Routines of Xiang Opera

The performing art of Xiang Opera, the early high-cavity and continuous stage opera, emphasizes on the gong frame and stunts. And the integration of "a hundred plays", "acrobatics", "martial arts" equal to which, such as "Meilian" opera is very concerned about "shooting fork For example, the opera "Meilian" is very concerned about the skills of "shooting fork", "stacking Luohan", "climbing pole" and so on. Qingyang cavity into, from favoring the big gongs and drums of the play, but also singing small gongs and drums of the play, characterized by singing heavy than do, do the work of life is very strong, not much programmed action, such as the "Pipa", "Golden Seal" of the performing arts, and still retains the gravity and simplicity of the style. After the entry of Kun Cavity, the performing art has been developed, absorbing the characteristics of Kun Cavity's songs and dances, singing and doing, stage performances are lively and colorful, such as "White Rabbit Record O Hunting Back to the Book", "Broken Kiln Record - Catch the congee", which is rumored to be the creation of the old Renhe class of young students Du San and Xibao, which has been performed so far and still has a lot of artistic charm. Since the introduction of the play cavity (North and South Road) into Xiang Opera, the performance program has been strengthened, and a number of repertoires such as "Water Capture Pound" and "Wutai Hui Brothers", which are famous for their styling and kungfu frame, have been added to the line of Purple Face. The Purple Face began with Guo Shaoren of the Renhe class. At the same time, due to the high voice and playing on the same stage, the high voice absorbed the workmanship and martial arts that were the strength of the playing voice, while the playing voice was influenced by the high voice's rolling and singing, and developed into a long section of running water, such as singing forty-eight consecutively "can't do it again" in "Beheading Li Guang," twenty-four consecutively "poor masters" in "Cheng Ji Catching a Car," and "Pagoda Song" in "Jinsha Beach," and so on. At the end of the Qing Dynasty, after the Peking Opera entered Changsha, eighteen Peking Opera artists participated in the Xiang Opera class and performed together. Xiang Opera artists also learned martial arts from Peking Opera artists and absorbed some of the Peking Opera's florid cadences in their playing and singing, which once again enriched the performing art of Xiang Opera.

There are four lines of Xiang Opera characters: Sheng, Dan, Jing and Chou, and each line has its own branches, which have their own unique skills. Shengjiao is at the top of each line. Sheng Luo hat, scarf, pheasant tail, helmet by all, there are poor, Wen, rich, martial arts four schools. Singing with a fake voice, read with the sound, not mixed with the native language, especially heavy work. Such as the poor boy play (commonly known as "rotten cloth play") "porridge" in the Lu Mengzheng, "Golden Seal" in the Su Qin, "playing nephews on the grave" in the Chen Daguan, etc., the performance is loose and relaxed, very much in the spirit of life. Another example is the "hunting back to the book" in the dolls, a section of the high voice with a dance, Shu eyebrow bright eyes, turn with a rocking plume, lifting the leg over the forehead, spinning as the wind, valiant posture with a little childish, natural and realistic performance of fifteen, six-year-old teenage generals of the naive and lively character. This kind of performing art, which closely combines high voice and dance, was passed down from Du San, a famous young student, and later on, Li Zhiyun of Wu Yun Ban and Wu Shaozhi of Huaxing Ban were famous for this. After the founding of the PRC, Chen Jianxia inherited this traditional performing art and won an award at the First National Opera Observation and Performance Conference. The shuffling of slippers by Liu Jieguo of Wuyun Ban in Sacrifice to the Wind, the boat path of Chen Shao-yi of Renshou Ban in Golden Beach, and the drunken path of Sheng Chu-ying of Pu-qing Ban in Golden Horse Gate, are all very characteristic artistic creations. The singing of Yan Guiyun of Qinghua Class was once known as "South Barking Sky" with his voice "covering the moon with clouds". After the founding of the People's Republic of China, Xu Shaoqing also developed the singing style of Hunan opera old man, in the role of "Pipa on the road" in Zhang Guangcai, rolling singing dozens of lines in one breath, the cavity walk, like high mountains and flowing water, sounding clouds, was in the first National Opera Observatory Performance Conference won awards.

The traditional performing art of Xiang Opera is rich in programs, but also able to break through the programs; there are roles in the line, but not limited by the line; but from the life, shaping the artistic image of different characters. For example, "Returning to the Kiln with Wild Geese", which was originally sung by Zhengdan, but dissolved into Wu Dan's work, vividly demonstrates the change of character of Liu Yingchun, a young lady from a rich family, after ten years of living in a cold kiln. Wailing at the Ancestral Temple" was originally an opera for a senior actor, but it was played by a junior actor to make the character of Liu Chen more in line with the historical reality. Kuai Tong in "Pretending to be Crazy and Jumping out of a Pot", which was originally an old man's play, was played by a pure actor, enriching the character's personality with realistic workmanship. The Empty City Plan" in the Sima Yi, this is a net play, but changed to use the role of the raw angle, in order to achieve the artistic effect of singing and reading. The characters of Lu Yao in "Eight Brand Zhuang" and the table sister-in-law in "Back to the Mansion" are very distinctive in terms of their spiciness, ruggedness, frankness, and exuberance.