First, the evolution of the spread of traditional operas in China and the generation of new operas.
In the process of communication, China traditional opera will inevitably go out of its sphere of influence and spread to other regions. For example, Kunqu Opera, popular in Kunshan, has undergone many changes since it left Kunshan. Some critics believe that the predecessor of Shanshan Bangzi is a variant of Kunqu Opera. As a form of China's traditional opera, the Western Qin Opera rapidly expanded to the surrounding areas, which promoted the appearance of the West Road Bangzi and the East Road Tongzhou Bangzi, and promoted the birth of Huang Er in the Hanshui River Basin. Later, Xipi was made with the East Road Bangzi, and Xipi and Huang Er were collectively called the yellow skin in Hanshui area. The west road bangzi went south into Sichuan, which promoted the emergence of Sichuan opera. Pi Huang's entry into Sichuan promoted the emergence of Sichuan Opera Huqin, and then Yunnan Opera went all the way south. Xiqin opera even spread Haifeng far away, forming the main line of Xiqin opera; East Road Bangzi developed eastward to form Pu Opera, and then divided into two ways, journey to the south formed Jin Opera, Middle Road Bangzi and Hebei Bangzi, and Henan Opera and Shandong Bangzi all the way eastward.
During the spread of Bangzi Opera and Pi Huangqiang in China, many relics were left. For example, in Shao Opera, Hui Opera and Han Opera belong to the Pihuang system. This process of propagation and rheology is complex and changeable, and even feedback may occur. The mechanism of the whole spread, evolution and even the emergence of new operas is very promising. Studying the spread of traditional Chinese opera and creating new kinds of operas is of great significance to the root-seeking and re-integration and evolution of traditional Chinese opera tune today. Nowadays, the dilemma of traditional opera lies in the lack of innovation to a great extent, and the traditional form of drama can no longer satisfy the old fans, let alone attract new fans.
Looking back on the prosperity of local operas brought by Wei Changsheng's second visit to Beijing, we can see that the innovation of traditional operas lies in the frequent exchange and integration of multi-voice parts and operas, rather than standing still and painting the land as a prison. Nowadays, the naming of local operas is the official behavior after the founding of New China. There is nothing wrong with naming, but the disadvantages are also very obvious, so that each place can only develop its own local opera, and non-local opera can hardly develop strongly in the local area. Judging from the evolutionary history of China opera, this is artificial. Traditional Chinese opera is a constantly changing and innovative art, which must be constantly innovated. The best way is to communicate and compete with different kinds of dramas. During the Qianlong period, the flower department could compete with the elegant department. Why is our local opera not competitive today? Local people must like local operas? The answer is no.
Today, we look back at the history and sort out the spread and evolution of traditional operas, as well as the geographical, humanistic, linguistic and social factors that produced new operas, which has certain reference significance for promoting the integration and innovation of local operas today.
Multi-voice Sichuan Opera is a good research example. Multi-cavity is actually a mixture of several cavities circulating at that time. Shaanxi Opera is a noun with rich connotation and extension, which not only refers to xi 'an Shaanxi Opera today, but also refers to local operas popular in Shaanxi and Gansu in history, and has different meanings in different periods. The emergence of Tan Opera in Sichuan Opera has a great relationship with the entry of Shaanxi Opera into Sichuan. This paper takes the relationship between the emergence of Sichuan opera Tanxi and the entry of Shaanxi Opera as the research object, hoping to reveal the relationship between new operas and old operas in the process of the spread and evolution of operas from a small angle. Of course, there are still many things to be done in this subject, and the space of this article is limited, which only throws a brick at a small problem.
Second, the relationship between Sichuan Opera and Qin Opera
Sichuan has been known as a land of abundance since ancient times, and its economy even once ranked in the forefront of the country. Therefore, there are sayings such as "Yang Yier" and "Yizhou Chu, the world is full", but it has also created a chaotic situation in central Sichuan since ancient times. Therefore, there is a saying that "the world was not chaotic before Shu, and the world was undecided." Due to frequent wars, the population of Sichuan is extremely unstable, especially in the late Ming and early Qing dynasties. Later, in order to restore Sichuan's economic and agricultural production, Emperor Kangxi promoted "Huguang to fill Sichuan" by decree. Numerous immigrants have migrated, making Sichuan a gathering place for immigrants. People from all over the world have brought different customs and habits, and various customs and cultures have developed in the exchange and collision, creating Sichuan's rich and colorful history and culture. Sichuan Opera is produced in this big environment.
Under the influence of Kunqu Opera, Yiyang Opera, Pihuang Opera and Bangzi Opera, Sichuan Opera combined with local folk songs and customs and used local dialects to form a multi-cavity system.
Among the four major schools of Sichuan Opera, Tanxi Opera is mainly distributed in northern Sichuan centered on Nanchong of Jialing River, including Xichong, Santai, Suining, Quxian, Daxian, Pengxi and Langzhong in Qujiang and Fujiang areas. These areas are adjacent to Qin, and there are many immigrants from Shaanxi.
Tan Opera was formerly known as Qin Opera. There are two sources of Shaanxi Opera, one is Shaanxi Bangzi, which originated in Shaanxi, and the other is Shaanxi Opera, which evolved from Longdong to West Shaanxi Opera. Up to now, there is no conclusion about the birthplace of Shaanxi Opera.
Shanxi merchants were famous business gangs in Ming and Qing Dynasties, and their footprints spread all over the country. Up to now, there are still a large number of Shanshan Guild Hall and Xiqin Guild Hall in China. As the saying goes, "business is playing" is right. Liu Wenfeng's monograph "On Shaanxi Merchants and Bangzi Opera" has verified in detail the promotion of businessmen to opera, so I won't go into details here. During the Ming and Qing Dynasties, with the strong support of merchant economy, Shaanxi opera developed rapidly throughout the country, especially in neighboring Sichuan. The Xiqin Guild Hall in Zigong still stands today. In the late Ming and early Qing dynasties, there were class clubs performing in urban and rural areas in northern Sichuan, and the number of performances was extremely high. The so-called "see more than a thousand plays a year" (Zhi Zhu's Ci). According to the Records of Wu County, during the Shunkang period, Zhao Lao and Zhongjiang had a complete opera performance. Ugly and ugly, with swords, halberds and swords. Locals say it's Shaanxi opera, and it's possible. Because it was called "Mengjiaguan" in ancient times, it was the pass for Qin to enter Shu. At this time, it was common for Shaanxi classes to come to Sichuan to perform Qin opera.
It can be seen that it was very common to perform in Sichuan at that time. During the long-term performance in northern Sichuan, Shaanxi Opera was combined with the northern Sichuan language, and gradually evolved under the influence of local folk operas and folk music, forming its own unique artistic style and strong Sichuan color.
Comparing Tanxi with Shaanxi Opera, the similar features are as follows: the lyrics are based on ten or seven sentences, including [slow board], [flowing board], [scattered board] and [overlapping board]. The plank road is divided into sweet flat (skin) and bitter flat (skin), similar to the joyful sound and bitter sound of Qin opera. The accompaniment instruments are mainly Bangzi and Huqin, so the play is also called Chuanbangzi and Huqin. When the old artists pass on their skills, they often warn their disciples: "If you sing well and play well, you will have a' Shaanxi flavor'." In particular, the play Eight-Piece Clothing follows the old example of Shaanxi Opera, and the performance of Broken Bridge is divided into Hu Qin and Shaanxi Broken Bridge.
Since there are so many similarities between the two, how did Qin opera enter Sichuan and be alienated there, thus forming Pingju? Judging from the information from all parties and the field investigation, it is nothing more than the following aspects.
Third, the peasant rebels brought Shaanxi opera into Sichuan.
At the end of the Ming Dynasty, natural disasters and man-made disasters continued, and the Ming Dynasty was plagued by internal troubles and foreign invasion, and finally fell after Li Zicheng entered Beijing. At the end of the Ming dynasty, there were many insurgents. It is worth noting that Li Zicheng and Zhang, the two rebel leaders in the late Ming Dynasty, were both from Shaanxi and both came from northern Shaanxi. Lu Ciyun, a A Qing, said in Yuan Yuan Biography: "Li Zicheng went to Beijing and called Chen Yuanyuan to sing, but he was not used to listening. He ordered Qunji to sing' Western Tune' (Author: Western Tune, which some critics think is the abbreviation of Western Qin Tune), fuck Ruan Zheng and Amber, clap your hands to make peace with them, and the polyphony excited Chu, which made his ears ache ..." Also from another angle. Zhang, another uprising leader, often "sang opera and drank wine" during the war, sometimes singing for days and nights. Most of the rebels came from farmers in Shaanxi, Sichuan, Hubei and Shanxi, and these four places produced several large-cavity systems of China local operas in the early Qing Dynasty. Li Zicheng and Zhang went to Sichuan three times, bringing Shaanxi opera to Sichuan, and made great contributions to the formation of Tanxi. It was these peasant rebels who fought in the south and fought in the north that made the Shaanxi opera widely spread and then prevailed in the Qing Dynasty. According to Shen's "A Brief Introduction to Southern Sichuan" in Qing Dynasty, in the 16th year of Shunzhi, when Gao Chengen met in Jiading (now Leshan), Zhang "played a legend by drinking with female music".
Fourth, immigrants brought Shaanxi opera into Sichuan.
Shaanxi, as one of the largest immigrant provinces in Sichuan, has long had Shaanxi immigrants arrive in Hanzhong through the ancient Shu Road, and then enter Sichuan by land or water from Hanzhong. During the Ming and Qing Dynasties, with the development of economy and the encouragement of the government, the number of Shaanxi immigrants to Sichuan increased greatly.
During the Qianlong period, Mianzhou Zhi (Volume 5) said that "Shu is close to the Western Qin Dynasty, but it was born and raised, living in Wu and Guangdong for about one or two, Chu for three and Qin for five, so there are many customs in Qin." It can be seen that Hunan, Hubei and Shaanxi have the most immigrants, followed by Jiangxi, Guangdong and Fujian, followed by Henan, Shanxi, Yunnan and Guizhou. Yan Ruyao had a vivid description in the book "Examination of Three Provinces and Borderlands" edited by Wen during Jiaqing period. People who have left their homes come from Xi 'an and Fengxiang in the north, Shangzhou and Yunyang in the east, and Chongqing, Kuifu and Yichang in the southwest to help the old and bring the young.
A large number of immigrants entered Sichuan, most of them from Xifu and southern Shaanxi. Xifu is the birthplace and source of Western Qin Opera, which breeds Longdong Tune, Blowing Opera and Western Qin Opera, and spreads all over the country, which has a great influence on the development of China traditional opera. Huang Er opera was born in southern Shaanxi. When immigrants from these two places enter Sichuan, they are bound to bring their daily entertainment form-Shaanxi Opera into Sichuan, and gradually settle and evolve in Sichuan, becoming the embryonic form of Tanxi.
The trade of Shaanxi merchants brought Shaanxi opera into Sichuan.
In the long-term development process, businessmen gradually formed business gangs and accumulated wealth through local contacts, becoming the famous "Top Ten Business Gangs in Ming and Qing Dynasties" at that time. The top ten business gangs are Shanxi merchants, Huizhou merchants, Shaanxi merchants, Fujian merchants, Guangdong merchants, Jiangyou merchants, Dongting merchants, Jiangsu merchants, Ningbo merchants, Longyou Zhejiang merchants, Shandong Shang Lu merchants and so on. Among them, Shaanxi businessmen are outstanding. Under the special economic policies of the Ming government, such as "opening salt in China" and "exchanging tea and horses", Shaanxi businessmen entered Sichuan through the ancient Shu Road and did business in Sichuan, becoming famous business gangs in their heyday. According to relevant documents, Shaanxi businessmen have established nearly 400 guildhalls in Beijing, Nanjing and other provinces. With more and more Shaanxi immigrants and businessmen entering Sichuan, in order to safeguard their own interests and contact the township party, they have set up guild halls. These hall buildings provide places for Shaanxi immigrants and businessmen to express their homesickness, offer sacrifices to gods and handle labor disputes. Because these halls are all built by Shaanxi people, they show the characteristics of architecture in Shaanxi area in architectural form, structure and space. The establishment of these guild halls greatly promoted the spread and evolution of Shaanxi opera in Sichuan, and also promoted the production of Pingju.
In Zigong, where the salt industry is developed, not only the salt industry has a long history, but also the Xiqin Guild Hall, Huanhou Palace, Wangye Temple and Nanhua Palace built with the development of the salt industry are all important performance places, which objectively promote the prosperity of traditional Chinese opera culture and art. In Chengdu, the Shaanxi Guild Hall, built by 33 Qin merchants, illustrates the great role of merchants in the spread of Qin opera.
Sixthly, the artists of Shaanxi Opera entered Sichuan and brought Shaanxi Opera into Sichuan.
In the history of the development of Shaanxi Opera and Tanxi Opera, nothing is worth mentioning more than Wei Changsheng. Although there are different views on Wei Changsheng's operas, several things are certain. He studied in two places successively and created a new "Qin Opera", which originated from the western Qin Opera, namely Longdong Opera, and combined some characteristics of Bangzi Opera. He can sing all kinds of songs, such as Bangzi, Huang Er and Chuiqiang. I went to Beijing several times and conquered the audience in Beijing with a new piano cavity. It was a smash hit, which set off a dispute between flowers and elegance, and greatly promoted the rise and prosperity of local operas.
Wei Changsheng's experience of returning to Sichuan deserves our attention. He went to many places all over the country and brought back many accents, among which the main body was Shaanxi Opera (not necessarily Shaanxi Opera). He learned from his disciples and built the Old Wolf Temple, which later became the address of Sanqing Society.
In addition, during the Qianlong period, another troupe performed in Tibetan areas near Sichuan and then fled. The troupe did not return to Shaanxi later. Fortunately, this immortal actor who lives in urban and rural areas of Sichuan makes a living by working shifts. The jargon circulating in Sichuan Liyuan, "Laoshan sings high-pitched because he is hungry", is afraid of this.
Since then, Qin Opera and Huang Er have not disappeared in Sichuan, but have been constantly communicating and integrating. During the period of 1957, two old artists, Diao Han Huang Er and Diao Han Xi, who lived in Hanzhong, gathered in Wenjiang Special Zone, Sichuan, and established Sichuan Wenjiang Troupe. After several twists and turns, it was later placed under Guanghan Opera Troupe, and it was the only Sichuan Opera Troupe that still had South Road Shaanxi Opera. The introduction of Huang Er and Shaanxi Opera into Sichuan illustrates a problem, that is, the local people's appreciation of Hanqu and Huanger has a long history.
Seven. conclusion
Sichuan borders Shaanxi, and cultural exchanges have never been interrupted. Some commentators put forward a new view that Sichuan-Shaanxi Bangzi once appeared at the junction of Sichuan and Shaanxi, and developed independently with Shanshan Bangzi. Although there is not much literature basis for this argument, West Road Opera has a long history. After the West Road Opera appeared, it naturally changed to the surrounding areas, all the way down to Sichuan, Guangxi, Yunnan, Guangdong and other places.
In the process of the spread and evolution of traditional operas in China, the original vocal cavity was combined with local language customs, and a new vocal cavity was constantly formed, which provided rich nutrition for the growth and prosperity of local operas in China. Today, there are hundreds of local operas, and if we study them carefully, they can all be classified into several vocal cavity systems. Therefore, the study of the first few vocal cavity systems can open a new way of thinking for the whole opera research. Starting with the evolution of a vocal cavity, this paper studies several vocal cavity systems, and then clarifies the spread and evolution process of the whole opera. For a long time, the research method relying on literature and vocal music can be said to be an innovation. Breaking the administrative divisions under study and redrawing the territory of traditional Chinese opera according to the laws of traditional Chinese opera are instructive to the evolution of traditional Chinese opera for hundreds of years.
;