The historical development and basic characteristics of China Chaozhou Opera. What is the current development situation?

Chaozhou Opera, also known as Chaozhou Opera, Yin Chao Opera, Chaozhou Tune, Chaozhou Bai Zi and Chaozhou Qu, is mainly popular in Chaoshan area and is an ancient local opera sung in Chaozhou dialect. Chaozhou Opera is mainly distributed in Yunxiao County, Dongshan County, Zhao 'an County, Pinghe County in eastern Guangdong and Zhangzhou area in southern Fujian. It is popular in Hong Kong, Southeast Asia, Shanghai and many western countries and places. Chaozhou opera is often performed at temple fairs to show respect for the "master" (referring to the gods), and ordinary people also like to watch it in a very lively atmosphere, which makes the festival atmosphere more intense. Therefore, Chaozhou opera is more folk-custom than other operas. Chaozhou Opera is a branch of Southern Opera in Song and Yuan Dynasties, which evolved from Southern Opera in Song and Yuan Dynasties. This is an ancient drama with a history of more than 4 4 0 years. It mainly absorbed the characteristics of Yiyang, Kunqu Opera, Bangzi and Pihuang, and combined with local folk arts, such as Chaozhou dialect, Chaozhou music, Chaozhou songs and Chaozhou embroidery, and finally formed its own unique artistic form and style. Chaozhou opera master refers to a Chaozhou opera actor who has been engaged in Chaozhou opera performance for many years and has been recognized by the masses. Instead of liking Chaozhou opera for a long time, you can become a famous artist when you are old. Hong Miao (male) Qin Meng, Qiu Hong, Chen Hua, Chen Chuhui (female Xiao Sheng, Hongkong), Chen Xuexi (Xiao Sheng), Chen,, Chen Liyu, Cai Jinkun, Fang Zhanrong (ugly girl student), Fan Zehua (Hua Dan), Guo Shimei, Li Youcun, Li Yipeng (-(ugly girl)-Sheng),. Researchers have different opinions. One said that it was developed from the Chaozhou witchcraft Guan Xi Tong, and the other said that Chaozhou Opera was a branch of Yiyang Opera, which was "the direct product of Yiyang Opera after it spread everywhere". It was not until the 1930s that Chaozhou unearthed the scripts of Chaozhou Opera in the Ming Dynasty and the scripts of Nanxi Opera written by artists in the Ming Dynasty, and the origin of Chaozhou Opera was proved by historical data. 1936, China historian Xiang da published the article "Notes on China Documents Collected in Oxford" in Beiping library journal, and introduced the script of Ban Quli Peking Opera (namely "Chen Sanwu Niang"), a Chaozhou opera collected in the library of Oxford University in England, for the first time. The full name of the play is "Reprinting the beautiful scenery of Goulan in the Five-color Tidal Spring in the Northern Song Dynasty". This engraving of Oxford University, because "the last page is incomplete, it is impossible to know when this book will be published", but Xiang Da thinks that "from the font and illustration form, it is similar to the version published around Wanli in Ming Dynasty". Twenty years have passed since I introduced the litchi mirrors collected in Oxford. 1956, Mei Lanfang and Ouyang Yu Fu Qian led the China Peking Opera Troupe to visit Japan, and the Ming version of Peking Opera by tenri university of Japan, another edition of The Complete Works of Golden Flower Women collected by the Institute of Toyo University of Tokyo (with an inscription by Su six niang). Tenri university's Ming version of "Lijing Opera" is the same version as that of Oxford University. But the book is well preserved, and the last page is the text of the bookstore's confession and the words "Jiajing Bingyin Year". Jiajing is the year number of Zhu Houyi, the sejong of the Ming Dynasty, and the year of Jiajing is 1566. The Complete Works of Golden Flower collected by Toyo University Research Institute of Tokyo University has no engraving year, but according to experts' research, it is an engraving in Wanli period of Ming Dynasty (see Five Postscripts of Chao Opera in Ming Dynasty). At the end of Jiajing's block-printed volume, the bookstore had a confession: "Reprint the play of Li Jing Ji, with a total of 150 leaves. Due to the mistakes in the previous Litchi Book, the number of songs has decreased. Now, the second part of Chao Quan is added, and it is reprinted with "Yan Chen", "Goulan, Poetry, Beiqu and Correction", so that poets and poets can have a look at it in their leisure time. Buyers must approve the book. It shows that this "second edition" version is formed by adding "Yan Chen" and "Beiqu" and "correcting" the mistakes in the old version of Litchi. 1964, Professor Peter Long, director of the Institute of Oriental Studies at Oxford University and a sinologist, found another engraving of Chao Opera in the Ming Dynasty in the National Library of Vienna, Austria, which was published in the fourth year of Wanli Xin in the Ming Dynasty (158 1). This "newly carved" version of Chao Opera is not called Litchi Story, but called Litchi Story, which is a different performance with the same story content as Litchi Story. It is still difficult to determine whether the original edition is Jiajing's reprinting of Li Jing Ji, but it is a "new edition" at the moment, indicating that it exists in the original edition (the first edition) in Wanli period. At the moment, the front of this book is engraved with the words "Chaozhou Dongyue Li Bian". Local operas are ungrateful, and the names of playwrights are few. This edition is also engraved with screenwriter chaozhou people Li Dongyue. During the discovery of the overseas editions of Chao Opera in Ming Dynasty in 1958 and 1975, Cai Bojun's Pipa and Liu Xibi's The Story of Chai Jin were unearthed in Yuhu, Jieyang County and the Ming Tombs in Feng Tang, Chao 'an County respectively. The excavation of these two manuscripts has attracted great attention of Chinese and foreign drama experts, who regard them as "precious documents for studying the history of drama development" and "major discoveries of drama cultural relics since the founding of New China". From 12 to 13 century, the development of Chaozhou Opera China Opera formed Northern Zaju and Southern Opera (Southern Opera). Northern Zaju was developed on the basis of Song and Jin Academy. Achieve the prosperity of the Yuan Dynasty; Southern Opera was first formed and developed in Wenzhou, Zhejiang at the beginning of12nd century. In the spread and development of Song and Yuan Dynasties for more than 200 years, Southern Opera spread to the Yangtze River valley and the southeast coast, forming Yiyang Opera (Jiangxi), Haiyan Opera, Yu Yaoqiang Opera (Zhejiang), Kunshan Opera (Suzhou) and Quanchao Opera (southern Fujian and eastern Guangdong). There are generally two situations in which southern operas spread to various places and formed local operas. "One is that after the original tune of Southern Opera spread to various places, it was sung by opera actors in the local language, which changed constantly due to differences in language and intonation, and gradually localized in style; One is the local folk music-from yangko and minor to some religious songs, which has been continuously adopted into the traditional operas in China, enriching the original tunes. These two factors infiltrated each other and formed many different styles of vocal operas. The development of Chaozhou Opera in Ming Dynasty proved that there was a prosperous performance of Southern Opera in Chaoshan area in Yuan and Ming Dynasties. Some scripts of the early Southern Opera in the Song and Yuan Dynasties, such as Yan Chen (the story of Chen and Lian Jingniang) and Liu Xibi's "The Story of Chai Jin", which are lost in historical records, are all evidences that the early Southern Opera was circulated in Chaoshan area. Secondly, "Cai Bojun" and "Liu Xibi's Chai Jin Collection" are scripts of southern operas sung in Chaozhou dialect, which shows that after the southern operas spread to the current Chaoshan area, Chaozhou artists sang in Chaozhou dialect, changed their original tunes due to the differences in pronunciation and intonation, and absorbed Chaozhou folk music and minor tunes, forming a new vocal cavity based on southern operas. In the Ming Dynasty, Dai Jing wrote in Guangdong Tongzhi: "Tide customs often play with local accent". In the early Qing Dynasty, Qu Dajun wrote in "Guangdong New Language": "chaozhou people sings South-North songs with local accent, and Japanese Chaozhou Opera." The excavation of these two-handed copybooks is the evidence that chaozhou people sang the North-South songs with local accent. Thirdly, litchi story and Lijing story are scripts written with Chaozhou folk stories, which are complete in structure and skillful in techniques, indicating that Super Power has matured during Jiajing period, so its formation time should naturally be before Jiajing. At what age? According to relevant historical data, some opera experts believe that "Spring Tide Opera was very popular before the middle of Ming Dynasty, with unique repertoire and performance forms, and spread in Quanzhou, Zhangzhou and Chaozhou". More than 500 years have passed since "before the middle of Ming Dynasty", that is, at the beginning of15th century. If we count from Jiajing Bingyin (1566) in Li Jing Ji, the absolute number of the history of Chaozhou Opera has exceeded 4 4 0 years. Since the new century, Chaozhou Opera has carried out a series of traditional repertoire inheritance activities. The existing traditional dramas of Chaozhou opera can be roughly divided into two categories. The first category is the repertoire with high artistic level after processing and refining. Among them, the most representative plays are Li Jingji and Su six niang, and other plays include Sweeping the Window, Lulin Club, Debating Books, Noisy Wood, Sting, Noisy Kaifeng House. In the 1950s and 1960s, Chaozhou opera was full of talented people, and old artists and new literary and art workers gathered together. Scholars in the society also paid great attention to Chaozhou opera. At that time, the arrangement and inheritance of tradition reached a peak. Experts and scholars have screened a large number of traditional plays, and most of the plays with refining value have been processed and become the classics and reserved plays of Chaozhou Opera. These plays have compact scripts, high ideas, elegant lyrics and high literary value; Music not only retains the tradition, but also incorporates new materials; Action design is closely connected with characterization, which retains the exquisite and elegant characteristics and unique performance procedures of Chaozhou opera. Contemporary Chaozhou Opera is a vivid example of the survival of China's ancient operas on the stage, and it is one of the representatives of the excellent cultural expressions of the Chinese nation, with profound historical significance and high aesthetic value. After 1990, Chaozhou opera was restricted by the market economy and impacted by various modern literary forms, with reduced investment, brain drain and declining artistic level. Excellent traditional performing arts are on the verge of extinction and in a difficult state of development, which urgently needs protection and support. The state attaches great importance to the protection of intangible cultural heritage. On May 20th, 2006, Chaozhou Opera was approved by the State Council to be included in the first batch of national intangible cultural heritage list. And established the "Guangdong Chaozhou Opera Development and Reform Foundation" in Guangzhou. Business 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), Wu: Jason Wu, ugly black face: ugly official robe, ugly collar shirt, ugly kicking shoes, ugly Wu, ugly high head and ugly gown. 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 Shunying. The characteristics of singing Chaozhou opera are mainly manifested in singing. 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 of Chaozhou Opera is mainly influenced by Yiyang and Kunqu Opera imported from other places, which is quite different from the falsetto singing of Beijing Opera and Cantonese Opera. Singing with the ancient song "Si Er" is full of 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.