Who can teach the knowledge of Yue Opera?

One of the five major operas in China, also known as "the second largest opera in China" (Beijing Opera, Yue Opera [1], Huangmei Opera, Pingju Opera and Henan Opera). The late Qing Dynasty originated in Shengxian County, Zhejiang Province, and was named after the location of the ancient Yue State. Developed from local folk songs.

Traditional opera forms in China. Mainly popular in Zhejiang, Shanghai, Jiangsu, Fujian and other places, it also has a high popularity and a broad mass base overseas.

Yue Opera is good at lyricism, mainly singing, with clear and beautiful voice, beautiful and beautiful performance, which is really touching, and the local color in the south of the Yangtze River is very strong. Shaoxing opera actors first performed in men's classes, then changed to women's classes or mixed classes, and now most of them are women's classes.

Today, the state attaches great importance to the protection of intangible cultural heritage. On May 20, 2006, the State Council approved this plan.

Development history

The predecessor of Yue Opera is the popular rap form of "singing local script" in Shengxian County, Zhejiang Province (mainly in Matang Village, which can be said to be the origin of Yue Opera. The origin of Yue Opera should be in Matang, so Yue Opera should have a history of nearly 150 years). Men's Yue Opera originated in Dongwang Village, Shengzhou, while women's Yue Opera originated in Shijiaao, Shengzhou.

1929 (that is, in the Republic of China 18), the second women's class was established in Shengxian, which was held later. Since the end of 193 1 (that is, 20 years of the Republic of China), some actresses, such as Chen Miaoxian, Lu, Dong 'an Stage and Four Seasons Spring Class, have come to Shanghai to perform one after another, but they are still mixed.

From 1928 (that is, 17) to 1, the number of female classes flocked to Shanghai, and increased to 36 in the second half of 194 1 (that is, in the 30 years of the Republic of China). Almost all the famous actresses of Yue Opera gathered in Shanghai. The newspaper commented that "women's Yue Opera in Shanghai is all the rage, and it has been overwhelming recently". Because there were no successors, the male class was eventually replaced by the female class.

The most famous actors in this period are "three flowers, one roll and one laurel", namely Shi, Zhao Ruihua, Xiao Dangui, and the younger ones are Tu Xinghua, Zhu Su 'e and. Young actors like Yuan Xuefen, Yin Guifang, Fan Ruijuan, Fu Quanxiang and Xu Yulan have made their mark.

1September, 944, Yin Guifang and Zhu Shuizhao reconstructed the Longmen Theater. Since then, all the major Yue Opera troupes in Shanghai have joined the ranks of "New Yue Opera", and the face of Yue Opera has undergone tremendous changes in just a few years.

Shanghai was liberated in May 1949. 1950 April 12, the first state-level troupe in Shanghai, East China Yue Opera Experimental Troupe, was established. On March 24th, 1955, Shanghai Yue Theatre was formally established. The theater has gathered a large number of professionals with high artistic accomplishment in the field of Yue Opera, such as directors, performers, musicians and artists. Under the guidance of China's literary and artistic direction of serving the people and socialism and the policy of "letting a hundred flowers blossom and bringing forth the new", it has played an exemplary role in the national theater. In addition, a number of collective-owned troupes, such as Fanghua, Yunhua, Hezuo and Youqiang, are also very active and have made many achievements in putting people on the stage.

The 1950s and 1960s were the golden age of Yue Opera, and a number of influential artistic masterpieces were created, such as Butterfly Lovers, The Romance of the West Chamber, A Dream of Red Mansions and Sister Xianglin. , gained great reputation at home and abroad, such as love detective, biography of Li Wa, chasing fish, biography of Chunxiang, Hosta, Peacock flying southeast, He Wenxiu and so on.

With the development of socialist construction, Yue Opera began to spread from Shanghai to the whole country. By the early 1960s, Yue Opera had spread to more than 20 provinces and cities, with increasing influence.

1966 During the "Cultural Revolution", Yue Opera was severely damaged. A group of famous actors, creators and management cadres were persecuted and Yue Opera was forced to stop.

Since the late 1980s, with the enrichment of cultural categories and the diversified development of audience tastes, Shanghai Yue Opera is facing severe challenges. People with lofty ideals in the field of Yue Opera are actively exploring, deepening reform and striving to make Shanghai Yue Opera cause more brilliant.

Classic repertoire

Butterfly lovers, Tiger Snatching Kiss, Five Women Offering Birthdays, Dream of Red Mansions, Sister Xianglin, Romance of the West Chamber, Peach Blossom Fan, He Wenxiu, Yutangchun, Bloody Handprint, Beating Golden Branches, Jade Dragonfly, Hosta and Xiyuan. Pan Fusov, Flower Sending Party, Liu Yichuan, Lu You and Tang Wan, Rougui Kou, Chasing Fish, Detective, Han Gong Complain, Moonlit Night on the Spring River, Rain on the Tongjiang River, Candle Tears, Peacock Flying Southeast and so on.

Genre art

Yin Guifang (sound school) plays in the Yue Opera "The West Chamber".

From 1942 to 10 (that is, 3 1 10 in the Republic of China), Yuan Xuefen, a famous performing artist of Yue Opera, carried out a comprehensive reform of the traditional Yue Opera, which was called "New Yue Opera". The new Yue Opera has changed the lively and jumping "four-cavity" of the original "small singing class" into a sad and soothing aria, that is, "with a ruler tone" and "with a lower chord", which has pushed the singing art of Yue Opera to a new stage. All the schools of Yue Opera have developed and enriched on the basis of "following the ruler" and "lowering the string". Later, these two tunes became the main theme of Yue Opera, and on this basis, they gradually formed their own genre vocals.

Yuan school: founded by Yuan Xuefen [2]. Yuan Xuefen is an important representative in the history of the development of the singing art of Yue Opera. Yuan Xuefen's "Yuan School" had a far-reaching influence on the development and perfection of Li Shangyin's foot-shouldering singing and the formation of Li School. Yuan Pai's singing style is simple and plain, euphemistic and delicate, deep and implicit, full of charm, full of sound and emotion. Descendants of schools: Xiao Shuizhao,,, Hua Yiqing, Zhu and so on.

Yin school: founded by. Her performance is simple but not dull, intelligent but not frivolous, chic but not erratic, and her words are clear and distinctive. The characteristics of Yin School are profound and meaningful, touching and soft. School successors:, Mao,,,, Qi Chunlei, Wang, Zhang Lin, etc.

Fanpai: founded by Fan Ruijuan. There are all kinds of operas in Fan Ruijuan. Her voice is solid, loud, full of gas, with a wide range, and she pursues strong male beauty in singing. She is one of the founders of Xianxia Room. Fan school is characterized by simplicity and generosity, solid articulation, ups and downs of melody, masculinity and masculine beauty. School descendants: Xiao Mingzhu,,, Meng Kejuan, Fang, Xu Ming,,, Shao, Shi Jihua, Han Tingting, Chen, Ding Saijun and Wang Rousang.

Xu Pai: Founded by Xu Yulan. She absorbed the rough and tragic features of Shao Opera, the vigorous and solid skills of Beijing Opera, and the simple and honest factors in the singing of young people in the early stage of Yue Opera, and formed her own characteristics of gorgeous elegance, free and easy flow, unrestrained and high-pitched, passionate, ups and downs of tunes and obvious ups and downs. Descendants of schools:,,, Chen Nanjun,, Jin,,,.

Bi Pai: Founded by Bi Chunfang. Bi Chunfang is good at comedy. Her voice is crisp and elastic, with a wide range. She is good at shaping characters by changing her singing style. She absorbed the singing essence of Fan School and Yin School, as well as Yuan Pai's acting skills, and integrated into her own style. School successors: Yang Tonghua, Yang Wenwei, Ding Xiaowa, etc.

Fu School: founded by Fu Quanxiang. Its main characteristics are beautiful and changeable singing, ups and downs, expressive, rich performances, delicate and clever, and touching charm. Fu School is an important school of Hua Dan singing Yue Opera. Genre successors: He Ying, Chen Ying, Chen Yi, Hong Fenfei, Zhang Lajiao, Xue Ying, Hu, Zhang, Qiu Danli, etc.

Golden School: founded by Jin Caifeng. Jin Caifeng studied under Yuan Xuefen, absorbed the essence of Silverflower, Fan Ruijuan and Fu Quanxiang, and was elegant and generous. She is good at playing with good family, singing euphemistically, with clear pronunciation and mellow voice, natural luck and full of charm. Genre successors: Xie Qunying, Huang Meiju, Fan Tingting, etc.

Lu school: founded by. She is good at playing Confucian scholars, poor students and towel students. His singing is not gorgeous, does not like carving, simple and beautiful, natural and smooth. School successors:,, Cao,, Liao,, Xu Jie,, Qiu Qiaofang, etc.

Zhu School: founded by Zhu Shuizhao. Her performance is charming, fresh and refined, and her singing is sweet and soft. What is particularly striking is that she performed in a wide range, and Hua Dan, Tsing Yi, Xiao Dan, Xiao Sheng, Lao Sheng and even Lao Dan were able to cope with it. In addition, her beautiful appearance was praised by the audience as "the beauty in Yue Opera". Representative works include: Liu Yichuan, Three Visits to the Imperial Sister, Mo Chounv, etc. Genre successors: Xia Wenjun, Zhu, Yin Ruifen, Sun Jing, Sun Tingya.

Qi school: founded by Qi Yaxian [7]. It is characterized by sincere and strong feelings, simple tunes and few coloratura, but it is closely organized, with distinct rhythm, concise sound patterns and repeated changes, forming an impressive feature. Genre successors: Wang Xingjuan, Jin Jing, Zhou, Zhu Zhufen, etc.

Wang School: founded by Wang [9]. She is famous for being good at playing roles and conveying inner feelings. Wang Bo learned from others and pursued innovation, and gradually formed a natural, smooth, simple and sincere style. School successors: Zhou Yunjuan, CoCo Lee, Shu Jinxia, Shan Yangping, Chen Xiaohong, Wang Zhiping, Hong Ying, Qian Aiyu, etc.

Lupai: Founded by Lv Ruiying. It is the youngest school of various schools of Yue Opera (the creation time of each school is the latest). Lv Ruiying's singing method is based on the simple, delicate, euphemistic and profound original school, adding colorful and elegant singing methods. She has a strong sense of singing and has the reputation of "lyric soprano" in the Yue Opera circle. Representative repertoires include: Golden Branch, Romance of the West Chamber, Gentleman among Flowers, Mu Guiying, etc. Genre successors: Chen Huiling, Zhao Haiying, Wu Suying, Sun Zhijun, Huang Yiqun, Zhang Yongmei, etc.

Zhang Pai: Founded by Zhang Yunxia. Hua Dan. The main characteristics of his singing are: delicate and euphemistic tunes and deep feelings; The timbre is soft, sweet and full of charm. School successors: Xue, He Caifei, Yuan Xiaoyun, etc.

Zhang Pai: Founded by Zhang Guifeng. Old worker. His performance is vivid and he is good at portraying characters. Its singing is vigorous and straight, ups and downs, full of sound and emotion. Representative repertoires: Release of Two Halls and Nine-Jin Girl. School successors:, Zheng,,,, Cai Yan,, Le,, Zhang Guohua, Zhang, etc.

Xu Pai: Founded by Xu Tianhong. Old worker. Singing has absorbed the ups and downs and high-spirited style of Shao Opera. High voice, pay attention to spitting. The use of vibrato in vocalization, the resonance between nasal cavity and head cavity, is called "vibrato cavity", which is the representative repertoire: Dream of Red Mansions, Playing in the Second Hall, Reunion on a Moonlit Night, etc. Genre inheritors: Jin Ye, etc.

Wu Pai: founded by Wu. Old worker. The performance is vigorous and dignified, impassioned, free to stretch, passionate, with a generous and loud voice and full bass sound quality, and is good at shaping characters with different personalities. Representative plays: Detective, etc. Genre inheritors: Jin Hong, etc.

Business school: founded by businessmen. Old worker. In his early years, he worked with Xing, Zhu Su 'e, Zhao Ruihua and others. On the basis of the original old-fashioned singing, this paper tries to transform it, learn from the old-fashioned tune in Shaoxing, and integrate it into the four tones of Yue Opera. Singing is high-pitched, vigorous, solemn and majestic, forming a unique old-school singing. Representative plays: Liu Yichuan, etc. Genre successors: Hu Gome, etc.

Zhou school: founded by. Lao Dan. Zhou Baokui is called "King of Lao Dan". The singing is simple and true, and the characters are different in personality and identity. This road is very wide. Excellent acting skills, vivid characters, can design vocals according to various characters' personalities, so that the characters can be vividly reflected in the vocals. Representative repertoires: Mother-in-law in The Jade Hairpin, Jia Mu in A Dream of Red Mansions, etc. Genre successors: Yu, et al.

Dressing up art

In the early performance of Yue Opera, most of the actors did not wear makeup; When men dress up as women, the braids on the back of their heads are scattered and combed into a bun, and rouge and lead powder are applied to their faces; Some women's horns on the grass platform make up, wiping their cheeks with red paper dipped in water, but not thrush, or thrush with the ash at the bottom of the pot, which is called "clear water dressing". Later, he played costume drama, imitated Shao opera, learned gouache makeup, white foundation, red rouge and ink paste to draw eyebrows and eyes. Make a big face and a clown draw a white nose. 1942 (3 1 year of the Republic of China), when the Ghost of the Ancient Temple was staged by Xuesheng Yue Troupe, Han Yi first experimented with oil painting pigments for Yuan Xuefen. Later, director Yu Yin invited movie stars to give makeup guidance to the troupe, completely abolishing gouache makeup and switching to oil painting pigments. In the following years, Zhu Shuizhao, Fu Quanxiang, Wu, etc. When performing a new play, all of them are replaced by oil paints and makeup. 1946 (in 35 years of the Republic of China), makeup artist Chen Shaozhou successfully disguised Xianglinsao's stage modeling from youth to old age as a beggar in the Shaoxing opera "Xianglinsao". With the strong support of makeup artists in Shanghai film and television industry and drama industry, the Yue Opera industry has been studying and practicing constantly. In the early 1950s, the makeup features with dramatic style were basically formed. This is the absorption of the advantages of traditional gouache makeup and the soft and natural makeup of film and television dramas, forming the characteristics of bright and soft colors, fresh lines and distinct facial features, which not only conforms to life, but also has artistic exaggeration, giving the audience a soft and lyrical aesthetic feeling.

Hairstyle and headdress

Different historical periods have different forms and characteristics. At the beginning of the male class, the actor untied the braid on his head, put a bun on the plate and inserted a flower, which was the earliest hairstyle and headdress. After that, he played costume drama and imitated Shao opera. String up rows of beards with small glass tubes, decorate the bun, and decorate the bun with top flowers. In the 1920s, I studied Peking Opera, but I didn't have the conditions to prepare a full set of "heads" at first. Instead, it is made of wood or iron sheets, and it is rare to decorate the performance with all the heads. Since the birth of the women's class, actresses have been used as "hair weaving" and wigs as "Baotou", and with "private color costumes", they have used "copper bubble Baotou" (such as Wang Baochuan in Bieyao), "rhinestone Baotou" (such as Yan Lanzhen in Panfusov) and "stippling Baotou" to learn Peking Opera. In the early 1940s, when Yuan Xuefen performed "Heng Niang", she changed her hair into a costume head and chose to use a headdress as needed. Afterwards, the actors also reformed the headdress one after another, looking for the basis from the paintings of ladies in ancient costumes, and began to create the unique hairstyles and headdresses of the ancient costumes of Yue Opera. The headdress is simple and light, from complex to simple, from gorgeous to beautiful, with wearing as the main body and decorated with a small amount of flowers. In the 1950s, in order to meet the needs of hair styles and save time in makeup, we began to make wigs and headdresses. At the beginning of 1950, after the establishment of the East China Yue Opera Experimental Troupe, professionals in "makeup management" were first set up, and stylists were successively equipped to draw the designed hairstyles and headdresses according to the director's requirements. The headdress is specially designed by professional designers, and then the samples are sent to the drama clothing factory for customization, thus breaking the fixed pattern of traditional headdress and skillfully using hairpins, hairpins, walking pins, buttons and flower buds. In ancient life, there were queens, princesses and officials' wives who designed stage figures. Designed partial phoenix, single phoenix, crested hairpin and middle phoenix for ordinary family members of scholarly family; Yuntou, Ruyi, Bletilla striata and Little Everest are designed for poor women. The flowers on your head are also very particular, so you can't wear them casually. Pay attention to the balance and layering between flowers and other ornaments on the head from the perspective of personality. The color of flowers is generally not particularly bright, but mostly indirect, which is in harmony with the color of clothing. The creativity of Shanghai Yue Opera has attracted the attention of the art world. Chen Lihua and other makeup artists from Shanghai Yue Theatre were also invited to teach advanced courses for professional students and drama directors of Shanghai Theatre Academy.

False beard (worn in traditional Chinese opera performances)

In the early days of Xiaoqu class, some actors in costume drama used clay horns in temples, and some used black and white gauze to make a row of horns. After renting costumes, we adopted the Dunkou of Shao's drama. After the male class entered Shanghai in 19 17 (that is, in the 6th year of the Republic of China), it adopted the mouth shapes of Peking Opera, such as the clown's "black man", "pale man", "white man", "eight characters" and "hanging himself". In the early 1930s, women's class performances still followed the Beijing Opera Dunkou. In the late 1930s, the reform of Yue Opera began, and Dunkou began to improve. First, the beard becomes shorter and thinner. In the early 1940s, the old students traditionally didn't need to hang beards, but learned the "sticky beards" of drama. Later, because the makeup method of "sticking beard" was inconvenient and took a long time, copper wire was used as a frame to make various beards. When a big face needs a full-face beard, it is no longer called a "campus beard" but a "beard cover". Clowns no longer use "moustache" and "hanging beard", but use "nose beard" and "upturned beard", which are collectively called "improved beard" The traditional "full mouth" can't see the lips. The improved beard is made of thick copper wire, and the lips are exposed, with five and three locks. In the 1960s, when Shanghai Yue Opera performed costume dramas, all the beards were improved. The raw materials of beard are mainly human hair and yak hair, mixed with wool, and then the hair is hooked on flesh-colored silk or mesh yarn.

Set up props

scenery

(1) Realistic scenery. Realism produces artistic conception, which changes little in time and space, but it can produce certain illusion in the audience and make people feel immersive. Such as The West Chamber and A Dream of Red Mansions performed by Shanghai Yue Theatre, and Emperor Guangxu performed by Jing 'an Yue Theatre.

(2) the combination of reality and reality. This is a widely used method in the scenery of Yue Opera. One is a small device (developed from the "stylized device" in the 1940 s), in which the design of the scenery focuses on local images, omitting others, and using the imagination of the audience to understand the overall situation. This kind of scenery has great room for expression, such as Three Visits by Shanghai Yue Theatre and Li Cuiying by Shao Zhuang Yue Theatre. The other is the combination of large and small installations (that is, the combination of realistic scenery and small installations), such as Sister Xianglin, King of the North, Jinshan War Drum and other plays performed by Shanghai Yue Theatre.

(3) Neutral and distinctive scenery. On the basis of absorbing the performance methods of drama scenes, it is made according to the unique stage art language of Yue Opera. There is both unity and variability in application, which makes different scenes produce harmonious beauty without losing the prescribed situation and its own inherent characteristics. For example, Queen China, staged by Shanghai Yue Theatre in 1980s.

(4) Decorate the scenery. It is enriched and created on the basis of "conservatism" and is often used in plays with great changes in time and space and strong traditional performance techniques. For example, Panfusov and Golden Hairpin performed by Shanghai Yue Theatre.

(5) Drawing lessons from the scenery of folk art style. It combines specific environment with decoration, such as absorbing and using folk paper-cutting and shadow play, and has strong folk art charm. Such as Legend of the White Snake, Eleven Lang and the modern drama Spinning Adventure performed by Shanghai Yue Theatre.

Clothing categories and characteristics

In the early days of Yue Opera, most of the characters borrowed clothes, robes and mandarin jackets from their daily lives, and some officials also used embroidered robes of temple gods. Later, the wardrobe owner of Shaoxing taipan rented costumes, put them in baskets and carried them from the village to the town. This is the earliest suitcase form of Shaoxing opera. Most of the rented costumes are coats, shirts, pythons, lying clothes and arrow clothes, and the styles of costumes are basically traditional Shao opera and Beijing opera styles.

During the period of Yue Opera in the 1920s and 1930s, influenced by the suitcase system of Shanghai Peking Opera, the costumes of main actors and extras began to separate. The main actors wear "private clothes" (also known as private clothes), and the main actors are responsible for adding them; Ordinary actors and extras, such as walk-ons, ladies-in-waiting, etc., all wear "hall clothes" and are rented by the monitor or the monitor. At that time, because the audience wanted to see both actors and costumes, some famous actors competed to show their costumes. Some Xiao Dan changed 10 sets of clothes in one night. Some people call the costumes of Yue Opera at this time a "chaotic" period.

The costume design of Yue Opera began in 1943 (32 years of the Republic of China). Professional choreographer Han Yi designed the costumes of the devil and four kids in A Rainy Night. 165438+ 10 This year, when Yuan Xuefen starred in "The Fragrant Princess", because the characters in the play had brothers and more identities, he tried his best to achieve artistic unity. All the costumes are designed by Korean art, arranged by the actors themselves, and the theater owner posts a part of the expenses according to the role priority. This is a major reform of Yue Opera costumes.

In the late 1940s, the costume reform of Yue Opera gradually formed a unique style through continuous artistic practice and summing up the lessons of success and failure. A number of professional designers such as Xing, Su Shifeng, Han Yi, Zhang Jian 'an and Chen Lihua grew up after the birth of New China.

In terms of color matching, the costume of Yue Opera has broken through the norms of "five colors on the top" and "five colors on the bottom" commonly used in luggage, and added a lot of intermediate colors, which has the characteristics of elegance, softness, simplicity and freshness, and strengthens the feeling of elegance and softness. In terms of material, the traditional soft satin with strong reflection is no longer used, but mainly non-reflective crepe satin is used as the fabric, with velvet, georgette and beaded yarn. The sleeves are matte-spun. The styles and accessories of clothing draw lessons from China's traditional figure painting (especially ladies' painting) and folk art, creating its own new style. Then, according to the different needs of the characters, it is equipped with cloud shoulders, necklaces, ribbons, silk tapestries, Yu Pei and so on. , enriched the changes in costumes, with a sense of historical times, but mostly in the Ming Dynasty. After 1960s, new products were tried to be used in fabrics, which made the world of design wider. Some use antique satin instead of embroidery, which has received a good stage effect.

Thanks to unremitting exploration and accumulation, the unique style of Yue Opera costumes with softness, elegance and beauty has been continuously consolidated and developed, which has had a great impact on performances at home and abroad and has become another costume style in China opera costumes.

Guzhuangyi

Ancient costume is the characteristic costume of Yue Opera, which is often worn by young women and middle-aged women in the drama. The coat has sleeves or natural color sleeves, plus cloud shoulders or streamers; Long skirts with short skirts, or middle skirts, accessories, belts, jade ornaments. Short, medium and long skirts can be folded or not. According to different identities, ancient costume can be divided into ladies' costume, folk costume and court costume. It is characterized by a long skirt and short clothes, a tight chest and waist, and a clear figure.

Yue Opera Python

First of all, the colors of Yue Opera pythons are no longer the traditional suitcase system that five-color pythons are strictly worn in stages and in different identities, but there are all five colors and intermediate colors, just referring to the custom of five-color hierarchy to choose between intermediate colors. For example, the colors and patterns of pythons in "Golden Branch" are more concise and casual, and Meng Lijun uses a lot of embroidered robes with indirect colors. Another method is to use colors with reference to historical laws and official ranks. For example, in Changle Palace, the old emperor wears black clothes and uses "Fu", "Nuo", "Fenmi", "Sun", "Moon", "Zong Yi", "Seaweed", "Mountain", "Star" and "Hua Insect". Yue Opera sometimes changes the traditional "python" into a robe, which is called an embroidered robe. It is very different from the traditional "python" in production. Python is no longer a full clip, but it is lined with hemp before and after, which makes it look stiff and stiff to show bureaucracy. Later, some pythons did not use hemp lining at all, but used cloth to scrape pulp instead.

Yue Opera depends on it.

In the early stage, the male class of Yue Opera used traditional leaning, and the female class also used traditional leaning (hard leaning). After the reform, martial arts students rarely rely on flags and bellies, let alone flags to let primary school students perform martial arts. "Leaning on the body", "leaning on the feet" and "leaning on the shoulders" are no longer used, such as "cleaning ears" or "beard row" and holding belts, and generally there is no need for double-layer leaning on the shoulders. The belly rest is no longer a traditional large plane, but a "waist pocket" with a tiger headband. Embroidery is not embroidered with clothes, but with nail plates. In the spring of 1933, Yuan Xuefen played Mulan in Mulan Joining the Army. Armor is made of copper, which is used for both upper and lower armor. Later designs included "fish scale armor", "T-shaped armor", "herringbone armor" and "turtle back armor", as well as gold embroidery, gold satin, silver satin cut and paste, or gold and silver width. Goggles can be made of cromet copper foam, gold or silver.

Shaoxing opera skirt

The skirts of Shaoxing Opera are mainly pleated skirts of Hua Dan. The earliest dress is a traditional long skirt with a "horse face" on the front and back, commonly known as a "horse face skirt". Later, the "horse face" was deleted and changed into a single horse face skirt, which is often used in Lao Dan. The traditional "fish scale skirt" is often used as a petticoat. In the future, the big skirt will be changed into a five-point wide skirt. In the 1940s, influenced by the paintings of ladies in the late Qing Dynasty, the student group designed a kind of "Bunny Bunny". This kind of skirt is covered with a big skirt and the front is covered with a skirt. It's very simple. This kind of "skirt" is used repeatedly in plays, such as Liang Zhu's Sad History and the Goddess Chang'e flying to the moon. Short skirts, called "bag bottom" in jargon, have folds, undivided folds, net carving, embroidery, applique, oblique cutting and flat cutting, and there are many kinds of patterns.

Yue Opera Yun Jian

The traditional big cloud shoulder was first used, and later it developed to more than 100, such as split cloud shoulder, bead cloud shoulder (made of white beads or gold and silver beads), collared cloud shoulder, collarless cloud shoulder, wishful cloud shoulder, flower cloud shoulder and mesh cloud shoulder.

Wrinkles and wrinkles

The pleats worn by Yue Opera students are not open-lapped, but have round neck, oblique collar and split collar, and the open-lapped one is Bi. When a couple appear in a play and use the same color, this "comparison" is usually called "contrast". There are many styles of Shaoxing opera neckline, such as oblique collar, straight collar, lapel and wishful collar. Small pleats and bouquets are mostly in the middle color, with patterns on one side, such as four gentlemen's patterns (plum, orchid, bamboo, chrysanthemum), peony, magnolia and so on. The collar is getting narrower and narrower, about two inches, and it is developing in the direction of beauty. All the costumes of Yue Opera are dug in the "nest" of costumes (the nest is cut into a circle), so the costumes of Yue Opera are comfortable, smooth and comfortable.

Shaoxing opera helmet

In the early stage of Yue Opera, the headdresses of male classes in performing traditional operas were borrowed from scholar hats or melon hats with jade in their daily lives, and some of them were taken off the heads of Bodhisattva statues when the dilapidated small temples were demolished. Rent costumes and helmets for Shao Opera and Peking Opera in the future. After the women's group settled in Shanghai, the main actors all had "private clothes", and the costumes and helmets they wore were bought from Nanhengtai Colorful Boots Store or Guangdong Road Clothing Store. Other actors who wear "costumes in the hall" wear rented costumes and helmets. These helmets basically inherited the hat box system of Peking Opera or Kunqu Opera. For example, in Tears of Xiang Jian and Liang Zhu, Xiao Sheng wore them, all of which were literary towels of Peking Opera.

Pay attention to the use of traditional colors and give consideration to life customs in the reform. For example, in Dai Xiao, emperors and members of the royal family often use bright yellow and apricot yellow, red for weddings and festive events, and white for funerals. The color of the pattern is mainly decorated with green, and other colors are also used, emphasizing simplicity and simplicity. The requirements for attaching silver plates and gold to helmets are the same as those for clothing. The usage of patterns, the emperor and the royal family use "dragon", "Zheng Long" and "nightshade"; The imperial concubine and princess all use "phoenix peony"; The old characters all use the words "eight treasures" and "Fu Lushou"; Martial arts figures all adopt animal deformation patterns; The characters in the lines all use the twisted lines of flowers and plants, as well as decorative palindromes, moires and geometric lines, but the shapes have changed and the decorative positions are different. Traditional headdresses are often decorated with pompoms of different colors, but the headdresses of Yue Opera are rarely used, which is an important sign that the headdresses of Yue Opera are different from those of Jingkun. In the newly edited historical drama, Yue Opera has improved the historical life such as "Entering the Sage Crown", "Fangshan Crown", "Reaching the Heavenly Crown", "Bundling the Crown", "Legalizing the Crown", "Skillful Scholar Crown" and "Covering the Crown" and applied it to the stage figures. Traditional rock-jumping penguins are worn by queens, concubines and princesses, and women also wear them at weddings. In addition to traditional operas, Yue Opera also wears crests that are not usually worn in other operas. For example, the princess and queen in Golden Branch, the queen in Changle Palace, and Meng Lijun in Meng Lijun all changed the crested rockhopper into a forehead shape, or inserted it to expose the hair and put it in a bun. The main phoenix was inserted on both sides, or the main phoenix was inserted on both sides, and then "Ruyi", "Single Phoenix" and "Step Shake" were put.

Shaoxing opera boots and shoes

During the "Cao Taiban" period, the actors in the men's class of Yue Opera had put on rented boots and shoes. After the female class entered Shanghai, they wore high boots to learn Peking Opera and Shao Opera, especially older students, who mostly wore high boots with official uniforms. The boots and shoes worn by the young students in the girls' class are not high. They wear cloud shoes, flat shoes and shoes about one inch long. To make up for his short stature, Xiao Dan padded his shoes by two or three inches. In the late 1930s, "Gaosheng Stage" performed Aunt Cai, and Xiao Dangui played Aunt Cai. In order to improve her figure, she used "walking on stilts" It was not until 1944 (that is, 33 years of the Republic of China) that Xiao Sheng, the actor who played the funeral history of Xinliangzhu, put on thin high boots of about one inch. After liberation, most students wear three sets of high-altitude boots, usually about two or three inches, and individual actors have to add inner height. 1955, after the film "butterfly lovers" was filmed, the boots and shoes were reformed. Not only high boots were worn, but also patterns or moiré patterns were put on the tops of the boots, and the colors were set as three strong and harmonious colors, commonly known as three sets of high boots.