How is the development of Gaojia Opera?

With the rapid development of maritime industry in Ming Dynasty, more and more Quanzhou people left their homes and came to Nanyang. In particular, Zheng He led the fleet to leave Daming seven times to cross the sea, which set off the climax of the working people crossing the sea in China.

During the Daoguang period of Qing Dynasty, Fu Liangxing, a senior troupe, left Quanzhou by ferry at the invitation of overseas Chinese in the Philippines and Singapore, and began his trip abroad.

Fu Liangxing Opera Troupe came to Singapore with the fleet and was warmly welcomed by Singaporean expatriates. In particular, some elderly foreigners, listening to the clear pronunciation and mellow voice of artists, were so excited that they burst into tears, held the hands of artists and kept asking about Quanzhou, their hometown.

The first performance of Gaos Opera Troupe abroad finally began in the expectation of expatriates.

The first track is the martial arts drama Lu Junyi:

Lu Junyi stood in front of Zengtou City, with an iron bar in one hand and a commanding shirt in the other.

Yanqing stood behind Lu Junyi with ju in hand, and stood face to face with Lu Junyi, painting halberd, and they fought together.

Lu Junyi single-handedly knocked out Shi Wengong's weapon and tied the other side. Shi Wengong finally gave up. ...

The expatriates watched the familiar story, listened to the local accent and felt the lofty meaning of Lu Junyi, cheering loudly and applauding.

The second track is "Feng Yi Ting":

Diusim's story trembled with broken steps, and Jiao Jiao came to Fengyige weakly. Hou Wen-Lu Bu's eyes are a bit tender, and the story of Di Xin and Lu Bu meeting and falling in love in Feng Yi.

At this time, Dong Zhuo came and hit Yuanyang. Diusim's story is sad with Dong Zhuo's departure. ...

Then there are many good plays, such as Mu, Two Kings, Zheng and so on. Let these expatriates who have left their homeland for many years scream.

The whole performance lasted for six hours, and in the end, all the audience felt that they were still unfinished. They came backstage to express their condolences to the artists and looked at the sweat on their heads and the clothes wet with sweat. These foreigners cordially hold the artists' hands and thank them for bringing them such a pure local accent. Let them have the opportunity to enjoy the opera in their hometown in a foreign country.

Fu Liangxing was warmly received by expatriates in Singapore, and they also presented their own specialties to expatriates. After the first performance, Fu Liangxing organized more than 65,438+00 performances, presenting Yuanyang Fan, One Knife Meeting, Wu's Cao Zhao, Taking Changsha, Two Kings, Wayao Answer, Selling Smoke, Exile in Jiao Xue and Excerpts from Kou Zhun to foreigners.

The overseas performance of Fuliangxing Troupe set off the climax of Gaojia Troupe's overseas performance.

From the 1920s to the 1940s, Gaojia Opera developed rapidly, with more than 400 troupes in Jinjiang, Nan 'an, Hui 'an, Tong 'an, Anxi, Yongchun and Dehua, and troupes performed in the Philippines, Singapore, Indonesia and other countries every year.

The competition among classes is fierce, and the "Top Ten Tiger Classes" emerge one after another: the five tigers are Fu Qingcheng, Lao Dafu, Fu, Fu Jinsheng and Jin Xiuchun; The last five tigers are rookie spring, great auspicious spring, Jin Chengxing, new happiness and prosperity. The best name is "Ban Long", that is, "Jinliansheng", so there is a saying that "Yi Long breaks five tigers".

The role of the older generation in this period, which was famous in the early days, is still the pillar or master of all classes in this period; A new generation of talented rookies is in its heyday.

The new and old generations came on stage together, and the stars shone. The five pillars of Gaojia Opera, namely Sheng, Dan, Ugliness, Lao Sheng and Bei, have their own new generation.

At the same time, the development of Dan's role art in Gaojia Opera has created a large number of actresses, breaking the situation of "men disguised as women" inherited from previous dynasties and forming a situation in which men and women are equally divided. The appearance of actresses has produced the unique charm of female roles, so it is all the rage.

By the 1930s, some theatrical troupes were no longer satisfied with performing on grass platforms in rural areas. They continued to go abroad and traveled all over Southeast Asia.

In the mid-1940s, after the victory of the Anti-Japanese War, the Gaos Opera Troupe developed greatly. After more than ten years of frequent performance practice, a generation of young actors who grew up in the 1930s improved their artistic level.

Gaojia Opera outshines others in southern Fujian, which is a prosperous time. Hong Jinqi, Ke Xianxi, Dong, Cai Xiuying, Shi, Xu Yangchuan, Chen Zongshu, Lin Cifu, Wu, Xiao Diping and other performing artists are a generation of masters in the history of the development of Gaojia Opera, with far-reaching influence.

At this time, the traditional operas of Gaojia Opera can be roughly divided into three categories, namely, atmospheric drama, Shengdan drama and ugly drama. Gaojia Opera has rich martial arts programs. In the early days, the routine of "southern boxing" and "lion beating" in southern Fujian was adopted, and later it was enriched by martial arts programs of puppet shows and Peking Opera.

The routine of shouldering feet partly absorbed Liyuan Opera, with rich posture and rigorous footwork, which was summarized as 36 styles by later generations. Clown performance, every genre, has its own unique performance means to shape characters. In the later stage, the coarse horn opera absorbed and borrowed from Beijing opera, which was magnificent and had new breakthroughs and developments.

The music of Gaojia Opera is mainly composed of "Spring Melody" strings, including puppet shows, Liyuan Opera and folk tunes, with clear and lingering rhymes and impassioned voices. Percussion music is mostly taken from the gongs and drums of Beijing opera, but the ugly Dan opera still retains the lively sound of ringing lights, double bells and small calls. Featured musical instruments are Nanpipa, Erxian and Nanwa.

After the founding of New China, Gaojia Opera was further developed. 1950, Quanzhou Drama Reform Committee was established. 195 1 select famous actors from various troupes to form the Quanzhou Popular Drama Club, with more than 40 actors including Dong, Wu, Xu Yangchuan, Xiao Diping, Lin Xiulai and Cai Xiuying.

Since then, Jinjiang Folk Gaojia Class, Xiamen Jinlian Gaojia Class, Hui 'an Gaojia Class, Nan 'an Gaojia Class, Yongchun Gaojia Class, Dehua Gaojia Class, Anxi Gaojia Class, Tongan Gaojia Class and Datian Gaojia Class have been established successively. Since then, Gaojia Opera has changed the habit of performing on the screen and entered a new era of new drama and drama.

In the early 1960s, the newly edited ancient drama "Three Stages" toured Shanghai, Nanjing, Jinan, Tianjin and Beijing.

1983, The Dream of the Phoenix Crown, written by Zhuge Ti, a gaojia troupe in Anxi County, won the prize in the drama exhibition in Fujian Province 15.

During the period of 1986, Quanzhou Gaojia Opera Troupe received many foreign students from Britain, France, Italy, Japan, the United States, Germany and other countries to watch the clown performance. In the same year, Quanzhou Gaojia Opera Troupe went to Shanghai to participate in the first China Art Festival, and performed small comedies such as Bamboo Shoots, Jiangbo, Guanfu Song, Wang Haixing, Water Delivery, and Riding a Donkey to Visit Family.

1989 Anxi county advanced opera Yuzhu string and Quanzhou Wang Haixing participated in the performance of the provincial art festival.

1993 Quanzhou Gaojia Opera Troupe created and performed Dahe Ballad; From 65438 to 0994, Nan 'an Gaojia Opera Troupe created and performed The Soul of the Big Man. In the same year, Xiamen Jinliansheng Gaojia Opera Troupe went to Taiwan Province Province and Kinmen to perform.

The development of Gaojia Opera is closely related to Quanzhou people. One side's soil and water breeds the other side's culture and art. After hundreds of years, Gaojia Opera has always maintained an enduring and endless trend in southern Fujian around Quanzhou. Quanzhou people's personality has a lot to do with their appreciation habits.

Quanzhou has a long and ancient history and splendid culture, unique historical sites, distinctive folk customs, beautiful and peculiar tourism resources and beautiful and vivid stories, which constitute the charm of Quanzhou culture.

First of all, the formation and development of Gaojia Opera is closely related to the personality of Quanzhou people. The style, theme and performance form of Gaojia Opera are bold, lively, harmonious and interesting.

Great joy and great sorrow, great love and great hatred, a clear distinction between good and evil, and even the high-pitched melody in music singing are the image portrayal of Quanzhou people and Minnan people's personalities.

Secondly, during the Ming and Qing dynasties, the feudal dynasty implemented the closed-door policy of "sealing the sea" and "moving the border", which made the Minnan people who lived by the sea for generations in trouble. People in southern Fujian used the forms of dressing up pavilions, walking on stilts and marching on the streets to vent and express tenacious resistance, resulting in the dramatic phenomenon of "singing Song Jiang 200 years ago" and "everyone in the water talking at night", which made the anti-Qing forces and national anti-Japanese war spirit in the southeast coast at that time give birth to the reproduction and spread of Gaojia opera.

Thirdly, Quanzhou people, as the starting point of the ancient Maritime Silk Road, have been in overseas transportation and economic and cultural exchanges for hundreds of years. Formed a "all rivers run into the sea", "magnanimous and tolerant" mind and tolerance. Reflected in Quanzhou local opera art, especially Gaojia Opera, it is good at absorbing the advantages and specialties of other operas, making Gaojia Opera gradually mature and perfect from its early simplicity and roughness.

Finally, Quanzhou has a strong traditional culture, and there are many folk festivals at four o'clock and eight o'clock. Troupes such as Gaojia Opera are often invited to perform in the hometown of overseas Chinese.

In the hometown of overseas Chinese in southern Fujian, it is said that there will be an advanced opera with a crowded audience. The more people watch the drama, the more proud and glorious the people in the village will be. They also took photos of this grand occasion and sent letters to their relatives overseas to make them happy for the prosperity of their hometown.

Some overseas Chinese return home to donate to public welfare undertakings, or celebrate their parents' birthdays, and also like to invite plays to add fun and joy. Master Hong Chuan, a monk from Singapore, came to Jinjiang, Quanzhou, to see the 80-year-old Gaojia Opera. This mage has been away from home for more than 40 years. When he was a child, he liked to watch Gaojia opera, and he still remembered it after he left his hometown.