[Edit this paragraph] Drama nouns
Jiugong, Rupo, Boer, Thirteen Tunes, Erhualian, Beijing Opera Blues, Character Modeling, Daqu, Da Bian, Xiao Mo, Xiao Dan, Xiaoxi, Xiao Sheng, Xiaohualian, Trilogy, Sanhualian, San Xiao, Talented Person, Radio Drama, Introduction, Leading Drama, Wenchang, Art Troupe and Civilized Drama. Hand-eye posture, plum blossom award in Chinese drama, horse-beating, hunchback, lines, catwalk, normal model, Zheng Dan, Juzheng, Zheng Jing, four Huizhou classes, four major vocals, four kung fu and five methods, Dan, Dan, Mo, Naise, Naise performance, going out, going out, living, adding officials, walking on, setting. Qupo, Qupai, Qupu, Lao Dan, Laosheng, Diaomao, Legend, Zadang, Guoqu, Quji, Hesheng, Xu Hu, Baixi, Youling, Building Search, Finale, Local Drama, Problem Drama, Self-reporting, Huabei, Hua Dan, Bazi, Bazi Gong, Walking Side, Walking Rope, Playing. United Taiwan drama, improvisation, Wu Dan, Wu Chou, Wu Chang, Jason Wu, Wu Sheng, Wu Erhua, Rong, Ban Ban, joining the army, joining the army drama, Dingtian poem, Dingtian poem, Jing, Bi, brick tower, Faqu, Tsing Yi, official costume, drama. String, pantomime, appearance, starting from hegemony, circus, mask, axis, guest appearance, grass creation, boudoir, live drama, sound effect, always advocate first, theater, drama, script, tragedy, tragicomedy, masonry, rehearsal, narration, interruption, door, guest white, bowl head, people. Singing opera, basic skills, street drama, badminton, helmet head, inspection field, facial makeup, colorful Dan, oratorio, chrysanthemum department, amateur, Guo head, elephant man, teaching workshop, virtual action, copper hammer painting face, fish dragon male face, elegant music, Nuo, props, comedy, blackhead, Nuo. Rolling tune, jumping pill, performance book, Qilu-Ren, acid, earning, picking all over, Gong Jing, wedge, children's drama, subtext, stage, stage lighting, stage art, stage guidance, stage art, title, title rectification, leaning, riding, squatting, pleating, embroidered robe, performing, cracking melon.
[Edit this paragraph] The "two pots" of China's opera
Zhang baoshen
In recent years, on the stage and on TV, it is often the case that actors of different operas perform the same play. For example, to commemorate the centenary of Mei Lanfang's birth, Ma Jinfeng, a famous artist of Henan Opera who is over 80 years old, and Mei Baojiu, a descendant of Mei School of Peking Opera, once performed "Mu Shuai Shuai" on the same stage; China Peking Opera Theatre and Tibetan Opera Troupe once performed Princess Wencheng together. This form of performance is called "Erguotou" in the drama circle. There are also a number of "three pots" and "four pots" that perform on the same stage. At the CCTV opera party, actors from Beijing Opera, Henan Opera, Longjiang Opera and Hebei Bangzi performed a Mulan together. Because of its novel performance form, it has aroused great interest from the audience.
In the history of China opera, this kind of "two pots" performance has a long history, and it is an important means of communication and integration between different operas. Many operas have evolved into new operas in Erguotou. During the Yuan Dynasty, Beijing was dominated by zaju, which produced many playwrights, such as Guan Hanqing, Wang Shifu and Ma Zhiyuan, and a number of famous dramas, such as Dou Eyuan and The West Chamber. After the capital moved from Nanjing to Beijing in Yongle period of Ming Dynasty, a large number of southerners went north in the tide of immigration, and Nanqu followed. In order to adapt to the new environment, Nanqu and Zaju performed a "combination of North and South". Nanqu absorbed the advantages of Beiqu and formed new Kunshan and Yiyang cavities. Zaju gradually withdrew from the historical stage.
In the late Ming and early Qing Dynasties, Kunshan Opera evolved into Kunqu Opera, which occupied a dominant position on the stage in Beijing. The Palace of Eternal Life and Peach Blossom Fan became the representative works of this period, which have been passed down to this day. Today's Peking Opera is also the product of the "two pots" of Han Opera and Hui Opera more than 200 years ago. During the Qianlong period of the Qing Dynasty, after four classes of Hui people entered Beijing, they performed on the same stage with Han opera artists. In the process of mutual integration, a new kind of "Pihuang Opera" was formed on the basis of Huanger Opera of Hui Opera and Xipi Opera of Han Opera. Since then, Pihuang Opera has continuously absorbed nutrition from Kunqu Opera, Bangzi Opera and other operas, and gradually became a new kind of opera-Beijing Opera.
By the end of the Qing Dynasty and the beginning of the Republic of China, Peking Opera had developed to a mature stage, which not only became the mainstream of Peking Opera stage, but also began to spread to the whole country. During this period, Hebei Bangzi (called Shaanxi Opera and Zhili Bangzi), which evolved from Shaanxi Bangzi, and Pingju, which developed from "jumping opera", all performed on the same stage as Beijing Opera. In the 17th year of Guangxu reign in Qing Dynasty (189 1), Tian Jiyun, a famous bangzi actor and opera activist in Hebei Province, initiated the precedent of "two pots under one roof". Because it is very popular with the audience, many class associations have followed suit. For a time, inside and outside Beijing, the performance of "Erguotou" in Beijing was booming. Many classes in Beijing opera are also "both bang and spring" Fu Liancheng, a famous Peking Opera teacher, is also a second-time student. That is, today's Ma's men have also learned the little prince's "going straight to Luoyang". Many Hebei Bangzi actors, such as Xun Huisheng, Yu (Xiao) and Zhao Tongzha (Furong), changed to Beijing Opera and became famous Peking Opera actors.
Pingju was formed in the late Qing Dynasty and the early Republic of China, and it is a new kind of drama evolved from Lotus Falls, Bangzi and Pingqiang Bangzi. Before liberation, he had been engaged in incomplete business, mainly in "Three Little" dramas (Xiao Sheng, Xiao Dan and Xiaohua), which was called "Banban Drama". Therefore, early Pingju often co-performed with Hebei Bangzi and Beijing Opera "Two Rivers" or "Three Blocks". In the performance with Beijing Opera and Hebei Bangzi, Pingju has made great progress in music, singing and repertoire. In 1930s, the appearance of the "four famous" actresses of Pingju, represented by "Bai" and "Ai Lianjun", made Pingju develop to a mature stage, which was not only popular in Beijing, Tianjin, Northeast China, North China and other places, but also performed in southern areas such as Shanghai, Jiangsu and Zhejiang, with great influence. But because the actors are weak, they often perform with Beijing Opera. In Shanghai, Bai once co-starred in Song Wu Killing Sister-in-law with a Peking Opera martial artist. 1945, new in Qingdao. She also took part in the Peking Opera class of Zhou's disciples and performed Qin Xianglian and other plays.
After liberation, in the process of reform and development, Pingju has improved its professional skills and enriched male vocals, especially with a group of actors such as Wei Rongyuan, Mattei, Zhang Defu and Xi Bao Kun, which completely solved the problem of "half-class drama". In addition, he created and performed many plays starring male actors, which were welcomed by the audience. "Two pots" became a historical record.
Introduction to Yuan Qu Yuan Qu is another literary prosperity after Tang Poetry and Song Poetry, which has its unique charm: on the one hand, Yuan Qu inherits the beauty and grace of poetry; On the one hand, the soldiers and soldiers in the Yuan Dynasty were placed in the position of eight * nine Confucianism and ten beggars, and the society was dark, which made Song Yuan radiate extremely dazzling fighting brilliance and reveal rebellious feelings; Sharp-edged pointed at social ills, denounced the highest illiteracy, the best illiteracy, pointed at people's ignorant but boastful society, pointed out that everyone was embarrassed by life, and everyone could not see the world style of money. The works describing love in Yuan Qu are also more inflammatory and bold than the poems of past dynasties. All these are enough to keep the artistic charm of Yuanqu forever.
But in contrast, the spread of Yuanqu is by no means as wide as that of Tang poetry and Song poetry. This is because people are not familiar with the style of Yuanqu. Here is a brief introduction.
Yuanqu can be divided into zaju and Sanqu. There are several sets of Sanqu, and poetry takes the difference between songs.
In ancient music in China, the mode is called Gongdiao. The gong tune of this song originated from Yan Yue in Sui and Tang Dynasties. The four strings of pipa are gong, Shang, Jiao and Yu, and each string constitutes seven tones. The seven tones of gong are called gong, and the rest are modes, with a total of 28 gong tones. However, there are only twelve kinds of Yuan songs commonly used, namely, Lv Xian Palace, Lu Nan Palace, Huangzhong Palace, Gong Zheng, Dashi Tune, Xiaoshi Tune, Jiangjunguan Tune, Upward Tune, Upper Corner Tune, Double Tune and Yue Tune. Each gong tune has its own musical style, so there is often a certain habit in choosing the tune. For example, Wang Jide said in Qulv: If you use Gongdiao, you must talk about the joys and sorrows of things, while you use Lv Xian and Shuangdiao to enjoy the tour. Mourning music includes Shang and Yue tunes. Well-founded and touching.
Every palace tune has a different tune. The number of sets consists of more than two different tunes in Monday Palace. Southern Opera in Song and Yuan Dynasties: the abbreviation of Southern Opera, which was popular in the coastal areas of eastern Zhejiang at the end of Northern Song Dynasty and matured at the end of Yuan Dynasty and the beginning of Ming Dynasty. Also known as Wenzhou Zaju or Yongjia Zaju.
Legends of Ming and Qing Dynasties: Evolved on the basis of Southern Opera. A long drama script written by the guide song. It combines the essence of Nan Opera and Yuan Zaju.
Differences between Yuan Zaju and Legends of Ming and Qing Dynasties
(1) The general rule of the zaju system is to fold four times and get one wedge, without marking the topic; The legend is weighed out to the letter, and items are added. The number is uncertain, mostly forty or fifty novels. There are no wedges in the legend. The first story is the door, also called the opening. The copy explains the creative intention and introduces the plot overview. This is not part of the plot. After the opening, the second scene is the highlight. The opening is a epigraph, not a qupai. (2) Legends, like zaju, have singing, dialogue and themes, but unlike zaju, one character usually sings to the end, but all kinds of roles can be sung, including solo, duet, rotation and chorus; Legend has it that it is called introduction rather than division; Important people come on stage to sing an introduction, followed by a fixed dialogue, and every scene has poems.
(3) Zaju and Legend all adopt the way of Qupai ensemble in music, but the difference is that Zaju ensemble is limited to one gong tune at a time, which rhymes to the end; Legends are not limited to using only one Gongdiao at a time, but can rhyme. Zaju sings in the Northern Song Dynasty, and legends mostly use the Southern Song Dynasty, absorbing the Northern Song Dynasty and creating a method of combining North and South. For example, Memorizing Jiangnan is a set of northern songs. The northern music is heroic and majestic, and the southern music is gentle and charming, so the musical style of legends and zaju is different. (4) Legendary roles are similar to zaju, but with more roles and finer division of labor. The protagonist of zaju is Wei Hedan, and the legendary role is Sheng Hedan. Legend has an ending, but it is not the protagonist.
In short, compared with zaju, legends are larger in scale, richer in tunes, more detailed in role division, more free and flexible in form, and easier to express life. Characteristics of China's Ancient Opera
1, starting from the leaver and ending with
China opera is a comprehensive stage art form. Its characteristic is that many art forms are brought together by a standard, and their respective personalities are reflected in their common attributes. These forms mainly include: poetry, music and dance. Poetry refers to its literature, music refers to its music accompaniment and dance refers to its performance. In addition, it also includes stage art, clothing, makeup and so on. These artistic factors are all for one purpose in China traditional operas, that is, acting stories; Everyone follows a principle, which is beauty. 2, opera, that is, singing and dancing to play the story.
In a word, China opera is characterized by singing and dancing to express stories (Wang Guowei, a scholar in the late Qing Dynasty). Traditional Chinese opera and drama in China belong to drama, and they all play characters through actors, and express stories of a certain length through dialogues and actions. The difference is that China traditional opera uses musical dialogue and dance movements to express real life, that is, the means of singing and dancing. Also known as singing, reading, doing and playing. 3. Get out of the form and take its meaning, get carried away.
China's traditional operas express life by taking its meaning and abandoning its form, such as freehand brushwork in Chinese painting, which embodies all the beautiful things in life with vertical and horizontal strokes. Therefore, there are red-faced Guan Yu and white-faced Cao Cao on the opera stage; When you were in Long song, you cried and danced with long sleeves; With the spring scenery without flowers and trees, there is no river without waves. 4. Small stage, big stage of heaven and earth
Henan Henan opera
On the origin of henan opera. Henan Opera came into being in the late Ming and early Qing Dynasties. At first, it was mainly oratorio, which was deeply loved by the people, so it developed very rapidly. The origin of Henan opera has always been difficult to verify, and there are different opinions. On the one hand, after Shaanxi Opera and Zhou Pu Bangzi were introduced into Henan in the late Ming Dynasty, they were combined with local folk songs and minor tunes. On the other hand, they are directly developed from the chords of Beiqu; On the other hand, it was developed on the basis of Henan folk singing art, especially on the basis of popular songs prevailing in the Central Plains in the middle and late Ming Dynasty, and absorbed artistic achievements such as "chord tune".
During the Qianlong period of Qing Dynasty (1736- 1795), Bangzi Opera was popular in Henan Province. According to the content recorded in the inscription at that time, the Forbidden City in Ming Dynasty was "a place where all classes of operas prayed and feasted in those days, which has been forgotten by distant years and I don't know when it was established. During the Daoguang period (182 1- 1850), the river workers burst, the temple collapsed and there were no tiles left. It can be seen that Bangzi Opera existed long before Daoguang. These narratives are consistent with the legends among artists. According to some old artists' memories, when they were studying at around 19 12, they heard the master talk about ten places in Henan, namely, Xiangfu (now Kaifeng), Qixian, Chenliu (now Kaifeng), Weishi, Zhongmou, Tongxu, Yifeng, Fengqiu and Wu Yang. During its spread, Henan Bangzi has formed different styles, such as Xiangfu tune (Kaifeng area), Eastern Henan tune (Shangqiu area), Western Henan tune (Yang Yang area) and Shahe tune (Luohe area).
According to the legend of artists, the earliest educators of Henan Opera were Jiangmen and Xumen. Jiangmen has classes in Zhuxian Town, south of Kaifeng, and Xumen in Ji Qinghe, east of Kaifeng. Later, in Kaifeng area, an auspicious tone was formed; Spread to Shangqiu area, forming the eastern Henan tune; A branch that flowed into Luoyang developed into the western Henan tune; A tributary of the Luohe River is called Sha Hetiao.
After the Revolution of 1911, Henan Bangzi entered more and more cities to perform. Famous tea houses in Kaifeng, such as Zhixiang Tea House, Puqing Tea House, Chenghuai Tea House, Qing Tea House, Donghuo Temple Tea House, Le Tong Tea House, etc., all rushed to invite Kanako Class Club, and at that time Yicheng, Tianxing and Gongxing classes became active. Since then, tea houses and theaters have appeared in Zhengzhou, Luoyang, Xinyang, Shangqiu and other cities to perform Henan Bangzi. In rural areas, every meeting with the gods will be performed in some areas, most of which belong to Henan Bangzi.
From the end of 1920s to 1930s, the development of Henan Bangzi entered a new stage. During this period, four Henan Bangzi theaters, Yong 'an, Yongle, Yongmin and Le Tong, were successively established in Kaifeng Suoguoji. Many famous artists, such as, Ma Shuangzhi, Si, Li Ruiyun, Chang Xiangyu and Peng Haibao, gathered here. At the beginning of 1935, Yusheng Drama Club headed by Fan was established, and Yongle Stage was changed to Yusheng Theatre. Chen Suzhen's Seven Sages Troupe and Zhao Yiting's Cao Xian Troupe both joined the club. Yusheng Drama Club got rid of some unreasonable systems of the old troupe, reformed the performance and stage art, and performed such plays as Gale, Hate in the Clouds and Bloody. Created by Fan. After the outbreak of War of Resistance against Japanese Aggression, in 1938, the society was changed into the Lion Roar Troupe with the meaning of "awakening the lion's anger".