The Historical Origin of Diao Han Huang Er

Diao Han Huang Er's original birthplace is the area of Haoping River in Ziyang. The earliest class club activities can be traced back to the second year of Qianlong (1737). 1958, according to old artists Feng Rencai and Qiu, there was a wall on the music building (stage) of Dongmen Temple in Haoping, which read, "In August of the second year of Qianlong, Gansheng Class closed here". Yang Lutai (Yang's family tree), an artist from Haoping River who was born in 36 years of Qianlong, once led a Taifeng class to perform in Haoping River from the end of Qianlong to Jiaqing, and became famous for a while. During the period from Jiaqing to Daoguang-year, Yang Lutai and his son continued to take singing as the foreman, and set up classes in Shaheba and Qujiahe of Xixiang for the first time, with more than 60 apprentices, in order to cultivate artists of Hong and Lai generations. The most outstanding artists in the word "Lai" are Cha Laisong and Qu Laishou, and the most outstanding artist in the word "Red" is Stanley Ho. Two generations of artists scattered in Ankang, Hanzhong, Shangluo, Guanzhong, Sichuan and other places as foreman performances, constantly running classes and apprentices in various places, making Diao Han and Huang Er spread and develop in various places. In the process of its popularity, influenced by local languages, folk songs and local operas, Hanzhong, Ankang, Guanzhong and Shangzhen were successively formed, and many classes, societies and artists appeared in the late Qing Dynasty and the early Republic of China.

Diao Han rose in the middle and lower reaches of the Yangtze River, "originated from Yi cavity", was introduced into Siping cavity from Anhui and developed by Hubei artists. Xipi evolved from Shanshan Bangzi and was introduced to Xiangyang in northwest Hubei. This is recorded in some documents in the middle of Qing Dynasty. For example, in the fifty years of Qianlong (1785), Wu Taichu wrote "Lan Yan Xiaopu", which recorded that Yao Qing "tuned a new tune with Chu" when he was a famous actor. Chu Ling and Wang Xiangyun are good at selling cakes, singing Jingjiang Yangko and Husha Mianyang ditty. Fan Kai in the Qing Dynasty also recorded in Hankou Talk that Li Cuiguan, a famous Chu-tune actor in Hankou, was transferred to Rong Qing Department, and he was good at Drunken Guifei, Penny Chasing Boat and Jade Hall Spring.

The combination of Xipi and Chun Er is a long-term and gradual integration process. This kind of fusion is recorded in Ye's "Zhi Zhu Ci in Hankou" published in the 30th year of Qing Daoguang (1850): "The tone reversal in the song is the most bleak, and the urgency is that the Xipi is slow and yellow, the voice must be round and bright, and the gas must be long." "There are more than a dozen classes in Hankou, and today there are only three." The above description is what Ye Yuan Tiao saw when Daoguang revisited Hankou in the 13th year. The book also describes the artistic inheritance relationship between the predecessors and actors at that time, saying that "Xiaojin was famous that day and his throat was like a flute. In the past 20 years, Hu Lang has been loud and romantic. " As can be seen from his account, as early as the end of Jiaqing, there were more than ten troupes singing Chinese tunes in Hankou. They sing Xipi and Huanger. There are both positive and negative voices, and it is already a drama with complete vocal cavity. Therefore, the confluence time of Hubei Han tune and leather spring should be in Jiaqing period.

During the Jiaqing and Daoguang years of Qing Dynasty, Hubei artists of Han tune went to Beijing, taking Huizhou classes such as Chuntai and Riverlip, and singing "Leather Spring" with the wide sound of Zhongzhou Hu Yun, which led to the situation that "the class was called Huizhou class and the tune was called Han tune". According to the genealogy of Diao Han artists Mi Yingxian and Yu Sansheng found in Hubei, it can be proved that some Huizhou classes in Beijing at that time were dominated by Diao Han artists. Mi Yingxian (1780- 1832) was once honored as the capital because he played Guan Yu in the Battle of Changsha. Yu Sansheng (1802- 1866), who entered Beijing in the early years of Daoguang, was in charge of Chuntai class, one of the four famous Huizhou classes in Beijing at that time. At that time, the Spring Troupe was also famous for its baritone actors and China naughty Huang as the lead singer.

During the Jiaqing and Daoguang years in Qing Dynasty, the urban economy in Hubei was prosperous, and there were many business trips, temples and theatres, which provided conditions for the prosperity and development of Han tune.

After Xianfeng in Qing Dynasty, influenced by the war, the Han tune once declined in the second spring. After the opening of Hankou in Tongzhi and Guangxu years, famous actors and famous teachers from all walks of life gathered here again, held Tian, Shuang and III classes, and trained a group of famous actors of Han opera who later became famous in the drama world. During this period, Han opera ushered in a new period of prosperity, and the number of Han opera artists increased greatly. Yu Hongyuan, Fu Xinyi and Chen Guoxin. At this time, the Han Opera Association was organized, with the largest number of registered members reaching 7,000, and some artists from mobile class clubs were not included. From the late Qing Dynasty to the Republic of China, it was popular in Longdong, northern Sichuan, Yunnan, western Hubei and western Henan. During the period from Daoguang to Guangxu in Qing Dynasty, it was in full swing. In addition, he also absorbed tunes such as Kunqu opera, cavity blowing, and high tempo, mixed local folk music, and sang in dialects, gradually forming his own style. His vocals are mainly Xipi and Chun Er. Xipi comes from Xiangyang dialect, which evolved from the western Qin opera, commonly known as Han tune; Huang Er went up the Han River from Anhui via Hubei, and was called "Huang Er, Diao Han" with Xipi. After the Revolution of 1911, it was renamed Han Opera. During the Great Revolution, Han Opera broke through the old rules, attracted female artists to participate in performances, held a training class for girls (also known as Xinhua Women's Class), and trained a group of outstanding actresses represented by Xinhua Chai. During this period, Han opera flourished again in Wuhan. Han Opera artists have extensively studied and exchanged various operas, especially Peking Opera, which has improved and developed the performing arts of Han Opera.

After the outbreak of War of Resistance against Japanese Aggression, the artists of the Han drama "Huang Er" responded to the call of the producers in China and took an active part in the anti-Japanese national salvation activities. Under the leadership of Guo Moruo, Tian Han, Hong Shen and others, ten mobile propaganda teams of Han Opera were organized, led by Fu Xinyi, Wu Tianbao and Zhou Tiandong, and went to Sichuan, Hunan, western Hubei and other rear areas to perform. After the founding of People's Republic of China (PRC), it once again got the opportunity of vigorous development.

After the founding of New China, Ankang and Hanzhong were still called "Han Opera", while Shangluo and Guanzhong were still called "Er Quan". Huang Er, Diao Han is popular in Ankang, Hanzhong, Shangluo and Guanzhong areas with Xi as the center. Since the founding of the People's Republic of China, Diao Han Huang Er Troupe has staged nearly 500 traditional plays in Ankang, but this is far from meeting the needs of the audience. Therefore, they constantly transplanted, sorted out and adapted historical dramas, created new historical dramas and modern dramas, and enriched the stage plays. For example, more than 80 repertoires such as Forty Days in Beijing and Qu Yuan have been transplanted, and new ancient repertoires such as Dalongpeng, Liang Hongyu, Strange Tales of Banqiao, and Zhao Cheng's whoring record have been created, as well as modern repertoires such as New Biography, Red Pearl, Legend of the Horse Monster and Brother of the Chief of Pipa Village. The purpose of these new dramas is to keep pace with the new era in ideological content and have a strong flavor of the times, thus arousing the interest of the audience, cultivating a group of new audiences and giving these ancient local dramas new vitality. In particular, 198 1, the "First Han Opera Exhibition in Shaanxi Province" held by Shaanxi Provincial Department of Culture in Ankang was really a grand event of Han Opera. More than ten professional troupes from southern Shaanxi participated in the performance, and Chen Bohua, a famous Chinese opera performer from Hubei, made a special trip to participate in the exchange performance, which made Ankang audience see the unprecedented prosperity of Diao Hanchun.