Ancient Opera·Qing Dynasty Local Opera

Qing Dynasty local opera is a general term for the types of operas popular in different regions. Opera researchers have inconsistent understandings of its origin. Some think it is the remnant of the music of the Qin Dynasty; some think it is the remnant of the Northern Song; some think it was formed on the basis of folk songs of the Ming and Qing Dynasties. Judging from the materials currently available, some local operas became popular in remote rural areas as early as the Ming Dynasty. From the early Qing Dynasty to the middle of the Qianlong period, local operas mushroomed and grew vigorously. At that time, people called it Luantan or Huabu. Li Dou of the Qing Dynasty wrote in "Yangzhou Huafang Lu": "Huabu includes Jingqiang, Qinqiang, Yiyangqiang, Bangziqiang, and Erhuangqiang, collectively called Luantan." It can be seen that all opera types except Yabu Kunqiang belong to the Qing Dynasty The scope of local drama. It includes Bangzi tune system, Pihuang tune system, Xianzi tune system and Yiyang tune system. Bangzi tune originated from Shaanxi and Shanxi, and spread throughout the country in the middle of the Qing Dynasty. It was multiplied into Shaanxi Bangzi, Shanxi Bangzi, Hebei Bangzi, Henan Bangzi, and Shandong Bangzi. It was also absorbed into the tunes of local operas such as Sichuan, Anhui, Jiangsu, Yunnan, and Guizhou. one. Pihuang tune originated from the Xipi tune of Shanshan Bangzi and the Erhuang tune popular in Hubei. In the middle of the Qing Dynasty, it spread to all parts of the country along with the Hui and Han classes, and multiplied into Anhui, Hubei, Hunan, Jiangxi, Guangdong, Guangxi, Sichuan, and Yunnan. Various Pihuang operas from Guizhou, Zhejiang, Shaanxi, Shanxi, Shandong, Jiangsu, Beijing and other places may have been absorbed by local operas and become one of the tunes. The Xiansuo tune system is formed on the basis of local folk songs. It evolved into silk string, Liuzi Opera, Yue Diao, Xianzi Opera, etc. in Henan, Shandong, Hebei, Shanxi, Shaanxi, Jiangsu, Hubei and other places. The Yiyang tune system (also called the Gaoqiang system) was formed after the Southern Opera of the Song and Yuan Dynasties spread to Yiyang, Jiangxi, and was combined with the local dialect and music. After the Ming Dynasty, it spread in Anhui, Zhejiang, Jiangsu, Hubei, Hunan, Guangdong, Yunnan, Guizhou, Beijing and other places, and evolved into Leping tune, Huizhou tune, Qingyang tune, Qing opera, Beijing tune, etc., or became a comprehensive tune in various places. A type of vocal opera.

There is a reason why local opera flourished in the Qing Dynasty. First of all, most of their singing styles are developed on the basis of folk tunes, which have a profound local foundation and are deeply loved by the local people. For example, Qinqiang, which is popular in Shaanxi and Shanxi areas, has an impassioned tone and has the flavor of the tragic song of the heroes of Yan and Zhao. Another example is the Yangko flower drum that is popular in the south of the Yangtze River. It has crisp singing, lingering affection, laughter, singing and dancing. It has the characteristics of beautiful mountains and clear waters, Chinese things and people. Most of the performances of these dramas are developed on the basis of folk art. They are simple, real, eclectic, and full of folk color and folk flavor. Most of the recitations and songs are in local dialect, which can be heard clearly by the people. Secondly, the repertoire can reflect and express the thoughts, emotions and living customs of the local people. The plays performed in local operas can be roughly divided into two categories. One type is the drama of life. Most of these plays reflect local people's living customs and characters and events well-known to local people, such as "Borrowing Boots", "Buying Rouge", "Borrowing Wife", "Make Noodles in a Vat", etc., which will naturally be welcomed by local audiences. The other category is plays with historical themes. Local dramas generally choose historical stories that happened in the local area. For example, Bangzi opera mostly retells the stories of the Sui and Tang Dynasties and Yang family generals, while Pihuang opera retells stories of the Three Kingdoms. These plays either praise national integrity and resistance struggle, or commend loyalty and drawing a sword to help when the road is rough, etc. They all cater to the ideological aspirations of farmers and have a strong flavor of the times. At the same time, before these plays are staged, the storylines have been widely circulated among the people and are well known to the local people, which will naturally increase the interest and attraction of the audience. As Jiao Xun, a master of Confucian classics in the Qing Dynasty, said in "Hua Bu Nong Tan": "Hua Bu originally originated from the Yuan opera, and its stories are full of loyalty, filial piety and justice, which are enough to move people. Its words are straightforward, even women and children can understand them; its words are generous, The blood is in turmoil. ”

The growth and prosperity of local opera has not been smooth sailing, and it has experienced a long and bumpy road. At that time, Kunshan dialect was dominant. Although it was showing signs of decline, it was still deeply loved by the ruling class and literati. Therefore, local opera and Kunqiang opera competed for more than a hundred years and went through three major rounds before they achieved the status of leader. In the first round, Gaoqiang and Kunqiang competed for victory. Yang Jingting, a native of the Qing Dynasty, wrote in "Du Men Ji Sheng": "At the beginning of our dynasty, everyone in the capital was highly eloquent; by the time of Qianlong, six famous classes and nine schools were in rotation, which was said to be extremely prosperous." This means that high eloquence is the most popular. In the early years of the Qing Dynasty, it was deeply loved by Beijing people. During the Qianlong period, Kunqu Opera was once overwhelmingly favored. However, the Qing Dynasty took some measures to refine the high tune and make it a tune used by the royal court. As a result, it lost its simplicity, nature and rich flavor of life, and it went into decline. The second round is the competition between Qin Opera and Kun Opera. Qin Opera had spread throughout the country during the Qianlong period, but it was difficult to enter Beijing. In the forty-fourth year of Qianlong's reign (1779), Sichuan Qin Opera artist Wei Changsheng led his troupe to Beijing and "opened up the style of Shu opera singers, and the singing house flourished" ("Laughing Among the Flowers" by Tianhan Fucha Sanren), which caused great harm to Kun Opera. threaten. In the fiftieth year of Qianlong's reign (1785), the Qing Dynasty banned the performance of Qin opera on the pretext of singing obscene lyrics. "Instances of the Imperial Qing Dynasty Meeting" records: "It was agreed upon in the fiftieth year of Qianlong's reign that in addition to the Kun and Yi opera troupes outside the city, the Qin opera troupe was banned by the infantry commanders in the five cities. Now this troupe The actors are ordered to return to Kunyi and Yiliangqiang. If they are unwilling, they will be allowed to find another way to live. If they are disobedient, they will be handed over to the Yamen for investigation and punishment, and they will be deported to their hometowns.

"Under this forced order, Wei Changsheng had to join the Kunyi Troupe, and soon left Beijing to perform for a period in Yangzhou and Suzhou, and finally returned to Sichuan. Since then, Qin Opera has ceased in Beijing. The third round started in the 55th year of Qianlong's reign. (1790), the famous artist Gao Langting came to Beijing with the Sanqing Hui Troupe to celebrate the 80th birthday of Emperor Qianlong, which caused a sensation in the capital and the whole country, and opened the way for other Hui Troupes to enter Beijing. The four major Anhui troupes became popular. In the third year of Jiaqing (1798), the Communist Party of China issued another ban: "Except for the Kun and Yi operas, they are still allowed to sing, but Luantan, Bangzi, Xiansuo, Qin opera and other operas are not allowed. Sing again. " (Suzhou "Laolang Temple Stele") However, this order was not strictly enforced, and the artists performed it correctly. Not only Huizhou Opera, but also Beijing Opera and Qin Opera competed in Beijing, and other parts of the country were also spread and imitated. From then on. , local opera finally occupied the dominant position on the stage with its new attitude and vigorous vitality.

Among the four major tunes of local opera in the Qing Dynasty, Bangzi and Pihuang were the most popular and influential. Shanshan Bangzi originated from the area of ??Puzhou and Tongzhou at the junction of Shanxi and Shaanxi. It appeared as early as the Wanli period of the Ming Dynasty and formed an independent opera genre in Shanxi and Shaanxi provinces at the end of the Ming Dynasty and the beginning of the Qing Dynasty. It is famous that they have their footprints all over the country, so Bangzi Opera spread to all directions with the Shanshan Trading Group and took root in various places. It was combined with the local language and absorbed some elements of folk songs, thus forming certain variations. There are four major types of Huizhou Opera: Zhonglu Bangzi, Shangdang Bangzi, Zhonglu Qinqiang, Xilu Qinqiang, Hebei Bangzi, Shandong Bangzi, Laiwu Bangzi, and Henan Bangzi. The Hui troupe mainly sings Erhuang tune, and also sings Kun tune, blow tune, Ping tune, piaozi, Luoluo, Bangzi and other tunes. After entering Beijing, it absorbed the Xipi tune of Qin tune, forming the Huizhou-Qin fusion during the Daoguang period ( 1821-1861), Hubei artists Yu Sansheng and others came to Beijing, and the Chu tune they brought was mainly composed of Xipi and Erhuang tunes. After they joined the Hui troupe, Hubei Xipi and Anhui Erhuang merged again, and Pihuang opera made great progress. During the Tongzhi and Guangxu years (1862-1909), there were many famous actors in Pihuang Opera, and its repertoire was rich and colorful, creating an unprecedented prosperity among the local operas in the Qing Dynasty, becoming the most popular and influential type of opera.

Although local operas in the Qing Dynasty included many types of operas, their performing arts were similar. Overall, the performances of local operas in the Qing Dynasty were further developed than those of the previous generations. "Roles" have been added to local operas. Taking Sheng and Dan as an example, Kun Opera mainly focuses on Sheng Dan, while most local operas focus on Sheng Jing. In Shengxing, local opera also derives Zhengsheng (Xu Sheng). Jingxing, Laosheng, Xiaosheng. Jingxing, Erjing, Hualian, Fu, Chou. Each profession has its own performance program of singing, chanting, and fighting. At the same time, there is also a division of labor in culture and martial arts. It has three types: martial arts, martial arts, and martial arts. This further expands the cast and makes the expression richer and more detailed. In terms of music, Kun Opera is a combination of music and music, while Bangzi and Pihuang are relatively fixed forms. It is simple, flexible, and not strictly limited by words. The rhythm can be fast or slow, long or short, and can be adapted to changes in the plot. Other performance methods, such as singing, chanting, and playing, do not have to comply with the restrictions of the routine. Either playing mainly plays or singing mainly makes it easier for actors to give full play to their talents.

Compared with Beiqu (Jin and Yuan Dynasties) and Nan Opera (Ming and Qing legends), local operas in the Qing Dynasty. , if Northern Opera and Southern Opera are based on scripts and supplemented by performances, then local operas are based on performances and supplemented by scripts. Since local opera in the Qing Dynasty centered on actors and scripts were relegated to a secondary position, actors became the main driving force for the development, change, and prosperity of opera. During the Qianlong and Jiaqing years, the stereotyped "Yanlan Xiaopu", "Yangzhou Painted Boat Record", and "Japanese Flower Viewing Notes" recorded that there were nearly 200 famous flower artists in Beijing, Yangzhou and other places. The most famous Beijing opera is "Thirteen Peculiarities of Beijing Opera". The most famous Qin Opera performers include Wei Changsheng and his disciples Chen Yinguan, Wang Guiguan, Liu Erguan and Liu Fengguan. Famous Luantan actors in Yangzhou include Yang Baguan, Hao Tianxiu, Gao Langting, etc. Since then, more famous artists have been recorded in writing. Among them, the following are the most outstanding contributors.

Wei Changsheng (1744-1802), whose courtesy name was Wanqing. The brother ranks third, so he is also called Wei San. A native of Jintang, Sichuan. At a young age, he entered a Qin Opera class to learn art. In the forty-fourth year of Qianlong's reign (1779), he came to Beijing and made a sensation in the capital with the play "Rolling Tower" in the Shuangqing Department. "For a while, the singing hall was crowded with spectators, and the six major classes were almost unattended, or even dispersed" (Wu Taichu's "Yanlan Xiaopu"). Artists from other places performing in Beijing at that time all rushed to seek help from him. As a result, Qin Opera became popular in the capital and had the potential to overwhelm Kun Opera. In the fifty-fifth year of Qianlong's reign (1785), the Qing government banned performances, and Wei Changsheng was forced to leave Beijing and go to Yangzhou to perform. It became popular again in Yangzhou, and local artists rushed to imitate it. Returned to Beijing in 1801. In the summer of the next year, after performing "Carrying a Baby into the House", he died backstage. He is good at playing Hua Dan, with exquisite workmanship and fresh accent, which has changed from Shaanxi Qin Opera. The old tune of Sichuan Opera is the legacy of Wei family. In addition, he also changed the danjiao's wearing of nets to combing her hair and pasting films, and reformed the skills of walking on stilts. Combing hair and applying makeup make artists look more beautiful, which is a major innovation in makeup.

He knows many plays, such as "Iron Lotus", "Carrying a Baby into the Mansion", "Xiang Lian Chuan", "Sewing Garments", "Sale of Gold Account", "Buy Rouge", "Iron Gong Yuan", "Baohuo" ", "Into the Mountain", "The Farewell", etc., are all good shows. Among the students, Liu Langyu, Chen Yinguan, Jiang Sier, etc. are more famous.

Yu Sansheng (1802-1866), whose name was Kailong and whose courtesy name was Qiyun. A native of Luotian County, Hubei Province. He was originally a Han opera actor. During the Daoguang period, he went to Beijing to perform and became the mainstay of the Chuntai Troupe, one of the four major Anhui troupes. Later, he was as famous as Cheng Changgeng and Zhang Erkui, and was hailed as the "Three Masters of Laosheng" by people at the time. Based on Han Niaopi Huang and Hui Opera Erhuang, he absorbed the advantages of Kun Opera and Qin Opera to create a melodious, smooth and beautiful singing tune. In terms of pronunciation, he combined the articulation and pronunciation of Han dialect with Beijing pronunciation to create a stage pronunciation that is easy to understand for Beijing audiences and has the style of Pihuang opera. He played a great role in promoting the development of Pihuang Opera. The main representative plays include "Silang Visits His Mother", "Catch and Release Cao", "Battle of Fancheng", "Yellow Crane Tower", "Bang the Monument", "Wuben Ji", etc. At that time, most of the old actors and actresses took him as their teacher. Tan Xinpei, who later made epoch-making contributions, grew up based on inheriting Yu Sansheng's singing art. His son Yu Ziyun was a famous Dan actor in the late Qing Dynasty, and his grandson Yu Shuyan was a famous Laosheng.

Cheng Changgeng (1811-1879), whose name was Chun, also known as Yushan (also known as Yushan), and his hall name was Sizhen. A native of Qianshan, Anhui. His ancestral home is Huaining Shipai Town, the birthplace of Hui Diao Shipai Tune. His father is an Huizhou artist. Under the influence of his father, Cheng Changgeng entered the Anhui class to take exams at a young age, and later followed his father to Beijing. Since the Daoguang period, he has long been in charge of the Sanqing Class, one of the four major Anhui classes. During the Xianfeng period, he began to concurrently serve as the leader of the Jingzhong Temple Fair, a joint organization of theatrical troupes, until his death. He is good at singing, good at both Pi Huang and Kun Opera, with a loud voice and beautiful tones. In Nian Bai, he absorbed the articulation and pronunciation methods of Kunqiang and Beijing Qiang, so he enunciated the words clearly and used the most wonderful cadences. While he pays attention to singing and chanting, he also attaches great importance to body style, so he can create a variety of stage images. Another specialty of Cheng Changgeng is his wide range of operas and his ability to perform many operas. He can dress up all kinds of Laosheng operas such as bamboo baskets, arrow jackets and robes. In addition, Hua Lian and Xiaosheng can also play roles. Therefore, he was hailed as "the giant of playing bombs" and "the holy actress" by his contemporaries. "Wenzhao Pass", "Battle at Changsha", "Battle at Fancheng", "Yuchang Sword", "Huarong Road", "Gathering of Heroes", "Taking Chengdu", "Suppressing Tanzhou", "Catch and Release Cao", "Drumming" "Criticizing Cao", "War of Peace", "Famen Temple", "Changting Hui", "Zhuangyuanpu", "Eight Hammers", "Tianshuiguan", etc. are his representative plays. Cheng Changgeng also has strong organizational skills. The Sanqing Class he is in charge of is famous for its strict discipline and serious performance. And he is also able to strictly discipline himself and not bully ordinary artists, so he is deeply supported by many artists. In addition to being the leader of the Sanqing troupe, he also serves as the general manager of the three theater troupes of Sanqing, Sixi and Chuntai. He spared no effort in cultivating talents. Famous old students Tan Xinpei, Wang Guifen, Sun Juxian, Yang Yuelou, etc. have all received his teachings. In his later years, he founded the Sanqing Class and also trained many talents.

Tan Xinpei (1847-1917), whose first name was Jinfu and whose courtesy name was Xinpei. A native of Jiangxia, Hubei (now Wuchang). Born in the Pihuang family, he learned art from his father since childhood. At the age of eleven, he entered the Jin Kui Class in Beijing and studied martial arts and old students. He graduated from college at the age of fifteen and performed in the Sanqing Class. He was strongly supported by Cheng Changgeng and starred in Wu Sheng and Lao Sheng. Later, he joined the Sixi Troupe, specializing in singing Lao Sheng. At the age of thirty-seven, he organized his own class in the same spring and served as class leader. At the age of forty-three (the sixteenth year of Guangxu), he was elected to serve in the inner court. At the age of fifty, he was hailed as the "King of the Actor World" by the Pihuang community. At the age of sixty-five, he served as the president of Beijing Zhengle Education Association. At the age of seventy, he was forced to perform for the then President Li Yuanhong. After the performance, his condition worsened and he died. Tan Xinpei integrated the three Laosheng singing styles of Cheng Changgeng, Yu Sansheng and Zhang Erkui into one, pushing the Laosheng performing arts of Pihuang Opera to its peak. In terms of singing, he changed the monotonous singing style of Laosheng with straight tune and high pitch voice in the past, and created coloratura and clever tune, which made Laosheng's singing more artistic and charming. In terms of singing and recitation, he unified and standardized the phonology of Pihuang opera (that is, Huguang phonology is the main one, and Zhongzhou phonology is the main one), and established the rules of Pihuang opera phonology. In terms of performance, he changed the past phenomenon in which old students only performed duets and martial arts students only focused on playing. He integrated singing, chanting, doing, and playing as well as hands, eyes, techniques, and steps, which greatly promoted the performing arts of Pihuang Opera. In the history of the development of Pihuang Opera, Tan Xinpei played an important role in connecting the past and the future. Since then, most actors and actresses have taken Tan Xinpei as their master. Famous old students Yu Shuyan, Yan Jupeng, Gao Qingkui, Ma Lianliang, Tan Fuying, Xi Xiaobo, Zhou Xinfang, etc. were all directly influenced by him. There are many plays in the Tan Family Association, and the representative plays are "The Empty City Strategy", "Selling Horses as a Mace", "Li Ling Stele", "Beating Drums and Scolding Cao", "Catch and Release Cao", "Hongyang Cave", "Send the Son in the Mulberry Garden" ", "Silang Visits His Mother", "Wujia Slope", "Fenhe Bay", "Dingjun Mountain", "Zhan Taiping", "Lianying Village", "Nanyang Pass", "Zhulian Village", "Fishing and Killing" "Home", "Eight Hammers", "Qionglin Banquet", "Rouge Folds", "Sitting on the Tower to Kill Cherish", "Qingfeng Pavilion", "War in Wancheng", "Farewell Mother's Arrows", etc.

Wang Yaoqing (1881-1954), whose name was Ruizhen, also known as Zhiting, also known as Juchi, had the stage name Yaoqing, and changed his name to Yaoqing in his later years. His ancestral home is Qingjiang, Jiangsu, and he grew up in Beijing. At the age of eleven, he joined the Sanqing class to practice martial arts. At the age of twelve, he began to learn Tsing Yi and also studied Hua Dan, Wu Dan, and Daoma Dan. Since the age of thirteen, he has performed in the Sanqing Class, Xiaohongkui Class, Fushou Class, Sixi Class, and Tongqing Class. At the age of twenty-eight, he chose his own role and became the first person to choose a leading role in the Pihuang opera industry.

It became a hit in a few years. After that, his voice gradually deteriorated and he mainly performed in Sword and Horse dramas. After the age of 43, he rarely appeared on stage and was mainly engaged in opera education. If Tan Xinpei is the master of Laoshengxing, Wang Yaoqing is the master of Danxing. In terms of acting skills, he draws on the strengths of others and inherits the past and future. That is, he is the successor of Mei Qiaoling and Yu Ziyun, and he is the successor of Mei Lanfang and Cheng Yanqiu. He was the first to break the limitations of the Dan role, integrating the performing arts of Qingyi, Daoma, Guimen and Hua Dan, and opening up new avenues for the art of Dan roles. In terms of singing skills, he is good at Xipi. His singing voice is bright and vigorous, powerful and crisp, and he is good at creating new sounds to express the changes in the thoughts and emotions of opera characters. In terms of workmanship, he is good at using footwork and sleeves to express the inner movements of characters. Sword and horse dance relies on skillful and stable performance, accurate and clean skills. In terms of recitation, it is natural and vivid, full of life. Sometimes Jing white and Yun white are alternated to express the style of a specific person. In addition, there are also new creations in clothing, decoration, etc. When he was engaged in teaching, he worked hard and meticulously and trained a large number of talented actors. The most prominent among them are Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun and Xun Huisheng, who are known as the four famous actors. His representative plays include "The Legend of Sons and Daughters", "Fenhe Bend", "Nantianmen", "Sheep Circle", "Jinshui Bridge", "Wucai Yu", "Thirteen Sisters", "Pipa Yuan", "Fushou" "Mirror", "Mu Tianwang", "Xun Guanniang", "Qipanshan", "Mulan Joins the Army", "Wanli Yuan", "The Legend of Geng Niang", "The Detachment of Women", "The Legend of the White Snake", "The Story of the Willow Shadow", "The Cowherd and the Weaver Girl" ", "Yu Tang Chun", "Snow in June", etc.

The differences between the various types of local operas in the Qing Dynasty are mainly reflected in the vocal tone. As for the script form, just like the performing arts, they are only similar with minor differences. The repertoires of various drama types are transplanted from each other and the singing is changed, so their characteristics are basically the same. First, local operas are mainly about singing, actors are the center, scripts are reduced to subordinates, and most of the writers are literati or entertainers with low education. Most of the scripts were copied from opera houses or taught by heart orally, and there are very few printed copies. The only Qing Dynasty prints that can be seen today are the sixth and eleventh episodes of the opera anthology "Decoration of White Fur" published in the Qianlong period, the "Liyuan Collection" printed in the sixth year of Guangxu (1880), and the stone seals of the thirty-second year of Guangxu (1906). There are a few engravings such as the "Complete Collection of True Peking Operas of Sankei Ban in Drawing in Kyoto" and Yu Zhi's "Shujitang Jinle". These scripts are suitable for stage performances and can conquer a wide audience. However, unreasonable storylines, illogical words, repetitive narrations, etc. abound, and their readability is quite disappointing. Second, the script form. Compared with Zaju legends, the script forms of local operas in the Qing Dynasty changed greatly. In terms of structure, it breaks the shackles of the legendary drama suite form, and is based on the principle of characters entering and exiting. It is long if there is drama, and short if there is no drama. Some plots that must be explained but have no drama are passed by in a flash. The form of the script completely obeys the requirements of expressing dramatic conflicts and fundamentally solves the contradiction between dramatic structure and musical structure. In terms of lyrics, the main ones are seven-character sentences and cross-sentences. Seven-character sentences are generally two, two, and three. Cross sentences are generally three, three, and four. The number of sentences can be long or short, more or less. In order to fully express the characters' thoughts and feelings, you can even write forty, fifty or hundreds of lyrics, completely getting rid of the limitations of the Qupai style. In terms of dialogue, most of the dramas use local dialects to cater to the audience's tastes and hobbies. Third, the content of the script. In this respect, it is also significantly different from the legendary drama. The repertoire of local operas in the Qing Dynasty generally came from four aspects. One is to make up new life dramas. Most of these plays were produced in the early stages of the formation of local operas. At that time, it was just a folk opera, with limited manpower, material and financial resources, and the performing arts were not mature enough. It could only perform some plays that showed real life and had a strong local flavor. Such as "Playing Flower Drum", "Beating Noodle Jar", "Zhang San Borrowing Boots", etc., fall into this situation. These plays are often in the form of farce, criticizing current events, mocking evil people and their bad deeds, and expressing sympathy for the oppressed and harmed. The second is to adapt the novel Tanci. For example, "Romance of the Three Kingdoms", "Records of the Nations", "Water Margin", "Strange Stories from a Chinese Studio", "Generals of the Yang Family", "The Heroes of Sons and Daughters", etc., have mostly been put on the stage by local operas. This type of play basically retains the theme of the original work, either praising loyal ministers and filial sons, commending patriotic generals, encouraging criminals to commit rebellion, or praising the weak and helping the poor, all of which have certain practical relevance and strong enlightenment effect. The third is to transplant Kun Opera repertoire or adapt legendary dramas. For example, "The Injustice of Dou E", "The Orphan of Zhao", "The Story of Pipa", "The Peony Pavilion", "The Story of Red Plum", "Lanke Mountain", "Leifeng Pagoda", etc. have all been adapted into local operas. Most of these plays praise truth, goodness and beauty, criticize falsehood, evil and ugliness, and are progressive to a certain extent. The fourth is to adapt the palace drama. In order to meet the needs of court entertainment, Emperor Qianlong ordered Zhang Zhao and other ministers to write scripts. They created "Yue Ling Cheng Ying" for various festivals and monthly performances, "Fangong Yazou" for royal family celebrations, and "Nine-Nine Daqing" for the birthday of the emperor and empress dowager, etc. In addition, it is also compiled into "Dingzhi Chunqiu" based on the history of the Three Kingdoms, "Xiao Shao of Zhao Dynasty" based on the story of the Yang family in the Song Dynasty, "Shengping Bao Raft" based on the story of Tang Monk's journey to the West, and "Zhongyi Xuan" based on the story of Liang Shanbo's hero. Picture》etc. Although these feature-length productions are boring, there are also many wonderful fragments that have been absorbed by local operas, especially Pihuang operas.

There were quite a lot of local drama scripts in the Qing Dynasty. There is a saying in the opera circle that "Three thousand dramas were written in the Tang Dynasty, eight hundred were written in the Song Dynasty, and countless other dramas were written in three countries". Unfortunately, the authorship of many works is difficult to determine. Below we will only introduce a few writers who have more written records and are more prominent.

Yu Zhi (1809-1874), named Xiaohui, also named Liancun and No. 1 Huizhai. A native of Wuxi, Jiangsu. I have failed many exams. During the Xianfeng period, he was recommended as a tutor. At that time, local opera was quite popular, but most literati who loved opera still devoted themselves to the creation of legendary dramas and dismissed local opera. Yu Zhi believed: "Weizi's new plays are most in line with human sentiments, which is why they change customs and change trends." Therefore, taking governing the world as his own responsibility, he created a batch of Pihuang plays. At the same time, he adopted a group of poor children, hired old artists as teachers, appointed himself as director, and led them to perform in various places. Before his death, he personally compiled and named it "Shujitang Jinle". Its purpose is to "sing a hundred harmonies and shout loudly, it is also useful in governing, almost as good as the common people" ("Shu Ji Tang Jin Yue Zi Preface"). It is a pity that the author could not complete the engraving during his lifetime. Only twenty-eight types were collected when later generations were engraving them. They were compiled in the sixth year of Guangxu (1880), and are listed as "Lao Encouraging Farmers", "Pictures of Living Buddhas", "Compatriots' Cases", "Yi Min Ji", and "Hai Lie Wu Ji" ”, “Yuehou Xunzi”, “Heroes”, “Fengliujian”, “Longevity Lamp”, “Monster Breeding Picture”, “Cow Slaughter Report”, “Old Blessings”, “Literary Star Appearance”, “Snail Sweeping Story” , "Picture of the Tribulation in the Front", "Picture of the Tribulation in the Back", "The Story of the Righteous Dog", "Returning to the Shore", "The Story of the Millstone", "Fair Sentence", "The Prison of Yin and Yang", "Cinnabar Mole", "Tongke" "Newspaper", "Picture of Blessings and Goodness", "Record of Restaurant", "Green Forest Duo", "Picture of Robbery in the Sea", "Incense Burning Case". Most of these short plays are based on real-life events and are fictionalized. Because the author has serious feudal thoughts, while advising good and punishing evil, he also promotes the ideas of foolishness, filial piety, foolishness, and karma. But as a feudal literati, he was the first to engage in the creation of Pihuang opera, and his spirit is still valuable. And because the main idea of ??the author and screenwriter is to preach, not paying attention to artistic skills or whether it is suitable for performance, so except for "Cinnabar Mole", which is reserved for Pihuang Opera, most of the others have become desk plays.

Lu Shengkui (1822-1889) was from Jiangxi (some say Anhui). He originally studied for the imperial examination, but because he failed the examination many times, he lived in Beijing. So he concealed his real name, changed his name to Shengkui, and joined the Pihuang drama circle. People in the same industry call it Lu Taizi. He is a well-known old actor and is also quite successful in writing scripts. The dramas Pihuang wrote in his life include "Romance of the Three Kingdoms" and "Longmen Formation". The thirty-sixth volume of "Three Kingdoms". Among them, "Talking with the Confucian Confucians", "Strengthening the Power and Stimulating Yu", "Linjiang Meeting", "The Meeting of Heroes", "Hengshan Poem", "Borrowing the East Wind", "Burning the Warships" and "Huarong Dao" are often performed. . "Longmen Formation" tells the story of Xue Rengui's conquest of the East. "Taking the Commander's Seal", "Wind Mountain", "Fenhe Bend", "Three Arrows Ding Tianshan", etc. that are often performed on the stage today are the evolution of "Longmen Formation". Because the author is familiar with history, is proficient in writing, and has participated in stage practice all his life, these scripts are not only rigorous in structure and fluent in writing, but also suitable for stage singing.

Huang Ji'an (1836-1924) is the most outstanding writer of Sichuan Opera. His name is Yun Rui, and his nickname is Yu Heng. Originally from Shouchun County, Anhui Province, he later moved to Hubei and moved to Sichuan with his father when he was a child. Because of his upright temperament, he is not tolerated by his superiors. After that, he wandered around various places and lived in poverty in Chengdu in his later years. At the age of sixty-six (1901), he began to write and adapt Sichuan opera scripts, totaling more than a hundred scripts. Unfortunately, not all of them have been handed down. Huang Ji'an lived in the turbulent late Qing Dynasty. The Opium War, the Taiping Rebellion, the 1898 Coup, and the Eight-Power Allied Forces' invasion of Beijing all gave the author a great ideological shock. Although most of his plays have historical themes, they are relevant to the past and are well-targeted. They are full of patriotic passion and incomparable resentment against the decadent and incompetent ruling class. Judging only from the eighteen scripts included in "Selected Scripts of Huang Ji'an", "Nagging in the Palace of Qi", "Nagging in the Court of Qi", "Chunling Terrace" and "Three Expeditions on the Song Dynasty" all reflect the lewdness, corruption and struggle for power of the ruling class. Profound exposure and criticism were carried out; the Three Kingdoms dramas "Edict on Clothes and Belts", "Green Plum Banquet", "Shen Jiping", "Jiangyou Pass", "Mianzhu Pass", etc., not only enthusiastically praised Zhuge's heroic sacrifice to defend Western Shu Zhan father and son and Ma Miao's wife, and ruthlessly whipped Ma Miao who betrayed and surrendered to the enemy, and the cruel and ferocious Cao Cao; "Quanpai Zhao", "Three Extreme Loyalties", "Chaishi Festival", etc., strongly commended Yue Fei, Wen Tianxiang, Lu Xiufu for sharing the same enemy , the patriotic spirit of resisting foreign humiliation and sacrificing one's life for the country. All this has a strong inspiring effect on the Chinese people who were invaded and oppressed. The author loves Sichuan Opera and is familiar with the stage. Every time he writes a script, he seeks the opinions of the artists and revise it repeatedly. Therefore, these plays are easy to understand and easy to perform on the stage. Sichuan opera artists respectfully call them "Huang Ben".

Wang Xiaonong (1858-1918), whose original name was Deke Jin, also known as Runtian, also known as Xing, also named Shun, nicknamed Yangtian, and also nicknamed Zhutiannong. Pekingese. He has loved Pihuang operas since he was a child, and made many friends in the theater industry. Later, he went into acting. He successively performed in Shanghai, Nanjing and Tianjin, and served successively as the director of the Shandong Drama Improvement Institute and the vice president of the Tianjin Zhengyu Lehua Association, actively promoting the opera reform movement. Wang Xiaonong created and adapted more than 30 Pihuang plays throughout his life. "Collection of Wang Xiaonong's Operas" includes "Melon Planting Orchid", "Filial Wife's Soup", "Chang Le Lao", "Gold Box", "Zen Zen Platform", "Crying Ancestor Temple", "Partner Monument", "Washing" "Ear Notes", "Bolang Cone", "Splashing Water in Front of the Horse", "Mawei Station", "Criticizing Yama", "Xian Xichuan", "Criticizing Wang Lang", "Fighting Chi You", "Harmony between Generals and Prime Ministers", "Praise to Pai Wang" ", "Meishan Hate" and other eighteen kinds. Overall, these scripts have the following four characteristics. First, it has a strong spirit of the times and a strong sense of emotion.

The author believes that acting is the most beneficial to society. "The so-called high platform education in ancient times is also education in today's society." Since the Hundred Days Reform, he has regarded drama writing as a means to promote social progress. Therefore, every drama he writes is full of love and hate, inspiring and educating the audience. For example, "Guazhong Lanyin" mainly writes about the tragic history of Poland and Turkey going to war and being defeated and begging for peace. It is obvious that he is using foreign historical facts to awaken the people to unite and deal with the outside world, and not to let the incident of Poland's national subjugation happen again in China. Secondly, the author has both high cultural accomplishment and rich stage performance experience, so the script is highly literary and suitable for stage performance. Third, most of these plays were written for their own performances. He specializes in Laosheng, and his voice is old and powerful, so Laosheng dramas and tragedies dominate. Fourth, in terms of form, he did not stick to the old rules and made many innovative attempts. For example, it breaks through the limitations of seven-character sentences and cross-word libretto, and absorbs the expression techniques of some new civilized operas. He played a leading role in the opera reform movement in the late Qing Dynasty.