The development of history
Chaozhou opera has a long history and is the last sound of southern opera in the late Yuan Dynasty and early Ming Dynasty. Before the mid-Ming Dynasty, Chaozhou opera had formed its own repertoire, aria and complete drama performance form. At that time, it was also called "Chaodiao", "Yin Chao Opera" and "Chaozhou Bai Zixi" and was sung in Chaozhou dialect.
During the Southern Song Dynasty, Chinese operas appeared in the southeast coast of China, which was called Southern Opera in history. By the end of Yuan Dynasty and the beginning of Ming Dynasty, Southern Opera was more prosperous than Northern Zaju, and spread all over the country. Southern Opera was introduced into Chaozhou at the latest in the early Ming Dynasty. (1547) Chaozhou government records the "Chaozhou folk drama" in Zhengde period, which shows that drama activities in the Ming Dynasty have become a common practice.
The early Chaozhou Opera had a historical origin with the Southern Opera, which gradually localized. In the Ming and Qing Dynasties, Yiyang Opera, Kunshan Opera, Xiqin Opera and Waijiang Opera flowed into Chaozhou. Chaozhou Opera blended Yi, Kun, Bang, Song and local folk music, and its singing, dancing, singing and performance were more colorful.
In the early Qing dynasty, Chaozhou opera was called "spring tide and elegant tune" and Chaozhou opera. The elegant tune of spring tide is named after the singing of music; Chaozhou opera is famous for its region. The spring cavity in Quanzhou, Fujian Province and the tidal cavity in Chaozhou, Guangdong Province absorb and merge with each other. 1566, The Story of Li Jing, co-carved by "Chaoquan No.2", further developed and became an elegant tune of spring tide. The fusion of Chaoquan two cavities was also influenced by Geyang and Kunshan. Quanchao Elegant Tune is a combination of Qupai, which is characterized by "its songs are soft and half-faced". North-South Opera is the origin of Chaozhou Opera, which has local characteristics in the development process, so it is described as "Nanyin local style". According to the literature records during the years of Kang Yong and Gan Long, Chaozhou Opera was accompanied by orchestral music and gongs and drums.
In the early Qing Dynasty, there were frequent performances of Chaozhou Opera, including performances in theaters, temples and gardens. There is also a theater in Yang Lian, including a theater hall, an observation deck and a theater staff dormitory.
In the mid-Qing dynasty, local operas flourished all over the country, and the operas with plate changes as the main body gradually replaced the operas with the combination of qupai and became the mainstream. Troupes from other provinces gathered in Guangzhou. Although Chaozhou is in a corner, it is also influenced by various tunes. During the years of Ganjia and Daoguang, Xiqin Opera and Waijiang Opera flowed in and gradually took root. Chaozhou opera also began to learn from the flexible singing method of plate and change on the basis of Qupai singing method.
From the Opium War 1840 (twenty years of Daoguang) to the Revolution of 19111910/,the development of cultural exchanges between China and foreign countries and the changes of political situation have had an impact on Chaozhou Opera. Various artistic varieties learn from each other. Chaozhou Opera absorbs the opera art of Andrew, Western Qin and Waijiang, and draws nourishment from folk music and big gongs and drums, which has been improved and developed in all aspects of opera content and musical expression. During this period, the appellations were Yin Chao Opera, Bai Zixi, local classes, etc., and the word Chaozhou Opera began to be used. Chaozhou opera uses local dialects, which are easy for women and children to understand, so it is becoming more and more prosperous and the number of troupes has greatly increased. The number of new dramas has increased and the content has expanded. The adapted traditional plays include Zhang Gufeng Borrowing Wife, Sanying and Wutai. The newly edited current affairs dramas and fashion dramas include Lin Zexu, Dripping Water, and Hero among Women (India's Search for a Family). The new repertoire has promoted the enrichment of performances and made innovations in the fields of ugliness, life and Dan. The change of music singing method is more obvious, based on Qupai, which combines various operas, but the singing method is still soft, with few radical tones. In stage art, embroidered curtains are used instead of bamboo curtains; Fashion embroidery began to be used in clothing and became fashionable on the stage of China traditional opera. In the late Qing Dynasty, many Chaozhou opera troupes also performed in places where overseas Chinese lived in Southeast Asia, such as Siam.
From the May 4th Movement of 19 19 to the outbreak of War of Resistance against Japanese Aggression, Chaozhou Opera has undergone great changes and development. The Chaozhou Opera Center, headed by Bangkok, has been formed overseas, with performance outlets criss-crossing from Bangkok to Siam, Singapore, Cambodia, Annan and other places. The golden age of overseas Chaozhou Opera was formed in the 1930s. Musical singing forms a comprehensive system combining qupai and changing boards, and the performance place enters the theater from the stage of temple fair.
After the founding of People's Republic of China (PRC), Chaozhou Opera entered a new period of reform. 1950 established Chaozhou Opera Improvement Association to carry out the reform of "substitution, drama change and restructuring". The troupe took the initiative to stop performing vulgar and low-level old plays and create and direct new ones, such as Bones of the Great Wall, Wei Changhui, Breaking the King into Beijing, Life and Death Hate, etc. Liu Hulan, Wang Gui and Li Xiangxiang have also been transplanted and adapted. 195 1, the children's singing system was abolished, the deed of sale was burned, the ownership of the squad leader was reformed, and young actors were recruited and trained, and a number of new actors emerged one after another.
Guangdong Chaozhou Opera Troupe was founded in 1956, and held a training class for Chaozhou Opera actors in the same year, which is a symbol of the development of Chaozhou Opera. From 1955 to 1957, all counties have established professional Chaozhou Opera Troupe.
1958 February, 1958 Guangdong Chao Theater was established, with five performance groups. From 1957 to 1959, he performed in Beijing twice, and also in Shanghai and Hangzhou. He contacted and communicated with various operas and improved the performing arts. 1960 went to Cambodia and Hong Kong to perform, which expanded the influence of Chaozhou opera overseas. From 1963 to 1965, there was an upsurge of performing modern dramas in Chaozhou Opera, including Jiao, Tide by the Sea and Jiang Jie. After the "Cultural Revolution", Guangdong Chao Theatre resumed its organizational system on 1978. He has created modern dramas such as Peng Pai and Seven Days Red, and restored excellent traditional dramas.
Since 1990s, the number of Chaoshan professional troupes has increased unprecedentedly. There are also some private troupes active in urban and rural areas. These troupes have created and arranged a number of excellent ancient and modern plays. Since 1979, one or two Chaozhou opera troupes have performed in Thailand, Singapore or Hong Kong and Macao every year. During the period from 1979 to 1989 and 10, there were 2 1 theatrical troupes belonging to Shantou, Chaozhou and Jieyang, and there were 1000 overseas performances. It has strengthened the exchange of Chaozhou opera art at home and abroad and promoted the prosperity and development of Chaozhou opera.
Artistic feature
Chaozhou opera has a unique artistic style, with eclectic music and performance forms, absorbing all others' strengths and integrating them, and its programs are rigorous but not rigid. Chaozhou opera is soft and quiet, and lyrical; Language pays attention to local characteristics, is good at using dialect slang, is literary and has a special flavor of dialect literature; Students and Dan perform light singing and dancing, which is soft and pretty; The ugly line has fine division of labor, rich procedures, dexterity and flexibility, and its body movements follow the principle of squatting, shrinking and being small; Stage art adopts folk crafts such as Chaozhou embroidery, which has strong local characteristics and local characteristics.
Chaozhou opera aria is a comprehensive system of Qupai combination and plate variation, which has two forms: chorus and chorus. Two or three people sing a song or end, with unique style and strong expressive force. This tune combines the localized songs of North and South, Kunqu, Yi, Bangzi and Huang Ka, as well as Chaozhou folk tanci, songbook and minor. Chaozhou dialect has eight tones, and the singing lines pay attention to "containing, biting, swallowing and spitting", which forms the local style of Chaozhou opera singing.
The accompaniment music of Chaozhou opera has absorbed folk gongs and drums, ancient poetry music, fine music, temple fair music and other musical and performance forms, and has local colors and unique performance characteristics. Chaozhou opera mostly retains ancient music since the Tang and Song Dynasties, with beautiful tunes, harmonious orchestral music and percussion music, and is good at expressing emotional changes. According to the different combinations of musical instruments, traditional plays are divided into Gong Opera, Xiao Gong Opera and Su Gong Xiu. Dalong Opera is the most distinctive, with the longest history, elegant lyrics, complete qupai, lingering singing and lively music with six tones and five tones. Good at expressing low atmosphere and sadness; Most of Luo Xiao's operas are life plays, with vivid language, local dances and a strong flavor of life. Music is mostly light and anti-line. The atmosphere in Su Gong Xiu is solemn and warm, and most of the plays are court lawsuits and struggles.
business school
Chaozhou opera has four major businesses: health, Dan, purity and ugliness. Every line must have its own first scene, and the performance is delicate and vivid. Body works have strict procedural norms, freehand brushwork and emphasis on skill display, among which Ugly Line and Hua Dan's performing arts are particularly rich.
Shenghang
Xiao Sheng: Most of them play romantic and chic young people, wearing necklaces and singing duets. Their performances are solemn and elegant, mostly positive figures, such as Chen San in Li Jing Ji.
Laosheng: Playing middle-aged and old men, paying equal attention to singing and doing, and paying attention to the use of mouth and sleeves, such as Wang Zuo in Kaifeng House.
Peanut: Also known as ugly students, most of them play the role of misbehavior or frivolity, belonging to minority business, such as Tang Bohu in San Xiao Marriage.
Wusheng: Playing a samurai or a young man with martial arts, emphasizing the use of martial arts, such as Song Wu in Killing His Wife.
Danhang
Wu Shandan: Playing married young and middle-aged women, mostly good wives and mothers or chaste women, singers, mostly tragic figures, such as Li Sanniang in the well-side meeting.
Dan in Blue Shirt: She plays an official darling daughter or a rich lady, paying equal attention to singing and doing, such as Huang Wuniang in Li Jing Ji.
Shirt and skirt: Play the role of a rich girl or coquettish young woman, focusing on physical kungfu. The positive role is like Lu Shanhu who plays coral, and the negative role is like Pan Jinlian who plays uncle.
Hua Dan: Playing a village girl or aunt, wearing narrow-sleeved clothes and wearing a belt, is mostly a naive and clever comedy role, such as the maid Peach Blossom in Su six niang.
Lao Dan: Play the old woman and Errenzhuan, such as Yang Lingpo in The Argument of Yang Lingpo.
Wu Dan: She plays chivalrous women or Jianghu heroines, mostly positive figures with wit and generosity, and is good at fighting with swords and guns. For example, Sun Erniang in Song Wu Da Pu.
Jinghang
According to the performance style, it is divided into Wu Wen noodles and Wu Wu noodles.
Wu Wenmian: Pay attention to the shapes of robes and pythons, such as Pan Renmei picking out prints.
Five Five Faces: Also known as straw sandals and black noodles, the performances are mainly martial arts, such as Zhang Fei and Lu.
Shameful/shameful behavior
Ugly official clothes: Most people who play official figures and wear official clothes are government officials or subordinate officials, such as Cheng Yi. There are both positive and negative figures. The performance brought robes, eyebrows, eyes and face, boots and hats.
Necklace ugliness: mostly young and middle-aged men, mostly characters with low character, such as Zhang San in "Catch Zhang San alive". The performance pays attention to the exertion of techniques, such as sleeves and folding fans. Its imitation of shadow play is full of characteristics.
Kicking ugly shoes: Playing physiognomy, old artists and other low-level figures wandering around rivers and lakes or market docks, mostly positive figures with a sense of justice and keen on fighting injustice, such as Li Laosan in the Woodhouse Club. The performance pays attention to waist and leg skills, and there are often stunts.
Wu Chou: Play more positive figures with martial arts, kindness and generosity, such as the move of "Su Dian". Most of the performances belong to southern martial arts.
Old ugliness and clown: These two types of ugliness mostly play honest, kind and funny people at the bottom, such as ferryman, night watchman, and children's roles such as waiters and shopkeepers. The expression of old ugliness is heavy white with strong local color.
Ugly women: Play snobbish matchmakers, wives, shopkeepers, kind and funny wet nurses, peasant women and other middle-aged and elderly women. Make-up modeling performances have their own characteristics, such as headdress with long mane, wearing red shoes with upturned heads, wearing big underwear and holding sunflower fans. Most of them are played by male actors, whose actions are exaggerated, rough, charming and funny, such as rural parents in "Riding a donkey to visit relatives" and Zhang in "Changing Couples".