The former is Li Jinhui's children's operas Sparrows and Children, Angel of the Vineyard and The Little Painter. He has made useful contributions to advocating the spirit of science and democracy and the popularization and nationalization of art forms.
The latter, such as Nie Er's Storm of the Yangtze River, Xiang Yu's Country Music, and Xian Xinghai's Mass Production Bar, have made valuable attempts in reflecting the contents of the mass revolutionary struggle, learning from the experience of western operas, and nationalization of artistic forms.
2. Foundation Stage: (1944- 1955) Starting from the New Yangko Movement after the Yan 'an Forum on Literature and Art, that is, a large number of Yangko operas, such as "brother and sister land reclamation" and "husband and wife literacy", have opened up a correct path for the creation of new operas.
Since then, the white-haired girl, Liu Hulan and Hongye River have been successful again. After the founding of the People's Republic of China, we will further explore the creative experience of new operas. Marriage of Little Black Boys, Wang Gui and Li Xiangxiang and Song of the Prairie came out one after another.
3. In-depth exploration stage: (1956-) Follow the policy of "letting a hundred flowers blossom and a hundred birds contend" and further explore the creative experience of new dramas.
Extended data
Opera "White-haired Girl"
"White-haired Girl" is the first national opera in China, and it is also the first opera to promote red culture under the guidance of producers in China. It is the pioneering work and masterpiece of the red culture of China's * * production party, the cornerstone of China's revolutionary literature and art, and the milestone of China's new opera, which is of epoch-making significance in the development history of China's national opera.
The White-haired Girl was written by Lu Xun College of Literature and Art in Yan 'an, with He Jingzhi and Yi Ding as screenwriters and Kyle, Zhang Lu, Qu Wei, Huanzhu, Xiang Yu, Chen Zi and Herry Liu as composers.
Artistic feature
White-haired Girl is the cornerstone of China's new national opera. Its most prominent artistic feature is its strong national color. With the theme of China Revolution, it shows the complicated struggle life in rural areas of China, and reflects the national customs, habits, personality, moral character, psychology and spiritual outlook.
At the same time, it inherited the tradition of folk songs and dances, borrowed from China's classical operas and western operas, and created a new national form on the basis of Yangko Opera, which opened up a dynamic road for the construction of new national operas.
Musically, "White-haired Girl" adopted the tunes of folk songs and local operas in Hebei, Shanxi, Shaanxi and other places, adapted and created it, and drew lessons from the handling methods of western operas to express characters, thus creating a distinctive musical image.
Yang Bailao's song "Ten Miles of Snow is White" is based on Shaanxi folk song "Caimaigen", with a deep and deep tune, which is a musical theme depicting Yang Bailao's basic character.
The musical themes depicting Xi's personality mainly come from Hebei folk songs "Biography of Qingyang" and "Chinese Cabbage", which run through the whole drama and change with the changes of Xi's personality. For example, the passage "The North Wind Blows" selects the relatively cheerful melody of the Hebei folk song "The Biography of Qingyang"; When I met Huang Shiren at Grandma's Temple, in order to show Xi's strong class hatred, I adopted the tune of Shanxi Bangzi, which was loud and tragic.
"White-haired Girl" draws lessons from the tradition of the organic combination of singing, reading and Taoism in classical operas, expresses the characters' personality and inner activities, and promotes the development of the plot. For example, Xi 'er's appearance tells the specific situation of the play with a song: "The north wind blows, the snow floats, and the snow floats in the New Year." Dad went out to hide the account for seven days and didn't pay it back for thirty nights.
Aunt gave me noodles, and I waited for my father to go home for the New Year. "Then use monologues to introduce stories and families to the audience. Other characters, such as Yang Bailao, Huang Shiren and Mu Renzhi, introduced themselves by singing, and in some places monologues were used to describe the course of events. The dialogue between characters adopts the expression of drama, and also pays attention to learning Daobai in drama.
Baidu Encyclopedia-China Opera