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THE THEATRICAL CHARACTER OF TAOIST

Liu Zhongyu

Ritual techniques (法术) are important religious practices and indis- pensable components of . A technique controls the body and , all things concrete, and also the imaginary transformation of spirits with the aid of a mysterious force. There were several systems of ritual techniques in Taoist history. From the primi- tive techniques of the Orthodox Unity to the Orthodox ritual of Five Thunders, which was very popular under the Northern and the Southern Song Dynasties, all these ritual techniques had a consider- able impact on Taoism and contemporary society. From an atheistic standpoint, the efficacy of these ritual techniques may appear purely imaginary and ridiculous. However, Taoists and Taoist followers look for consolation and the relief of anxiety and fear in their practice. For two thousands years, the transmission of Taoist ritual techniques inside or outside the Taoist community has never been interrupted and some people believe in their functions. The theatrical feature of Taoist ritual techniques enhances their followers’ trust in them. This trust has social and psychological bearings, too. So the understanding of the theatrical characteristics of Taoist ritual techniques help to comprehend how they exert an influence on their followers and society at large. In the evolution of Taoist ritual techniques, some kinds of stylized procedures were formed. In Taoism, they are called kefan 科范, yifan 仪范, keyi 科仪, 法, or dafa 大法. The word kefan, which means lit- urgy, names the form of the ritual, whereas the word fa names its con- tent. In fact, the performance of any ritual technique requires a certain standard procedure, which the Taoist master performs according to a predetermined of rules (“xingchi 行持” in jargon) we call ritual. This kind of ritual, which aims at transforming its object instantly and directly, is different from the sacrifice, which essentially represents the of , and the self-cultivation ritual, which aims at cul- tivating the practitioner’s body and in his quest for immortality. As a key part of Taoist , the ritual techniques include numerous complex elements. However, we will only concern ourselves with their theatrical feature. 324 liu zhongyu

The performance of Taoist ritual techniques is called “practicing the 行道” or “performing the ritual 演法.” The expression “prac- tice the Tao” comes from the fact that the ritual techniques themselves are the application of the Tao. The technique embodies the Tao and is also the process of the performance. The expression “performing the ritual” shows more directly the features of the Taoist ritual techniques: it is the performance of the Tao. Both expressions describe the theatri- cal feature of Taoist ritual techniques. More precisely it links them to art, especially to traditional Chinese theatre.

Structure and Details in the Performance of the Ritual Techniques

In terms of performance, all rituals are based on the same principle. The structure of the ritual is made up of segments performed in a certain order. A short ritual lasts one or two hours, a long ritual often lasts from seven to 49 days. In a given time interval, incantations, hand seals (or mudras, that is efficacious hand gestures), Pacing of the , sending of a memorial, and summoning of soldiers carried out by the Taoist master and acolytes all constitute the performance of a specific segment. The combination of segments is the performance of the whole ritual. The quality of the performance rests on the qual- ity of each segment. So each detail should be presented as vividly as possible. We will examine some examples: In the chapter on lifting the curtain in the Jinlu fendeng juanlian keyi 金箓分灯卷帘科仪 [Golden Register Ritual of the Distribution of Lamps and Lifting of the Curtain], the scene showing the curtain lifted before the Three Purities, who are ready to receive an audience, is played out on the ritual site only by the Taoist master, like a plot which is progres- sively unfolding and understood by the spectators. The procedure is as follows: The Taoist master, sticks of in hand, announces a “greet- ing with incense and sincere .” The assistant master says: “[t] he Celestial Worthy of the Primordial Beginning of All ! Lift the curtain for the first time!” the acolyte acts as if he is lifting the curtain. The announcer says: “[t]he first lifting of the curtain is over.” The acolytes then song the hymn beginning with “the Celestial Wor- thy displays the world.” The announcer announces “the joy of Jade Purity.” The acolytes sing: “the Heaven of the Jade Purity is joyful; the Heaven of the Jade Purity is different from . The Heaven of the Jade Purity is joyful. The emperor embraces the Vacuity