"Teochew Opera, also called Teochew Opera"

Teochew music classes are popular in eastern Guangdong, southern Fujian, Hong Kong, Taiwan, and Southeast Asia such as Thailand, Singapore, Malaysia, and Vietnam.

Teochew opera is a local opera that was sung in Chaozhou dialect after Southern opera from the Song and Yuan Dynasties spread to the Chaoshan area in eastern Guangdong. It absorbed Chaozhou music and other Chaoshan folk arts. In the Ming Dynasty, Dai Jing recorded in Volume 18 "Customs" of "The First Draft of Guangdong General Chronicles": "Chaozhou customs mostly use local accents to perform dramas." In the early Qing Dynasty, Qu Dajun recorded in "Guangdong News": "Chaozhou people sing the north and south in local accents. "The song is called Chaozhou Opera." A copy of "Cai Bojie" sung in Chaozhou dialect was unearthed from a Ming tomb in Jieyang in 1958, and a Ming tomb unearthed from a Ming tomb in Fengtang Helong during the Chaozhou excavation in Shanxi in 1975. The Xuande manuscript "Liu Xibi's Story of the Golden Hairpin" is a cultural relic that proves that the Ming Dynasty's Chaozhou people performed operas in local accents.

"The Voice of Teochew Opera"

The voice of Teochew Opera was called "Chao Tune" in the Ming Dynasty, also known as "Chao Tune." The "Reprint of the Five Color Tidal Spring Gags and Poetry and the Poems of the Beiqu Goulan Lijing Ji Opera" was published in 1581. "The Complete Collection of Jinchao Diao Golden Flower Girl" (with "Su Liu Niang") and so on. The Wanli Xinsi edition of "The Story of Lychee" is signed "Compiled by the Chaozhou Man Li Dongyue". It is sung in Chaozhou accent and is a different performance version of the same story as the Jiajing edition of "The Story of Lychee". The Jiajing edition of "Li Jing Ji" is marked with the words "Chao Tune" or "Quan Tune" under the title of the tune. It is a common script for both vocal operas. The two voices share a common script, and this is not the only one. The "Xinkan Shixing Quan Chaoya Diao Chen Boxing Litchi Records" published in Xinmao of the Qing Dynasty is also a common version of Chao and Quan tunes, reflecting the historical development of the two ancient operas, Chao Opera in eastern Guangdong and Liyuan opera in southern Fujian. some relationships.

"The Era of the Formation of Teochew Opera"

According to the research of drama experts, it was about "before the middle of Ming Dynasty". If we count from the publication date of the Ming Dynasty version of "Lai Jing Ji" (1566), the history of Teochew opera as an independent genre is 430 years old.

The repertoire of Teochew opera can generally be divided into the following categories: one is the repertoire derived from the Southern Opera of the Song and Yuan Dynasties and the legends of the Ming and Qing Dynasties, such as "Cai Bo Ji", "The Broken Kiln", and "The White Rabbit" ", "The Story of Gao Wen's Pearl Judgment", "The Story of Yue Carp", etc. This type of repertoire is a traditional Teochew opera repertoire, retaining the traditional Qupai singing music and Guanmu performance movements, and the lyrics are relatively elegant. Some of the excellent brocade plays in Teochew opera, such as "The Portrait of Mr. Cai", "The Window-Sweeping Party", "The Lulin Party", "The Party by the Well", etc., mostly originated from this. One category is plays based on local folk tales and legends, such as "The Story of Li Jing" (the story of Chen Sanwu Niang), "Su Liu Niang", "The Golden Flower Girl", and "Huang Yuerong" (the story of Jieyang County Magistrate Feng Yuanbiao and Huang Yuerong). Story), "Chaoyang Case", (Chen Rongniang's story), "Longjing Ferry" (Yu Weiniang's story); as well as repertoires of stories about local characters, such as "Lin Daqin", "Liu Jinzhong's Journey to Chaozhou", "Liu Longtu Riding a Bamboo Horse", "Xiao Longtu Riding a Bamboo Horse" Duan Meng beat the King of Jiangxi to death" and so on. Among the repertoires with local themes, there is a relatively unique type of repertoire that reflects the life of overseas Chinese, such as "The Case of Guanshuo" (about the conflict between the issue of heirs and remittances of overseas Chinese living in Lat and the conflict with the evil forces in their hometown), "Jin Guishe" "(a story about a prodigal son who went overseas to make a living and then returned to his hometown after becoming successful overseas), etc. This type of repertoire reflects the specific life of the overseas Chinese in Chaoshan and has a relatively distinctive local flavor. One type is the civilized dramas that have appeared since the late Qing Dynasty and the early Republic of China, such as "Lin Zexu Burns Opium", "Xu Xilin", "Yuan Shikai", "Li Yuanhong Anyway", etc., as well as novels based on popular late Qing Dynasty such as "Fenzhuang House" and "Wanhua House". Romance", "Seven Swords and Thirteen Heroes", "Shi Gongan", "Peng Gongan", changed plays.

Compared with other opera types, the most distinctive feature of Teochew opera is its music. The characteristics of Teochew opera music are inseparable from Teochew music. What we generally call Chaozhou music includes string poetry music, fine music, gong and drum music and temple music. It is folk music popular in Chaoshan area and overseas Chaozhou society. Chaozhou music has a long history and has a profound impact on the formation and development of Chaozhou opera music. First of all, the accompaniment music and passing music of Teochew opera basically come from Teochew music, such as the string poem music "Pink Butterfly Picking Flowers", "Jackdaw Playing in the Water", "Eighteen Banners", "Liu Qingniang", "Thousands of Lights"; the flute set " "Happy Climbing the Tower", "Happiness for Ten Thousand Years", "Spring of All Homes"; miscellaneous songs "Huagutou", "Little Taohong", etc. Many of the gongs and drums and suona brands of Teochew opera also come from Chaozhou gongs and drums. Secondly, the unique modes of Chaozhou music such as "light six", "heavy six", "living five" and "reverse line", as well as the "three changes in speed" performance technique, have also been absorbed by Chaozhou opera singing, forming an emotional style. The "light six tunes", "heavy six tunes", "living five tunes", etc. of color. In addition, the instruments of Chaozhou music, such as the orchestral erxian, yehu, dongxiao, pipa, dulcimer and flute, as well as the percussion instruments such as large and small gongs, dou gongs, deep waves, wooden fish, bronze mirrors, etc., are also used on the stage and have become a unique feature of Chaozhou opera. Distinctive musical instruments.

Although Chaozhou opera and Chaozhou music belong to two categories of Chaoshan folk art, they are closely related. Chaozhou music activities take place in folk "music rooms" and "music clubs", which are called "canopy music" by the masses; Chaozhou opera is performed on the stage, which is called "canopy music". The musicians can accompany the troupe on stage and perform Chaozhou music independently when off stage. Chaozhou opera music is not the same as Chaozhou music, but all the characteristics of Chaozhou music are reflected in Chaozhou opera music. The two are closely related and are a coexistence of Chaoshan folk art.

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