Cheng Xiaolou's delicate performance and singing voice add a lot to this play, and the graceful and graceful singing of Cheng Pai's gossamer vividly expresses the expectations, resentments, and spring colors of the little nun in Sekong.

Even Yang Wei couldn't help but complain about the role of the little nun played by Cheng Xiaolou while watching the play, which shows that his performance is really gripping.

"I didn't mean to become a monk here. ”

After a simple recitation, Cheng Xiaolou continued to sing:

"Just because my father reads the scriptures, my mother loves to read the Buddha. Worship at dusk, burn incense to the Buddha in the Buddha hall every day. I was born with many diseases, so I put my slaves in the empty gate to live for the nuns. Recommend the dead to others, and keep chanting Mida. I only heard the bell and the trumpet, and I didn't stop hitting the chime rattle, striking the chime rattle, beating the drum and blowing the snail, and doing homework with the Yin Division of Nadifu in plain water. Many heart sutras have been recited, and the peacock sutra cannot be broken. Only the seven volumes of the Lotus Sutra are the most difficult to learn, and our master has taught them in his sleep and dreams. Recite a few sounds of Nan Wu Buddha, doo, Sama He's Prajnapara. Recite a few midas, hate a matchmaker. Say a few sa few words, belch, scream, cry, cough, cough, how do you know how much I sigh. ”

If the last section of the hillside sheep "Little Nun Twenty-Eight Years Old" is lyrical, then this section of the tea-picking song is a straightforward narrative.

described the reason why she went to the mountain to become a monk, and the empty days on weekdays, she could only burn incense and worship Buddha.

The so-called hillside sheep is one of the names of Peking Opera. The Lu Palace in the northern song and the Shang tune in the southern song all have the same name. Nanqu is more commonly used, and the number of words is fixed according to the "Nine Palaces Dacheng Spectrum", which is about seven, seven, seven, eight, three, five, seven, eight, two, five, two, five (twelve sentences). The northern curve is simpler. It is often used as a small ream, or in a suite.

The tea picking song is a Han folk song that was popular in the mountainous areas of Hubei Province and Jiangxi Province in China in his previous life. Its singing form is relatively simple, first one person sang dry, without a cappella music, and later developed into a joint singing form of "December Tea Picking Song" with bamboo hitting festival and singing all the harmony.

The tea-picking song in this "Sifan" is a relatively ancient one-person solo singing accompanied by piano and gongs and drums.

If Yang Wei knew something about the tea picking song and the song name of the goat break, he would have been able to know from the beginning that this "Sifan" would be a corner to the end.

"The more I think about it, the more I feel depressed, and I can't help but go for a walk under the corridor, which is more or less good. ”

It's almost unbearable, little wave hoof!

Yang Wei heard Cheng Xiaolou's sad and annoyed recitation, pinched his teeth and lit a cigar, and unconsciously had some anticipation.

He really wanted to know what Si Fansi would do to this extent, and what the little nun in the play would do.

"Do you want to sneak down the mountain to steal the man, hehe. ”

Even Yang Wei himself didn't pay attention, he was already immersed in the play with Cheng Xiaolou's performance.

After expressing his melancholy mood with Nianbai, Cheng Xiaolou sighed lightly twice with a tea-picking song: "It's boring around the corridor, it's boring around the corridor!"

Maybe it's boring, or maybe the little nun in the nunnery wants to complain about everything she sees in this situation, even if she sees the clay Arhat in the temple, she can't help but say: "Look at the Arhats on both sides, it's so majestic." ”

I saw that the arhats on both sides were made to have some stupid horns. One of them hugged their knees and comforted them, and read me in their mouths. One of them held his cheeks in his hands, thinking of me in his heart. One with tired eyes and a hazy look at me. Only the cloth bag Arhat laughed, he laughed at me for the frustration of time, the time passed, who is willing to marry me as an old woman. The dragon descended and annoyed me, hey! The tiger hated me. The long-eyebrow fairy worries about me, and worries about what will happen when I get old. ”

Are the majestic Arhats and Bodhisattvas bored, lonely, and Sifan in this temple?

Maybe they're thinking about me, thinking of me, and peeping at me.

No, that bag Arhat is laughing at me, and the dragon and tiger are also angry with me, maybe the long-eyebrow immortal is worried about me.

Cheng Xiaolou's crying emperor showed the inner monologue of the sixteen-year-old little nun vividly, his smile, or pouting and sorrowful, or full of joy between his eyebrows, so that Yang Wei seemed to see those Arhats and Bodhisattvas of different shapes.

"This drama is really fucking nobody, I really don't know how Cheng Xiaolou's kid came up with this kind of play, the little nun Si Fansi can even imagine the Arhat Bodhisattva as a little lover!"

Yang Wei took a hard puff of his cigar and scolded in a hateful whisper.

Rao is standing on the opposite side of Cheng Xiaolou, he also has to admire, and has to admit Cheng Xiaolou's singing and creative talent.

However, imagination is only imagination after all, and the little nun in the play continued to sing after she came to her senses:

"The front lamp of the Buddha can't be used as a candle in the cave. The incense kitchen can't do the tortoise feast East Pavilion. The bell and drum tower can't be made of the lookout, the grass futon can't be made of hibiscus, and the hibiscus is soft. I'm a female Jiao'e, and I'm not a man, why do I wear yellow silk around my waist and wear straight embellishments? I saw other couples sprinkling fun, and a pair of brocade wore Luo. Ahh

I am a female Jiao'e, not a man, why do I wear yellow silk at the waist and wear a straight embellishment? !

Cheng Xiaolou, who sang here, already had red eyes and was salivating.

It seems that at this point, Sifan's emotions have been stimulated to a critical point, and he envies those little couples who can love concubines every day, and envy them to the extreme.

But no one knows that when recording this play, Cheng Xiaolou sang here, but what came to mind was the Cheng Dieyi who was unrepentant and had to read "I am a female Jiao'e, not a man" as "I am a man, not a female Jiao'e".

"Master and brother are not in the nunnery today. Inevitably, he fled down the mountain, and if there was an opportunity, it was not known. Justified scary, justified. ”

Hearing Cheng Xiaolou's words, Yang Wei said excitedly to himself with a row of cigars in his thighs: "I'll just say, that little nun thinks about it to this extent, it's strange if she doesn't secretly run down the mountain to find a man!"

Sure enough, as soon as he finished speaking, he listened to the little nun Sekong in the play and continued to sing: "The slave tore the robe, buried the scriptures, abandoned the wooden fish, and lost the cymbals. I can't learn the Rakshasa girl to subdue demons, and I can't learn the Water Moon Guanyin Seat in the South China Sea. In the middle of the night, he lies alone, and when he rises, he sits alone. Who is lonely like me? Why is there such a shaved hair? Hate only the monks and laymen who lie, where are the world's gardens, trees, and Buddhas? Where are the branches and leaves of the Buddha? Where are the quicksand Buddhas on both sides of the rivers and lakes? Where are the 84,000 Buddha Buddhas? From now on, go away from the bell tower Buddha hall, go down the mountain to find a young brother, beat me and scold me, say that I laugh at me, and I don't want to become a Buddha with all my heart, and I don't recite the Buddha Prajnapara!"

"Okay, I'm glad I escaped down the mountain!"

"I wish I had given birth to a child, but I didn't think it was happy to spoil me!"

In fact, Cheng Xiaolou was a little disliked in his heart when he sang the lyrics of this last paragraph, if it wasn't for the time being too tight, maybe he would really change it.

For example, the sentence that I don't want to become a Buddha, I just want to go to the bottom of the mountain to find a little brother, and let him scold and laugh, all of which are as happy as food.

In Cheng Xiaolou's view, the lyrics in this paragraph seem to be a little empty and a little bottomless, and it is also a connivance of some criticized ideas from the side.

And it sounds very explicit, as if asking what are the requirements for finding a boyfriend in modern society, and the answer is that there are only two requirements, the first is a man, and the second is live.

Of course, if you have to add some critical spirit to this play, or if the little nun is willing to give everything for the sake of freedom, love, and to break the shackles on her body, it is actually okay.

However, for Cheng Xiaolou, this is a play, a play that expresses the ignorance in the nunnery, full of fantasies and longings for outside life and mundane love.

What is said and sung in the play is not what those little nuns who grew up in the nunnery think and think.

As for criticizing this and that, the little nun thinks about it, what can she criticize herself?!

The ancient monk Lu Zhishen ate meat and drank wine to kill people like chickens, and there is no one in modern society.

As soon as his hair is shaved, he becomes a monk and a monk, but where is the heart that belongs to mortal dust?

This damn mortal dust makes the little nun have to think!

。 m.