Excuse me, why is Beijing Opera rated as the quintessence of China?

Chinese Peking Opera is the quintessence of China with a history of 200 years. The name of Peking Opera first appeared in Shenbao in the second year of Guangxu reign in Qing Dynasty (1876). Historically, it has been called Pihuang, Huang Er, Huang Qiang, Peking Opera, Pingju, National Opera and so on. After entering Beijing in the 55th year of Qing Qianlong (1790), Sihui Class became attached to Kunqu Opera, Han Opera and Yiyang Opera in Beijing. Its rich repertoire, the number of performing artists, the number of troupes, the number of audiences and the profound influence are the highest in the country. Peking Opera is a comprehensive performing art, which integrates singing (singing), chanting (reciting), acting (acting), fighting (martial arts) and dancing (dancing). It tells stories, depicts characters and expresses the thoughts and feelings of "happiness, anger, sadness, joy, surprise, fear and sadness" through programmed performance means. Roles can be divided into four categories: raw (male), Dan (female), pure (male) and ugly (both male and female). Characters are divided into loyalty, ugliness, good and evil. Every image is vivid.

Formation and Dissemination: Peking Opera was formerly known as Huizhou Opera, which was popular in the south of the Yangtze River in the early Qing Dynasty. It mainly sang and blew tunes, played high notes and played Huang Er. Huiban has strong mobility, frequent contact with other operas, and mutual communication and infiltration in vocal cavity. Therefore, in the process of development, it also performed many Kunqu operas, and also absorbed Luoluo cavity and other zaju. In the fifty-fifth year of Qing Qianlong (1790), the first Huizhou class (Sanqing class) headed by Gao Langting (a famous Yueguan) went to Beijing to participate in the celebration performance of Qianlong's 80th birthday. "Yangzhou Painting Boat Record" contains: "Gaolangting entered Beijing, joined Anqing Flower Department, joined Beijing and Qin, and its class was called Sanqing." Yang Maojian's Dream Book, published in the 22nd year of Daoguang (1842), also said: "And the third celebration comes before the fourth celebration. When Qianlong entered the governor's bamboo box in fifty-five years, he called it the' Sanqing emblem' and was the originator of Huizhou class. " Wu Zi-shu pointed out more specifically in the Notes on Poems with Boundaries that "Na la Wu, Governor of Fujian and Zhejiang, ordered Zhejiang salt merchants to unite with Anqing Hui people to wish Li". Later, many Huizhou classes went to Beijing in succession. The famous classes are Sanqing, Sixi, Chuntai and Hechun. Although He Shen was founded in the eighth year of Jiaqing (1803), which was later than the thirteenth year of Sanqing, it was still called "Huizhou Class Four went to Beijing" by later generations.

During the years of Qianlong and Jiaqing, Beijing was rich in cultural relics, politically stable and economically prosperous, and all kinds of opera artists gathered. Kunqu Opera, Peking Opera and Shaanxi Opera are opposites on the Beijing stage. When Huiban came to Beijing, he first devoted himself to "the combination of Beijing and Qin". At that time, Shaanxi Opera and Peking Opera were basically performed on the same stage, and "Beijing and Qin are not divided" (Yangzhou Painting Boat Record). Huizhou Class carries forward the tradition of learning from others, widely absorbs the repertoire and performance methods of Qin Opera (including some Beijing operas), and inherits many Kunqu Opera repertoires (side by side performing Kunqu Opera Peach Blossom Fan) and its stage art system, so it has been rapidly improved in art.

The artistic features of Huiban itself are the main reason why it can win in the struggle for balance. In terms of vocal cavity, in addition to singing Huang Er tune, "even the voices of five parties are the same" ("Looking at Flowers in the Sun"); In terms of repertoire, there are a wide range of themes and forms; In terms of performance, it is simple and true, with complete business, which is suitable for the appreciation requirements of the broad audience.

In terms of performance arrangement, according to the Chinese Dream, the four Huizhou classes are "each good at winning". Sanqing won with "Axis" (a new drama recently), Sixi won with "Quzi" (good at singing Kunqu opera), Hechun won with "Ba Zi" (good at playing martial arts drama), and Chuntai won with "Child" (called Tong Ling). Attaching importance to art and management, we can give full play to our expertise and make rapid progress. In the late Daoguang period, Huiban gained an advantage in Beijing. "Chinese Dream" said: "Today, there are the most people in Anhui, and Wu people are not as good as them. Unknown person in Shu. " He also said: "The troupe must perform in Huizhou." The largest theaters such as Guangde Building, Guanghe Building, Sanqing Garden and Qingyuan Paradise will also be dominated by Huizhou classes. "The process of Huiban's growth and development is also the process of its transformation into Peking Opera. The completion of this evolution is mainly marked by the confluence of Hui and Han, and the blending of Pi and Huang, forming a piano singing music system with Xipi and two accents, and gradually improving the singing, reading and playing system. Mi Yingxian (also known as Mi), a native of Chongyang, Hubei Province (referring to Anhui), was the first Chinese-style actor to accompany Huiban to Beijing. Born in forty-five years of Qianlong (1780), he joined Huizhou class in Chuntai and went to Beijing to sing around Jiaqing. He performed brilliantly, was good at red dramas and had a long reputation (see Li Dengqi's Chinese Dream and Frequent Talk). It is regarded as the pioneer of Yu Sansheng, a famous actor in China (at that time, there was a saying in the lyrics of Quyi that "rice should come first in the Asian Games"). During the reign of Daoguang (182 1- 1849), more and more Chinese opera actors came to Beijing to join the Huizhou class, including Wang Honggui and Li Liu. Su Haian's layman Yan Tai Zhao Hong Ji (written about 12 years before Daoguang) said: "The capital is still in Chu tune." Among them, musicians, such as Wang Honggui and Li, all claim to be people of the new era. "Chu tune is Han tune, and Han tune is Xipi tune. It can be seen that Xipi tune was popular in Beijing at that time, and Wang Honggui and Li Liu's "Goodness is a New Voice" promoted the innovative development of Xipi tune. With the joint efforts of actors returning to Han Dynasty, Xipi and Xihe gradually merged. Start different plays and sing Xipi or Huang Er respectively according to different sources; Later, some plays sang Xipi and Huanger at the same time, and even sang Huang Er first and then Xipi in the same aria, which can be coordinated and integrated. Luo Guan (from the emblem tune Nihe) is an example. In terms of phonology, it forms the metrical form of "Zhongzhou Rhyme and Huguang Rhyme". There is a mixed voice of Beijing and Hubei, with two tones of Beijing and Hubei, sharp and rhyming according to Thirteen Strings. Huang Er's accompaniment instruments, after repeated times, finally abandoned the flute in Xianfeng and Tongzhi years (1851-kloc-0/874), and used the huqin (with different tunes) in unison with Xipi, but still accompanied by the flute according to the tradition of Huiban when singing and playing.

At the end of Daoguang, Xipi Opera appeared in large numbers, and it was common for Huiban and Pihuang to perform in parallel. According to Yang Jingting's A Brief Introduction to Doumen published in the 25th year of Daoguang, Cheng Changgeng of Sanqing Class, Zhang Erkui of Sixi Class, Yu Sansheng and Li Liu of Chuntai Class, Wang Honggui of Chunban Class, etc., such as Catch and Release Cao, Dingjun Mountain, Drumming Cao, Sweeping Snow and Playing Bowls, etc. Since then, it has been compared with the traditional plays that are common on the stage of Beijing Opera. Another view is that Peking Opera was formed after Tan Xinpei became famous (1late 9th century and early 20th century). The reason is that at that time, Pihuang Opera had strict rules from music, performance to singing. Prior to this, that is, in the era of Cheng Changgeng, it still belonged to the category of Huizhou tune.

In the sixth year of Tongzhi (1867), Peking Opera spread to Shanghai. The newly-built Man Tingfang Theatre was invited to Beijing from Tianjin and was welcomed by the audience. In the same year, Tan Gui Tea Garden invited a large number of famous Peking Opera actors through Beijing Sanqing Class, including Xia (the father of Run), Xiong Jingui (the father of children) and Hua Dan Feng Sanxi (the father of Feng). They all settled in Shanghai and became a southern Peking Opera family centered on Shanghai. Later, more Beijing corners went south one after another, such as Zhou Chunkui, Sun Juxian, Yang Yuelou, Sun Chunheng, Huang Yueshan, Li Chunlai, Liu Yongchun, Bangzi, Hua Dan and Tian Jiyun, making Shanghai another Peking Opera center alongside Beijing.

Prior to this, Shanghai had Kunban and Huiban performances in the early years of Xianfeng. After Beijing Opera entered Shanghai, there were also situations in which Beijing emblem, Beijing Kunming and Beijing Bangzi were on the same stage. This has played an important role in the formation of the characteristics of Southern Opera. Wang Hongshou (son), an outstanding Anhui opera actor, often participated in Peking Opera performances after arriving in Shanghai, and brought with him Anhui operas such as Xu Ce Entering the City, Sweeping the Book of Matsushita, and Snow Embracing the Blue Pass. It is integrated into Beijing Opera, and the "high beat", one of the main themes of Anhui Opera, is integrated into Beijing Opera music, and some red operas of Anhui Opera and their performance methods are also absorbed into Beijing Opera. This has played a certain role in expanding the repertoire of Peking Opera and enriching the stage art. In addition, the artistic activities of Bangzi artist Tian Jiyun in Shanghai have also affected the development of Nanpai Peking Opera. His "Lantern Opera" and "Bullfighting Palace" are really the overkill of the later "combination of government and drama". From the fifth year of Guangxu (1879), Tan Xinpei went to Shanghai six times, and later famous actors such as Mei Lanfang often performed in Shanghai, which promoted the exchange of Peking Opera between the North School and the South School and accelerated the development of Peking Opera art.

Before Beijing Opera entered Shanghai, that is, after the tenth year of Xianfeng (1860), it spread rapidly all over the country with business trips and theatrical performances. For example, Tianjin and its surrounding Hebei area are one of the earliest areas where Peking Opera spread. At the end of Daoguang, Yu Sansheng was active in Tianjin (he and his father were buried in Tianjin after their death); Liu Gansan, a clown actor, first made a box office in Tianjin, and then went to Beijing to "go to sea". Sun Juxian, an old actor, used to be a fan of Jin Yao. Shandong is the only place where Huizhou people pass in and out of Beijing, and Shandong businessmen are an important force in Beijing's economic activities, so Peking Opera performances have appeared in Shandong for a long time. As early as the Qianlong period, Anhui artists entered Qufu Confucius House to perform. Anhui, Hubei and Northeast provinces are also the areas where Peking Opera spread earlier. By the beginning of the 20th century, there were Peking Opera activities in Fujian and Guangdong in the south, Zhejiang in the east, Heilongjiang in the north and Yunnan in the west. During the War of Resistance against Japanese Aggression period, Peking Opera also developed greatly in Sichuan, Shaanxi, Guizhou and Guangxi.

19 19, Mei Lanfang led a troupe to perform in Japan, and Peking Opera first spread overseas. 1924 led a delegation to perform in Japan again, 1930 led a crew of 20 people to visit the United States, which was a great success. 1934 was invited to visit Europe and perform in the Soviet Union, which attracted the attention of European drama circles. Since then, Peking Opera has been regarded as a school of drama in China all over the world. No.4 school 1, Meixiao

Mei Pai: Founded by Mei Lanfang. Mei Lanfang pursued the highest realm of art after graduation, and created a large number of ancient female images with kindness, gentleness, luxury, elegance and a sense of justice with her own performances.

2. Cheng School Cheng School: founded by. It mainly expresses ancient women with deep and tortuous vocals and demure and dignified stage images, and is especially good at shaping middle-and lower-class women who are miserable and soft outside and rigid inside.

3. Xunpai Xunpai: founded by Xunhuisheng. She is good at creating innocent, lively and enthusiastic girl images, and her style is gentle and charming.

4. Shangpai Shangpai: founded by Shang Xiaoyun. Taking vigorous and graceful as a unique style, singing, reading, doing and playing are not slim, winning with gas and strength, with masculine beauty. It is natural to form different schools of thought in various arts. Such as expressionism, empiricism, abstraction, impressionism and stream of consciousness. Schools in Beijing Opera are all named after actors, such as Mei School, Cheng School and so on. This is because Beijing opera is an actor's art centered on the protagonist. On the basis of extensive study and inheritance of predecessors' performance skills, combined with their own personality hobbies, physiological characteristics and artistic accomplishment, all actors created unique performance tracks, methods and means, which were recognized and welcomed by the audience after frequent performance practice, thus forming their own artistic trend and genre on the Beijing Opera stage with the artistic personality and unique creation of the main actors.

Founder of a major school.

Xu Sheng: Tan Pa-Tan Xinpei; Wang Pai-Wang Guifen; Sun Pai-Sun Juxian; Wang Pai-Wang Xiaonong; Wang Pai-Wang Hongshou; Liu Pai-Liu Hongsheng; Yu School-Yu Shuyan;

Language School-Language Ju Peng; Gao Pai-Gao Qingkui;

Ma Pai-Ma Li Anliang; Qi school-Zhou Fangxin; New Tan School-Tan Fuying;

Yang Pai-Yang Baosen; Western School-West Wavelet; Tang School-Don Yun Sheng

Xiao Sheng: Cheng Pai-Cheng Jixian; Jiangpai-Jiang Miaoxiang; Yu School-Yu Zhenfei; Ye Pai-Ye Shenglan

Wu Sheng: Li Pai-Li Chunlai; Yu School-Jusheng Yu; Yang school-Yang Xiaolou; Geppet-Gai Jiaotian

Dan Jiao: Pai Cheng-Chen Delin; Wang Pai-Wang Yaoqing; Mei Pai-Mei Lanfang; Cheng Pai-Cheng Qiuyan; Xun School-Xun Huisheng; Champagne-Shang Xiaoyun; Petty faction-little Cui Hua; Huang Pai-Huang Guiqiu

Hua Dan (Tsing Yi): Zhangpai-Zhang Junqiu

Lao Dan: Gongpai-Gong Yunfu; Li Pai-Li Duokui; Sun Pai-Sun Futing

Qingjiao: He Pai-He Guishan; Gold medal-Jinxiu Mountain; Qiu Pai-Qiu Guixian; Gold medal-Jin Shaoshan; Hao Pai-Hao Chenshou; Hou pai-Hou xirui; Autumn School-Autumn Rong Sheng

Clown: Wang Pai-Wang Changlin; Petty faction-Xiao Changhua; Fu Pai-Fu Xiaoshan; Ye pai ye Zhang sheng

Classical drama paradigm