The artistic characteristics of Gansu Qinqiang from "Out of Tongyi

Wen/Luohan

? Out of Tongyi" is also known as "Splitting the Book", "Killing the Mansion", and "Woodman Fleeing the Country", a traditional Qin opera. During the Spring and Autumn Period, King Ping of Chu was a lawless king, his father took his son's wife, and Wu She admonished him, but was imprisoned, and there was a fear that his sons Wu Shang and Wu Shang would be a problem, so they ordered She to write a letter to Tongyi, and summoned his two sons to follow him in the capital. Upon receipt of the letter, Mr. Shang and Mr. Wu were suspicious and agreed that Mr. Wu Shang should return to the court and follow suit with his father, while Mr. Wu fled the country. King Ping ordered Wucheng Hei to chase after him and Wu Shi pierced his body with an arrow, telling King Ping that if he killed his father and brother, he would destroy Chu. This is a play in which singing and acting are both emphasized by scholars. Among them, "Book Breaking", "Killing the House" and "Escape from the Country" are often performed in a single fold. It is a famous hard-working opera for the sousheng line. Among them, the squatting triple-jirrizi in the "book demolition", "kill the House" in the three La cavity, "fleeing the country" in the jittery horse, are characterized.

? On a midsummer's night weekend, I revisited the full-length production of Qin's "Out of Tongyi" from Gansu Province once again at Theater 77. The play was performed by three sousen actors in three scenes, "Breaking the Book", "Killing the House" and "Escaping from the Country", probably because the three scenes were extremely strenuous to sing and do, but also to show the sousen lineup of the Provincial Qin and the strength of the actors. For me, a play, to see three of their favorite old, middle-aged and young sousheng actors on the same stage, it is really a great addiction.

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? This is a heavy theater points, to do the work of the main, requiring the actor to frame work pass, hard work, in the Qin opera Sousheng play side is considered more difficult plays. In the play, Wu's identity is a Ming Fu general, the actor should perform the general's temperament and demeanor. "Three singing is not as good as a statue", from the costume to the appearance and other aspects of the character identity and temperament should pay attention to. To pay attention to three points: First, singing with passion. Wu is a general origin, but also an unbeatable character, after the book know that his father is in trouble, this breath can not stand, so the play should be performed with passion, no passionate actors can not sing the play, passion to the plot to hold, the audience to hold. Woodman sings and moves, but also with a big leaning, it is very hard work. The leaning can't be tied up loosely, tied up loosely, once it moves up, it will be sparse; but tied up tightly, it will be difficult to sing, the actor will have to struggle to sing, and it won't work if he doesn't struggle to sing at all. The audience is very familiar with the play, where there are cracks, they know very well, coaxing people. Secondly, the play "squatting Sanshiri Zi", but also the atmosphere of the problem, the action is difficult because: the body of the big leaning, hanging sword, but also with a beard, a little movement is not good, it is easy to hang the mouth of the bar to the hat, hanging the sword fell out. So to have a solid foundation, must be taught real learning, a move can not be sloppy. The third is to be good. There are several fast white in this play, a breath to say a paragraph, such as "good a Ping Wang lost politics, defeated the program, the father of the son of the wife of thirteen years, the big thing is exposed, force my father to repair the transfer of letters, transfer my brothers into the capital, with the pain of a knife! For the sake of your family's kingdom, Mr. Wu has been fighting in the north and south, and killing in the east and west, and is thirsty for the blood of the sword, and is tired of sleeping on the horse. If you want to die, Mr. Wu may not be willing to die with you, the dimwitted ruler!" Requirements in one breath to finish all these, if the middle of the pause to change the breath, the atmosphere will not work. The kung fu of snatching the words cannot be practiced in a day or two, so it is said to be more difficult. The Wu member's dress is very complicated, tie the big leaning cover python, but also hang the sword, but also with the mouth bar, and to sing and move, the work must be solid. Generally speaking, people with soft skills, or people with short exercise time on the stage can't cope with this play, and will be bound by these constraints. He Zhonghong in the demolition of a book in the play Wu, smashing hammer, moving seat, wrapped around the beard, turn the sleeve generous and free, after learning the truth, turn over and kneel down cleanly, that section of the urgent order beads down the jade plate, the classic program "three Shiri Zi", a series of performances in one fell swoop, reflecting the good tradition of the Qin actors in Gansu Province and the basic foundation of the work.

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? In the first section of "The Killing of the Mansion", Xu Sheng, an outstanding young actor of Gansu Province Qin, played the role of Wu Yuan, a young man who has served in the Western Han Dynasty. Xu Sheng has worked for the Western Dance Qin Opera Theater and the Xi'an Yichun Society. He was taught by the Qin Opera masters Guo Baohua, Yao Feng, Wang Hongyi, He Zhonghong and other senior teachers, and in 2011, he studied under Lei Tao, a national-level actor and a famous sousen of the Shaanxi Provincial Academy of Opera as his teacher. In the past few years, he has made rapid progress, and has performed in many big plays such as "Golden Beach", "Playing Zhentai", "Zhongbao Guo", etc. in Gansu Province, and has had a good performance. This play Wu member still wear big leaning, the play is also relatively hard, mainly singing, but also have to move in the inside. After seeing the death of Mrs. Wu to fall fork also have turned hard to grab the back, there is a certain degree of difficulty, the folding of the play will also be used to cap wings, beard, hair and other theater skills, Xu Sheng completed very well. His performance is delicate and simple, solemn and calm, singing clear and crisp, lyrical and smooth, reading the words clearly, staccato, shaping the character is very infectious. Indeed is Gansu Province, Qin is currently a rare young actor in a good actor.

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? The most important part of the play is the "escape from the country". The whole play is a great test of the actor's basic skills and full understanding of the plot. To this fold, the Wu member changed to wear an arrow coat, back whip, hands also carry a whip, to sing and do the work of the main, frame work must also be good, shaking the horse is this fold of the point of view. Gansu Province Qin famous sushi actor Li Feng gave us a respect for tradition, in the middle of the rules but wonderful "Wu member fled the country". He played the Wu member, hanging black three beard, head oblique pressure smoke felt hat, wearing black arrow clothes, tie white board belt, back whip, sword, whip, pink and white thick-soled white boots. His body is full of vigor and beauty. The beard will be thrown over the right shoulder, the left hand backward sword, the right hand across the whip on the top of the head of the sculptural sense of the Golden Cockerel stand-alone modeling, athletic and upright, elegant, shaping the hasty escape, full of grief and anger of the heroic image of the Wu member.

Qinqiang "fleeing the country" is actually a person's play, the two flower face just played over the station, Wu can not get off the stage, in the foreground to rest for a while, immediately have to get on the stage again. Wu member of a person to sing forty-five minutes or so, singing particularly heavy; in addition, but also constantly moving, wearing a thick bottom, carrying a whip, but also carrying a whip, want to loose a little energy can not be. From the beginning of the play to the end of the play, the tempo is getting tighter and tighter, and the singing voice is also getting tighter and tighter. The beginning is slow, recounting the past, to talk about the family's affairs, the feelings are more excited, the singing is also tight, tighter and tighter until the end of the play. At the end of the play, there is a martial arts scene with Wucheng Hei. The horse shaking in "Escape from the Country" is not the usual horse shaking, but to show the scene of escaping on horseback at night, the actors should be able to reflect it in their expressions and performances. Some places in Gansu call this play "A Ingot of Ink", because the Wu member is black all over. To escape at night, it is better to wear black to be more covert. Li Feng's Wu Ren sings and reads with ease and passion, and his acting is steady and clean. "I dare not cry aloud and shed my tears in secret, Wu Zixu is on the horse thinking of the first dynasty" is a bitter slow slow playing, with clear spitting, fluent lines, calmness, vigor and excitement, expressing Wu's full-blooded grief and determination to avenge his death. The whip shaking horse is agile and graceful, and the stance is steady and generous, and every move is on the point of the gongs and drums. The "Treading Three Hammers" is performed with the left leg kicking, the right leg sideways, and the whip echoing the body movements from top to bottom, which is both compact and coherent, as well as rhythmic. "I was annoyed by the blackness of Wucheng and chased him for no reason. I put an arrow in my hand and told him that I was the king's thief. If my father and brother are alive, I will protect the country, if my father and brother are dead, I will trample on the country of Chu." The recitation of the speech is powerful, the words are correct and the accent is round, and the voice is harsh, moving, showing the heroism of the Wu swearing to die to avenge the death of a man.

Although this play is generally difficult to perform, it requires the actor to have both a good voice and good technique. Fortunately, Gansu Province, Qin old, middle-aged and young actors teamed up or interpretation of a wonderful play. The play has a distinctive Gansu Qinqiang characteristics, very hot, very watchable.

The performance style of Gansu Qinqiang has the spiritual temperament of the Gansu people, and most of the performing artists love or admire martial arts. So there is a great martial arts component in the foundation of Gansu Qinqiang performing art, and it is the Lanzhou school of martial arts. Some famous performers are outstanding martial artists themselves. In the foundation of Gansu Qinqiang performing art, there are both the basic skills of opera and the basic skills of martial arts, thus forming a high ancient, spreading and expanding, upright and robust momentum. This is the blood relationship between art and place.

Most of the Gansu Qinqiang opera is composed of sheng, flower face and class. Gansu Qinqiang has always been the best at work frame plays, such as "Lu'anzhou", "Out of Tangyi", "Jinshaan", "Gao Ping Guan", "Selling Huashan", "Out of the Five Passes", "Wang Kui Pan Cheng", "Lu'anzhou", etc. Most of the plays are based on historical and political themes, and the majority of them are about the history and politics of the country. The vast majority of the repertoire is based on historical and political themes, drawn from The Records of the Warring States Period in the Eastern Zhou Dynasty, The Romance of the Three Kingdoms, Feudal List of the Gods, Water Margin, The Seven Heroes and the Five Righteousnesses, Journey to the West, The Wonders of Today and Tomorrow, as well as Ming and Qing Dynasty notebook novels. The protagonists of these themes, mostly feudal emperors and generals, heroes and heroines, naturally centered on men, and most of them are middle-aged, so focus on the male characters, mainly Sousheng, Hua face. To become famous and successful in Gansu, one must have strong martial arts skills, hard kung fu, and a very good body frame. The performance focuses on the body, posture, spirit, which is also the main means of creating an artistic image. Through the stance, posture and aura, a strong sense of sculpture is formed to show the character's spiritual outlook. Lanzhou audience always ask to see the "frame", the so-called "frame", is a strong sense of sculpture of the stereotyped posture. In a play, without a good figure and several sculptural images, the audience is not approved. It is because of this, in the performance of the main focus on a Thai word, Thai word, the meaning of greatness. There is no atmosphere, the top of the inner cultivation; there is no solemn, stable as Mount Tai's external frame, is not to show the word Thai. All throw feet hands, debut Za potential, all pay attention to the tall, majestic, show top, dry scattered, beauty too. Each play, there is a unique image and a set of special sculpture, each action is like a silver hook, iron scratching, harsh and robust, the pen has God, imposing. The actor must be strictly self-centered, honest, and honest, striding with his head held high, without slanting his eyes. Even in the roles of Cao Cao and Jia Sidao, who are treacherous ministers, the actor is dignified and dignified. He does not scandalize himself, he does not make a mockery of himself. He is very confident and does not think there is anything else, just like a powerful prime minister. As for the positive characters, such as Wen Zhong, Huang Feihu, Xiang Yu, Ma Fang, Cheng Biaojin, Ai Qian, Zhang Fei, Sun Wu, Tian Shan, Zhao Dun and so on, it goes without saying.

The performing art of Gansu Qinqiang, like Chinese painting, emphasizes writing, and with a few strokes, it outlines the air of great loyalty and treachery. It has an obvious ancient legacy. In the creative method, simple, persistent, do not count the work, do not make fiber, the pursuit of natural generosity, the ground into the sky, showing the ancient, thick character, so that people have seen, after the memorable, engraved in the heart.

It can be said that the Qinqiang "out of Tongyi" is a representative of Gansu Qinqiang one of the theater works. This play, the achievements of several generations of actors, from Kong Xinsheng, Wang Chaomin, to Xi school heir Kong Guilin, and then active on the stage today He Zhonghong, Wang Hongbin, Li Feng, Song Shaofeng and Xu Sheng, etc., training a generation of actors and actresses. This play, theater performance program including singing, reading, doing, etc. Although difficult, but brilliant, hot and lively, widely welcomed by the Gansu opera audience, from the city to the countryside, the long performance, never tire of watching.