I. Brief description

Shaanxi local operas. Also known as "lamp bowl cavity" and "Chloe Nguyen cavity". The former is named after the small bronze bowl of percussion instruments and the lighting of shadow play; The latter is named after Ruan Xian, the main instrument. 1958 was renamed "coloratura", but it is still commonly called "Wan Wan Opera". During its formation, Wan Wan Opera absorbed many artistic elements of the old tune. In order to distinguish it from the old tune, people in Kanto Prefecture also call it "the time tune". Mainly popular in Dali, Chaoyi, Weinan, Xi 'an, Huxian, Suide, Mizhi, Yangxian and Xixiang in Shaanxi. Xiaoyi and Jinzhong in southern Shanxi, Lingbao in Shaanxi and Lushi in western Henan, and Lanzhou in Gansu are also very popular.

Second, the historical evolution

There is no written record of the formation age of Wan Wan Qiang. According to textual research, Li was a native of Weinan, and wrote Ten Dramas during the Qianlong period of the Qing Dynasty (1736- 1795). From the analysis of the structure of his lyrics, it can be concluded that the main aria of Qiang had been formed at that time. According to the Records of Rebuilding Huaxian County, there were "20 or 30 singers in the late Qing Dynasty" in Tongzhou, and different branches were formed in various places, such as Wan Wan Qiang in Yangxian County, Wan Wan Qiang in northern Shaanxi and Wan Wan Qiang in Xifu County.

According to legend, the Wan Wan accent in Yangxian County was created by Yong Chaojie, an artist from Wanxian County during the Qianlong period. Yong was originally a shadow puppeteer. When he went to Weibei to perform, he learned Wan Wan dialect in Chaoyi (now Dali) and combined it with the singing of shadow play. Later, his son Yong (Baby Cat) and his apprentice Fuwa absorbed Taoist singing and gradually formed a unique shadow play cavity. During Daoguang and Xianfeng periods (1821-1861), it developed into more than ten kinds of boxes, and it developed again before and after the Revolution of 1911, replacing the shadow play. Its epidemic area is mainly in Dongxiang, Yangxian County. Legend has it that Wan Wan dialect in northern Shaanxi was formed in Yihe Town, Suide in the late Qing Dynasty, and it was popular in Suide and Mizhi, and was greatly influenced by Shanxi Opera in singing. It is said that Fengxiang Wan Wan dialect in Xifu is earlier than Wan Wan dialect in Dongfu (Tongzhou), and it became popular after the middle of Qing Dynasty, especially in Fengxiang and Qianyang areas. In addition, around the third year of Guangxu (1877), artists from Dali fled to Shanxi due to famine, forming Wan Wan Qiang in Shanxi.

Before the founding of the People's Republic of China, various shadow play operas in Shaanxi declined one after another. Wan Wan Qiang in Xifu became extinct in 1930s, and the rest disappeared on the eve of the founding of People's Republic of China (PRC). After the founding of People's Republic of China (PRC), after the excavation and rescue by relevant departments, various Qiang schools in Wan Wan developed into operas one after another. Its two branches, Dongfu and Xifu, were put on the opera stage by Shaanxi Provincial Theatre in the early days of the founding of the People's Republic of China, and then Yangxian People's Theatre developed Yangxian Wan Wan Opera into a form of opera. 1960, the Qiang nationality in Wan Wan, northern Shaanxi was also adapted into a stage play. Every Qiang nationality in Wan Wan has created many plays, and has carried out reforms and creations in music singing, performing arts and stage arts. The main performing groups are Meiwan Opera Troupe of Shaanxi Opera Research Institute (also performing Hu Mei and Wan Wan Opera), Dali Wan Wan Opera Troupe, Yulin, Xingping and Yangxian Wan Wan Opera Troupe.

Third, artistic features.

Wan Wan Qiang's performance mainly used the traditional programs of China's traditional operas, and appropriately absorbed the performances of the characters in the shadow play. When singing, Xiao Sheng, Xiao Dan and Tsing Yi combined their true and false voices, enunciating words with their true voices and dragging their voices with falsetto; Old students, bearded students, old Dan and clowns all speak with real people; Laryngeal and retroflex are commonly used in face painting. There are duets, chorus and backup singers in the performance. The lyrics are mainly composed of seven sentences and cross sentences, as well as five sentences and "three irregularities" (long and short sentences). Usually, it is a sentence structure, and there is also a "single sentence delivery", that is, an aria of seven sentences. Only one sentence was sung at the end, and the tune slowed down.

On the stage of shadow play of the Qiang nationality in Wan Wan, each tribe has different musical singing characteristics. For example, the form of Xifu is similar to that of Qin Opera, except that it is rolled, and there is a difference between Huayin and bitter tune. The types of boards are invasion board, sharp board (pad), 26, substitution board, flying board, drinking hall, rhyme white and so on. Its adagio is similar to Dongfu, but the rest are different. The vocals of Yangxian are mostly fine-tuning, and the board types are Anban (soft and hard), Iron Plate (soft and hard), Erliu (soft and hard), Substitute Board, Allegro, Emergency Board, Clapper, Roll Board, etc. The singing method of "Northern Shaanxi" is similar to that of Shanxi Opera, including slow-span, 26-span, flowing water, long-span, bell-shaped, guide plate, back-to-yang board and so on. After developing into a stage play, the main boards are Adagio (also known as "West Road" and "South Road"), East Road (also known as "North Road"), Bar Board, Slow Tightening Board, Tightening Board (also known as "Running Board" and "Two-way Board"), Flying Board, Rolling Board (Rolling White), Flash Board, Sentence Raising and Cushion (Pointing). Color cavities include flower cavities and overlapping cavities. Each aria can be divided into Huayin (happy tune) and sad tune (bitter tune), and only Huayin can watch the lights pass. These two cavity systems have different temperament, scale, mode and performance function. Generally speaking, Huayin is good at expressing cheerful and clear emotional appeal, while crying mainly expresses sadness and sadness. Adagio and Adagio also have a special singing method of "Three Irregularities" (West Chamber Tune). In addition, there are a certain number of Qupai, Banqu and gongs and drums music. Such as "Kill da ji", "Vatican Palace", "Heavy Platform" and so on.

Accompaniment instruments include stringed instruments such as, hard strings (two strings) and banhu, wind instruments such as Lu and Ma Hao (horn), percussion instruments such as bangzi, copper bowls, side drums, drums, cymbals, hinges, hand gongs and big gongs (hook gongs). When singing, Qin Yue Bowl will lead the singing, accompanied by hard strings and banhu.

Wan Wanqiang's plays are quite rich, and more than 240 kinds have been copied and published. Among them, Pei, Match in Spring and Autumn, Ten Kings Temple, Yuyanzhai, bai yuzhen, Xia Zi Palace, Wanfulian, Butterfly Media, Huoju and Su Qing Temple are the so-called "Top Ten Books", which are referred to as "Pei Pei Temple Chai Zhen, Gonglian Media Ju 'an" for short.

Famous Qiang artists include Shi, Duan Zhuanwo, Li Wuxi, Zhang Lier, Ge Ding, Wang Sigui, Jin Kui, Shen, Qi xi, Wang Man, Yi Ganqi, Zhu Hum and Xie Delong. Folklore says: "Qi Xi Wang Man ginseng seedlings, a flag crooked neck." It serves to show that these people are famous among the masses.

The state attaches great importance to the protection of intangible cultural heritage. On May 20th, 2006, Wan Wan Qiang was approved by the State Council to be included in the first batch of national intangible cultural heritage list.

Wan Wanqiang

Wan Wan dialect, once a famous opera in China, also known as Shi Qiang, was popular in eastern Shaanxi.

During the Qianlong period of Qing Dynasty, Qiang opera became popular, and playwright Li Shisan and his "Ten Masterpieces" were very famous.

Wan Wan Qiang's music is exquisite and elegant, melodious and beautiful; Life is pure ugliness and career is complete.

Its turntables include: flexible board, tight board, rolling board, flashing board, back board, two guide boards, watching lights, passing customs and so on. There are also picking cavities such as flower cavity and overlapping cavity. Its various plates are divided into two categories: "crying sound" and "Huayin". There are only curling plates and overlapping cavities, only crying without Hua Yin; Watching the lights is the opposite of going through customs. Adagio and tight board also have the singing method commonly known as "three irregularities", which shows that Qiang's vocal system is relatively complete and rich.

Wan Wan Qiang's main accompaniment instruments are Qin Yue (5- 1 string), hard string (2 Heizi 6-3 string) and banhu (5-2 string).

Wan Wanqiang's plays are quite rich, and more than 240 kinds have been copied and published. Among them, Pei, Match in Spring and Autumn, Ten Kings Temple, Yuyanzhai, bai yuzhen, Xia Zi Palace, Wanfulian, Butterfly Media, Huoju and Su Qing Temple are the so-called "Top Ten Books", which are referred to as "Pei Pei Temple Chai Zhen, Gonglian Media Ju 'an" for short.

Famous Qiang artists include Shi, Duan Zhuanwo, Li Wuxi, Zhang Lier, Ge Ding, Wang Sigui, Jin Kui, Shen, Qi xi, Wang Man, Yi Ganqi, Zhu Hum and Xie Delong. There is a folk saying: "Qi Xi Wang Man participates in seedlings, and the flag is crooked." . It serves to show that these people are famous among the masses.