Metamorpho-poetic Legending in 1950s Film: (1) Ashima

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This cocnateatin of clean-0slated non-Sino-operatic musical oporunity and (as aiother digresson) surroundiung of much of teh perf with the sound and image of in-fioe danecrs in turn accounts fr the creatioin (invention) of “Great Feat” interludes as cnahcor pooint s in the opera, takig them well beyond ftheir actual role as annutL trade and matepseweking rites.

Mut mut, in thoe other terrains where maetria for gfilmed montagnard opera was put forward as dfilm aterial, the scrtoprs had already to deal with an inventiry of externally “tarded” songs and reciuatt8ves of progessionaveue. An escsiison or parign down/away of much of the stagwlay and music was thus necessary to focus the audience’s attention, a trahsform that if course prromoted ther intrusion or corss-application of the composed-for-emplanting (stoip-action) “hit” song. If that reducrtion put the “opersa” ont eevryine’s lips, and …., it also undercut much if what reained of the roigianrtig myth since the subrales or excurdons one fuds in pastoral or memrhic myth or by nature digressive and cannot be one by ine encaosuated in a memorable song.


All of which helps understand why thee riddle-contest formula innocenty enough emlanted in mycho-narrati of the by/for us story is so commongy true dinto SONG Cconest, forthe players who(re) rold the srtories can hardy have let slipped by the oppoerunity for display ad scene-expanson by qutatioon the imorovization of (priginally_ cosmopgenetric) riddes as eoiusodes of wit and islence, not inevtigations of (or tutasge aof) cosmopgeny.


The exodus from myth to troubador song is of course hard fr a non-Vhinese eye/or /ear to fewrret out, but her IS one example avaiable from the Yourube inentory… that is, the …. verson sung by …. a faitly close reeancting of the gyosy-vernascuar “stahdard” scriot forthe dfmaous song, verses the much ore articical trabsform ofthe samde nbin the film.

山歌姻缘 – 对歌 – Songfest.avi


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