What are the characteristics of various Chinese dramas?

1. Comprehensive. Chinese opera is good at combining and refining music, dance, literature, sculpture, painting and other arts. The comprehensiveness of Chinese opera is reflected in the form of performance, the content of the script, performance techniques and so on. The performance forms of Chinese opera are incredibly colorful: instrumental music is used to regulate the rhythm of the whole play, change the singing, reading and playing, and render the atmosphere; vocal music pays attention to the sound of the voice with the rhyme, and the words are correct; dance is artistically transformed into a very rhythmic and rhythmic performative dance; sculpture is reflected in the performance of the characters who are constantly appearing and being stereotyped; and painting is embodied in the face costumes and the actors, and the blankness of the background to form the pictorial meaning. Chinese opera has a strong storytelling content, absorbing the structural techniques and plotting arrangements of novels; the words used to portray characters and promote the plot in opera have also absorbed the essence of prose, vernacular and poetry. The techniques of Chinese opera are a blend of martial arts, jockeying, puppetry and comedy. In short, Chinese opera is a highly integrated variety of artistic means, giving full play to the strengths of the art of time and the art of space, which has become an important feature of the art form of Chinese opera. Synthesis is also more prominent in Tongju opera. For example, in "Carrying Judgement", the god Zhong Kui rides on a palanquin, the god Zhong Kui and the bat spirit play and fight on the palanquin carried by four small children, and finally subdue the bat spirit to send happiness and blessings to the main family. The whole process is expressed in acrobatic body language, a hundred plays. Journey to the West" in the course of the Flaming Mountain, with the palm split red bricks, bare feet on broken glass, hand twisting the bowl of porcelain into ash to interpretation, is juggling (magic, gas hard work). The four attendants of Lord Bao in "Za Tang Jing Di", Zhang Long, Zhao Hu, Dynasty, Ma Han, respectively, wearing dragons, tigers, dogs, horses, four styles of papier-maché masks, is the face of the play; Lord Bao arrested the criminal Xue Jinlian is a woman of paper, the performance of the puppet theater. Chu and Han fight to seal the land" in the King of Chu's bird cone BMW with bamboo bone papier-maché, the size of a real horse, under the wheels can walk, is a light theater. In "Opening the Door to Invite the Gods", the children clean the hall and garden, welcome the gods and goddesses in heaven and on earth, take the horses and sedan chair, and lead the seats and invite the tea, which has a simple storyline, and it is a mime that does not open its mouth. King Li Hou, in "Naming the Gods", accepts the offerings on earth on behalf of the gods. He converses one by one with the big fat pig offered to the gods, as well as with the butcher, the zaku maker, and other people and animals, which is instant improvisation play. In addition, "The Great Clown" and "Zheng Sanlang Goes to the Western Heaven-Idiot Bahou Watches the Door", which are just talking about the table without chanting, are Kobai plays. Running Iron - Ancient Knife Name", three or five children, counting the weapons and achievements of war generals through the ages, including Nantong Ming Dynasty anti-Japanese hero Cao Ding, using the form of nearly song and dance theater ......

2. Programmatic. The programmatic nature of opera mainly refers to the fact that the roles, costumes, singing and respective performance styles of the characters in the opera have quite clear and strict regulations. For example, according to the gender, character, age, occupation, social status of the characters in the role of the theater, there are four basic lines of life, Dan, Jing, Chou. Each basic line can be subdivided into four basic roles: Sheng, Dan, Jing, and Chou. Sheng can be subdivided into Lao Sheng, Xiao Sheng, Wu Sheng, and Xiao Sheng can be subdivided into Zhong Sheng, Guan Sheng, and Poor Sheng; and Dan can be subdivided into Qingyi, Huadan, Wu Dan, and Lao Dan, and so on. Each line has its own unique character, moral character and singing, chanting classification provisions. For example, Lao Sheng is a stalwart and upright character above middle age, with heavy singing, reading rhyming white, using real voice, and solemn action modeling; Hua Dan is a young woman with a more lively and cheerful character, and a more agile and articulate action. The programmed performances have strict regulations on face painting, dressing and singing. Corresponding to the role of the line there are different face hook method, such as the Peking Opera face has a whole face, broken face, hieroglyphic face, cross door face, Yuanbao face, etc.; with different color tones to symbolize the character of the character's personality and conduct, red represents the loyalty and righteousness, black represents the recklessness and brashness, and white represents the insidiousness and cunningness, etc.; in the dress, to express the character's social status is the main focus, do not look into the specificity of its history, the costumes in the drama are The costumes in Tong Opera are "paired", i.e., a character only wears the same set of clothes from beginning to end, without changing the clothes; in the singing style, such as the old man with the voice, the young man with big and small voices, the green coat with a fake voice, Tong Opera has a fixed tune for the singing, and in addition to the slogan-like sighs in the middle of the fold, the tune is generally not repeated, and then the next fold is repeated with the tune. These programmed performances are the result of the high degree of development and perfection of Chinese opera. The programmatic nature of Chinese opera is not only manifested in the strict regulations, but also in the concentration, exaggeration and distinctive features of the movements. For example, the simple program of opening the door mainly focuses on the two key actions of pulling out the latch and pulling the door open left and right, which greatly simplifies the action of opening the door in daily life; and then the speed, rhythm and posture of these two actions are given appropriate exaggeration to make them more distinct and accurate than the original ones in life. In fact, everything on the stage of Chinese opera, from the characterization to the sound of gongs and drums, etc., has strict regulations, and none of them reflects the programmatic nature of Chinese opera.

3. Virtualization. The main feature of the virtual is also simple, that is, to reduce everything to the minimum that can be omitted. The virtual performance of opera lies in its limited time and space, with unlimited expressive power, in order to trigger the audience's imagination and mood, so there is a "small stage world, heaven and earth big stage" said. First of all, it is the virtual nature of the environment. The traditional opera stage is generally not set up a realistic set, at most, only a table and two chairs with a table around the chair Phi, and then according to the identity of the actors on the stage to determine the specific location, it can be a hotel or a teahouse, it can also be a study or a living room. The second is the virtual nature of the action, such as waving a whip to indicate horseback riding, rowing a boat with a paddle, and driving chickens and feeding ducks to indicate that there is a flock of chickens and ducks around. Once again, the number of virtual, the so-called "three or five steps to go all over the world, six or seven people a million soldiers", to fewer instead of more, to replace the three armies of the dragon set, so as to achieve the extension of space and time, to create the effect of the atmosphere. These virtual writing performances are consistent with the aesthetic viewpoints in traditional Chinese culture, reflecting the flexibility and wisdom of the art of opera in dealing with the problems of time and space, and enabling Chinese opera to create the most culturally meaningful artistic beauty.

4. Historical. Most of the ancient Chinese operas are based on historical stories, vernacular novels, or reenactment of history, or change the story, or the legend, but in any case, all have traces of history. For example, Tong Opera absorbed a lot of folk stories of "filial piety, loyalty, righteousness, honesty and shame" and conjured up a script with a wide range of materials, which could be fabricated from any history in order to win the audience's smile or tears of sympathy. The story is simple and easy to understand, and the people can agree with it once they have heard it, so they can "be happy for you and sad for you". Such as "Guo Sanniang cut the stock", the story originated from the "Lun Quanbei Ji"; "Emperor Qianlong down to the East" to a large extent to go to school "with Emperor Yang Haishan Ji", only to take its important plot, with the local dialect into a jingle-type poetry, can be set on the song; in addition to the Tang and Song dynasty legend of the "Song of Long Hate", "Yang Taizhen out of the children's theater in the children's theater have changed the script with its counterparts.

In addition, the Chinese opera also has a storytelling, lyricism, ideology, elegance and vulgarity **** enjoyment and other characteristics, this article will not be enumerated.

Chinese opera and the ancient Greek tragic comedy, Indian Sanskrit drama, known as the world's three ancient schools, is a treasure in the treasure trove of human art, however, its development prospects are worrying, opera for the younger generation has been less interested in the less asked, but the essence of its still attracts a lot of people, it is often heard that so and so star to learn the face of the so and so, so and so foreigners go to learn the opera of the clapper, and so on. In order to carry forward the traditional Chinese culture of the opera, many masters are committed to reform and innovation, and have to save the tide of the great feeling. Take the national opera Beijing Opera, but look at today's chrysanthemum world, pushing the new play deliberately seeking new, often engage in three-dimensional background, and even the performance of the stage and other scenes are full of juggling, hawking people, in order to achieve the real effect; in costume is also a play to set up a line of work and strive to approximate the original appearance of the history, and join the fashionable and popular elements, in order to be new and different, dazzle the people's eyes. Such a reform is indeed attracted a lot of viewers, but the actors perform the art of space is gone, the audience's imagination is gone, water sleeves, luan belt, rely on the flag, the plume of these profound performance art is gone, some of them are "drama plus singing the incestuous monstrosity", ask, to see the big scene you might as well go to the movies, to the pursuit of fashion you might as well To go to the runway, such a reform is a failure, is beyond the scope of the opera, and the traditional Chinese opera against the way.

The author believes that the reform of Chinese opera should grasp the three aspects of the positioning of the artistic value of opera, namely, "performance is the most important", "to get carried away", "elegance and vulgarity **** enjoy! "

Chinese Opera

A major characteristic of Chinese opera is that it is a comprehensive art that emphasizes performance. Chinese opera generally does not have a directorial system, there is no profound theory of screenwriting, the real fascination of the audience is the main stage actors and actresses of the superb performance. Audience to buy tickets to see the play, more than not rushing to the storyline to go, for the old fans of the theater, those deeds on the stage has long been familiar with, they figure is smacked that two singing, "Wubenji", "Ritual Tower" and so on the old play, nothing plot, but the audience never get tired of watching, that is, this is the reason. And nowadays, the theater to the plot as the most important, the performance of the second practice is really the cart before the horse.

The so-called "forgetting the form" on the one hand, refers to the opera in the performance of life, the use of a "take its meaning and abandon its form" approach, with the vertical and horizontal strokes to reflect all the beautiful things in life, so there is a long song when crying, long sleeves when dancing, there is no flowers and trees in the spring color, without the waves of the river; on the other hand, refers to the opera focus on the performance of the main characters on the stage, while ignoring the performance of the main characters. On the other hand, it means that the opera focuses on the performance of the main character on the stage and ignores some insignificant things, such as checking the stage to move the table on the stage, helping the actors to change their clothes, the corner of the stage to drink the field, and singing behind the back of the tired more people to play the fan. The audience will not pay the slightest attention to those idle people. Purification of stage reform, the author is still more supportive, because these people largely affect the audience's appreciation. But for those who pay attention to the stage design, often "organ set" of the scene of the practice, I think there is a loss of the traditional style of opera, there is a suspicion of adding to the snake.

The so-called elegant and vulgar **** enjoyment of the opera refers to the elegance of the opera rhetoric and performance on the ornamental, performance in the performance on the vivid and good-looking, focus on the enjoyment of the senses. Opera in the singing generally pay attention to the rhyme, to avoid the absurd cavity inverted word; and in the story is close to the history, close to the folk, the idea of "folk beliefs" closely linked to the "common" effect, is a high degree of playfulness. The Chinese culture is a highly enjoyable and "elegant" popular culture.

The social value of Chinese opera should be subordinate to its artistic value, therefore, the author believes that the reform of Chinese opera should be less closed-door new cavity, less focus on the form of new aspirations; should pay more attention to the embodiment of its artistic value, in-depth study of opera traditions, to grasp the inner laws, to achieve the "move not change the shape", so as to give a vibrant opera. This will give opera a vigorous vitality, in order to truly revitalize the Chinese opera to play a substantial role in promoting the development of Chinese opera has a greater future.