History of Shaanxi Opera, Yue Opera, Beijing Opera and Huangmei Opera

The history of Shaanxi Opera, also known as Luanxi, originated from Shaanxi Opera in the west and was popular in Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang in the northwest. Because it uses the jujube bangzi as a percussion instrument, it is also called "Bangzi Opera", commonly known as "Bangzi" (issued when clapping hands). The legend of "Lotus in a Bowl" by an unknown person in the late Ming Dynasty uses the tune of "Two Offenders in Western Qin Opera", so it is known that it originated in Gansu. Gansu was called Xiqin in ancient times, hence the name. When Kangxi was in the Qing Dynasty, Justin Cheung, a native of Jingyang, Shaanxi Province, looked forward to writing On Shaanxi Opera, which showed that Shaanxi Opera had developed to a mature stage. During the Qianlong period, Wei Changsheng went to Beijing to perform Shaanxi Opera, which caused a sensation in Beijing. It has a direct influence on the formation of Bangzi acoustic cavity in various places.

Shaanxi opera is a plate variant, which can be divided into two kinds: joyful sound and bitter sound. The former is good at expressing cheerful and joyful emotions. The latter is good at expressing grief and sadness. Choose to use it according to the plot and the needs of the characters in the play. There are flexible boards, 26, substitute boards, lifting boards, sharp boards, rolling boards, flower cavities and dragging cavities, which are particularly distinctive. The main musical instrument is banhu, with sharp and crisp pronunciation.

The performance of Shaanxi Opera is simple, rough, delicate and profound, touching and full of exaggeration. There is a 13 school in the football lottery, which is divided into four students, six Dan, two clean and one ugly, also called "Thirteen Nets". It plays well and sings well. After the Revolution of 1911, Yi Sushe was founded in Xi 'an, specializing in Shaanxi Opera, determined to reform, and absorbed the nutrition of Peking Opera and other operas. His singing changed from high-pitched and passionate to soft and beautiful, which not only retained the original style, but also incorporated new styles.

Because of its different popular areas, Shaanxi Opera has evolved into different schools: Donglu Shaanxi Opera (also known as Tongzhou Tiezi, also known as Old Shaanxi Opera and Donglu Bangzi) is popular in Dali and Pucheng in Weinan area in the east of Guanzhong; Popular in Fengxiang, Qishan, Longxian and Tianshui areas in the west of Guanzhong, it is called West Road Qinqiang (also known as Xifu Qinqiang and West Road Bangzi); Popular in Yangxian, Chenggu, Hanzhong and Mianxian in Hanzhong area (actually Lu Nan Shaanxi Opera, also known as Diao Han Shaanxi Opera and Xunxi); Popular in Xi 'an, it's called Zhonglu Qinqiang (that is, Xi 'an's random play). Among them, the west road became a bangzi after entering Sichuan; East Road is Shanxi Opera, Henan Opera and Hebei Opera. Therefore, Shaanxi Opera can be regarded as the originator of Beijing Opera, Henan Opera, Shanxi Opera and Hebei Opera. Influenced by local dialects and folk music, each Shaanxi opera is slightly different in pronunciation, aria and music. In the past 50 years, the development of the eastern, western and southern Shaanxi operas tends to stagnate and tends to be replaced by the central Shaanxi opera.

According to the current statistics, there are about 3,000 repertoires performed by Shaanxi Opera, most of which are based on the legend of heroes's or tragic stories, as well as myths, folk stories and various case-solving dramas from Three Kingdoms, Yang Jiajiang and Shuoyue. Its traditional repertoire is rich, with 2748 copies.

Yue Opera Yue Opera is one of the local operas in Zhejiang. It was once called "Xiaoge Class", "Dedu Class" and "Shaoxing Literary Opera". Originated from Shengzhou and Xinchang in Shaoxing area. All over the country 16 provinces, autonomous regions and municipalities directly under the central government, mainly distributed in Zhejiang, Shanghai and Jiangsu. Shaoxing was the capital of ancient Yue in the late 1930s, so 1938 was renamed as "Yue Opera".

At first, Yue Opera was developed from a songbook on the basis of Quyi. Singing earth script is a form of folk art in Shengzhou area. Early tunes are closely related to Buddhist chanting tunes. The twelfth year of Xianfeng in Qing Dynasty (1852) was created by farmer Jin in Matang Village, Xixiang County, Sheng County. After continuous development, it evolved into "A Ying Diao", which was used until the formation of Yue Opera. The development of Yueju local songs has gone through six stages.

1. Xiaogeban (also known as "Tuban" stage) In the 30th year of Guangxu (1906), artists Gao, Qian and Qian from Dongwang Village in Shengxian County built a temporary stage with a door panel in front of the village incense hall, put on a big cloth shirt and put on a the cloth flower skirt borrowed from a farmer's house, and performed ten pieces of double golden flowers. This is the first time that a book-singing artist has performed locally in Shengxian County. It is called "Little Brother's Clerical Class" and later referred to as "Little Brother's Class" to distinguish it from Shaoxing's Big Class (Shao Opera). Since then, the book singer has stepped onto the stage. The following year, thirteen chorus classes performed in various places. In the twenty-third year of Guangxu (1908), the younger brother class went to other places in three ways: first, from Xinchang and Yuyao to Ningbo, and developed to the northeast. Second, from Dongyang and Zhuji to Jinhua to the southwest. Third, it flows from Shangyu and Shaoxing to the northwest to Hangjiahu area. In the second year of (190 1), Song and other Xiao Song groups entered Hangzhou.

2. After1961year, Little Brother Ban entered Shanghai several times. 1920 More than 40 artists from the Xiaoge class gathered together to perform new dramas reflecting the fate of women in Shanghai, such as Pipa, Liang Zhu's Mourning History, Yu Pin Ji and Meng Lijun, which were well received by the audience. Since then, Xiao Bangban has gained a firm foothold in Shanghai. 1923, more than 30 actors, including Ma Chaoshui, Wang Yongchun, Ye and Mei Yuelou, left the Shengping Song stage and performed in the Great World Playground, and hung up the sign of "Shaoxing Literature and Opera" for the first time. The most outstanding point on the stage of "Shaoxing Literary Opera" is the reform in music and performance. Artists such as Wei, with colorful banhu (later changed to Pinghu) and dou (fixed string 1, 5, called "orthodox tune"), absorbed the musical elements of Yue Opera and Yuyao Qingqiang Wulin tune in their vocals, enriched the board and created inverted board, allegro, clear board and tune. After the class started in Shanghai, the little brother class formed the first full-time band, tried to play Introduction and Passing the Door with stringed instruments, and then used stringed instruments to explain the cavity. In the aspect of singing, the tunes such as guide board, running water and Fan Er in Shaoxing big class were integrated into "A Ying Diao", which made the original singing appear in the form of slow medium board, medium board and allegro, and initially formed a board cavity music system. The original silk stringed instrument was banhu, which was later changed to "1-5", and the music was softer, which was called "positive tune". Therefore, during the period of Yueju Opera for Boys and Girls, it was also called "Zhengdiao for Boys and Girls", and it also borrowed artistic skills from Shao Opera and Peking Opera in performance, and improved its repertoire and makeup. From life drama to costume drama. Since then, the male class has entered a golden age.

3. Women's Shaoxing Literature and Opera Stage 1923 Under the influence of "Children's Drama" in Shanghai Peking Opera Theatre, Wang Jinshui, the owner of Shengping Song Stage, entrusted artist Jin Rongshui to set up the first women's class. After short-term training, she entered Shanghai to perform in the name of "Shaoxing Art Troupe" and "Kevin Women's Class". After 1928, a large number of female literature and drama classes emerged. Because the range of female voice is four or five degrees different from that of male voice, pianist Wang Chunrong absorbed the characteristics of Xipi Peking Opera according to the voice conditions of female audience, and used Hu Qin's "63" tone to create a "four-tone" female Yue Opera stage suitable for female voice, also known as "four-tone stage". The first female class once shared the stage with male class artists in a mobile performance. This is the "mixed performance of men and women" in the history of Yue Opera (in Shanghai, there was a "mixed performance of men and women" for female appreciation represented by Xiao). By learning the skills of male class artists and absorbing the advantages of Shaoxing big class and other operas, the first batch of female awards have made great progress in singing and performance. Among them, Shi is the most famous, and later known as the "originator of flower shirts" of Yue Opera. 1929, Huang Ze, Sheng County set up a new stage for two women's class brocade; Since 1930, female classes in Shengxian County have mushroomed, and more importantly, there is a group competition. 1937 On the eve of the Anti-Japanese War, there were nearly 200 girls in the class. From 1938 to 1, women's Shaoxing operas poured into Shanghai one after another. According to the statistics of 1939 in September, there are thirteen theatres in Shanghai that stage women's Yue Opera. 1in the autumn of 938, the center of "Nvwen Opera" was changed to the name of "Yue Opera", and almost all famous actors were concentrated here. During this period, the female class has completely replaced the male class. The artistic level of actresses has improved, and a number of influential actors such as Shi, Zhao Ruihua, Tu Xinghua, Xiao Dangui have emerged. The plays that are often performed are mainly about talented people and beautiful women, such as butterfly lovers, Dragon and Phoenix Lock, Hostess of Hosts, and Visiting Three Sisters. 1942, Yuan Xuefen initiated the reform in the Dalai Theater, and hired Lv Zhong, Han Yi and Zheng Chuanjian as directors. Replace the screen system with script production; Establish a director system; Reform clothing; Make up with oil paints; Improve stage scenery and lighting; Enriched the band, cooperated with the pianist, and created a song 5 and 2, which became the keynote of the new Yue Opera. Actors also absorbed the advantages of Kunqu opera and traditional Chinese opera in their performances, enriching and developing Yue Opera.

Fourth, the stage of comprehensive artistic reform 1942 10. Yuan Xuefen advocated the reform of Yue Opera in Shanghai Dalai Theatre and played the banner of "New Yue Opera". 1945 In March, Xuesheng Art Troupe headed by Yuan Xuefen and Fan Ruijuan was formally established. Other troupes have also been reformed one after another. These reform activities promoted the formation of the style and performance system of Yue Opera, and made its appearance change greatly. An important feature is that some new writers and artists took part in the reform activities. From the autumn of 1942, when Yuan Xuefen advocated reform, various troupes engaged in "New Yue Opera" set up drama departments one after another, and hired new writers and artists as screenwriters, directors, composers and choreographers. The first batch of intellectuals who participated in the innovation drew nutrition from new literature, drama and movies, and introduced new artistic concepts and expression techniques for Yue Opera. In drama literature, the screen system was changed to the script system, and all the new arrangements and adapted traditional plays were staged. On the stage art, the drama system was abolished and the director system was established. The performance absorbed the expression methods of drama and film, focused on depicting characters' personalities and inner activities, and absorbed the means of combining Kunqu opera with other dramas. Musically, we set up a composer's position, and the first play designed and created aria and accompaniment according to different contents and characters. In terms of stage art, the suitcase system and the "old-fashioned system" were abolished, costumes were designed according to the plot, makeup was made with oil paints, and lighting, effects and three-dimensional scenery were used.

1946 In May, the student troupe performed Sister Xianglin in Shanghai, which was adapted from Lu Xun's masterpiece Blessing. This is an important milestone in the reform of Yue Opera. The reform of Yue Opera at this stage has achieved remarkable results. After the liberation of Shanghai, Shanghai and Simingshan joined the consortium engaged in the reform of Yue Opera. 1950 In April, East China Yue Opera Experimental Troupe was established, directly under the leadership of East China Ministry of Culture. East China Opera Research Institute was established in 195 1, and Zhejiang Yue Opera Troupe was formally established in 1954. During this period, more than 30 professional Yue Opera Troupes in Shanghai and more than 70 professional Yue Opera Troupes in Zhejiang also carried out substitution, drama change and system change to varying degrees.

In the 1940s, Yue Opera formed different artistic schools. There are six recognized artistic schools: Yuan Xuefen's "Yuan Pai", mainly under Wang Xinghua's tutelage, with simple and euphemistic singing, sincere and sincere, dignified and quiet performers, paying attention to reflecting true feelings, and mostly being kind and gentle female images. Fu Quanxiang's "Fu School", she mainly studied under Shi and Cheng, a Peking Opera performer. Her singing was ups and downs, and her performances were lively and colorful, which created many passionate and infatuated female images. Qi Yaxian's "Qi School" developed from the "Yuan School", with its circuitous and gloomy singing, natural and generous performance and mostly tragic images. Yin Guifang's "School of Music" has fluent and profound singing and elegant performance, and most of them are charming literati. Fan Ruijuan's "Fan School" is full of man's beauty in singing, mellow in quality, full of life in performance, and good at playing an honest and frank gentleman. Xu Yulan's Xu Pai, with its gorgeous singing and energetic performance, is good at shaping passionate scholars and talented people. In addition to these six recognized schools, Wang,,,, Bi Chunfang, young students,,, and Shang Fangchen all have distinctive styles.

In 1950s, a number of high-quality repertoires were compiled and created by Yue Opera, which promoted the overall improvement of director, performance, music and stage art through repertoire processing. Butterfly lovers, The Legend of the White Snake and The West Chamber won prizes at the first national opera viewing and performance conference in. Shanghai Yue Theatre was established in 1955. 1956 re-adapted the rehearsal of Sister Xianglin and restored the spirit of Lu Xun's original work. 1962, the play was greatly revised again, which became a perfect combination of ideology and artistry. 1959 A Dream of Red Mansions starring Xu Yulan and Wang vividly shaped the images of Jia Baoyu and Lin Daiyu. Qu Yuan, He Wenxiu, Looking for a Wife, Eleven Lang of the North King, The Story of Chasing Fish with Spring Fragrance starring Wang, The Peacock Flying Southeast, The Story of Li Wa, and The Jade Lady starring Fu Quanxiang. After the reorganization of the provincial art troupe in the early 1950s, it still attached great importance to the experiments of co-performance of men and women in Yue Opera, such as Luo Hanqian, the fiancee of the Volunteers, and Qin Xianglian. 1957, the second Zhejiang Yue Opera Troupe was formally established, and a more comprehensive exploration was made in the co-performance of men and women. Especially modern life, through such influential plays as Ferry in the Snow, Grab an Umbrella, Golden Eagle, Jinsha River and Fighting Youth. , male estrus, accumulated a set of means of expression. In the early 1950s, Shanghai also began to try co-acting by men and women. 1952, on the basis of reorganizing ten regional art troupes, Zhejiang concentrated outstanding artistic backbones and established the first and second troupes of Zhejiang Yue Opera. After 1958, a large number of professional Yue Opera troupes in Shanghai supported all parts of the country, and Yue Opera became a major troupe spread throughout the country, equipped with screenwriters, directors, composers and dancers, and implemented the director system; And establish a drama school to cultivate the appreciation ability of Yue Opera. 1978 There were 5 professional Yue Opera troupes in the province, and 67 in 1982. 1980 held a concert of young actors in the province, and in 2008, a group of outstanding young actors held a concert of "Little Hundred Flowers" in the province, and a large number of outstanding young actors from Yue Opera emerged.

Peking Opera Peking Opera is one of the traditional operas formed in Beijing with a history of nearly 200 years. On the basis of Anhui Opera and Han Opera, it gradually evolved by absorbing the advantages and specialties of some operas such as Kunqu Opera and Shaanxi Opera. Huizhou Opera entered Beijing in A.D. 1790 (the 55th year of Qing Qianlong). The earliest Huizhou Opera Troupe entered Beijing was the prestigious "Sanqing Class" in Anhui. Later, there were four classes in Beijing, such as "Four Happiness", "River Lip" and "Chuntai", which were collectively called "Huizhou Class Four".

Chinese Peking Opera is the quintessence of China with a history of 200 years. The name of Peking Opera first appeared in Shenbao in the second year of Guangxu reign in Qing Dynasty (1876). Historically, it has been called Pihuang, Huang Er, Huang Qiang, Peking Opera, Pingju, National Opera and so on. After entering Beijing in the 55th year of Qing Qianlong (1790), Sihui Class became attached to Kunqu Opera, Han Opera and Yiyang Opera in Beijing. Its rich repertoire, the number of performing artists, the number of troupes, the number of audiences and the profound influence are the highest in the country. Peking Opera is a comprehensive performing art, which integrates singing (singing), chanting (reciting), acting (acting), fighting (martial arts) and dancing (dancing). It tells stories, depicts characters and expresses the thoughts and feelings of "happiness, anger, sadness, joy, shock, fear and sadness" through programmed performance means. Roles can be divided into four categories: raw (male), Dan (female), pure (male) and ugly (both male and female). Characters are divided into loyalty, ugliness, good and evil. Every image is vivid.

Formation and Dissemination: Peking Opera was formerly known as Huizhou Opera, which was popular in the south of the Yangtze River in the early Qing Dynasty. It mainly sang and blew tunes, played high notes and played Huang Er. Huiban has strong mobility, frequent contact with other operas, and mutual communication and infiltration in vocal cavity. Therefore, in the process of development, it also performed many Kunqu operas, and also absorbed Luoluo cavity and other zaju. In the fifty-fifth year of Qing Qianlong (1790), the first Huizhou class (Sanqing class) headed by Gao Langting (a famous Yueguan) went to Beijing to participate in the celebration performance of Qianlong's 80th birthday. "Yangzhou Painting Boat Record" contains: "T Gaolang Pavilion entered Beijing, with two rooms, Anqing Flower Department and Jingqin, and its class name was Sanqing." Yang Maojian's Dream of Flowers, published in the 22nd year of T Daoguang (1842), also said: "T and the third celebration precede the fourth celebration. When Qianlong entered the governor's bamboo box in fifty-five years, he called it' Sanqing emblem', which was the originator of Huizhou class. " Wu Zishu pointed out more specifically in the annotation of Suiyuan Poetry that after "Na la Wu, governor of Fujian and Zhejiang, ordered Zhejiang salt merchants to unite with Anqing Hui people to wish Li", many Hui classes went to Beijing one after another. The famous classes are Sanqing, Sixi, Chuntai and Hechun. Although Hechun was founded in the eighth year of Jiaqing (1803), it was later than the thirteenth year of Sanqing, but later generations still called it "T".

During the years of Qianlong and Jiaqing, Beijing was rich in cultural relics, politically stable and economically prosperous, and all kinds of opera artists gathered. Kunqu Opera, Peking Opera and Shaanxi Opera are opposites on the Beijing stage. When Huiban arrived in Beijing, he first devoted himself to "T-Beijing-Qin Erqiang". At that time, Qin opera and Beijing opera were basically performed on the same stage. "t Beijing and Qin are not divided" t (Yangzhou Painting Boat Record), Huizhou Class carries forward the tradition of learning from others, widely absorbs the repertoire and performance methods of Shaanxi Opera (including some Beijing operas), and inherits many Kunqu operas (and rehearses Kunqu Opera Peach Blossom Fan) and its stage art system, so it has been rapidly improved in art.

Huangmei Opera Huangmei Opera is the main local opera in Anhui Province. Hubei, Jiangxi, Fujian, Zhejiang, Jiangsu, Taiwan Province and Hongkong all have professional or amateur Huangmei Opera performance groups, which are widely welcomed. Huangmei Opera, formerly known as Huangmeidiao, is a folk opera that was formed in the neighboring areas of Anhui, Hubei and Jiangxi provinces in the late18th century. One of them gradually moved eastward to Anqing, Anhui Province, and combined with local folk art, sang and spoke in the local language, forming its own characteristics, known as "Huaiqiang" or "Huangmei Tune". This is the predecessor of Huangmei Opera today. The name "Huangmei Opera" was officially put forward for the first time in Susong County Annals (192 1) published in 0/0.

In terms of repertoire, Huangmei Opera is known as "36 major dramas and 72% small dramas". The play mainly shows the people's dissatisfaction with class oppression, the disparity between the rich and the poor and their yearning for a free and beautiful life. For example, The Story of Buckwheat, Guan, Tian Xianpei, etc. Traditional Chinese operas mostly show the life segments of rural laborers, such as ordering barley, spinning cotton yarn and selling buckets.

After liberation, a number of traditional plays such as Fairy Descent, Ma Xu, Luo Afraid, Zhao, Mother's Tears, Three Searches for the State House have been adapted successively, and a number of dramas such as Cowherd and Weaver Girl, Historical Drama, Modern Drama and Spring bloom have been created. Among them, Fairy Descent, Female Xu and Cowherd and Weaver Girl have been put on the screen one after another, which has had a great influence at home and abroad. Yan Fengying, Wang Shaofang, Wu Qiong and Malan are famous actors in Huangmei Opera.

Huangmei Opera has become a famous drama deeply loved by the national audience. Huangmei Opera has a history of more than 200 years. In the early days, it was called Huangmei tune, which was a kind of folk art of "singing and enjoying oneself".