Jin Shaoshan Shinohara (Liu Shaozong), an old actor of the former Beijing Opera Troupe, left an article, which is now introduced to you for your study. The summary is as follows:

Friends and fans, my little kindness is for your reference. When you hang your voice, you should sing while walking, just like walking, and always keep a relaxed posture. Relax, not relax, but relax outside and tighten inside. Pay attention to the accurate position of the sound and keep the luck of the cavity stable for a long time. You don't just use your strength on your throat, but your whole body is moving. After two or three hours, I won't feel tired after hanging the sound, and my voice is still very bright. When vocalizing, the upper jaw of the mouth is slightly sucked up, the jaw is relaxed, the mouth is not big, the shoulders are not drooping, and the rib tension is like a spring, which makes the organs of the acoustic cavity cooperate organically to form a powerful head, nose and chest sound. When reading words and lines, his upper jaw is like a ball blue, and every word and cavity is like a basketball, which is thrown to the ball blue accurately. Singing in this way, no matter what style and complexity he sings, he can keep his breath stable and his voice smooth and perfect.

When an actor sings, he should use his breath skillfully, use flexible methods, relax his facial expressions and have a natural and beautiful mouth shape. When singing high notes, you can open your mouth and close it inside and outside (your lips are naturally closed). When singing low notes, the lips are slightly closed, but the teeth do not bite, and the upper jaw still feels like sucking. In short, no matter whether you sing high or low notes, don't let the audience see that the facial muscles are a little tense, and don't let people feel that their mouths are too open, or even feel overwhelmed. The beauty of an actor's singing posture is closely related to his voice, words and breath. The beautiful mouth shape of singing shows that your pronunciation is correct. Actors should have many flexible singing skills. For example, the luck is slow, the quantity is collected, and there are light and heavy. The inhibition, promotion, stagnation and frustration in the linear cavity can be mastered skillfully and used flexibly. If an actor's singing can make the audience feel the joy, anger, sadness and joy of the characters in the play through the priority and cadence of singing. It is a vivid embodiment of this ideal effect.

The actor has mastered the high, low, fast, slow, light, heavy, slow and frustrated in the line cavity, used it moderately, and the volume has been strengthened and weakened. The low breath in front of the line cavity has been fully absorbed, the small pause has been skillfully used, and with the function words, the low cavity is lightly vomited. At first, it was patchwork. The linear cavity fluctuates smoothly, which shows hesitation in contradictory thinking.

In addition, in order to keep up with the development of the times, some actors have made breakthroughs in the traditional catchy words of Beijing opera. Some words are not catchy, such as the word "Bo", which is not catchy and is sung as "Bo" in Mandarin. Some words keep catchy features for the harmony of the whole aria, but we can't overemphasize them. For example, the word "love" rhymes with "earnest" to ensure the return.