What are the artistic characteristics of Sichuan Opera?

Sichuan Opera is one of the traditional Chinese operas and is popular in eastern and central Sichuan, Chongqing, Guizhou and parts of Yunnan. Sichuan Opera facial makeup is an important part of Sichuan Opera performing art and an artistic treasure jointly created and passed down by Sichuan Opera artists of all generations. Sichuan Opera consists of five tunes: Kunqu Opera, Gaoqiang, Huqin, Danxi and Dengdiao. Next, I will tell you about the artistic characteristics of Sichuan Opera, I hope it will be helpful to everyone!

The artistic characteristics of Sichuan Opera

Huqin

< p>Huqin is the collective name for Erhuang and Xipi tunes. Because the main accompaniment instrument is "small huqin", it is collectively called huqin. Volume 5 of "Yanlan Xiaopu" records: "Shu Ling has a new qin tune,...the instrument does not use sheng and flute, but mainly uses huqin. The Yueqin should be used as a complement, and the workmanship and ruler are not as good as words." It can be said to be a footnote to Sichuan Huqin tune. . Huqin tune was formed around the Qianlong period. Erhuang includes three basic tunes: Zheng Tiao (Er Huang), Yin Tiao (Anti Er Huang), and Lao Tiao. The positive tune is good at expressing deep, serious, tactful and light emotions; the anti-erhuang tune is suitable for expressing desolate, miserable, sad and angry emotions; the old tune is mostly used for high-pitched and passionate emotions. The musical character of Xipi tune is opposite to that of Erhuang tune, with bright, unrestrained, exciting, concise and smooth character. Xipi and Erhuang are mostly used separately, but there are also many plays that include both voices.

Tanxi

Sichuan Opera Tanxi is a type of opera sung with the covered huqin as the main accompaniment instrument. It originates from the Qin Opera in Shaanxi and belongs to the Bangzi system, so it is also known as "Sichuan Bangzi". Although Tanxi originated from Qin Opera, it was combined with the local language of Sichuan and influenced by Sichuan gongs and drums and folk music. After a long period of evolution, the tune, singing method and singing structure are different from Qin Opera, forming its own unique art. The style is rich in Sichuan local color. Although the relationship between the two is not very close, the origin between them can be found from the analysis of the tune structure, modal characteristics, and the charm of the entire singing tune. Tanxi includes two types of tunes with completely different emotions: one is called "Tianping" (also known as "dessert", "sweet skin", "sweet tune") which is good at expressing happy emotions, and the other is called "kuping" (also known as "kupin" and "kupi") are good at expressing sad feelings. They are relatively independent, but their mode, style, and structure are the same. Even in the same style of singing, the skeleton of the tune is the same.

Lantern Tune

Lantern opera is quite distinctive in Sichuan Opera. It originated from the folk song and dance performances during the Sichuan folk festival to welcome the gods. It can also be said to be the origin of the ancient Sichuan and Shu traditional lantern festivals. product. The performances are small dramas of daily life, and the songs are folk songs and village ditties, which reflect the strong flavor of local life.

The characteristics of the lantern opera tune are: short music, distinctive rhythm, light and lively, bright melody, and a strong local flavor of Sichuan.

The Deng Diao tune is mainly composed of "Fat Tong Tong", Fajian Xiaoqu and "Shenge tune". The "fat drum" that accompanies the lantern show is a kind of piano that is thicker than the erhu pole, has a larger body, and has a slightly "buzzing" sound.

Professions

Sichuan Opera is divided into five professions: Vincent, Dancing Role, Raw Role, Painted Face, and Harlequin. Each profession has its own system of exercises and procedures, especially Vincent, Clown, and Dancing Roles. His performance is the most distinctive, with many outstanding creations in dramatic expression techniques and performance techniques, which can fully embody the aesthetic characteristics of Chinese opera's interplay of virtuality and reality, and the freehand expression of form.

Wen Shengxing generally refers to those who dress up as young men in dramas and do not wear "beards" in their performances; Dan roles are no longer collectively referred to as Xiaodan, and most of them are female actors; painted faces are practiced Divided into big-faced and two-faced, they are no longer called big-faced, two-faced, or net, or vice-jing; Xushengxing refers to middle-aged and elderly men who are handsome in appearance other than niche, painted-face, and clown, and is no longer included in niches but is collectively referred to as "shengjiao" ( At the end of the Qing Dynasty and the beginning of the Republic of China, the difference between young students and old students became increasingly obvious). The so-called "mo" specifically refers to the supporting or secondary roles who play the lower-class characters in the play. They all have to wear a "beard" when performing; the clown profession is no longer called three-faced, Three-faced or little painted face.

Singing tunes

Sichuan Opera consists of five tunes: Kunqu Opera, Gaoqiang, Huqin, Danxi and Dengdiao. Among them, except for the lighting system that originated from the local area, the rest were introduced from other places. These five kinds of tunes and the musical forms such as gongs and drums, suona tunes, and piano and flute tunes that accompany the five tunes. The music of Sichuan Opera draws on the strengths of others and is eclectic. It absorbs the nutrients of all major opera tune systems across the country, integrates it with Sichuan's local language, rhymes, and music, and evolves into local opera music with diverse forms, rich tunes, rigorous structure, and different styles. .

Sichuan Opera, in the Tang Dynasty, there was a saying that "Sichuan Opera is the best in the world". During the Qianlong period of the Qing Dynasty, on the basis of the local car lantern opera, it absorbed and blended the local dialects of Jiangsu, Jiangxi, Anhui, Hubei, Shaanxi and Gansu to form a Sichuan dialect singing style including Gaoqiang, Huqin, Kunqiang, Lantern Opera and Danxi. "Sichuan Opera". Among them, Sichuan Opera has rich high-pitched tunes, beautiful and moving singing, and the most local characteristics. It is the main singing form of Sichuan Opera. The accompaniment of Sichuan Opera includes leading, chorus, chorus, accompaniment, and duet singing, etc., which are meaningful and fascinating. The language of Sichuan Opera is lively, humorous, full of distinctive local colors, full of life flavor and has a broad mass base.

There are hundreds of repertoires commonly seen on the stage, including singing, acting, reading and playing, with humorous witticisms and instrumental music to support the performance. "Face Changing", "Fire Breathing" and "Water Sleeves" are unique, plus the freehand stylized movements are implicit. Endless flavor.

In the process of integrating Gao, Kun, Hu, Dan and Deng into a unified Sichuan Opera, each has its own situation. Kunqiang originated from Jiangsu, flowed into Sichuan, and evolved into "Sichuan-Kunming" with local characteristics. High-pitched accent plays an important role in Sichuan Opera. Originated from Yiyang opera in Jiangxi Province, it flowed into Sichuan in the late Ming and early Qing dynasties, and was called "Qing opera" between Chu and Shu. On the basis of maintaining the tradition of "one person sings and the others join in harmony, there are also tight and slow rhythms", we also draw a lot of nutrients from Sichuan Yangge, chants, divine songs, and recitals, enriching and developing the "gang, beat, and tempo" styles. The characteristics of "singing" and "singing" are closely combined to form Sichuan Gaoqiang with local characteristics. Huqin tune, also known as "Si Xianzi", originates from Hui tune and Han tune, and also absorbs elements of Shaanxi's "Hanzhong Erhuang". It has been combined with Sichuan dialect and Sichuan opera gongs and drums through "making and singing Huqin" and stage performances. It has undergone many changes in connection with music, forming a Huqin tune with Sichuan flavor. Danxi, also known as Luantan, is also called "Gaibanzi" or "Sichuan Bangzi". It is named after the use of the covered Huqin as the main instrument and the use of Bangzi to beat the knots. It originated from Shaanxi's Qinqiang Tongzhou Bangzi. After Qin Opera flowed into Sichuan, it has been closely associated with lantern opera and Gao Opera in northern Sichuan for a long time. It merged with each other and adopted the Sichuan dialect, gradually forming a unique style of Sichuan Bangzi - Dan Opera.

During the process of the popularity of the above five foreign vocal arts in Sichuan, they were successively combined with the Sichuan dialect and the masses’ appreciation habits, and gradually evolved into the five vocal tunes of Kun, Gao, Hu, Dan and Deng in later Sichuan Opera. The difference between Sichuan Opera and other operas lies in the high accent.

Gaoqiang

Gaoqiang is the most important tune in Sichuan Opera. It was introduced to Sichuan from other places in the late Ming and early Qing dynasties. After Gaoqiang was introduced to Sichuan, it was combined with Sichuan dialects, folk songs, labor chants, question raps and other forms. After several processes and refinements, it gradually formed a tune with local characteristics.

Sichuan Opera Gaoqiang is a piece of music with a large number of tunes and complex forms. Its structure can basically be summarized as: starting the tune, standing the column, singing the tune, and finishing. There are many high-pitched repertoires, a wide range of themes, and adaptable to a variety of text formats. The most important feature of Gaoqiang is dry singing without instrumental accompaniment, which is the so-called "One Singing and All in Harmony" form of singing, which integrates singing, drumming and singing. The gong and drum tunes are all composed in this way. Some Qupai have more accompaniment than singing, some are basically all accompaniment, and some Qupai only have accompaniment in the first and last two lines. The specific form is determined by the opera.

The high tune of Sichuan Opera retains the excellent traditions of southern opera and northern opera. It has both high-pitched and exciting singing and melodious lyrical tunes.

Kun Opera

Kun Opera is composed by many literati. It has elegant lyrics and strict rhythm. When singing, it pays special attention to the correct words and round tunes. In addition, the tunes are tortuous and the rhythm is slow. Now it has gradually declined. Sichuan and Kun Opera originated from Su Kun. Sichuan Opera artists took advantage of Kun Opera's advantages in singing and dancing. They often only selected certain tunes or verses from Kun Opera and inserted them into other voices to sing, forming the unique artistic style of Sichuan and Kun Opera.

The tune structure of Sichuan Opera Kunqiang is basically the same as that of its parent "Su Kun". There are two forms of application: "single branch" and "chengtang". At present, there are not many repertoires performed in the form of Kunqiang as a single tune. Most of them are integrated into Gaoqiang, Huqin, and Tanxi tunes, or in harmony with other tunes.

The main instrument of Kunqiang is the flute. The accompaniment and method of gongs and drums are the same as those of other Gao, Hu, Tan and Deng tunes. The special single color of the two instruments, the big gong and the Su cymbal, constitute the "Su flavor" of the gongs and drums, which distinguishes them from the gongs and drum accompaniments of other tunes.

Costumes

There are many kinds of costumes in Sichuan Opera, such as python robes, cushions, official clothes, pleats, etc., all of which correspond to relatively fixed roles. There are strict rules on what clothes to wear for each role. Theater troupes have always had a strict and detailed classification of costumes, with so-called "coat" cabinets and "secondary clothes" cabinets. The coat is the clothing worn by the emperors, generals, concubines, cabinet ministers, etc. in the play, including python robes, official clothes, blue shirts, etc.; the second coat is the clothing worn by the marshals, generals, horsemen, infantrymen, etc. in the play, including Armor, cushions, robes, etc. As soon as an actor appears on stage, his or her costume reveals the identity, personality, emotions, etc. of the character.

Clothing styles are particular, and there are unwritten rules for the choice of color tones in Sichuan Opera costumes: yellow is mostly used for Huangsheng, green is mostly used for Hongsheng, white is mostly used for Wusheng, black and blue are mostly used for Zhengsheng, Black is mostly used for cleanliness, and red is often used for ugliness. After understanding the dressing tips of Sichuan Opera, you will be able to guess the identity of the character as soon as he appears in the show.

Makeup

Before performing, Sichuan Opera actors have to paint various patterns on their faces with different colors to show the identity, appearance and personality characteristics of the characters. Historically, there were no full-time facial makeup artists in Sichuan Opera, and the actors drew their own facial makeup. On the premise of maintaining the basic characteristics of the characters in the play, actors can creatively draw facial makeup according to their own characteristics to achieve the effect of attracting the audience's attention. Therefore, the personalization and diversification of facial makeup in Sichuan Opera are rare among various local operas.

Sichuan Opera facial makeup is not a dead score, but a living score.

"Poetry Pu", "Ci Pu", "Music Pu" and other musical notations often have the so-called "Yu Yi", which also means changes in the "pu", indicating flexibility. The same goes for the facial makeup of Sichuan Opera. When using facial makeup, appropriate additions, subtractions or changes should be made according to specific characters. For example, Guan Sheng and Zhao Kuangyin, although they both have red faces, Zhao Kuangyin has a white line on his eyelids to show the difference: Guan Yu is loyal and loyal, while Zhao Kuangyin plays political tricks and kills heroes. The former is a saint, the latter is a crooked person. More typically, Sun Wukong's facial makeup is a monkey, Zhu Bajie's facial makeup is a pig, and the Bull Demon King's facial makeup is an ox. Such facial makeup is simply a symbol of the characters on the Sichuan Opera stage.

Color is the most basic character mark. Sichuan Opera facial makeup uses color to express the basic characteristics of characters, and its principle of using color to set tone is based on traditional Chinese culture and the long-term appreciation habits of the Chinese people.

For example, in Sichuan Opera facial makeup, red is often used to represent loyal and courageous characters, such as Guan Yu and Jiang Wei; black is mostly used to represent upright and selfless characters, such as Bao Gong. White is often used to express ruthless, insidious and cunning characters, such as Cao Cao. Green and blue are often used to represent reckless heroes, forest heroes or brave and cruel characters, such as Shan Xiongxin. Gold, silver and gray have an illusory and mysterious feel, and are often used to represent Buddha, gods, immortals, demons, ghosts and other characters.

Symbolic patterns

On the premise of using colors to set the tone, symbolic and allegorical patterns are drawn on the characters’ faces to show the character traits of the characters in the play. People either praise, ridicule, or criticize the characters in the play, and their praise and belittlement can all be reflected in the patterns.

For example, Bao Zheng’s black face is painted with patterns such as a mountain-shaped pen holder, a red pen, the character longevity, a crescent moon, and the sun, symbolizing his high official status, law enforcement, and integrity throughout his life. Guan Yu's red face is painted with the pattern of lying silkworm eyebrows, three incense sticks and the word "pin", which shows that he is brave and loyal and must keep his faith. Zhao Kuangyin also has a red face, and his dragon-patterned eyebrows indicate that he is a generation of emperors. The yintang or the white stroke on his eyelids shows his suspicious and insidious character. Xiang Yu's clear black and white face is painted with seven-star Big Dipper, longevity-shaped dragon patterns, swords, tiger and leopard eyes, etc., which shows that he had the power of heaven and drew his sword to commit suicide for a generation of powerful tyrants and defeated the Wujiang River.

Animal patterns

Using animal patterns to express character characteristics is a major feature of Sichuan Opera facial makeup. For example, Ma Jun, a hero in the world of martial arts, was known as the "Jade Butterfly", so a colorful butterfly was drawn on Ma Jun's face; a duck with outstretched wings was drawn on the face of the Taoist Green Duck; and a twisting blue butterfly was drawn on the face of the snake spirit. Green snake and so on.

It is particularly important to mention that the drawing of these animal patterns needs to fully conform to the distribution characteristics of the actors’ facial muscles. For example, the snake's head and mouth are drawn on the actor's mouth, the snake's body is coiled on the cheeks, and the snake's tail extends to the eyebrow muscles. In this way, the opening and closing of the actor's mouth just reflects the opening and closing of the snake's mouth, and the movement of the entire facial muscles just drives the crawling of the snake's body. Another example is the Crab King in "Water Floods the Golden Mountain". A large crab claw is outlined in the actor's mouth, and the movement of the mouth muscles just reflects the opening and closing movement of the crab claw.

Designing and drawing facial makeup with animal patterns is by no means a rigid application of animal patterns on the face, but requires artistic processing of deformation, exaggeration, and clever arrangement, whether using the whole animal or a part of it , all need to be based on the needs of the role, the needs of the performance, and the shaping and portraying of character characteristics. When drawing animal facial makeup, we must strive to have bright colors and decorative beauty, and we must fully consider the norms of the various professions of the characters in the play. This means that when drawing animal facial makeup, we must also have big, two-flowered, small, and domineering faces. the difference.

Baer face

Baer face is also called Baer painted face. It is the appearance of the teenage characters in the play, reflecting the characters' vigorous and vigorous characteristics. Ba'er's face continues the characteristics of the character's middle-aged and elderly facial makeup. It does not have a mouth stripe. Generally, the nose is used as the boundary, and only the upper part of the face is outlined. Ba'er's face also has the function of implicitly expressing the physical characteristics of the character's descendants.

For example: The red-faced Guan Yu was still a young man in "The Moon Kills the Bear", and his facial makeup was a half-red red face. The black-faced Mr. Bao became an official for the first time in "Double Punishment". He was still an impatient and upright young man, so he was given a black-faced look. Shi Yinglong, the young hero in "Polo Flower", has a mandarin duck face. Zhang Fei's son Zhang Bao has a black face, and Niu Gao's son Niu Tong has a white face. They both inherit their father's arrogance and are young and energetic.

Text facial makeup

In Sichuan Opera facial makeup, words are also used as shapes to express character characteristics. Outline calligraphy Chinese characters in prominent positions on the character's face, and add other decorative patterns. Text facial makeup mostly appeared on the stage before the 1950s. The text facial makeup in this book was obtained based on the repeated sketches of senior Sichuan opera artists. It can be roughly divided into two types: simple text modeling and abstract text modeling. There are also calligraphy forms such as seal script, official script, regular script, running script, and cursive script.

For example, Niu Gao has the official script character "Niu" written on his forehead; Li Kui has the official script character "Li" written on his forehead; Yama Wang has the regular script character "Yan" written on his forehead; Kuixing has the regular script character "Dou" written on his forehead; It is said that Yang Qilang came to earth for the Black Tiger Star, and the word "tiger" was written in cursive on his Black Tiger's face. People often say that "the face is the signature", and facial makeup with words plays the role of a signature to introduce the characters in the play.

Musical instruments

Sichuan Opera gongs and drums are an important part of Sichuan Opera music. There are more than 20 kinds of musical instruments used in it. The commonly used ones can be shortened to small drums, hall drums, large gongs, large cymbals, and small gongs (also called hinges), collectively called "five directions". Adding string instruments and suona are the six directions. Snare conductor. This is a light band that goes to perform in rural areas. There are about three hundred gongs and drums. "Pretend to be like a dragon, pretend to be a tiger," this sentence describing and requiring Sichuan Opera performances has been passed down from generation to generation among Sichuan Opera actors. Sichuan Opera performances have a profound tradition of realism, and at the same time, they use a large number of artistic exaggeration techniques to make the performances realistic, delicate, graceful and moving.

Facial Changing

In Sichuan Opera performances, as the plot turns and the inner world of the characters changes, the facial makeup also needs to change accordingly. How to change facial makeup in a play? Sichuan Opera artists invented the stunts of changing faces, pulling faces and wiping out eyes. These stunts are all used during stage performances without being noticed by the audience, in order to achieve a strong performance effect of instantaneous changes in the characters' facial makeup.

The most common way to change faces is by blowing powder. Face-pulling is to draw facial makeup on thin silk. During the performance, the thin silk that has been attached to the face is quickly and skillfully removed layer by layer. Rubbing the eyes is a method of partially changing the facial makeup. During the performance, the actors will quickly apply black pine smoke on their fingers to blacken the area around the eyes.

For example, when Le Yangzi in "Governing Zhongshan" learned that the meat soup in front of him was his biological son, the actor used the method of blowing gold powder from his mouth to make Le Yangzi's natural face suddenly turn golden His face and mouth strips also changed from black to white. This change of face depicts the strong stimulation of Le Yangzi's soul, and the "face-to-heart change" is the most vivid expression. Qing'er in "Broken Bridge" wants to take revenge on the heartless Xu Xian; Chen Cangmo in "Flying Cloud Sword" wants to hunt down the scholar Ning Caichen. During the performance, their faces changed again and again, which strongly showed Qing'er's The magical power and the ferocious cruelty of the Chencang succubus exaggerated the atmosphere of the performance. In "Water Floods the Golden Mountain", Zijin Raobo wants to subdue the demon and tame the white snake, and the fighting methods between the two sides are thrilling. When the plot reached its climax, the actor used the "face-pulling" technique to make Zijin Raobo's face instantly appear in various colors such as red (happiness), blue (anger), white (sadness), green (joy), etc., depicting the Zijin Raobo's ever-changing divine power and magic power vividly demonstrates his complex personality. In "Love Detective", Wang Kui, the new top scholar in science and technology, was killed by the ghost of his ex-wife Jiao Guiying on their wedding night. At this time, the actor used the technique of "wiping his eyes" to show Wang Kui's devastated and ugly state. In "Sit on the Tower to Kill", in order to express Song Jiang's sudden desire to kill, the actor also used the "eye-wiping" technique.

The most famous technique in Sichuan Opera is face-changing, which includes wiping, rubbing, wiping, blowing, drawing, wearing, holding back, and pulling. In Sichuan, Mr. Wang Daozheng is known as the face-changing king of Sichuan Opera.

What is face-changing

Face-changing is one of the stunts performed in Sichuan Opera. It is used to reveal the inner thoughts and changes in thoughts and feelings of the characters in the play, that is, to express invisible and insensible abstract emotions. And the psychological state becomes a visible and sensible concrete image - facial makeup. It has become one of the major features of Sichuan Opera appreciation today.

The evolution of facial makeup

The original facial makeup was a paper mask, which was later improved and developed into a mask drawn on papyrus. During the performance, fireworks or folding fans were used to cover the mask, and the mask was peeled off layer by layer to create a new mask. After the founding of China, with the rapid development of face-changing stunts, the materials for making facial makeup also developed into the satin fabrics used today, which greatly facilitated actors' performances.

Facial makeup styles

Face-changing facial makeup will choose some unknown people, including knights, ghosts and other shapes, and well-known facial makeup, such as Guan Gong, Cao Cao, Bao Gong and other figures The facial makeup is generally not used to change faces. The strokes of the face-changing facial makeup should be sharp and rough, and the color contrast should be strong, so as to create a dazzling auditorium effect. The design of the coloring and meaning should be based on the moral quality and role types of the characters in the play, either to praise or expose Irony, criticism, derogation or praise can all be reflected in facial makeup colors.

Techniques

Face-changing techniques are generally divided into three types: "wiping the face", "blowing the face" and "pulling the face". In addition, there is a kind of "luck" face change.

Face application: Apply makeup paint to a specific part of the face. When performing, you can change your face to another color by swiping it on your face with your hands. If you need to change the entire face, apply oil paint on the forehead or eyebrows. If you only want to change the lower half of the face, apply oil paint on the face or nose. Xu Xian in "The Legend of White Snake" uses "wiping his face".

Face blowing: Use powdered cosmetics, such as gold powder, silver powder, toner, etc., into a specific container. During the performance, the actor only needs to put his face close to the container and blow on it, and the powder will be sprayed on it. On the face, you must close your eyes, mouth, and breath when blowing. For the face blowing in "Capture Zidu Alive", the makeup powder is placed in a wine glass. More often, a small box containing the powder is placed on the floor of the stage. The actor only needs to do a dance move of lying on the ground. You can take the opportunity to put your face close to the box.

Face-changing: "Face-changing" is a relatively complicated method of changing faces. It involves drawing facial makeup on pieces of silk in advance, cutting them, tying a handful of silk thread to each mask, and then sticking them on the face one by one. The silk thread is tied to a convenient and unobtrusive place on the clothes (such as a belt).

As the plot progresses, it is ripped off piece by piece under the cover of dance moves. For example, the Botong (Purple Gold Bo) in "The Legend of White Snake" can turn into seven or eight different faces, including green, red, white, and black. Another example is the thief in "Jiuzhenglou" and Nie Long in "Wangniangtan", who also use face-pulling. There is a certain degree of difficulty in "pulling face". First, there should not be too much adhesive to stick the facial makeup on, so that it will not be able to be pulled off, or all the facial makeup will be pulled off at once. Second, the movements must be clean and neat, and the fake movements must be clever and able to deceive the audience.

Luck: As the name suggests, you use Qigong to change your face. Legend has it that when the late famous Sichuan Opera actor Peng Sihong played Zhuge Liang in "The Empty City Strategy", when Qintong reported that after Sima Yi's soldiers retreated, he was able to use Qigong to turn his face from red to white, and then from white to green, which was intended to show Zhuge Liang's relief. The fear behind.

The formation of Sichuan Opera

Sichuan Opera is one of the traditional operas and folk arts in southwest China

Sichuan Opera was formed in the Qianlong period of the mid-Qing Dynasty and became popular in Sichuan Province and Chongqing City. As well as parts of Yunnan Province, Guizhou Province, and Hubei Province. Sichuan Opera has five types of tunes: Gaoqiang, Kunqiang, Huqin, Tanqiang, and Dengdiao. The most famous technique in Sichuan Opera is face changing, which is well known to people.

Sichuan Opera is a major feature of Sichuan culture

Chengdu is the hometown of drama. As early as the Tang Dynasty, there was a saying that "Sichuan Opera is the best in the world". During the Qianlong period of the Qing Dynasty, on the basis of the local car lantern opera, it absorbed and blended the local dialects of Jiangsu, Jiangxi, Anhui, Hubei, Shaanxi and Gansu to form a Sichuan dialect singing style including Gaoqiang, Huqin, Kunqiang, Lantern Opera and Danxi. "Sichuan Opera".

Among them, Sichuan Opera has rich high-pitched tunes, beautiful and moving singing, and the most local characteristics. It is the main singing form of Sichuan Opera. The accompaniment of Sichuan Opera includes leading, chorus, chorus, accompaniment, and duet singing, etc., which are meaningful and fascinating. The language of Sichuan Opera is lively, humorous, full of distinctive local colors, full of life flavor and has a broad mass base.

There are hundreds of repertoires commonly seen on the stage, including singing, acting, reading and playing, humorous witticisms, and instrumental music. The "Face Changing", "Fire Breathing" and "Water Sleeves" are unique. In addition, The freehand and stylized movements contain endless wonderful flavors... Sichuan Opera is loved by the world and spread across the world. The famous Sichuan Opera play "The Legend of White Snake: Jinshan Temple" is widely spread at home and abroad.

The performing art of Sichuan Opera has a profound foundation in life

Sichuan Opera is a set of perfect performance programs, the script has high literary value, the performance is real and delicate, humorous and interesting, and has a sense of life. Rich and crowd-pleasing. Some actors have also created many stunts, such as lifting, opening eyes, changing faces, walking through fire rings, hiding knives, etc. They are good at using stunts to create amazing characters.

This is one of the special techniques of Sichuan Opera performing arts. The audience is very interested in it. After watching it, they are all amazed. It is a romantic technique that reveals the inner thoughts and feelings of the characters in the play. Transform invisible and insensible abstract things into visible and sensible concrete things.

Liu Chengji said: "There are generally three methods of face-changing, which are 'face-wiping', 'face-blowing' and 'face-pulling'." In addition, there is also a "luck" face-changing technique. The "face-changing" stunt has now been used by other brother dramas, but there is currently a bad tendency to use it too broadly. Moreover, it has spread abroad.

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