form that involved more performers and delicate stage performance, selling tickets at commercial theaters.

In the later period of Japanese occupation, due to the government's promotion of Japanization, the "Taiwan Drama Association" was established in 1942 to manage Taiwan's drama troupes. As a result, traditional opera performances in Taiwan were greatly restricted, leading to the dissolution of many troupes.

Post-war Period

After 1945, Hakka opera troupes started to resurge, returning to indoor performances. To train new performers, the troupes hired experienced performers from other opera genres such as Luantan opera, Siping opera, and Peking opera, who taught the new members in body movements and performance styles. Peking opera performers were the majority among the instructors, which was reflected on the demonstration of the characteristics of Peking opera in Hakka grand opera. Additionally, the combination with different opera genres and emerging visual and entertainment effects has resulted in the highly flexible, adaptable, and inclusive Hakka grand opera.

In 2021, Taiwan's National Taiwan College of Performing Arts established the Hakka Opera Department, providing formal education to train Hakka opera actors. Since the establishment of Hakka TV in 2003, the TV productions of Hakka grand opera productions has encouraged the participation of theater troupes.

Performance characteristics

Melodies and tunes

Hakka grand opera's musical tunes can be categorized into two systems: "Hakka system" and "non-Hakka system." During performances, the Hakka system uses "Pingpan" (tea-picking tune) as the main musical form, while "Shankotzu" serves as a secondary tune. Other tunes, known as the "Nine Accents and Eighteen Tunes," are used for embellishment.

Instruments

Instruments used in Hakka grand opera are divided into "wenchang" (literary scenes) and "wuchang" (martial scenes)." The wenchang instruments are represented by string instruments "panghu" and "erxian." The wuchang instruments consist of "tungku" (drums), "chitzu" (small cymbals), "hsiaoluo" (bowl gong), "daluo" (local gong), "Chiasai" (bamboo clappers), and "chiaotzu" (wood blocks). "Hsiaoluo" is an indispensable instrument in Hakka opera and eight-tone musical ensembles.

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  wenchang (literary scenes)

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  "tungku" (drums)

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  "chitzu" (small cymbals)

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  "hsiaoluo" (bowl gong)

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  "daluo" (local gong)

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  "Chiasai" (bamboo clappers)

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  "chiaotzu" (wood blocks)

Role types

The role types in Hakka grand opera are similar to those in other traditional Chinese operas, including "sheng" (male), "dan" (female), "chou" (clown), and "jing" (painted face). The "chou" role in Hakka opera is particularly important, since it is the role that can best deliver Hakka vernacular. The categorization of "chou" roles in folk troupes is different from other opera genres, including "ching chou" (crafty clown), "han chou" (silly clown), "wenming chou" (cultured clown), "wuchou" (martial clown), "dien chou" (comic clown), and "laoshih chou" (elder clown). The "chou" role is essential in Hakka opera, as the plot development is tied to the role. "Sanpatzu" (a silly and goofy role), portrayed by female performers, serves a similar function to the clown role and primarily sings Hakka folk songs in the performances.

References

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