Introduce a national drama 500

China's national drama refers to the unique dramas of various ethnic minorities in China, mainly including Tibetan drama, Bai drama, Zhuang drama, Dong drama, Dai drama, Miao Ju drama, Yi drama, Buyi drama and Maonan drama.

White opera music consists of vocal music and accompaniment music. There are two kinds of singing music: blowing and big Ben, and some folk music has also been absorbed and adapted; Accompaniment music includes traditional suona, percussion and Big Ben, and also absorbs some folk percussion and song and dance music. Some vocals are divided into Xiao Sheng, Xiao Dan, Yao Dan and Xu Sheng by occupation; Some are divided into heroic cavity, crying cavity and bitter cavity according to the identity and action of the characters; Some are divided into flat, high-pitched, straight-line and running water board according to the beat and singing method. In addition, there are wind and snow, lessons and Bai folk songs, such as sparrow tune, loach tune and Chaoshan tune. The lyrics are mostly in the white "mountain flower" format, that is, "3715" or "7715", which is called "seven and a half sentences". Sing in white or Chinese, and use "China White Tone" to speak in white. Roles should be played according to life, courage, purity and ugliness. The performance rules are strict and the rhythm is clear. It is not only good at dancing, but also has some expressive martial arts. White drama only uses the unique facial makeup of red, black, white, blue and purple to distinguish different roles. The accompaniment band has developed into a Chinese-western mixed band mainly composed of national instruments, in addition to traditional instruments such as suona and Sanxian.

Bai Opera is mainly spread in Dali Bai Autonomous Prefecture and some Bai inhabited areas in Lijiang City.

Of these 269 plays, 139 are based on novel romance, 7 are adapted from folk stories and folk songs, 4 are evolved from ancient dramas, 57 are transplanted from brothers' dramas, and 62 are from others. It can be seen that the sources of blowopera are rich.

The traditional whistling script has many distinctive national characteristics: First, whistling is literary and artistic, and there are few common stereotypes in traditional Chinese opera. Many plays are written by literati with elegant language. For example, Li Yong, a scholar in Li Xiake, wrote in Ma Zhiyuan's poem Tianjingsha: "In August, the Mid-Autumn Festival in Dangui, the guest house on the road is desolate, and the bridge is full of osmanthus, thinking about it day and night." Secondly, the format of braggart lyrics is different from that of Han drama, which is basically the so-called "mountain fancy" of "March 7 th Five-Year Plan", that is, each lyric has four sentences, the first three sentences are seven words, and the last one is five words. If the lyrics need to be longer, connect the two paragraphs into eight sentences, the first seven sentences are seven words and the eighth sentence is five words, or connect the two paragraphs with a dead "mountain flower style". "Mountain Flower Style" is a traditional poetic form in Bai literature, which is used in folk songs, minor songs, big Ben songs, literati poems and witchcraft speeches. This shows the close relationship between cooking cavity and Bai literature. Third, the script of playing music has its own language characteristics. The language is a mixture of white language and Chinese, and the white language part is also written in Chinese characters, but it is noted next to the sentence.