TIEU ANH PHỤNG. DANG THI THANH PHU.

THU DAU MOT UNIVERSITY

FACULTY OF FOREIGN

LANGUAGES

FINAL ASSIGNMENT: CROSSCULTURE

COMMUNICATION

CULTURAL IDENTITY

IN TIEU ANH PHUNG

By: ĐẶNG THỊ THANH PHÚ

Signature: ……….

Lecturer

LY QUYET TIEN, Ph.D.

CULTURAL IDENTITY IN TIEU ANH PHUNG

INTRODUCTION

Cai Luong and The play - Tieu Anh Phung

Geographically, Cai Luong theatrical art (Renovated Theatre) was created in the south in Vietnam in the 1920s. It used to be the most popular form of entertainment before 1975. Originally, Cai Luong owed its origin to Tuong or Chinese opera. It is “based on ‘Don ca tai tu’ (informal performance by singers and musicians of traditional music in the

southern communities) and ‘Ca ra bo’ (‘Don ca tai tu’ plus dances).1 _{Cai Luong plays (vở} c i lả ương) embed and convey messages of social morality, family, and especially national identity which are greatly affected by the surrounding region’s cultures such as Chinese, Japanese and other Asian parts. Therefore, it is considered as the confluence of cultural identity within Vietnam as well as across its borders. This paper mainly focuses on introducing and deciphering some cultural characteristics in one of the best cai luong plays -TIEU ANH PHUNG (HEROINE TIEU ANH PHUNG), which was jointly composed by Hoang Hiep and Loan Thao (under a combined pen name Hoang Loan). Up to now there have been several versions of this Cai Luong play. However, after having taken them into consideration, I decide to choose the 1998’s one directed by My Chau and Hoang Vu; in which the main characters were played by My Chau and Minh Phung.

One of the reasons for my choice of this version is that its content is identical to the first audio version and there is visual scenes of actors and actresses performing in theatrical at magnificent sites. The second reason is just because of my personal affection for the leading actress, My Chau, among the most popular artists devoting much efforts and time to recover this kind of art.

Plot Overview

Tieu Anh Phung is a Chinese history-based play with the brief plot as followed. Princess Ngoc Chau (played by Ngan Hue and Cam Thuy) when disguising as male hunter was

unluckily trapped by a group of rebels under the command of Tieu Anh Phung, portrayed as a noble heroine outlaw. After being released, Princess Ngoc Chau made friends with the female general and invited her to the (royal) court. Here, Tieu Anh Phung was appointed the King Marshall and to get married to the Prince (played by Minh Phung), Tong Truong Long. The presence of Tieu Anh Phung as lawfully-wedded wife and the firm protector of

1 Luu Trong Tuan (2014) Cai Luong (Renovated Theatre): a cultural transfer journey, Creative Industries Journal, 7:2, 92-107, DOI: 10.1080/17510694.2014.960685

the kingdom is a hindrance to the General’s plot to seize the throne. The General (played by Buu Truyen) ordered one of his men to slander that he was, under Tieu Anh Phung’s order, taking a “false” letter to summon the mountain troop to the citadel to rob the throne. Because of her irritation, she lost her control and killed the cross witness. Consequently, she was unable to clarify the truth and prove herself completely innocent. After her repudiation and riotous action, she returned to her mountain troop. Taking advantage of this occasion, the General seized the throne. However, his daughter, who was a very loyal, released the king and sought the refuge in a pagoda as a female Buddhist monk.

The prince and princess asked for Tieu Anh Phung’s military assistance to retrieve their fortunes.

Culture

Definition of culture

Up to now, there are so many definitions of culture. Culture, according to Matsumoto (1996: 16), is “the set of attitudes, values, beliefs, and behaviors shared by a group of people, but different for each individual, communicated from one generation to the next.”

Some Key Characteristics of Culture

In making analysis of the culture of a certain group or organization, it is imperative to distinguish three essential levels (surface, intermediate and deep levels) at which culture reveals itself. These ways of analyzing culture are named The “Iceberg” and the “Onion” models. The “iceberg model”, which was developed by Selfridge and Sokolik (1975) and French and Bell (1999), suggested that the upper visible areas of culture such as symbols and artefacts and sunk invisible level like values, attitudes and beliefs should be examined and investigated. The “onion model” by Hofstede (1991) identifies the multi-layers of culture by peeling layer by layer in order to understand its content.

As presented, this paper is aimed at the culture identity in the Cai Luong play, Tieu Anh Phung. With the characteristics of culture, the research will concentrate on these following cultures and subcultures in the play (i) Artifacts (ii) verbal communication or nonverbal behavior that stands for or reflects something meaningful (iii) Culturally shared traditions and beliefs.

“Cai Luong was established by the combination of Western realistic drama and Tuong in the early twentieth century when French colonisers came to Vietnam” 2

1. Artifacts Clothes

This is an ancient Cai lương play (c i lả ương tu ng c ); therefore, actors and actressesồ ổ

dress in old fashioned style including beautiful and colorful dress pieces made of stiff brocade of all tints which look like elaborate Chinese theatrical warrior armor. Besides, they also wear water sleeves, beautiful large glittery jewels, of gold traceries and silver tissue, of tufted plumes and elaborate warrior head pieces, long pheasant feathers that wave above glistening headdresses, of glinting swords and uniformed soldiery,.

Headdress

When living in Bach Yen Trang Mountain, Tieu Anh Phung and her men dressed in something like Mongolian costumes. For example Lam Dau Muc’s hat looks like a Mongolian flat topped ibris (or goat) "toortsog" hat. It is reported that in summer, Mongols wore hats made of plush wet velvet upturned brim. Such kind of hat can see in Linh Dau Muc’s headwear. And Tieu Anh Phung’s hair is woven with fanciful knots (fig. 1).. To the ancient Mongolians, such hats made of animals’ skins and fur such as sheep, goats, leopards, tigers and etc. symbolized power capable of frightening enemies. Tieu Anh Phung is a legendary outlaw leader, therefore, her costumes reflect something wild, rebellious but majestic. These beautiful and attractive costumes make memorable dazzle and magnificence for the play. One interesting details found in Lam Dau Muc’s top is the V-shaped strips in the front. When compared with the modern ones, they are rather similar (fig. 2). The pattern gives us the feeling of a broad muscular chest and makes the character look more vigorous. Furthermore, they have cavalry with horses, bows and arrows and battle talents. Such factors, bravery and skills are often prominently found in Mongolian culture.

2 Nguyen T. D. (2005), Theatre internationalisation: a Vietnamese perspective retrieved from at

Figure 1: Tieu Anh Phung’s Headwear

Figure 2: Lam Dau Muc’s hat and top Pheasant feathers

Like Chinese opera, the female Marshal wears long flamboyant eye-popping pheasant feathers waving above glistening headdresses, holds glinting swords and controls brilliantly uniformed soldiery. The pair of pheasant feathers attached to each side of the military general’s helmets purposefully combines beauty and expression. In Chinese theater, they accompany with water sleeves. However, in this case, My Chau’s sleeves are tightened to her wrists. Nevertheless, her skillful theater dance (simple movements of her arms and rotation of her head in circles) draw attraction to the pheasant wearer because the gestures are flexible yet powerful. The audience would have stuck their eyes on the character Tieu Anh Phung when she walked on her knees, begging, or bending because the pheasant feathers enlarge the small movements and they makes her gestures more emotional. Shaking her head forth and back quickly, or manipulating one of the feathers, or crossing the feathers increase the aggressive feelings. Besides the attractive addition and attention drawing, pheasants symbolize “protection, creativity, good judgment and

being genuine”3_{. That is the reason why military Marshall’s helmets are decorated with a} pair of pheasant feathers.

Water sleeves

Originally, water sleeves are large white silk sleeves attached to the sleeve of garments facilitate the actors’ gestures. In this play, only the prince’s sleeves keep their original color. The others’ sleeves are in different colors with embroidered patterns on them (fig.3). In Cai Luong, the handlings of the sleeves are coordinated almost continually with actors’ speech or songs to emphasize the meanings of the text. The flowing sleeves often moving in curved lines create elegance, indirectness and politeness for the actions. In addition, Tieu Anh Phung used it to cover her face to show her shyness when she meets the prince. Therefore, the extended sleeves increase female charm and beautify the inner feelings and facial expressions. When performing, actors and actresses usually handle one of their arms. The other arm is never in vertical position (put down) but the part from the elbow to the fingers is in horizontal directions.

Figure : traditional and modern water sleeves

On the other hand, Tieu Anh Phung’s clothes are designed in military uniform with small sleeves bound around her wrists. The designs enable her acts to be stronger and more flexible.

Five clawed dragons

In china, the four-or-five clawed dragon is the emblem of Heaven. “It symbolizes power, strength, and good luck for people who are worthy of it.” Besides, “dragon is the preeminent symbol of protection”; therefore, costumes for high rank of characters characterize shining colors and rich embroidery in the design of dragons. Persons of high rank or virtue especially the emperors (Heaven’s sons) wear red or yellow dragon robes 3 http://www.judyhall.co.uk/miscellaneous/walking-on-the-wild-side

(Chinese Longpao). The cross-culture influences resulted in this auspicious coat on Vietnamese Cai Luong stage. The dragon symbols are apparently seen on the costumes of the characters such as Song King, prince Tong Truong Long, princess Tong Ngoc Chau and General Tieu Anh Phung’s coat and flags.

Tiger hide

As Cung. K. L, cited in Hình tượng con h trong văn hóa Vi t (the symbol of tiger inổ ệ Vietnamese culture) by Chung Khac Nam claimed that as a lord, tiger plays the role of ruling power, which has the role of coordinating and dividing the wildlife areas of other wildlife. It's a heroic role. By feudal heroism, the tiger (eagle shoulder) is the symbol of independent hero. The tiger is a wandering hero against the regime, not under the military garb of any centralized government.4 _{Admittedly, the Tiger Hide on the wall of the cave in} this cai luong play is not only a symbol of strength but also of the heroic power of the heroine Tieu Anh Phung. (see fig.5)

Deer skull with big antlers

Phonetically, the Vietnamese word for deer sounds almost like the English word for /naiv/ which meaning naïve, green, or inexperienced. However, in Chinese culture, phonetic meaning of deer can have a connotation with riches, status and position. This conclusion comes from exploring the painting found in the City God Temple in Shanghai, China (fig. 4).

The picture is of what looks to be a high ranking official holding a deer in his hand. The viewer can see that he is of a high standing based on the elaborate embroidery on his clothing and the hat that he wears. This picture is a solid linkage between the deer and wealth and high social status. 5

4Chung Kh c Namắ Hình tượng con h trong văn hóa Vi tổ ệ (GĐ&XH)

https://giacngo.vn/PrintView.aspx?Language=vi&ID=5AD042 June 13, 2017 10:46 5 Jessie Pavlak, (2012), Meaningful Mythology of China

Figure 4: A temple god holding a deer in Shanghai

Wild buffalo skull

Buffalo is a Vietnamese farmers’ friend because of its important roles in water rice cultivation in the country. It represents bravery, happiness and prosperity. As a result, Vietnam chose it a mascot for the international sporting event, the 22nd SEA Games. Buffalo is fetish for some ritual customs and its remains especially skulls are used for decorating purposes.

Figure 5: cave wall decorated with tiger hide, buffalo and deer skulss

Because the cross-culture influences, Vietnamese people often decorate their houses with these animal items for their determination of meaning and symbolism. They are also brought onto the stage for showing the similar meanings. We cannot deny that although the simple decorations of the screen with no modern techniques, but the ornaments create spirit and the messages through some simple objects.

Soldiers’ uniform

the setting of the story began Song Dynasty in China. The soldiers, however, wear different clothes. Male army uniform looks like Vietnamese female “ao ba ba”, a blouse consisting of three pieces for females. Nevertheless, their turbans look alike. The weapon of warriors on Cai Luong stage is “Pike” which is real simple weapon with blunted point. (figure 6)

Figure 6: Soldiers’ army uniform in Song Dynasty and in Tieu Anh Phung Play 2. Language – borrowings, verbal communications or nonverbal behaviors Nonverbal Communications – acting techiques

Acting techniques: Different roles perform distinctive spectacles, including acrobatic, dance, moving on knees, walking and music scenes. In some scenes, there are martial art demonstrations which represent fighting. All the acts are simultaneously performed with speech or cai lương songs.

Walking and kneeling

Female characters in ancient Cai Luong plays often take small steps and there is a symbiotic relationship between the walking and water sleeves because it enables the actresses to make gliding motions. However, in this play, only some scenes show such walking style such as the princess’s and Tieu Anh Phung’s steps.

Kneeling is a cultural feature found in many different Asian cultures such as Chinese, Korean, Malaysian, Vietnamese, etc. Kneeling is religious requirements, lifestyle activities. In Vietnam, people genuflect in pagoda or in front of ancestors’ altars, or kneel to beg for forgiveness or to ask for something. In the play, when Prince Tong Ngoc Chau makes friends with Tieu Anh Phung and her men, they kneel and when Phung insists on the king’s and prince’s forgiveness, she kneel and moving on her knees. Such acts are common and can be seen in most similar situation in cai luong plays such as “Th n Nầ ữ

Dâng Ngũ Linh Kỳ” (‘The Goddess Hands Five Magic Flags’) or "Tr m Tr nh Ân”ả ị

(‘Beheading Tr nh An’).ị

Dancing with weapons

The mettle of a heroine is apparently shown when My Chau’s martial art demonstrations are accompanied with the drum beats and music. Her dancing with the weapon the pike makes the atmosphere not only more solemn but arousing as well. Moreover, her facial expressions and her skills in the performances really attract the audience attention to the course of the play. In this plays, prescribed action creates scenery! Tieu Anh Phung cracks

a whip, dashes across the stage to create a fierce fighting against the king’s soldiers. When her servant runs with the movement of her pointed-ahead finger, it gives us the feeling of and riding a horse.

The language

Claire Kramsch, (1998), “Language and culture” claimed that language expresses, embodies and symbolizes cultural reality.6 _{Decoding the use of language; the meaning;} speaker’s tone of voice, accent, conversation style, gestures, facial expressions is an understandable way to access to people’s stock of language knowledge and some attitudes, point of view about life and language.

Stage speech

Stage speech comprises of monologue or dialogue which are spoken in drama styles (reciting-ngâm th ) and of folk songs (lý) or sentences of nostalgic song (các câu v ngơ ọ

c ) “based on the pentatonic scale “hò, x , sang, xê, c ng” which is consistentổ ừ ố with the Chinese five element philosophy (metal, wood, water, fire and earth)”7

There are a great varieties in cai luong speech. Most of them are pronounced in different dialects. Sometimes, there are some code mixing or code switching or borrowings (specially modern Cai luong plays). The following stage speech is an example. The two first sentences are recited in southwestern accent. However, My Chau switches to Hue accent (a variable in the central region of Vietnam) in the third and last sentences.

Vườn ng Uy n trăng thu v ng v cự ể ằ ặ Tr ng hoàng thành nghiêng nh c nghi thố ặ ương

Ngang tang khí phách có th aừ Hàng th n l láo cho v a lòng aiầ ơ ừ

(The moon shining light covers the flower garden in the king's palace. The royal drums frequently resounded. she used to be saucy but abundant of mettle and righteousness but now she became a surrender to please someone (the princess)

Those are the six-eight-meter poem (th l c bát) which is a very popular part ofơ ụ

Vietnamese literature , especially the folk poems (ca dao). When reciting the drama style speech, it is highly appreciated by the audience that if the characters chunk them in a way that the sound rhyme well. It sounds better, gentler and sweeter if the last sounds of prose or poem are lengthened with “long vowels such as …, a …, â…” (/ :/, /a:/, / /….)ơ ɜ ʌ

6 Kramsch, C. (1998). Language and culture. Oxford University Press, Oxford

7 Luu.T.T (2014) Cai Luong (Renovated Theatre): a cultural transfer journey. Creative Industries Journal

One prominent characteristics the actors and actress should master is that the pronunciations of some letters must be in southern style. For example v -/v/, gi-/d / and ʒ d

are all pronounced as /d/ in Vietnamese style.

Vâng, ta ng i xu ng đây không ph i ồ ố ả vì khi p sế ợ

/dâng/ /dì/

Mà cũng không ph i ả vì tham sanh quý t ử /dì/

This cai lương play is best representative for the cai lương acting style in which the character’s speech or songs is always woven with dance, walking, motions or movement. All the practice has been accomplished and polished through practical training for time. Address forms

One of the most influential Chinese cultures on Vietnamese is the language. Because Vietnam experienced a long time under Chinese ruler. Therefore, Vietnamese language system contains a wide variety of borrowing from Chinese- Sino words. Chinese address forms also enter and blend with Vietnamese forms as illustrated in the royal kinship, relative or friends, and non-kinship as in the following table

Speakers Listener(s) Address

forms

Meanings Functions

Princess Prince Hoàng Huynh Older

brother

The first/second/third subject and object

Prince Princess Hoàng mu iộ Younger

sister

The first/second/third subject and object

Prince/princes s

The king Ph hoàngụ

Ph Vụ ương

Majesty/ father

The first/second/third subject and object

Tieu Anh

Phung

The king B hệ ạ

H th nạ ầ

Majesty /you I/ Me

The second person The first person

The king The others Tr m/ taẫ I The first person

Tieu anh

phung

The prince -Hoàng t ử

- Chàng - Thi pế

the prince honey,you I/me

The second/ third person The second masculine form

The first person

The prince Tieu anh

phung

- nàng Honey The second feminine

Tiêu anh ph ngụ

Her men Quân sĩ Soldier(s)/

you

The second persons The general The king H quan/ hạ ạ

th nầ

I/me The first person

Tiêu anh

Phung’s maid

The prince’s servant

Anh / ngươi You The second person

The prince’s servant

Tiêu anh

Phung’s maid

Em You The second singular person

The general’s daughter

Her boyfriend Chàng Thi pế

Honey Honey

The second masculine form

The second feminine form The general’s

daughter

The general Ph thânụ

Cha

Father The second

Almost all the speakers in this play use “ta” (the first singular person as subject object and even possessive adjective) referred to himself or herself to speak to other people, for instance the girl said, “Ph thân ụ ta” (my father); “Ta xu t s li n,” Hoàng t nói (“ấ ư ề ử I

ended my training at my master” said the prince); mi c nói điên nói khùng, không sứ ợ

khách anh hùng h cọ ười “ta” (that you say crazy thing makes the heroic laugh at me”. Besides the Chinese address forms, there are some Vietnamese one such as “anh v ”ợ

“anh”, “em”

Sino-Vietnamese language

There are a wide range of Sino-Vietnamese words uttered in the characters’ speech. The following words can exemplify the situation. Some verbs like “d ng”, “kháng c ”, “t ”ụ ự ử

respectively mean “use”, “resist”, “die”. Similarly some nouns “ch ng nhân”, “th oứ ả

kh u”, “nghiêm thân” “thi n môn” respectively bear the meanings “witness”, “my father”ấ ề

“mountain robber” and adjectives like “vô danh” unknown/unnamed; “b t tài” untalented.ấ

In a stage speech when the prince sees his wife of to the battlefield, he produces a Sino-Vietnamese saying which is extracted from Jing Ke’s (Kinh Kha) song –“ Tráng sĩ nh tấ

kh h , b t ph c hoàn”. Jing Ke reportedly sang a song ứ ề ấ ụ

"The wind blows, the river freezes. The hero fords, never to return!"8

“Phong tiêu tiêu h , D ch thu hànề ị ỷ

Tráng sĩ nh t kh h , b t ph c hoàn”ấ ứ ề ấ ụ

This saying is to give encouragement to his wife; simultaneously it shows Tieu Anh Phung’s determination to fight for the country and bring the victory to the kingdom. One more Sino-Vietnamese saying is “b đào nâng chén d quang” (Fine wine in a luminousồ ạ

glass;) extracted from Liangzhou Verse, by Wang Han. “d quang bôi” refers to ạ “a kind of drinking glass, made of white jade, that glows in the dark. Such a glass was supposedly given as a gift to 周周周, one of the kings of the Zhou dynasty”9_{. There is an integration of}

the encouragement (spirit) and the wine (material) because only verbal encouragement is not enough. Before going to the battlefield, Tieu Anh Phung is served with such a kind of precious peach wine in a valuable white jade drinking glass in a solemn ritual. This is a common Chinese cultural feature. The fermented beverages could never be absent in ancient Chinese culture. Wine is a sacrificial object in some rites, a must for the feast or party, an inspiring drink for poet or writer and fermentation for encouraging soldiers. That is why wines present in almost daily aspects. Likewise, Vietnamese people also have some similar customs. Vietnamese white rice wine is used as a libation to ancestors on their death anniversaries. It is also a must-have in some special occasion such as wedding, funeral, opening ceremony, contract signing.

Culturally shared beliefs and tradition

Confucian philosophy

In term of th-e theme and the plot of Tieu Anh Phung play, they reinforce Confucian values by using Chinese history. The script reflects a legend of a heroine in Song Dynasty. Additionally, the boldly princess disguised as a boy at the beginning of the play and Tieu Anh Phung’s female satellite remind me some characters in Chinese playwrights Hua Mulan’s Daughter (con gái c a Hoa M c Lan); ủ ộ Butterfly Lovers (Chúc Anh Đài), as well as mischievous tomboys in reality. The play of the feudal time embeds values of Confucianism such as the Confucian value hierarchy of “Quân-S -Ph ” (‘King, Teacher,ư ụ Father’) loyalty to the king; conjugal fidelity (loyalty to husband), filial piety to parents, sincere friendship (tình b ng h u). All values are demonstrated and mirrored through theằ ữ protagonist, Tieu Anh Phung. Because of her patriotism and loyalty, she gave herself up to the protection of the nation although she had been badly treated by her husband and the king. In another word, her voluntary devotion modifies the military sage (quân t - Kuanử Ti). It is reported that a famous general named Kuan Yü who is usually in armor and carries a long weapon. He was deified and became known as Kuan Ti, the god of war.

Moreover, Tieu Anh Phung always appreciates her brotherhood with the prince and other men, which forces her to keep a slack hand to revenge herself on the prince. Filial duty is the root urging the daughter to become a nun to redeem her father’s faults.

One more Confucian value is illustrated by the happy ending of the story. It promotes people goodness that the bad are always defeated by the good.

Western influences

Along with the transfer of Chinese culture in to its plot, language, and artifacts, the play borrows some western cultures. Back to the history of Cai Luong in general as well as “Tieu Anh Phung”, it came into being when Vietnam was a French colony. Therefore, several modern melodies are infiltrated into the play. The backgrounds of the acts are set in a modern style with modern white palace (the general’s), white iron footbridge (in the flower garden of king, and Tieu Anh Phung’s small sleeves.,

CONCLUSION

Tieu Anh Phung like any other Cai Luong plays reflects the harmony of cultural elements of the Southern land, the Oriental culture, Western culture and different subcultures of Vietnam. The artifacts which are used in the play reflect the craftwork in Vietnam. Vietnamese people are skillful at making embroidery and crafts. Tieu Anh Phung’s generosity and temper are at least partly identifiable with Vietnamese southerners. As a saying goes “người nam ăn m n, nói to.” (the southerners eat salty food and talk loudly).ặ Through the dynamic acculturation of the plots, language and philosophy from Chinese history, Mongolian and western , the play is a good example for ancient cai luong plays which embed cultural integration from many parts of the world. Whatever performances the play presents, it still highlights the loyalty, honesty, trustworthiness, and aestheticism.

REFERENCE

[1] http://www.judyhall.co.uk/miscellaneous/walking-on-the-wild-side

[2] http://www.judyhall.co.uk/miscellaneous/walking-on-the-wild-side [3] Chung Kh c Namắ Hình tượng con h trong văn hóa Vi tổ ệ (GĐ&XH)

https://giacngo.vn/PrintView.aspx?Language=vi&ID=5AD042 June 13, 2017 10:46

[4] Jessie Pavlak, (2012), Meaningful Mythology of China

http://mythologyofchina.blogspot.com/2012/09/deer.html June 13, 2017

[5] Luu.T.T (2014) Cai Luong (Renovated Theatre): a cultural transfer journey. Creative Industries Journal (7), - Issue 2

[6] Kramsch, C. (1998). Language and culture. Oxford University Press, Oxford [7] https://eastasiastudent.net/china/classical/wang-han-liangzhou-verse/

[8] Diep, S. (2012). Am nh c trong ngh thu tC iLạ ệ ậ ả ương (Music in Cai Luong Art).

http://www.sankhaucailuong.com/forum/viewtopic.php?t=45585 retrieved 17:38 May 31, 2017 [9] http://www.asia-studies.com/sjeaa2008.html

[10] https://en.wikipedia.org/wiki/Jing_Ke

[11]Luu Trong Tuan (2014) Cai Luong (Renovated Theatre): a cultural transfer journey, Creative Industries Journal, 7:2, 92-107, DOI: 10.1080/17510694.2014.960685

a whip, dashes across the stage to create a fierce fighting against the king’s soldiers. When her servant runs with the movement of her pointed-ahead finger, it gives us the feeling of and riding a horse.

The language

Claire Kramsch, (1998), “Language and culture” claimed that language expresses, embodies and symbolizes cultural reality.6 _{Decoding the use of language; the meaning;} speaker’s tone of voice, accent, conversation style, gestures, facial expressions is an understandable way to access to people’s stock of language knowledge and some attitudes, point of view about life and language.

Stage speech

Stage speech comprises of monologue or dialogue which are spoken in drama styles (reciting-ngâm th ) and of folk songs (lý) or sentences of nostalgic song (các câu v ngơ ọ c ) “based on the pentatonic scale “hò, x , sang, xê, c ng” which is consistentổ ừ ố with the Chinese five element philosophy (metal, wood, water, fire and earth)”7

There are a great varieties in cai luong speech. Most of them are pronounced in different dialects. Sometimes, there are some code mixing or code switching or borrowings (specially modern Cai luong plays). The following stage speech is an example. The two first sentences are recited in southwestern accent. However, My Chau switches to Hue accent (a variable in the central region of Vietnam) in the third and last sentences.

Vườn ng Uy n trăng thu v ng v cự ể ằ ặ

Tr ng hoàng thành nghiêng nh c nghi thố ặ ương Ngang tang khí phách có th aừ

Hàng th n l láo cho v a lòng aiầ ơ ừ

(The moon shining light covers the flower garden in the king's palace. The royal drums frequently resounded. she used to be saucy but abundant of mettle and righteousness but now she became a surrender to please someone (the princess)

Those are the six-eight-meter poem (th l c bát) which is a very popular part ofơ ụ Vietnamese literature , especially the folk poems (ca dao). When reciting the drama style speech, it is highly appreciated by the audience that if the characters chunk them in a way that the sound rhyme well. It sounds better, gentler and sweeter if the last sounds of prose or poem are lengthened with “long vowels such as …, a …, â…” (/ :/, /a:/, / /….)ơ ɜ ʌ

6 Kramsch, C. (1998). Language and culture. Oxford University Press, Oxford

7 Luu.T.T (2014) Cai Luong (Renovated Theatre): a cultural transfer journey. Creative Industries Journal Volume 7, - Issue 2

One prominent characteristics the actors and actress should master is that the pronunciations of some letters must be in southern style. For example v -/v/, gi-/d / and ʒ d

are all pronounced as /d/ in Vietnamese style.

Vâng, ta ng i xu ng đây không ph i ồ ố ả vì khi p sế ợ

/dâng/ /dì/

Mà cũng không ph i ả vì tham sanh quý t ử /dì/

This cai lương play is best representative for the cai lương acting style in which the character’s speech or songs is always woven with dance, walking, motions or movement. All the practice has been accomplished and polished through practical training for time. Address forms

One of the most influential Chinese cultures on Vietnamese is the language. Because Vietnam experienced a long time under Chinese ruler. Therefore, Vietnamese language system contains a wide variety of borrowing from Chinese- Sino words. Chinese address forms also enter and blend with Vietnamese forms as illustrated in the royal kinship, relative or friends, and non-kinship as in the following table

Speakers Listener(s) Address forms

Meanings Functions

Princess Prince Hoàng Huynh Older

brother

The first/second/third subject and object

Prince Princess Hoàng mu iộ Younger

sister

The first/second/third subject and object

Prince/princes s

The king Ph hoàngụ Ph Vụ ương

Majesty/ father

The first/second/third subject and object

Tieu Anh

Phung

The king B hệ ạ H th nạ ầ

Majesty /you I/ Me

The second person The first person

The king The others Tr m/ taẫ I The first person

Tieu anh

phung

The prince -Hoàng t ử - Chàng - Thi pế

the prince honey,you I/me

The second/ third person The second masculine form

The first person

The prince Tieu anh

phung

- nàng Honey The second feminine person

Tiêu anh ph ngụ

Her men Quân sĩ Soldier(s)/

you

The second persons The general The king H quan/ hạ ạ

th nầ

I/me The first person

Tiêu anh

Phung’s maid

The prince’s servant

Anh / ngươi You The second person The prince’s

servant

Tiêu anh

Phung’s maid

Em You The second singular person

The general’s daughter

Her boyfriend Chàng Thi pế

Honey Honey

The second masculine form

The second feminine form The general’s

daughter

The general Ph thânụ Cha

Father The second

Almost all the speakers in this play use “ta” (the first singular person as subject object and even possessive adjective) referred to himself or herself to speak to other people, for instance the girl said, “Ph thân ụ ta” (my father); “Ta xu t s li n,” Hoàng t nói (“ấ ư ề ử I

ended my training at my master” said the prince); mi c nói điên nói khùng, không sứ ợ khách anh hùng h cọ ười “ta” (that you say crazy thing makes the heroic laugh at me”. Besides the Chinese address forms, there are some Vietnamese one such as “anh v ”ợ “anh”, “em”

Sino-Vietnamese language

There are a wide range of Sino-Vietnamese words uttered in the characters’ speech. The following words can exemplify the situation. Some verbs like “d ng”, “kháng c ”, “t ”ụ ự ử respectively mean “use”, “resist”, “die”. Similarly some nouns “ch ng nhân”, “th oứ ả kh u”, “nghiêm thân” “thi n môn” respectively bear the meanings “witness”, “my father”ấ ề “mountain robber” and adjectives like “vô danh” unknown/unnamed; “b t tài” untalented.ấ In a stage speech when the prince sees his wife of to the battlefield, he produces a Sino-Vietnamese saying which is extracted from Jing Ke’s (Kinh Kha) song –“ Tráng sĩ nh tấ kh h , b t ph c hoàn”. Jing Ke reportedly sang a song ứ ề ấ ụ

"The wind blows, the river freezes. The hero fords, never to return!"8

“Phong tiêu tiêu h , D ch thu hànề ị ỷ Tráng sĩ nh t kh h , b t ph c hoàn”ấ ứ ề ấ ụ

This saying is to give encouragement to his wife; simultaneously it shows Tieu Anh Phung’s determination to fight for the country and bring the victory to the kingdom. One more Sino-Vietnamese saying is “b đào nâng chén d quang” (Fine wine in a luminousồ ạ glass;) extracted from Liangzhou Verse, by Wang Han. “d quang bôi” refers to ạ “a kind of drinking glass, made of white jade, that glows in the dark. Such a glass was supposedly given as a gift to 周周周, one of the kings of the Zhou dynasty”9_{. There is an integration of}

the encouragement (spirit) and the wine (material) because only verbal encouragement is not enough. Before going to the battlefield, Tieu Anh Phung is served with such a kind of precious peach wine in a valuable white jade drinking glass in a solemn ritual. This is a common Chinese cultural feature. The fermented beverages could never be absent in ancient Chinese culture. Wine is a sacrificial object in some rites, a must for the feast or party, an inspiring drink for poet or writer and fermentation for encouraging soldiers. That is why wines present in almost daily aspects. Likewise, Vietnamese people also have some similar customs. Vietnamese white rice wine is used as a libation to ancestors on their death anniversaries. It is also a must-have in some special occasion such as wedding, funeral, opening ceremony, contract signing.

Culturally shared beliefs and tradition Confucian philosophy

In term of th-e theme and the plot of Tieu Anh Phung play, they reinforce Confucian values by using Chinese history. The script reflects a legend of a heroine in Song Dynasty. Additionally, the boldly princess disguised as a boy at the beginning of the play and Tieu Anh Phung’s female satellite remind me some characters in Chinese playwrights Hua Mulan’s Daughter (con gái c a Hoa M c Lan); ủ ộ Butterfly Lovers (Chúc Anh Đài), as well as mischievous tomboys in reality. The play of the feudal time embeds values of Confucianism such as the Confucian value hierarchy of “Quân-S -Ph ” (‘King, Teacher,ư ụ

Father’) loyalty to the king; conjugal fidelity (loyalty to husband), filial piety to parents, sincere friendship (tình b ng h u). All values are demonstrated and mirrored through theằ ữ

protagonist, Tieu Anh Phung. Because of her patriotism and loyalty, she gave herself up to the protection of the nation although she had been badly treated by her husband and the king. In another word, her voluntary devotion modifies the military sage (quân t - Kuanử

Ti). It is reported that a famous general named Kuan Yü who is usually in armor and carries a long weapon. He was deified and became known as Kuan Ti, the god of war.

Moreover, Tieu Anh Phung always appreciates her brotherhood with the prince and other men, which forces her to keep a slack hand to revenge herself on the prince. Filial duty is the root urging the daughter to become a nun to redeem her father’s faults.

One more Confucian value is illustrated by the happy ending of the story. It promotes people goodness that the bad are always defeated by the good.

Western influences

Along with the transfer of Chinese culture in to its plot, language, and artifacts, the play borrows some western cultures. Back to the history of Cai Luong in general as well as “Tieu Anh Phung”, it came into being when Vietnam was a French colony. Therefore, several modern melodies are infiltrated into the play. The backgrounds of the acts are set in a modern style with modern white palace (the general’s), white iron footbridge (in the flower garden of king, and Tieu Anh Phung’s small sleeves.,

CONCLUSION

Tieu Anh Phung like any other Cai Luong plays reflects the harmony of cultural elements of the Southern land, the Oriental culture, Western culture and different subcultures of Vietnam. The artifacts which are used in the play reflect the craftwork in Vietnam. Vietnamese people are skillful at making embroidery and crafts. Tieu Anh Phung’s generosity and temper are at least partly identifiable with Vietnamese southerners. As a saying goes “người nam ăn m n, nói to.” (the southerners eat salty food and talk loudly).ặ

Through the dynamic acculturation of the plots, language and philosophy from Chinese history, Mongolian and western , the play is a good example for ancient cai luong plays which embed cultural integration from many parts of the world. Whatever performances the play presents, it still highlights the loyalty, honesty, trustworthiness, and aestheticism.

REFERENCE

[1] http://www.judyhall.co.uk/miscellaneous/walking-on-the-wild-side [2] http://www.judyhall.co.uk/miscellaneous/walking-on-the-wild-side [3] Chung Kh c Namắ Hình tượng con h trong văn hóa Vi tổ ệ (GĐ&XH)

https://giacngo.vn/PrintView.aspx?Language=vi&ID=5AD042 June 13, 2017 10:46 [4] Jessie Pavlak, (2012), Meaningful Mythology of China

http://mythologyofchina.blogspot.com/2012/09/deer.html June 13, 2017

[5] Luu.T.T (2014) Cai Luong (Renovated Theatre): a cultural transfer journey. Creative Industries Journal(7), - Issue 2

[6] Kramsch, C. (1998). Language and culture. Oxford University Press, Oxford [7] https://eastasiastudent.net/china/classical/wang-han-liangzhou-verse/

[8] Diep, S. (2012). Am nh c trong ngh thu tC iLạ ệ ậ ả ương (Music in Cai Luong Art). http://www.sankhaucailuong.com/forum/viewtopic.php?t=45585 retrieved 17:38 May 31, 2017 [9] http://www.asia-studies.com/sjeaa2008.html

[10] https://en.wikipedia.org/wiki/Jing_Ke

[11]Luu Trong Tuan (2014) Cai Luong (Renovated Theatre): a cultural transfer journey, Creative Industries Journal, 7:2, 92-107, DOI: 10.1080/17510694.2014.960685