Famous old artists of Yihuang Opera include Li Wuxian and Li Zongbao, and famous actors include Applied Xian and Xiong Biyun.
The vocal works of Yihuang Opera include Yihuang tune, anti-tune, suona Fan Er, Xipi tune, Zhejiang tune, North and South Ci, etc. Moreover, it also retains the blowing tune of the Western Qin tune era, commonly known as "flat blowing tune".
The plate structure of Yihuang Opera's aria is an up-down dual format, and the aria is composed of one or more pairs of up-down sentences. Every lyric is a regular 7-sentence and 10.
The melody characteristics of Yihuang Opera are simple and simple, with few and short starting and ending sounds, taking characters as the cavity, similar to spoken language, and the melody range is not wide, mostly hovering within six degrees.
Yihuang accent Yihuang Mandarin mainly rhymes, with the same tone for men and women but different accents. Male voices use the original sound, including regular students, old students, painted faces and Lao Dan; The small voices are female, including Xiao Dan, Xiao Sheng and Zheng Dan.
The performance of Yihuang Opera is crude and simple. Singing and playing, the program is rigorous; One move, one style, follow the rules. Usually, martial arts training is very strict. According to legend, there is a saying that "there is an egg under your arm and a needle beside your neck".
Military commanders should adopt different postures according to their different identities, such as "Dragon Claw" or "Tiger Claw". The use of whips is also different according to the identity of the characters, including "dragon head" and "phoenix tail", or wood carving or silk weaving, while the emperor uses the "dragon head" whip, which is called "riding a dragon pony".
When Qi Jinggong counted horses, Zhong Lichun and four female soldiers did not use whips instead of horses, but rode horses in Yuan and Ming zaju, that is, tied to the body in the shape of horses, danced with the sound of hooves played by gongs and drums, and made some kind of racing graphics, which shuttled across Taiwan, with strong effect and unique style. This ancient way of performance has long been rare in other operas, and only Yihuang Opera has survived.
Most of the performances in the clean corner of Yihuang Opera are bold and straightforward; Sheng Jiao's performances are mostly elegant and generous.
Students and students' common body performances include: repairing books, reading letters, reciting, getting on and off horses, lighting lamps, dancing swords, drinking, going to court, sitting on accounts and so on. The necessary basic skills are "grasping the back", "grasping the tiger", "rotating", "kezi", "zombie" and throwing and launching. The basic footwork includes "square step", "staggered step", "cushion step" and "kneeling step".
Most of Dan's performances are demure. Common physical performances include: opening and closing doors, sweeping the floor, playing the piano, rolling curtains, dressing up and so on. The necessary basic skills are "lying in the cloud", "kite turning over", "oolong twisting column" and sleeve skills.
There are more than 300 kinds of plays in China. Generally speaking, they belong to five different acoustic cavity systems, namely Kunshan cavity, Yiyang cavity, Liu Zi cavity, Bangzi cavity and Pi Huangqiang cavity.
Yihuang Opera belongs to Pi Huang Tiao. According to Gao, Yihuang Opera was formerly known as Peking Opera, Gan Opera, Hui Opera, Han Opera and xiang opera Opera. Yihuang is the birthplace of Huang Er Opera, which mainly sings Yihuang Opera.
In the early days of Yihuang, there were "flat blowing cavity" accompanied by flute and "suona two offenders" with three kinds of boards. In the early years of Qianlong in Qing Dynasty, the tune of Yihuang abandoned suona, and the huqin was used as the main instrument, which unified the two tunes of "Blowing Tune" and "Ergong". There are four kinds of "Ergong", and the blowing tune has become Fan Er's flat tune, forming a widely circulated "Huqin tune".
Yihuang Opera spread all over Jiangxi after its appearance, and was absorbed by the remaining Jiangxi local operas such as Henan Opera, Donghe Opera, Xu He Opera and Ninghe Opera, and retained the title of "Fan Er". People call it Yihuang tune, because its basic tune is similar to Huang Er tune of Pihuang operas all over the world, so the locals later call it Laoer Huang Tiao.
Xiong Wen, a newcomer to Jiangxi in the early Qing Dynasty, presented a poem;
Sad feathers and clothes, few pens want to write romance,
Knowing is to clear the source and leave the music, and the soup is sung on the stage.
In other words, all Tang Xianzu's plays are performed by Yihuang's children, so there is a saying that "Linchuan gifted scholar is Yihuang's disciple". However, the Yihuang tune sung at that time was a combination of Haiyan tune and the local popular Yiyang local tune, instead of the Huang Er tune sung now.
This fully shows that Yihuang Opera is active and talented, and it is a "play nest". It has the foundation and conditions to produce a new opera cavity.
During the reign of Qianlong Jiaqing in Qing Dynasty, Yihuang tune actually went to Beijing, such as Zhao Lian's Xiao Ting Zalu, which said:
Recently, there have been various titles such as Shaanxi Opera, Yihuang Opera and Luantan Opera.
In the Qing Dynasty, there was a saying in Qi Zhenying's "Hundred Words in Jinghua":
All kinds of clothes are beautifully dressed, while Yiyang and Qin are mixed with yellow.
In fact, it stands shoulder to shoulder with Yiyang, Shaanxi and random bombs that are popular in Beijing. Therefore, the widespread spread and far-reaching influence of Yihuang tune is of great significance for exploring the origin and development of Huang Er tune.
Yihuang Opera has rich traditional repertoire, distinctive features and simple and straightforward melody, especially the plaque has a special position and usage, so that many people regard it as a plate of Fan Er. The whole play is full of stories; Detailed division of roles, simple and simple singing, colloquial singing, easy to learn and understand.
The performance is rough and generous, singing, reciting and playing form a rigorous and flexible program, accompanied by Hu Qin, with strong local color, which is very different from Beijing Opera and Gan Opera. It is a play that can adapt to people with different personalities, different times and different contents.