[The performance characteristics of the Qinqiang veteran] war time shouting to Qinqiang

Over the past hundred years, hundreds of representative characters have emerged from the Qinqiang lao sheng line, as well as iconic figures in both performance and singing. Among them, a series of characters portrayed by Mr. Liu Yuchong, especially his creation of the Qin Dynasty decline of the old man's singing and performance mode, over the past few decades, and even reached an unattainable performance height. If we say that Mr. Liu Yuzhong is unique in creating the performance style of the Qin opera's declining school of Lao Sheng, which has become a model for the contemporary Qin opera's declining school of Lao Sheng, then he has even reached an unparalleled level of performance with his unparalleled "sandy, choking, and mute" singing voice and "whimpering" voice, which is close to that of the Qin opera's Qingyi, in terms of the means of expression.

Lao Sheng line in the traditional Qinqiang repertoire generally plays the role of the elderly or tragic characters, mostly lower-class social characters or elderly officials. Most of these characters have tasted the sweet, sour and bitter of life, and are rich in life experience and have more ups and downs than joy, and more pathos than generosity. This determines that they have to present the characteristics of sluggishness, staggering and hobbling in their performances. On the basis of this *** character, the tone of the performance should be set according to different identities and positions. For example, Lao Xue Bao in "Three Niangs Teaching Their Children", due to his status as a servant, he can only be in the auxiliary position of the Three Niangs Teaching Their Children, so his speech cannot be justified, nor is it possible for him to be justified. Therefore, no matter how naughty the young proprietor Xue Yiguo was, he could only teach him in a coy manner; no matter how much the young proprietor Xue Yiguo talked back to his foster mother, he could only persuade her with good intentions; no matter how much the young proprietor Xue Yiguo angered his foster mother, he could not possibly have such things as "shaking his beard", "shells", "a beard", "a shell", "a shell", "a shell", "a shell", "a shell", "a shell", "a shell", and "a shell", and so on. No matter how much Xue Yiguo, the little proprietor, annoyed his foster mother, he could not have actions such as "shaking his beard", "shelling", "zombie", etc. to show the characters' intense emotions. On the other hand, Liu Ziming in "Branding Bowls" loves his son and nephew so much that every torture the child suffers can y touch his heart and cause him to tremble, and behind this trembling, he doesn't believe that a woman can have such a vicious soul, and he always pushes himself to others with the heart of a human being, and has always been tolerating and lenient towards the woman; and secondly, he doesn't believe that a woman will have a problem with a child at all and is trying to find a way to make the family's life easier for the family. Secondly, I don't believe that a woman would have a problem with a child, and that she would not hesitate to plant evidence to frame an innocent child for the sake of her family's wealth; and thirdly, I take the child's forbearance as if all the planted evidence is true. It is out of this kind of goodness that Liu Ziming chases the runaway child through the wind and snow after knowing what happened. It is because of this psychological process that he will have the soul trembling after knowing the truth, and will have a series of actions such as "grabbing the back", "shelling", "shaking the beard", etc. in the snow tracking to show the intense emotions of the characters. and "shaking the beard" in the snow tracking. It is no coincidence that Mr. Liu Yuzhong's portrayal of Zhou Renrui, an old student in the classic Qin opera Three Drops of Blood, is also a characterization of being insulted and damaged. The first two drops of blood were not able to stir up the character's inner frenzy, and only the third drop of blood, after being concluded by Jin Xinshu that Zhou Renxiang's son, Niuwa, was not born by his father, made Zhou Renrui strongly question the practice of recognizing relatives by blood drops, because it not only proved that the first two drops of blood were wrongly convicted, but also concluded that Zhou's family had no descendant. This is a big issue about human relationships, therefore, Zhou Renrui and Wang Ma made a big fuss in the public hall. In the meantime, "shaking the beard", "lifting the beard" and other externalized actions to show the intense emotions of the characters, fully expressed the indignation of the characters. It can be seen that the performance of the old man's line is generally shown as a thick, honest and kind performance program, such as staggering steps, hobbling, steady style, and once the character's emotions are intense and cannot be suppressed, it is often "shaking the beard", "ruffling the beard" program as the main form of displaying the psychological activities of the elderly. When a character is in a state of intense emotion and cannot restrain himself, programs such as "shaking the beard" and "lifting the beard" are often used as the main forms to show the psychological activities of the elderly. In addition to this, such intense movements as "shell" and "grabbing the back" are more capable of fully displaying the character's eager mental rhythm and nervous, urgent psychological state, showing Liu Ziming's guilt and inner anxiety towards his son and nephew. This kind of program action can also be seen in many of the roles of the old sheng line that expresses loyalty and courage. For example, the old man who collects medicine for Mu Guiying in "Yang Men Women Generals" uses the "shell" and "robbing back" to explore the valley, which belong to the common program of this kind of fierce old man performance.

As an actor, in order to be recognized by the audience, in addition to the performance of the program on the cool, simple, heavy, but also more importantly, the actor must be based on the character's emotions of the voice of the artistic treatment. The most fundamental reason why Liu Yuchong can become a great artist in this field is that Liu Yuchong is able to combine the characters' emotions or pathos, or high spirits, or melancholy, or indignation with the sophisticated stage presentation according to the characters' emotional characteristics and personality images, and to make the characters' emotional performance show different personalities in the pale and hoarse vocal characteristics, thus making each character's emotional performance show a different personality. Different personalities, so that each character in the emotional type of change, in the form of expression on the difference, really achieve the program of the dogma mechanical revitalization into a vivid and full of character images.

Art needs to constantly enrich its means of expression and vocabulary in keeping with the times, and even more so, it needs to improve and enrich its expressive power in the process of integrating with the viewing habits of contemporary people. The programmatic means of expression in the traditional repertoire is undoubtedly a combination of Chinese agrarian civilization and Asia's way of production and life. It is not only the physical expression of farming civilization, but also the living fossil of farming culture. Looking at the issue from this perspective, we believe that the division of characters in the traditional repertoire can only express the character personality of the characters in that period, and cannot and cannot represent the mode of occupational division brought about by today's increasingly refined social division of labor and socialized mass production. That is to say, the traditional artistic expression of the Lao Sheng line may only be able to inject new vitality into the expression of characters in traditional plays or new costume dramas, but it is impossible for this line to become the guideline for the creation of characters in our present day. It is true that we have not yet found or discovered any theatrical expression that can replace the character line and differentiate between character types by line, but this does not mean that traditional expression cannot provide us with an effective expression vocabulary for the creation of new characters. The question is whether we can follow the principle of the Chinese opera's expression of the drama to create a vivid and vivid, both obvious characteristics of the drama and have the ability to add or subtract according to the needs of the plot or to show the character of the complete vocabulary system.

The art of opera compresses all psychological and behavioral, even subconscious and subconscious things into symbols that can be decoded by people, and uses the symbols to regulate and integrate the character types, and the writing behavior that regulates and integrates the expression of human thoughts and feelings. That is to say, all meaningful forms of expression can become the means of expression of opera, and we can also regulate all forms that can bare the psychology of characters into new programs to enrich the expressive content of the programs. In this sense, any line of performance program can only be a template for us to shape the characters, but it is definitely not a rigid dogma.

Emphasizing the old man's line, enriching the old man's line, and developing the old man's line is not only a need to protect the intangible cultural heritage, but also a need to inherit and prosper the means of expression of Qinqiang art, and to enrich the expressive vocabulary of the Qinqiang. Qinqiang art in the garden of the need for the old man line, the development and prosperity of the Qinqiang more need to line complete and complete, therefore, please take care of and pay attention to the old man this line, so that the old man this behavior in the new century to make a new contribution to the development of the art of opera!