Among them, Peking Opera is the quintessence of our country.
According to incomplete statistics, there are about 360 kinds of traditional operas and tens of thousands of traditional plays in ethnic minority areas in China. After the founding of People's Republic of China (PRC), many traditional plays have been adapted, and new historical plays and modern plays that express the theme of modern life have been warmly welcomed by the audience. The more popular and famous operas are: Beijing Opera, Kunqu Opera, Yue Opera, Henan Opera, xiang opera Opera, Guangdong Opera, Qin Opera, Sichuan Opera, Pingju Opera, Shanxi Opera, Han Opera, Chaozhou Opera, Fujian Opera, Qi Opera, Hebei Bangzi Opera, Anqing Huangmei Opera and Hunan Opera. There are more than 50 operas, especially Peking Opera, which are the most popular and spread all over the country.
China's ancient drama is called "drama" because it is mainly composed of "drama" and "qu". China's operas mainly include Southern Opera in Song and Yuan Dynasties, Zaju in Yuan and Ming Dynasties, legends and legends in Ming and Qing Dynasties, and traditional repertoires of modern Peking Opera and other local operas. Is the floorboard of China national drama culture.
[Edit this paragraph] Three artistic features of traditional Chinese opera
Comprehensive, virtual, programmed-
(1) Comprehensive China Opera is a national art with strong comprehensiveness ... This comprehensiveness is not only reflected in its mastery and originality of various art categories (such as dance and acrobatics), but also in its exquisite and profound performing arts. Various artistic factors are closely combined with the performing arts, and all the functions of opera are realized through the performance of actors. Among them, the organic composition of singing, reading, doing and beating on the actors is the most concentrated and prominent embodiment of the comprehensiveness of China traditional operas. Singing refers to singing, emphasizing "clear pronunciation and mellow voice"; Reading aloud, that is, reading aloud, is a strict reciting skill. The so-called "one thousand pounds of oral part sings four Liang"; Doing refers to doing work, which is the character and expression; Beating refers to the martial arts action in performance, which is a combination of dance martial arts skills based on China traditional martial arts. These four expressions are sometimes interrelated and sometimes cross each other. Their composition depends on the needs of the plot, but they are all unified into a comprehensive whole, which embodies the beauty of harmony and is full of musical spirit (sense of rhythm). China traditional opera is a form of drama with formal beauty, which is centered on comprehensive performances of singing, reading, doing and playing.
(2) Fictitiousness Fictitiousness is the basic way for drama to reflect life. It refers to an actor's performance, which compares the real environment or objects in a deformed way to express life. The virtuality of China's traditional operas is first manifested in the flexibility in dealing with the time and space of the stage. The so-called "three or five people walk the world, six or seven people have millions of soldiers", "a thousand years' career is instantaneous, and the abbot's land is Wan Li" and "a few years' blink of an eye makes an inch of incense last forever", which breaks through the limitations of the "three unifications" and "the fourth wall" of western dramas. Secondly, in a specific stage atmosphere scheduling and actors' simulation of some life actions, such as windy and rainy, riding gait, threading a needle and so on, more concentrated and more vividly embodies the virtual characteristics of traditional Chinese opera. Opera mask is also a virtual way. The virtuality of China's traditional operas is not only caused by the limitations of the original stage and backward dance techniques, but also the product of the accumulation of national traditional aesthetic thoughts that pursue likeness and vividness. This is a beautiful creation. It has greatly liberated the creativity of screenwriters and stage artists and the artistic imagination of the audience, thus greatly improving the aesthetic value of China traditional operas.
(3) Procedural procedure is the manifestation of drama reflecting life. It refers to the standardization, dance performance and reuse of life movements. Programs come directly or indirectly from life, but they are formed by refining, summarizing and beautifying life according to certain norms. This embodies the painstaking efforts of artists of all ages, and also becomes the starting point for a new generation of actors to re-create, so the performing arts of traditional Chinese opera can be passed down from generation to generation. There are fixed formats for closing the door, pushing the window, getting on the horse, getting on the boat and going upstairs. In the traditional opera performance in China. In addition to performing programs, drama has certain programs in script form, role, music singing, makeup and clothing. Excellent artists can break through some limitations of the program and create their own personalized normative art. The program is a model of beauty.
[Edit this paragraph] The origin and formation of China traditional opera.
origin
China opera has a long history, which originated from songs and dances imitating labor.
(A) Pre-Qin-the embryonic stage of China traditional opera. The "Ode" in The Book of Songs and the "Nine Songs" in The Songs of Chu are the lyrics of singing and dancing when offering sacrifices to the gods. From the Spring and Autumn Period and the Warring States Period to the Han Dynasty, recreational songs and dances gradually evolved in the song and dance of offering sacrifices to the gods. From the Han and Wei Dynasties to the mid-Tang Dynasty, there appeared "Jiao Di" (that is, a hundred plays), in which "joining the army" performed in a question-and-answer way and "dancers" performing short stories of life were all budding plays.
(2) The Tang Dynasty (middle and late period)-the formation period of traditional Chinese opera. After the mid-Tang Dynasty, China's drama advanced by leaps and bounds, and the art of drama gradually took shape.
(3) Song and Jin Dynasties-the development period of China traditional opera. "Zaju" in Song Dynasty, "Courtyard Style" in Jin Dynasty and "Zhu Gong Tune" in rap form all laid the foundation of Zaju in Yuan Dynasty in music, structure and content.
(D) Yuan Dynasty-the mature period of China traditional opera. In the Yuan Dynasty, "Zaju" developed greatly on the original basis and became a new kind of drama. It has the basic characteristics of drama, which indicates that China's drama has entered a mature stage.
(5) Ming and Qing Dynasties-the prosperous period of China traditional opera. In the Ming Dynasty, legends developed. The legend of the Ming Dynasty was formerly the Southern Opera in the Song and Yuan Dynasties (Southern Opera is the abbreviation of Southern Opera, which is a new form of drama developed on the basis of the Zaju in the Song Dynasty combined with the tunes of the southern region). Wenzhou is its birthplace. South Opera is different from North Zaju in system: it is not limited by 60% discount or one person singing to the end. It has an opening story, mostly a happy ending, and its style is mostly sentimental. Unlike the northern zaju, it is more free in form and more convenient to express life. Unfortunately, the books of the early Southern Opera are rarely preserved. It was not until the end of Yuan Dynasty and the beginning of Ming Dynasty that Southern Opera began to flourish. After the processing and improvement of the literati, this short play which is not rigorous enough has finally become a quite complete long play. For example, The Story of Pipa is a work from southern opera to legend. The theme of this work comes from folklore, which shows a story completely and has certain drama. It was once known as "the ancestor of reviving southern opera". In the middle of Ming Dynasty, a large number of legendary writers and scripts emerged, among which Tang Xianzu was the most successful. He wrote many legendary plays in his life, and Peony Pavilion is his masterpiece. Through the story of Du Liniang and Liu Mengmei's life and death parting, the work praises the rebellious spirit of opposing feudal ethics, pursuing happy love and demanding individual liberation. The author endowed love with the power to bring it back to life, overcame the shackles of feudal ethics and won the final victory. This had far-reaching social significance in the society firmly ruled by feudal ethics at that time. This play has been loved by readers and audiences for 300 years. To this day, the boudoir, The Scared Dream and other fragments are still active on the stage of opera performance, radiating its artistic brilliance.
Yuan zaju
Yuan Zaju is a comprehensive stage art that inherits and develops the literary achievements of the previous generation on the fertile soil of folk operas, and is improved and created through the joint efforts of teachers' workshops, troupes, musicians and "book clubs". Metaphysically, Yuan Zaju uses four sets of northern songs to arrange stories, and the disjointed parts are combined with wedges to form the usual format of four folds and one wedge (Wang Shifu's The West Chamber is a unique novel in Yuan Zaju, and five books have written 2 1 fold). Each fold is composed of several tunes of the same palace tune, and a "wedge" is added when necessary. At the end, two, four and eight lines are used to summarize the content of the whole play, which is called "getting to the point". Each fold includes three parts: Qu Ci, Bai Hua () and (). The lyrics are written according to the music cards that the tutor needs, also called Wen Qu, lyrics or lyric poems. Its function is to tell stories and portray characters. All the lyrics rhyme. Vernacular writing is an artistic means to express the plot or explain the relationship between characters in the form of words, which can be divided into dialogue (dialogue between characters), monologue (words that characters express their personal feelings and wishes alone), narration (words that characters recite to the audience from other players on the stage) and vernacular writing (words inserted in lyrics). The subject is action, expression, etc. A play is usually sung by one person to the end or the end, and the other feet are all white. The lead singer at the end of the program is called "Final Book", and the lead singer at the end of the program is called "Final Book".
Role:
Ending: male role. The hero is the hero in Yuan Zaju.
Dan: Play a female role. Zheng Dan (the heroine in the play), Xiao Dan, Chadan, Zheng Dan, Hua Dan, Boudoir Dan, Wu Dan, Lao Dan and Cai Dan.
Jing: Commonly known as "painted face" and "painted skin", they often play male roles with special personality or appearance. For example, Yuan, a civil servant (government official), falls into this category.
Ugliness: Play comedy roles, also known as "three sides" or "small faces", and play humorous roles, which can be divided into Wen Chou and Wu Ugly.
Foreigner: There are foreignness, foreignness and foreignness in Yuan Zaju. , which are the secondary roles at the end, Dan and Jing. Inside job-the end of the outside.
Miscellaneous: Also known as "miscellaneous". Play the role name of the old woman. Such as: Cai.
author
In just a few decades, Yuan Zaju writers have created at least 500 or 600 plays, and more than 150 plays are still preserved today. These works comprehensively and profoundly reflect the social life of the Yuan Dynasty, and many of them have become valuable cultural heritage of our country. For example, Guan Hanqing's "Dou Eyuan" describes the tragic experience of the kind and naive child bride Dou E, reflects the cruel exploitation of usurers, extortion by local ruffians and the perverting of the law by corrupt officials, profoundly exposes the dark reality of the Yuan Dynasty society, and praises the strong will and indomitable resistance spirit of the oppressed. With the help of historical themes, Ma Zhiyuan's Autumn in the Palace of Han Dynasty describes Wang Zhaojun's loyalty to the country, Mao Yanshou's betrayal of the country and the corruption and incompetence of his officials, mercilessly exposes the national oppression of the Yuan Dynasty and satirizes the rulers at that time. Wang Shifu's The West Chamber describes the story of young men and women fighting for the autonomy of marriage in feudal society. From stunning, couplets to refusing to get married, Cui Yingying's desire for love has been fully demonstrated. However, she was born in a famous family and was influenced and bound by feudal ethics. As a result, she had twists and turns such as "making trouble with Jane" and "relying on Jane". She finally embarked on the road of rebellion in such scenes as Listening to Qin Qu, The Book of Rites and The Pavilion, which added a strong comic color to her works. The main line of the whole drama is the contradiction between fighting for the autonomy of marriage and obeying the "parents' orders", and the misunderstanding and conflict between Cui Yingying, Zhang Xun and the matchmaker is the secondary line, which is interwoven rhythmically, with moderate relaxation, dynamic and static combination, mixed happiness and sorrow, and mixed gathering and dispersion. His theme of "May all beings in the world become well-being" and vivid artistic image have strong artistic charm, which can give people a strong infection and is deeply loved by the masses.
Four masters of Yuan Qu: Guan Hanqing-Dou Eyuan; Zheng Guangzu-Ghost Story; Bai Pu-Wu Tongyu; Ma Zhiyuan-"Autumn in Han Palace";
One legend is that ...
According to legend, in the early Qing Dynasty, there were four major operas in Beijing, namely Nankun, Yi Bei, Liu Dong and Xibang. According to the records in the eighth year of Jiaqing: "In the Ming Dynasty, there was Kunqu opera, and the sound was heard, while many Yiyang, Bangzi, Qin and Liu in the north and south were homophonic, singing and dancing, and many musicians were unmoved by Beijing." It also illustrates the historical grand occasion at that time. Among them, the so-called Nankun is popular in Kunshan dialect in the south of the Yangtze River. The combination of northern Yi Guide Opera and northern Quju Opera originated from Yiyang Opera in Yiyang, Jiangxi Province, which was the high-pitched opera spread to the north, which was the Peking Opera prevailing in Beijing at that time. Liu Dong is a popular Liu Qiang in Shandong. Xibang is naturally a Bangzi opera, which is widely circulated in northwest China, that is, Shaanxi opera. It shows the grand occasion of artists from all directions gathering in Beijing.
At present, the above four major tunes have gone far beyond their original scope, and some of them have spread all over the country. Yiyang Opera (that is, high-pitched opera) is widely spread in Anhui, Zhejiang, Jiangsu, Hunan, Hubei, Fujian, Guangdong, Yunnan, Guizhou, Sichuan, Hebei and other places. Therefore, people concerned think this statement is unscientific, but this historical statement still objectively reflects historical facts. Judging from the current distribution of operas, Kunqu opera still has a considerable audience base in Shanghai, Nanjing, Zhejiang, Hunan and other places. Yiyang Opera not only took root and sprouted in the north, but also played an important role in the formation of Peking Opera and some northern operas from the Qianlong period, especially in many northern language areas. Although Liu Zi Opera (including Liuqin Opera influenced by it) is popular in northern Henan, northern Jiangsu, southern Hebei and northern Anhui, its important activities are Qufu, Tai 'an and Linyi in Shandong. Although Shaanxi Opera (Shaanxi Bangzi) and the Bangzi from Shanxi, Henan and Hebei are popular in the north so far, the Shaanxi Opera we saw in Gansu, Ningxia and Shaanxi has deeper roots, is older and has a wider audience, so it is called "Nankun, Yi Bei, Liu Dong and Xibang".