The Freer and Sackler Galleries Exhibition “The Last Empresses of China: 1644-1912” (紫鸾金凤：清代宫廷皇后艺术与生活大展 2018-19年美国巡展)
Presents
Shanghai Kunqu Troupe 上海崑劇團
Sackler Pavilion, Freer and Sackler Galleries
Independence Ave at 12th St. SW, Washington, Dear Charles: 20560
June 9, 2019
Watch Live Performance on Smithsonian’s Facebook
(At 33:00)
Synopsis
Ocean of Sin: Fleeing Down the Mountain 【孽海記：下山】
【孽海記】本源不可考，其名最早見於「綴白裘」一書。目前經常搬演的有《思凡》、《下山》兩折。文辭淺顯通俗，對封建的傳統大膽的加以批判。《下山》是緊接《思凡》後的戲曲傳統劇目。《思凡》敘述少年尼姑色空在仙桃（先逃）庵出家，不甘拜佛念經的寂寞生活，私自逃出尼庵而去。《下山》敘述碧桃（必逃）寺青年和尚本無，也因出家，每日燒香念佛生活枯燥，所以逃下山來。在途中与少年尼姑色空相遇，二人互相愛慕，結為夫婦。倆人均是幼年在無選擇下進入佛門，因思慕凡俗生活私逃下山。此劇以輕鬆、幽默的口吻表達對倆人毅然打破傳統束縛予以同情。
The performance history of Ocean of Sin is contested and obscure, but the text is believed to be of Ming origin. “Ocean of sin” is a Buddhist metaphor for a life of sorrow and storytellers’ adaptation of Buddhist source material. Since monasteries are typically constructed on hills, “fleeing down the mountain” implies both literal flight and descent into the ordinary realm of human society.
Sent in childhood to a temple by his parents, Benwu (“Essence-is-Nought”) has grown into a lusty and virile Buddhist acolyte monk. He has lately been brooding over the tedium of his monastic routines. One day, left alone in the temple by the abbot, he flees down the mountain.
As luck would have it, during his flight he encounters a young woman with the Buddhist name Sekong (“Lust-is-Empty”), a novice in much the same state of mind. Sekong was dedicated by her parents to a Buddhist temple in her childhood, and in a previous scene (“Longing for Ordinary Life 思凡”), she has resolved to flee the temple.
The two escapees fall in love at first sight–his lascivious overtures answered by coquettish flirtation. Before long, they join forces to make their escape together and flee the strictures of devotional life.