Opera common sense

China's five major dramas are Beijing Opera, Yue Opera, Huangmei Opera, Pingju Opera and Henan Opera.

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Traditional Chinese opera is a traditional form of drama in China. It is a combination of literature, music, dance, fine arts, martial arts, acrobatics and various performing arts. Its origin has a long history. As early as the primitive society, song and dance sprouted. In the long development process, after more than 800 years of continuous enrichment, renewal and development, a relatively complete opera art system has gradually formed. Although its origin comes from three different art forms: folk song and dance, rap and burlesque, the biggest feature that distinguishes a drama is that it comes from different vocal systems. These musical vocals are based on the language, folk songs and folk music in the region where they are produced, and are produced by absorbing music from other regions. Most of the characters in various dramas are filled by characters with different faces, such as life, Dan, Jing, final and ugly. The focus of the performance is to use routine movements extracted from life and virtual space processing. Paying attention to the art of singing, reading, doing, playing, acting and dancing, with high technical content, constitutes a complete traditional Chinese opera art system different from other operas.

Among them, Peking Opera is the quintessence of our country.

According to incomplete statistics, there are about 360 kinds of traditional operas and tens of thousands of traditional plays in ethnic minority areas in China. After the founding of New China, many traditional plays have been adapted, and new historical plays and modern plays that express the theme of modern life have been warmly welcomed by the audience. The more popular and famous operas are: Beijing Opera, Kunqu Opera, Yue Opera, Henan Opera, xiang opera Opera, Guangdong Opera, Qin Opera, Sichuan Opera, Pingju Opera, Shanxi Opera, Han Opera, Chaozhou Opera, Fujian Opera, Qi Opera, Hebei Bangzi Opera, Anqing Huangmei Opera and Hunan Opera. There are more than 50 operas, especially Peking Opera, which are the most popular and spread all over the country.

China's ancient drama is called "drama" because it is mainly composed of "drama" and "qu". China's operas mainly include Southern Opera in Song and Yuan Dynasties, Zaju in Yuan and Ming Dynasties, legends and legends in Ming and Qing Dynasties, and traditional repertoires of modern Peking Opera and other local operas. Is the floorboard of China national drama culture.

[Edit this paragraph] Three artistic features of traditional Chinese opera

Comprehensive, virtual, programmed-

(1) Comprehensive China Opera is a national art with strong comprehensiveness ... This comprehensiveness is not only reflected in its mastery and originality of various art categories (such as dance and acrobatics), but also in its exquisite and profound performing arts. Various artistic factors are closely combined with the performing arts, and all the functions of opera are realized through the performance of actors. Among them, the organic composition of singing, reading, doing and beating on the actors is the most concentrated and prominent embodiment of the comprehensiveness of China traditional operas. Singing refers to singing, emphasizing "clear pronunciation and mellow voice"; Reading aloud, that is, reading aloud, is a strict reciting skill. The so-called "one thousand pounds of oral part sings four Liang"; Doing refers to doing work, which is the character and expression; Beating refers to the martial arts action in performance, which is a combination of dance martial arts skills based on China traditional martial arts. These four expressions are sometimes interrelated and sometimes cross each other. Their composition depends on the needs of the plot, but they are all unified into a comprehensive whole, which embodies the beauty of harmony and is full of musical spirit (sense of rhythm). China traditional opera is a form of drama with formal beauty, which is centered on comprehensive performances of singing, reading, doing and playing.

(2) Fictitiousness Fictitiousness is the basic way for drama to reflect life. It refers to an actor's performance, which compares the real environment or objects in a deformed way to express life. The virtuality of China's traditional operas is first manifested in the flexibility in dealing with the time and space of the stage. The so-called "three or five people walk the world, six or seven people have millions of soldiers", "a thousand years' career is instantaneous, and the abbot's land is Wan Li" and "a few years' blink of an eye makes an inch of incense last forever", which breaks through the limitations of the "three unifications" and "the fourth wall" of western dramas. Secondly, in a specific stage atmosphere scheduling and actors' simulation of some life actions, such as windy and rainy, riding gait, threading a needle and so on, more concentrated and more vividly embodies the virtual characteristics of traditional Chinese opera. Opera mask is also a virtual way. The virtuality of China's traditional operas is not only caused by the limitations of the original stage and backward dance techniques, but also the product of the accumulation of national traditional aesthetic thoughts that pursue likeness and vividness. This is a beautiful creation. It has greatly liberated the creativity of screenwriters and stage artists and the artistic imagination of the audience, thus greatly improving the aesthetic value of China traditional operas.

(3) Procedural procedure is the manifestation of drama reflecting life. It refers to the standardization, dance performance and reuse of life movements. Programs come directly or indirectly from life, but they are formed by refining, summarizing and beautifying life according to certain norms. This embodies the painstaking efforts of artists of all ages, and also becomes the starting point for a new generation of actors to re-create, so the performing arts of traditional Chinese opera can be passed down from generation to generation. There are fixed formats for closing the door, pushing the window, getting on the horse, getting on the boat and going upstairs. In the traditional opera performance in China. In addition to performing programs, drama has certain programs in script form, role, music singing, makeup and clothing. Excellent artists can break through some limitations of the program and create their own personalized normative art. The program is a model of beauty.

[Edit this paragraph] The origin and formation of China traditional opera.

origin

China opera has a long history, which originated from songs and dances imitating labor.

(A) Pre-Qin-the embryonic stage of China traditional opera. The "Ode" in The Book of Songs and the "Nine Songs" in The Songs of Chu are the lyrics of singing and dancing when offering sacrifices to the gods. From the Spring and Autumn Period and the Warring States Period to the Han Dynasty, recreational songs and dances gradually evolved in the song and dance of offering sacrifices to the gods. From the Han and Wei Dynasties to the mid-Tang Dynasty, there appeared "Jiao Di" (that is, a hundred plays), in which "joining the army" performed in a question-and-answer way and "dancers" performing short stories of life were all budding plays.

(2) The Tang Dynasty (middle and late period)-the formation period of traditional Chinese opera. After the mid-Tang Dynasty, China's drama advanced by leaps and bounds, and the art of drama gradually took shape.

(3) Song and Jin Dynasties-the development period of China traditional opera. "Zaju" in Song Dynasty, "Courtyard Style" in Jin Dynasty and "Zhu Gong Tune" in rap form all laid the foundation of Zaju in Yuan Dynasty in music, structure and content.

(D) Yuan Dynasty-the mature period of China traditional opera. In the Yuan Dynasty, "Zaju" developed greatly on the original basis and became a new kind of drama. It has the basic characteristics of drama, which indicates that China's drama has entered a mature stage.

(5) Ming and Qing Dynasties-the prosperous period of China traditional opera. In the Ming Dynasty, legends developed. The legend of the Ming Dynasty was formerly the Southern Opera in the Song and Yuan Dynasties (Southern Opera is the abbreviation of Southern Opera, which is a new form of drama developed on the basis of the Zaju in the Song Dynasty combined with the tunes of the southern region). Wenzhou is its birthplace. South Opera is different from North Zaju in system: it is not limited by 60% discount or one person singing to the end. It has an opening story, mostly a happy ending, and its style is mostly sentimental. Unlike the northern zaju, it is more free in form and more convenient to express life. Unfortunately, the books of the early Southern Opera are rarely preserved. It was not until the end of Yuan Dynasty and the beginning of Ming Dynasty that Southern Opera began to flourish. After the processing and improvement of the literati, this short play which is not rigorous enough has finally become a quite complete long play. For example, "Pipa Story" is a transition from southern opera to legend. The theme of this work comes from folklore, which shows a story completely and has certain drama. It was once known as "the ancestor of reviving southern opera". In the middle of Ming Dynasty, a large number of legendary writers and scripts emerged, among which Tang Xianzu was the most successful. He wrote many legendary plays in his life, and Peony Pavilion is his masterpiece. Through the story of Du Liniang and Liu Mengmei's life and death parting, the work praises the rebellious spirit of opposing feudal ethics, pursuing happy love and demanding individual liberation. The author endowed love with the power to bring it back to life, overcame the shackles of feudal ethics and won the final victory. This had far-reaching social significance in the society firmly ruled by feudal ethics at that time. This play has been loved by readers and audiences for 300 years. To this day, the boudoir, The Scared Dream and other fragments are still active on the stage of opera performance, radiating its artistic brilliance.

Yuan zaju

Yuan Zaju is a comprehensive stage art that inherits and develops the literary achievements of the previous generation on the fertile soil of folk operas, and is improved and created through the joint efforts of teaching workshops, theaters, actors, musicians and "book clubs". Metaphysically, Yuan Zaju uses four sets of northern songs to arrange stories, and the disjointed parts are combined with wedges to form the usual format of four folds and one wedge (Wang Shifu's The West Chamber is a unique novel in Yuan Zaju, * * * wrote five 2/kloc-0 folds), and each fold is composed of several tunes of the same palace tune, and a "wedge" is added when necessary. At the end, two, four and eight lines are used to summarize the content of the whole play, which is called "getting to the point". Each fold includes three parts: Qu Ci, Bai Hua () and (). The lyrics are written according to the music cards that the tutor needs, also called Wen Qu, lyrics or lyric poems. Its function is to tell stories and portray characters. All the lyrics rhyme. Vernacular writing is an artistic means to express the plot or explain the relationship between characters in the form of words, which can be divided into dialogue (dialogue between characters), monologue (words that characters express their personal feelings and wishes alone), narration (words that characters recite to the audience from other players on the stage) and vernacular writing (words inserted in lyrics). The subject is action, expression, etc. A play is usually sung by one person to the end or the end, and the other feet are all white. The lead singer at the end of the program is called "Final Book", and the lead singer at the end of the program is called "Final Book".

Role:

Ending: male role. The hero is the hero in Yuan Zaju.

Dan: Play a female role. Zheng Dan (the heroine in the play), Xiao Dan, Chadan, Zheng Dan, Hua Dan, Boudoir Dan, Wu Dan, Lao Dan and Cai Dan.

Jing: Commonly known as "painted face" and "painted skin", they often play male roles with special personality or appearance. For example, Yuan, a civil servant (government official), falls into this category.

Ugliness: Play comedy roles, also known as "three sides" or "small faces", and play humorous roles, which can be divided into Wen Chou and Wu Ugly.

Foreign: There are three kinds of zaju in the Yuan Dynasty, namely, the end of foreign drama, foreign drama and foreign classics. , which are the secondary roles at the end, Dan and Jing. Inside job-the end of the outside.

Miscellaneous: Also known as "miscellaneous". Play the role name of the old woman. Such as: Cai.

One legend is that ...

According to legend, in the early Qing Dynasty, there were four major operas in Beijing, namely Nankun, Yi Bei, Liu Dong and Xibang. According to the records in the eighth year of Jiaqing: "In the Ming Dynasty, there was Kunqu opera, and the sound was heard, while many Yiyang, Bangzi, Qin and Liu in the north and south were homophonic, singing and dancing, and many musicians were unmoved by Beijing." It also illustrates the historical grand occasion at that time. Among them, the so-called Nankun is popular in Kunshan dialect in the south of the Yangtze River. The combination of northern Yi Guide Opera and northern Quju Opera originated from Yiyang Opera in Yiyang, Jiangxi Province, which was the high-pitched opera spread to the north, which was the Peking Opera prevailing in Beijing at that time. Liu Dong is a popular Liu Qiang in Shandong. Xibang is naturally a Bangzi opera, which is widely circulated in northwest China, that is, Shaanxi opera. It shows the grand occasion of artists from all directions gathering in Beijing.

At present, the above four major tunes have gone far beyond their original scope, and some of them have spread all over the country. Yiyang Opera (that is, high-pitched opera) is widely spread in Anhui, Zhejiang, Jiangsu, Hunan, Hubei, Fujian, Guangdong, Yunnan, Guizhou, Sichuan, Hebei and other places. Therefore, people concerned think this statement is unscientific, but this historical statement still objectively reflects historical facts. Judging from the current distribution of operas, Kunqu opera still has a considerable audience base in Shanghai, Nanjing, Zhejiang, Hunan and other places. Yiyang Opera not only took root and sprouted in the north, but also played an important role in the formation of Peking Opera and some northern operas from the Qianlong period, especially in many northern language areas. Although Liu Zi Opera (including Liuqin Opera influenced by it) is popular in northern Henan, northern Jiangsu, southern Hebei and northern Anhui, its important activities are Qufu, Tai 'an and Linyi in Shandong. Although Shaanxi Opera (Shaanxi Bangzi) and the Bangzi from Shanxi, Henan and Hebei are popular in the north so far, the Shaanxi Opera we saw in Gansu, Ningxia and Shaanxi has deeper roots, is older and has a wider audience, so it is called "Nankun, Yi Bei, Liu Dong and Xibang".

[Edit this paragraph] Types of National Opera

Color Drama Tibetan Chaozhou Opera Chu Opera Fengyang Opera Guangdong Han Opera Gui Opera Huangmei Opera Huizhou Opera Shandong Bangzi Shao Opera Sichuan Opera Yong Opera Yunnan Lantern Zhuang Opera Yue Opera Yang Opera Xinjiang Opera xiang opera Xiju Wu Opera Wan Wan Qiang Tianjin Civilization Opera Su Ju Opera Qiongju Qinghai Pingxian Opera Qi Opera Pu Opera Puxian Opera Pingju. Ou Opera Fujian Opera Long Opera Longjiang Opera Liaonan Opera Kunqu Opera Liyuan Opera Beijing Opera Jin Opera Huanglong Opera Huai Opera Shanghai Opera Hebei Bangzi Gan Opera Errentai Sichuan Opera Northern Kunqu Opera Xincheng Opera.

[Edit this paragraph] Tune the opera

Beijing Opera, Henan Opera, Pingju Opera, Yue Opera, Hebei Bangzi, Hebei Luantan, Shijiazhuang Sixian, Shenze Jiangxi, Anguo Laodiao, Baoding Laodiao, Baoding Shangsi Tune, Baoding Shadow Play, Baoding Xianyu Tune, Baoding Banbu Tune, Ten Idle Lotus Falls, Guyi Nuo Opera, Haixing Nanluo, Northern Kunqu Opera and Dingzhou Yangko. Novel Tune, Zhuozhou Hengqi Tune, Wu 'an PingDiao, Zhangjiakou East Road Errentai, Haha Tune, Baoding Poetry and Immortal Tune, Xingtai Killer Tune, Xingtai Diaojiao Drama, Xingtai HuaiDiao, Xingtai Western Tune, Suning Martial Arts Drama, Huai 'an Soft Yangko, Feixiang Luoxi, Siguxian, Huang Er, Errentai, Shangdang Huang Er, Shangdang Bangzi and Jinxi. Yunnan Zhuang Opera, Yunnan Lantern Opera, Dan Opera, Puppet Opera, Baling Opera, Wuyin Opera, Wennan Ci, Zhonglu Bangzi, Inner Mongolia Yangko, Fengtai Opera, Yongji Daoqing Opera, Baiju Opera, Bai Zixi, Beikun Opera, Beijing Opera, Beilu Bangzi, Pihuang, Shadow Play, Longjiang Opera and Longyan Zaju. Sha Opera, Xiang Opera, Ji Opera, Lu Opera, Lu Opera, Blowing Opera, Hu Opera, Su Ju Opera, Yong Opera, Qi Opera, Xi Opera, Ci Ming Opera, Gong Opera, Lingqiu Luo Qiang Opera, Henan Yuediao Opera, Henan Daoqing Opera, Henan Quju Opera, Beijing Opera, etc. Liu Qiang, Liuqin Opera, Fujian Opera, Minxi Han Opera, Nanxi Opera, Yao Ju, Linxi Opera, Haha Opera, Huqin Opera, Jing Hexi, Hunyuan Luoluo, Guizhou Lantern Opera, Gaoqiang Opera, Gao Shanju, Gaobazi, Gaojia Opera, Gaoqiang Bangzi, Tang Opera, Guangxi Opera, Shaanxi Opera, Shanxi Opera and Yong Opera. Tui Opera, Liyuan Opera, Bangzi Opera, Zhangqiu Bangzi, Bangzi Miscellaneous Opera, xiang opera, Xiangxi, Dai Opera, Qiong Opera, Sixian Opera, Humorous Opera, South Anhui Flower Drum Opera, Hunan Flower Drum Opera, Pu Opera, Zhou Pu Bangzi, Lei Ju, Tin Opera, Yunnan Opera, Mongolia Opera.

[Edit this paragraph] Drama nouns

Jiugong, Rupo, Boer, Thirteen Tunes, Erhualian, Beijing Opera Blues, Character Modeling, Daqu, Da Bian, Xiao Mo, Xiao Dan, Xiaoxi, Xiao Sheng, Xiaohualian, Trilogy, Sanhualian, San Xiao, Talented Person, Radio Drama, Introduction, Leading Drama, Wenchang, Art Troupe and Civilized Drama. Hand-eye posture, plum blossom award in Chinese drama, horse-beating, hunchback, lines, catwalk, normal model, Zheng Dan, Juzheng, Zheng Jing, four Huizhou classes, four major vocals, four kung fu and five methods, Dan, Dan, Mo, Naise, Naise performance, going out, going out, living, adding officials, walking on, setting. Qupo, Qupai, Qupu, Lao Dan, Laosheng, Diaomao, Legend, Zadang, Guoqu, Quji, Hesheng, Xu Hu, Baixi, Youling, Building Search, Finale, Local Drama, Problem Drama, Self-reported, Huabei, Hua Dan, Bazi, Bazi Gong, Walking Side, Walking Rope, Playing. United Taiwan drama, improvisation, wudan, Wu Chou, Wu Chang, Jason Wu, Wu Sheng, Wu Erhua, Rong, Ban Ban, joining the army, joining the army drama, Dingtian poem, Dingtian poem, scenery, bi, brick tower, Faqu, Tsing Yi, official costume, drama. String, pantomime, appearance, starting from hegemony, circus, mask, axis, guest appearance, grass troupe, boudoir, live drama, sound effect, always first, theater, drama, script, tragedy, tragicomedy, architecture, rehearsal, narration, chime, door, guest white, bowl head, people. Singing opera, basic skills, street drama, badminton, helmet head, inspection field, facial makeup, colorful Dan, oratorio, chrysanthemum department, amateur, Guo head, elephant man, teaching workshop, virtual action, copper hammer painting face, fish dragon male face, elegant music, Nuo, props, comedy, blackhead, Nuo. Rolling tune, jumping pill, performance book, Qilu-Ren, acid, earning, picking all over, Gong Jing, wedge, children's drama, subtext, stage, stage lighting, stage art, stage guidance, stage art, title, title rectification, leaning, riding, squatting, pleating, embroidered robe, performing, cracking melon.

[Edit this paragraph] The "two pots" of China's opera

Zhang baoshen

In recent years, on the stage and on TV, it is often the case that actors of different operas perform the same play. For example, to commemorate the centenary of Mei Lanfang's birth, Ma Jinfeng, a famous artist of Henan Opera who is over 80 years old, and Mei Baojiu, a descendant of Mei School of Peking Opera, once performed "Mu Shuai Shuai" on the same stage; China Peking Opera Theatre and Tibetan Opera Troupe once performed Princess Wencheng together. This form of performance is called "Erguotou" in the drama circle. There are also a number of "three pots" and "four pots" that perform on the same stage. At the CCTV opera party, actors from Beijing Opera, Henan Opera, Longjiang Opera and Hebei Bangzi performed a Mulan together. Because of its novel performance form, it has aroused great interest from the audience.

In the history of China opera, this kind of "two pots" performance has a long history, and it is an important means of communication and integration between different operas. Many operas have evolved into new operas in Erguotou. During the Yuan Dynasty, Beijing was dominated by zaju, which produced many playwrights, such as Guan Hanqing, Wang Shifu and Ma Zhiyuan, and a number of famous dramas, such as Dou Eyuan and The West Chamber. After the capital moved from Nanjing to Beijing in Yongle period of Ming Dynasty, a large number of southerners went north in the tide of immigration, and Nanqu followed. In order to adapt to the new environment, Nanqu and Zaju performed a "combination of North and South". Nanqu absorbed the advantages of Beiqu and formed new Kunshan and Yiyang cavities. Zaju gradually withdrew from the historical stage.

In the late Ming and early Qing Dynasties, Kunshan Opera evolved into Kunqu Opera, which occupied a dominant position on the stage in Beijing. The Palace of Eternal Life and Peach Blossom Fan became the representative works of this period, which have been passed down to this day. Today's Peking Opera is also the product of the "two pots" of Han Opera and Hui Opera more than 200 years ago. During the Qianlong period of the Qing Dynasty, after four classes went to Beijing, they performed on the same stage with the Han opera artist Erguotou. In the process of mutual integration, a new kind of "Pihuang Opera" was formed on the basis of Huanger Opera in Hui Opera and Xipi Opera in Han Opera. Since then, Pihuang Opera has continuously absorbed nutrition from Kunqu Opera, Bangzi Opera and other operas, and gradually became a new kind of opera-Beijing Opera.

By the end of the Qing Dynasty and the beginning of the Republic of China, Peking Opera had developed to a mature stage, which not only became the mainstream of Peking Opera stage, but also began to spread to the whole country. During this period, Hebei Bangzi (called Shaanxi Opera and Zhili Bangzi), which evolved from Shaanxi Bangzi, and Pingju, which developed from "jumping opera", all performed on the same stage as Beijing Opera. In the 17th year of Guangxu reign in Qing Dynasty (189 1), Tian Jiyun, a famous bangzi actor and opera activist in Hebei Province, initiated the precedent of "two pots under one roof". Because it is very popular with the audience, many class associations have followed suit. For a time, inside and outside Beijing, the performance of "Erguotou" in Beijing was booming. Many classes in Beijing opera are also "both bang and spring" Fu Liancheng, a famous Peking Opera teacher, is also a second-time student. That is, today's Ma's men have also learned the little prince's "going straight to Luoyang". Many Hebei Bangzi actors, such as Xun Huisheng, Yu (Xiao) and Zhao Tongzha (Furong), changed to Beijing Opera and became famous Peking Opera actors.

Pingju was formed in the late Qing Dynasty and the early Republic of China, and it is a new kind of drama evolved from Lotus Falls, Bangzi and Pingqiang Bangzi. Before liberation, he had been engaged in incomplete business, mainly in "Three Little" dramas (Xiao Sheng, Xiao Dan and Xiaohua), which was called "Banban Drama". Therefore, early Pingju often co-performed with Hebei Bangzi and Beijing Opera "Two Rivers" or "Three Blocks". In the performance with Beijing Opera and Hebei Bangzi, Pingju has made great progress in music, singing and repertoire. In 1930s, the appearance of the "four famous" actresses of Pingju, represented by "Bai" and "Ai Lianjun", made Pingju develop to a mature stage, which was not only popular in Beijing, Tianjin, Northeast China, North China and other places, but also performed in southern areas such as Shanghai, Jiangsu and Zhejiang, with great influence. But because the actors are weak, they often perform with Beijing Opera. In Shanghai, Bai once co-starred in Song Wu Killing Sister-in-law with a Peking Opera martial artist. 1945, new in Qingdao. She also took part in the Peking Opera class of Zhou's disciples and performed Qin Xianglian and other plays.

After liberation, in the process of reform and development, Pingju has improved its professional skills and enriched male vocals, especially with a group of actors such as Wei Rongyuan, Mattei, Zhang Defu and Xi Bao Kun, which completely solved the problem of "half-class drama". In addition, he created and performed many plays starring male actors, which were welcomed by the audience. "Two pots" became a historical record.

Introduction to Yuan Qu Yuan Qu is another literary prosperity after Tang Poetry and Song Poetry, which has its unique charm: on the one hand, Yuan Qu inherits the beauty and grace of poetry; On the one hand, the soldiers and soldiers in the Yuan Dynasty were placed in the position of eight * nine Confucianism and ten beggars, and the society was dark, which made Song Yuan radiate extremely dazzling fighting brilliance and reveal rebellious feelings; Sharp-edged pointed at social ills, denounced the highest illiteracy, the best illiteracy, pointed at people's ignorant but boastful society, pointed out that everyone was embarrassed by life, and everyone could not see the world style of money. The works describing love in Yuan Qu are also more inflammatory and bold than the poems of past dynasties. All these are enough to keep the artistic charm of Yuanqu forever.

But in contrast, the spread of Yuanqu is by no means as wide as that of Tang poetry and Song poetry. This is because people are not familiar with the style of Yuanqu. Here is a brief introduction.

Yuanqu can be divided into zaju and Sanqu. There are several sets of Sanqu, and poetry takes the difference between songs.

In ancient music in China, the mode is called Gongdiao. The Gongdiao of the song comes from Yan Yue in Sui and Tang Dynasties. The four strings of pipa are defined as Gongdiao, Shang, Jiao and Yu, and each string constitutes seven tones. The seven tones of Gongdiao are called Gongdiao, and the rest are all modes, so * * * gets 28 Gongdiao. However, there are only twelve kinds of Yuan songs commonly used, namely, Lv Xian Palace, Lu Nan Palace, Huangzhong Palace, Gong Zheng, Dashi Tune, Xiaoshi Tune, Jiangjunguan Tune, Upward Tune, Upper Corner Tune, Double Tune and Yue Tune. Each gong tune has its own musical style, so there is often a certain habit in choosing the tune. For example, Wang Jide said in Qulv: If you use Gongdiao, you must talk about the joys and sorrows of things, while you use Lv Xian and Shuangdiao to enjoy the tour. Mourning music includes Shang and Yue tunes. Well-founded and touching.

Every palace tune has a different tune. The number of sets consists of more than two different tunes in Monday Palace. Southern Opera in Song and Yuan Dynasties: the abbreviation of Southern Opera, which was popular in the coastal areas of eastern Zhejiang at the end of Northern Song Dynasty and matured at the end of Yuan Dynasty and the beginning of Ming Dynasty. Also known as Wenzhou Zaju or Yongjia Zaju.

Legends of Ming and Qing Dynasties: Evolved on the basis of Southern Opera. A long drama script written by the guide song. It combines the essence of Nan Opera and Yuan Zaju.

Differences between Yuan Zaju and Legends of Ming and Qing Dynasties

(1) The general rule of the zaju system is to fold four times and get one wedge, without marking the topic; The legend is weighed out to the letter, and items are added. The number is uncertain, mostly forty or fifty novels. There is no wedge in legend. The first story is the door, also called the opening. The copy explains the creative intention and introduces the plot overview. This is not part of the plot. After the opening, the second scene is the highlight. The opening is a epigraph, not a qupai. (2) Legends, like zaju, have singing, dialogue and themes, but unlike zaju, one character usually sings to the end, but all kinds of roles can be sung, including solo, duet, rotation and chorus; Legend has it that it is called introduction rather than division; Important people come on stage to sing an introduction, followed by a fixed dialogue, and every scene has poems.

(3) Zaju and Legend all adopt the way of Qupai ensemble in music, but the difference is that Zaju ensemble is limited to one gong tune at a time, which rhymes to the end; Legends are not limited to using only one Gongdiao at a time, but can rhyme. Zaju sings in the Northern Song Dynasty, and legends mostly use the Southern Song Dynasty, absorbing the Northern Song Dynasty and creating a method of combining North and South. For example, Memorizing Jiangnan is a set of northern songs. The northern music is heroic and majestic, and the southern music is gentle and charming, so the musical style of legends and zaju is different. (4) Legendary roles are similar to zaju, but with more roles and finer division of labor. The protagonist of zaju is Wei Hedan, and the legendary role is Sheng Hedan. Legend has an ending, but it is not the protagonist.

In short, compared with zaju, legends are larger in scale, richer in tunes, more detailed in role division, more free and flexible in form, and easier to express life. Characteristics of China's Ancient Opera

1, starting from the leaver and ending with

China opera is a comprehensive stage art form. Its characteristic is that many art forms are gathered together by a standard, and their respective personalities are reflected in the same nature. These forms mainly include: poetry, music and dance. Poetry refers to its literature, music refers to its music accompaniment and dance refers to its performance. In addition, it also includes stage art, clothing, makeup and so on. These artistic factors are all for one purpose in China traditional operas, that is, acting stories; Everyone follows a principle, which is beauty. 2, opera, that is, singing and dancing to play the story.

In a word, China opera is characterized by singing and dancing to express stories (Wang Guowei, a scholar in the late Qing Dynasty). Traditional Chinese opera and drama in China belong to drama, and they all play characters through actors, and express stories of a certain length through dialogues and actions. The difference is that China traditional opera uses musical dialogue and dance movements to express real life, that is, the means of singing and dancing. Also known as singing, reading, doing and playing. 3. Get out of the form and take its meaning, get carried away.

China's traditional operas express life by taking its meaning and abandoning its form, such as freehand brushwork in Chinese painting, which embodies all the beautiful things in life with vertical and horizontal strokes. Therefore, there are red-faced Guan Yu and white-faced Cao Cao on the opera stage; When you were in Long song, you cried and danced with long sleeves; With the spring scenery without flowers and trees, there is no river without waves. 4. Small stage, big stage of heaven and earth

Henan Henan opera

On the origin of henan opera. Henan Opera came into being in the late Ming and early Qing Dynasties. At first, it was mainly oratorio, which was deeply loved by the people, so it developed very rapidly. The origin of Henan opera has always been difficult to verify, and there are different opinions. On the one hand, after Shaanxi Opera and Zhou Pu Bangzi were introduced into Henan in the late Ming Dynasty, they were combined with local folk songs and minor tunes. On the other hand, they are directly developed from the chords of Beiqu; On the other hand, it was developed on the basis of Henan folk singing art, especially on the basis of popular songs prevailing in the Central Plains in the middle and late Ming Dynasty, and absorbed artistic achievements such as "chord tune".

During the Qianlong period of Qing Dynasty (1736- 1795), Bangzi Opera was popular in Henan Province. According to the content recorded in the inscription at that time, the Forbidden City in Ming Dynasty was "a place where all classes of operas prayed and feasted in those days, which has been forgotten by distant years and I don't know when it was established. During the Daoguang period (182 1- 1850), the river workers burst, the temple collapsed and there were no tiles left. It can be seen that Bangzi Opera existed long before Daoguang. These narratives are consistent with the legends among artists. According to some old artists' memories, when they were studying at around 19 12, they heard the master talk about ten places in Henan, namely, Xiangfu (now Kaifeng), Qixian, Chenliu (now Kaifeng), Weishi, Zhongmou, Tongxu, Yifeng, Fengqiu and Wu Yang. During its spread, Henan Bangzi has formed different styles, such as Xiangfu tune (Kaifeng area), Eastern Henan tune (Shangqiu area), Western Henan tune (Yang Yang area) and Shahe tune (Luohe area). China opera is a comprehensive stage art form. Its characteristic is that many art forms are gathered together by a standard, and their respective personalities are reflected in the same nature. These forms mainly include: poetry, music and dance. Poetry refers to its literature, music refers to its music accompaniment and dance refers to its performance. In addition, it also includes stage art, clothing, makeup and so on. These artistic factors are all for one purpose in China traditional operas, that is, acting stories; Everyone follows a principle, which is beauty.

Traditional Chinese opera and drama in China belong to drama, and they all play characters through actors, and express stories of a certain length through dialogues and actions. The difference is that China traditional opera uses musical dialogue and dance movements to express real life, that is, the means of singing and dancing. Also known as "singing, reading, doing and playing".

Kunqu Opera, also known as "Kunqu Opera" and "Kunqu Opera", is an ancient opera.