Peking Opera is a traditional drama in China that spreads all over the country. In foreign countries, it often represents China's opera art, so it is also called "national opera"
One of the most influential Han operas in China has a history of nearly 200 years. The name of Peking Opera first appeared in Shenbao in the second year of Guangxu reign in Qing Dynasty (1876).
Beijing opera originated from four local operas: one is Anhui opera, which was first popular in Anhui province; Second, Han opera is popular in Hubei; The third is Kunqu Opera, which is popular in Jiangsu. Fourth, Shaanxi Opera is popular, also called Bangzi. After Class Four of Huizhou School entered Beijing in the late Qing Dynasty, Yu Jiaqing and Daoguang cooperated with Hubei artists and influenced each other. They gradually accepted some plays, tunes and performance methods of Kunqu opera and Shaanxi opera, and absorbed some folk tunes and Beijing dialect, and gradually integrated and developed.
Peking Opera music belongs to banqiang, accompanied by Hu Qin (Jinghu), gongs and drums, Beijing Erhu and Qin Yue. There are two vocal systems in Beijing Opera, Huang Er and Xipi, and the "Three Celebrations" of the main melody, so Beijing Opera is also called "Pihuang". Other commonly used vocals in Beijing Opera are Nanbangzi, Siping Tone, Gaobazi and Chui.
There are about 1000 traditional operas in Beijing Opera, and about 300 or 400 are often performed. Among them, besides Anhui Opera, Han Opera, Kunqu Opera and Shaanxi Opera, quite a few of them were created by Peking Opera artists and folk writers. Beijing opera is good at expressing political and military struggles with historical themes, and most of the stories are taken from historical romances and novel scripts. There are not only the whole drama, but also a large number of passbook dramas, in addition to some series.
2010 165438+1October16 Peking Opera was listed in the "Representative List of Intangible Cultural Heritage of Humanity".
technique of expression
Singing, reading, doing and playing are four artistic methods and four basic skills of Beijing opera performance. "Singing" refers to singing, and "reciting" refers to reciting with music. The two complement each other and form a "song", which is one of the two major elements of the performance art of Beijing Opera. "Doing" refers to the physical movements of dancing, while "beating" refers to the skills of martial arts and somersaults. Their combination constitutes one of the two major elements of the performance art of Beijing Opera.
Opera actors have been trained from these four aspects since childhood, although some actors are good at singing (singing to the old age), some are mainly engaged in work (Hua Dan), and some are mainly engaged in martial arts (Jason Wu). However, every actor is required to have four basic skills: singing, reading, doing and acting, in order to give full play to the function of opera art performance as a musical. Better performance and characterization of various roles in the play.
Beijing opera industry
The roles in Beijing Opera are divided into seven lines: health, Dan, Jing, Ugliness, Martial Arts and Fashion (walk-on), and then into four lines: health, Dan, Jing and Ugliness. Each line has a detailed division of labor. "Sheng" is a general term for male roles other than painted faces and clowns, and it is also divided into old students (bearded students), primary school students, martial arts students and baby students. "Dan" is a general term for female roles, which is divided into Zheng Dan, Hua Dan, Gui Mendan, Wu Dan, Lao Dan and Cai Dan (Dai Dan) Peking Opera blues. "Jing", commonly known as Hua Lian, mostly plays a male character with a certain special character, quality or appearance. The makeup mask has a loud tone and a rough style. "Net" is a singer, such as Bao Zheng; Erhualian, who mainly works, looks like Cao Cao. The "ugly" who plays comedy, because he put a small piece of white powder on the bridge of his nose, is commonly known as Xiaohua face.
Peking opera facial makeup design
Peking Opera masks (6 pieces) paint a certain color on a person's face to symbolize this person's personality and characteristics, role and destiny, which is a major feature of Peking Opera and can help to understand the plot. Simply put, red face contains praise, representing loyalty and courage; Black face is neutral, representing fierce wisdom; Blue face and green face are also neutral, representing rebellious heroes; Yellow face and white face are derogatory, representing fierceness; Gold and silver surfaces are mysterious, representing gods and demons. Facebook originated from ancient religions and dance masks, and this tradition has been preserved in many local operas today.
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Peking Opera Plate
The plate structure of Beijing opera refers to the plate structure of singing, which is popularly called-singing rhythm. There are usually four types: one-eye board, three-eye board, no-eye board and scattered board. In all kinds of acoustic cavities, the original board is the basis of change. In addition to the original board, there are also adagio, allegro, guide board, loose board, rocking board, 26, running board, fast third eye, anti-yellow, anti-xipi, high-pitched and so on.
Artistic feature
Revenge of the Prince of Peking Opera Peking Opera is thought-provoking and mellow. 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. Its means of creating stage image art are 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. At the same time, the local flavor of the people is correspondingly weakened, and the simple and rude style characteristics are 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 and reaches 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".
The development of history
incubation period
Qin Hui concourse
Beijing Opera Farewell My Concubine In the early Qing Dynasty, Kunqu Opera and Beijing Opera (Qingyang Opera) prevailed on the stage of Beijing Opera. After the mid-Qianlong period, Kunqu opera gradually declined, and the prosperity of Beijing dialect replaced Kunqu opera to unify the Beijing stage. Forty-five years after Qianlong (1780), Wei Changsheng, a Shaanxi opera artist, came to Beijing from Sichuan. Wei took the Shuangqing class to perform "Rolling the Ground" and "Holding the Baby into the House" in Shaanxi Opera. Wei Changsheng is handsome in appearance, sweet in voice, euphemistic in singing and exquisite in workmanship. The publication of "Rolling the Floor" caused a sensation in Beijing. Shuangqing class is also called "the first in Kyoto". From then on, Peking Opera began to decline. The six famous classes of Peking Opera, Dacheng, Wang Fu, Qing Yu, Qing Yu, Cuiqing and Baohe, were neglected and joined the Shaanxi Opera class to make a living. In the fifty years of Qianlong (1785), the Qing court banned Wei Changsheng from performing in Beijing and expelled Wei Changsheng from Beijing.
In the fifty-fifth year of Qianlong (1790), after the Sanqing Huizhou class settled in Beijing (the class was located in Hanjiatai Hutong), there were also classes of Sixi, seven show, Nicui, Chuntai, Hechun, Sanhe, Songzhu, Jinyu and Dajinghe, which also performed in Dashilan area. Among them, Sanqing, Sixi, Hekou and Chuntai are the most famous, so they are also called "Huizhou Four Classes". According to the Records of Hanshu, Chuntai Board entered Beijing before the late Qianlong period, which proved that Chuntai Board entered Beijing earlier than Sixi and Chunchun. Chuntaiban' is located in Baishun Hutong. Sixi class came to Beijing at the beginning of Jiaqing. Hui Opera and Kunqu Opera are staged at the same time, especially Kunqu Opera, so there is a class called "A Peach Blossom Fan in a new row and four happy classes scattered everywhere" located in Shaanxi Lane. Hechun Class was established in Litieguai Street in the eighth year of Jiaqing (1804). This class is good at Wushu. Daoguang was dissolved in the 13th year (1853). "Huizhou Class Four" has its own repertoire and performance style, so it is sometimes called "the axis of three celebrations, the joy of four joys, the handle of spring and the son of the stage of spring". "Huizhou Class Four" not only sings Huizhou tunes, but also uses Kunqu Opera, Blowing Opera, Siping Opera and Bangzi Opera. In the performing arts, it absorbs and draws lessons from the strengths of various operas and integrates them into Huizhou Opera. At the same time, the performance lineup is neat and the repertoire is rich, which is quite popular with Beijing audiences. Since Wei Changsheng was forced to leave Beijing, Shaanxi Opera has been depressed. In order to make a living, Shaanxi opera artists have joined the Huizhou class one after another, forming a situation of the integration of Anhui opera and Shaanxi opera. In the process of the confluence of Hui and Qin, the Hui class has absorbed the essence of Shaanxi opera singing and performance extensively, transplanted a large number of scripts, and created favorable conditions for the further development of the art of Hui opera.
Hui-Han confluence
Han Opera is popular in Hubei, and Huang Er and Xipi in its voice cavity are related to Hui Opera. Anhui Opera and Han Opera had extensive artistic blending before entering Beijing. Following the last years of Qianlong, Mi Ying, a famous China opera master, went to Beijing, and at the beginning of Daoguang (182 1), Li Liu, Wang Honggui, a famous China opera veteran, a drunken Beijing opera princess, and Long Deyun, a young student, entered Beijing and sang in Chuntai and Chunban of Huiban respectively. Mi Ying was first famous for singing Guan Yu's plays, and Cheng Changgeng, the monitor of Sanqing, first taught all the red and clean plays in Mi Ying. Li Liu is good at drunk writing scary books and sweeping snow; Wang Honggui is famous for "Let Chengdu" and "pass the parcel Cao"; Xiao Shenglong Deyun is good at performing plays, such as Shooting at the Jib at the Yuanmen and The Yellow Crane Tower. Yu Sansheng, with a mellow voice, beautiful singing and both civil and military skills, is famous for performing such old dramas as Dingjun Mountain, Shiro Visiting Mother, Selling Horses as Hemp, and Touching Monuments. After the actors of Han Opera joined the Hui Opera, they integrated tunes, performance skills and repertoires into the Hui Opera, which made the singing of the Hui Opera increasingly rich and perfect, and the singing method and singing style were more Beijing-like, which was easy to be accepted by Beijingers. In the twenty-five years of Daoguang (1845), Mingtang was the foreman of old students. After the confluence of Hui and Han Dynasties, Hubei Xipi tune and Anhui Huang Er tune were exchanged again. The confluence of Hui, Qin and Han laid the foundation for the birth of Peking Opera.
formative period
During the twenty years from the 13th year of Tongguang to the 10th year of Xianfeng (1840- 1860), Peking Opera was formed by the confluence of Anhui Opera, Shaanxi Opera and Han Opera, absorbing the strengths of Kunqu Opera and Peking Opera. One of its signs: the tune is complete and rich, surpassing any of the three major operas of Hui, Qin and Han. Singing is a mixture of banqiang and Qupai styles. The vocal cavity is mainly Huang Er and Xipi; Second, the business is generally complete; Third, a number of Peking Opera plays have been formed. Fourthly, Cheng Changgeng, Yu Sansheng and Zhang Erkui are the representative figures in the early stage of Peking Opera, and they are called "old pedant, three outstanding figures" and "three Ding Jia", namely Zhang Erkui, Cheng Changgeng and Yu Sansheng. They have their own characteristics in singing and performance style, and have made outstanding contributions to the creation of the main melody, Xipi, Ersongshang, the form of catching and releasing Cao Peking Opera, and the spoken language and pronunciation with Beijing language characteristics. Among the first generation of Peking Opera actors, there are still old students, such as Lu Shengkui, Xue, Zhang Rulin and. Xiao Shenglong Deyun and Xu Xiaoxiang; Hu Dan Xilu, Rojov, Mei Qiaoling; Ugly Yang Mingyu, Liu Gansan; Hao Lantian and Tan Zhidao, Lao Dan; Jing Zhu, Ma Zi, Ren Hua face, etc. , all have unique creations to enrich the vocal cavity and performing arts in all walks of life. Mei Qiaoling, the monitor of Sixi Class, bravely broke through the old rules of strict division of labor between Tsing Yi and Hua Dan, and opened up a new road for Dan Jiao's singing art. The Thirteen Musts of Tongguang is a portrait of a famous figure in the history of Peking Opera, painted by Shen Rongpu, a folk painter in the late Qing Dynasty. He referred to the figure painting form of The Thirteen Musts of Peking Opera painted by the painter He Shikui in the middle of Qing Dynasty, and selected thirteen famous actors (Cheng Changgeng, Lu Shengkui, Zhang Shengkui, Yang Yuelou, Tan Xinpei, Xu Xiaoxiang, Mei Qiaoling, Shi, Yu Ziyun, Zhu Lianfen, Shi) on the Peking Opera stage during the Tongzhi and Guangxu periods of Qing Dynasty (l860- 1890). This painting was acquired by Zhu Fuchang, an evolutionary society, in 32 years of the Republic of China (1943). Restore and photocopy it, and attach a volume of Thirteen Biographies of Celebrities in Tongguang.
mature period
During the period of 1883- 19 18, Peking Opera entered a mature stage, represented by Tan Xinpei, Wang Guifen and Sun Juxian. Among them, Tan Xinpei inherited the strengths of Cheng Changgeng, Yu Sansheng, Zhang Erkui and other great artists, and through creation and development, pushed the art of Peking Opera to a new and mature realm. In his artistic practice, Tan learned from others, borrowed from Kunqu Opera, Bangzi, Drum, Beijing Opera, Tsing Yi, Hualien, etc., and merged into singing, forming a "Tan School" with a unique singing artistic style, forming a situation of "learning Tan without a cavity". After the 1920s, Yan, Yan, Ma and others all developed into different artistic schools on the basis of Tan School. Wang Guifen, an artist living in Cheng Changgeng, has a strong and melancholy voice, solemn and stirring, simple tone, and comments on "Roaring Tigers and Singing Dragons". He has the reputation of "Chang Geng reincarnation" because "imitation can confuse the truth". Sun Juxian, 18 years old, chose Wu Xiucai, who is good at singing Peking Opera and often sings at the box office. At the age of 36, he joined Cheng Changgeng. He is very loud and comfortable. Nianbai is not limited to Huguang sound and Zhongzhou rhyme, but mostly uses Beijing sound and Beijing characters, which sounds kind and natural. Beijing opera is generous, Cao Cao is realistic and close to life. The "three masters after the older generation" have their own emphases and different artistic styles. Judging from the comprehensive balance, his combination of civil and military skills is unstoppable, and his artistic attainments and development of Peking Opera far exceed that of Wang and Sun. During Guangxu period, Tan Xinpei was known as the "King of Music", and its position in the drama world was comparable to that of Cheng Changgeng. In the tenth year of Xianfeng (186 1), Peking Opera began to be performed in the court. From the sixth day of May to the end of that year, there were performances by Sanqing Class, Sixi Class, Shuangkui Class and Foreign Class (Peking Opera Class). In the 9th year of Guangxu (1883), Cixi celebrated her 50th birthday, and 18 people, including Zhang Qilin, Yang Longshou, Bao Fushan, Cai Fulu and Yan Fuxi, were selected to serve in the palace, not only singing, but also teaching Peking Opera and imparting skills to eunuchs. Since then, every year, famous artists such as Sun Juxian, Wang Langxian, Yu,,, and Mu have entered the palace to serve. Because Cixi loves Peking Opera, famous Peking Opera artists frequently enter the palace to perform, and the momentum is getting stronger and stronger. In the same period, Guangde Building, Sanqing Garden, Qingyuan Garden, Zhonghe Garden and Wenming Garden performed Peking Opera every day, forming a unified situation of Peking Opera. In the mature stage of Peking Opera, in addition to "Old Master Q's three outstanding figures", Xu Tang Yin and Jia Honglin were born. Wu Sheng: Jusheng Yu, Yang Longshou; Good lines: He Jiashan, Huang Runfu, Jin Xiushan, Qiu Guixian, Liu Yongchun and so on. Xiao Sheng: Wang, De Junru, Lu Huayun; Dan Xing:, Tian Guifeng,, Zhu; Winners: Wang Changlin, Zhang Hei, Luo Baisui, Xiao Changhua and Guo Chunshan. The rise of Dan religion in this period formed a trend that Dan religion and holy religion kept pace. Jusheng Yu, a martial artist, was the first man to stand on his own feet. It is called "the originator of martial arts" by later generations. The above-mentioned famous artists have innovated and developed in inheritance, and their singing skills have become increasingly mature, pushing Beijing opera to a new height.
Peak period
From 19 17, a large number of outstanding Peking Opera actors emerged, showing the vigorous development of various schools, from the mature stage to the heyday. The representatives of this period are Yang Xiaolou, Mei Lanfang (the imperial concubine was drunk) and Yu Shuyan. Because the elegant cultural tradition advocated by literati was destroyed in the 20th century, Peking Opera reached its heyday.
Four Peking Opera Famous Corners 1927, Beijing Shuntian Inch Newspaper held the selection of Peking Opera Famous Corners. The results of readers' voting: Mei Lanfang won the "Four Famous Corners" for her role in The Legend of Reality, Shang Xiaoyun won the "Four Famous Corners" for her role in Modern Jia Nv, Cheng won the "Four Famous Corners" for her role in Hong Fu Nv, and Xun Huisheng won the "Four Famous Corners" for her role in Dan Qing Introduction. The emergence of the "four great talents" is an important symbol of the prosperity of Beijing opera. They created their own artistic styles, and formed the "four schools", such as Mei Lanfang's dignified and elegant, Shang Xiaoyun's handsome and vigorous, Cheng's profound euphemism and Xun Huisheng's charming and charming, which created the pattern of taking Dan as the main factor in the Peking Opera stage. After Jusheng Yu and Yang Yuelou, the martial artist Yang Xiaolou developed the performance art of Beijing opera martial artists to a new height, and was known as "the master of traditional Chinese opera" and "the master of martial artists". Together with, Yan and Ma, they were called the "four big students" in the 1920s. At the same time, Shi, Wang Fengqing and Guan Dayuan are also outstanding talents in their careers. In the late 1930s, Yu, Yan and Gao withdrew from the stage one after another, and they were called "four big students" together with Ma, Tan, Xi Xiaobo and Yang. Meng Xiaodong, female, with high artistic attainments, has the artistic demeanor of a teacher in Yu Shuyan.
1in the autumn of 936, Beijing opera lovers and audiences in universities and middle schools in Beijing wrote to the newspaper, proposing to choose Peking opera child stars. Zhang, president of Liancheng Society, reached an agreement with Jin, president of Liyan Newspaper in Beiping. The newspaper issued a notice to accept votes from all walks of life, published the voting figures in the newspaper day by day, and invited several people from Yunshi Society to supervise the newspaper. It is stipulated that the voting date is half a month, and the number of votes will be counted when it expires. The leaders of China Opera Academy and Fulian City Society, as well as The Times, Practice, Beijing Evening News and Drama Newspaper also sent people to the scene to check the tickets. As a result of the election, Li Shifang of Fulian City Society won about 10,000 votes and was elected as "Chairman of Tongling". Wang Jinlu, champion of the Ministry of Health, and Ye Shichang, runner-up; Danjiao champion Mao Shilai, runner-up Song Dezhu; Qiu Shirong, champion of Clean Corner, and Zhao Deyu, runner-up; Master Zhan, clown champion, and Yin Jinzhen, runner-up. After the election, a celebration was held at the Fulian City Club of Hufangqiao, and a coronation ceremony was held at the Hua Le Theater in Xianyukou that night. Li Shifang and Yuan Shihai performed Farewell My Concubine. After the child star election in Yandang Mountain, Peking Opera Li Shifang, Zhang Junqiu, Mao Shilai and Song Dezhu were selected as the "Four Little Famous Dances", and the "Four Little Famous Dances" jointly performed "The Legend of the White Snake" and "Four or Five Flowers Cave" in Chang 'an and Xinxin Theater to show their congratulations.
Various schools and talented people come forth in large numbers, which is another symbol of the heyday of Beijing opera. During this period, besides Yang School (Lanfang), Mei School (Lanfang), Shang School (Xiaoyun), Cheng School (Qiu Yan) and Xun School (Huisheng), Xiao Yu School (Cui Hua), Song School (Dezhu) and Zhang School (Qiu Jun) also appeared in Dan School. Yu School (,Gao School (,Qing Kui), Yan School (,Ma School (), Yang School () and Xintan School () in Old Life Tour; Jin School (Shaoshan), Hou School (), Hao School () and Qiu School () formed after 1950s; Jiangpai (Miao Township) and Yepai (Shenglan) in Xiaoshengchu; Gong Pai (Yunfu) and Li Pai (Duokui) of Lao Danxing; Ye Pai (Zhang Sheng) in Ugly Behavior, etc. At the same time, there are many Peking Opera performing artists, such as Wang Fengqing, Shi, Wang,,,, Li, etc. Yan, Xu Biyun, Zhu, Xue Yanqin, Xin, Zhang Zhuoyun, Jin Shaomei, Bi, Qin Xuefang,, Tong Lingzhi, Liang Xiaoluan, Wu Suqiu, Zhao Yanxia, Du Jinfang, etc. KAI, Rufulan and Cheng Jixian in the niche; Guo Chunshan, Ci Ruiquan, Ma Fulu and Zhang Chunhua.