Nearly a hundred years ago, the artist Shi Dianyuan successfully auditioned Wang Xiao's Catch Feet, which was originally called "Donkey Play". Shi Dianyuan (1963- 1948), also known as Shi Yalan, was born in Guangrao County, the founder of makeup dulcimer and one of the founders of donkey show. He learned to sing dulcimer since childhood and was good at playing clowns. Began to play the donkey play "Wang Xiao Catch the Foot". During the Dian Yuan performance, played two girls, painted the donkey with paper (later changed to cloth), tied it around Cui's waist with belts respectively, pretending to be two girls riding the donkey; At that time, Yuan Dian wore a shabby felt hat, a white apron around his waist and a whip in his hand. He melted a little girl's face with white ash between his nose and eyes and pretended to be Wang Xiao, who was waving a whip to drive a donkey. Play with harpsichord, dulcimer, sanxian, flute, banjo and other instruments. They sang as they walked, which made Wang Xiao, who had been singing for many years, come to life at once and was very popular with the masses. The donkey show soon spread. The above proves that the emergence of donkey drama is an organic combination of mass art activities and rap art, and it is also a turning point in the development of Lu drama.
The artistic feature of Qin Shu in Shandong Province is 1, and the types of tunes are performed in Shandong dialect. Because it is born out of folk "small tunes", the vocal music tunes used are very rich, with about 200 tunes. After the development of rap in Qin Shu, the tunes used were gradually concentrated. The most commonly used is the so-called "Old Six Main Melody", namely Shanghe Tune, Fengyang Tune, Overlapping Broken Bridge, Hankou Dui, Dui Ban and Meihua Road. Since the end of the Qing Dynasty and the beginning of the Republic of China, it has further developed into a music system with Fengyang songs and antithetical plates as the main tone, interspersed with a small number of short songs, and the programs are mainly medium and long volumes with short songs.
2. Performance form The performance form of Qin Shu is generally two to five people, with singers in different roles and accompanied by musical instruments. Generally, there are two or three people divided into roles, and the rest are accompaniment and backup singers. Traditional singing pays attention to stability and generosity, and the singer sits in danger and looks dignified and looks at others. The story is expressed by changeable vocals and organic accompaniment, and the characters' shapes and angles are portrayed. With the evolution of history and the development of art itself, Qin Shu's singing gradually broke the old singing convention. For example, singers can present vivid expressions according to the development of story content and the changes of characters' feelings, and sometimes they can add gestures to help them perform. Actors can communicate with each other or directly with the audience in singing, but their singing style still maintains the basic characteristics of stability and generosity.
The performance form of Qin Shu in Shandong belongs to the folk art of sitting and singing of Han nationality. When singing, sit in a figure of eight, with the dulcimer in the middle and other instruments on both sides. The actors each held musical instruments and sang by themselves. In the development of the story, singers mostly appear in roles, and there is a division of labor between life, Dan and ugliness. The characters created have a strong three-dimensional sense. It itself is the evolution to drama, which is pregnant with internal factors. So, inspired by the popular makeup performance of Catch Feet, Dian Yuan and others gradually included three small programs such as Standing on the Flower Wall, Blue Bridge Meeting, Deng Yun Divorcing His Wife, Red Luan Xi, Monk Ding Sweeping Snow, Picking up Jade Bracelets and Wang Ding in the piano book. Fengyang songs gradually evolved into the basic plate of Lu opera-Siping tune. Because the play mostly reflects the love and family theories of young ladies, sons, daughters-in-law, in-laws and other men and women, the plot is realistic and full of local flavor, so it is very popular with the masses. Therefore, many artists who sing and sit (in Qin Shu, Shandong Province) have changed to small plays, which are circulated in Jiaodong and Lubei areas, such as the jumping skin play in Penglai and Yexian, and the mystery play in Jiyang area. The wider the spread, the more names there are. Some say it is called stroke play, because the main accompaniment instrument is the piano, and when it is pulled, the strings are plucked up and down with four fingers; Some say it is called Lu opera, which means it belongs to the hometown opera of the neighborhood; Others say that because artists go out to work, they are all from the same village and family, or even a family or a couple, so they are called Lu Opera.
There are many traditional representative programs in Qin Shu, Shandong Province, such as Legend of the White Snake, Qiu Jiang and transplanted Yang Jiajiang, Bao Gong An and Dahongpao. There are 70 or 80 novellas, such as Wang's Loan, Sanshangshou and Liangzhu's Marriage, and most of the short stories are circulated in early minor programs. After the founding of People's Republic of China (PRC), Qin Shu, Shandong Province has achieved new development, and its popularity has also expanded beyond Shandong Province. The excellent traditional program "Summer Mountain in Liang Zhu" after processing and sorting out, as well as the newly created novella "Seize Printing", short story "Ten Women Kuafu", "Girl's Heart Wish" and "Sheci Pot" have all had an important influence.
The development status of Qin Shu is the rebirth period of 2 1 century, that is, the inheritance period of "national intangible cultural heritage". Since 1990s, Qin Shu and other folk arts in Shandong Province have been gradually marginalized due to the influence of film and television, modern media and human economic consciousness, and their prospects are worrying, even reaching the danger of frequent extinction. Under the guidance of the important ideas such as "carrying forward the national music culture and inheriting the national art treasures", Heze University has established the school-running goal featuring the national folk music in Heze City. In the spring of 2004, Qin Shu, Shandong Province was included in the special course construction project of the Music Department, and outstanding students from this department were sent to study in Qin Shu, Shandong Province, three years earlier than that of Qin Shu, Shandong Province, which was rated as a national intangible cultural heritage in 2007. This ancient school, which has been circulating among the people, has entered the university classroom. Professor Li Qiaolian (former deputy director of Heze Mass Art Museum, member of provincial Quyi Association and vice chairman of municipal Quyi Association) and teacher Sun (full-time piano teacher and folk Quyi expert of Heze Art School) are invited to teach in our school. With the care and support of leaders at all levels in the department, and with the joint efforts of experts and scholars and the theoretical research room of the music department, Qin Shu has gained new vitality and new development. They don't stick to the inherent genre style of the piano book, integrate and innovate, use the new singing style, accompany in the form of a small national band, and adapt and create a number of new piano book arias by arranging and arranging instruments. In 2006, Gong, Xu Bingqun and Feng's new piano work "Send the Gold Monument" won the first "Baotuquan Cup" Shandong Quyi Competition for excellent performance. Su Haijian, Tong Mengyao, Liu Bing and Li Meiying of Shu Qin class won the third prize. In 2008, Wu Xiaodong, Wang Meng and Sang Shihua sang the Shandong piano work "New Things in New Village" and won the first prize of the second Shandong University Students' Art Show, and the third prize of the second National University Students' Art Show in March 2009. 20 10 In April, Sang Shihua, Sha Li won the Best Performance Award in the Third Rural Culture and Art Festival of Heze City.