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What influence did the ten births and nine Tang Dynasties have on the development of Henan Opera?

Regret for the Inheritance of Henan Opera Schools

In the field of Henan Opera, there are eleven masters of Henan Opera, such as Tang Xicheng and Wang Sujun, Chen Suzhen, Chang Xiangyu, Cui Lantian, Ma Jinfeng, Yan Lipin, Sang Zhenjun, Li Sizhong, Gao Xingwang and Niu Caode. In the long-term artistic practice, they gradually formed their own performance style. From 1950s to 1980s, they jointly promoted the prosperity of Henan Opera and pushed it to its peak. As time went by, everyone left us except Ma Jinfeng and Wang Sujun who were still alive. Although every master of art has many disciples handed down from generation to generation, these disciples have many regrets in inheriting the teacher's artistic achievements. After careful consideration, the author boils down to the following aspects and discusses them with the opera fans.

First, there are mistakes in inheritance and development. Every old artist has his own performance characteristics, which are formed by combining his own conditions and slowly groping in practice. Fortunately, being their disciple is equivalent to taking a shortcut, taking a lot of detours and inheriting the artistic achievements of the teacher. However, many disciples did not fully understand the teacher's performing arts, so they deliberately created something new and misled many audiences. One typical example is the inheritance of the Tang school. Although the Tang disciples have a strong lineup, few of them can reach their own performance level, which can be answered after observing and analyzing the performances of Mr. Tang and his disciples. Tang Xicheng's pronunciation is mainly falsetto, but it has a wide range, high singing skills, great explosive force and penetrating power, which can show the masculine beauty of men. For example, in "Three Crys Hall", "Li Shimin ascended the Dragon and was praised by ten thousand people", the pitch difference was eight degrees, but the singing was comfortable and natural, which fully showed the profound artistic skill, excellent singing skills and acting skills, and showed the heroic spirit of the emperor with one stroke and one style. Many descendants of Tang clan are inferior by comparison. For example, Jia Tingju, the great disciple of Mr. Tang, is also the most concerned person among the descendants of Tang clan, but he is not as mellow as Tang Xicheng. He played the king of the Tang Dynasty in the Three Crys Hall, adding some unnecessary eyes and movements, losing the stability and atmosphere of the emperor; The phrase "The Yangtze River has no waves" is deliberately dragged around, not as natural and fluent as Tang Xicheng's singing. This is considered by some people to be the development of the Tang school. Teacher Jia has many disciples, which has played a certain role in expanding the influence of the Tang school, but at best it can only be regarded as promoting the Tang school, but it has not really developed the Tang school. It is easy to misunderstand whether Teacher Jia is singing the authentic Tang school or developing the Tang school. On the contrary, the author thinks that Yang Zhiyuan, who can fully inherit Tang Xicheng's performing arts, has not received much attention. Another example is the successor of Cui School, whose performance characteristics are far from those of the teacher, which intentionally or unintentionally played down the rich and deep singing style and lost the unique charm of Cui School. This is not to deny that actors pursue their own personality. Cui Lantian once quoted Qi Baishi's famous saying "Learn from me and live like me and die" at the ceremony of accepting disciples, so as to warn his disciples and hope that they can play a new level. In addition, every master of art also has his own shortcomings, and the younger generation needs to develop and innovate to make it more perfect, otherwise art can only stay at one level. However, this development is based on all-round inheritance. If you don't even learn the teacher's art, you will blindly pursue new things, which is quite different from the teacher's performance style. He is also considered as a descendant of a certain genre, which is bound to mislead the audience and is not conducive to the inheritance of the genre.

Second, the use of dialects is still insufficient. Henan Opera is a local art form in Henan, and it will inevitably be influenced by Henan dialect, which is a phenomenon that exists in many local operas. For example, the aria of Henan Opera is Henan dialect. Henan dialect belongs to the northern dialect, and Putonghua is developed on the basis of the northern dialect, but there are some differences between Henan dialect and Putonghua. For example, Henan dialect distinguishes between sharp sounds and group sounds. Sharp sounds refer to vowels with initials I, U or I and ü in Z, C and S, and group sounds refer to vowels with initials I, U or I and ü in J, Q and X.. In Henan dialect, "sword, money and fairy" are pronounced as "money, fairy and fairy" respectively, and "sword, money and fairy" are pronounced as "sword, money and fairy" respectively, while Mandarin has no sharp group sound. For another example, some lyrics of Henan opera do not conform to the grammatical norms of modern Chinese, but they can fully reflect the local characteristics of Henan. Many old artists are either limited by their cultural level or protected by local dialects. Many pronunciations or expressions have a strong local color and are easy to understand, which promotes the spread of Henan Opera among the people. For example, in Yan Lipin's drama Qin Xuemei, the pronunciation of the word Qin in "Seeing the husband crying" is close to "cin", not "Qin"; There is a lyric in Niu's Seven-product Sesame Official that is "I am the seven-product official of green yarn sedan chair" instead of "I am the seven-product official of green yarn sedan chair", which is more in line with Henan local taste and gives people a cordial feeling. However, some schools do not pay enough attention to this, especially among young actors. For example, in Tang Xicheng's Nanyang Pass, the word "Xi" that "just fired outside the west gate" sounds close to "Si", but it has become "Xi" in the mouths of some of his disciples; Another example is Ma Jinfeng's "Mu Guiying in Command", in which there is a lyric "I am not afraid of death, I don't command", which has also been changed by some actors to "I am not afraid of death, I don't command". So deliberately close to the pronunciation and terminology of Putonghua, but unconsciously revealing the local color of Henan, can only give people a sense of neither fish nor fowl.

Third, the excavation of endangered dramas is not enough. In the genre inheritance, it is very necessary to excavate and sort out the endangered plays of the master artists. Many old artists who died performed many excellent plays during their lifetime, but failed to leave audio-visual materials. Now many of them are facing extinction. As their disciples, if they are lucky enough to be taught by teachers or have information in this field, they have the responsibility to dig up and sort out these plays and publicize them so as to spread them and pass them on better. Many disciples are often lacking in this respect, either not digging or not digging enough. Let's take the Tang school as an example. Although there is a saying of "ten births and nine Tang dynasties" and "no births and no Tang dynasties", it always gives people an illusory sense of prosperity. For example, there are several dramas such as Three Crys Hall, Nanyang Pass, Yuanmen Chopping, and Blood Splashing on Wusha, but there are often only a few famous Tang dramas such as Qu Yuan, Yellow Robe, Fifteen Pass and shouyangshan. There is no mention of a large number of outstanding plays performed by Tang Lao before his death, such as Cuiping Mountain, Eight Hammer, General He, Chiying, Changbanpo, Playing Golden Branches, Luoyang Order and Baling Bridge. Many descendants of the Tang School worked in large state-owned troupes, but did not use this platform to promote these plays of Tang Lao. Another example is the Yan School, which seems to have only one aria left, Qin Xuemei and Qin Xuemei's Festival for the Dead, but little mention is made of Pan Fusov and Hidden Boat, not to mention the Jade Hairpin, The West Chamber, Wind and Snow Match, Luoyang Bridge, Feng Haichao, Peach Blossom Pond and Wu Fengling. Every master of art has a representative repertoire, but not a limited number, not the only one. Otherwise, it will not be sui generis, nor will it have a wide influence among the masses. Therefore, it is necessary to sort out the plays that can fully reflect their performance level and artistic characteristics at the peak of their art, so as to be more conducive to the inheritance of genres. According to the recording materials before his death, Anyang Henan Opera Troupe recorded the music and pictures of Cui School. Not long ago, Guo Zhicheng, the third generation descendant of Tang School, compiled and staged Fifteen Biographies of Tang School. The author thinks that there are many useful attempts, which are worth learning.

Fourth, the addition or deletion of the plot is still unreasonable. Classic repertoires are all processed through repeated tempering, and some even devote the life-long efforts of old artists. Every scene, every plot, every sentence is often well thought out, so it can last forever, spread widely and become an immortal work. As the inheritors of operas, we should cherish these artistic treasures, provide precious spiritual food for opera fans, and leave a complete performance model for future generations, so that operas can be effectively passed down. However, some actors make unnecessary rectification of some excellent dramas in order to improve ratings or for other purposes, and the result can only be counterproductive. For example, Yan Lipin's Qin Xuemei, which has been written for decades, has become a classic, but it was rearranged by a director a few years ago, and the so-called "new Qin Xuemei" appeared, which is quite different from the original. He claimed that with the development of society, "people's aesthetic needs are getting higher and higher", and the old version has become "protracted, lengthy and outdated", and it is "the necessity of history and the requirement of the times" to stage the new version. I don't know how a fixed plot can meet the needs of the development of the times. The original popular version is not suitable for "people's aesthetic needs", but it has become "the audience's expectation", and I don't know where it came from. This kind of nonsense that ignores the real needs of the masses will only arouse the resentment of the majority of opera fans. Besides, there were not many plays that Yan School paid attention to, and now this one with the greatest influence has been changed for various reasons. I wonder if I can comfort Yan Lao's soul in heaven. Another example is Zhenguan Family Affairs, which is adapted from Three Crys Hall. In the name of "tedious", it deletes the necessary plot of the original version and adds some irrelevant scenes. Boasting will make "the context clearer, the characters fuller, the plot more touching and the rhythm more compact". What is even more ridiculous is that there are absurd plots in the play, such as Qin Ying speaking English and his hometown lighting a cigarette for her country husband, which is euphemistically called "a sudden attack on modernization". This adaptation not only ruined the classics, but also made it difficult for the audience to accept. Art is for appreciation and taste, not for taking turns to spoof in the name of development to gain some cheap jokes. Some so-called "famous performing artists" not only don't dig up endangered plays, but also don't let go of a few surviving classics. It is worth noting that many actors involved in this drama come from the Henan Dramatists Association, and even include the main leaders of the Dramatists Association. Another example is the well-known "Three Crys Hall" in Henan, but it was renamed "Gan" in a performance by Jia Tingju of CCTV. There are some titles in Three Crys Hall, such as Cai Xian Bridge, Gankun Belt and Chop Qin Ying, and other operas also have this play. However, I don't know what the significance of this change is when the title of Three Crying Halls in Henan Opera has been finalized.

Five, lack of internal strength, excessive packaging. Nowadays, the media is increasingly developed, and the various schools of Henan Opera rely on the power of the media in the process of inheritance, which is conducive to the promotion of the repertoire and the improvement of the actor's popularity, but the influence of the actor still depends on the artistic level. Many old artists have won wide popularity through word of mouth by virtue of their exquisite skills, such as Chen Suzhen's Yu Opera Mei Lanfang, Ma Jinfeng's Luoyang Peony, Yan Lipin's Jade Guanyin, Li Sizhong's Ombali, Tang Xicheng's Take Three from One, etc., which have been well received by opera fans. These artists are approachable and low-key, but they can form such a wide influence among the masses. Some of their disciples do the opposite, it seems that they are more willing to work hard on packaging and publicity, and sometimes it is quite unrealistic, giving people a sense of self-promotion. For example, some young actors, regardless of their artistic level, tend to establish clans, and the descendants of Niupai do not exchange money for this. In addition to learning the performance art of Niu, he is also good at giving full play to his voice advantage and learning from other schools of singing. However, if we analyze it carefully, despite his superficial appreciation of other art schools, even the level of his main attack is not flattering. For example, in the drama "Seven Products of Sesame Officials", the performance of cattle is stable and ugly, and the external ugliness shows the inner beauty, while Jin does not give people the feeling of deliberately pursuing funny, and seems to deliberately turn ugliness into "ugliness"; Another example is the pace and way of the drunken county magistrate's appearance in "Three Orders and Five Applications". The performance of gold exchange is far less natural and in place than his teacher. So even the teacher's art has not been completely inherited, but there has been a saying that "the founder of the Golden School", which makes people laugh and cry. For another example, the "red-faced king" was originally a title of Mr. Tang Yucheng, a bearded artist in eastern Henan, among opera fans. Yang Qichao and Liu Zhonghe were once called "the kings of little red faces" because they inherited Tang Yucheng's performance style brilliantly. Up to now, almost every bearded actor in eastern Henan has been called "Red Face King", and even some names similar to "Red Face King" have appeared. There should be only one "red-faced king", and the title of "little red-faced king" is acceptable, but it is not appropriate to call every red-faced actor in eastern Henan. In addition, titles such as "Young Master" by Jia Tingju, "Queen of Henan Opera" by Hu Meiling, "The First Tsing Yi of Henan Opera" by Zhang Baoying and "The First Old Man of Local Opera" by Li Shujian are not self-styled, but they are not worthy of the name. As for the statement that "three days without shoes depends on the edge of jade", it can only give people the suspicion of self-hype.

When it comes to the genre of Henan Opera, we should also mention Mr. Tang Yucheng, an old artist in eastern Henan. He started a school of performing arts, but because of his early death and few audio-visual materials handed down from generation to generation, all he sees at present are the performances of young apprentices, so he is often called "the red-faced school in eastern Henan". When it comes to excellent genre inheritance, take Liu Zhonghe, the successor of this genre, as an example. Liu Zhonghe, a famous performing artist, is a national first-class actor and former head of Henan Shangqiu Henan Opera Troupe. On the basis of inheriting Tang Yucheng's singing style and combining with his own conditions, he formed a unique performing art. With a free and easy manner and a hoarse and rich voice, he became an outstanding representative of the red face in eastern Henan, which had a wide influence among the masses, so that it was once rumored in Shangqiu, Heze, Shandong, Jiangsu and Anhui that "I would rather not eat steamed buns for three days than go to see Liu Zhonghe". The reasons for his success can be summarized as follows: first, the whole singing style has not been divorced from Tang Yucheng's melody, which is suitable for the tastes of old opera fans; Combining with the characteristics of one's own voice, it gives people a new aesthetic feeling. Second, pay attention to details. For example, his compromise performance in Fifteen Levels and Visiting Rats. Kuang Zhong pretended to be a fortune teller in the temple, lured the floor rat into a trap, and prepared to send him across the river to catch him. After saying, "If you don't dislike your brother, you will be in the same boat as the old man", the floor rat looked him up and down and suddenly said, "I don't think you are a teacher of measuring words either." Hearing this, Kuang Zhong's face suddenly changed, followed by "What?" He didn't move until he heard "You are a living Buddha who saved my life", then he breathed a sigh of relief, slowed his face and passed an imperceptible smile. This detailed expression shows Kuang Zhong's process from surprise and vigilance to appeasement and comfort. Thirdly, pay attention to the protection of dialects, for example, the pronunciation of the word "Xiao" in "Xiao Guo Ai Too Rude" in "Dajinzhi" is close to "siao" rather than "Xiao"; Take your time, brother, not your time. Finally, some plays performed by Tang Yucheng before his death were processed and put on the stage, such as "Beating Golden Branches" and "Cutting the Son at Yuanmen", which made the plot more concentrated and the lyrics more standardized, and carried forward with personal influence, which made the Red Face School in eastern Henan go from local to national. Of course, Liu Zhonghe's performance also has some shortcomings, such as his style is too free and easy, and his singing style is too simple. Especially in recent years, his performance is more casual and can't be compared with the heyday of art, but his unremitting efforts to inherit the genre are worth learning from every young actor.

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