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Yiyang Opera of Gan Opera is a bright pearl in the history of China Opera. Yiyang Opera was born in Yiyang, Jiangxi. Yiyang Opera has left an indelible mark on the stage of China Opera with its unprecedented artistic charm. Yiyang tune is high-pitched, and its free playing style and high-pitched melody are condensed from the harsh social reality. Yiyang people "strive for strength, cherish benevolence and righteousness", are honest and frank, and advocate religion. Yiyang dialect is the expression of Yiyang people's tenacious vitality.

The distinctive feature of Yiyang Opera is "harmony but difference", with percussion instruments such as silk, bamboo, string and wind. Its singing has strong plasticity and high tenor, which not only has the elegant charm of southern tenderness, but also has the impassioned temperament of the north.

Yiyang opera, also known as high-pitched opera, has a warm atmosphere, and its rough, bold and lively characteristics are deeply welcomed by the working people.

The foot color of Yiyang Opera can be divided into three lines: Xiao Sheng, Zheng Sheng, Laosheng, Erhua, Sanhua, Xiao Dan, Zheng Dan and Lao Dan. At first, the vocal structure of Yiyang Opera was a combination of Qupai, and the performance was only accompanied by gongs and drums, not orchestral accompaniment. One actor sang and several people answered, which formed a very distinctive singing method of "apprentice song and chime".

Hunan opera

Xiang opera has a rich repertoire. There is 1 155. Among them, high-pitched and chaotic dramas account for more than 98%. Many of xiang opera's traditional plays come from Southern Opera, Yuan Zaju and Ming and Qing legends in the late Song Dynasty, and a few are created and adapted by artists. Four Stories and Six Stories with high tunes are the representative repertoires with the earliest performance time and the longest retention time. The "Four Stages" are Biography of Immortals, Biography of Mulian, The Journey to the West and Biography of Zhongjing, and each stage can perform for five to seven days. The six major records are golden seal, notes, white rabbit, moon worship, Chai Jing and pipa. Random plays "Badalian Tai", "Eighteen Jianghu Books" and "Thirty-six Courtyards" are often performed and are well known to the audience.

Xiang opera's traditional plays include Dragon Boat Festival by Wang Chuanshan in Qing Dynasty and Six Yuan Tan Poems by Yang Enshou, among which Gui Zhixiang and Come Again are highly praised by Wu Mei, a drama critic in Qing Dynasty. Peach Blossom Garden, Matantie and Lilingpo are based on local history and folk customs in Hunan, and they all have certain social influences. After the founding of the People's Republic of China, relying on the cooperation of old artists and new artists, xiang opera's rich heritage has been excavated and sorted out, and the number of plays staged has increased from more than 200 to more than 400, saving more than 320 plays that are about to be lost in time. More than 60 plays, such as Yue Bai, Chasing Fish, Poker, Remember Water, Golden Pill, Jade Hairpin, Yellow Against Five Customs, Golden Beach, Six Lang Chop and Princess of Flowers, have been mainly processed.

Xiang opera's Gao Qiang originated from Yiyang Qiang. As early as Jiajing (1522- 1566) in Ming Dynasty, Xu Wei's Introduction to Nanci recorded that Yiyang tune was widely used in Beijing, Hunan, Fujian and Guangdong. After Yiyang Opera was introduced into Changsha, it was transformed into xiang opera Gaoqiang by "misusing local dialects" and "following local customs" and integrating local music such as Gong Opera. Judging from the uneven bars co-performance of the old Taiwanese dramas such as The Legend of Zhong Jing, the latter appeared in the same age as the former.

Kunqu Opera was introduced into Changsha a little later. According to "Changsha Lao Lang Temple Class Pai", in the third year of Kangxi (1664) and the sixth year of Qing Dynasty, Changsha Fu Xiu Class and Lao Ren Class, which both sang Gao Qiang and Kunqu Opera, were established successively. Jiang Zuo recorded that Hunan dispatched Yang as an official to perform Kunqu Opera Sanduo in Xiaoxiang Listening to the Rain from the 20th year of Qianlong (1755) to the 28th year. This period is the period when Kunqu Opera was introduced into Changsha. The performance of Gao and Kun on the same stage directly influenced the development of high-pitched music and performing arts, which changed it from a martial arts drama emphasizing big gongs and drums to a literary drama also singing small gongs and drums. At that time, Lao Ren and Ban Bao and Du San sang high-pitched operas, such as "Rushing Porridge" and "Hunting Back to the Book", which also absorbed many beautiful and delicate workmanship and dances in Kunqu Opera performances, and became famous at that time. During the Tongzhi and Guangxu periods (1862- 1908), Kunqu opera gradually declined and withdrew from the xiang opera stage. In the thirty-first year of Guangxu, Ye Dehui, a native of Changsha, wrote a sentence "Kunshan is near, so no one can match it, so we seek the source of Baishi Weng" in the poem "Hemen Watching Drama", which revealed the situation of Kunqu Opera in xiang opera at that time.

Random play is also called "North-South Road". Its origin is still inconclusive, but xiang opera absorbed a series of plays such as "The Great Hall of Music" and "Stealing Chicken" by Huiban, calling its tune Anqing Tune. Others belong to Anqing in the flower department, such as the flooded Seventh Army, Long Hudou, Lu Yaozhi Mali, Wang Xiangai, Li Dageng and the trapped Cao Fu.

Huiban originated from Ruyi Hook-and-Lock Cloud Capsule in Shaanxi Opera, and later spread to xiang opera Ban. In addition, xiang opera also absorbed Yong Yang and other dramas from the Han opera, which shows that the early origin of xiang opera has a certain relationship with Hui opera and Han opera. With the introduction of North-South Road Tone, high-pitched and chaotic plays began to appear in xiang opera, such as "Pan Box" singing high-pitched tune and "Kao Kou" singing out of tune in "Jin Wan Ji". Because Gao and Luan are on the same stage, they can learn from each other and promote each other: Gao Qiang absorbed the director's works and martial arts; Influenced by high-pitched singing, random play has formed a long-term flowing stream, such as 48 songs No More in Chopping Li Guang and 24 songs Poor Master in Ji Cheng Driving, which made xiang opera's singing and performing arts take a step forward. By the twenty-seventh year of Guangxu (190 1), Peking Opera had flowed into Changsha. Four years later, another 18 Peking Opera artists participated in Changsha xiang opera Class and performed on the same stage. Xiang opera artists borrowed from the difficult Peking Opera and absorbed some coloratura in their singing.

Looking at the evolution of xiang opera's four kinds of tunes, we can draw a general conclusion that xiang opera originated in the Ming Dynasty, and gradually formed a variety of multi-tune operas in the middle of the Qing Dynasty. After changes, it was characterized by high-pitched tunes and random playing. During the reign of Kangxi, its class clubs sang high-pitched tunes, or both, such as Fuxiu class, Laoren class, Renhe class and so on. During the Qianlong period, the number of class clubs gradually increased, such as Dapu Qingban, which mainly sang Kunqu opera, and a "case class" composed of nine people appeared in Liuyang and Liling (see the "Customs" in Liling County Records of Qianlong). At that time. There are old wolf temples in Changsha and Xiangtan, and Jiulin Keban was established in the last years of Qianlong. During the Daoguang period, Renhe class was established, mainly with random bombs. During the reign of Tongzhi and Guangxu, class associations flourished. By the year of Xuantongyuan (1909), there were five classes of Renhe, Tsinghua, Chuntai, Renshou and Tongchun in Changsha, Yonghe and Qinghe in Xiangtan, Qingsheng in Liuyang, Daguan and Fulin in Ningxiang and Yiyang. On the eve of the founding of the People's Republic of China, there were 2 1 class clubs in xiang opera, Hunan. From the Daoguang period to the eve of the founding of the People's Republic of China, there were 28 classes and more than 60 courses, which were distributed in Changsha, Xiangtan, Liuyang, Liling and Chaling. Among them, Wuyun Science Class, which started in the late Daoguang period, has the longest course and has trained more than 400 artists after decades. Later, there were more influential classes such as Sanyuan and Huaxing. The Kun classes, such as Fulu, Jiuru and Fuxi, which were established after 1920, have been specialized in training female artists for more than ten years. ?

During the reign of Tongzhi and Guangxu in Qing Dynasty, there were more than 1000 plays in xiang opera, which were rich in content: there were plays from northern zaju, such as One-Knife Meeting, Killing Tiger and Guiding the Way Home; There are early Yiyang tunes, such as Mulian Biography. There are Yiyang and Qingyang plays, such as pipa, white rabbit and golden seal. There are also a large number of North-South dramas such as Romance of the Three Kingdoms, Water Margin, Yang Jiajiang and Thirty-six Courtyards. After the ups and downs of performance practice, there are 682 traditional repertoires, among which there are more than 500 repertoires dominated by Qiang Opera, nearly 100 repertoires dominated by Gao Opera, and more than 200 repertoires dominated by United Taiwan University, but only a few are independent, and there are few repertoires dominated by Kunqu Opera and miscellaneous tunes.

During the Revolution of 1911 and the period of War of Resistance against Japanese Aggression, a large number of creative plays were produced to publicize the revolution and resist aggression. The most representative ones are Ci En Ming, Guangzhou Blood, Northeast Corner, Blood Splashing in Shenyang City, Xinhui Qiao Yuan, Traveler, etc. Since the founding of People's Republic of China (PRC), many new plays have been added. The sources are as follows: 1. Transplanted dramas, such as White-haired Girl, Revenge of Blood and Tears, Chen Sanwu Niang and Life and Death Card; Second, adapt and sort out traditional plays, such as Yue Bai, Chasing Fish, Princess Flower and Golden Pill; Three, the new costume drama and modern drama repertoire, such as Wen Tianxiang, Ba Man Zi, The Gardener's Song, Guo Liang, Xiangchao, Three Phoenix of the Golden Family, etc.

After the outbreak of War of Resistance against Japanese Aggression, from 65438 to 0938, Tian Han held a wartime drama training class in Changsha, and set up seven xiang opera anti-enemy propaganda teams, which were active in southern Hunan and Guilin, Guangxi. During the War of Resistance against Japanese Aggression period, a large number of famous xiang opera actors, such as Luo Yuting, Wu Shaozhi and Chen Shaoyi, died in the war. The amateur organization in xiang opera is called "She", also known as "Box Office", which was founded in Changsha in the early years of Guangxu in Qing Dynasty. Later, the "leisure song meeting" was more perfect. He has published two publications, xiang opera Kao and the Revival of the Opera Source, and collected and revised more than 30 episodes of more than 400 traditional xiang opera plays. Xiangtan also has amateur performance organizations such as Ruyi Hall. At the beginning of the founding of New China, the xiang opera Working Group of Dongting in Hunan Military Region was established. 1960 was transformed into Hunan Xiang Theatre, and xiang opera professional performance groups were also established in Changsha, Xiangtan, Yiyang, Chaling and Zhuzhou. Hunan Xiang Theatre was merged into Hunan Xiang Troupe in 1969, and its original organizational system was restored in 1980.

Because xiang opera has been performing in Changsha, the provincial capital for a long time, his vision is relatively broad, and his artistic exchange is relatively more than other brother operas in this province, so his innovation in performing arts is ahead of the trend. In addition, Changsha, the provincial capital, has a rich cultural atmosphere and a high level of audience education. After Tongzhi and Guangxu in Qing Dynasty, intellectuals such as Wang Xianqian, Wang Yanyun and Yang Enshou paid great attention to xiang opera and commented on the drama and performance. Especially in the late Qing Dynasty and the Republic of China, xiang opera artists in Changsha were influenced by the new cultural trend of thought, and their artistic conservative thoughts were relatively few. As a result, a number of repertoires often performed in xiang opera have appeared, and their performance level has improved rapidly, reaching the level of meticulous carving.

1, singing

Xiang opera's performance combines high, low, Kunqu and chaos in one furnace, and absorbs Qingyang, Siping, Blowing, Nanluo, Yinniusi and coloratura. In the long-term evolution process, high-pitched tune and random play have become the main vocal tune in xiang opera art today.

Gaoqiang is one of the main vocal cavities in xiang opera, which originated from Yiyang cavity in Jiangxi. After entering Hunan, it quickly absorbed folk music from central and eastern Hunan and took root, which became xiang opera's early high-pitched tune, and its representative play was Biography of Mulian. High-pitched tunes have always been accompanied by gongs and drums, and no one cares about the strings. One person said, everybody sing. In the high-pitched melody system, it is simple and honest, belonging to the conjoined body, and structurally inherits the North-South divertimento system. In the ten-fold drama, a divertimento consists of three parts: introduction, overture (including the main theme and collection) and ending, which is customarily called "one hall card".

There are more than 300 kinds of high cavity, which can be divided into north and south, and the south cavity is more than the north cavity. Each qupai generally consists of two parts: cavity and runner. A phrase with a large range and strong melody, ending with human voice and percussion cymbals, is called "cavity"; However, there are many words, few sounds and strong recitation. Only the "rolling" of the drum plate is called "flow". That is to say, in a qupai, adding words before "tune" becomes a long-distance running board, which can enrich the content of literary songs and express thoughts and feelings incisively and vividly. Qupai has different functions according to the change of mode and melody. There are [Jinlianzi], [Huangyinger], [Shanhuazi], [Dongou Order], [Fengrusongsong] and so on. On the surface, impassioned, tragic and tragic emotions are [listening to horses in the north], [Hu], [opening clouds], [goats] and [red coats]. Magnificent scenes include [China cavity], [cotton wool], [correction], [talk], [rolling hydrangea] and so on; There are 【 Four Dynasties Yuan 】, 【 Shanglugen 】, 【 Hanging Goldfish 】, 【 Jiangtou Jingui 】, etc., which express meditation and nostalgia, sadness and sadness. There is also a kind of tune, which is composed of different tunes, such as Klang Ganzhou Song, Jintangyue, Tang Meihua, Sanxianqiao and Xiaozong Song. , can adapt to the changes of plot and characters' emotions. In addition, there are some folk songs such as "Tree Covering" and "Embroidering Stop Needle".

There are two kinds of high-pitched beats: one is full beat and the other is scattered beat. According to the custom, there are veneers, splints, scattered boards, rolled boards, fast playing and slow singing, and Huilong. Most of the lyrics are long and short sentences with brand accent, but [China accent] is a neat seven sentences. After the founding of New China, in order to adapt Gao Qiang to the expression of modern life, xiang opera musicians used the techniques of "wearing, hanging, seeking and committing crimes" to create a number of new songs, such as the large-scale aria "Glory for the proletariat" in "The Gardener's Song", which was composed by [riding a horse to listen to the north], [red coat] and [mixing dragon generals], [nowadays, ?

Randomly playing, also known as "playing cavity" and "north-south road", belongs to the board cavity music of Pihuang system. South Road is equivalent to Huang Er, and North Road is equivalent to Xipi; Each has its own anti-tune, which is called anti-South Road and anti-North Road, which is equivalent to anti-Huang Er and anti-Xipi. Ping (that is, the four-level tune), Anqing tune (that is, blowing cavity) and seven-hammer-and-a-half (that is, South Gong cavity) all belong to the random bomb cavity. The main difference between north cavity and south cavity is that they have different basic rotation modes and form different tuning. There are three slow eyes (also known as "Ten Bantou" and "Four Jade Pieces"), slow release, slow riding, fast horse, fast beating and slow singing, scattered board, rolling board, guide board, crying head and south road joint play; There are adagio, fast three eyes (equivalent to the original board of Beijing opera), second-rate (equivalent to the second and sixth boards of Beijing opera) and cribs on the North Road. In addition, through the creation, it has developed unique forms such as going from south to north, coming from positive to negative, south road stack, eighteen boards, pagoda songs and so on. As far as rhythm and artistic conception are concerned, the south road is smooth and euphemistic, and the speed is slow; The north road is lively and the speed is fast; South road is sad and angry. The lyrics are basically neat seven-sentence or cross-sentence, the upper and lower phrases are repeated, and there are small pauses in the phrases, which are often padded with small doors. Generally speaking, the upper and lower phrases are indispensable, but under special circumstances, an ending sentence can be omitted and replaced by gongs and drums, commonly known as "foreskin".

Low cards are also a duet. The form of the tune is three parts, that is, there is an "introduction" at the beginning, which is scattered and the slowest; The main body is three-eye board and one-eye board or allegro without eyes, with stable speed; Finally, the tune changed sharply, and besides orchestral accompaniment, gongs and drums were added, which led to the end of the climax, which was called "head to head". But some of them are not trilogy, or there is no introduction, or there is no joint, or there is only text. There are more than 300 Qupai, which are divided into three categories: low cards, fan cards and check cards. Low brands are generally more common; Fan brand is dedicated to people's singing in the fan state; Most of the cut-out signs are without lyrics, such as "Crying Yan Hui" when sending troops, "Six Orders" when going to court, and "Good Garden" when dining. Speaking of low-level Kunqu opera, it is a common name after the localization of Kunqu opera. Like Kunqu opera, the lyrics and songs have the same names, but they are similar in singing, thicker and straighter than Kunqu opera. ?

Kunqu Opera was introduced in the late Ming and early Qing Dynasties. Lao Ren Heban, founded in the 6th year of Emperor Kangxi of Qing Dynasty (2667), sang for Gao Kun. During the Qianlong period, there was also a Dapuqing class that specialized in singing Kunqu opera. The repertoires that are often performed include "Dream in the Garden", "Hidden Boat Stabbing the Beam", "Ringing the Bell at Jiange" and "Gong E Stabbing the Tiger". Later, due to the prosperity of random bombs (south and north roads), Kunqu opera gradually declined during Tongzhi and Guangxu years. There is no Kunqu Opera in xiang opera now.

2. Operating characteristics

Xiang opera's performing arts, early high-pitched voice, and attention to acrobatics and stunts. And the combination of "hundred operas", "acrobatics" and "martial arts" equals it. For example, the drama "Mu Lian" attaches great importance to skills such as "shooting fork", "stacking arhats" and "climbing poles". After Qingyang opera entered, it changed from mainly gongs and drums to singing small gongs and drums. Its characteristics are that singing is more important than doing, work and life are very strong, and there are not many stylized actions. For example, the performing arts of pipa and golden seal still retain a dignified and simple style. After entering the Kunqu Opera, the performing arts have developed, absorbing the singing and dancing characteristics of Kunqu Opera, paying equal attention to singing and doing, and performing lively and colorful stage performances, such as the story of the white rabbit's hunting back to the original, and the story of the broken kiln driving Zhai and spitting porridge. It is said that this is the creation of Lao Ren and Ban Xiaosheng, Du Sanhe and Xibao, and it still has great artistic charm. Since Qiang (North-South Road) entered xiang opera, the performances have been strengthened, and a number of plays, such as Pound in the Water and Five Brothers, which are famous for their modeling and martial arts, have increased the business of Purple Face. The purple face begins with Guo Shaoren of Renhe class. At the same time, because Gao and Tan share the same stage, Gao Qiang absorbed the works and martial arts directed by the Qiang people, and the Qiang people developed into a long stream under the influence of Gao Qiang singing, such as singing 48 songs "Never Come Again" in Cut Li Guang, singing 24 songs "Poor Lord" in Driving in Ji Cheng and "Pagoda Song" in Golden Beach. At the end of the Qing Dynasty, after Peking Opera entered Changsha, xiang opera class had 18 Peking Opera artists performing on the same stage, and xiang opera artists learned martial arts from Peking Opera artists, and absorbed some coloratura in Peking Opera singing, which once again enriched xiang opera's performing arts.

Xiang opera's role industry has four lines: life, death, purity and ugliness, and each line has several branches, each with its own unique skills. Horn ranks first in all walks of life. I have a hat, a scarf, a pheasant tail and a helmet. I have four schools: poor, literate, rich and martial. Singing in falsetto, reading with local accent, not mixed with local dialects, especially focusing on work. For example, Lv Mengzheng in the poor play (commonly known as "Bad Puckilo Play"), Su Qin in the Golden Seal, and Chen Daguan in Beating My Nephew to the Grave, etc. The performance is relaxed and full of life. Another example is the baby boy in Hunting Back Book, where a high-pitched tune is combined with a dance. Shu Mei's eyes are bright, her feathers are swinging, her legs are raised over her forehead, she rotates like the wind, and she is somewhat childish, naturally and realistically showing the innocent and lively character of a small general of fifteen or sixteen. This performing art, which is closely combined with high-pitched singing and dancing, originated from Du San, a famous young student. Later, Li Zhiyun of Wuyun Class and Wu Shaozhi of Huaxing Class became famous for this. After the founding of New China, Chen Jianxia inherited this traditional performing art, and won an award at the first national opera viewing and performance conference. Liu of Wuyun class walked on the slipper road of the wind platform, Ren Shou class walked on the golden boat road of the golden beach, and Sheng Chuying of Puqing class walked on the drunken road of Jinmamen, all of which were very distinctive artistic creations. Singers in Tsinghua class were once called "Southern Calling Heaven" with the voice of "Yun Zheyue". After the founding of New China, Xu developed the singing style of the old students in xiang opera. When he played Zhang Guangcai in Pipa, he rolled dozens of sentences in one breath and walked like a mountain. "Very sonorous" won the prize at the first national opera viewing and performance conference. ?

The traditional performing arts in xiang opera are not only rich in programs, but also can be broken through. There are both role branches and no industry restrictions; But starting from life, to shape the artistic image of different characters. For example, "Wild Goose Hunting in Kiln" was originally performed by Zheng Dan, but it was dissolved into wudan's works, vividly showing the personality changes of Liu Yingchun, a rich woman who lived in a cold kiln for ten years. Crying at the Ancestral Temple was originally an old-fashioned play, but it was performed by a young student, which made the character Liu Chen more in line with historical reality. Kuai Tong in Crazy Jumping Pot was originally an old-fashioned play, but instead he played a clean role, enriching the characters' personalities with realistic workmanship. Sima Yi in An Empty City was originally a net costume, but she changed to rely on the handle to achieve the artistic effect of paying equal attention to singing and reading. Lu Yao in Ba Pai Zhuang and Biao Sao in Holding a Baby into the House are vivid, pungent, rough and bold. ?

3, the role of enterprises

Xiang opera's current role system generally has twelve lines, namely, head leaning (also called big leaning), second leaning, singer, niche, big flower, second flower, purple face, third flower, Zheng Dan, Hua Dan, Udan and Broken Dan. According to the identity, life and personality of the role played, all walks of life have different performances in age, dress and behavior, and also have different ways of playing.

Headrest: Pay attention to the difference between "leaning, singing, drunkenness and death", so generally speaking, besides playing Guan Yu, Huang Zhong in Dingjun Mountain, Zhao Yun in Knife and Five Tigers, and Yue Fei in Jiulong Mountain, you should also play the pipa. The performance emphasizes "position", pays attention to the martial arts style, and is calm and steady. There are white beards, hemp beards and green beards, and there are differences between taking off robes, leaning on children, crotch clothes, yellow cloth jackets, hats, gauze hats and shoes.

Second, relying on: for example, Lu Su's Xue in Borrowing an Arrow to Cover a Coffin, Showing Merit, Pushing a Bow to Worship, Hua Rongdao's Arrow in Huarong Road, and Mo Cheng's A Pinch of Snow. Because status, position and age are not as important as headrests, performances are not as calm and solemn as headrests, and most of the performances are posturing dramas. In addition to paying attention to broken hands, he is agile and dexterous, which can be divided into python, robe, robe, hat and gauze hat.

Singers: Lu Junyi from Golden Beach, Kong Ming from Jiang Wei, Yang from Tiantai, Yang from Yuanmen, and Yang from Erjin Palace. Mainly singers, pay attention to loud voice, clear articulation, high voice and combination of singing and doing. The gameplay is different, such as royal hat, python suit, pleated suit and robe suit.

Xiao Sheng: There are all kinds of Chinese towels, pheasants, helmets and hats in the play, and the difference between poor, literate, rich and martial arts is emphasized. For example, Su Qin in Golden Seal, Jiang Shilong in Snatching an Umbrella, Cai in Appreciating Lotus, Lu Bu in White Gate Tower and Zhou Yu in Three Arguments. There are also hip-hop dramas, such as Song Wu in Lion Building and Shi Xiu in Brothers Hotel. In addition; Doll plays, such as Liu Chengyou in Hunting Back to the Book, are excellent in singing and doing, slightly childish in youthful heroism, with bright eyes and flying steel, which is a very distinctive role in xiang opera's minority line.

Big flowers: such as Zhou Wang in the apotheosis drama, Cao Cao, Dong Zhuo and Zhang Fei in the Three Kingdoms drama, Kuaiche in the drama of pretending to be crazy and selling stupidity, Zhao Bing in the Grand Palace, Xue Gang in Xue Gang's anti-Tang Dynasty, Zheng Ziming in Long Hudou, Ruan Xiaoqi in Golden Beach, etc. There are many people, both civilian and military. In addition to robes, reclining seats and colorful flags, there are also some China and legionary teleplay, such as Zhang Shouxin in False Trial and Jin Niu in Shoot the Bullets. There are also some straw sandals, such as Zhang Fei in War Swing and Hou Shangguan in Picking Plums and Pushing the River. In the performance, the civil and military singers emphasize jumping and whistling, pay attention to sonic boom and tiger sounds with their voices, and the posture requires dignified and stretching, striking face and moving face (facial muscle twitching). Because of different characters, their faces are different, and the performances of water white face, black face and painted face have their own characteristics.

Two flowers: Yang Wulang in Wutai Brothers, Yang in Fighting, Li Kui jy in Laojiang, Wei Yan in Zhanchangsha, Ximen Qing in Lion Building, etc., fell heavily and performed sharply, which required a solid martial arts foundation. On the way to play, there are often children, robes, crotch, pink face and monks playing.

Sanhua: ugly behavior. For example, Cheng in Jiugong, Ben Monk in Zhao Fan, Shuang Xia Shan, He Yibao in Shuo Wen Jie Zi, Jiao Guangpu in Le Ma and Straw Shoes. Characters are complex, mostly humorous, short and flexible, light and smart, and simple and natural; There are also different scenes such as undressing, official clothes, pleating, robes, ugly clothes and rotten Puckilo.

Zheng Dan: such as Zhao Wuniang in Pipa, Li Sanniang in Hunting Back, Xue Mei in Qin Xuemei, Cui Shi in Broken Mountain and Wang Zhaojun in Zhaojun He Fan. Performing the first duet, with a dignified and steady posture.

Hua Dan: such as Niu in Pipa Xing, Chen Miaochang in Stealing Poems to Drive Pan, Li Guizhi in Writing Trilogy, Princess Baihua in Sacrificing Sword and Chopping Bar, Yan Xijiao in Sitting on a Building to Kill Cherish, Jia in Fan Fendou Marry, and Shu Huai. In the performance, work comes first, the white characters are bright and sweet, and the posture is flexible and light. Because of the different types of characters, there are different ways to play, such as flower dress play, back riding play, Bigfoot girl play and so on. In particular, Bigfoot's drama is a unique drama in Hua Dan, xiang opera, with rough and free movements, simple words and strong local flavor in Hunan.

Wu Dan: Played a part of martial arts in the original A Journey to Hua Dan. For example, Mu in Fortress Besieged, Sun Erniang in Kill Four Doors and Cross Slope. The performance is dominated by martial arts, vigorous and agile, with special emphasis on waist and legs and martial arts. Traditional acting skills have a special position for Liang Yan. For example, Mu Guiying in "encirclement" will kick 48 feet in a row.

Po Dan: She plays all kinds of elderly women, such as Queen Li in Touch the Bag to Recognize Mother, She Taijun in Ci Chao, Mu Yangjuan, the wet nurse in the Spring and Autumn Competition, Yan Po in Wulongyuan, Wang Po in Scolding Chicken, etc. Duets are done with facial expressions and can be divided into poor people and rich people.

Purple Face: xiang opera's purple face is a unique business in Hunan local opera. Singers are mainly purple-faced characters, such as Xu who entered the palace twice, Li Keyong in Sha Tuo's Moving Soldiers, Gao Wang in Mu Huguan, Dan Xiong Xin in Breaking Letters and Crying, and Gao Yaozi in Stargazing. In his life, he also played the singer's face-opening drama, such as Zhao Kuangyin in "Fight the Dragon". Its performing art features are mainly manifested in singing, with high-pitched tones. Although it is developed on the basis of the singing of a singer's face and a singer's feet, it is different from them and forms its own unique singing genre. Purple Face Line was very popular in the early 20th century, with many celebrities, among which Luo Yuting and Jiang Fulei were the most famous. Luo Yuting is burly, full of intonation, strong voice and high attainments; Lovely is a unique woman. Her voice is mellow and rich, and her voice is euphemistic and has great influence. Later, jinliang was stupid and could still sing in the 1950s. Due to various reasons, there are few successors at present, and occasional performances are mostly performed by singers.

Xiang opera is somewhat different from other operas. For example, in Empty City, he plays Sima Yi. Purple Face plays Li Keyong in Shatuo Kingdom. I played Liu Zhan in Crying for the Ancestral Temple. In Crazy Jumping Pot, the net plays the role of an express train. In "Pipa Banquet", it is quite distinctive to play Zhao Bing.

4, accompaniment instruments

Xiang opera's accompaniment band is traditionally called "Six People's Military Exercise". There are four people in the martial arts field, beating drums, cymbals, big gongs and small gongs; Wen Chang two people, manipulating the erhu and Qin Yue, playing bamboo flute and suona, all under the command of drums. After the founding of New China, civil and military scenes increased. Qinqiang is mainly composed of Jinghu (instead of traditional erhu), Jinghu erhu and Yueqin, which are collectively called "36 pieces". This flat note is played by a bamboo flute. After Gao Qiang tried orchestral accompaniment, Gao Hu played the leading role. The bass horn is played by the bamboo flute. Percussion music has a set of shaped gongs and drums classics, which are divided into "long hammer", "percussion head", "valve" and "peeling", and each category has more than ten to twenty concepts of gongs and drums with different names.

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Xiang opera's vocal cavity is mainly composed of four kinds of vocal cavities: high-pitched cavity, low-pitched cavity, Kunqu cavity and random cavity, with Zhongzhou rhyme singing white. Gao Qiang is the representative of the four major vocal cavities in xiang opera, which originated from Yiyang cavity in Jiangxi.

Low card is a singing method combining Qupai and Qupai, with suona or flute as accompaniment and gongs and drums as accompaniment. In order to enrich the singing and create a strong contrast, the singing form of singing between high-pitched and low-pitched brands is called "high-low singing"