The history of Fujian opera

1. Overview of the historical development of Fujian Opera

1. Brief description Fujian Opera, also known as Fuzhou Opera, is the only existing opera that is sung and recited in Fuzhou dialect. It is popular in central and Fujian Eastern and northern Fujian regions, and spread to Taiwan and Southeast Asia.

In the late Ming Dynasty, Yiyang tune was introduced to central Fujian and gradually merged with local dialect minors to form Jianghu tune. Later, the Jianghu troupe singing Jianghu tune and the Pingyang troupe, which mainly sang Jianghu tune harmony, appeared. At the end of the Qing Dynasty, the Ping Lecture Troupe merged with the Lao Lao Troupe, which sang Kun Opera, Hui opera and other foreign tunes, and the Fuzhou Rulin Troupe, which sang Confucian opera, and eventually formed Fujian Opera.

After the Revolution of 1911, Fujian opera entered a period of prosperity, with the emergence of many troupes and the "Four Famous Dancers" such as Zheng Yizou, Zeng Yuanfan, Xue Liangfan, and Ma Difan, known as "Fujian Opera Mei Lanfang". 2. History In the thirty-seventh year of Wanli in the Ming Dynasty (1609), Cao Xue, who had been engaged in politics for many years and held important positions such as Nanjing Household Doctor, Sichuan Political Envoy, Guangxi Political Envoy, Jiangxi Chief Envoy, and Zhejiang Envoy, refused to use the treasury of the royal family. He built a feudal residence privately and was dismissed from his post and sent back to his hometown.

When he was living in Hongtang Township in the western suburbs of Fuzhou, he organized the maidservants in the mansion to run the Cao family class, inviting Confucian scholars and scholars to watch and entertain. Later generations called it the "Confucianism class", which was the earliest Fujian opera predecessor. Cao Xue is proficient in rhythm and melodies, and has created a new tune suitable for Fuzhou dialect singing.

The literati at that time commented on this new tune as: "The tune is bent between flowers", "The green pipes are used to tune the phoenix", and "The new Yuefu warbler's throat warbles", which shows the beauty of the tune. Later, Fujian opera artists called it "douqiang".

After the Qing troops entered the pass, Cao Xue hanged himself and died for his country. The old scenes of singing, singing, and celebrities gathering in the Cao Mansion can no longer be seen. The Confucian Academy has been silent for a long time.

In particular, the high-stage performing arts and techniques of Jianghu opera, as well as front-stage singing, back-stage singing, gong and drum accompaniment, and high-pitched and exciting noisy scenes, are particularly suitable for the viewing habits of farmers and craftsmen in urban, rural, and rural areas. Therefore, It gradually took root among the people. Jianghu opera and Confucian opera, which was favored by local officials, became a sharp contrast between elegance and vulgarity.

Since Bai Jun, a Jianghu opera singer, speaks native Mandarin, it was restricted in spreading in Fuzhou dialect areas and therefore could not develop. Therefore, a kind of "Pingshuo opera" sung purely in Fuzhou dialect came into being. . The rise of Pingdao opera promoted the revival of Confucian opera.

The elders of Hongtang Township, the original birthplace of Confucian opera, recalled the grand performance of the Shicangyuan Confucian troupe in the Japanese countryside in the past, so they took advantage of the opportunity to perform in Pudu Rewarding Gods and interacted with drama lovers in the countryside. The Zhenren Temple near the old site of Shicangyuan selected farmers' children and inherited the Cao family's tradition. During the Xianfeng period of the Qing Dynasty (1851-1861), the first "Hongtang Scholars Class" named after the township was established. It has been silent for two hundred years. The Confucian drama of the past few years has been revived. The troupe initially performed specifically for Pudu. The first performance of the show "Water Overflowing Jinshan" was set up on the stage at Jinshan Temple on the bank of the Min River, which naturally combined the plot content with the performance environment, creating an artistic effect of blending scenes. The result was an instant hit, and neighboring villages began to The invitation made the early Cao family's family classes move from deep residences to the private sector. This was a great breakthrough for Confucian opera.

The plays performed during the "Hongtang Scholars Opera" period include "The Number One Scholar Worships the Pagoda", "Women's Skeleton", "Farewell in Changting", "The Story of Willow Shade", "Yu Tang Chun", etc., all of which have become Later, the repertoire of Fujian opera.

One advantage of Confucian opera is that it attracts the attention of a large number of literati.

So when Confucian opera revived, the retired celebrity Guo Baiyin and others compiled the Confucian opera "Purple Jade Hairpin" based on "The Biography of Huo Xiaoyu" in "Tangren Shuohui". Since then, Confucian opera, as an independent vocal drama, has entered a period of development and maturity.

During the Tongzhi period (1862-1874), "Chencuo Scholars Class", "Tangbian Scholars Class", "Zhuhu Scholars Class", and "Pandunru Class" appeared in the suburbs of Fuzhou. There are more than ten amateur scholars classes, including the "Lin Class" and the "Yixu Scholars Class", all of which take the name of their hometown as their class names. In the first year of Guangxu (1875), Confucian troupes began to develop from rural areas to towns, and professional theater troupes emerged.

The "Zui Chunyuan" class planned and organized by Lu Shisun took the lead in taking the banner of reform, adopted subsidies, openly recruited students from the public, and invited teachers to learn and teach "douqiang" opera. At that time, people from all over the city and countryside came to hire the troupe to perform in order to thank God and fulfill their wishes, to ward off disasters and pray for blessings, and to perform during seasonal festivals.

At this time, the number of Confucian opera actors has also grown from the original seven (commonly known as the "Seven Sons Troupe") to 20. In addition to the past "Purple Jade Hairpin", "Pagoda Worship" and other repertoire, , and also added "Selling Paintings", "Delivering Cambodians", "Peach Blossom Village", etc. After Lu Shisun died of illness, the "Zui Chun Yuan" Confucian Academy class ceased performing.

Gao Xifu, the original screenwriter and director of the class, decided to regroup and start a new venture. On the one hand, he recruited some of the artists who had disbanded, and on the other hand, he personally selected the main actors, such as Huadan Sheng Yuhuan, niche Cui Chuanling, clown Wu Youliang, etc., and added many supporting actors to form a new class, named "Drive the Clouds" .

The class premiered at the Gulou Town God's Temple in Fuzhou, starring Sheng Yuhuan in the opening play "The Mace", which was a success. The reputation of "Driving the Clouds" grew rapidly, and there was a steady stream of theater reservations, which aroused the admiration of peers. As a result, three more Confucian classes appeared in Fuzhou: "Da Yunxiao", "Saiyue Palace" and "Qingxianyuan".

In less than three years, "Fenglinqi", "Pu Yunxiao", "Fang Taoyuan", "Qingyuntian", "Leqiongtian", "Fang Nishang", Classes such as "Zheng Tianran" and the previous four classes were collectively called the "Thirteen Scholars Class", which brought Confucian Opera to its heyday in history. During this period, Confucian opera spread from Fuzhou to Changle, Fuqing, Yongtai, Gutian, Minqing and other counties. In addition to the "Thirteen Confucian Classes" in Fuzhou city, "Bu Yunxiao" and "Haiyan Pavilion" were added. , "Song Stage", "Dachuntai", "New Nature". 2. The origin of Fujian Opera

Fujian Opera, also known as Fuzhou Opera, is the only existing opera that is sung and recited in Fuzhou dialect. It is popular in central, eastern and northern Fujian regions, and has spread to Taiwan and Southeast Asia. everywhere. At the end of the Ming Dynasty, Yiyang tune was introduced to central Fujian and gradually merged with local dialect minors to form Jianghu tune. Later, the Jianghu troupe that sang Jianghu tune and the Pingyang troupe that sang Jianghu tune as the main singing tune appeared. At the end of the Qing Dynasty, the Ping Lecture Troupe merged with the Lao Lao Troupe, which sang Kun Opera, Hui opera and other foreign tunes, and the Fuzhou Rulin Troupe, which sang Confucian opera, and eventually formed Fujian Opera. After the Revolution of 1911, Fujian opera entered a prosperous period, with the emergence of many troupes and the "four famous actors" such as Zheng Yizou, Zeng Yuanfan, Xue Liangfan and Ma Difan, who were known as "Fujian Opera Mei Lanfang".

Fujian Opera, a type of opera. Also known as Fuzhou Opera. It is popular in counties in central, eastern and northern Fujian. At the end of the Ming Dynasty and the beginning of the Qing Dynasty, in the Changle and Fuqing areas of central Fujian, a folk opera sung by amateur farmers' groups was popular. Because it was performed on the ground around a grass rope, it was called "underground flat" and "grass rope pulling". ". This kind of performance was later combined with foreign opera troupe artists, and the "Jianghu tune" formed by Jiangxi Yiyang tune and local folk songs was used as the main singing tune, and it was known as "Jianghu Troupe". The repertoire performed at that time included 36 major plays and 72 small plays, most of which came from Yi and Kun operas. In the Fu'an and Ningde areas of northeastern Fujian, there was also a "Ping Talk Class" ("Ping Talk", which means singing in dialect) with "Jiang Hu" and Yang Ge as the main singing tunes. Most of the repertoires performed are transplanted from "Jianghu Opera", or based on folk stories, such as "Double Golden Flowers", "Giving a White Fan", "The Story of the Red Dress", etc.

Later, the "Jianghu Class", which originally sang in "Zhengyin" (Mandarin), also switched to singing in Pingjiao (dialect), gradually merged with the "Pingjiao Class", and at the same time absorbed the "Law Class" (referring to the local people's belief that Some of the singing tunes of foreign opera troupes such as Kunqu Opera and Huizhou Opera, which are difficult to understand, have formed a troupe club that is mainly based on "Pingdao" and is integrated with "Jianghu" and "Liaolao". There is also a popular "Confucian Opera" in Fuzhou, which originated during the Wanli period of the Ming Dynasty. During the reign of Emperor Guangxu of the Qing Dynasty, there were 13 "Confucian classes", which became very popular. Most of the plays were written by literati, such as "The Purple Jade Hairpin" and "The Sacrifice of the Martyrs". After the Revolution of 1911, the "Rulin Class" gradually merged with the "Ping Lecture Class" and "Lao Lao Class" to form the "Fujian Class", which is today's Fujian Opera. 3. Can you introduce the history of the development of Fujian opera?

When he was living in Hongtang Township in the western suburbs of Fuzhou, he organized the maidservants in the mansion to run the Cao family class, inviting Confucian scholars and scholars to watch and entertain. Later generations called it the "Confucianism class", which was the earliest Fujian opera predecessor. Cao Xuequan is proficient in melody and melodies, and has created a new tune suitable for Fuzhou dialect singing.

The literati at that time commented on this new tune as: "The song is bent between flowers", "The green pipes are tuned to the phoenix", and "The new Yuefu warbler's throat warbles", which shows the beauty of the tune. Later, Fujian opera artists called it "douqiang".

After the Qing troops entered the pass, Cao Xuequan hanged himself and died for his country. The old scenes of singing, singing, and celebrities gathering in the Cao Mansion can no longer be seen. The Confucian Academy has been silent for a long time.

In particular, the high-stage performing arts and techniques of Jianghu opera, as well as front-stage singing, back-stage singing, gong and drum accompaniment, and high-pitched and exciting noisy scenes, are particularly suitable for the viewing habits of farmers and craftsmen in urban, rural, and rural areas. Therefore, It gradually took root among the people. Jianghu opera and Confucian opera, which was favored by scholar-bureaucrats, became a sharp contrast between elegance and vulgarity.

Since Bai Jun, a Jianghu opera singer, speaks native Mandarin, it was restricted in its spread in the Fuzhou dialect area and therefore could not develop. Therefore, a kind of "Pingshuo opera" purely sung in the Fuzhou dialect of Fujian opera came into being. born. The rise of Pingdao opera promoted the revival of Confucian opera.

The elders of Hongtang Township, the original birthplace of Confucian opera, recalled the grand performance of the Shicangyuan Confucian troupe in the Japanese countryside in the past, so they took advantage of the opportunity to perform in Pudu Rewarding Gods and interacted with drama lovers in the countryside. The Zhenren Temple near the old site of Shicangyuan selected farmers' children and inherited the Cao family tradition. During the Xianfeng period of the Qing Dynasty (1851-1861), the first "Hongtang Scholars Class" named after the township was established. It has been silent for two hundred years. The Confucian drama of the past few years has been revived. The troupe initially performed specifically for Pudu. The first performance of the show "Water Overflowing Jinshan" was set up on the stage at Jinshan Temple on the bank of the Min River, which naturally combined the plot content with the performance environment, creating an artistic effect of blending scenes. The result was an instant hit, and neighboring villages began to The invitation made the early Cao family's family classes move from deep residences to the private sector. This was a great breakthrough for Confucian opera.

During the Tongzhi period (1862-1874), "Chencuo Scholars Class", "Tangbian Scholars Class", "Zhuhu Scholars Class", and "Pandunru Class" appeared in the suburbs of Fuzhou. There are more than ten amateur scholars classes, including "Lin Class" and "Yixu Scholars Class", all of which take the name of their hometown as their class names. In the first year of Guangxu (1875), Confucian troupes began to develop from rural to urban areas, and professional theater troupes emerged.

The "Zui Chunyuan" class planned and organized by Lu Shisun took the lead in taking the banner of reform, adopted subsidies, openly recruited students from the public, and invited teachers to learn and teach "douqiang" opera. For a time, people from all over the city and countryside came to hire the troupe to perform in order to thank God and fulfill their wishes, to ward off disasters and pray for blessings, and to perform during seasonal festivals.

At this time, the number of Confucian opera actors has also grown from the original seven (commonly known as the "Seven Sons Troupe") to 20. In addition to the past "Purple Jade Hairpin", "Pagoda Worship" and other repertoire, , and also added "Selling Paintings", "Delivery of Cambodia", Fujian Opera "Peach Blossom Village", etc. After Lu Shisun died of illness, the "Zui Chun Yuan" Confucian Academy class ceased performing.

In less than three years, "Fenglinqi", "Puyunxiao", "Fang Taoyuan", "Qingyuntian", "Leqiongtian", "Fang Nishang", Classes such as "Zheng Tianran" and the previous four classes were collectively called the "Thirteen Scholars Classes", which brought Confucian Opera to its heyday in history. During this period, Confucian opera spread from Fuzhou to Changle, Fuqing, Yongtai, Gutian, Minqing and other counties. In addition to the "Thirteen Confucian Classes" in Fuzhou City, "Bu Yunxiao" and "Haiyan Pavilion" were added. , "Singing Stage", "Dachuntai", "New Natural" and other classes.

In the Fuzhou dialect area, Confucian opera has become the most popular opera genre, making its "douqiang" the main music of later Fujian opera. From the end of Guangxu to the reign of Xuantong (1908-1911), Confucian opera, Jianghu opera and Pingdao opera were combined and integrated, commonly known as "Sanhexiang", which began to form the prototype of today's Fujian opera.

In the 1920s, Fujian opera entered a mature period of multi-voice operas. The "Zheng School of Art" represented by Zheng Yizuo was the first peak of Fujian opera art. In just a few years, Zheng Yizou has successfully created the new camellia in "New Camellia", Zhang Taozhu in "Orphan Blood", Sister Lin Ying in "Butterflies, Incense and Chai Fan", and "Daiyu Buried Flowers". Lin Daiyu, "Purple." 4. The origin, characteristics and formation of Fujian Opera in Fuzhou City

The origin of Fujian Opera in Fuzhou City is composed of Confucian Opera in the late Ming Dynasty and Pingdao Opera and Jianghu Opera in the early Qing Dynasty. In the late Qing Dynasty (from Guangxu to Xuantong years) The fusion of multi-voice operas is commonly known as "Qian Sanhe Xiang", and is also known as "Rong Tune" or "Fujian Tune".

The singing tunes of Fujian opera include four categories: Dou tune, Yangge, Jianghu, and minor tunes that originally belonged to "Rulin" and "Pingdao", as well as some singing tunes and tunes absorbed from "Lao Lao" . There are 15 kinds of flat tunes in Douqiang. The characteristic is that there are many empty tunes of "Hey?" at the turning point and the end of the music. Among them, the "wide tune" and "rapid tune" are supported by the original backstage vocals (called " "tuotuo sound"), and later some changed to dragging the tune on their own (called "zituotuo sound"), or used a small suona to play the supporting part of the tune as a bridge, and there are also tunes such as "drip water" and "pang water" to absorb the blowing tune , Bangzi tune evolved. 5. Fujian Opera History Common Sense Classic Repertoire Drama Nature

Fujian Opera, commonly known as Fuzhou Opera, is one of the main opera types in Fujian Province.

Historical evolution:

In the thirty-seventh year of Wanli in the Ming Dynasty (1609), he worked in politics abroad for many years, and served successively as a doctor in the Ministry of Household Affairs in Nanjing, a political officer in Sichuan, a political minister in Guangxi, an envoy to Jiangxi, and an inspector in Zhejiang. Cao Xuequan, who held an important position as an envoy, was dismissed from his post and sent back to his hometown because he refused to use the treasury of the royal family to build a vassal residence privately. When he was living in Hongtang Township in the western suburbs of Fuzhou, he organized the maidservants in the mansion to run the Cao family class, inviting Confucian scholars and scholars to watch and entertain. Later generations called it the "Confucianism class", which was the earliest predecessor of Fujian opera.

Cao Xuequan is proficient in rhythm and melodies, and has created a new tune suitable for Fuzhou dialect singing. At that time, literati commented on this new tune as: "The tune is played between flowers", "The green pipes are tuned to the phoenix", and "The new Yuefu warbler's throat warble", which shows the beauty of the tune. Later, Fujian opera artists called it "douqiang".

At the same time, Jiangxi's Yiyang tune was also widely spread among the people in Fujian. Because the troupe traveled to villages and villages for many years to perform mobile performances, it was called "Jianghu Opera" and the lyrics were all sung in "local Mandarin". The music tunes are collectively called "Jianghu tunes". It "does not use palace tunes" and is good at "misusing local dialects". It has a large number of repertoires based on historical stories and family marriages. The traditional repertoire it often performs is commonly known as "Jianghu Thirty-Six Bentou", also known as "Seven Doubles and Eights". "Twenty-one Miscellaneous Gifts", mainly including "Double Nail Punishment", "Double Marquis", "Double Rescue", "Double Number One Scholar", "Gift of Pagoda", "Gift of Baochai", "Gift of White Fan", "Gold "Yin Hui", "Sunflower Planting", "Liao Ke Mountain", "Wollongong", "Sanguantang", "Yuanyang Pa", etc. In particular, the high-stage performing arts and techniques of Jianghu Opera, as well as front-stage singing, back-stage singing, gong and drum accompaniment, and high-pitched and exciting noisy scenes, are particularly suitable for the viewing habits of the majority of farmers and craftsmen in urban, rural, and rural areas, so it has gradually taken root among the people. . Jianghu opera and Confucian opera, which was favored by local officials, became a sharp contrast between elegance and vulgarity. 6. Fujian Opera History Common Sense Classic Repertoire Drama Nature

Fujian Opera, commonly known as Fuzhou Opera, is one of the main opera types in Fujian Province.

In the process of its development, it integrated the local operas of the province such as the Rulin Troupe, the Ping Lecture Troupe, and the Jianghu Troupe, and absorbed the performing arts of Yiyang Tune, Hui Tune and Peking Opera, and became a relatively complete opera in the early twentieth century. This type of opera was designated as Fujian Opera after liberation. Historical evolution: In the thirty-seventh year of Wanli in the Ming Dynasty (1609), Cao Xuequan, who had been engaged in foreign affairs for many years and held important positions such as Nanjing Household Doctor, Sichuan Political Envoy, Guangxi Political Envoy, Jiangxi Chief Envoy, and Zhejiang Envoy, refused to use the treasury for private purposes. After building a vassal residence, he was cut off from his post and sent back to his hometown.

When he was living in Hongtang Township in the western suburbs of Fuzhou, he organized the maidservants in the house to run the Cao family class, inviting Confucian scholars and scholars to watch and entertain. Later generations called it the "Confucianism class", which was the earliest Fujian opera predecessor. Cao Xuequan is proficient in melody and melodies, and has created a new tune suitable for Fuzhou dialect singing.

The literati at that time commented on this new tune as: "The tune is bent between flowers", "The green pipes are tuned to the phoenix", and "The new Yuefu warbler's throat warbles", which shows the beauty of the tune. Later, Fujian opera artists called it "douqiang".

It "does not use palace tunes" and is good at "misusing local dialects". It has a large number of repertoires based on historical stories and family marriages. The traditional repertoire it often performs is commonly known as "Jianghu Thirty-Six Bentou", also known as "Seven Doubles and Eights". "Twenty-One Miscellaneous Gifts", mainly including "Double Nail Punishment", "Double Marquis", "Double Rescue", "Double Number One Scholar", "Gift of Pagoda", "Gift of Baochai", "Gift of White Fan", "Gold "Yin Hui", "Sunflower Planting", "Liao Ke Mountain", "Wollongong", "Sanguantang", "Yuanyang Pa", etc.

The music singing style of Fujian opera is composed of four major categories: foreign songs, Jianghu tunes, funny tunes and minor tunes: the rough and exciting "Jianghu tunes", the popular and smooth "foreign songs". "Song", the elegant and graceful "Diaoqian", and the fresh and lively "minor tune". The first three types are all influenced by Yiyang tune, Kunqu opera and Hui tune to varying degrees, and retain the high-pitched tune form. The backstage tune is called "Tailing" ". There are also some singing styles and tunes absorbed from "Law Lao". Both men and women use their own voices when singing, which is characterized by high and exciting, simple and rough, but also delicate and soft singing.

"Douqiang" has 15 kinds of ban tunes, which are characterized by the empty tunes of "Hey" and "Yi" at the turning point and at the end of the song. The main tunes are [Zi Da Ling], [Kuan] board], [presto board], etc.

Minor tunes are folk songs introduced locally and from other places. They are very rich, including "West Lake Pavilion", "Pipa Resentment", "New Camellia", etc. In addition, some are absorbed from Anhui Opera and Peking Opera, such as "Big Bu Urn", "Seven and a Half Sentences", etc.

After the Revolution of 1911, many Peking opera artists moved to Fujian troupes to teach opera, so the music of Fujian opera also absorbed Pihuang tune.

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