1. What is it like to experience Peking Opera since primary school?
Peking Opera has a history of more than 200 years since its formation. The accumulation of history has made it a collection of all aspects of Chinese opera art. Characteristics, it is listed as one of China's three "national quintessences" along with traditional Chinese medicine and traditional Chinese painting. Peking Opera, which is integrated with culture and art, embodies my country's excellent cultural traditions and China's long history and culture. In order to spread and promote this elegant art in China, we should start from childhood.
In a sense, Peking Opera and music are similar. The development of Peking Opera is inevitably inseparable from the development of music. For example, Peking Opera also has traditional repertoires in the past and has evolved into today’s modern dramas. Peking Opera, as the “quintessence of the Chinese nation,” "It has profound historical culture and has a strong guiding significance. Peking Opera has a long history. Over the years, as people's pace of life has accelerated, some traditional culture has gradually been ignored by people and has not been taken seriously in the entire society. Whether it is culture or education, many Westerners emphasize learning. , but few people pay attention to carrying forward tradition. If you want to better carry forward and develop Chinese traditional culture, you must start with education. In order to avoid rigid and rigid teaching methods, and taking into account the artistic characteristics of Peking Opera and music, special teaching in music classroom Incorporate elements of Peking Opera into it, starting from children and primary school students. Let the art of Peking Opera enter campuses and textbooks. It is to let more people understand and like Peking Opera, so that there will be a fertile land for the survival and development of Peking Opera as an art.
2. How to make handwritten Peking Opera newspapers for primary school students
Opera is a traditional art of the Chinese nation. It is composed of literature, music, dance, art, martial arts, acrobatics and performing arts. It has a long history of origin. In the long process of development, it has been continuously enriched, innovated and developed after more than 800 years. It pays attention to singing, acting, chanting and playing, is rich in dance, and is highly technical. Its composition is different from other dramas. And become a complete opera art system.
According to incomplete statistics, there are about 360 kinds of operas in various ethnic regions in my country, and there are tens of thousands of traditional plays. After the founding of the People's Republic of China, many adapted traditional plays appeared. New historical plays and modern plays showing modern life themes were warmly welcomed by the audience. The more popular and famous opera types include: Peking Opera, Kun Opera, Yue Opera, Henan Opera, Hunan Opera, Cantonese Opera, Qin Opera, Sichuan Opera, Ping Opera, Jin Opera, Han Opera, Teochew Opera, Fujian Opera, Hebei Bangzi, Huangmei Opera, Hunan Flower Drum Opera...and more than fifty types of operas. In particular, Peking Opera is the most popular, spreading all over the country and not restricted by region. However, in recent years, the development of drama art in China has been declining and has been impacted by new art. In particular, a large number of Hong Kong and Taiwan songs have poured into the mainland. Students are chasing stars and flocking to them, but they know very little about the artistic treasures of our Chinese nation.
Because "drama" and "qu" are the main factors in ancient Chinese drama, it is called "opera". Chinese opera mainly includes Southern Opera of the Song and Yuan Dynasties, Zaju of the Yuan and Ming Dynasties, legends and legends of the Ming and Qing Dynasties, as well as traditional repertoires of Beijing Opera and other local operas in modern times. It is a general name for Chinese national drama culture.
○Modern drama mainly refers to drama, opera, dance drama, etc. introduced from the West since the 20th century. Drama is the main body, and foreign drama generally refers specifically to drama.
Chinese opera has a long history. It first emerged from songs and dances that imitated labor.
(1) Pre-Qin - the budding period of opera. The "Ode" in "The Book of Songs" and the "Nine Songs" in "Chu Ci" are the lyrics of songs and dances during sacrifices to gods. From the Spring and Autumn Period and the Warring States Period to the Han Dynasty, songs and dances that entertained people gradually evolved from songs and dances that entertained gods. From the Han and Wei dynasties to the mid-Tang Dynasty, there appeared successively the "Jiaodian" (i.e. Baixi), which was mainly about competition, the "Joining the Army Opera" performed in the form of question and answer, and the song and dance "Tawo Niang" which played short life stories, etc. It's all drama in its infancy.
(2) Tang Dynasty (middle and late period) - the formative period of opera. After the mid-Tang Dynasty, our country's drama developed rapidly and drama art gradually took shape.
(3) Song and Jin Dynasties - the development period of opera. The "Zaju" of the Song Dynasty, the "Yuanben" of the Jin Dynasty and the "Zhugong Diao" in the form of speaking and singing, from music, structure to content, all laid the foundation for the Zaju of the Yuan Dynasty.
(4) Yuan Dynasty - the mature period of opera. By the Yuan Dynasty, "Zaju" had greatly developed on the original basis and became a new type of drama. It possesses the basic characteristics of drama and marks that our country's drama has entered a mature stage.
Yuan Zaju inherited and developed the various literary and artistic achievements of previous generations on the fertile soil of folk opera. Comprehensive stage art that is improved and created through hard work. Metamorphologically, Yuan dramas use the four major sets of Northern Opera to arrange the story plot, and use wedges to combine the incoherent parts, forming a common format of four folds and one wedge (Wang Shifu's "The Romance of the West Chamber" is a unique long novel in Yuan dramas. , *** wrote five books (21 folds), each fold uses several tunes from the same palace tune to form a suite, adding "wedges" when necessary. At the end, use two, four or eight lines of poetry to summarize the content of the play, which is called "title rectification". Each fold includes three parts: Quci, Shuobai (Binbai) and Ke (Kefan). The lyrics are the text filled in according to the teacher's needs. It is also called the text, lyrics or lyrics. Its function is to narrate the storyline and portray the character. All the lyrics rhyme with the same rhyme. Narration is an artistic method that uses speech to express the plot or explain the relationship between characters. It is divided into dialogue (dialogue between characters), monologue (characters expressing personal feelings and wishes alone) and narration (characters carrying other characters on the stage behind their backs). words spoken to the audience), Baibai (spoken words inserted into the lyrics of the song), etc. Section refers to actions, expressions, etc. A play is usually sung by one person, Zheng Mo or Zheng Dan, and the other roles are sung in vain. The lead singer in Zhengmo is called "Moben", and the lead singer in Zhengdan is called "Danben".
3. Peking Opera Knowledge Outline
DOC Peking Opera Art Appreciation Course Teaching Outline
File format: DOC/Microsoft Word - HTML version
"Peking Opera Art Appreciation" course teaching outline 1, basic information: Course name: "Peking Opera Art Appreciation"; Course code:; Course credits: 2 credits; Total credit hours:. 1. Open-book written answers on the basic knowledge of Peking Opera, accounting for 50.
jwc.ctgu.edu/newshtml/jssw/05q/06cjxtg. 22K 2006-11-21
4. What are the benefits and advantages for children to learn Peking Opera
Xiyi Primary School in Haidian District, Beijing has opened a 5-year Peking Opera course, from grade 1 to grade 6 In every grade, Peking Opera class is held once a week. In addition to teachers from the school, professional actors from the Beijing Opera Troupe also come to give lectures to the students every week. The school also selected top students in Peking Opera performances to establish the Haidian Youth Peking Opera Troupe. The students have won 7 Little Plum Blossom Awards in the National Children's Opera Competition. Teachers welcomed the Ministry of Education's inclusion of Peking Opera in the music curriculum of the nine-year compulsory education.
"The Ministry of Education obviously has a certain basis for doing this. It is also to cultivate children's interests and better inherit China's excellent traditional culture." Liu Weidong, professor of the Youth Department of China Youth University of Political Science, believes that Peking Opera Among the audience, young people account for a smaller proportion. Now making it within the scope of the curriculum has a positive effect.
Liu Weidong said that in order to revitalize Peking Opera, in addition to the continuous innovation of Peking Opera’s form in line with the changing aesthetic tastes of the times, another important way is to cultivate young audiences and let the new generation understand Peking Opera, Interested in Peking Opera.
Wu Jiang, director of the National Peking Opera Theatre, also believes that the singing style of Peking Opera is China’s bel canto singing method, and it is also a unique scientific vocal method in the world. It is very beneficial to learn it from an early age. The 15 arias selected this time were selected based on extensive consultation with primary and secondary school teachers and experts, and represent the main characteristics of Peking Opera art.
Zhao Jingbo, a professor at the China Academy of Opera, said that Peking Opera, as the quintessence of the Chinese nation, has a glorious history, but today’s young people don’t know much about it.
Starting from primary school students, cultivating interest in Peking Opera and popularizing knowledge of Peking Opera will play a positive role in the promotion and inheritance of Peking Opera culture. Many countries now incorporate culture with national characteristics into basic education. Such experiments should be advocated and supported.
Many art experts also suggest increasing knowledge of Peking Opera, such as facial makeup, musical instruments, gongs and drums, trades, etc.; appreciation of famous Peking Opera genres. Not everyone may be able to sing it, but our descendants should know what is The four famous Dan, the four Xusheng, what is Nan Qi and Bei Ma, etc. I hope that the pilot program for Peking Opera to be introduced into primary and secondary school classrooms will be successful.
5. Can anyone enlighten me on the common sense of Peking Opera?
1.
Caidan is commonly known as the ugly woman. She sings and recites in her own voice, but she is actually a clown for the job. To put it simply, Caidan emphasizes Bai, and basically Jingbai. It focuses on workmanship, and the performance and makeup are very exaggerated. It is a comedic role that mainly focuses on funny and witty performances.
Not all such characters are bad people, some are used to satirize stupid and smart people, such as the eldest sister Cheng Xueyan in "The Phoenix Returns to the Nest", Dong Shi in "Xi Shi", etc. There are also women who represent cheerful, rough and unrestrained personalities, such as Hua Po in "Dragon Balls", Wan Shi in "Four Jinshi", Chen Xiuying's mother in "Iron Gong Yuan", etc. Some of them portray humorous characters. , humorous artistic images, such as Matchmaker Liu in "Picking Up a Jade Bracelet".
2. Wusheng is naturally a character with martial arts in his life.
In terms of appearance, it is different from Xiaosheng in that most of Xiaosheng have no beards, but some Wusheng have beards and beards, and some do not wear beards. The classification of Wusheng is relatively simple, mainly divided into two types: long and short.
Those who have long relied on martial arts are usually tied up, wearing thick-soled boots, and using long weapons, and most of them represent immediate combat. Like Zhao Yun in "Changbanpo", Gao Chong in "Tiaohua Che", Guan Ping in "Qingshi Mountain"; there are also people with beards, like Zhang Xiu in "War at Wancheng", Tuotuo in "War at Chuzhou", Shi Wengong and others from "An Arrow of Vengeance".
A short-fight martial artist is usually a character who does not tie up, wears pleats on the outside and an arrow jacket on the inside, uses short weapons, and engages in hand-to-hand combat, such as Wu Song, Huang Tianba, and the characters in "Sanchakou" Ren Tanghui, He Tianbao of "Xi Fu Shan", etc. However, the difference between long and short strokes cannot only be about clothing form, nor can it be made absolute.
Like Shi Wengong in "Water Margin Opera" and "One Arrow", his identity is a teacher in Zengtou City. He cannot wear a helmet like an army general, so he does not wear a brace, but wears a A kind of hat is called "tie scarf" in the jargon, and he wears an arrow jacket, but his and Lu Junyi's shooting style is still long-term. It is not until the performance of stealing the camp and water capture later that it is considered bunt play.
Another characteristic of Wu Sheng is that he also has to perform some funny scenes. In opera terminology, the makeup method of applying oil paint on the character's face according to a certain pattern is called face hooking or face rubbing.
Common roles played by Wu Sheng include: Jiang Wei in "Iron Cage Mountain", Leopard in "Leopard", Gao Deng in "Yangyang Tower", etc. Monkey Play In addition to the face-catching play, Wu Sheng also performs a "monkey play", which is the Monkey King in the story "Journey to the West".
Sun Wukong also has a funny face. Generally speaking, the performance of Shengxing should be solemn, but the monkey opera must be carefree. This is a tradition inherited by Peking Opera from the Kun Opera troupe. Almost all Wusheng masters in the past dynasties did not perform monkey operas.
3. Danxing is a rising star in Peking Opera. In this century, due to the rise of a large number of Danxing artists, a large number of excellent plays have been created. The performing arts of this profession have developed rapidly, making it leap forward, surpassing Laosheng and becoming Peking Opera. The most important profession.
There are many categories of Dan roles, which can be roughly divided into Qingyi, Hua Dan, such as Zou, Wu Dan, and Lao Dan in "War at Wancheng". Qing Yi, also called Zheng Dan, plays positive characters with dignified and quiet personalities.
The word "Qingyi" also comes from the clothing of the characters. In many plays, such as Wang Chun'e in "Sanniang Godson", Wang Baochuan in "Wujiapo", Liu Yingchun in "Fenhewan", etc. They all wear a simple blue pleat, so everyone calls Zhengdan Qingyi. Of course, this is not absolute. For example, Li Yanfei in "Second Entry into the Palace" wore a dragon (skin scarf), and Wang Baochuan in "Three Fives" also wore the so-called Feng Guanxia (skin scarf) when she first appeared on the stage, until she broke up with her father. After that, I took off my precious clothes and put on my pleats.
The main symbols that distinguish Tsing Yi are character and artistic features. The characteristic of Tsing Yi has always been singing, which is a bit like An Gong Laosheng.
Qing Yi’s singing mainly uses falsetto, which is similar to the niche introduced earlier. The singing style should not only be clear and crisp, but also have a masculine tone and not be too feminine.
Its recitation must also be in rhyme. It must be recited in rhyme and not in Jingbai, in order to show dignity. Among the dan roles, the more complicated one is Hua Dan.
There are many categories of Hua Dan, and the roles they play are also very complex. Most of them are charming, lively and cute, and some are strong and strong.
Wearing various kinds of clothes, some also read Yunbai, but most of them read Jingbai. In the past, Hua Dan had a distinctive feature in her performances, that is, she usually had to "walk on stilts."
The so-called "Qiao" is a kind of prosthetic foot made of wood, which is used to imitate the "three-inch golden lotus" of ancient women. And strapping on this kind of prosthetic foot to walk on stage, improve your figure, or even start a performance is a stunt that requires hard training. The jargon is called "rocking work".
After 1949, the opera industry implemented the "abolition of stilts". It’s hard to see such performances on today’s stage, and the skill of “rocker work” is also on the verge of extinction.
In Huadanxing, those who play the role of Sister Li Feng in "You Dragon Plays with the Phoenix", Sun Yujiao in "The Jade Bracelet", and other innocent little girls are called "Gui Men Dan" in jargon. Guimendan's performances are more dance-oriented, with graceful and lively figures and full of danceability.
The characteristic of the singing style is that all the singing tunes used are Xipi tune or Nanbangzi, and no Erhuang tune is used. There is another type of role in Hua Dan that is relatively rare on the stage now, and that is the "Joke Dan".
In the past, Joke Dan was the protagonist in some "joke plays", such as Shen in "Zhang Gugu Borrows His Wife", Zhou Lamei in "The Noodle Vat", Hua Po in "The Flower Drum", The boat girl in "Boat on the Lake", the city in-laws in "Visiting Relatives", etc., but this kind of "joke play" is rarely seen on the stage today. I remember that an expert wrote an article more than thirty years ago, titled "Today's People Don't Understand "Joke Play"".
Another characteristic of Jiaodan's art is that it does not necessarily sing Xipi or Erhuang, but some miscellaneous tunes, such as "Zhang Gugu Borrows His Wife" with blowing tunes, and "Zhang Noodles Jar" with blowing tunes. The song is Nan Gong, "Flower Drum" sings Fengyang song, flower tune, etc. The spicy dan among Huadan are all generous and informal characters who beat and scold whenever they want.
The most typical one is Ma Jinding, Bajiu’s grandma in "Assassin Bajie Ba Luohe". This character has a side close to Wudan, but he can never be played as a pure Wudan.
When they started fighting, they often used big poles, and in the past they did not use stilts, unlike Hua Dan and Wu Dan at that time.
6. A brief discussion on how to teach Peking Opera appreciation in middle and primary schools
Micro-class and flipped classroom are teaching methods that have emerged in recent years. Micro-class learning in flipped classroom makes The student learning process is restructured, and the decision-making power of learning is transferred from teachers to students.
Under this teaching model, students complete knowledge construction, problem solving, expansion and extension through micro-classes, returning valuable time in the classroom to students. Students can focus more on active experiential learning, internalize and absorb knowledge, and gain a deeper understanding.
I try to combine the teaching model of flipped classroom with music appreciation teaching in senior primary schools, and apply micro-lecture innovation to music classroom teaching to achieve a change in teaching methods and realize a student-centered music classroom. , thereby fully mobilizing students' learning initiative, allowing students to actively participate in experiencing music, and improving the effectiveness of teaching. In music appreciation teaching, micro-lectures capture students' attention with rich pictures and vivid demonstrations, enhance the vitality and vitality of the classroom, enhance the appeal of music, and enable students to continuously generate excitement in the learning process. and interest, shorten the perception time, better guide students to the predetermined learning goals, and improve the effectiveness of music appreciation teaching.
7. Peking Opera facial makeup knowledge
In opera, Fang La with yellow face and Pang Ji with white face are not bad people in history.
They both have monkey faces, but the shapes of the masks are also different. For example, during the period of the Monkey King Monkey King Sun Monkey King, Monkey King Sun Xinghe who was seeking Buddhist scriptures in the West, and Sun Wukong who was named the 'Fighting and Victorious Buddha', some of the masks showed the spirit of resistance, tenacity and justice, and some showed that he was a Buddhist who had won the The image of the Monkey King with "Zhengguo".
(And even for the same character, different artists have different facial makeup styles) Another example is the images of monkey handsome and monkey general on Huaguo Mountain. The old monkey, Brachibrachia, is mature, open-minded, and far-sighted. The image of the ink monkey is mainly in dark colors such as black.
The white ape in the Eight Immortals Fighting the White Ape looks smart and interesting, mainly in bright white colors (in order to set off the plot, there is a fairy peach pattern on the forehead). The fake Wukong six-eared macaque looks more cunning. move. The face of the monkey in the heavenly constellations, the Fire Monkey (which is Fang Gui in the list of gods.
Sun Wukong fought with him in the Heavenly Palace) is astute and vivid (the Monkey King, the Fire Monkey, etc. in the Kunqiang Opera) The facial makeup is not exactly the same as that of Peking Opera), and Luohu (the eclipse star) among the nine obsidian stars has an official look and pretends to be majestic.
8. Introduction to Peking Opera
Peking Opera Props Peking Opera props usually have a very freehand symbolic meaning. They do not focus on real scenes like dramas, but leave a lot of room for the audience's imagination.
Tables and chairs: Tables and chairs are probably the most commonly used props in Peking opera. Usually it represents the tables and chairs in the house, but the same chair can be used in a play, with the front representing an ordinary seat and the back representing a dragon bed.
In addition to being used as tables and chairs, tables and chairs can also be used as doors. Once the chairs are placed and two people stand in front of and behind them, the feeling of being inside and outside the door is created. Tables and chairs often represent mountains, slopes, general platforms, etc. They are higher than the plane and can be stacked.
When an actor gets on the table, he may go up a mountain or a high platform depending on the plot. Sometimes, in order to express poverty, there are benches at home, which can be used for many purposes, and the principle is the same as that of chairs.
Flag type: It has many meanings depending on the occasion and form. The commonly seen flags carried by dragon troupes represent thousands of troops or a guard of honor.
The sedan flag is carried by two people and is shaped a bit like a door. It is used to represent the sedan, just like the one used by Xue Xiangling when he got married in "Suolin Bag". Car flags, a person holding two flags with wheels drawn behind them, are used to represent various vehicles.
It can be found in plays such as "Dragon Robe" and "Pick a Pulley". There are also some such as command flags.
Horsewhip: This is the most representative prop in Peking Opera. A whip represents a horse, either riding or leading.
Coupled with the actors' performances, it gives people the feeling of riding a horse in real life. Weapons: swords, guns, swords and halberds, to name a few.
Baggage: Baggage in Peking Opera is often used to represent different things such as luggage, gold and silver, seals and even heads, depending on the size, shape and color. Other physical objects: props that are not much different from the physical image, such as wine bottles, wine glasses, books, lamps and candles, etc. I will not list them too much.