Detailed explanation of drama culture: What are the characteristics of Chaozhou opera?

Students: Wusheng Xiaosheng, Laosheng, Wusheng and Ugly Students in Chaozhou Opera (peanuts; Three peanuts)

Dan: Tsing Yi (black shirt), boudoir Dan (blue shirt), shirt skirt Dan, colorful Luo Yi Dan (Hua Dan), black hair, white hair (Lao Dan), wudan.

Clean: Wen Jing, Jason Wu, ugly face.

Ugliness: ugly robes, ugly necklaces, ugly kicking shoes, ugly martial arts, ugly hair, ugly robes, ugly rags, ugly old people, ugly clowns and ugly women.

Chaozhou opera has a full range of trades, and its first play, Life, Dan, Quiet and Ugliness, is delicate and vivid. Its body work has strict procedural norms and freehand brushwork, and pays attention to the exertion of skills. Among them, Ugly Behavior and Hua Dan's performing arts are particularly rich, with unique styles and rich local colors.

Chaozhou opera has many roles. There are seven lines in the Ming dynasty: fate, Dan, paste, foreign, ugly, final and clean. Each has a different type. As the saying goes, "four students, eight Dan, sixteen old brothers" is used to describe the level of a complete crew. Four students: young students, old students and ugly students. Vu Thang; Eight Dan: Wu Shandan, Gui Mendan, Cai Luoyi, Wu Dan, Peking Opera Blues, Lao Dan and Ugly Dan. "Brother" refers to playing various miscellaneous roles in the play.

From the performance point of view, life, Dan and ugliness have the most local characteristics in the role lines of Chaozhou Opera. Sheng Dan's drama Sweeping the Window is regarded as a typical representative of China opera, which tells a story by singing and dancing. Clowns in Chaozhou opera can be divided into ten categories, among which clowns fans are famous all over the world. In the old ugly drama Chai Fanghui, the clown's slide skill is unique to Chaozhou opera and enjoys a high reputation in the opera world.

In the past, Chaozhou Opera has always implemented children's music system, and Xiao Sheng, Tsing Yi and Hua Dan were all performed by children's artists. These artists grew up, their voices changed, and they were eliminated. This system has seriously hindered the development of Chaozhou opera. After the founding of New China, the children's drama system was abolished, various reforms were carried out, and a large number of outstanding actors were trained, which made the ancient art of Chaozhou opera glow with new brilliance.

Famous actors in Chaozhou Opera are Xie, Lu Yinci, Chen Hua, Huang Yudou, Hong Miao, Guo Shimei, Cai Jinkun, Li Youcun, Fan, Zhang Changcheng, Huang Ruiying, Huang Shengdian, Ye Qingfa, Liu Xiaoli, Zhang Yihuang, Wu Yimin, Xu Xiaona and Zheng Shun.

Singing:

The characteristics of Chaozhou opera singing are mainly manifested in its timbre. Generally, there are four tones used in Qupai singing or dual singing, namely [light 36 tone], [heavy 36 tone], [active 35 tone] and [contrast tone], and there are also [lock south branch] and [play quail] tones, which are wrong.

[Light 36 Tones] The melody is composed of 6 1235, which is suitable for expressing cheerful jumping, relaxed and enthusiastic emotions, such as [Crying for Love] in "The Three Disasters of Chen".

[Re-emphasizing three or six tones] A melody with 7 1245 as the main tone is used to express Zhuang Mu's heavy and excited emotions, such as [Huanglong Juan] in Knocking on the Door.

[Lively Three-Five Tunes] The melody is composed of 57 124, and it is good at expressing grief and indignation. "Three Tones of Fire" is a special tune in the singing of Chaozhou Opera. In singing, its tone is very close to that of Chaozhou dialect. Because of the ups and downs of lyrics, its tone is mellow and changeable. Therefore, the artist said: "From the score, there are only five tones in" Three Tones of Fire ",but when it is sung, it is only one tone, and the round and lively changes are more than a dozen tones." It has a strong charm of tidal cavity, such as [thunderbolt] in Qionghua; [Lively Three-Five Tunes] is a sad tune, but the tunes used in Chaozhou Opera are changeable, and some are sad and fond of singing, such as [Soap robe] in Das Kapital.

[Contrast tone] takes 6 1245 as the main tone to form a melody, which is a variant of [light 36 tone], that is, it takes Fan as the palace and has a unique flavor when singing, and is mostly used in garden plays and relaxed and lively scenes, such as [Luohanyue] in "Thorn".

Violating tune is a common technique in Chaozhou opera singing. Chaozhou opera pays more attention to intonation and generally does not mix with each other. For example, 74 should be avoided as the keynote, and 63 should be avoided as the keynote. If you mix together, you will feel guilty about each other. Qupai in the traditional play "Yang Qiuyu Ji" consists of four tones: [light 36 tones] [heavy 36 tones] [lively 35 tones] and [contrast tone]. Artists, commonly known as [four stinks (together)], have a humorous artistic conception. The tunes of Sonanzhi and Zhanquail are also offensive sounds, but the sentences in their mother-child cavity are relatively stable.

[Quail fighting] is often used to sigh or wait late (waiting for people to reach the finish line) and feel sad. The tune is plain, but it is also used in exciting scenes.

The true voice used in the singing of Chaozhou Opera is mainly influenced by Yiyang Opera and Kunqu Opera imported from other places, which is quite different from the falsetto singing of Beijing Opera and Cantonese Opera. The ancient music "Si Er Music" is used for singing and has a strong charm. Singing is a combination system of Qupai style and banqiang, which is mainly composed of Qupai combination. So far, it still retains the form of chorus. Two or three people sing a song or end a song, which has a unique style and strong expressive force.

The tunes of Chaozhou Opera were called "Chaoqiang" or "Chaodiao" in Ming Dynasty. At present, there are Chao Opera scripts reprinted by Ming Jiajing Bing Yin (1566), poems of the Northern Song Dynasty "The Mirror of Goulan Litchi" reprinted by Wanli Xinsi (158 1), and the newly carved Litchi and the tide of picking up brocade reprinted in Wanli. Litchi Ji carved by Wanli New Temple, edited by Li Dongyue, is a different performance with the same story content as Lijing Ji carved by Jiajing.

Jiajing's engraving "Li Jing Ji" has the words "super strong" or "all strong" in the suffix of the song name, which is a common script for two kinds of singing. It is not unique that two voices share a script. Chen Boqing's Complete Notes on Litchi, printed by Xin Mao, Shunzhi, Qing Dynasty, is a new publication and a common version of Chaozhou dialect and Quanzhou dialect, which reflects some relations between Chaozhou opera and Liyuan opera in southern Fujian in historical development.

Among them, Huang Shengdian, a famous veteran of Chaozhou Opera, is the representative figure of Chaozhou Opera singing. His singing was loud and passionate, which touched countless audiences and experts. At the first China Drama Festival, he won wide acclaim for playing the role of the emperor in Zhang Chunlang's Haircut, and his singing was rated as "Super Golden Tenor" by experts.

The fire dance in Chaozhou Opera is the most local and oldest aria in Chaozhou Opera. Fan is currently recognized as the best singer in the fire dance. Unfortunately, in her forties, she lost her voice and left her beloved stage early, which makes people feel sorry.

Language:

Chaozhou opera language has three distinct characteristics: first, distinctive local color; Second, a strong flavor of life; The third is a vivid metaphor. These three points can be seen everywhere in the books of traditional dramas of Chaozhou Opera. But in the old society, Chaozhou opera artists were mostly prostitutes with low educational level. Although the drama language handed down by them has the above three characteristics, most of them are vulgar. Some writers of Confucian classics participate in the compilation, while others tend to be abstruse and difficult to understand.

Generally speaking, the language of Chaozhou opera has not yet reached the artistic realm of "seeking elegance from vulgarity and adapting elegance to vulgarity". After the founding of New China, many new writers and artists joined Chaozhou Opera Troupe as culture teachers, helped artists learn culture and participated in writing scripts, which improved the literary taste of Chaozhou Opera to some extent.

In the 1950s, a number of well-organized and lyrical plays emerged, such as Argument, Sweeping the Window, Lulin Club and Stabbing Liang Ji. Su six niang is a good example of appealing to both refined and popular tastes. For example, Du Bo is ugly, the peach blossom is Hua Dan, and the language of the "transition" drama is full of local flavor and life flavor. Su six niang and Guo are both gifted scholars, and their languages designed by the authors are mostly the fusion of poetry and folk songs, which are close to "true colors".

Looking at the repertoire languages performed on the stage of Chaozhou Opera, some of them are still not ideal, and they have not reached the height of "appealing to both refined and popular tastes", and we still need to work hard. And the direction of efforts, I think we should start from the broad audience. Chaozhou opera audiences have different levels, ranging from high school to low school in terms of educational level, from old to middle-aged in terms of age structure, and from different cities, towns and mountain villages in terms of geographical differentiation. So it is not easy for a drama to be understood, appreciated and watched by such a wide audience. There is a lot of knowledge for us to learn. As far as language is concerned, I think we can pay attention to three points:

First, focus on the middle layer and give consideration to the high and low layers. In other words, the language of the whole drama should be fully understood by the middle-level audience as far as possible, taking into account the high and low, and flexible. Don't use obscure words and phrases. When you need to use allusions, come up with auxiliary methods to make the audience clear.

The second is to take "natural color" as the main body, and cross "literary talent" on the left and dialect on the right. The language of traditional Chinese opera can be divided into "natural color" and "literary talent", but there is no distinction between noble and noble. The "natural color" language is close to folk songs and life, which is well used and has high-grade literary value.

Third, pay attention to "vertical unity and horizontal differences", which is the most important way to describe characters' personalities and distinguish occupations in language. "Vertical unification" means that everyone's own language style should be unified from beginning to end; "Horizontal difference" refers to the differences in the language styles of the people in the play. The more obvious the differences, the more distinct their personalities, which is the same as the seven-color beams of "red, orange, yellow, green, blue and purple" on the TV screen. The clearer the edge between them, the more beautiful it is.