Nankuan drama is also called Pear Garden drama. It is a popular drama form in the southern Fukien belt, sung with a Chuanchow accent. From existing materials it is clear that Nankuan was deeply connected to Sung and Yuan drama-songs. It is the oldest surviving form of Chinese drama.
Ch'iu K'un-liang, who is deeply versed in popular art forms, says, "Nankuan singing seeks to match linguistic melody with musical melody. Its method of singing uses multiple notes for each character, and the head, middle, and tail of the word being sung are strictly separate. The voice must project well, and the notes cannot waver."
On top of this there are 36 fundamental postures, the performing methods of "raising your hands to your eyebrows, separating your hands to the stomach, raising your finger to the tip of your nose, and stretching your hands to the lower part of the chin," as well as the basic norms of "advance three steps, withdraw three steps, and go three steps forward toward the front of the stage." With such complexity the dramatic action is able to adapt to follow the story line.
Given such strict performing methods, with the current rapid social change, the traditional Pear Garden drama is facing a crisis of disappearing. Li Hsiang-shih, who has devoted most of his life to Pear Garden drama, is thus even more precious.
Although Nankuan activities have a history of a hundred years in Taiwan, because of various factors it has been dormant for a period of time. In 1962, the Tainan Nansheng Society, because of a lack of talent for Taiwan Pear Garden drama, took the troupe to the Philippines to perform, where they sought instruction from drama personages.
Li Hsiang-shih had studied Nankuan drama since he was eight. At 28 he was invited to perform in the Philippines, and got stuck there when WWII broke out. He returned to his hometown of Chuanchow after the war. In 1949 he again went to the Philippines, and was once more stranded when the Chinese mainland fell to the Communists. Li had his work, but he still loved drama. He put his work aside and took the young troupers under his wing. This was his first contact with Nankuan troupes from Taiwan.
Because of this fate, in 1963 a few enthusiastic people went to the Philippines to ask Li Hsiang-shih to come to Taiwan to work with a group of thirteen- and fourteen-year-olds, who were young enough to enable them to delve quite deeply into the art.
These young followers--who came to be known as the Thirteen Talented Schoolgirls-- were still in or just out of school. What did they know about Nankuan music? They had never even heard it before! Master Li had to teach one word and phrase at a time. Under his guidance, their voices played out the exquisite nobility of Nankuan amidst the sounds of thunderous applause.
Especially talented was Wu Su-hsia, whose brilliant nuanced performance as Wu Niang in the Ch'en San and Wu Niang had the heads of front row aficionados nodding in approval. In terms of passing on the tradition, it also brought a smile to the heart of Master Li. And every time the performance of the Thirteen Schoolgirls is brought up, Master Li would say excitedly, "Su-hsia played the female lead as well as it can be done."
Currently, the Ministry of Education selects Traditional Arts Masters to affirm their contributions to the popular arts and national culture. On the day of the presentations, when people asked Li Hsiang-shih about his feelings after accepting the prize, he sighed, "Nobody wants to learn anymore!" What could make the old teacher so despondent?
In the eyes of the traditional music world, Pear Garden drama and Nankuan are two different kettles of fish. Nankuan musicians never asked much, nor cared to, about the performing side. Although recently some of the older generation have begun to cross over between music and drama, few are willing to get too close. This isolated the never-too-popular Pear Garden drama further.
Fortunately, the Tainan Nansheng Society, under the leadership of its director Lin Chang-lun, has several times gone to the Philippines to ask Li Hsiang-shih for guidance. Also, the Chu-ying Company in Lukang, with the support of the Committee for Popular Customs Support and Local Development in Lukang, and the Yachengchai, another Nankuan troupe, have both begun to recruit new members and plan to restore Nankuan to its former glory. And with the encouragement of Chu-ying director Wang Kun-shan, Nankuan drama also reappeared in Lukang.
Wang says contentedly, "At the time of the performance, the word got passed, and the temple was so jammed full that even water couldn't flow through. It really brings a person back to the golden age in Lukang." And those who had Nankuan training as kids couldn't help but sigh, "It's been a long time since we've seen the old plays."
Because of the success of this show, this encouraged those in Nankuan music to get more involved in Pear Garden drama. The government also has helped by sponsoring arts festivals.
In 1981, the R.O.C. Popular Arts Foundation, headed up by Professor Hsu Chang-hui, held an international seminar on Nankuan music. During the conference the Nansheng Society performed part of a drama, with Ms. Wu Su-hsia in the lead role.
Three stages have marked Nankuan activities in recent years: The first was in 1963, when training began for the Thirteen Schoolgirls. Master Li's successor Wu Su-hsia is a product of this period.
The second was from 1979 to about 1981, when there were a series of popular arts activities. Several figures from the Chu-ying group and others were students of that era.
The third came in 1988 when Chiu Kun-liang mapped out a program for Nankuan performing. It aimed at attracting students and a few young people from society.
Nankuan has thus ebbed and flowed like the tides; unfortunately, the tide has been out more often than it has been in.
Today, in terms of teachers, you could count them on one hand. The Thirteen Schoolgirls have, with no funding or fixed organization, drifted apart. Only Wu Su-hsia carries on.
Today Master Li is back in Taiwan, mapping out a strategy to pass his art on: "It would be best to get students just out of primary or middle school. After training them for three years, they could become 'little masters,' and begin instructing others." Master Li stresses that the process must be long-term and continuous, not just occasional bursts of activity. Will others pick up their ends and help out? We'll have to wait and see.
[Picture]
The Current Status of Pear Garden Drama on the Two Sides of the Taiwan Straits
[Picture Caption]
On the evening of departure, followers express their feelings through drama.
So many stories from the Pear Garden are told with a smile--Master Li describes his dramatic life to his students.
The scene of "viewing the lamps" from the Fukienese play Ch'en San and Wu Niang.
The student of whom Li is most proud, Wu Su-hsia, in The Story of the White Rabbit.
The scripts come to life with Li Hsiang-shih's narration.
Li Hsiang-shih talked shop with many musical friends from the world of Nankuan at last year's meeting of the Nansheng Society.
The road to carry on tradition is long, but does it have to be lonely too?
So many stories from the Pear Garden are told with a smile--Master Li describes his dramatic life to his students.
The scene of "viewing the lamps" from the Fukienese play Ch'en San and Wu Niang.
The student of whom Li is most proud, Wu Su-hsia, in The Story of the White Rabbit.
The scripts come to life with Li Hsiang-shih's narration.
Li Hsiang-shih talked shop with many musical friends from the world of Nankuan at last year's meeting of the Nansheng Society.
The road to carry on tradition is long, but does it have to be lonely too?
The Current Status of Pear Garden Drama on the Two Sides of the Taiwan Straits.
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