Little Cui Hua Fortune _ What Fairy is Little Cui Hua?

Several problems of beginners in Beijing opera

How many years did Beijing Opera come into being? There are two versions: 150 or 200. There are some controversies about the history of China opera, especially among the masses, but the more accurate one should be 150. Of course, the formation period of a drama can't be as accurate as opening a shop. It should be said that it is about 150 years.

1990, the bicentennial meeting of Huiban's coming to Beijing was held in Beijing. Many people think that this is the proof that Peking Opera has been formed for 200 years. In fact, the entry of Huiban into Beijing is closely related to the formation of Peking Opera, but they are two identical concepts. To put it shallowly, the baby's age should be counted from the time he was born, and the time he was pregnant and in his mother's body is not counted. Since it is called formation, there must be a more scientific definition. This is the difference between the formation of Beijing Huiban and Beijing Opera.

Beijing Opera is the product of the fusion of Beijing Hui Opera and Han Opera. However, in the process of its formation, China's tunes played an important role. Strictly speaking, timbre, style, repertoire, rhyme, etc. Han tune is the main "connotation" of Peking Opera. Huizhou Class is the "carrier" of performers who combine emblem with China tune. Therefore, experts have said that the class is called Huizhou class and the tune is called Han tune. Without Huizhou class and the attachment of China opera actors, it is difficult to form Peking Opera. However, China opera has no actors, only Huizhou class. Without the main connotation of Peking Opera, it is still impossible to form Peking Opera. Sanqing Huiban 1790' s entry into Beijing is only a sign of the emergence of the carrier, and it is far from the emergence of the new Peking Opera. Therefore, it cannot be vaguely said that Beijing Opera has been formed for 200 years.

Mi Yingxian (also known as Mi) was the first Peking Opera actor to go to Beijing. About 1800 played Guan Yu's play, and Zeng Chuntai was a member of Huizhou class for 20 years. However, as a China opera actor, his influence is not extensive after all. A large number of middle-tune actors went to Beijing one after another, about 1820- 1832. Famous ones include Wang Honggui, Li Liu, Long Deyun and Tan Zhidao. The most famous is Yu Sansheng, an old student. These Chinese-tone actors perform on the same stage as the Huizhou-class actors. Huang Er, Gospel, Chui, Siping, etc. Occasionally, they perform Xipi, Kunqu and Yi tunes. Actors in the Han Dynasty played Xipi and Huang Er. Xipi and Huanger are undoubtedly the main components of Beijing Opera. Judging from the later Peking Opera repertoires and harmony, more of them originated from Han Opera. For example, the present traditional operas, such as pass the parcel Cao, Wubi Opera, Circus Selling, Monument Touching Opera and Qionglin Banquet, all originated from Han Opera. Some plays originated from Anhui opera, and there are many Beijing opera books (such as The History of the Three Kingdoms). ) They were all edited and performed together with Lu Shengkui, and that was after the basic formation of Peking Opera.

To sum up, it can be seen that: first, Huiban's entry into Beijing is only the appearance of Beijing opera carrier; Second, Han-tune actors joined the Hui class after they entered Beijing, and they sang on the same stage with the Hui class actors, influencing and blending with each other. Coupled with Beijing dialect, it has gradually become a new kind of drama made of Huangpi. However, the repertoire and harmony of Han opera are the main connotation of Beijing opera, so it is an important step for Chinese actors to go to Beijing to create Beijing opera. Without this step, only the Hui people can't make Peking Opera. Thirdly, after 1820, a large number of China opera actors went to Beijing, and after nearly 20 years of integration and brewing, Peking Opera gradually formed. The maturity and recognition of the first generation of Peking Opera actors is about 1840. This is the historical basis that we believe that Peking Opera was formed about 150 years ago.

There is also evidence that the first Peking Opera script was Elysium written by a signed opera-watching Taoist published in the twentieth year of Daoguang (1840), and there is a saying in its general rule: "Music is better than Chu, and Youkun is better than Wu, so the customs are natural. I will listen to the capital today, so I use the voice of Beijing. " People who occasionally mourn are equal, such as the Yuan Dynasty and the Northern Song Dynasty. Fortunately, don't think this is ridiculous. "But: First, Peking Opera mainly focuses on Chu Yin, that is, Diao Han, rather than Shang Huiyin. Secondly, a key factor in the evolution of Han tune to Beijing opera is silence, which is of course only part of pronunciation. Thirdly, Elysium appeared before 1840, and there was no Peking Opera script. Therefore, it is more in line with the objective reality of history to define the formation time of Peking Opera as about 150 years ago.

Since the formation of Beijing Opera, a large number of outstanding actors have emerged. They have contributed to the innovation and development of Beijing Opera in singing, performance, repertoire and character modeling, and formed many influential schools. Such as Cheng Changgeng, Yu Sansheng, Zhang Erkui, Tan Xinpei, Wang Guifen, Sun Juxian, Wang Xiaonong, Liu Hongsheng, Wang Hongshou, Yu Shuyan, Gao Qingkui, Yan Ju Peng, Zhou Xinfang, Ma Lianliang, Yang Baosen, Tan Fuying and Li Shaochun. Xiao Sheng, Xu Xiaoxiang, Cheng Jixian, Jiang Miaoxiang and Ye Shenglan. ; Present were, Huang Yueshan,,, Shang, Li, etc. Dan Jiao Mei Qiaoling, Yu Ziyun, Tian Guifeng, Mei Lanfang, Cheng, Xun Huisheng, Shang Xiaoyun, Feng, Xiao Cuihua, Gong Yunfu, Li Duokui, etc. Jing Jiao Mu Fengshan, Huang Runfu, He Guishan, Qiu Guixian, Qiu et al. Clown Liu Gansan, Yang Mingyu (originally Kunqu Opera, joined Beijing Class), Wang Changlin, Xiao Changhua, etc. In addition, there are famous pianists such as Sun, Mei Tian,,, and so on. Famous drummers include Hang, Bai and Wang.

Artistic feature

Through the long-term stage practice of countless artists, the stage art of Peking Opera has formed a set of standardized and standardized programs, which restrict and complement each other in literature, performance, music, singing, gongs and drums, makeup and facial makeup. As an artistic means to create a stage image, it is very rich and its usage is very strict. If you can't master these programs, you can't complete the creation of Peking Opera stage art. Just as Peking Opera entered the court at the beginning of its formation, its development and growth are different from local operas. It is required to show a wider range of life, create more types of characters, be more comprehensive and complete in skills, and have higher aesthetic requirements for its stage image. Of course, it also weakens its folk local flavor, and its simple and rude style is relatively weak. Therefore, its performing arts tend to combine reality with reality, which goes beyond the limitation of stage space and time to the maximum extent, thus achieving the artistic realm of "expressing the spirit with form and having both form and spirit". The performance requires exquisiteness and exquisiteness, and it is everywhere; It is required to sing melodiously and euphemistically, and the voice is full of emotion; Martial arts is not won by bravery, but by "singing martial arts".

Traditional drama

Beijing opera inherits the artistic achievements and rich repertoire of Pi Huang's drama. There are not only Huang Er, but also Xipi, Chuiqiang, Siping Tune and Paizi, which belong to the Huang Er system. After the founding of People's Republic of China (PRC), through the joint efforts of opera workers and the vast number of opera actors, outstanding plays were listed as national cultural and artistic heritage in China New Culture and Art Lin Yuan, which was preserved and continued to be widely circulated on the stage. It is estimated that there are more than 200 such plays. For example, Cosmic Front, Yutangchun, Changbanpo, Heroes' Club, Fishermen's Family, Five People's Righteousness, Picked up Jade Bracelet, Three High Five, Six or Four Scholars in Snow. Various forms of drama are collectively called traditional drama.

Industry classification

The division of Peking Opera is not only based on the natural attributes (gender, age) and social attributes (identity, occupation) of the characters, but also on the personality characteristics of the characters and the attitude of the creators towards the characters.

Business has a long history, and the most influential part of Beijing Opera is Han Opera. Han opera is divided into 10 types: one end, two clean, three lives, four Dan, five ugly, six crooked, seven small, eight sticks, nine husbands and ten miscellaneous. The content of the roles played by these ten trades is probably like this: finally, the main male role, that is, the lifeline in Beijing opera; The net, like the net in Beijing opera, refers to the painted face; Dan is the Dan in Peking Opera, which refers to the female role; Iron egg is the abbreviation of iron egg. Iron eggs in the early Peking Opera were divided into different trades, among which iron eggs were relatively minor roles, commonly known as two eggs. For example, Tie Dan now plays Miss Yingying in the Beijing Opera "Matchmaker". Husband, play the role of coachman, sedan chair, stable boy and chief. Generally speaking, these ten types of Han opera are divided in detail, which lays the foundation for the division of Beijing opera. Beijing opera was later divided into four categories: raw, Dan, clean and ugly, which seemed simpler and more concise. However, each category includes several subcategories, so in fact, these ten kinds of transactions are included. Not only included, but also more detailed and rigorous. The only difference is that although there is a career in Chinese drama, its main business is purpose, not life. When it developed into Peking Opera, life and tourism became the main business.

Formation and spread

Peking Opera, formerly known as Huizhou Opera, 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 bamboo box in fifty-five years, he called it the' Three Celebrations Emblem', which 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 also 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 the Pihuang Opera at that time 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.

The development of Peking Opera

From 1860 to 1949, Peking Opera has generally experienced three stages of development.

The period from 1860 to 19 17 is the period of further maturity of Peking Opera. In terms of repertoires, the traditional repertoires passed down from Hui, Han, Bang and Kun have been refined through continuous processing and tempering in performance practice. Many first plays have been gradually cut and simplified into their own dramas. For example, the whole version of Cosmic Frontline usually shows the Revised Edition and the Golden Temple only 20% of the time. Before and after the Revolution of 1911, a number of new dramas appeared in the social and political changes, such as Wang Xiaonong's Crying at the Ancestral Temple and Melody in the Blue. In music, plates and melodies are added, and the pronunciation and rhyme are more stereotyped, which makes the singing of Beijing opera euphemistic and beautiful and more distinctive. In the stage performance art, it is also more delicate, exquisite and colorful. Three outstanding artists in the history of Peking Opera (Cheng Changgeng181-1880, Huizhou School; Yu Sansheng 1802- 1866, Han School; Zhang Erkui 18 13- 1860, Beijing school) and the emblem of the predecessor of Beijing opera and the local color of the Han dynasty were passed on to three outstanding artists after the older generation (Tan Xinpei 1847- 1965438, Sun Juxian/kloc-).

From the 9th year of Guangxu (1883), a large number of famous Peking Opera artists were recruited as "imperial tributes" one after another, and received a certain amount of silver rice to perform in the theater at ordinary times, and were called into the palace as messengers from time to time, thus breaking the old system that the court kept the troupe since Qianlong. Because of the royal family's love, it not only provided superior material conditions for the performance, but also had strict artistic requirements, so it left a number of relatively complete repertoires, which laid the foundation for the strict standardization of Beijing opera art, and at the same time, the court performance also brought some negative effects to Beijing opera in the tendency of repertoire content.

During this period, some Peking Opera artists directly participated in the political struggle. For example, in the coup d' é tat of 1898, the famous Dan Yu Qin Yu and Tian Jiyun tended to reform and reform, and sent messages to Emperor Guangxu. In Shanghai, the Revolution of 1911 hit the Manufacturing Bureau, and Pan Herun directly participated in the war and was awarded by Sun Yat-sen. ..

In the 24th year of Guangxu (1908), the first modern drama stage appeared in Shanghai. Out of patriotic enthusiasm, Brother Xia Yuerun built a theater with lighting and scenery facilities on the ground outside the concession at that time, which changed the traditional square stage, thus promoting the innovation of Peking Opera stage art and influencing other places.

From 19 17 to 1937, Peking Opera reached its peak. In terms of repertoire, traditional operas have been continuously processed and renovated, and a large number of new dramas have emerged. The scope of subject matter has been expanded, and the number of plays expressing patriotism and democratic ideas has increased. The repertoire is more closely combined with the performance characteristics of the actors, and there are some unique repertoires of art schools. In terms of stage art, genre art has made great progress. Previously, the stage of Beijing opera was dominated by old pedants, and the genre of old pedants was more obvious. At this time, Mei Lanfang, Cheng, Xun Huisheng and Shang Xiaoyun were determined to innovate and actively rehearsed new plays. Mei Lanfang absorbed China's traditional classical dance art into Peking Opera in the newly edited "costume dramas" such as A Moth to the Fire, Farewell My Concubine and History of Xi, enriched singing tunes and accompaniment instruments, and made many innovations in costumes and makeup. Cheng, Xun Huisheng and Shang Xiaoyun. He also developed his creativity and edited new dramas that can reflect his artistic characteristics, such as Cheng's Dream of Spring, Xun Huisheng's Hairpin Phoenix and Shang Xiaoyun's Princess Hamming. There has been a situation in which the "four great talents" compete for balance on the stage. This not only makes Dan Jiao's art glow with unprecedented brilliance, but also drives other industries to compete with each other. Such as, Ma,,, Yan, etc. all developed their own schools on the basis of inheriting the tradition. In Shanghai, Zhou (Kirin Tong)' s new dramas are unique, such as Xiao He Chasing the Moon under Han Xin, which has a wide influence all over the south of the Yangtze River and is known as the "Qiqi School". Wu's, Shang's and Southern's also formed schools with distinctive artistic characteristics. Besides, there are many talented people, such as Hua Lian, Xiao Sheng, Lao Dan and Ugly, and the stage of Peking Opera has reached the peak of art..

Since the 1920s, a large number of Liantai dramas have appeared on the stage of Shanghai Peking Opera. This dramatic structure, with vivid plot, beginning and end, and easy to understand, was deeply loved by the audience, gradually became popular in major cities in the south of the Yangtze River, and later spread to Beijing. Some of these clips have also become independent solo performances. But later, some Luen Thai dramas went astray in the commercialization of capitalism. Sometimes the theme of the first play is very clear, but if you continue, the more books you have, the farther you will go.

During the same period, a large number of female artists appeared on the stage of Beijing Opera, and some of them had high artistic achievements. Since the formation of Peking Opera in Daoxian period, all Peking Opera actors, regardless of health, beauty and ugliness, have been played by male actors. About the Tongzhi period (1862- 1874), Shanghai began to have a troupe composed of young girls, called "children's play". After the Revolution of 1911, the female class also appeared in Beijing and Tianjin. Some actresses are quite famous, but due to social conditions, most of them are short-lived. Since the1920s, many outstanding actresses have come to the fore and are quite mature in art, so they can choose their own courses. 1930 male and female co-production in Beijing Guangde Building (earlier in Shanghai). These outstanding actresses, in addition to the earlier veterans En Xiaofeng, Xiao, Dan, Liu Keqin, etc. , experienced veterans, Xiaodong Meng, Dan, Yan Qin, Xin, etc. Since the 1920s.

During this period, more attention was paid to personnel training and new measures were taken. From Xiaorongchunke, which was founded in the 6th year of Guangxu (1880), to Fulian City, which was founded in the 30th year of Guangxu, all the teaching methods were hard work before skills. 19 19 Nantong Gongling Society was established in South China (with Ou Yangyuqian as the director), 1930 China Theatre Academy was established in Beijing (with Jiao Juyin as the principal), 1934 Shandong Theatre was established, 1938 Shanghai Theatre School was established, and Xi 'an was established in the same year. Although this educational system and teaching method are still in the exploratory stage, it has achieved certain results in improving the artistic quality of a new generation of actors.

Pronunciation skill

(1) True voice is also called loud voice. One of the pronunciation methods of Peking Opera actors. When singing, qi comes out of the abdomen, resonates through the throat cavity, and directly produces sound, which is called true voice. Call the real voice with the voice in the real voice. If Tian Danqi passes through the throat cavity, the actor narrows the throat cavity to make it emit a higher tone than the real voice, which is called falsetto. True voice and falsetto are naturally connected when they are in the cavity, with wide range, easy operation of high and low voices and no trace. The life of Peking Opera (old students, martial arts students and red students), clean lines, ugly lines, Lao Dan and other trades are all sung with real voices. Xiao Sheng sings in a falsetto, but when he speaks, his true and false voices are mixed.

(2) The original sound is the same as the "falsetto".

(3) Loud voice is the same as "true voice".

(4) True sound is the same as "true sound".

(5) falsetto is also called small voice and double voice. One of the pronunciation methods of Peking Opera actors. It is relative to the true voice, loud voice and original sound. The sound made by falsetto is called falsetto. When vocalizing, compared with the real voice, the throat is narrower, the position is higher and the airflow is thinner. The pitch of falsetto is higher than that of real voice. Both Dan Jiao and Xiao Sheng in Beijing Opera are sung in falsetto, but their voices are different in rigidity and softness.

(6) Small voice is the same as "false voice".

(7) Both sounds are "false sounds".

(8) falsetto is the same as falsetto.

(9) Left voiced Peking Opera vocal nouns. Mainly refers to an abnormal voice in male voice, which can be high or low. In addition, the voice is just flat and round, and some old students or martial arts students who specialize in singing high notes all sing with this voice. Old students have pure left voice and their own left voice. In addition, the left sound is sometimes used as another explanation, which means that the sound is out of tune with the accompaniment instrument, which is generally called out of tune.

(10) Hanging sound is also used to adjust the sound. The singing practice method of Beijing opera actors is also one of the steps for actors to practice their singing skills. Every day, in addition to shouting slogans, actors must also use the Hu Qin (or add drums, etc. ) Practice the aria in singing loudly. Some use the general tone first, and then raise it appropriately. Hang voice function: 1. By practicing singing loudly, the voice can meet the requirements of singing on the stage. As a result of constant exercise, the voice can become louder and rounder, full of power, clear and powerful, and remain persistent. 2。 Familiar with accompaniment, fully understand the relationship between aria and accompaniment, grasp the size together, understand the meaning of the song, express the feelings of the song, make the cooperation between singing and accompaniment harmonious, and then achieve artistic tacit understanding and coordinate the performance style of the whole aria.

(1 1) Adjusting the sound is the same as "hanging sound".

(12) The vocal training method for Peking Opera actors can exercise each vocal part and correctly pronounce the local sound of each vowel. Generally speaking, in the open area in the morning, single vowels such as "hmm", "yi" and "ah" are shouted loudly, from low to high, from high to low, and repeatedly. After Xu Xiasheng dubs, he practices aria.

(13) The vocal nouns of Dan Tianyin Peking Opera. When an actor sings, his lungs are full of gas and his abdomen is hard. The gas seems to be a sound from the abdomen (about three inches below the navel). At present, the traditional singing practice method also thinks that Dantian sound is the best (that is, the sound is heard far away).

(14) xiang tang is the same as "abdomen yin".

(15) Vocal nouns of Yun Zheyue Peking Opera. This is a metaphor for the mellow and implicit voice of old students. This kind of voice sounds dry at first, but it becomes louder and more beautiful after singing, which makes people feel mellow and has unlimited potential. It is a beautiful sound quality formed by long-term exercise. Both Tan Xinpei and Yu Shuyan's voices belong to this type.

(16) Vocal Nouns of Beijing Opera in Collapse. In middle-aged and elderly people, because of physiological relations, the actor's voice is hoarse and he can't sing at all. This is called stumbling. Some actors cherish their own voices, and the vowels remain the same when they get old. Actors who sing in falsetto are more likely to collapse when they are older.

(17) is a kind of Beijing opera with back voice. Also known as echo. Generally speaking, qi comes out of the abdomen, resonates through the throat cavity and is directly emitted. Although the sounds in the back of the head are the same as those in the abdomen, when pronouncing, the throat cavity is slightly compressed, the posterior pharyngeal wall is opened, and the soft palate is improved. The sounds are sent to the head cavity, meet with nasal sounds, make the sounds go around the back of the head, resonate through the head cavity, and emit subtle and rich tones. The pronunciation on the back of the head is vigorous and powerful, which can be heard far away, but not sharp near. In the singing of old students and pure horns, this kind of singing method is often used whenever there is a closed tone (such as "one or seven tracks"). There are fewer people who use tongue curl in Dan Jiao's singing, but Cheng () school also uses it.

(18) ringback tones are the same as ringback tones.

(19) Huang Qiang is also called Huang Qiang, Huang Tiao or Liangdiao. Vocal nouns in Peking Opera. It refers to the inaccurate tone of an actor's singing, and it is customary to refer to the tone change slightly below the tone. Most of them are caused by the actor's innate physiological conditions, such as vocal cord variation and poor hearing. Sometimes it is also caused by poor vocal practice.

(20) Huang Tiao with "barren cavity".

(2 1) Yellow cavity is the same as "bald cavity".

(22) Cool tone is the same as "barren cavity".

(23) Vocal nouns in Peking Opera. Of an actor singing in a tone slightly higher than the prescribed tone. Most of them are caused by congenital physiological conditions. Some are due to temporary failure of physiological conditions (such as vocal cords); Sometimes it is also caused by poor vocal practice.

(24) Vocal nouns of Peking Opera. Refers to an actor singing a song that does not conform to the prescribed rhythm. There are various grooves in the singing of Beijing opera, such as one board with three eyes, one board with one eye, running water board and so on. If you deviate from the rules of the board eye and lose the rhythm, it is called walking board.

(25) Vocal nouns that do not conform to Peking Opera. Refers to the singer's singing tone is high or low, which does not meet the prescribed tone. Habits are out of step.

(26) Out of tune is the same as "out of tune".

(27) One of the singing methods of Qikou Peking Opera. Refers to the way an actor inhales when singing. All kinds of vocals in Beijing Opera have different lengths and rhythms. Only by mastering the accurate inhalation method can an actor sing calmly and beautifully. Air ports include air exchange and air theft. Breathing refers to inhaling in the interval of singing, and stealing gas refers to inhaling in intermittent phrases without making the listener aware.

(28) One of the singing methods of Breathing Beijing Opera. When singing, whenever you encounter a long cavity or a high position, you should inhale first and be fully prepared. Breathing is not to stop singing or sing after a short pause, but to breathe and store gas at the moment when the lines are full of words for change. Where to breathe when singing varies from person to person, which is generally called the air port.

(29) stealing one of the singing methods of Peking Opera. It means breathing without leaving a trace and being stolen when the audience is not aware of it. For example, in "Catch and Release Cao", Chen Gong sang "I can't get back to the horse when the horse is in the forest". After singing the first six words and the word "nei", he "stole" a breath with the interlude "I" to sing the following "It's difficult to get back to the horse", which is called stealing gas.

(30) Ga tune in the singing of Beijing Opera is called Ga tune whenever a word is sung with a prominent voice. For example, the word "Fan" in the sentence of "Calling at the Palace Gate" sung by Shiro Visiting Mother and the word "Tian" in the sentence of "Sweeping at 3 o'clock tomorrow afternoon" sung by Huang Zhong in Dingjun Mountain are all called Ga tunes.

(3 1) Long sound length (sound palm) is growth, and sound length is the common name of voice, which refers to volume here. A long speech seems to increase the volume.