Seek the formation of Yu opera, urgent.

Also known as Henan opera, Henan opera. Because of the early actors sang with their own voices, and used falsetto to turn the high end of the voice with "Acura", also known as "Henan Acura". In the mountainous areas of western Henan, the performances are based on the mountains and the flat earth, locally known as "leaning on the mountain roar". Because Henan Province is short for "Yu", it was named Yu Opera after the liberation. It is one of the main types of theater in Henan Province.

Popular areas

Yu opera is popular in a wide range of areas, north and south of the Yangtze River, on both sides of the Yellow River, as well as in Xinjiang and Tibet have Yu opera performances.

Origin and development

About the origin of Yu opera. Yu opera was born in the late Ming and early Qing dynasties, and it was mainly sung in the early days, which was very popular among the people and thus developed very rapidly. The origin of the Yu opera has been difficult to prove, said different. One said that the end of the Ming Dynasty, Qinqiang and Puzhou Bangkang after the introduction of Henan, and local folk songs, ditties combined with a direct development of the Northern Songs from the stringed tone said that the folk singing art in Henan, especially since the mid- to late-Ming Dynasty, in the Central Plains prevailed on the basis of the fashionable small order, absorbing the "strings" and other artistic achievements developed.

In the Qianlong period of the Qing Dynasty (1736-1795), Henan Province has been popular in the opera. According to the content of the inscription at the time, the Palace of the Ming Emperor is "when the drama classes praying for the banquet, the generation is far away from the annihilation, I do not know from when it was created. In the Daoguang years (1821-1850) river break, the temple collapsed, tiles do not exist," visible in the Daoguang before, the opera has long existed. These accounts are consistent with the legends among the artists. According to some of the old artists recall, they learned the art around 1912, had heard the master said Henan's "ten places", namely Xiangfu (now Kaifeng), Qixian, Chenliu (now incorporated into Kaifeng), Yushi, Zhongmou, Tongxu, Yifeng, Feng (now incorporated into Lankawe), Fengqiu, Yangwu (now incorporated into the original sun) and the "outside of the eight places that are Huaiyang, Xihua, Shangshui, Xiangcheng, Shenqiu, Taikang, Fugou, Luyi, Ming and Qing dynasties that are popular! "Henan Acura" was popular in the Ming and Qing dynasties. Henan opera in the process of circulation, in the different formation of Xiangfu tune (Kaifeng area), Yu East tune (Shangqiu area), Yu West tune (Yang area), Shahe tune (Luohe area) and other different styles.

According to artists, the earliest transmitters of Yu opera for Jiangmen, Xuemen two, Jiangmen in Kaifeng south of Zhu Xianzhen, Xuemen in Kaifeng east of the Qinghe set, have run the class. The first is that the first time I saw a man in a car, he was in the middle of the car, and he was in the middle of the car, and he was in the middle of the car.

After the Xinhai Revolution, Henan opera was performed more often in cities. When Kaifeng more famous tea house, such as Zhixiang Tea House, Puqing Tea House, Chenghui Tea House, Qing Tea House, East Fire Temple Tea House, Tongle Tea House, etc., are competing to invite Henan Zibanshe, Yicheng class, Tianxing class, public discussion class, Gongxing class, and so active for a while. Since then, Zhengzhou, Luoyang, Xinyang, Shangqiu and other cities have appeared one after another to perform Henan opera tea house, theater. In the countryside, every time the gods will be performed double in some areas, the performance is mostly Henan opera.

The end of the 20s and 30s, the development of Henan opera entered a stage. During this period, Kaifeng Xiangguo Temple has established Yongan, Yongle, Yongmin, Tongle four Henan opera theater, many famous artists such as Chen Suzhen, Wang Runzhi, Ma Shuangzhi, Si Fengying, Li Ruiyun, Chang Xiangyu, Zhao Yiting, Peng Haibao, etc., gathered in Kaifeng. 1935 early, Fan Zuiting as the head of the establishment of the Yu Sheng Drama Society, changed the Yongle Stage for the Yu Sheng Theatre, Chen Suzhen in the Qixian County troupe and Zhao Yiting in the Shandong Cao County troupe are Chen Suzhen's Qixian troupe and Zhao Yiting's Caoxian troupe from Shandong Province both participated in the society. Yusheng Drama Society eliminated some unreasonable systems of the old troupe, innovated the performances and stage arts, and performed plays such as The Wind of Righteousness, The Hate of Heaven and Earth, and The Painted Blood, etc., which were written by Fan Zuiting. After the outbreak of the Anti-Japanese War, in 1938, the meaning of "Wake up the lion's fury" was adopted, and the society was changed into the Lion's Roar Theater Troupe.

Chang Xiangyu came to Kaifeng in 1936 with the Zhou Hui class and performed on the Waking Yu Stage. 1937 saw the establishment of the Zhongzhou Opera Research Society, which performed ancient plays such as Six Western Boxes and Crying at the Great Wall, written by Wang Zhennan, as well as the modern play Playing the Land, which exposes the crimes of Japanese imperialist aggression. Playing the Land" was the beginning of Yu Opera's modern theater. At the same time, Wang Runzhi, Ma Shuangzhi, Drum Seal, Yang Jinyu and others from Yongan Stage also performed many traditional plays. The gathering of famous actors and actresses promoted the merging of the eastern and western Yu tunes, as well as the development and improvement of Henan Opera.After the Japanese invasion army occupied Kaifeng in 1938, the Lion's Roar Troupe, the Taiyi Class of Zhou Haihua, and groups and actors such as Chang Xiangyu went to Xi'an successively and performed in the cities and towns of Northwest China centering in Xi'an, expanding the influence of the Yu Opera and its popularity in the region.

There is no record of when and where the Yu opera's class society first began. According to the legend of the old artists, most of the Yu opera actors in the past out of the Qianlong period of Jiangmen and Xumen two families of the class, and Kaifeng's "old three classes": Yicheng class, the public discussion class and the public Xing class, the legend is that they have experienced the Ming and Qing dynasties.

Yicheng class, according to the February 15, 1916 "River Sound Daily": "the province Yi Cheng class, originally Kaifeng County Department of the General Service of the people in the building of the Qing dynasty, over the years since the general Pearland children singing in various places, quite prestigious." Yicheng class in 1926, in Kaifeng Xiangguo Temple in the Fire God Temple established Yongan stage. The organization and management of the stage is divided into front and backstage, front stage, mainly responsible for the management of various miscellaneous affairs in the theatre, such as ticketing, reception of the audience, the supply of tea; backstage, mainly responsible for the performance aspects of the business, such as determining the repertoire, the allocation of roles and wardrobe boxes, props and other aspects of the work.

Tianxing class was originally run by Fengqiu class, a long history, many famous Yu opera actors from the class. At the end of the Qing Dynasty and the beginning of the Civil War, it was constantly performing in Kaifeng. Well-known actors include Li Jianyun (nicknamed Strong Clown, work Dan), Yan Caiyun (work Dan, died in 1982), and other major actors such as Sometimes Dengke, Zhang Zhilin, Nie Erni, Kong Xianyu, Li Yuxian, Zhang Tinghua, and Li Fakui.

The "Six Classes" and "Catch Classes" of Qixian County (run by the county government), as well as the "Six Family Classes" jointly run by the six surnames of Ma, Wu, Zheng, Hao, Liu, and Chang, etc., were all famous after the Xinhai Revolution, and the actors and actresses Shui Cheng, Pang Guan Hui, Tian Gou, He Yun, and Jin Cheng, etc., were all famous actors at that time.

In the 30's, in Kaifeng, in addition to the Yongan Stage composed of Yicheng class, there are two important Yu Opera groups, Yu sound theater society and the Zhongzhou Opera Research Society. The Yu Sound Drama Society performed at the Yu Sound Theater.

From the beginning of the War of Resistance Against Japanese Aggression to the founding of the nation, many Yu opera groups also appeared in Xi'an, such as the Lion's Roar Troupe led by Fan Zuiting, the Xiangyu Drama Society headed by Chang Xiangyu, the Fenglin Drama Troupe headed by Mao Lanyua, and the Languang Drama Society headed by Cui Lantian. There is also the Henan Disaster Children's Drama Society (formerly the predecessor of the Tibetan Yu Opera Troupe) founded by Sun Laoqi.

After the founding of the PRC, Henan Yu Theater was established in 1956. The Henan Yu Opera boasts a number of professional and amateur playwrights, among whom Yang Lanchun and others have made outstanding achievements. Yang Lanchun (born in 1921, a native of Wuan, Hebei Province) has successively adapted and created (some of them in cooperation with others) Xiao Erhei's Marriage, People Going Higher, Liu Hulan, Chaoyang Gully, Winter and Spring, and Chaoyang Gully, etc. He has also directed a number of modern plays. At the same time, he also directed many modern and traditional plays. Such as "blood and tears", "red leaf river", "volunteer fiancée", "Qin Xianglian", "Tang Zhixian trial enjoin", etc. Henan and many provinces, municipalities and autonomous regions in the country generally establish the Yu opera performance groups. 1962 held a symposium on Yu opera old and new artists performances in 1980, held a "Yu opera genre report performance", this kind of drama has become one of the more widely distributed opera plays in our country.

Today, in addition to the Yu opera throughout the province, and spread to neighboring provinces, and formed a number of professional troupes around.

Artistic features

Yu opera has always been known for singing, in the plot at the juncture of the arrangement of a large plate singing, singing smooth, rhythmic, very colloquial, generally clear, sound, easy for the audience to hear, showing a unique artistic charm. The style of Yu opera is, firstly, full of passionate and vigorous masculinity, good at performing grand and majestic scenes with strong emotional strength; secondly, it is rich in local characteristics, simple and common, natural and close to the life of the common people; and thirdly, it is characterized by strong and distinctive rhythms, sharp conflicts, beginning and end of the storyline, and large angular characters.

The stage setup for early Yu opera performances was extremely simple, often using only reed mats, foils, and a table and two chairs on the stage to start the show. Playing a small gong, knocking clapper personnel and "check the field". After entering the city, there are more fixed theaters, the stage equipment has improved. Yu sound theater has used some curtains, scenery, Dan costumes, pay attention to the "old Dan Qing, Zheng Dan Jun, flower Dan flow. Since then and by the influence of the Beijing opera costumes, has been basically the same as the Beijing opera costumes.

The traditional program of Yu opera has strong local characteristics of Henan, in the long-term artistic practice, continuous innovation, creation from coarse to fine, coarse in fine; from vulgar to elegant, elegant and vulgar **** appreciation, the performing arts are becoming more and more perfect. At the same time, each line has also emerged a large number of artistic achievements of the actors.

Yu opera music belongs to the clapper sound system, is the plate cavity style. According to the Qing Dynasty Li Luyuan in the forty-second year of Qianlong (1777) book "Manifold Lights" and the fifty-third year of Qianlong (1788) "Qixian County Records", the local bangkang opera was already prevalent in Kaifeng, Qixian County, and had been performed with the Luo opera, the volume of the opera class, also known as "bang Luo volume". According to the artists, the earliest transmitters of Yu Opera were the Jiangmen and Xumen families; the Jiangmen family was in Zhuxian Town south of Kaifeng, and the Xumen family was in the Qinghe set east of Kaifeng, and both of them had set up their own classes. In the course of its development, Yu Opera was influenced by factors such as local phonetics and folk music, which formed regional artistic schools with different styles in music. That is, Kaifeng as the center of the "Xiangfu tune"; Shangqiu as the center of the "East Yu tune"; Luoyang as the center of the "West Yu tune" (also known as "Xifu tune"); the formation of the south of Henan Shaxi River around the "Shaxi tune". Among them, "Xiangfu tune", "Shahe tune", from the singing of the plate structure, modulation, melody, rhythm, syntax composition and voice, etc., and "Yu Dong tune" is more similar, so collectively referred to as "Yu Dong tune". Therefore, today's Yu opera singing rhyme, generally divided into "Yu Dong Tone" and "Yu Xi Tone". Therefore, today's Yu opera singing music, generally divided into "Yu Dong Tone" and "Yu West Tone" each with significant characteristics of the school." The main tone of "East Yu Tune" is "5", based on the phonetics of Zhongzhou and the phonetics of Shangqiu and Kaifeng. In traditional singing, it is mostly sung with a fake voice (Erben Cavity), which is high and thin, with more flowery voice, and has the characteristics of being impassioned, bold, bright, and fancy, while the main tone of "West Yu Tune" is "1", based on the phonetics of Zhongzhou and the phonetics of Luoyang, and is mostly sung with a real voice (Daben Cavity), which has big and rounded sound, and has a rough and thick sound, and has the characteristics of being rough and thick, with the characteristics of being bold and thick, and having a strong, strong, and strong, and strong, and having a strong, strong, and strong, and strong voice. The voice is big and round, with more cold rhythms (weeping), characterized by roughness, richness, sadness and deepness. During the early development of the Yu opera, these two main styles were "each playing its own horn and singing its own tune", and in the 1930s, there were exchanges between the two styles. After the founding of the country, the "gateway" was cleared, and they exchanged ideas and learned from each other, complementing each other's strengths and integrating each other's weaknesses. The above is the past according to its distribution in different areas, there is the traditional classification of Yudong tone, enjoy the blessing of the tone, Shahe tone, the tone of the West; in addition, there is also according to its singing music in the singing of the different sound areas, and the first three types of collectively referred to as Yudong tone, commonly known as the "on the five tone". The opposite of these is the singing of the lower register of the Yu West tune, commonly known as the "lower five tones".

The musical structure of the Yu opera singing is a board change, and there are four types of boards, namely, the slow board, the two-eighths board, the flowing board, and the scattered board: the two-eighths board has the strongest expressive power and the most varied changes among the four major boards of the Yu opera. In addition to the basic two-eighths board, it can be divided into slow two-eighths board, middle two-eighths board, two-eighths continuous board, fast two-eighths board, tight two-eighths board, and tightly playing and slow singing board, etc. In the past, the two-eighths board was made up of two eights (or two eights). It is named for the repeated use of a musical section composed of two eight panels (eight bars) in the past. With the continuous enrichment of the performance content, this fixed and dull program has been broken. Today, the two eight-panel combination of the Yu Dong tune, Yu Xi tune two major schools of singing and composition, a board of 2/4 beat, can constitute hundreds of sentences of the large singing section, mainly used for narrative. According to the needs of the plot and the changes in the feelings of the characters, there are different changes, which can show the bright, bright, joyful, but also can show the urgent, nervous and angry, sad scenes. In addition, the two eight boards can also be derived from the quack mouth, dog bite, chaotic bomb, pallet boards, moving benches and so on.

The slow board category has [slow board], [golden hook hanging], [anti-golden hook hanging], [wind board] and other board styles. Generally for the 4/4 beat of the three-eyed board, its upper and lower sentences sung in the middle eye and fall on the board. The upper line is free, and the lower line is different from the Yu Dong and Yu Xi tunes. The [Slow Plate] is one of the commonly used plate styles in Yu Opera singing. Its prelude to the door has a variety of forms, of which the most commonly used are "six bang", "four bang", "guide four bang" and "wind a bang" and so on. The starting form of the [slow tempo] is divided into two types: the whole tempo and the loose tempo. The one that starts from the whole plate is called "the first sentence cavity", and the one that starts from the loose plate is to sing the first sentence (the upper sentence) "planting the plate" or "starting from the big plate", and enter the [slow plate] from the second sentence (the lower sentence). The basic structure of the ordinary upper and lower lines of the [slow tempo] is that one line is divided into two clauses, with a small door in the middle; after the whole line is sung, there is an "eight bangs" with the end of the line to follow the door (which can be reduced to four bangs or omitted altogether). In addition to the basic structural forms mentioned above, there are also a variety of patterns produced through localized changes in the [slow tempo]. In the upper line, there are "first line cadences" and "third line cadences," and in the lower line, there are "single crossing boards" and "double crossing boards. The closing cadence of the {Slow Plate} is also known as the "Locking Plate", which has the same basic structure as the ordinary next sentence, except that the speed of the closing cadence is mostly slowed down, and there is a short passing gate at the end of the closing cadence. The speed of the [slow board] is more scalable and can be fast, medium or slow depending on the mood of the content.

The running board is also one of the commonly used boards in Yu opera, which can be divided into running board, slow running board, fast running board, and running board. The singing is generally in the form of a single board with the eyes rising and falling. Different speed changes can be made according to the needs. The tune is relatively free and flexible, with a smooth melody and rhythm, which is suitable for expressing cheerful and lively scenes as well as depressing and sad emotions. It is also derived from the palletizing plate and the two gongs. Its main characteristic is that there are especially many syncopated rhythms across the bars in the melody. Whether it is the rise and fall of the singing voice, or the ups and downs and twists and turns in the melody of the singing voice, most of them appear in the eye position. The upper phrase of [Running Water Plate] falls more freely, and the lower phrase falls on the "5" or "1" sound. In the common upper and lower phrase structure, with the falling of the final phrase of the cantata, there is usually a following overture. The prelude is basically the same as the [two-eighths board], with a different knowledge of the beginning of the reed head. There are many forms of starting and closing of the [running water plate]. The key subsidiary boards of the running water board category are [running water board] and [two gongs], etc. The main forms are [running water board] and [two gongs].

Flyboard is also known as "non-board", no board, no eyes, free rhythm, is a kind of Rangyu-style singing, belongs to the category of loose board. In addition, there are rolling white, planting boards, calling boards and so on. There are also "crying rhyme", "line rhyme", "absolute rhyme" three kinds of format." Crying rhyme" to show grief, sadness, emotion; "line rhyme" is used to spit out the narrative, "absolute rhyme" is suitable for the performance of decisive, impassioned emotion. Generally speaking, the sections sung on the flying board are shorter, and the fourth, sixth and eighth lines are transferred to other board styles.

The lyrics of the above four major types of panels are generally in the form of "three, three, four" metrical cross sentences, or "two, two, three" metrical seven-character sentences. Sometimes also use some words varying in length, such as two eight board in the croak that is based on the five-word sentence, fly board in the rolling white that is sung with white prose sentence style.

Yu Opera has always been singing, it is a smooth, rhythmic singing, in recent years, the actors are more singing in real voice, so generally can do the words clear, sound, easy for the audience to hear. Coupled with the performance of delicate, sincere and touching, the language is easy to understand, so it has become the most attractive audience in the Bangkok accent system of the type of theater. Today, in addition to the Yu opera throughout the province, and spread to neighboring provinces and Gansu, Qinghai, Tianjin, Jilin, Jiangsu, Xinjiang, Tibet and other provinces, municipalities, autonomous regions, and formed a number of professional troupes around.

The characteristics of Henan opera, mainly focusing on the lyrics and dynamics, purely in line with the customs of Henan, and from the audience for the enthusiasts, in the performance of customs and habits of vulgar people and things, and the audience's life and action to play a piece. Although it is not free from some vulgarity, but vulgar style, vulgar interest. The lyrics of Yu Opera can not be exclusively literary, and the rhythm of the tone of the play is the first. Its narrative speech, joy, anger, sadness and happiness, euphemistic twists and turns, into the feelings into the reasoning, the sensibility of the very great, mixed with dialect, as much as possible, all people understand. Yu Opera has the advantages of being a long-lasting and popular theater for the masses: (1) Strong entertainment Yu Opera has loud drums and gongs, high silk strings, many singers, fewer white mouths, big jumps for the men and twisting for the women. After working for many days, many people crowded together to listen to and watch the show, which made them feel relaxed and happy. (B) Close to the masses The form is simple, the performance is real, and the stage image is close to the actual life of the peasants, which is in line with the taste of the working masses. (C) Easy to understand and learn The tunes are simple and the words are popular, so it is easy to understand and learn. (D) rich in localization, with a high and straight accent and a generous and straightforward expression, it is a local opera that expresses the people of Henan.

The state attaches great importance to the protection of intangible cultural heritage, on May 20, 2006, Yu Opera was approved by the State Council to be included in the first batch of national intangible cultural heritage list. on June 8, 2007, Zhengzhou Yu Theater of Henan Province was awarded the first Cultural Heritage Day Prize issued by the Ministry of Culture of the State