The difference between Hebei Bangzi and Beijing Opera, and what plays are there in Hebei Bangzi?

There are many different factions and vocals in China opera culture, and Hebei Bangzi is a very important one. Hebei Bangzi is also very popular in northern Hebei. This issue of Opera Daquan understands the difference between Hebei Bangzi and Peking Opera and the repertoire of Hebei Bangzi.

Hebei Bangzi is an important branch of China Bangzi tune, which was formed in Daoguang period of Qing Dynasty and reached its peak in the early years of Guangxu. Hebei Bangzi is not only good at expressing historical themes, but also can reflect real life well. In the stage art, no matter in music, performance and stage art, there have been great changes and obvious improvements, thus adding clear, vigorous, gorgeous and euphemistic features to Hebei Bangzi.

It is popular in Hebei, Tianjin, Beijing and parts of Shandong, Henan and Shanxi, and has become one of the most influential Han operas in northern China. In its heyday, Hebei Bangzi was also introduced into three northeastern provinces of China, Jianghuai region, Russian and Mongolian People's Republic.

Hebei Bangzi and Beijing Opera both belong to banqiang, the main difference is that Hebei Bangzi is played with banhu, and Beijing Opera is played with Jinghu, and there are differences between banqiang and banqiang. There are four major tunes in China opera: Pi Huangqiang, Kunqu, Bangzi and Gaoqiang. Peking Opera is Pi Huangqiang, and Hebei Bangzi is Bangzi Opera.

Peking Opera and Hebei Bangzi both belong to banqiang, but their singing methods are different. There are four major tunes in China opera: Pi Huangqiang, Kunqu, Bangzi and Gaoqiang. Peking Opera is Pi Huangqiang, and Hebei Bangzi is Bangzi Opera. The main musical instruments of the band are also different: the main string of Beijing opera is Jinghu; Hebei Bangzi is a banhu, which is commonly used for sheng and flute. Percussion music (martial arts field) is basically the same in style of play. Others are no different in chanting (Hebei Bangzi doesn't pronounce catchy words) and clothing.

In addition, Peking Opera originated from the Qianlong period when Huiban went to Beijing (1790), while Hebei Bangzi originated from Shanshan Bangzi, which was formed in the late Ming and early Qing Dynasties, and the history of Bangzi was earlier than Peking Opera. Beijing Opera and Hebei Bangzi have a historical origin, and Nanbangzi in Beijing Opera evolved from Bangzi Opera.

The traditional operas of Hebei Bangzi are mostly based on historical stories from Yin and Zhou Dynasties, other countries, Han Dynasty, Three Kingdoms, Sui and Tang Dynasties, Song Dynasty, Yuan Dynasty, Ming and Qing Dynasties to the early years of the Republic of China. The number of small plays with folk life as the theme is small and there are few performances. Representative repertoires include: Butterfly Cup, Qin Xianglian, Yuanmen Chop, Jiangdong Ji, North-South Harmony, Dajinzhi, Du Shiniang, Sanshangjue, Shuang Suoshan, Wu Yudai, Xin Anyi, Huatiancuo, Penalty and so on.

1890 to 19 10 is the early stage of Hebei bangzi fashion drama. Most of the plays are based on the social life at that time, such as Ms. Comet, heavy smoker sighing, sleepwalking in Shanghai, burning the first floor, ants taking insects, mice marrying people and so on. At the beginning, most of these fashion dramas were staged by Yu Chengban, who was run by Tian Jiyun, and most of them were written by Yu Chengban.

Xuantong three years to fifteen years of the Republic of China is the middle period of fashion drama. Influenced by the Revolution of 1911 and the May 4th Movement, the themes of fashion dramas have expanded, including not only those based on domestic social news, but also some dramas adapted from famous foreign novels, such as La Traviata, Resurrection and Napoleon. In addition, he also wrote plays reflecting modern science and technology, such as "Strange Talk of Electrosurgery".

The Republic of China 16-26 was the end of Hebei Bangzi fashion drama. At this time, the number of plays with the theme of Sanyan, Erpai and Liaozhai increased greatly, such as Fifteen Passes, Biography of Geng Niang and Hu Siniang. Because most of these dramas have been adapted into contemporary stories and dressed in fashion, they are also called fashion dramas.