Peking Opera Proverbs

Peking Opera Proverbs

The national essence is the most representative of a country's traditional culture, the most representative of the "connotation of the unique" and enduring cultural heritage. The following is the Peking Opera proverbs I brought you, welcome to enjoy and learn.

1, opera proverbs: a gongs and drums half of the play

gongs and drums is the skeleton of the musical language of opera, is the lifeblood of the art of opera performances, is to assist in the performance, enhance the expressive power of one of the most favorable means. Without the accompaniment of gongs and drums, an actor's performance is as dull as a mute. On the contrary, it will enhance the strength and weight of the character's movements, making them exaggerated and distinctive, and glamorous.

In the stage performance, the accompaniment of gongs and drums has the following roles:

First, rendering feelings. It is the rhythm of the character's life in the prescribed scenario, and the rhythm of his inner feelings, which are strongly conveyed. Such as the "empty city plan" Zhuge Liang reads: "...... this western city soldiers and generals, are all deployed by the old man outside, Sima Yi soldiers under the city, do you want me to be captured with folded hands? This hands are captured. This this this ...... "This time the gongs and drums play" chaotic hammer "points, Zhuge Liang at this time thinking, anxious, chaotic emotions and actions clearly emphasized.

Second, strengthen the performance of exaggeration, concentration, with the action to create an atmosphere.

Third, imply the environment, simulate the effect. Such as the performance of late at night in the quiet environment, the light hit the drum; the performance of the sound of the water on the light hit the gong, cymbals; with a small gong played out the door ring sound, the sound of the arrows, etc., so that the effect is realistic, the mood is deep, to achieve a convincing artistic reality.

Fourth, strengthen the rhythm of the performance, complete the action dance and dance music, rhythm. For example, the programmed actions such as "starting", "tripping" and "walking" are made up of different sets of actions, and in order to achieve rhythmic variation and make the dance musical, it is necessary to use a series of different gongs and drums to make the dance more musical. In order to achieve a variety of rhythms and to make the dance musical, a series of different gongs and drums are used together. For example, in the "Starting", the "Four Strikes", "Long Point" and "Punching Head" are used, "Tear the edge of a hit", "return to the position" and other points. From the above four points, we can see that the accompaniment of opera gongs and drums is very important for the performance of actors. It can be said that "a drum and gong is half a theater".

2, opera proverbs: heaven and earth big stage, stage small world

Any art is a reflection of real life. Without objective existence, there is no subjective reflection. "...... Human productive activity is the most basic practical activity, the thing that determines all other activities." Everything presented on the stage cannot leave the outside world, and must take objective life as the source of artistic reflection. The reality of stage art is determined by the reality of society as well as the reality of life. "For we recognize that in the total historical development it is what is material, which determines what is spiritual, and it is the existence of society which determines the consciousness of society ......." When the reality of life, created as the reality of art, becomes an art form and emerges as an ideology, it reverses itself to influence life and contribute to its development. In this sense, it is possible to compare "heaven and earth" (i.e., society) to the "big stage" of a play, and at the same time to compare the "stage" to the "small world" (i.e., society). "

The world is a small world (i.e., a microcosm of society).

In the Tongzhi and Guangxu years of the Qing Dynasty, the stage of the Beijing Guanghe Lou on the left and right hold columns, there is a black background, gold lettering of the woodcut couplets, on the image of the stage art and the relationship between real life. The first couplet is: learn from the emperor and ministers, learn from the father and son, learn from couples, learn from friends, remit thousands of loyalty, filial piety and righteousness, heavy performances, roaming the road to the theater; the second couplet is: or rich and noble, or poor and lowly, or happy, or sad, will be a moment of separation of sadness and joy, look at it carefully, the tube called the surprise. This clearly tells people that everything reflected on the stage, are things in life, are the product of the political, economic and spiritual life of the people through the ages. It is only expressed in the form of art.

3, opera proverbs: words three times as light as water, the action of three times do not feel the beauty

A series of artistic means of expression of Chinese opera (singing, reciting, doing, playing; hand, eye, body, step, etc.) is a combination of the true and the beauty of the product. Used in practice, attention should be paid to its beautiful, perfect, pure and accurate characteristics. For example, a body movement can sometimes enable an actor to persuasively express a concept, so that the body movement can become a substitute for speech. Sometimes a sentence of singing, a look, a debut ...... used appropriately, can be for the stage character of the beautiful character painted on the rich and strong colors, and at the same time these different means of expression, like a pearl shining with brilliance, loved by the audience.

Chinese opera has a high degree of artistic skill in the form of expression, precise, concise, generalized, exaggerated, and rich in powerful expressive power. Any form of expression, in addition to giving a high degree of beauty, at the same time to be very vivid expression of the mood of the characters, especially to enable specific characters in a particular scenario to show special psychological activities.

"Do not see the number of jealousy, superimposed see boredom", the actor in the use of many artistic means, to make people not find a form of expression is to stray from the characters outside the thoughts and feelings, and specialize in winning applause for the skill show off. For example, the body movement, not to move their own, a move can make people get a very strong, very deep impression, to make the theater thousands of viewers can see and feel the role of the meticulous mental activity, which requires the actor to mobilize the artistic means to shape the image of the stage, to be concise, apt.

Artists often say "words three times as light as water, action three times do not feel the beauty", and then the beauty of the performance program, the actor if the aimless show. The audience will also hate boredom. At the same time will be due to the form of expression is not refined, and weakened its own expressive power (to explain is that the Chinese opera program action has symmetry, repetition of the characteristics of the old form of performance by the audience on three sides of the decision is to allow the audience to see, which is different from this article mentioned in the show, indiscriminate use of different, should be done to make a different argument).

The artist said, "the performance of the law, the most avoid abusive", the actor in the use of artistic means of delineation, performance of the character, not when the do, when the do not do, the do not do enough, the do not do enough, the do less but do more, have done ...... all these kinds are called All these are called abusive practices. Whether it is singing, reading, doing, playing, more than pontificating bloat, less than jerry-built, over the loss of real flavor, to do not much, not less, however, is considered just right.

4, opera proverb: put out the fire

In the past, the rules of the opera troupe, to no written text, but the actors should be responsible for the duties and a variety of prohibitions and so on are extremely strict, so the troupe of people are by the only rigorous. The rules of the troupe will be attacked by a group of people, and it will not be easy for them to join the troupe again. Heavy dismissed from the pear orchard, never reappointed. Many of the class rules, in addition to a few superstitious colors or too cumbersome, most of which should still be inherited and carried forward. "Save the scene as fire" is a good class rules.

Opera is a comprehensive art, strong collective. Before or during the performance, some accidents are inevitable. Such as actors did not arrive, injury, illness and other accidents. At this time, the other actors and actresses concerned to obey the allocation, temporary replacement (called drill pot), the performance process (or near the beginning of the performance before) the sudden appearance of the accident, as serious as fire, urgent, and therefore also requires actors as fire as obliged to, defiantly, throw away the individual's selfishness, from the overall situation, to maintain the integrity of the art. Over the years, this has become a moral requirement for opera actors.

It is said that once "Fu Liancheng" society in the Guangde Building performance of the "Three Doubts", acting maid Cuihua actor Li Lianzhen missed the scene did not arrive, Mr. Xiao Changhua is anxious, coincidentally, Yu Lianquan (Shiao Cuihua) to go to the Guangde Building to find an old classmate Liu Lianxiang, so Liu recommended to Xiao Changhua, Yu Lianquan on the spot understudy the success of the performance, was found by Ye Chunshan great appreciation, Yu Lianquan in 1912, the first time in a year, the first time in the world, he was a good friend. In 1912, Yu Lianquan's troupe "Ming Shenghe" was disbanded, and Yu was admitted into the "Fu Liancheng" troupe. Mr. Xiao Changhua and Mr. Ye Chunshan gave him the name "Cuihua", based on the character he had played when he first saved the troupe, and then gave him the title "Cuihua". -Mr. Xiao Changhua and Mr. Ye Chunshan gave Yu the stage name "Shiao Cuihua" based on the character he had played during the rescue. That was in 1913.

5, opera proverbs: a day does not practice slow hands and feet, two days do not practice half lost

The basic skills are the key to open the treasury of performing arts, Chinese opera has always emphasized the basic skills. The exercise, known as the "bottom of the child", "young work". To become an excellent opera singer, the conditions are manifold. In addition to continuous practice through the stage art to get exercise and improve, another important link that is to be uninterrupted, hard work in the practice of basic skills, to build a good solid foundation of basic skills. It is often said that "a few minutes on the stage, a thousand days of work off the stage", "Kung Fu to practice, 360 days a year", "usually practiced, when in a hurry, usually loose, when in a hurry, when in a hurry, when in a poor", often a Often the success of a work of art, not only is its ideological content correct and plot twists and turns moving, and performing artists popular artistic techniques and showmanship will often make the work of thought, the characters y imprinted in the hearts of the audience. These artistic skills are obtained from the basis of deep and solid basic skills, "basic skills is the key to open the performing arts.

Everything has its objective laws, and so do the basic skills. Just as Xunzi wrote in the book "Exhortation to Learning", "You can't make a thousand miles without short steps. If you don't accumulate small streams, you can't make a river or an ocean. A piebald steed cannot take ten steps, and an incompetent horse cannot make ten steps." The practice of basic skills cannot be envisioned to yield immediate results overnight, but should be developed from shallow to deep, from simple to complex. To "fist does not leave the hand, the song does not leave the mouth", "winter practice three nines, summer practice three volts" for uninterrupted hard practice, long for the work, step by step. Can't be a storm. At the same time, they must also make their own practiced kung fu to play its due role, it into a living art performance skills.

It is often said that "one day do not practice their own know, two days do not practice the neighborhood know, three days do not practice the audience know", "every other day do not sing the mouth is born, three days do not practice the hand is born", "on the stage to listen to the good look, off-stage a thousand times a million times! "," Idle time put down when in a hurry to use, when in a hurry to catch no matter how to use "and so on proverbs are referred to this.

Ulanova once said: "Dance is an art that requires endless, never relenting hard labor." This is what the artists say, "always sing and sound, always read and clear in the mouth, always do the God-shaped accurate, always practicing the body spirit". Ulanova adds, "At the beginning of my dancing career, technique occupied my main attention, the vast majority of my time and energy." "It is only when the performer has mastered the technique of the dance - from the unquestionable rhythmic and stylistic beauty to the ability to achieve the harmony of the dance, that is to say, the continuity and natural articulation of the movements and the water-like transformations - that the dance can express great emotions. Only then can the dance express great feelings, can the dance be generalized and poetic."

6. Opera proverb: Art is not light

"Art is not light" includes two aspects. A first, the actor on the stage do not in order to please the audience, simply the pursuit of theater effects, and easily show off technical skills, destroying the integrity of the art. Such as some actors on the stage regardless of the needs of the plot, the feelings of the characters, a playful, "sprinkle dog blood", until the audience called "good" until.

Furthermore, actors are cautioned to master the various technical skills of the art of opera, so that they can raise their hands and throw their feet accurately, sing, read, do, and fight as they wish. Such as the famous martial arts Liang Huichao, has the age of old age, can still perform the dance difficult "Sanjiang Yuehu City" the whole play four or five times the gun flower under the field, have done a stable, accurate, ruthless, crisp, fast, rate, clean. Really reached the "art is not light hair" requirements.

Not practiced to home technology, can not easily get on the stage to make. To do the above two points, the actor must have a serious attitude of creation, and at the same time to constantly strengthen the artistic cultivation, hard work.

7, opera proverbs: rather wear broken, not wear the wrong

The characters in the opera, there are fixed costumes. Wear what clothing, are based on the character's age, identity, character, status, civil and military official position. Such as the opera emperor and generals, civil and military officials to wear the dragon robe (known as python), embroidered with two kinds of graphics - "group of dragons", "line of dragons". General civil officials should wear "regiment dragon" python, military officials should wear "line dragon" python, there is a "cultural group of martial arts line" said; python embroidered on the weaving of the dragon claw is also different from the identity of the characters in the play The. In addition to the emperor sitting on the dragon should wear five paws python robe, other characters can only wear four paws python robe. Another example is that the play stipulates that characters of high status and grandeur should wear a red python, like Liu Bei in "Yellow Crane Tower" and "Ganlu Temple", and Cao Cao in "Cursing Cao with Drums" and "Yangping Pass". However, when Liu Bei cries and sings, "The king also wears a white silk jacket," he should take off the red python and replace it with a white one. In addition, has been wearing a black python of Bao Zheng, acting "guillotine judge" under the Yin Cao a scene, you have to change to wear a white python, said the yin and yang reversed.

There are also, the play provides for the mighty characters to wear green python. For example, Lu Deng in "Lu'anzhou", Wu Han in "Chopping Jingtang", and Guan Sheng in "Daxing Liangshan". However, Yang Bo and Lu Bing in "The Second Palace" and "The Head of the Trial" should also wear green python, why? It is because Yang is the Minister of War, Lu sat in the hall of the Jinyiwei, the position is in the text with the sake of the military.

The stage can not sell broad. Clothing worn some of the okay, never figure new, gorgeous, regardless of the identity of the characters and away from the "spectrum". Actors should comply with the "rather wear broken, not wear the wrong" art trick, the wear python can not wear official clothes, the wear vegetarian can not wear flowers. If you wear the wrong one, it will destroy the plot and characters.

The famous Peking Opera actor Zheng Faxiang, in the past in Shanghai Qitian stage acting even "Journey to the West", once the capitalist Huang Chujiu in order to recruit the audience with gorgeous line, bought a brand-new Sun Wukong clothing, because it does not meet the characters played, Zheng a piece of wear, rather than wear the old one; performing artist Gai called the sky after becoming famous, famous in the North and the South, but acting the role of Wu Sung, still wearing an old green folds, Clothes and pants, always from the specific character of Wu Sung, never show off the actor himself. This kind of character from the beginning, loyal to the art. The spirit of artistic responsibility is exemplary.

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