Overview of the Historical Development and Basic Characteristics of Chinese Teochew Opera What is the current development?

Chaoju Opera, also known as Chiu Chow Opera, Chiu Yin Opera, Chiu Chow Tune, Chiu Chow White Characters, Chiu Chow Opera, mainly popular in the Chaoshan area, is an ancient local opera genre sung in Chiu Chow dialect. It is an ancient local opera sung in the Teochew language. In China, Teochew Opera is mainly found in the eastern part of Guangdong Province, Yunxiao County, Dongshan County, Zhao'an County, and Pinghe County in the Zhangzhou area of southern Fujian Province, and it is also widely popular in Hong Kong, Southeast Asia, Shanghai, and in many Western countries and places. Teochew Opera is often performed at temple fairs to show respect for the "masters" (referring to the gods), and the people also like to watch it in a very lively atmosphere, making the festive atmosphere even more intense, so Teochew Opera has a stronger folkloric color than any other kind of opera. A branch of the Song and Yuan Southern Opera, Chiu Chow opera is a branch of the Song and Yuan Southern Opera, which gradually evolved from the Southern Opera of the Song and Yuan Dynasties. It is an ancient opera with a history of more than 4,400 years, which has absorbed the strengths of Yiyang, Kunqu, Bangkok, and Pihuang, and combined them with the local folk arts, such as Chiu Chow language, Chiu Chow music, Chiu Chow song book, and Chiu Chow embroidery, to eventually form its own unique art form and style. Famous Teochew Opera Artist A Teochew Opera actor who has specialized in Teochew Opera for many years, has been recognized by the public, and has a certain amount of writings. It is not the case that one can become a famous master just because he has been enjoying Teochew Opera for a long time and is old enough.　Hung Miu (Male Old Dan) Qin Meng, Qiu Hong, Chen Hua, Chen Chu Hui (Female Wenwu Xiao Sheng, Hong Kong), Chen Xuexi (Xiao Sheng) Chen Wenyan, Chen Guangyao, Chen Liyu, Cai Jinkun, Fang Zhanrong (Clown Sheng), Fan Zehua (Flower Dan), Guo Shekmei, Li Youcun, Li Yipeng (-(Clown)-Sheng) Lu Yinxin, Huang Yudou, Huang Ruiying, Sun Xiaohua (Flower Dan), Wu Qingcheng (Xiao Sheng) Wu Lijun, Xie Dayue, Xie Yin, Xu Yunbo, Yao Xuanqiu, Yang Qiguo, Ye Qingfa (minor), Zhang Changcheng (male senior), Zhang Guikun, Zheng Xiaoxia (flower girl), Zheng Jianying (flower girl), Zheng Shipeng Formation of Teochew Opera What is the age of the Teochew Opera, and on what basis was it formed and developed? Researchers have said differently, one said from the Chaozhou witchcraft "off the playboy" developed, a Chaozhou opera is a branch of the Yiyangqiang, is "Yiyangqiang spread around the direct product". It was not until the 1930s that the discovery of the Ming dynasty Chiu Chow opera scripts that had been deposited overseas and the excavation of the Ming dynasty artists' handwritten copies of the southern opera scripts in Chiu Chow, that the origin of Chiu Chow opera was supported by historical materials.　In 1936, Xiang Da, a historian in China, published an article entitled "Remembering the Chinese Texts in the Oxford Collection" in the Peking Library Journal, introducing for the first time the Ming Dynasty engraved text of Teochew Opera, "Ban Qu Li Jing Opera Texts" (i.e., scripts of Chen San Wu Niang), which were stored in the library of the University of Oxford in England. The full title of the play is "Republishing the Five-color Chiuquan Insertion Section of Zengren's Poetry of the Northern Quarterly Hooker's Laijingji Playwriting". This engraving in Oxford University's collection, because "the last page is mutilated, we can not know when the book was published", but Xiang Da believes that "the font and the form of the illustrations seem to be similar to the publication of the Ming dynasty around the Wanli period".　Xiangda introduced Oxford's "Lychee Mirror" collection after twenty years passed. 1956, Mei Lanfang and Ouyang Yu Fu Qian rate of Chinese Peking Opera Troupe to visit Japan, in Japan, Tenri University of the Ming version of the "Banqu Lychee Mirror play," a collection of the University of Tokyo, Institute of Oriental Studies "to replenish the extracts of the Jinju Chiu Chow Golden Flower Women's book (with the engraving of the" Su Liu Niang "). Hidden in the Tianli University of the Ming publication of the "Banqu Li mirror theater text", and the University of Oxford in the United Kingdom collection of the "Banqu Li mirror theater text" is the same carving. But the book is well preserved, the last page is the text of the bookshop confession and and "Jiajing bingyin year" characters. Jiajing was the year name of Emperor Zhu Houyin of the Ming Dynasty, and the year of Jiajing Binyin was 1566. The book "The Complete Book of the Golden Flower of the Re-supplementation of the Golden Flower of the Chiu Chow Dance," which is housed in the Institute of Research of the University of Tokyo, does not have a year number, but according to the experts, it was engraved during the Wanli period of the Ming Dynasty (see "Afterword to the Five Types of the Ming Dynasty Chiu Chow Opera and Texts").　Jiajing engraved at the end of the volume engraved with a bookshop paragraph confession: "re-publication of the Ly mirror record play, counting one hundred and five leaves, because the former Lychee record word more than error, the curved text is reduced, this will be the tide of the spring two, added to the "Yanchen", "hooks and bars, poems, northern song, corrections reprinted, in order to the scholars and writers, the name is Lychee, the idle glance, the name is Lychee. Idle at a glance, the name is Lai mirror record, buyers must recognize the Church Yu's Xinan Yun ear. This "reissue" of the book, from the old "Lai Chi Kee", rubbing Chaoquan two, adding "Yan Chen", Bei Qu and other content, and "correcting" the old book "Lai Chi Kee". In 1964, the director of the Oriental Institute of the University of Oxford, Professor Peter Long, a sinologist, in the National Library of Vienna, Austria, and found another Ming dynasty engraved Teochew opera, which was published in the Ming dynasty Wanli Xinsi (1581), "the new carving to supplement the full image of the township to talk about the lychee record of the whole book". This "new carving supplement" of Chaozhou opera, not called "Laijingji", but called "Laiji", is the same story with "Laijingji" of the different performances of the content of the book. Its base is not Jiajing re-engraving of Lai mirror based on the original, along the difficult to determine, but this carving is a "new carving to add" this, indicating that before the Wanli, has been in the original carving (the first carving) existed. At the beginning of the volume of this engraved book, there is an inscription of "Chaozhou Dongyue Li's compilation". Local operas have never been recognized, and it is not common to see the name of the playwright on the play, but this engraved book is also engraved with the playwright, Li Dongyue from Chaozhou. During the discovery of Ming dynasty engraved scripts of Teochew operas circulating overseas, the handwritten scripts of Cai Bo Gui (The Story of the Pipa) and Liu Xibi's The Story of the Golden Hairpin were unearthed from Ming tombs in Jieyang County's Fishing Lake and Fengtang County's Chao'an County in 1958 and 1975 respectively. The excavation of these two codices attracted great attention from opera experts at home and abroad, and was considered "a precious document for the study of the history of the development of opera" and "a major discovery of opera relics since the founding of the new China". The Development of Chao Opera China's opera was formed in the 12th and 13th centuries as the Northern Miscellaneous Opera and the Southern Opera (South Opera). Northern miscellaneous opera developed on the basis of Song and Jin Yuan. To the Yuan Dynasty reached prosperity; southern opera is the early 12th century, in Wenzhou, Zhejiang Province, first formed and developed. In the Song and Yuan Dynasties, the Southern Opera spread to the Yangtze River Basin and the southeast coast, forming the Yiyang Opera (Jiangxi), Haiyan Opera, Yuyao Opera (Zhejiang), Kunshan Opera (Suzhou), and Quanchao Opera (Southern Fujian and Guangdong) and other acoustic styles of theater. There are generally two situations in which Southern Opera has been spread to different places and formed local vocal styles: "One is that the original tunes of Southern Opera have been spread to different places and sung by opera singers in the local languages, and due to the differences in languages and tones, the tunes have been constantly changing and have gradually been localized stylistically; and the other is that the local folk music -- from rice-plant songs, ditties and dances -- has been gradually localized to local folk music. One is the local folk music - from rice-planting songs, ditties, to certain religious songs, which are constantly adopted into the opera, enriching the original tunes. The interpenetration of these two factors resulted in the formation of a number of different styles of vocal theater."　The development of the Ming dynasty's Teochew opera texts proves that the present Chaoshan area had prosperous southern opera performance activities during the Yuan and Ming dynasties. Some of the early scripts of the Song and Yuan southern operas that have been recorded as anonymous in historical records, such as "Yanchen" (i.e., "Chen Yanchen," which is a play on Chen Yanchen and Lian Jinyiang), and "Liu Xibi's Tale of the Golden Hairpin," are the corroborating evidence that the early southern operas had been circulated in the present Chaoshan area.　Secondly, "Cai Bogai" and "Liu Xibi's Tale of the Golden Hairpin", both sung in the Teochew dialect, indicate that after the Southern Opera was spread to the present Chaoshan area, the Teochew artists sang in the Teochew dialect, and due to the difference of voice and tone, the original tunes changed, and at the same time absorbed the Teochew folk music and ditties, which resulted in the formation of a new voice based on the Southern Opera--Chaoqiang. -Chiu Chow accent. In the Ming Dynasty, Dai Jing wrote in the Guangdong Tongzhi: "Chaozhou folk music is often used to move and perform opera texts". In the early Qing Dynasty, Mr. Qu Dajun wrote in Guangdong New Words: "The Chao people sang northern and southern operas in their native voices, and it was called Chaozhou Opera." The excavation of these two handwritten performances is the evidence that the Teochew people sang north-south songs in their native voices.　Third, "Lai Chi", "Lai Mirror" is a Chaozhou folk tales written, structured, skillful, sung in the Chaozhou opera script, indicating that the Chaozhou opera has matured during the Jiajing period, then, it is formed in the years, naturally, should be in the years before the Jiajing. Before what age? Some opera research experts, based on relevant historical data, believe that "before the middle of the Ming Dynasty, Quanchaoqiang was already very popular, and it had a unique repertoire and performance form, circulating in the area of Quanzhou, Zhangzhou and Chaozhou". "Before the middle of Ming Dynasty" means the beginning of the 15th century, which is more than 500 years ago. If we count from Jiajing Binyin (1566), the year in which Lijingji was published, the absolute number of the history of Teochew Opera is also more than 4 4 0 years. Inheritance Since the new century, the Teochew Opera sector has carried out a series of traditional repertoire inheritance activities.　The existing traditional repertoire of Teochew Opera can be roughly divided into two categories. The first is the repertoire that has been processed and refined to a high artistic standard. The most representative ones are the long drama "The Story of Lai Mirror" and "Su Liu Niang", and the short dramas "Sweeping the Window", "Lulin Meeting", "Defending the Book", "The Hairpin", "Stabbing Liang Ji", "Haunted Kaifeng", etc. In the 50's and 60's, the Teochew opera community had a series of traditional repertoires to pass down the tradition. In the fifties and sixties, there were a lot of talented people in the field of Teochew Opera, old artists and new literary workers, and the literati and scholars in the society paid close attention to Teochew Opera, and the organization and transmission of the tradition reached a peak at that time. Experts and scholars screened and selected a large number of traditional repertoires, and most of the repertoires with refining value were processed and became the classics and preserved repertoires of Teochew Opera. These plays have compact scripts, high intention, elegant lyrics and high literary value; the music not only preserves the tradition, but also incorporates new materials; the action design is closely connected with the characterization, and retains the delicate and elegant features of Teochew Opera and the unique performance formula. Current situation Chaozhou opera is a vivid example of Chinese ancient opera surviving on the stage, is one of the representatives of the excellent cultural expressions of the Chinese nation, has a profound historical significance and high aesthetic value. 1990, Chaozhou opera was subject to the constraints of the market economy and a variety of modern forms of art and culture impact, reduced investment, the loss of talent, the decline in the level of the arts, the excellent traditional performing arts on the verge of extinction, in the midst of a difficult development situation, urgent need to protect and protect the traditional performing arts. It is in a difficult development situation and is in urgent need of protection and cultivation.　The state attaches great importance to the protection of intangible cultural heritage. On May 20, 2006, Teochew Opera was approved by the State Council to be included in the first batch of national intangible cultural heritage list. The "Guangdong Teochew Opera Development and Reform Foundation" has been established in Guangzhou. Roles Sheng: Teochew Opera's martial arts students Sheng, Lao Sheng, Wu Sheng, clowns (peanuts; three peanuts) Dan: Qingyi (Wu Shiang), Boudoir Dan (Blue Shiang), Shirt and Skirt Dan, colorful Luo Dan (Hua Dan), Wu Mao, Bai Mao (Lao Dan), Wu Dan Pure: Wen Pure, Wu Pure, clowns Wu Mian Clowns: official robes clowns, Xiangshijie clowns, kicking shoes clowns, Wu clowns, Fur head clowns, long shirts clowns, Jacketed Clowns, Old Clowns, clowns, clowns, clowns Teochew Opera has a complete range of rows and rows, Sheng, Dan, Jing, Clowns, each have their own work, which should be done by the Teochew opera, Dan, Jing and Chou, The Teochew Opera has a full range of roles, including Sheng, Dan, Jing, and Chou, each of which should be the first work of the play, with delicate and vivid performances, and the body work is not only strict program specifications, but also rich in writing, focusing on the play of skills, of which the performing arts of the clown line and the flower girl are especially rich with unique styles and local colors.　There are many roles in Chiu Chow Opera. In the Ming Dynasty, there were seven types of roles: Sheng, Dan, Paste, Outside, Clown, End and Pure. And there are different types for each of them. The saying goes, "Four Shengs, eight Dan, sixteen old brothers" to describe the standard of a full cast of actors. Four Sheng: Xiao Sheng, Lao Sheng, Hua (ugly) Sheng. Wusheng; eight Dan: Wushidan, Boudoudan, Color Luo Yi Dan, Wudan, Dagger and Horse Dan, Old Dan, Clown Dan (female clown). The term "old brother" refers to the various roles played in the opera.　From the point of view of performance, Teochew Opera has the most local characteristics in the roles of Sheng, Dan and Chou. Sheng Dan's play "Sweeping the Window" is regarded as a typical representative of Chinese opera that uses song and dance to act out the story; Teochew Opera's clowns are divided into ten categories, among which Xiangshirt Clown's fan work is famous in the north and south and is known to the world. In the old clown opera "Chai Fang Hui", the clown's sliding ladder work is unique to Teochew Opera, and enjoys a high reputation in the opera world. In the past, Teochew Opera has always practiced the system of child actor, in which the youngest actor, the youngest actor, the youngest actor, and the youngest actor were all performed by children, and these artists were eliminated when they grew up and their voices changed, which seriously hindered the development of the art of Teochew Opera. After the founding of New China, the child actor system was abolished and reforms were made in all aspects, training a large number of excellent actors and actresses, so that the ancient art of Teochew Opera took on a new luster. Famous actors and actresses of Teochew Opera include: Xie Damei, Lu Yinyu, Xie Yin, Yang Qiguo, Chen Hua, Huang Yudou, Hong Miao, Guo Shimei, Cai Jinkun, Li Youcun, Fang Zhanrong, Yao Xuanqiu, Fan Zehua, Wu Lijun, Zhang Changcheng, Huang Ruiying, Huang Shengdian, Ye Qingfa, Liu Xiaoli, Zhang Yiheng, Wu Yimin, Xu Xiaona, Zheng Shunying, Li Yulan, Wu Ling'er, Zheng Jianying, Sun Xiaohua, Wang Shaoyu, Lin Chufa, and Huang Yingwei, and so on. Singing The characteristics of Teochew Opera singing are mainly manifested in the tunes used for singing. Songs or couplet singing generally apply four kinds of tune that is [light three six tune], [heavy three six tune], [live three five tune], [anti-line tune], in addition to the [lock south branch] tune, [quail] tune, as well as the foul cavity foul tune.　The [Light Three-Six Tones] uses 61235 as the main tone to form the melody, which is suitable for expressing cheerful and jumping, relaxed and warm moods, such as [Crying Acacia] in "The Great Difficulty of Chen San".　[The melody is composed of 71245 as the dominant tone, and is used to express solemn, heavy, and agitated moods, such as [Yellow Dragon Rolling] in "Zao Ciong Men".]　[The melody is composed of 57124 main tones, which is good at expressing sadness and superiority of the emotions. [Live three five tune] for the special tone in the Teochew Opera singing, in the singing, its tone and Teochew accent is very close, due to the singing of the words voice up and down to produce the tone of the round and dynamic change, so artists say: "from the sheet music, [live three five tune] only five, but singing and playing, it is a sound of several rhymes, round and dynamic change more than ten sounds." It has the strong flavor of Chaoqiang tones, such as "Qionghua" of the [thunderbolt] and so on; [live three-five tones] is a sad tone, but Chao Opera singing with a variety of tones, there are sad tones of happy singing, such as the "capital will be" of the [Soap Luo Robe].　The [antiline tune] with 61245 as the main tone constitutes the melody, it is [light three six tune] variant of the tune, that is, where for the palace, sung with a special flavor, mostly used in the park to play, relaxing and bright scenes, such as "stabbing the Liang Ji" [Luohan month] and so on.　The foul cavity is often found in the Teochew Opera's singing style. Teochew opera singing tone is more careful, generally do not mix with each other, such as [light three six tone] to avoid 74 as the main tone, [heavy three six tone] to avoid 63 as the main tone, if mixing, it is a violation of each other. In the traditional drama "Yang Ziliang's Marriage Plea", the tune [Soul Stirring] is made up of [Light Three-Six Tones] [Heavy Three-Six Tones] [Live Three-Five Tones] [Inverted Tones], which is commonly known by artists as [Four-Dou Stinks], and it has a witty and amusing mood. The [Locked South Branch] tune and the [Fighting Quail] tune also belong to the offending tune, but their son and mother cavity sentences are more stable.　The [Quail] tune is mostly used for self-sighing or waiting for the late (waiting for the end of the people to arrive) scenes, with a bleak and sad mood. [The tune of "Locking the South Branch" is duller, but it is also used in exciting scenes.　Chiu Chow Opera sings in a real voice, mainly influenced by foreign imports in the Yiyang cavity, Kun cavity, and Beijing Opera, Cantonese Opera, etc. There is a big difference between the falsetto singing, singing and reading with the ancient score "two or four score", rich flavor. The singing style is a combination of quqi and banqi, which is mainly based on the combination of quqi and banqi, and still retains the form of one singer and many singers, two or three singers chorusing a song or the end of a song, with a unique style and strong expressive power.　In the Ming Dynasty, the voice of Chiu Chow opera was called "Chiu Chow" or "Chiu Chow tune". Now surviving Chao scripts, Ming Jiajing c c (1566) engraved "reprinted five-color Chaoquan inserted into the Poetry North Qu Qu hook Lai mirror record play", Wanli xinsi (1581) engraved "the new carving to add a full image of the township talk about Lychee record and Wanli years engraved "Replacement of extracted Jin Chao tune Golden Flower Women Daquan" (with the "Su Liu Niang"), and so on. Wanli xinsi carved book "lychee record", signed "Chao Li Dong Yue compilation", sung in chaoqiao is the same story with the Jiajing carved book "ly mirror record" of the same story content of different performances of the book. The Jiajing version of "Lai Jing Ji", labeled with the words "Chiu Chiu" or "Quan Chiu" under the name of the song, is a script common to the two voices of the opera. This is not the only script that is common to both voices. Shunzhi Xinmao of the Qing dynasty publication of the "new publication of the spring dynasty elegant tune Chen Boqing Lychee record of the book", but also the tide, the spring of the two voices of the common book, reflecting the tide of Chaozhou opera and the southern Fujian pear play two ancient theater in the development of some of the relationship between the two historical development.