Because of its different popular areas, Shaanxi Opera has evolved into different schools: Donglu Shaanxi Opera is popular in Dali and Pucheng areas of Weinan in the east of Guanzhong (namely Tongzhou Tiezi, also known as Laoqin Opera and Donglu Bangzi); Popular in Fengxiang, Qishan, Longxian and Tianshui areas in the west of Guanzhong, it is called West Road Qinqiang (also known as Xifu Qinqiang and West Road Bangzi); Popular in Yangxian, Chenggu, Hantai and Mianxian in Hanzhong area (actually, Lu Nan Qinqiang, also known as Diao Han Qinqiang and Xunxi); Popular in Ganxian, Liquan, Fuping, Jingyang, Sanyuan and Lintong, it is called North Road Shaanxi Opera (that is, Agong Opera, also known as Curbing Gongxi); Popular in Xi 'an, it's called Zhonglu Qinqiang (that is, Xi 'an's random play). After the random bombs on the West Road flowed into Sichuan, they coexisted and merged with the Lantern Opera and Gaoqiang Opera in northern Sichuan for a long time, and adopted the Sichuan language, gradually forming a unique style of Sichuan Bangzi-Tan Opera; East Road Random Opera also played an important role in the formation of Beijing Opera, Shanxi Opera, Henan Opera, Hebei Bangzi and other operas. Influenced by local dialects and folk music, each Shaanxi opera is slightly different in pronunciation, aria and music. In the past 50 years, the development of the east, west, south and north roads of Shaanxi Opera tends to stagnate and tends to be replaced by the middle roads of Shaanxi Opera.
range
The heyday of Qin Opera was during the Qianlong period (1736- 1795). During this period, there were many places in China where there were 36 Shaanxi Opera clubs, including Fu Bao Class, Jiangdong Class, Shuangzhai Class and Jinxiu Class.
aria
Xianyang Qin Opera is divided into two parts: plate and color, and each part is composed of two parts: bitter tone and happy tone (also known as Huayin). Bitter tune is the most distinctive singing method of Shaanxi Opera. It is intense, solemn and stirring, deep and high-pitched, showing feelings of sadness, hatred, nostalgia and desolation. Yin Huan Qiang is cheerful, bright and vigorous, and is good at expressing joy and happy feelings. There are four types of Shaanxi opera discs: one with three eyes, one with one eye, one without eyes and one without eyes. The names of the board cavity are adagio, stop board, first hammer board, negative board, second and sixth board, second and sixth hammer board, belt board, sharp board, rolling board, second guide board and double hammer board. Generally known as the six big plate heads, adagio, ribbon plate, backing plate, two guide plates and coiled plates. Qinqiang Qupai can be divided into six categories: strings, percussion instruments, suona, sheng pipe, sea flute and divertimento. In the early days, the band was composed of six people, divided into two parts: nothing and martial arts.
Character; function
The role of Shaanxi Opera is said to be "thirteen doors and twenty-eight categories". Old students are divided into old students, old students, old students and old students.
Shampoo should be born, cassock should be born and red should be born, young students should be born at the end of pheasant, shampoo should be poor and martial, young students should be old Dan, Zheng Dan should be divided into sleeve tsing yi, pythons should take tsing yi, Xiao Dan should be divided into boudoir Dan, Beijing opera blues, Hua Dan should be divided into sub-Dan, provocative Dan, wudan, media Dan, big net, gross net, ugly and ugly. Each character has its own unique style and specialty. When you sing, you must sing duets from many angles, such as Sheng, Tsing Yi, Lao Sheng, Hua Lian. Therefore, it is also called "disorderly singing". Some people praise Qin Opera for its "exciting sounds, warm and sour ears, and turbulent qi and blood", precisely because of the performance characteristics of Qin Opera. Its performance skills are simple, simple, rough, delicate, profound and beautiful, moving people with emotion, full of exaggeration, strong flavor of life, rigorous programs and rich skills. Characters and stunts include riding a horse, pulling a shelf, spitting fire, blowing fire, spitting fire, shoulder and back skills, sharp skills, feather skills, sleeve skills, fan skills, snuff, dome light, grinding teeth, playing with fire sticks, falling, chewing, teetering, fangs, hat and wing skills and so on.
Types of traditional Chinese opera facial makeup
The facial makeup of Shaanxi Opera pays attention to solemnity, generosity, cleanliness, vividness and beauty, with three primary colors as the main color, middle color as the auxiliary color, flat painting as the main color and contrast color as the auxiliary color, so transition colors are rarely used. In terms of expressing characters, it is characterized by loyalty, blackness, powder rape and magic, and its style is mainly characterized by rough lines, bold style, bright colors, strong contrast, thick eyebrows and magnificent patterns. The facial makeup of Shaanxi Opera has a long history. Kang Hai's facial makeup of Ming Dynasty unearthed in Shaanxi Wugong is the earliest facial makeup of Shaanxi Opera. Shaanxi and Gansu provinces have formed different performance styles, so there are many schools on Facebook. For example, there are Longnan facial makeup, Longdong facial makeup, and "Geng facial makeup" representing Gansu Middle Road, and different facial makeup of Shaanxi Opera has also been formed.
theme
There are tens of thousands of repertoires performed by Shaanxi Opera, and most of the traditional repertoires come from folk literati, with a wide range of topics and complex contents. Due to the age, there are many scattered books. According to the statistics of the former Shaanxi Repertory Theatre (now the provincial art research institute) from 65438 to 0958, there are only about 3000 copies left. These dramas are mainly tragedies and dramas that reflect historical events, and dramas that show folk life and love and marriage account for a certain proportion. Most historical dramas are the legend of heroes or tragic stories based on foreign countries, the Three Kingdoms, Yang Jiajiang and Yue Shuo, among which there are three kingdoms 108 and Yang Jiajiang 85. Other themes include myths, folk stories and various case-solving dramas. After the Revolution of 1911, more than 30 playwrights of Hehe wrote more than 550 plays, among which Sun, Gao Peizhi, Li and Li Yuezhi had the highest achievements. Among these plays, there are three times, three drops of blood, Golden Pagoda Winning, Double Brocade, Rou Yuping, Bian Zhongge and Sister-in-law Xian. In addition, a number of modern Shaanxi opera playwrights have emerged in the revolutionary border areas, with more than 200 plays, among which Ma Jianling is the most successful. His representative works include Revenge of Blood and Tears, Family, Hatred of the Poor, etc. After the founding of New China, the adapted plays include You Gui Shan, You West Lake, Three Drops of Blood, Zhao Orphan, Yuan, Po, Si Zi, Legend of the White Snake, Famen Temple and Burning Yangzhou.
drama
The lyrics structure of Qin opera is seven-character style, with seven-character sentences and cross-sentences, which means that the lyrics of the whole drama are arranged like a seven-character blank poem.
Clean and tidy. Corresponding to the lyrics is the tune, and the musical structure of Shaanxi Opera can be summarized as the process of "breaking the board-adagio-from the medium board to the urgent board-ending", that is, the rhythm of playing the board changes from slow to slightly fast and extremely fast, and then gradually slows down before ending, and finally ends. The singer unfolds the story layer by layer according to this step-by-step rhythm. So how to change the rhythm? This is precisely the role played by the "Luban" who sings in the Shaanxi Opera. Shaanxi opera belongs to a variety of plate-type operas, and there are six plates, namely, 26 plates, adagio, ribbon plate, backboard, two-inverted plate and curling plate. 26 boards are two "six boards", and a six board needs to knock six bangzi, all of which are strong shots. Other kinds of plates are made by acceleration, deceleration and free rotation. In this way, artists can express their feelings in different rhythms according to the needs of the plot.
accompany
The musical instruments used in Shaanxi Opera are banhu, erhu, flute, sanxian, pipa, dulcimer, suona, sea flute, pipe and tuba (trumpet). There are drums, dry drums, hall drums, sentence gongs, small gongs, horse gongs, cymbals, hinges and bangzi in the martial arts field. Of course, the most important musical instrument in Qin Opera is Banhu, and its sharp and crisp pronunciation can best reflect the characteristics of the changes of Qin Opera plates.
Representative figure
In addition to Wei Changsheng, a famous northern and southern scholar in Qing Dynasty, there are Wang Xiangyun, Chen Jibi and Shen Xianglin from Weinan School, Luan Xiaohui from Tongzhou School, Tao Suoer from Zhouzhi School and Yue Sezi from Chang 'an School. In the middle and late Guangxu period, there were Runrunzi, Yu Xier, Chen, Zhao Jiemin, Li (Hong) and Liu (Carpenter Hong). Since the Revolution of 1911, the famous ugly Ma Pingmin, the famous young student Su Zhemin, the famous (keep pace with each other), the famous (known as "Northwest Mei Lanfang"), the famous (known as "authentic Shaanxi Opera"), He Zhong Zhen, Song Shanghua and so on. Tian Denian,,,, Geng Shanmin,, Zhong,, etc.
Eight stunts:
blow a fire
Also known as fire breathing, it is generally used in plays with monsters. Li Huiniang used this technique in "Journey to the West, Saving Peisheng". The method of blowing fire is to grind rosin into powder, filter it with reeds, then wrap it with long fibers and strong tension into a small bag that can be contained in the mouth, and then cut off the paper ends. The actor wrapped rosin in his mouth before blowing the fire. Blow the rosin bag with air to make the rosin powder fly to the torch and burn into a flame.
The common forms are: direct blowing, oblique blowing, oblique blowing, upward blowing, prone blowing, turn-over blowing, over blowing and so on. According to its shape, it can be divided into; Single-mouth fire, continuous fire, turning fire, one-step fire, mushroom cloud fire, etc.
Single-mouth fire: that is, blowing fire in one bite. Inhale mainly through the nose, and blow directly against the flame of the torch with the gas in the abdomen.
Even fire: gas method is the same as single-mouth fire. Keep it tight when you blow. Blow the first fire on the fire head, while it is still alive, and then blow another fire on the first fire to keep the fire alive.
Turn over the fire: step on the left, half lying in the position of the fish, start the fire from the fire head (that is, spray rosin powder continuously by the blown flame to make the flame last for four or five feet), and turn over. After a turn, the fire continued.
Yi Long: The half-lying fish dives into the torch to blow the fire, then leaves the torch and blows the fire evenly in one breath, making the fire last for several feet, just like a dragon.
Mushroom cloud fire: half-lying fish, immediately put back on the tail of a "one-stop" fire, and blow the fire hard, that is, one by one becomes a mushroom (also known as the goddess scattered flowers or the phoenix in the fire). Later, blowing this fire can also turn the color of the fire into snow blue. The above is the most basic blowing method, which can also be changed according to the needs of the plot and the changes of dance movements. , He, Ma, Sun Liqun, Zhang Yan; Wang, Tongzhou Bangzi; Both Zeng Jiantang and Li Jiabao are good at this. Ma's Ghost Blows Fire (Ghost Blows Fire to Save Pei Sheng in Li Huiniang The Journey to the West) is famous all over the country. She can blow out fires of various shapes, and she can blow out more than forty fires in one breath, which is a stunt. She taught this skill to many opera singers all over the country, such as Beijing and Shanghai.
Face change-face change
This kind of stunt is found in Shaanxi Opera, Tongzhou Bangzi, Xifu Shaanxi Opera, and Da and Da's Life, Dan and Ugliness. There are two variants of "changing face" and "blowing face ash".
Face changing: this technique is used in "Three-headed Revealing the Tomb". The grave robber made a ring with a belt, one end was put around the zombie's neck and the other end was hung around his neck. When a zombie takes off his clothes, his feelings change complicated and his facial expression changes accordingly. When he found that the deceased was dressed in luxury, his eyes narrowed into a line with joy, and his mouth tilted to both sides of his nose, trembling with joy. When the cover face of the corpse flew away in fear, revealing a gloomy and horrible face, he shrank his neck, opened his mouth, stared at his eyes and his eyebrows kept beating. In order to suppress the fear in his heart, the grave robbers suddenly raised their eyebrows, glared at each other, cocked their noses and gnashed their teeth, showing a ferocious look. The victim wore seven suits. Every time he rotates his body, he takes off a dress, puts it on himself at the same time, and changes his face. One moment he became stupid and stupid, and the next he became witty and brave; Stretch your neck for a while, put away your chin, put the tip of your tongue against your lower lip, and pull your head and neck into a slender face; After a while, he frowned, shrank his chin and pursed his chin, becoming a sinister villain with no meat on his face; Then he bulged his cheeks, loosened his shoulders and became a big fat man; After a while, I shrank my head, put my chin away, and became a thin man ... with various forms and endless changes, it all depended on the efforts of one face. Tian Xinghua, an actor in the Han Dynasty, was good at this stunt.
Blowing dust on the face: An actor blows dust on his face to make it change. In the Han Dynasty, this method was used in Ann's "Poison Erniang" and "Drug Poison Wu Dalang". Wu Dalang drank poisoned wine, and his abdominal pain was unbearable, and he cursed Pan Jinlian. Pan cruel a robot, covered Wu Dalang with a quilt. By the time Pan got up and sat on the quilt, his face was already gray and black. Sun Wu also has a face-changing plot in Taihe City.
ceiling lamp
The performer lights an oil lamp and puts it on his head to perform various actions. Chang Tianbao, a clown in the third son of Shaanxi Opera, was punished by his wife for gambling.
Lights. Always put the oil lamp on your head, kneeling, walking, lying on your back, drilling chairs, drilling tables, serving tables, etc. , are very comfortable, can let the oil lamp not drop, not spill, not go out. It all depends on the balance skill of the actor's neck. Liu Shengsan, Jin Fuchang, Wang Banjie, Zhao, and Cai, the clown of Han opera, are all good players in this field. King board can also blow out the overhead lights by itself.
bowling
Shaanxi Opera, Tongzhou Bangzi, Xifu Shaanxi Opera, Han Tune and Han Tune Huang Er are common tricks in temple fairs. Taitai's Tianguan and Sun Wuzi of Taihe City also used this technique. The performance method is to throw a bowl into the air, hit it with another bowl, and the two bowls are smashed together in the air. Bowling performance has two styles: flat and oblique. Flat play: first throw a bowl flat in the air, then throw another bowl up, and the two bowls collide and break into pieces. Awkward; Hold a bowl in one hand and grind the bottom of the bowl relatively. When hitting, first throw the bowl horizontally to make it roll in the air like a wheel, then throw the second bowl like this and hit it with the bottom edge of the bowl. Shaanxi Qin opera actors Lu, He, Liu and Yan are all good at this skill.
Whip snuff
Performers of stunts include Shaanxi Opera, Tongzhou Bangzi, Xifu Shaanxi Opera, Du, Jing and Shan Xing. There are two ways to sweep snuff: using a whip and using a "paper pendulum" (rubbing paper into rope-like strips). Sweep lanterns with a whip: Sun Wuzi of Taihe City and Wen Zhong of the Yellow River Array both used this technique. The performance method is as follows: first, make paper flowers about four inches long on the whip tip with yellow paper, then add enough lamp oil and lengthen the lamp twist (made of paper wrapped incense) to make it have more snuff. After the procession, the actor straddled his right leg, turned left, stepped forward, left his bow and arrow back, facing the audience, and hung the oil lamp on the left front corner of the stage. Accompanied by percussion "The Wind on the Feet", Shuang Bian swiped the face flower backhand from bottom to top, and the paper flower in front of Shuang Bian's nose repeatedly swept the snuff twisted by the lamp, making it spread out and sprinkled into the air. Then, cross your left leg and turn right. The arrow behind the right front bow is facing the audience and the oil lamp hanging in the right front corner of the stage. The action requirements are the same as those of gongs and drums, but in different directions. Then, I danced a Shuang Bian. In Four Hammers Down, I walked to the right front corner of the stage and appeared. At this time, the stage space is full of sparks, falling everywhere, flickering and confusing. The light near the actor's appearance changed from dark to bright because the snuff was swept away, so that the audience could clearly see the expression and eyes on the actor's face. Sweeping snuff, oiling, twisting, knotting snuff and sweeping snuff all need to grasp the time, just right and cooperate tacitly to show superb skills. In the past, performances were all illuminated by clear oil lamps, and this stunt was used. With the development of science and technology and the change of lighting conditions, this stunt is no longer used.
Step on the bridge
Shaanxi Opera and Diao Han performed stunts. The seesaw is a wooden mat, sharp and small, about three inches long, covered with embroidered shoes. Actors can only wear fake shoes with two toes, and they have to tie their shoes to their toes, so they are called stilts. After tying stilts, the actor can only walk on the toes of two feet, and the heel is raised high, while the actor who ties stilts always touches the ground with two fingers. You can't rest until the play is over. What is more difficult is not only to imitate the dance steps and shapes of the three-inch golden lotus, but also to imitate the difficult movements specially designed for tying stilts, such as stepping on benches, tables and stones. And jump up and down to show the actor's stepping skills. During the Qianlong period of the Qing Dynasty, after Wei Changsheng, the heroine of Shaanxi Opera, went to Beijing to perform, she became famous as the capital, and her skill of walking on stilts was extended to all the brother operas in China. After that, Zhu was famous for walking on stilts.
Dental skills
This is a stunt used in Shaanxi Opera, Tongzhou Bangzi, Xifu Shaanxi Opera, Hunan Opera and Chinese Opera. Dental skills can be divided into "biting teeth" and "playing with teeth". Grinding teeth: Also called grinding teeth, Mao Jing often uses this technique. The actor gritted his teeth and made a creaking sound, expressing his hatred of gnashing his teeth. This skill mainly lies in control. It's not hard to bite. The difficulty is that the sound should be loud and spread far, and there should be no irritating noise. Yan Wa, Liu, Fan, Hua, Zhou, the famous actors of Shaanxi Opera, all performed by Wei Yan and Gai He in Anti-Changsha, Hutou Bridge, Sacrifice Lantern, Mud River and Eight Diagrams.
Play with your teeth: put your teeth in your mouth and make them move. There are two kinds of tooth punching. First, two long pig teeth are cleaned, the hollow root is filled with lead, and a groove is carved outside, and the two teeth are connected together with a thin thread, which is put into the mouth when playing and manipulated with the tongue; One is made of cow bones. In the past, actors in the Han Dynasty used this kind of teeth. There are six kinds of seven styles to play with teeth. (1) Yin and Yang teeth. That is, the left tip bends upward, the right tip bends downward, and vice versa; (2) fangs. That is, the two teeth are upward at the same time, slightly outward, showing an inverted figure of eight; (3) nasal teeth. That is, two teeth face up at the same time, the tip of the tooth is inserted into two nostrils, and the root of the tooth is slightly curled, showing a regular pattern; 4 a word tooth. That is, two teeth come out from both sides of the mouth and extend to the cheeks on both sides, in line with the lips. (5) Giant teeth: the tooth shape of the giant spirit god. The two teeth are inclined downward from both sides of the corner of the mouth and inverted in a figure of eight on both sides of the chin; (6) The teeth are defective. That is, two teeth are straight down from the mouth, showing an "ll" shape. Xie Dekui, Wen, Zhao Wenguo, Jiao Dingguo and other Xifu artists often use this technique. Mainly used for the feet of kings, judges and ghosts. Chinese music artists Liu Wuxiang, Ma Zhongfu, Zhang Tongfu, Hua Paradise, rising stars Wang Huamin, Lei Yiqiang, Bai Furong and so on are all outstanding in this field.
Fill the root with 2-4 clean long pig teeth, carve a small root canal around the root, and tie a thread about two inches long in the root canal, which is contained in the mouth and operated with the tongue. When performing, pull your lips and teeth with the tip of your tongue to make them spit out various forms of "tooth punching" skills. When singing, you can put your tongue in the lips on both sides of your teeth. Actors with deep skills often bite their teeth and sing clearly. This performance skill is extremely difficult and highly appreciated! The flexible use of this performance technique is rare in the history of Shaanxi Opera. In the 1940s, Liu's performance of "A Toothache Sacrifice" was a must. Wang Huamin in the 1950s also had this skill. Later, Lei Yiqiang "played with teeth" freely, and could accurately match the characters' personalities and emotions. Bai Furong, a clean actor of Fuping's "One Gong Qiang", can also "answer blows with blows". In the 1960s, the judge in his performance "Catch Wang Kui alive" skillfully changed "spitting fire" into "playing with teeth", which was quite prestigious! Unfortunately, no actor has mastered the skill of "punching teeth" since then! The skill of "playing with teeth" generally shows the ferocious role in traditional Qin opera. Judges Zhou Cang, Wang Baichao, Long,, etc. It's all performed with dental tricks. Whether it is Shi Yang III, the underworld or the celestial world, it is all useful. Its representative figure is Gai in Mud River.
Hanging corpse
Also known as "big hanging" [Liu Quan enters the melon], this stunt is mostly used in Shaanxi Opera, Tongzhou Bangzi, Xifu Shaanxi Opera, Da, and so on. Before the performance, tie a long suspender on the post at the entrance. One end of the suspender is at the entrance and the other end is hidden inside the stage. When the dramatist hanged himself, he stood on the chair, tied the white silk hanging ring to the club head, then put the hanging ring around his neck and knocked down the chair. At this time, one end of the boom will be pressed down and move to the right in the platform, so that the club head will tilt up and extend out of the platform mouth, and the suspended person will be hung high in front of the platform. When the actor is putting on makeup, he has an oval iron belly wrapped around his waist, and there are two iron hooks at the upper end, from his chest to his neck. When hanging, the hanging ring around the neck must be put on the iron hook, and then one sleeve is put on the neck to cover it, and the other sleeve hangs down, showing the scene of the living being hanged. This technology has not been used so far.