Current location - Music Encyclopedia - Chinese History - The Historical Evolution of Foshan Cantonese Opera
The Historical Evolution of Foshan Cantonese Opera
In the late Ming and early Qing Dynasties, Yiyang, Kunshan, Bangzi, Huizhou and Han dialects were introduced into Guangdong. The tunes played by Guangdong local troupe are greatly influenced by these foreign tunes. The music they sang was called "Guangdiao", and traces of Yiyang's harmony with Kunqu opera can be seen from the music of Cantonese opera. During Daoguang period of Qing Dynasty, Guangzhou's troupes were divided into local troupes and Waijiang troupes. Most classes in Waijiang perform Hui Opera, while most local classes perform Bangzi Opera. The early activity center of the local class was in Foshan. During the reign of Emperor Qianlong of Qing Dynasty, many provincial troupes came to Guangdong, and local troupes drew rich nutrients from Waijiang troupes, and their art gradually matured and gradually formed their own characteristics. During the Jiaqing and Daoguang periods of the Qing Dynasty, the tunes of Gaokang and Kunshan gradually declined, and the local classes mainly sang clappers. The influence of the post-Huizhou class is expanding day by day, with "Bangzichun" (namely Xipi and Huanger) as the basic singing. At the same time, some Kunshan, Yiyang and Cantonese operas were retained, and Guangdong folk music and popular tunes were absorbed. At this time, the local class has been "completely different" from the Waijiang class, and then gradually formed Cantonese opera. In the fourth year of Xianfeng in Qing Dynasty (1854), Cantonese opera artist Li led the children of Liyuan and Chen Kai, a member of the Heaven and Earth Society, to respond to the Taiping Rebellion and become king. Therefore, the Qing government banned local operas. After the ban, the local class was silent 15 years. During this period, Cantonese opera artists can only join the troupe of Han Opera and Hui Opera, or perform in the name of Peking Opera and other operas. In this way, Bangzi and Chunqiang in Cantonese opera began to merge. Later, the composition of Huang Er in Cantonese opera even surpassed that of Bangzi. In the eleventh year of Xianfeng in Qing Dynasty (186 1), the ban was slightly relaxed and local classes rose again. During the Tongzhi period (1862- 1874), Cantonese opera artists gave public performances, and their class clubs visited Henan, Zhejiang, Guangxi, Yunnan, Hunan, Anhui, Hong Kong and Macao. After the resumption of Cantonese opera performance, great changes have taken place in the repertoire content and performing arts. During the Revolution of 1911, influenced by the new drama (civilized drama, that is, early drama) of Chunliu Society, Cantonese opera artists organized "Shi Zhi Class" to publicize revolutionary democratic ideas. Under the wave of this new concept, Cantonese opera began to improve, and its content and form have undergone great changes. Around 1920, Cantonese opera was completely localized in language, changed from "Mandarin in the opera studio" to Cantonese, and the singing method was also changed to the original sound, giving up the falsetto singing method of Bangzi opera. Both Bangzi and Chun Er sang in a low octave, which unified the style and singing method of Bangzi and Leather Spring. Around 1920, with the development of capitalist business in Guangzhou, Hong Kong and Macao, some Cantonese opera clubs also take Guangzhou, Hong Kong and Macao and other big cities as their activity bases, which are customarily called "provincial and Hong Kong classes". "Provincial and Hong Kong Class" has performed in theaters in Guangzhou, Hong Kong, Macao and other metropolises, and has absorbed a lot of techniques of civilized dramas, dramas and movies, and has undergone great changes in music singing, roles, performances, stage layout, performances and so on. Its basic vocal cavity is dominated by clappers and two springs, but it also retains other folk rap tunes and introduces pop songs and jazz music. Western instruments such as violin, saxophone, electric guitar and jazz drum are also used as accompaniment instruments. The performance was greatly simplified. Role trades have changed from the original top ten trades to a "six-pillar system", namely Wen Wusheng, Xiao Sheng, Andrew Hua Dan, Erhua Gangdan, Ugly Student and Wu Sheng. The arrangement of the play should take into account the drama points of the six pillars. There are many new plays in the repertoire, and traditional plays are rarely performed. A large number of new plays have been adapted from movies, foreign novels, popular plays, plays and some fabricated plays. The 1930s was an era of great changes in Cantonese opera, also known as the era of "learning from horses for hegemony". Xue Juexian, a martial arts writer, and Ma Shiceng, an ugly female student, have made great contributions to the innovation of Cantonese opera. Xue Juexian is close to the style of Peking Opera and has comprehensive performance skills. He is called "all-round old man", but as a young man, he is outstanding. His representative works include Hu Bugui and four other tragedies. The jockey won with a clown. He exposed the ugliness of feudal rich capitalists in a group drama featuring "lonely and cold species" (miser), which was quite Moliere's style. Not only in Guangdong, Hong Kong, Macao and Southeast Asia, but also in the United States for many years. Together with Gui, they are called the "Four Masters" or "Five Schools" of Cantonese Opera (plus Liao Xiahuai who plays the clown). After co-education, Shanghai sisters created a unique lyric singing method for the Cantonese opera Women's Football, among which Xian Nvhong had the greatest influence. At the same time, Luo Pinchao, Wen Juefei, Sun, Ma Sizeng,, etc. They all have their own strengths and are quite influential. After the founding of the People's Republic of China, China vigorously fostered the traditional features of Cantonese opera, and while innovating, it also inherited the excellent traditions of Cantonese opera. In the early days of the founding of New China, Shengli Cantonese Opera Troupe premiered the Cantonese opera "Nine Clothes" adapted from the liberated areas in Guangzhou, which was praised by critics as "the first horn of the Cantonese opera revolution". From the liberation of Guangzhou to 1952, there were more than 1700 eye lifts in Guangzhou Theater. Cantonese opera circles actively excavate and inherit excellent traditions, make comprehensive innovations in art, and make improvements in reflecting contemporary life and making performances more lively. Not only performed many excellent plays, but also trained a group of new people. 1958, Guangdong Cantonese Opera Troupe was established. By 1982, there were more than 70 Guangdong Cantonese Opera Troupes.