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All aspects of traditional Chinese opera knowledge

Traditional Chinese opera is a traditional form of drama in China. It integrates literature, music, dance, fine arts, martial arts, acrobatics and performing arts. Its origin has a long history. As early as the primitive society, song and dance sprouted. In the long process of development, after more than 800 years of continuous enrichment, innovation and development, a relatively complete system of traditional Chinese opera art has gradually formed. Although its origin comes from three different artistic forms: folk song and dance, rap and burlesque, the biggest feature that distinguishes a drama is that it comes from different vocal systems. These musical vocals are based on the language, folk songs and folk music in the region where they are produced, and are produced by absorbing music from other regions. Most of the characters in various dramas are filled by characters with different faces, such as life, Dan, Jing and Ugliness. The focus of the performance is to use routine movements extracted from life and virtual space processing. Paying attention to singing, doing, reading and looking for art, performing and dancing are rich and high in technology, which constitutes a complete opera art system different from other operas.

According to incomplete statistics, there are about 360 kinds of traditional operas and tens of thousands of traditional plays in ethnic minority areas in China. After the founding of People's Republic of China (PRC), many traditional plays have been adapted, and new historical plays and modern plays that express the theme of modern life have been warmly welcomed by the audience. The more popular and famous operas are: Beijing Opera, Kunqu Opera, Yue Opera, Henan Opera, xiang opera Opera, Guangdong Opera, Qin Opera, Sichuan Opera, Pingju Opera, Shanxi Opera, Han Opera, Chaozhou Opera, Fujian Opera, Qi Opera, Hebei Bangzi Opera, Anqing Huangmei Opera and Hunan Opera. There are more than 50 operas, especially Peking Opera, which are the most popular and spread all over the country.

China's ancient drama is called "drama" because it is mainly composed of "drama" and "qu". China's operas mainly include Southern Opera in Song and Yuan Dynasties, Zaju in Yuan and Ming Dynasties, legends and legends in Ming and Qing Dynasties, and traditional repertoires of modern Peking Opera and other local operas. Is the floorboard of China national drama culture.

The Origin and Formation of China Traditional Opera

China opera has a long history, which originated from songs and dances imitating labor.

(A) Pre-Qin-the embryonic stage of China traditional opera. The "Ode" in The Book of Songs and the "Nine Songs" in The Songs of Chu are the lyrics of singing and dancing when offering sacrifices to the gods. From the Spring and Autumn Period and the Warring States Period to the Han Dynasty, recreational songs and dances gradually evolved. From the Han and Wei Dynasties to the mid-Tang Dynasty, there appeared "Jiao Di" (that is, a hundred plays), in which "joining the army" performed in a question-and-answer way and "dancers" performing short stories of life were all budding plays.

(2) The Tang Dynasty (middle and late period)-the formation period of traditional Chinese opera. After the mid-Tang Dynasty, China's drama advanced by leaps and bounds, and the art of drama gradually took shape.

(3) Song and Jin Dynasties-the development period of China traditional opera. "Zaju" in Song Dynasty, "Courtyard Style" in Jin Dynasty and "Zhu Gong Tune" in rap form all laid the foundation of Zaju in Yuan Dynasty in music, structure and content.

(D) Yuan Dynasty-the mature period of China traditional opera. In the Yuan Dynasty, "Zaju" developed greatly on the original basis and became a new kind of drama. It has the basic characteristics of drama, which indicates that China's drama has entered a mature stage.

Yuan Zaju is a comprehensive stage art that inherits and develops the literary achievements of the previous generation on the fertile soil of folk operas, and is improved and created through the joint efforts of teachers' workshops, troupes, musicians and "book clubs". Metaphysically, Yuan Zaju uses four sets of northern songs to arrange stories, and the disjointed parts are combined with wedges to form the usual format of four folds and one wedge (Wang Shifu's The West Chamber is a unique novel in Yuan Zaju, and five books have written 2 1 fold). Each fold is composed of several tunes of the same palace tune, and a "wedge" is added when necessary. At the end, two, four and eight lines are used to summarize the content of the whole play, which is called "getting to the point". Each fold includes three parts: Qu Ci, Bai Hua () and (). The lyrics are written according to the music cards that the tutor needs, also called Wen Qu, lyrics or lyric poems. Its function is to tell stories and portray characters. All the lyrics rhyme. Vernacular writing is an artistic means to express the plot or explain the relationship between characters in the form of words, which can be divided into dialogue (dialogue between characters), monologue (words that characters express their personal feelings and wishes alone), narration (words that characters recite to the audience from other players on the stage) and vernacular writing (words inserted in lyrics). The subject is action, expression, etc. A play is usually sung by one person to the end or the end, and the other feet are all white. The lead singer at the end of the program is called "Final Book", and the lead singer at the end of the program is called "Final Book".

Role:

Ending: male role. The hero is the hero in Yuan Zaju.

Dan: Play a female role. Zheng Dan (the heroine in the play), Xiao Dan and Cha Dan.

Jing: Commonly known as "painted face" and "painted skin", they often play male roles with special personality or appearance. For example, Yuan, a civil servant (government official), falls into this category.

Ugliness: Also known as "Three Faces" or "Small Faces", it plays humorous roles, including Wen Chou and Wu Ugly.

Foreign: There are three kinds of zaju in the Yuan Dynasty, namely, the end of foreign drama, foreign drama and foreign classics. , which are the secondary roles at the end, Dan and Jing. Inside job-the end of the outside.

Miscellaneous: Also known as "miscellaneous". Play the role name of the old woman. Such as: Cai.

In just a few decades, Yuan Zaju writers have created at least 500 or 600 plays, and more than 50 plays of/kloc-0 are still preserved today. These works comprehensively and profoundly reflect the social life of the Yuan Dynasty, and many of them have become valuable cultural heritage of our country. For example, Guan Hanqing's "Dou Eyuan" describes the tragic experience of the kind and naive child bride Dou E, reflects the cruel exploitation of usurers, extortion by local ruffians and the perverting of the law by corrupt officials, profoundly exposes the dark reality of the Yuan Dynasty society, and praises the strong will and indomitable resistance spirit of the oppressed. With the help of historical themes, Ma Zhiyuan's Autumn in the Palace of Han Dynasty describes Wang Zhaojun's loyalty to the country, Mao Yanshou's betrayal of the country and the corruption and incompetence of his officials, mercilessly exposes the national oppression of the Yuan Dynasty and satirizes the rulers at that time. Wang Shifu's The West Chamber describes the story of young men and women fighting for the autonomy of marriage in feudal society. From stunning, couplets to refusing to get married, Cui Yingying's desire for love has been fully demonstrated. However, she was born in a famous family and was influenced and bound by feudal ethics. As a result, she had twists and turns such as "making trouble with Jane" and "relying on Jane". She finally embarked on the road of rebellion in such scenes as Listening to Qin Qu, The Book of Rites and The Pavilion, which added a strong comic color to her works. The main line of the whole drama is the contradiction between fighting for the autonomy of marriage and obeying the "parents' orders", and the misunderstanding and conflict between Cui Yingying, Zhang Xun and the matchmaker is the secondary line, which is interwoven rhythmically, with moderate relaxation, dynamic and static combination, mixed joys and sorrows, gathering, dispersing and blending, and colorful. His theme of "May all beings in the world become well-being" and vivid artistic image have strong artistic charm, which can give people a strong infection and is deeply loved by the masses.

Four masters of Yuan Qu: Guan Hanqing-Dou Eyuan; Zheng Guangzu-Ghost Story; Bai Pu-Wu Tongyu; Ma Zhiyuan-"Autumn in Han Palace";

(5) Ming and Qing Dynasties-the prosperous period of China traditional opera. In the Ming Dynasty, legends developed. The legend of the Ming Dynasty was formerly the Southern Opera in the Song and Yuan Dynasties (Southern Opera is the abbreviation of Southern Opera, which is a new form of drama developed on the basis of the Zaju in the Song Dynasty combined with the tunes of the southern region). Wenzhou is its birthplace. South Opera is different from North Zaju in system: it is not limited by 60% discount or one person singing to the end. It has an opening story, mostly a happy ending, and its style is mostly sentimental. Unlike the northern zaju, it is more free in form and more convenient to express life. Unfortunately, the books of the early Southern Opera are rarely preserved. It was not until the end of Yuan Dynasty and the beginning of Ming Dynasty that Southern Opera began to flourish. After the processing and improvement of the literati, this short play which is not rigorous enough has finally become a quite complete long play. For example, "Pipa Story" is a transition from southern opera to legend. The theme of this work comes from folklore, which shows a story completely and has certain drama. It was once known as "the ancestor of reviving southern opera". In the middle of Ming Dynasty, a large number of legendary writers and scripts emerged, among which Tang Xianzu was the most successful. He wrote many legendary plays in his life, and Peony Pavilion is his masterpiece. Through the story of Du Liniang and Liu Mengmei's life and death parting, the work praises the rebellious spirit of opposing feudal ethics, pursuing happy love and demanding individual liberation. The author endowed love with the power to bring it back to life, overcame the shackles of feudal ethics and won the final victory. This had far-reaching social significance in the society firmly ruled by feudal ethics at that time. This play has been loved by readers and audiences for 300 years. To this day, the boudoir, The Scared Dream and other fragments are still active on the stage of traditional Chinese opera performance, radiating its artistic brilliance.

According to legend, in the early Qing Dynasty, there were four major operas in Beijing, namely Nankun, Yi Bei, Liu Dong and Xibang. According to the records in the eighth year of Jiaqing: "In the Ming Dynasty, there was Kunqu opera, and the sound was heard, while many Yiyang, Bangzi, Qin and Liu in the north and south were homophonic, singing and dancing, and many musicians were unmoved by Beijing." It also illustrates the historical grand occasion at that time. Among them, the so-called Nankun is popular in Kunshan dialect in the south of the Yangtze River. The combination of northern Yi Guide Opera and northern Quju Opera originated from Yiyang Opera in Yiyang, Jiangxi Province, which was the high-pitched opera spread to the north, which was the Peking Opera prevailing in Beijing at that time. Liu Dong is a popular Liu Qiang in Shandong. Xibang is naturally a Bangzi opera, which is widely circulated in northwest China, that is, Shaanxi opera. It shows the grand occasion of artists from all directions gathering in Beijing.

At present, the above four major tunes have gone far beyond their original scope, and some of them have spread all over the country. Yiyang Opera (that is, high-pitched opera) is widely spread in Anhui, Zhejiang, Jiangsu, Hunan, Hubei, Fujian, Guangdong, Yunnan, Guizhou, Sichuan, Hebei and other places. Therefore, people concerned think this statement is unscientific, but this historical statement still objectively reflects historical facts. Judging from the current distribution of operas, Kunqu opera still has a considerable audience base in Shanghai, Nanjing, Zhejiang, Hunan and other places. Yiyang Opera not only took root and sprouted in the north, but also played an important role in the formation of Peking Opera and some northern operas from the Qianlong period, especially in many northern language areas. Although Liu Zi Opera (including Liuqin Opera influenced by it) is popular in northern Henan, northern Jiangsu, southern Hebei and northern Anhui, its important activities are Qufu, Tai 'an and Linyi in Shandong. Although Shaanxi Opera (Shaanxi Bangzi) and the Bangzi from Shanxi, Henan and Hebei are popular in the north so far, the Shaanxi Opera we saw in Gansu, Ningxia and Shaanxi has deeper roots, is older and has a wider audience, so it is called "Nankun, Yi Bei, Liu Dong and Xibang".

Types of National Opera

Color Drama Tibetan Chaozhou Opera Chu Opera Fengyang Opera Guangdong Han Opera Gui Opera Huangmei Opera Huizhou Opera Shandong Bangzi Shao Opera Sichuan Opera Yong Opera Yunnan Lantern Zhuang Opera Yue Opera Yang Opera Xinjiang Opera xiang opera Xiju Wu Opera Wan Wan Qiang Tianjin Civilization Opera Su Ju Opera Qiongju Qinghai Pingxian Opera Qi Opera Pu Opera Puxian Opera Pingju. Ou Opera Fujian Opera Long Opera Longjiang Opera Liaonan Opera Kunqu Opera Liyuan Opera Beijing Opera Jin Opera Huanglong Opera Huai Opera Shanghai Opera Hebei Bangzi Gan Opera Errentai Sichuan Opera Northern Kunqu Opera Xincheng Opera.

Vocal opera

Huang Er, Errentai, Shangdang Huang Er, Shangdang Bangzi, Shaanxi Bangzi, Shandong Bangzi, Sichuan Opera, Triangle Opera, Yiwu Opera, Yiyang Opera, Guangdong Han Opera, Yunnan Zhuang Opera, Yunnan Lantern Opera, Dan Opera, Puppet Opera, Baling Opera, Wuyin Opera, Wennan Opera and Zhonglu Opera. Ninghe Opera, Leping Opera, Zhengzi Opera, Siping Opera, Four-legged String Opera, Right-handed Nanjian Opera, Xipi Opera, Xiqin Opera, Xihua Drum, Xiqin Opera, Western Pingju Opera, Zhuang Opera, Zhuangsha Opera, Mi Opera, Ji Opera, Lu Opera, Lao tune Bangzi, Lu Opera, Blowing Opera, and so on. Beijing Opera, Qingyang Opera, Qinghai Pingxian Opera, Wu 'an Luozi Opera, Hangbang Opera, Yangopera, Kunqiang Opera, Longdong Opera, Shaoxing Opera, Ou Opera, Dong Opera, Yihuang Opera, Tea Picking Opera, Sizhou Opera, String Opera, Children's Play, Shaanxi Laoqiang Opera, Liuqiang Opera, Min Opera, Minxi Han Opera and Southern Opera. Puxian Opera, Haiyan Opera, Haimen Mountain Opera, Haicheng Jiao Opera, Laiwu Bangzi, Huguan Yangge, Huai Opera, Huaihong Opera, Huangmei Opera, Huanglong Opera, Huangxiaohua Drum, Qing Opera, Yin Qing Opera, Cantonese Opera, Wu Opera, Chu Opera, Tui Opera, Liyuan Opera, Bangzi Opera and Zhangqiu Bangzi Opera. Ruihe Opera, Xinjiang Quzi Opera, Cisse Opera, Gezi Opera, Tongzi Opera, Yuxian Yangko Opera, Manchu Banquet, Chaozhou Opera, Huizhou Opera, Shadow Play, Guizhou Opera, Henan Opera, Xiangyang Opera, Wu Xiang Yangko Opera, Tibetan Opera, Gan Opera and Yi Opera.

Dramatic nouns

Jiugong, Rupo, Boer, Thirteen Tunes, Erhualian, Beijing Opera Blues, Character Modeling, Daqu, Da Bian, Xiao Mo, Xiao Dan, Xiaoxi, Xiao Sheng, Xiaohualian, Trilogy, Sanhualian, San Xiao, Talented Person, Radio Drama, Introduction, Leading Drama, Wenchang, Art Troupe and Civilized Drama. Hand-eye posture, plum blossom award in Chinese drama, horse-beating, hunchback, lines, catwalk, normal model, Zheng Dan, Juzheng, Zheng Jing, four Huizhou classes, four major vocals, four kung fu and five methods, Dan, Dan, Mo, Naise, Naise performance, going out, going out, living, adding officials, walking on, setting. Qupo, Qupai, Qupu, Lao Dan, Laosheng, Diaomao, Legend, Zadang, Guoqu, Quji, Hesheng, Xu Hu, Baixi, Youling, Building Search, Finale, Local Drama, Problem Drama, Self-reporting, Huabei, Hua Dan, Bazi, Bazi Gong, Walking Side, Walking Rope, Playing. United Taiwan drama, improvisation, wudan, Wu Chou, Wu Chang, Jason Wu, Wu Sheng, Wu Erhua, Rong, Ban Ban, joining the army, joining the army drama, Dingtian poem, Dingtian poem, scenery, bi, brick tower, Faqu, Tsing Yi, official costume, drama. String, pantomime, appearance, starting from hegemony, circus, mask, axis, guest appearance, grass troupe, boudoir, live drama, sound effect, always first, theater, drama, script, tragedy, tragicomedy, architecture, rehearsal, narration, chime, door, guest white, bowl head, people. Singing opera, basic skills, street drama, badminton, helmet head, inspection field, facial makeup, colorful Dan, oratorio, chrysanthemum department, amateur, Guo head, elephant man, teaching workshop, virtual action, copper hammer painting face, fish dragon male face, elegant music, Nuo, props, comedy, blackhead, Nuo. Rolling tune, jumping pill, performance book, Qilu-Ren, acid, earning, picking all over, Gong Jing, wedge, children's drama, subtext, stage, stage lighting, stage art, stage guidance, stage art, title, title rectification, leaning, riding, squatting, pleating, embroidered robe, performing, cracking melon.

"Two Pots" in Traditional Chinese Opera

Zhang baoshen

In recent years, on the stage and on TV, it is often the case that actors of different operas perform the same play. For example, to commemorate the centenary of Mei Lanfang's birth, Ma Jinfeng, a famous artist of Henan Opera who is over 80 years old, and Mei Baojiu, a descendant of Mei School of Peking Opera, once performed "Mu Shuai Shuai" on the same stage; China Peking Opera Theatre and Tibetan Opera Troupe once performed Princess Wencheng together. This form of performance is called "Erguotou" in the drama circle. There are also a number of "three pots" and "four pots" that perform on the same stage. At the CCTV opera party, actors from Beijing Opera, Henan Opera, Longjiang Opera and Hebei Bangzi performed a Mulan together. Because of its novel performance form, it has aroused great interest from the audience.

In the history of China opera, this kind of "two pots" performance has a long history, and it is an important means of communication and integration between different operas. Many operas have evolved into new operas in Erguotou. During the Yuan Dynasty, Beijing was dominated by zaju, which produced many playwrights, such as Guan Hanqing, Wang Shifu and Ma Zhiyuan, and a number of famous dramas, such as Dou Eyuan and The West Chamber. After the capital moved from Nanjing to Beijing in Yongle period of Ming Dynasty, a large number of southerners went north in the tide of immigration, and Nanqu followed. In order to adapt to the new environment, Nanqu and Zaju performed a "combination of North and South". Nanqu absorbed the advantages of Beiqu and formed new Kunshan and Yiyang cavities. Zaju gradually withdrew from the historical stage.

In the late Ming and early Qing Dynasties, Kunshan Opera evolved into Kunqu Opera, which occupied a dominant position on the stage in Beijing. The Palace of Eternal Life and Peach Blossom Fan became the representative works of this period, which have been passed down to this day. Today's Peking Opera is also the product of the "two pots" of Han Opera and Hui Opera more than 200 years ago. During the Qianlong period of the Qing Dynasty, after four classes of Hui people entered Beijing, they performed on the same stage with Han opera artists. In the process of mutual integration, a new kind of "Pihuang Opera" was formed on the basis of Huanger Opera of Hui Opera and Xipi Opera of Han Opera. Since then, Pihuang Opera has continuously absorbed nutrition from Kunqu Opera, Bangzi Opera and other operas, and gradually became a new kind of opera-Beijing Opera.

By the end of the Qing Dynasty and the beginning of the Republic of China, Peking Opera had developed to a mature stage, which not only became the mainstream of Peking Opera stage, but also began to spread to the whole country. During this period, Hebei Bangzi (called Shaanxi Opera and Zhili Bangzi), which evolved from Shaanxi Bangzi, and Pingju, which developed from "jumping opera", all performed on the same stage as Beijing Opera. In the 17th year of Guangxu reign in Qing Dynasty (189 1), Tian Jiyun, a famous bangzi actor and opera activist in Hebei Province, initiated the precedent of "two pots under one roof". Because it is very popular with the audience, many class associations have followed suit. For a time, inside and outside Beijing, the performance of "Erguotou" in Beijing was booming. Many classes in Beijing opera are also "both bang and spring" Fu Liancheng, a famous Peking Opera teacher, is also a second-time student. That is, today's Ma's men have also learned the little prince's "going straight to Luoyang". Many Hebei Bangzi actors, such as Xun Huisheng, Yu (Xiao) and Zhao Tongzha (Furong), changed to Beijing Opera and became famous Peking Opera actors.

Pingju was formed in the late Qing Dynasty and the early Republic of China, and it is a new kind of drama evolved from Lotus Falls, Bangzi and Pingqiang Bangzi. Before liberation, he had been engaged in incomplete business, mainly in "Three Little" dramas (Xiao Sheng, Xiao Dan and Xiaohua), which was called "Banban Drama". Therefore, early Pingju often co-performed with Hebei Bangzi and Beijing Opera "Two Rivers" or "Three Blocks". In the performance with Beijing Opera and Hebei Bangzi, Pingju has made great progress in music, singing and repertoire. In 1930s, the appearance of the "four famous" actresses of Pingju, represented by "Bai" and "Ai Lianjun", made Pingju develop to a mature stage, which was not only popular in Beijing, Tianjin, Northeast China, North China and other places, but also performed in southern areas such as Shanghai, Jiangsu and Zhejiang, with great influence. But because the actors are weak, they often perform with Beijing Opera. In Shanghai, Bai once co-starred in Song Wu Killing Sister-in-law with a Peking Opera martial artist. 1945, new in Qingdao. She also took part in the Peking Opera class of Zhou's disciples and performed Qin Xianglian and other plays.

After liberation, in the process of reform and development, Pingju has improved its professional skills and enriched male vocals, especially with a group of actors such as Wei Rongyuan, Mattei, Zhang Defu and Xi Bao Kun, which completely solved the problem of "half-class drama". In addition, he created and performed many plays starring male actors, which were welcomed by the audience. "Two pots" became a historical record.