Traditional opera
The five major types of Chinese opera: Peking Opera, Yue Opera, Huangmei Opera, Ping Opera, and Henan Opera.
Explanation
Opera is a traditional Chinese dramatic form. It is a combination of literature, music, dance, art, martial arts, acrobatics and various performing arts factors. Its origin has a long history. Song and dance have sprouted as early as in primitive society. In the long process of development, after more than 800 years of continuous enrichment, renewal and development, a relatively complete opera art system has gradually been formed. Although its origins come from three different art forms: folk singing and dancing, rapping, and burlesque, the biggest feature that distinguishes a type of opera is that it comes from different vocal systems. These musical tunes are based on the languages, folk songs, and folk music of the regions where they are produced, and incorporate music from other regions. Most of the characters in various dramas are played by different roles such as Sheng, Dan, Jing, Mo, Chou and so on. The performance focuses on the use of programmed movements based on life and virtual space processing. It pays attention to the arts of singing, chanting, acting, and fighting, and the performance is transportation and dance. It is highly technical and constitutes a complete opera art system that is different from other dramas.
Among them, Beijing Opera is the quintessence of our country
According to incomplete statistics, there are about 360 kinds of operas in various ethnic regions in my country, and the number of traditional operas is Tens of thousands. 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, Chao Opera, Fujian Opera, Qi Opera, Hebei Bangzi, Anqing Huangmei Opera, Hunan Huagu Opera... and so on fifty There are many types of operas, especially Peking Opera, which is the most popular and can be performed all over the country without being restricted by region.
Ancient Chinese drama is called "opera" because "drama" and "qu" are the main elements. 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.
[Edit this paragraph] The three major artistic characteristics of opera
Comprehensive, virtual and procedural——
(1) Comprehensive Chinese opera is A highly comprehensive national art. This comprehensiveness is not only reflected in its integration of various art categories (such as dance, acrobatics, etc.) to create new ideas, but also in its exquisite and profound performing arts. Various artistic factors are closely integrated with the performing arts, and all functions of opera are realized through the performances of actors. Among them, the organic composition of singing, chanting, acting, and performing on the actors is the most concentrated and prominent embodiment of the comprehensive nature of opera. Singing refers to the singing technique, which pays attention to "the words are correct and the tone is round"; Nian, that is, reciting Bai, is a recitation technique with strict requirements, the so-called "singing with four ounces of white words"; Doing refers to doing exercises, which is the body and expression techniques; Fighting refers to The martial arts movements in the performance are a combination of dance-like martial arts skills based on traditional Chinese martial arts. These four performance techniques sometimes connect with each other, and sometimes overlap with each other. The composition method depends on the needs of the plot, but they are all unified into a comprehensive whole, reflecting the beauty of harmony and full of the spirit of music (sense of rhythm). Chinese opera is a dramatic form of formal beauty centered on comprehensive performances of singing, reading, acting and fighting.
(2) Virtuality Virtuality is the basic technique for opera to reflect life. It refers to the use of actors' performances to simulate real environments or objects in a deformed way to express life. The virtuality of Chinese opera is firstly manifested in the flexibility of stage time and space processing. It is said that "three or five people walk all over the world, six or seven people and millions of soldiers", "in an instant, a thousand years of career, the abbot's land is thousands of miles away", "in the blink of an eye" "In a few years, the fragrance of an inch pillar will last forever." This breaks through the limitations of the "three unities" and "fourth wall" of Western drama.
Secondly, in terms of the specific stage atmosphere scheduling and the actors' simulation of certain life actions, such as wind and rain, boats and horses, threading needles and threads, etc., the virtual characteristics of the opera are more concentrated and distinct. Opera facial makeup is also a virtual method. The virtuality of Chinese opera is not only the result of the limitations of the opera's crude stage and backward stage art technology, but it is also and mainly the product of the accumulation of traditional national aesthetic thoughts that pursue the resemblance of gods and describe gods in form. This is a beautiful creation. It greatly liberates the creativity of writers and stage artists and the artistic imagination of the audience, thereby greatly improving the aesthetic value of opera.
(3) Procedural Procedural is a form of expression in which opera reflects life. It refers to the standardized, dance-like performance of life movements and their repeated use. Programs come directly or indirectly from life, but they are formed by refining, summarizing, and beautifying life according to certain norms. It embodies the efforts of artists throughout the ages, and it has become the starting point for artistic re-creation by a new generation of actors, so that the art of opera performance can be passed down from generation to generation. Closing doors, pushing windows, mounting horses, boarding boats, going upstairs, etc. in opera performances all have a fixed format. In addition to performance procedures, opera has certain procedures in various aspects such as script form, role roles, music and singing, makeup and costumes, etc. Excellent artists can break through certain limitations of the program and create their own personalized standardized art. Program is a model of beauty.
[Edit this paragraph] The origin and formation of opera
Origin
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 the songs and dances performed to worship gods. From the Han and Wei dynasties to the mid-Tang Dynasty, there appeared successively the "Jiaodian" (i.e. Baixi), which was mainly based on competition, the "Joining the Army Opera" performed in the form of questions and answers, 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.
(5) Ming and Qing Dynasties - the prosperous period of opera. When opera reached the Ming Dynasty, legends developed. The predecessor of the legend of the Ming Dynasty is Nan Opera in the Song and Yuan Dynasties (Nan Opera is the abbreviation of Nan Opera Opera. It is an emerging drama form based on the Zaju of the Song Dynasty and combined with the tunes of the southern region. Wenzhou is its birthplace) . The structure of Southern opera is different from that of Northern Zaju: it is not limited by four folds, nor is it limited by one person singing to the end. It has an opening to explain the plot, and mostly has a happy ending. The style is mostly more lingering, unlike Northern Zaju. Impassioned and free in form, it is easier to express life. Unfortunately, very few scripts of early Nan Opera have been preserved. It was not until the end of the Yuan Dynasty and the beginning of the Ming Dynasty that Nan Opera began to flourish. After processing and improvement by literati, this short opera, which was originally not rigorous enough, finally turned into a quite complete full-length drama. For example, Gao Ming's "Pipa Ji" is a work that transitions from southern opera to legend. The theme of this work comes from folklore. It presents a story relatively completely and has a certain degree of drama. It was once known as the "ancestor of the resurgence of Southern Opera". In the middle of the Ming Dynasty, a large number of legendary writers and scripts emerged, among which Tang Xianzu was the most successful. He wrote many legendary scripts throughout his life, and "The Peony Pavilion" is his masterpiece. Through the story of Du Liniang and Liu Mengmei's death, separation, and separation, the work praises the spirit of rebellion against feudal ethics, the pursuit of happy love, and the liberation of individuality. The author gives love the power of resurrection, which defeats the shackles of feudal ethics and achieves the final victory.
This point had far-reaching social significance in a society firmly dominated by feudal ethics at that time. This play has been loved by readers and audiences for 300 years since it came out. To this day, fragments such as "Girl School" and "Dream" are still active on the stage of opera performances, radiating the brilliance of its art.
Yuan Zaju
Yuan Zaju inherited and developed the various literary and artistic achievements of previous generations on the fertile soil of folk opera. A comprehensive stage art that is improved and created through the joint efforts of "Book Club" talents. Metamorphologically, Yuan dramas use the four major sets of Northern Opera to arrange the storyline, and use wedges to combine 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). Lyrics are text filled in according to the needs of the instructor. It is also called 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 speaking to express the plot or explain the relationship between characters. It is divided into dialogue (dialogue between characters), monologue (characters expressing their personal feelings and wishes alone) and narration (characters carrying other characters on 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, Zhengmo or Zhengdan, 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".
Character:
End: Male character. The zhengmo in Yuan dramas is the male protagonist in the play.
Dan: Playing a female character. Zhengdan (the heroine in the play), Xiaodan, Tudan, Zhengdan, Huadan, Guimendan, Wudan, Laodan, Caidan.
Jing: Commonly known as "Hua Lian" or "Hua Mian", they mostly play male characters with unique personalities or looks. For example, the public servant (official servant) in "Dou E's Injustice" belongs to Jing.
Chou: Playing comedy roles, also known as "three-faced" or "little-faced". They usually play characters with humorous personalities, which can be divided into literary and martial arts.
Wai: There are Wai Mo, Wai Dan, Wai Jing, etc. in Yuan Zaju, which are the minor roles of Mo, Dan, Jing, etc. Supervising and beheading officials - Wai Mo.
Za: Also known as "Miscellaneous". The name of the character who plays the old woman. Such as: Granny Cai.
Legend
According to legend, there were four major opera types in Beijing in the early Qing Dynasty, namely Nankun, Beiyi, Dongliu and Xibang. According to records recorded in the eighth year of Jiaqing: "In the Ming Dynasty, Kun Opera was introduced, and it was full of music. Yiyang, Bangzi, Qin, and Liu operas were all popular in the north and south. The sheng and chimes had the same sound. Songs and dances were prosperous, and there were many actors and actresses. I am not impressed by Beijing." It illustrates this historical event at that time. Among them, the so-called Nankun is the Kunshan tune popular in the Kunshan area in the south of the Yangtze River; the Yiyang tune in the Yiyang area of ??Yiyang, Jiangxi, which was produced in the Yiyang area of ??Jiangxi through the combination of Beiyi Opera and Beiqu, is the Gao tune that spread to the north and formed the Jingqian tune that was popular in the capital at that time; Liu is the Liuzi tune popular in Shandong; Xibang is naturally the Bangzi tune popular in northwest my country, which is also the Qin tune. It illustrates the grand occasion of artists from all over the world gathering in Beijing.
From the current point of view, the above four major tunes have far exceeded their original scope, and some have already spread to many provinces across the country. Yiyang tune (ie Gao tune) is even more popular in Anhui, Zhejiang, Jiangsu, and Hunan , Hubei, Fujian, Guangdong, Yunnan, Guizhou, Sichuan, and Hebei are widely circulated. Therefore, relevant people believe that this statement is not scientific, but this historically formed statement still objectively reflects historical facts. Judging from the current distribution of opera types, Kun Opera still has a considerable audience base in Shanghai, Nanjing, Zhejiang, and Hunan. Yiyang opera not only took root in the north, but also played an important role in the formation of Peking Opera and some northern operas. Even in the Jiangnan area, it was mainly spread in many northern-language operas. area.
Although Liuzi tune (including Liuqin Opera influenced by it) is popular in Henan, northern Jiangsu, southern Hebei, northern Anhui and other places, its important activities are still in Qufu, Tai'an and Linyi in Shandong. Although Qin Opera (i.e. Shanxi Bangzi) and the Bangzi Opera developed from it in Shanxi, Henan, Hebei and other places are still popular in the north, the Qin Opera we see in Gansu, Ningxia, Shaanxi and other places has a deeper and more profound With ancient roots and a wider audience, the saying "Nankun, Beiyi, Dongliu, and Xibang" has a historical basis.
[Edit this paragraph] National Opera Types
Cai Diao Opera, Tibetan Opera, Teochew Opera, Chu Opera, Fengyang Flower Drum Opera, Guangdong Han Opera, Gui Opera, Han Opera, Huangmei Opera, Hui Opera, Jingzhou Flower Drum Opera, Liuzi Opera, Lu Opera, Shandong Bangzi Shao Opera Sichuan Qu Opera, Yong Opera, Yunnan Lantern Zhuang Opera, Yue Opera, Cantonese Opera, Yue Tune, Yu Opera, Yihuang Opera, Yang Opera, Xinjiang Opera, Xi Opera, Xi Opera, Wu Opera, Wanwan Opera, Tianjin Civilization Opera, Su Opera, Qiong Opera, Qinghai Pingxian Opera, Qin Opera, Qian Opera, Q Opera, Pu Opera, Puxian Opera, Ping Opera, Ou Opera, Fujian Opera Longjiang Opera, Liaonan Opera, Kun Opera, Liyuan Opera, Peking Opera, Jin Opera, Ji Opera, Huanglong Opera, Huai Opera, Burlesque Opera, Hua'er Opera, Shanghai Opera, Hebei Bangzi Gan Opera, Duo Duo, Sichuan Opera, Northern Kun Opera, Xincheng Opera
[Edit this paragraph] Vocal Opera Types
Peking Opera, Henan Opera, Ping Opera, Yue Opera, Hebei Bangzi, Hebei Luantan, Shijiazhuang Silk Strings, Shenze Drop Opera, Anguo Old Tune, Baoding Old Tune, Baoding Shangsi Tune, Baoding Shadow Play, Baoding Xianyu Tune, Baoding Pengban Tune, Shibuxian Lotus Falls, Guyi Nuo Opera, Haixing Nanluo Opera, Northern Kun Opera, Dingzhou Yangko Opera, Yuzhou Bangzi, Gaoqiang, Tang Opera, Tangshan Shadow Puppet, South Hebei Shadow Puppet, Zhangjiakou Sai Opera, Linzhang Xidi Qiu Luozi, West Road Bengbeng, Lotus Luozi, Hejian Nanxinzhuang Puppet Show, Xinxin Tune, Zhuozhou Hengqi Tune, Wu'an Ping Tune, Zhangjiakou East Road Two-person Stage, Haha Tune, Baoding Poetry and Fu Xian, Xingtai Xianzi Tune, Xingtai Shuizi Opera, Xingtai Huai Diao, Xingtai Western Diao, Suning Wushu Opera, Huai'an Soft Yangge, Feixiang Luo Opera, Sigu Xian, Erhuang, Errentai, Shangdang Erhuang, Shangdang Bangzi, Shanxi Bangzi, Shandong Bangzi, Laiwu Bangzi, Zao Bangzi , Wan Bang, Er Jia Xian, Liuzi Opera, Wuyin Opera, Sichuan Opera, Triangle Opera, Yiwu Tune, Yiyang Tune, Guangdong Han Opera, Yunnan Zhuang Opera, Yunnan Lantern Opera, Dan Opera, Puppet Show, Baling Opera, Wuyin Opera, Wennan Opera Ci, Zhonglu Bangzi, Inner Mongolia Yangge, Fengtai Xiao Opera, Yongji Dao Love Opera, Bai Opera, Baizi Opera, Beikun Opera, Beijing Opera, Beilu Bangzi, Pihuang, Shadow Play, Longjiang Opera, Longyan Zaxi Opera, Donghe Opera , East Road Bangzi, Han Opera, Ninghe Opera, Leping Tune, Zhengzi Opera, Siping Tune, Siguxian, Youci Nanjian Tune, Xipi, West Qin Tune, West Road Flower Drum, West Tune, West Ping Opera, Zhuang Opera, Zhuang Sha Opera, Xiang opera, Ji opera, Lu opera, Zhuma opera, Lu opera, blowing opera, Luantan, Shanghai opera, Su opera, Yong opera, Qi opera, Chenhe opera, Yuyao opera, Ciming opera, Hangong opera, Agong opera , Lingqiu Luoluo Opera, Henan Yue Diao, Henan Daoqing, Henan Opera, Beijing Opera, Qingyang Opera, Qinghai Pingxian Opera, Wu'an Luozi, Hang Opera, Yang Opera, Kun Opera, Long Opera, Mao Opera, Shao Opera, Ou Opera , Dong Opera, Yihuang Opera, Tea Picking Opera, Sizhou Opera, Xiansuo Opera, Playing Children's Opera, Shaanxi Laoqiang, Liuqiang Opera, Liuqin Opera, Fujian Opera, Western Fujian Han Opera, Nan Opera, Yao Opera, Lin Opera, Haha Opera, Huqin Opera, Jinghe Opera, Hunyuan Luoluo Opera, Guizhou Lantern Opera, Gao Opera, Gaoshan Opera, Gaoba Opera, Gaojia Opera, Gao Tiao Bangzi, Tang Opera, Gui Opera, Qin Opera, Jin Opera, Yong Opera, Puxian Opera, Haiyan Opera, Haimen Mountain Opera, Haicheng Trumpet Opera, Laiwu Bangzi, Huguan Yangko, Huai Opera, Huaihong Opera, Huangmei Opera, Huanglong Opera, Huangxiao Flower Drum, Qing Opera, Qingyin Opera, Cantonese Opera, Wu Opera, Chu Opera, Tui Opera, Liyuan Opera, Bangzi Opera, Zhangqiu Bangzi, Naogu Opera, Hunan Opera, Xiangxi Miao Opera, Dai Opera, Qiong Opera, Silk String Opera, Comic Opera, Wannan Flower Drum Opera, Hunan Flower Drum Opera, Pu Opera, Puzhou Bangzi, Lei Opera, Xi Opera, Yunnan Opera, Mongolia Opera, Wanwan Opera, Ruihe Opera, Xinjiang Opera, Sai Opera, Gezi Opera, Children's Opera, Yu County Yangko, Manhan Opera, Chao Opera, Hui Opera, Shadow Opera, Qian Opera, Xiangyang Opera, Xiangwu Yangko, Tibetan Opera , Gan Opera, Yi Opera.
[Edit this paragraph] Drama nouns
Jiugong, Rupo, Buer, Shisandiao, Erhualian, Daomadan, character modeling, Daqu, Damian, Daban, Xiao Mo, Xiao Dan, Xiao Opera, Xiao Sheng, Xiao Hua Lian, Trilogy, San Hua Lian, San Xiao Xi, Cai Ren, Radio Drama, Introduction, Yin Opera, Literary Theater, Art Troupe, Wenming Opera, Yuan Opera, Yuan Zaju, Yunshou, Yun Shaofu, Chou, Jie, Team Dance, Liuyao, Yaopian, Gongdiao, Water Sleeves, Make-up, Cross-dressing, Shuhui, Washe, Goulan, Kaihe, Mu Da, Zhongzhou Rhyme, Inner Monologue, Hand, Eye, Body and Steps, China Drama Plum Blossom Award, playing horse, playing back bow, lines, stage steps, Zhengmo, Zhengdan, Zhengdrama, Zhengjing, four major Hui classes, four loud tunes, four skills and five methods, Dan, Daner, Mo, Moni, true color , true performance, out, outside, raw, added official, supporting role, scenery, dialogue, acting, box, music tent, Wutou, guilty tune, Beiqu, Libuji, Donghai Huanggong, Lanling Wang enters Chenqu , line head, trade, connoisseur, xingyuan, drama, drama, Chongmo, Chongxiao, Qupo, Qupai, music score, Laodan, Laosheng, Diaomao, legend, Zadang, Guoqu, Jiqu, Hesheng, Xu Hu, Baixi, Actor, Searching for a Building, Finale Opera, Local Opera, Issue Opera, Self-Reporting Family, Huabu, Huadan, Baozi, Baozi Kung Fu, Walking Sideways, Walking Rope, Field, Scene, Scene Height, Witchcraft, Stringing, Folding, Nong , Jiao Da, Cang Falcon, Shehuo, Banglao, Bolao, prologue, figure, epilogue, back-breaking, Song Dynasty drama, bamboo pole, Wujiang School, Su Zhonglang, Zubu Ji, continuous script opera, improvisation, Wudan, Wu Chou, Wu Chang, Wu Jing, Wu Sheng, Wu Erhua, Wu Hua Lian, Ban Yan, Ban Shi, Joining the Army, Joining the Army Play, Opening Poetry, Opening Line, Yan, Jing, Pei, Zhuan Ta, Fa Qu, Qing Yi, Jing Bai , official clothes, drama, poetic drama, pinch tanci, characterization, blanket skills, oily face, Shengping Department, Yichun Academy, Tiejing, Tiedan, monologue, one-act play, Keban, Kefan, Kehun, Nanqu, Nanxi, Southern opera, Northern and Southern ensembles, popular music, courtyard version, strings, pantomime, appearance, Qi Ba, rounding off, masks, axes, guest appearances, grass stage troupe, boudoir dance, Huobao drama, sound effects, the Association's first initiative , theater, drama type, script, tragedy, tragicomedy, puzzle, rehearsal, narration, accompaniment, family, guest Bai, Bo Tou, actor, actor promotion, Linchuan School, ghost door, Zhugong Diao, the fourth wall, the American Drama Movement, Scheduling, rehearsal, role, script, Liyuan, Liyuan disciples, Assistant Dan, Assistant Mo, Assistant Jing, singing, singing skills, singing, chanting and playing, basic skills, street drama, feathers, helmets, inspection, facial makeup, Caidan , acapella, Chrysanthemum Club, Fanyou, Guo Tu, Elephant Man, Jiaofang, virtual action, Tongchuihualian, Yulongmanyan, Yabu, Yale, Yale Club, Nuo, props, comedy, black head, accent, monkey show, Zhang notes, Dan Dan, loose music, pretending to be an orphan, puppet show, burlesque, Wenzhou drama, programmed movements, drum board, drum lyrics, drum section, drum frame section, curtain, curtain table making, wrapping order, wrapping up, rhyme and white , rolling tune, jumping pills, performance version, Lu Qiren, sour, earning, picked all over, gongs, wedges, fashionable children's play, subtext, stage, stage lighting, stage art, stage directions, stage art, title, title rectification, Lean, horse riding, beard, pleats, python robe, performance, melon knocking, shadow play, Yan Zhuo, Tao Niang, colorful feather clothes song, etc.
[Edit this paragraph] "Two pots" in opera
Zhang Baoshen
In recent years, on stage and television, actors from different types of dramas often appear in the same play. For example, in commemoration of the centenary of Mei Lanfang's birth, Ma Jinfeng, a famous Henan opera master who is in his eighties, and Mei Baojiu, a descendant of the Mei School of Peking Opera, once performed "Mu Guiying Takes the Command" on the same stage; the China Peking Opera Theater and the Tibetan Opera Troupe once co-performed " Princess Wencheng". This form of performance is called "two pots" in the opera industry. There are also "Three Heaters" and "Four Heaters" where multiple dramas are performed on the same stage. At CCTV's opera gala, actors from four opera types including Peking Opera, Henan Opera, Longjiang Opera and Hebei Bangzi performed "Mulan" together. Because of its novel performance form, it aroused great interest from the audience.
In the history of Chinese opera, this "two pots" performance form has a long history and is an important means of communication and integration of different opera types. Many opera types have evolved into new ones during the "Two Pots".
During the Yuan Dynasty, Beijing was dominated by Zaju, which produced many playwrights such as Guan Hanqing, Wang Shifu, and Ma Zhiyuan, as well as a number of famous dramas such as "The Injustice of Dou E" and "The Romance of the West Chamber". After the capital was moved from Nanjing to Beijing during the Yongle period of the Ming Dynasty, a large number of southerners moved northward during the immigration wave, and Nanqu followed suit. In order to adapt to the new environment, Southern opera and Zaju performed "North and South combination". Southern opera absorbed the advantages of northern opera and formed new Kunshan and Yiyang accents. And Zaju gradually withdrew from the stage of history.
In the late Ming and early Qing dynasties, Kunshan tune evolved into Kunqu Opera, which occupied a dominant position on the Beijing stage. "The Palace of Eternal Life" and "The Peach Blossom Fan" became representative works of this period and have been performed to this day. Today's Peking Opera is also the product of the "two pots" of Han Opera and Anhui Opera more than 200 years ago. During the Qianlong period of the Qing Dynasty, after the four major Anhui troupes came to Beijing, they performed together with the Han opera artists "Liangxiaguo". During the mutual integration, a kind of Huizhou opera was formed based on the Erhuang tune of Hui opera and the Xipi tune of Han opera. The new "skin show". Since then, Pihuang Opera has continuously absorbed nutrients from Kunqu Opera, Bangzi Opera and other operas, and gradually became a new opera type - Peking Opera.
By the end of the Qing Dynasty and the beginning of the Republic of China, Peking Opera had developed to a mature stage. It not only became the mainstream of the Beijing opera stage, but also began to spread throughout the country. During this period, Hebei Bangzi (then known as Qinqiang Opera and Zhili Bangzi), which evolved from Shanshan Bangzi, and Pingju Opera, which developed from "Bengbeng Opera", were performed together with Peking Opera. In the 17th year of the reign of Emperor Guangxu of the Qing Dynasty (1891), Tian Jiyun, a famous Hebei bangzi actor and opera activist, set the precedent for the "two pots" of bangzi and Pihuang in the Yucheng class he chaired. Because it is very popular with the audience, many class clubs have followed suit. For a time, Jing Bang's "Two Heaters" performances were booming inside and outside the capital. Many Peking Opera classes also teach both bang and reed. Fulian Cheng, a famous Peking Opera major, "almost all the students in the second major are practicing Qin opera (bangzi). Even today's Ma Lianliang also studied the Little Prince in "Taking Luoyang"." In the performance of "Two Pots" with Peking Opera, many Hebei Bangzi actors, such as: Xun Huisheng, Yu Lianquan (Xiao Cuihua), Zhao Tongzha (Hibiscus Cao), etc., later switched to Peking Opera and became famous Peking Opera actor.
Pingju Opera was formed in the late Qing Dynasty and the early Republic of China. It is a new type of opera that evolved from Lotus Falling, Bengbeng Opera and Bangzi Opera in flat tune. Before the liberation, the industry was not complete, and the "Three Xiao" (Xiaosheng, Xiaodan, Xiaohualian) plays were the main ones, which was called "Banban Opera". Therefore, in the early days, Ping Opera was often performed in conjunction with Hebei Bangzi and Peking Opera "Liang He Shui" or "Three Big Pieces". In performances on the same stage as Peking Opera and Hebei Bangzi, Pingju has made great progress in terms of music, singing, and repertoire. By the 1930s, the emergence of actresses represented by Li Jinshun, Liu Cuixia, Bai Yushuang and Ailianjun, the "four famous actors" in Pingju opera, brought Pingju opera to a mature stage. It was not only popular in Beijing, Tianjin, Northeast and North China, but also He also performed in Shanghai, Jiangsu and Zhejiang and other southern regions, which had a great influence. However, because the male actor is weak, he still often performs in "two pots" with Peking Opera. Bai Yushuang once co-starred in "Wu Song Kills His Wife" with Peking Opera Wusheng actor Zhao Ruquan in Shanghai. In 1945, Xin Fengxia also joined Zhou Xinfang's disciple Zhou Linkun's Peking Opera class in Qingdao, and performed "Qin Xianglian" and other plays "two pots".
After liberation, during the reform and development of Pingju Opera, it improved the singing and singing skills and enriched the male singing style. In particular, it had a group of male actors such as Wei Rongyuan, Ma Tai, Zhang Defu and Xi Baokun, which completely solved the problem of " Half-player" problem. Moreover, a number of plays starring male actors were created and performed, which were well received by the audience. "Two pots" has become a historical record.
Introduction to Yuan Opera. After Tang Dynasty poetry and Song Dynasty poetry, Yuan Opera became a flourishing literature. It has its own unique charm: on the one hand, Yuan Opera inherited the elegance and elegance of poetry; on the other hand, Yuan Dynasty society made scholars Located in the position of eight, nine, and ten beggars, with political authoritarianism and social darkness, Yuan Qu radiates an extremely dazzling battle brilliance and reveals a mood of resistance; it points directly at the social ills and denounces those who do not read and are illiterate. The best is a society where people praise their beauty even if they don't know anything. It points to the world style where everyone feels embarrassed about their life and no one wants to be married to money. The works describing love in Yuan opera are also more vigorous and bold than the poems of previous dynasties. All these are enough to make Yuan opera retain its artistic charm forever.
However, in comparison, Yuan opera is not as widespread as Tang poetry and Song lyrics. This is because people are unfamiliar with the style of Yuan opera. We will briefly introduce it here.
Yuan opera can be divided into Zaju and Sanqu. There are also sets of Sanqu, and Xiaoling brings out the differences between them.
In ancient Chinese music, the regulator style was called Baozhong Gong Diao. The Gong tune of the song comes from Yan music in the Sui and Tang Dynasties. The four strings of the pipa are designated as Gong, Shang, Jiao and Yu. Each string constitutes seven tunes. The seven tunes of the Gong tune are called Gong, and the others are all tunes. Twenty-eighth house tune. However, there are only twelve types commonly used in Yuan opera: Xianlu Palace, Nanlu Palace, Huangzhong Palace, Zhenggong, Dashi Diao, Xiaoshi Diao, Banshe Diao, Shang Diao, Shangjiao Diao, Shuang Diao and Yue Diao. Each palace tune has its own musical style, so there are often certain habits in choosing the tune. For example, Wang Jide said in "Qu Lv": Gong tunes must be used to describe the joys and sorrows of things. For example, Xianlu and Shuang tunes are used for travel appreciation; for sorrow, Shang tune and Yue tune are used. To harmonize with emotions, it is easy to move people.
Each palace tune has a different tune. The number of sets is composed of two or more different tunes of Zhou Gong Tune. Song and Yuan Southern Opera: It is the abbreviation of Southern Opera. It was popular in the coastal areas of eastern Zhejiang in the late Northern Song Dynasty and became more mature in the late Yuan and early Ming Dynasty. It is also called Wenzhou Zaju or Yongjia Zaju.
Legends of the Ming and Qing Dynasties: evolved on the basis of Southern Opera. Wu refers to a long opera script written in southern opera. It brings together the essence of Southern opera and Yuan opera.
The difference between Yuan Zaju and Ming and Qing legends
(1) The general rule of the Zaju system is that there are four folds and one wedge, and the folds are not marked; the legends are not called folds but are weighed and added. The number of published works is uncertain, most of them are long novels published in the forties or fifties. There is no wedge in the legend. The first scene is the door, also called the opening. The copy explains the creative intention and introduces the plot outline. It is not an integral part of the plot. After the opening scene, the second scene is the real show. The opening uses word cards instead of music cards. (2) Legends and dramas have the same singing, speaking, and division, but unlike dramas, which usually have one character singing to the end, various characters can sing solo, duet, rotation, and chorus; legends are not called divisions but singing. It is called an introduction; the important characters sing an introduction when they come on stage, followed by a prelude, and each play has an ending poem.
(3) Both dramas and legends use the combination of tunes and tunes in music. The difference is: Zajus are limited to using one palace tune for each episode, and the rhyme is the same to the end; legends are not limited to using only one palace tune for each episode. , you can change the rhyme. Northern operas are sung in operas, while legends mostly use southern operas. They absorb northern operas and create a combination of northern and southern operas. For example, "Ai Jiangnan" is a set of northern songs. The northern songs are bold and majestic, while the southern songs are gentle and gentle. Therefore, the music styles of legends and dramas are different. (4) The roles in legends are similar to those in dramas, but there are more roles and a finer division of labor. The protagonists of Zaju are Wei and Dan, and the legendary characters are Sheng and Dan. The legend also has an end, but it is not the protagonist.
In short, compared with dramas, legends are larger in scale, richer in tunes, more detailed in the division of roles, and more free and flexible in form, making it easier to express life. Characteristics of ancient Chinese opera
1. It begins with separation and ends with harmony
Chinese opera is a comprehensive stage art style. Its characteristic is that many art forms are brought together under one standard to reflect their respective personalities in the same nature. These forms mainly include: poetry, music, and dance. Poetry refers to its literature, music refers to its musical accompaniment, and dance refers to its performance. In addition, it also includes stage art, costumes, makeup, etc. These artistic factors in opera all serve one purpose, that is, to tell a story; they all follow one principle, that is, beauty. 2. Opera practitioners use songs and dances to tell stories.
The characteristics of Chinese opera can be summed up in one word: they use songs and dances to tell stories (said Wang Guowei, a scholar in the late Qing Dynasty). Opera and drama are both types of drama, in which actors play characters and use dialogue and actions to express a storyline of a certain length. The difference is that opera uses musical dialogue and dance movements to express real life, that is, singing and dancing. It is also known as singing, chanting, doing and playing.
3. Get the meaning from the form, and forget the form when you are proud
Chinese opera uses a method of taking the meaning and abandoning the form to express life. For example, the freehand landscape in Chinese painting uses vertical and horizontal strokes to express life. All the good things in life. Therefore, on the opera stage, there is a red-faced Guan Yu and a white-faced Cao Cao; there are long songs to cry, long sleeves to dance; there are spring colors without flowers and trees, and rivers without waves. 4. The stage is a small world, the world is a big stage
Henan Henan Opera
About the origin of Henan Opera. Henan Opera originated in the late Ming Dynasty and early Qing Dynasty. At the beginning, it was mainly a cappella singing. It was deeply loved by the people, so it developed very rapidly. It is difficult to verify the origin of Henan Opera, and there are different opinions. One explanation is that after Qin Opera and Puzhou Bangzi were introduced to Henan in the late Qin Dynasty, they were combined with local folk songs and minor tunes. Another explanation is that it was directly developed from Beiqu Xiansuo tune. Another explanation is that it is a folk singing art in Henan, especially since the middle of the Ming Dynasty. In the later period, it was developed based on the popular fashion Xiaoling in the Central Plains area and absorbed artistic achievements such as "Xian Suo".
During the Qianlong period of the Qing Dynasty (1736-1795), Bangzi Opera became popular in Henan Province. According to the inscriptions recorded at that time, the Ming Palace was "the place where all the theater classes prayed and held banquets. It was lost for many years, and it is unknown when it was built. During the Daoguang period (1821-1850), the river burst, and the temple collapsed and the tiles were destroyed." "There are no surviving pieces", which shows that Bangzi Opera already existed before Daoguang. These accounts are consistent with legends among artists. According to the recollections of some old artists, when they were studying art around 1912, they heard their masters talk about the "Ten Inner Places" in Henan, namely Xiangfu (now Kaifeng), Qixian, Chenliu (now merged into Kaifeng), Weishi , Zhongmou, Tongxu, Yifeng, Feng (now merged into Lankao), Fengqiu, Yangwu (now merged into Yuanyang) and "outer eight places" namely Huaiyang, Xihua, Shangshui, Xiangcheng, Shenqiu, Tai Kang, Fugou and Luyi, "Henan Yu" became popular in the Ming and Qing Dynasties. During the spread of Henan Bangzi, it formed Xiangfu Diao (Kaifeng area), Yudong Diao (Shangqiu area) and Yuxi Diao (Yangzhou). area), Shahe Diao (Luohe area) and other different styles.