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Journal articles on the topic '"zajui"'

Author: Grafiati

Published: 5 June 2025

Last updated: 1 August 2025

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1

Shen, Grant Guangren. "Zaju and Kabuki in English: Directing in the Classical Styles." TDR/The Drama Review 45, no. 3 (2001): 134–48. http://dx.doi.org/10.1162/10542040152587169.

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Zaju, a Chinese theatre genre, has not been staged for 500 years. Kabuki has never been performed in English in Asia. In Singapore, a vigorously multicultural city, Shen directed English-language productions of zaju and kabuki. Are such productions “authentic”? What does authentic mean these days?

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2

Liu, Peijin. "Exploration of the Formation Path of Yuan Dynasty Zaju Music and Script System." Studies in Social Science & Humanities 2, no. 10 (2023): 15–21. http://dx.doi.org/10.56397/sssh.2023.10.03.

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As the first peak in the development of Chinese drama, Yuan Dynasty Zaju was influenced by various factors in its formation. The external structure of Yuan Dynasty Zaju includes the music system and the script system, both of which exhibit different inheritances of “existing forms.” The music system was selected based on musical forms such as daqu, changzhuan, and various palace tunes, while the script system evolved through continuous practical exploration based on the trial-and-error experiences of drama performance. In pursuit of artistic continuity, this study explores the formation path o

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3

Wang, Qian, and Qiong Yang. "Ritual, Legend, and Metaphor: Narratives of the Willow in Yuan Zaju." Religions 13, no. 1 (2022): 55. http://dx.doi.org/10.3390/rel13010055.

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Narratives of willow trees in Yuan zaju 雜劇, or variety play, largely come in three types, namely, the ritual performance of shooting willows; the deliverance of willow spirits by Lü Dongbin, one of the Eight Immortals of Daoism; and the use of the word willow to refer to women. The willow shooting ritual depicted in Yuan zaju was highly reminiscent of the willow shooting ritual popular throughout the Song (960–1279), Liao (916–1125), Jin (1115–1234), and Yuan (1271–1368) dynasties, with its conceptual origins traceable to the ancient shamanic belief in the willow as a sacred tree prevalent amo

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4

Wang, Yu. "On the Phenomenon of Guan Hanqing’s “Big Heroine” Zaju Creation." International Journal of Education and Humanities 16, no. 2 (2024): 312–14. http://dx.doi.org/10.54097/v3p74458.

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In this work, there are eighteen existing plays by Guan Hanqing, among which there is a noteworthy phenomenon of “big heroine” zaju creation. These women have a clear self-awareness and a strong personality of respecting themselves. They are very clear about what they want, and in order to grasp their own destiny, they can make every effort to fight for it, and in the process, they show a firm and persistent will. They are both intelligent and brave, planning and acting later, and are resolute and calm. The reason why Guan Hanqing’s zaju creation featured the portrayal of “big heroine” in grou

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5

Chang, Wenbo. "A Prince, the Literati, and the Emperor: Two Faces of One Shuihu Play by Zhu Youdun." East Asian Publishing and Society 14, no. 1 (2024): 5–36. http://dx.doi.org/10.1163/22106286-12341382.

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Abstract Zhu Youdun, the prince of Zhou and the grandson of the Ming founding emperor, wrote and published thirty-one zaju plays. While Zhu Youdun’s plays have been well-researched in drama scholarship, their publication, circulation, and textual variations emerging from transmission among different audiences are rarely studied. Situating Zhu Youdun’s zaju writing and publishing activities as part of Ming princely publishing, this paper examines and compares two editions of Black Whirlwind Li Spurns Riches Out of Righteousness as a case study, one the printed edition circulating mainly among l

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6

Carlitz, Katherine. "Yuan zaju zuojia de nüxing yishi." NAN NÜ 11, no. 1 (2009): 135–37. http://dx.doi.org/10.1163/138768009x12454916572002.

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7

Xiong, Jiayi. "The Research on the Folklore Terms of the Seasonal Festivals in the Dongjing Meng Hua Lu." International Journal of Education and Humanities 10, no. 3 (2023): 137–41. http://dx.doi.org/10.54097/ijeh.v10i3.12242.

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Dongjing Meng Hua Lu is an important document to study the social life of the Northern Song dynasty. But up to now, there are still many debates about the specific textual researches of relevant nominal words in this book. So, this paper makes further correction, supplement and textual research on the controversial folklore terms. This paper believes that in the folkloric words, the prototype of the word "Mo Hele" is Mahakala; the word "Jing" should have been omitted from the Zaju "Mulian Saving His Mother", which is actually the Zaju using the Buddhist classic of Mulian to show how to save hi

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8

양회석. "A Study on Guan Hanqing’s Sanqu & Zaju." Journal of Study on Language and Culture of Korea and China ll, no. 33 (2013): 303–29. http://dx.doi.org/10.16874/jslckc.2013..33.013.

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9

Lee, Bo-ram. "Food in the Yuan Zaju : Reflecting Mongolian Culture." Journal of Chinese Language and Literature 145 (April 30, 2024): 147–66. http://dx.doi.org/10.25021/jcll.2024.4.145.147.

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10

Комилова, Шахноза Туробуддиновна. "ХИТОЙ ЎРТА АСР АДАБИЁТИДА ДРАМАТУРГИЯНИНГ ТАРАҚҚИЁТИ". Oriental Renaissance: Innovative, educational, natural and social sciences 2, № 26 (2022): 391–95. https://doi.org/10.5281/zenodo.7335903.

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<em>Ушбу мақола доирасида хитой адабиётида драма жанрининг пайдо бўлишига таъсир кўрсатган ички ва ташқи омиллар масаласи акс эттирилган. XIII-XIV асрларда хитой драматургиясида шаклланган “сивень”, “цзацзюй” жанрларининг ўзига хос жихатлари хусусида сўз боради ва бу жанрининг ривожида ўз ўрнига эга бир қатор драматурглар ижоди хусусида фикр юритилган. Мақолада жанр нуқтаий назаридан ХVII-ХVIII  асрлар келиб драматургияда номлари келтирилган жанрлар билан бирга “чуанци” жанри пайдо бўлиши ва ривожланиши олиб борган тадқиқотлари асосида таъкидлаб ўтилди.

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11

Dinu, Cristina. "The Narrative Motif of the Ghost in Classical Chinese Literature." International Journal of Linguistics, Literature and Culture 9, no. 1 (2022): 1–9. http://dx.doi.org/10.19044/llc.v9no1a1.

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The first part of this paper presents a brief history of the ghost narrative motif in classical Chinese literature, arguing that this motif first appears in Chinese culture during the Shang Dynasty (16 c. - 1066 BC), and it is a recurring concept defined in the Book of Liezi and it is also present in the Daoist principle yin - yang. Despite the Confucian tradition of rejecting the belief in ghosts and any other metaphysical elements, ever since the Tang Dynasty (618 – 907) the literary motif of the ghost appears in the so-called fantastic stories chuanqi which will later influence the strange

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12

신지영. "The Region of Dongping, Shuihuxi and Zaju of Water Margin." Journal of the research of chinese novels ll, no. 49 (2016): 43–65. http://dx.doi.org/10.17004/jrcn.2016..49.002.

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13

Ha, Kyung-sim. "A Study on Yuan Zaju 〈The Ghost of the Pot〉." Journal of Chinese Language and Literature, no. 121 (April 30, 2020): 315–49. http://dx.doi.org/10.25021/jcll.2020.04.121.315.

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14

Yun, Eun-seol. "The Study of the Bawd’s Image in Yuan Dynasty’ Zaju." Journal of Chinese Language and Literature, no. 121 (April 30, 2020): 351–71. http://dx.doi.org/10.25021/jcll.2020.04.121.351.

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15

Wang, Dong, and Guangtao Cao. "On the Assessment of the English Translation Quality of Yuan Zaju." Journal of International Education and Development 8, no. 6 (2024): 88–94. http://dx.doi.org/10.47297/wspiedwsp2516-250015.20240806.

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16

김광영. "Structure of Transcendence of Yuan Zaju 「Yuan ting jing」: Rite of Passage." Journal of Chinese Cultural Studies ll, no. 31 (2016): 177–200. http://dx.doi.org/10.18212/cccs.2016..31.008.

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17

김광영. "Structure of Transcendence of Yuan Zaju 「Dong Po Mong」; Rite of Passage." Journal of Chinese Cultural Studies ll, no. 32 (2016): 75–98. http://dx.doi.org/10.18212/cccs.2016..32.004.

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18

Tan, Tian Yuan. "PROHIBITION OFJIATOU ZAJUIN THE MING DYNASTY AND THE PORTRAYAL OF THE EMPEROR ON STAGE." Ming Studies 2004, no. 1 (2004): 82–111. http://dx.doi.org/10.1179/014703704788762826.

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19

Zhao, Xiaohuan. "Love, Lust, and Loss in the Daoist Nunnery as Presented in Yuan Drama." T’oung pao 100, no. 1-3 (2014): 80–119. http://dx.doi.org/10.1163/15685322-10013p03.

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Most studies of either Daoist influences and features or love and romance in Yuan drama concentrate on the male-dominated theme of deliverance (dutuo) or center on the “scholar-beauty” or “scholar-courtesan” romantic relationship, with little attention given to Daoist women involved in love affairs or marriage arrangements. This article aims to bring to light life and love in the Daoist nunnery as featured in Yuan drama, by focusing on transgressive Daoist nuns longing for secular life and sensual love and on lay women whose marriages are arranged by Daoist nuns. Four zaju plays have been sele

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20

Chen, Tianjun. "Emotion, Money, and Beauty: Variation and Innovation in the Story of Shuang Jian and Su Xiaoqing." CHINOPERL: Journal of Chinese Oral and Performing Literature 42, no. 2 (2023): 99–129. http://dx.doi.org/10.1353/cop.2023.a910839.

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Abstract: This paper explores the circulation, recension, and reception of the story of Shuang Jian and Su Xiaoqing. This understudied story is one of the three most popular stories of the Song, Jin, and Yuan periods, appearing in zhugongdiao, zaju, and sanqu . The variations in how Yuan sanqu writers narrated, appropriated, and interpreted the story reveal three ways of portraying Su Xiaoqing: as a virtuous, victimized courtesan who mirrors her scholarly lover; as a gold digger who chooses wealth over talent; or as the primary agent who dominates all of her relationships. The juxtaposition an

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21

Shi, Zhixuan. "Discussion on the Rudiment, Transformation and Fusion of Opera Music." Journal of Educational Theory and Management 1, no. 1 (2017): 113. http://dx.doi.org/10.26549/jetm.v1i1.586.

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Music is the core power to promote the development of opera and to thoroughly understand its early form and development track in the domain of opera art. It plays an important role in the comprehensive understanding of the artistic nature of operamusic. Opera music originated from the inheritance of excellent music culture in history, the song and dance drama in Tang Dynasty,Zaju in the Song Dynasty and Jinyuanben (a kind of Chinese ancient traditional opera) had began to form the rudiment of opera music before forming into independent musical system. The reform of the development of the opera

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22

Turobiddinovna Komilova, Shaxnoza. "The Development of Drama as a Genre in Chinese Literature." International Journal of Multicultural and Multireligious Understanding 8, no. 4 (2021): 99. http://dx.doi.org/10.18415/ijmmu.v8i4.2565.

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The article discusses the emergence and development factors of the drama genre in Chinese literature. There is also information about the genre of drama and its development in Uzbek and world literature. In Chinese literature, the first drama genres in the development of the drama genre were called "siven" (戏文) or "nansiven" (南戏). During the Yuan Dynasty in the 13th and 14th centuries, a genre based on strict law, zaju (杂剧), flourished. In the XIII-XIV centuries, playwrights Guan Han Qing (关汉卿), Wang Shi Fu (王实甫), Bai Pu (白朴), Ma Zhi Yuan (马致远) played a role in the development of the above-men

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23

LIU, Qingju. "Exploring the Tragic Transformation from "The Orphan of Zhao" to "The Chinese Orphan"." Academic Journal of Sociology and Management 1, no. 2 (2023): 20–25. https://doi.org/10.5281/zenodo.10073681.

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"The Chinese Orphan" and "The Orphan of Zhao" are two works that differ significantly in their settings, characters, narratives, and themes. Voltaire's "The Chinese Orphan" can be seen as a representative work of Western culture's reinterpretation of Chinese tragedy. As Fan Qiu Xia quotes from Mr. Fan Xi Heng: "To this day, it represents the greatest glory of Chinese literature internationally, if not the only one." Influenced by the Yuan Zaju play "The Orphan of Zhao," Voltaire dramatically altered the theme of revenge into a narrative celebrating freedom, kindness, and justice, emphasizing t

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24

Altenburger, Roland. "Kaiserliches Theater – Theater ohne Kaiser? Die Gründung der Han-Dynastie in zaju-Stücken der Ming-Dynastie." Monumenta Serica 63, no. 2 (2015): 453–57. http://dx.doi.org/10.1080/02549948.2015.1106829.

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25

Wang, Haowei, and Seongju Kim. "A Study on the Translation of Rhetoric in Yuan Zaju - Focusing on The Orphan of Zhao -." Studies of Korean & Chinese Humanities 83 (June 30, 2024): 147–72. http://dx.doi.org/10.26528/kochih.2024.83.147.

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26

김광영. "The Study on Buddhist Drama of Yuan Zaju - By the Point with the Unity of Three Religion." Journal of Chinese Cultural Studies ll, no. 37 (2017): 55–76. http://dx.doi.org/10.18212/cccs.2017..37.003.

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27

Wei, Shu-chu, та Catherine Swatek. "Baihua ting 百花亭 (The Pavilion of One Hundred Flowers), An Anonymous Zaju Play , Part I". CHINOPERL: Journal of Chinese Oral and Performing Literature 41, № 2 (2022): 191–218. http://dx.doi.org/10.1353/cop.2022.a873830.

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28

Wei, Shu-Chu, та Catherine Swatek. "Baihua Ting 百花亭(The Pavilion of One Hundred Flowers), An Anonymous Zaju Play , Part Ii". CHINOPERL: Journal of Chinese Oral and Performing Literature 42, № 2 (2023): 192–214. http://dx.doi.org/10.1353/cop.2023.a910842.

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29

Besio, Kimberly. "Gender, Loyalty, and the Reproduction of the Wang Zhaojun Legend: Some Social Ramifications of Drama in the Late Ming." Journal of the Economic and Social History of the Orient 40, no. 2 (1997): 251–82. http://dx.doi.org/10.1163/1568520972600757.

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AbstractScholars have long noted a heightened concern over female virtue in late Ming literati society; more recently, this social trend has been connected with the boom in print production of drama, and many other types of popular and elite texts, which occurred during the Jiajing through Wanli periods. Ming print circulation of the legend of Wang Zhaojun, a palace woman of the Han dynasty who was given in marriage to a northern leader, further illuminates these connections. Through detailed analysis of the text, and its reproduction during the late Ming, and through comparison with other ver

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30

Besio, Kimberly. "A Friendship of Metal and Stone: Representations of Fan Juqing and Zhang Yuanbo in the Ming Dynasty." NAN NÜ 9, no. 1 (2007): 111–45. http://dx.doi.org/10.1163/138768007x171731.

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AbstractThis essay examines representation of male friendship in Ming vernacular literature through an analysis of works that retell the story of two late Han friends, Fan Juqing and Zhang Yuanbo. Throughout the Ming, versions of the tale were produced in a variety of literary genres including a zaju play and a vernacular short story. Both the drama and the short story are extant in multiple editions, providing us insights into how they were interpreted by various literati editors. The durability of the friendship between Fan and Zhang—an essential aspect in all depictions of their story—is vi

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31

Vetrov, Viatcheslav. "CLASSICAL CHINESE DRAMA (YUAN ZAJU) IN THE LIGHT OFGEN KAN ZATSUGEKI NO KENKYŪ元刊雜劇の研究(STUDIES ON THE YUAN ZAJU PLAYS PRINTED IN THE YUAN): SOME NOTES ON THE PRESENT-DAY STATE OF RESEARCH". Monumenta Serica 59, № 1 (2011): 503–25. http://dx.doi.org/10.1179/mon.2011.59.1.026.

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32

Damayanti, Intan, and Tuti Rahayu. "STUDI KOMPARATIF BENTUK PENYAJIAN TARI SERAMPANG XII YANG BERKEMBANG DI DELI SERDANG DENGAN TARI SERAMPANG XII VERSI MANUSKRIP." Gesture: Jurnal Seni Tari 13, no. 2 (2024): 279. http://dx.doi.org/10.24114/gjst.v13i2.64500.

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This research aims to describe the differences in the form of presentation in the Serampang XII Dance which has developed in Deli Serdang and the Manuscript version of the Serampang XII Dance. The author uses the theoretical basis of Sugiyono (2014: 54) and the theory of M. Zajuli (1994: 9) in order to explain and strengthen the title related to the Comparative Study of the Form of Presentation of the XII Serampang Dance which developed in Deli Serdang with the Manuscript Version of the XII Serampang Dance and uses theory comparative study and theory of forms of presentation. The author uses a

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33

김광영. "The Study on 「Journey to the West」 Drama of Yuan Zaju — About Image of Character of Tang Seng XuanZang." Journal of Chinese Cultural Studies ll, no. 39 (2018): 149–72. http://dx.doi.org/10.18212/cccs.2018..39.007.

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34

Shidi, Cheng. "Binbai, Quci and Foot Color: A comparison between Thirty Kinds of Zaju of Yuan Journal and Selected Yuan Qu." Film，Television and Theatre Review 2, no. 1 (2022): 33–42. http://dx.doi.org/10.35534/fttr.0201005.

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35

김광영. "The Study on Journey to the West of Yuan Zaju - By the Point with the Heroic Mythology by Joseph Cambell." Journal of Chinese Cultural Studies ll, no. 40 (2018): 53–76. http://dx.doi.org/10.18212/cccs.2018..40.003.

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36

Jo, Yeon-Sug (Ven Su-Wan), and Seung-Hak Koh. "Differences between Vasubandhu and Fazang as Shown in Their Interpretations of the Term “Zajue” - Focused on the Shidi jing lun and the Tanxuan ji -." Journal of Seon Studies 67 (March 30, 2024): 5–35. http://dx.doi.org/10.22253/jss.2024.4.67.5.

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37

Kim, Kwang-young. "The Comparitive Study on 〈Poetry of Datang San Zang Sutra〉 And 〈Journey to the West〉 drama of Yuan Zaju - Focusing on Comicality." JOURNAL OF CHINESE HUMANITIES 72 (August 31, 2019): 307–22. http://dx.doi.org/10.35955/jch.2019.08.72.307.

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38

Shih-Pe, Wang, and Erxin Wang. "Plays within Songs: Sanqu Songs from Literary Refinement (ya) to Popular Appeal (su)." Journal of Chinese Literature and Culture 8, no. 2 (2021): 307–40. http://dx.doi.org/10.1215/23290048-9299658.

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Abstract Through detailed analysis of several case studies, this essay investigates a special form of sanqu 散曲 song, namely, songs that embed references to dramas (quzhong daixi 曲中帶戲). A long song suite (changtao 長套) by Yuan author Sun Jichang 孫季昌 (fl. 14th century) is the best-known example of a pastiche of zaju play titles and dramatic protagonists intended to stimulate and guide readers' imagination. When late Ming dramatist Shen Jing 沈璟 (1553–1610) imitated Sun's pastiche song suite, he painstakingly sought to disrupt the obvious association between lyric and invoked play in an appeal to t

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39

Tan, Jing, and Xiangfei Bao. "An Analysis of the Relationship between Shenxian Daohua Ju and Daoism of the Yuan Dynasty." Religions 13, no. 9 (2022): 776. http://dx.doi.org/10.3390/rel13090776.

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The Shenxian daohua ju of the Yuan dynasty closely relates to Daoism. However, the essence and boundary of these two concepts have not been clearly defined and delineated in the existing research, which leads to confusion in analyzing their relationship. This article provides methodologies for defining Shenxian daohua ju and Daoism. Based on the extant Yuan zaju texts and confined to the themes of seclusion, deliverance, and ascending to immortality, we enumerate the particular dramatic texts of Shenxian daohua ju. Then, we limit the objects of the concept of Daoism to specific Daoist sects in

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40

Yanhua, Que, and Zheng Wei. "The Translation and Dissemination of Chinese Opera in the English-Speaking World." Asian Social Science 21, no. 2 (2025): 45. https://doi.org/10.5539/ass.v21n2p45.

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This paper delves into the translation and dissemination of Chinese opera in the English - speaking world from 1919 to 1949. It examines the English translation and overseas dissemination of Chinese opera during this period, including the historical context, the status of foreign translation, and the characteristics of its dissemination in the UK and the US. The paper analyzes the implications for dissemination and proposes strategies to strengthen the overseas dissemination of Chinese opera, such as improving translation quality, expanding dissemination channels, and fostering diverse dissemi

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이순미. "Linguistic Effects of the Mongolian Languange on Modern Chinese in Laoqida(≪老乞大≫), Piaotongshi(≪朴通事≫) and Zaju ― Focusing on the Suffix 'Jia'(家) and 'Li'(裏)". Journal of Chinese Language and Literature ll, № 52 (2012): 1–19. http://dx.doi.org/10.26586/chls.2012..52.001.

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42

Ding, Beijie, and Xinzi Ma. "The Aesthetic Interpretation of Marriage zaju in the Qing Dynasty -- Taking Narrative Techniques as an Example." Research and Commentary on Humanities and Arts 2, no. 3 (2024). http://dx.doi.org/10.18686/rcha.v2i3.4119.

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Marriage and love have been an important part of human social development since ancient times. Marriage and love zajus of the Qing Dynasty not only deeply reflect the changes in social ethics, but also artfully reproduce people s universal yearning for emotional pursuit. Interpreting the narrative techniques of Qing dynasty marriage and love dramas is conducive to exploring the inner logic and development trend of literature and art in this period.

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43

"Research Status and Translation Strategies of Guan Hanqing's Zaju." Lecture Notes on Language and Literature 7, no. 7 (2024). http://dx.doi.org/10.23977/langl.2024.070714.

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44

Beilei, Rao. "Der Übersetzungsprozess des chinesischen zaju-Stückes Der Kreidekreis in Deutschland." Interkulturelles Forum der deutsch-chinesischen Kommunikation, July 26, 2023. http://dx.doi.org/10.1515/ifdck-2023-0001.

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Zusammenfassung Die Adaption des chinesischen zaju-Stückes Der Kreidekreis erreicht im 20. Jahrhundert in Deutschland ihren Höhepunkt. Allerdings wird der Übersetzungsprozess als entscheidende Voraussetzung für die weltweite Zirkulation dieses Stückes in früheren Untersuchungen wenig berücksichtigt. In diesem Zusammenhang liegt das Ziel des vorliegenden Beitrags darin, den Übersetzungsprozess des Kreidekreis-Stückes in Deutschland mithilfe des Begriffs des ‚dritten Raums‘ von Homi Bhabha zu rekonstruieren, damit die unterschiedlichen Übersetzungsstrategien der Übersetzer und die Interpretation

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45

Jin, Huan. "Possibilities at the Formative Stage of the Vernacular Chinese Novel." JAOS 144, no. 1 (2024). http://dx.doi.org/10.7817/jaos.144.1.2024.a006.

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   This study centers on a valuable specimen of the early vernacular Chinese novel, San Sui pingyao zhuan, to explore dynamic possibilities at the formative stage of the Chinese novel. Close inspection of the physical aspects of the extant edition of the work suggests it is a reprint bearing traces of multiple earlier editions. The analysis of the obscure chuanqi play Si xi ji shows that the story tradition of “Three Sui quelling the rebels” already existed in the mid-sixteenth century. San Sui pingyao zhuan shares much common ground with early zaju drama, fifteenth-century c

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46

"La evolución histórica del teatro chino y su integración de las artes visuales." Fedro, revista de estética y teoría de las artes, no. 24 (2024): 92–110. https://doi.org/10.12795/fedro/2024.i24.06.

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El teatro musical nacional de China enfatiza su singularidad y su estrecha conexión con las tradiciones culturales y filosóficas de China. Esta forma de arte, que se originó entre los siglos VII y X d.C. y alcanzó su apogeo durante la dinastía Yuan, refleja tradiciones centenarias que la convierte en un elemento importante de la identidad cultural china. Para entender el teatro musical, hay que considerar su papel en la sociedad, donde la música y los rituales eran vistos como encarnaciones de conceptos filosóficos taoístas. La integración de textos canónicos como “Shijing” en las prácticas cu

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侯, 淑娟. "論《萬壑清音》之丑行散齣及其變異". 人文中國學報, 1 липня 2023, 33–72. http://dx.doi.org/10.24112/sinohumanitas.362702.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English. 止雲居士所輯《萬壑清音》爲明代崑劇北曲散齣選集，收元、明雜劇與傳奇三十七種劇本，六十八齣劇目。此書計收兩齣丑行散齣，即《草廬記·怒奔范陽》和《紅拂記·計就追獲》。《精忠記·瘋魔化奸》雖未標腳色，卻演變爲現今重要崑丑五毒戲折子《掃秦》。此三齣與丑行相關的選齣都有流傳過程主唱腳色轉换的變異現象。《怒奔范陽》演述張飛與諸葛亮不和，私離軍營之事。雖題《草廬記》，卻非此劇齣目。此戲另有浄扮滾調選本，丑扮選齣主要流傳於崑腔系統的選集。《紅拂記》之《計就追獲》是原劇第卅一齣《扶餘换主》和第卅二齣《計就擒王》融湊後的散齣，丑扮探子，禀報李靖與高麗戰況，改變原劇小旦主唱的安排。《瘋魔化奸》地藏菩薩化身爲掛單靈隱寺的瘋和尚，點破秦檜陷害忠良的奸計。元雜劇、南戲各以正末、外應工，萬曆時期也曾有以浄扮應工的選集，清代《續綴白裘》之後的崑劇《掃秦》變爲丑行折子，曲唱皆來自《萬壑清音》的北套，更可見此選集對丑行折子發展的重要性。 Clear Voices from Ten Thousand Straths (Wanhuo qingyin) is an anthology of Ming-dynasty Northern Kunju drama comp

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