Interpretation of Peking Opera Nouns

1, ruler Generally speaking, it refers to the scale symbol on the right side of the lyrics in the Chinese opera score. China traditional folk music takes the words "Harmony, Si, Shang, Chi, Gong, Fan and Liu" as scales, which is equivalent to "1234567" of western music. Traditionally, these symbols are collectively referred to as "rulers". Some music scores only note the board eye (beat) next to the lyrics, not the ruler. There is a kind of music score with working scale, which is called working scale music score.

2, board eyes. Traditionally, when singing, the drum board often follows the beat, and the strong beat is hit on the board, so this beat is called the challenge. The second strong beat and weak beat are called middle eye and small eye respectively (in four beats, the former weak beat is called head eye or beginning eye, and the latter weak beat is called tail eye). Together, it's called a slap in the face.

3. Go through the door. Refers to the interlude music between sentences and aria. Small doors are often used between singing sentences, and big doors are often used between singing paragraphs. However, due to different plates, there are many exceptions, and there is no fixed model.

4. Hang up. Guaer is the homonym of "Guo er", which refers to the gate between aria, and generally refers to the cadenza. The small door between singing sentences is not called hanging.

5, padding. It refers to the melody that acts as a bridge between music communication and music communication, which is called cushion head or small cushion head, also called bridge. The melody of the cushion is short, generally only two or three beats, which plays a connecting role.

6. rotate. Refers to the background music when an actor performs an action or dialogue or monologue. Twisting is mostly a repeated performance of qupai or simple melody, which mainly plays a role in setting off the atmosphere.

7. Adjust the door. Any accompaniment with stringed instruments is freely tuned according to the voice of the actors. Generally, the mode and official tone of Beijing opera are moderate, with B-word singing the highest and Fan Zi the lowest, commonly known as Pazi tune. In the same play, the two main actors have different tones. Sometimes they give in to each other, and sometimes they temporarily raise (raise) or lower (lower) their tones.

8. Adjust the surface. The pitch of the actor's singing is the same as that of the accompaniment instruments (huqin, flute, etc.). ), this is called face adjustment. It means that singing the surface tone according to the "tone" is aimed at the bottom tone. Under normal circumstances, actors all sing the tune.

9. Adjust the bottom. The pitch of the actor's singing is eight octaves higher than that of the accompaniment instruments (Hu Qin, flute, etc.). ), this is called bottom adjustment. Is to sing according to the bottom of the tone. Bottom adjustment is used for surface adjustment. Some vocals in Beijing opera, such as doll tune, are often turned up. For example, if the pitch is set high, the actor's voice is not so good. For example, if the tone is set low, the volume of the instrument is too low. Therefore, the singing method of adjusting the bottom is adopted, and the instrument is set at an octave high and the actor sings at an octave low.

10, tune. Of stringed instruments (such as Ruan, Ruan, etc.). ) to set the Tone level. Generally speaking, the flute is used as a standard for tuning strings.

1 1, b key. One of the keys used in the symbol of Miyachi. When tuning the strings, use the "B" sound of the flute (opening five holes and playing high notes) to tune the "I" sound of the Hu Qin (Xipi tuning the outer strings). B note is the highest note in Beijing opera.

12, fair carving. Also known as orthodox tune. Beijing opera sets the tone of the huqin according to the pitch of the flute, and the tone of the Xipi outer string is the same as the official tone of the flute, which is called the official tone. One degree higher than the official is called the B key, the other half is called the six-character key, the second half is called the six-character key, and the second half is commonly known as the horizontal key.

13, half shift. One of the main modes of Beijing Opera. Slightly higher than the orthodox key and slightly lower than the b key. It is slightly higher than the flute when tuning the strings.

14, soft worker adjustment. One of the main modes of Beijing Opera. Slightly lower than the orthodox tone, but slightly higher than the six-character tone. It is slightly lower than the flute when tuning the strings.

15, six-character tone. One of the main modes of Beijing Opera. When tuning the strings, use the "six" sound of the flute (all six holes are closed, playing high notes) to tune the "I" sound of the Hu Qin (Xipi tunes the outer strings and opens the strings). The six-character tone is lower than the normal tone in Beijing opera, and the tone is moderate.

16, pazi sound. Also as a choice of words. One of the main modes of Beijing Opera. Where the tone is lower than the six-character tone by more than one degree, it is collectively called the lying tone.

17, go. The origin of "walking on the edge" comes from the dancers in the Jin drama "White Tiger Whip Walking on the Edge"; It is said that because people who walk are afraid of being seen, they often sneak up and down the wall and roadside at night, so it is called "walking". Generally speaking, Huang Tianba in "Evil Tiger Village" is the hardest to walk. Lin Chong in Night Running is the most tired when he walks, and Song Wu in Centipede Ridge is the most diligent when he walks.

18, riding. Because the whip is often used to replace the horse or as a symbol of riding in Beijing Opera, it is the combination of dancing movements such as flattery, rein in the horse or galloping after beating the horse with the whip in your hand.

19, the finale. In the past, the theater staged daytime plays, which usually started at noon and stopped at six in the evening. There are six or seven or even eight or nine, which are generally divided into three. The first three plays are generally performed by new actors or students, the middle two or three are better, and the last three are the most popular plays for the audience.

The last performance of these three paragraphs is called axis, axis, axis, axis. This is the performance regulation of several theaters in Beijing in the late Qing Dynasty and the early Republic of China. It is said that the axis is the last scene of each paragraph, and the penultimate scene becomes the finale.

20. wardrobe. The costumes of traditional drama are collectively called "costumes", which retain the characteristics of Ming Dynasty costumes. The basic wardrobe includes: python skin, backrest, pleats, wallet, clothes, helmet, boots and so on. These clothes are worn according to their roles and occupations, regardless of time, region or season. A suit can usually be worn on different occasions. In other words, the same costume plays different roles in different plays.

According to "Ci Yuan", "Python clothes are like dragon clothes, similar to the royal robes of the Supreme Court, but with one claw and one ear missing." Python clothing originally refers to a robe embroidered with the shape of a python. Followed by embroidered dragon-shaped four-claw robe. Ministers of the Ming Dynasty and officials of the Qing Dynasty wore it.

2 1, healthy. Most of them play more positive and elegant male roles, which can be divided into old students, young students and martial arts students.

22. Daniel plays female roles, including Tsing Yi (Zheng Dan), Hua Dan, Huashan, Wu Dan, Peking Opera Blues, Lao Dan and Cai Dan (Ugly Dan, including ugly girls and ugly girls, played by clowns).

23. net. Also known as "Flower Face", it plays a rough and heroic male role, with a clean penny (singing flower face, copper hammer flower face, black head) and Jason Wu (flower face, shelf flower face, Wu Erhua).

24. Ugly. Also known as Xiao Hua Face and Hua San Face, they play humorous roles, which are divided into Wen Chou, Wu Chou (mouth jump) and Cai Dan.

Extended data:

Form of performance

The performance forms of Peking Opera can be summarized as "four unique skills and five methods", among which four unique skills are "singing".

1, singing is singing, pay attention to the word line cavity, with air cavity, with emotion cavity, see music. Singing in different occupations has different artistic characteristics and aesthetic standards.

2. Reading is a kind of musical chanting, which is divided into rhyme, Beijing and dialect. "Bai Yun" is a special drama language based on the rhyme of Huguang and Zhongzhou, which retains the difference of sharp group sounds. Some pronunciations have special pronunciations and are called catchy words. Most of the elegant and steady main characters read rhyme white.

"Bai Jing" is an artistically processed Peking dialect; Most frank and humorous people or people from different countries read Beijing and Bai. Dialect Bai includes local dialects, such as Shanxi Bai, Shaoxing Bai, Sichuan Bai, Shandong Bai, Su Bai, Nanjing Bai and Tianjin Bai. , mostly used by clowns.

3. Making a watch, also called a watch, is the action expression of "figure", including various static and dynamic body languages, such as standing posture, sitting posture, appearance, catwalk, circus, arm, cloud hand and so on.

4. Beating is a kind of martial arts action, combined with folk martial arts to dance it.

References:

Baidu Encyclopedia-Peking Opera