The characteristics of the singing voice of Qiu School Peking Opera

Qiu School Peking Opera singing characteristics

Peking Opera is the essence of Chinese opera art, but also the essence of Chinese national art. It is on the basis of China's ancient national culture, constantly synthesized, melted, enriched, improved, formed a broad and profound art system, is honored as the "national essence". Here is what I shared with Qiu Pai Peking Opera singing characteristics, let's take a look together.

First, the achievements of the Qiu Pai stage art from a wide range of strengths

We learn the art, usually in several ways: on the one hand, including the inheritance and transformation of the predecessor; on the one hand, the results of others to learn from and assimilate; on the one hand, including the life of the art of the search for the answer and the true meaning of the flavor of the Peking Opera! "Samadhi". Mr. Qiu in the study of Peking Opera stage performance art, but also from these aspects of a lot of effort.

Mr. Qiu had acted for Jin Shaoshan in the rack flower face, two-way flower face, etc., and often peeped at Mr. Zhou Xinfang's Qi-Pai Lao Sheng play with Yuan Shihai and others, not only seeking a wide range of paths suitable for their own conditions, but also comprehending by heart the successes of the various styles of performance. He learned to learn the bronze hammer by acting in the frame, and by wandering around Shanghai and other places, doing the bottom bag, as a supporting role, the road is wider; it is through the analysis of the singing style of the Ki school, and realized that the stage performance to "catch" people, it is necessary to make this soup to make the characteristics of the flavor, to make the attractive flavor, it must be sung from the performance of the strength; from the design of the action to reflect the angles; in the psychological activities of the characters, to make the character's psychological activities. In the portrayal of the psychological activities of the characters according to the plot and the psychological activities of the characters, to show the rich feelings, to form the ups and downs, to have a strong sense of rhythm, can not make people feel that the whole is a bowl of white water without flavor. Therefore, the creation of the Qiu School, Mr. Qiu's father and son absorbed the singing skills of the Jin School and Hao, Hou and other schools of performing arts, fusion of other categories of performance techniques, and develop their own characteristics, and ultimately formed a bronze hammer and frame flower face into one style. From this, we can also feel that the stage characters of the God and the inner, gas and the inner, and even every action, are regulated; the spirit of the actor lies in the inner collision with the stage characters, into a strong infectious force. At this point, we feel that the establishment of the aesthetic consciousness of the art of Qiu Pai, in fact, has gone through a process of collecting the best of the best. Through a wide range of collection, the level of art will have great progress.

Mr. Qiu's - a move, his good intentions, to tell us in action, in the use of the voice to have a scientific method, in the line of the cavity to have a sense of rhythm, in the feelings of relaxation and soothing performance, in the performance of the action to transport the foot to the spot, in the character portrayal of the vivid and evocative. Not to emphasize how noble and elegant, but to reflect the artistic reality.

The second, superb artistic skills laid the Qiu school vocal singing solid power

Mr. Qiu's superb art of eye **** witnessed, so the world admired to the five body. I feel that the main can be reflected from the following four aspects:

1. In the vocalization, highlighting the "*** sound"

Peking Opera Qiu School flower face in the singing of the vocalization, mainly in the head cavity *** sound for the tone, to the pharyngeal cavity *** sound for the middle voice, to the chest cavity *** sound for the low tone. Listening to the teachers, in the 1940s and 1950s, Mr. Qiu sang on the stage of the tone [Erhuang] is mostly "the Palace tone" or "six half of the tone", high pitch strong, broad, we love to listen to, especially taste.

Mr. Qiu is based on his personal voice conditions, through constant hard work, small breaks in the stage practice, his head cavity and pharyngeal cavity, chest cavity *** sound position, clever communication together. Singing voice, has been through to the top of the head, unobstructed. That is, as we often say, "gas sinking Dantian, sound through the top of the head". The entire vocal part is relatively high, even when singing the bass area or low-tone door, he also used the "bass singing" method can drag the breath, sharp, strong, high and majestic, but also mobilize the audience's emotional excitement, the singing to the climax.

2. In the spitting, reflecting the "rhyme"

Early Hui tune and Han tune synthesis, evolved into the Beijing Pihuang opera, to the end of the Qing Dynasty, renamed Beijing opera. Mr. Qiu Guixian, during the period of change of voice, once changed the behavior of Tan Xinpei, Yu Shuyan and other masters of the generation of the voice, manipulation of the qin, the Yu faction of the old man in the singing about the lake factory sound, Zhongzhou rhyme based on the spitting words, cavity, etc., combined with their own conditions to improve and enhance the original Peking Opera hammered Hua-face to the Beijing word, Beijing tone based on the voice and tone but not the heavy rhythm of the tendency to sing. He pays attention to the play of voice and singing, and also pays attention to the coordination and coherence of singing and spitting. What's more, when spitting words, he appropriately used some words and rhymes of Hukuang tone and Zhongzhou rhyme to decorate a whole set of singing of copper-hammered flower-face opera. After his voice was restored, these new cadences were used on the stage, bringing a refreshing effect. For example, in the record of Bai Liang Guan, which was produced by Mr. Qiu Guixian and Hao Shoushen, Qiu sang as Yuchigong in the scene of "Recognizing a Son in Liu Lin", "The doll mentioned Mei Xiuying, remembering what happened back in the day...". ..." [Erhuang Scatterboard] and "Bailianguan to kill Liu Guozhen", etc., you can clearly hear that Qiu senior is drawing on the use of Huguang tone, Zhongzhou rhyme spit and carry the cavity of the singing method, appearing to be clear, mellow, solemn and generous, and infectious! The song has a strong influence.

3. In the cavity, pay attention to the "gas sound"

The singing art of the Qiu School, mastering the "rhyme" fire is very important. In order to Hubei and Guangzhou sound and Zhongzhou rhyme into the voice, people feel gentle and melodious, but over the word is soft, not only is it difficult to set off the complex feelings of the characters, but also the masculinity, masculinity of the beauty of the loss of the whole.

Mr. Qiu in the word on the spit is indeed profound, to achieve the word clear, resonant, pleasant to the ear, touching the mood of the lungs. This is mainly because he has laid a solid foundation in the "five sounds", "four calls" and in the use of the three levels of rhyme. The combination of singing and controlling the mouth shape aspect of each word is just right and seamless.

Mr. Qiu is quite meticulous in his use of pentatonic, si hu and tertiary rhymes. For example, he sang "Cuckoo Mountain" in the [ Han tune fast three eyes ] sung lines, "he is a good party member" of the "member" word, the cavity when he first sang the head of the "appeal", the word abdominal release sound with "An" to rhyme, and finally the end of the word with "hmm" sound. In this way, the whole "member" word clearly sent to the listener's ears, listen to the word is round, neither bite the sound of chewing the word, the word bites the dead, but also do not eat the word, run the word go sound. This excellent treatment is breathtaking.

In addition, I think that Mr. Qiu's arrangement of the "Dragon Court alone" section of Choshi is also quite distinctive. It is much more angular than the traditional cantata, and it seems to be very strong and powerful, and it expresses very well the joy of Choshi when he is about to meet the king. It does give a sense of evocative memory.

4. In terms of the flavor, it shows the "flavor"

The so-called "flavor" is the "flavor" of the character itself. That is to say, you in the process of fishing the role of the character, with the help of the skills of the Runnymede, portraying the character of the character, showing the character's happiness and sadness, showing the character of the character is bold and rugged, or soft and delicate.

Another is to say that the expression of "flavor" should have "degree". This is like we stew meat fried sugar color, put the sugar into the frying pan, sugar heat began to melt and change color. If this fire is not mastered well, put the meat early, sticky not 1: color, put the meat late, sugar color becomes old, not only heavy color, and the taste becomes bitter. How good a pot of meat, stewed out also difficult to swallow. The "degree" itself can also reflect the "flavor". Therefore, moist cavity or singing, if this "degree" is not mastered, the end will be like stewed meat - the same.

For example, "Chisang Town" "in the long pavilion under the copper guillotine death" of the word "body", Mr. Qiu in the singing, issued a one by one short bumps in the sound, so that the audience heard a shaking upside down "body" word, sharp edges and corners, and the audience heard the "body" word.

When Mr. Qiu sings on stage, he often uses the "tiger sound" to emphasize the last word of the sentence, so as to highlight the text of the sentence and properly express the character.

Mr. Qiu Run cavity skills, features more prominent. Master Fang Rongxiang, pincers Yunhong once said to me: "you Qiu master operating the use of several kinds of strength to run the cavity skills of the singing method he himself also used some specialized terms to describe this." For example: "throw" singing. Throw the word sound like throwing things out in other words, it is necessary to spit out the word true, but not overemphasize the word; this "throw" sing a single word of the beauty, is to make the word sound deep and powerful, singing cavity full and thick.

There are also through different ways, or to make the line of distinctive flavor, extraordinary; or to make the singing of the sentence out of the strong and weak, appearing to be the ups and downs, the flavor of the sound; or have a sense of staccato, to express the character of a particular ideological feelings, and so on.

Three, the constant pursuit of art interpretation of the true meaning of artistic sublimation

Mr. Qiu Shengrong, is indeed worthy of the name net generation master. Through his relentless pursuit of art, he has left a valuable treasure for future generations. Mr. Qiu's stage singing career, continuous innovation and reform, and achieved one success after another.

1. He made bold reforms to the pointed doughnut Yu and the upper mouth character.

Mr. Qiu's singing, reading when there is a sharp word, he put the word lightly bite, so that not only distinguish the sharp group, but also not too much to highlight, always take care of the whole word sound to reach the beautiful boundaries. This method of spitting out words is the result of Mr. Qiu's many years of study. When two pointed words are connected in singing and reading, if the actors sing and read the words strictly according to the pointed words, the phenomenon of dry and dull sound will easily occur. When Mr. Qiu encounters such a situation, he often bites the first pointed word lightly, or even sings it directly as a group word. For example, in "Stealing the Imperial Horse", the handling of the word "wine" in "Setting up a banquet in the Gathering Hall" sounds clear and pleasing to the ear. Chisang Town" "hate Pao Mian first for the official corruption on" the word "first", according to the traditional singing method should be read as "coarse" sound, but Mr. Qiu boldly breakthrough, the Mr. Qiu made a bold breakthrough by reading the word "Chor" as the sound of "Eat Ri'er".

The breakthrough of the word "mouth", he often according to the needs of the plot or singing to deal with the flexibility of some of the word "mouth" he boldly changed to not mouth singing. For example, in "Dabao Guo", "shouting at the noon gate, I ¨ dry tongue rust" [Erhuang shaking board], "shouting" word, the traditional singing method should be the mouth word read as "obvious'' sound, but Mr. Qiu directly sang the word. Mr. Qiu sings the word "shout" directly. When he plays Huang Gai in "A Meeting of Heroes", he reads the line "Now there are Cai Mao and Zhang Yun in the north of the river ......", in which the word "Mao" should be pronounced as "Mo" in the traditional way, but Mr. Qiu sings the word "shout" directly. The word "turtle" is traditionally pronounced as "mo", but he pronounces it directly as "turtle", which is more convenient for contemporary young people to learn to sing.

Another example: "General Xiang Xiang He" Lian Po sang "Lin Xiang Ru small children have what talent" of the "such as", "children" two words, "lock five dragons" Shan Xiong Xin sang "I don't see Shubao Liang material" of the "uncle" and so on, have broken the traditional reading of these words, listen to the popular and easy to understand.

But it is not just a change, but a flexible approach based on the development of the plot and the inner changes of the characters. For example, the word "如" in Choshi (铫期), "老臣我年老如霜降", was flexibly dealt with, and the word "如" was padded with the dummy character "喏呃", which sounds like the word "" in the traditional reading of the word "铫", but it was not changed at all. The word "choshi" is flexibly handled and followed by the imaginary character "喏呃", which sounds calm and strong and suits the identity of Choshi in the play. This bold breakthrough in the traditional pattern is a great inspiration to our future generations.

2. There is also something unique about the use of breath and chi.

The art of singing in Qiu Pai pays special attention to the use of breath and air.

Mr. Pincer Yunhong said to me, "Your master usually talks about the relationship between the breath and the sound when singing, and he wryly compared it to: 'A boiler with water in it, if the water boils, the breath will be concentrated upwards, and it will be able to blow the siren installed on the top side of the boiler. However, if there is a problem with the upper side of the furnace, or if there is a problem with the whistle itself, the sound will not be crisp and clear. The sound will not be crisp and clear. On the other hand, the boiler and the whistle are not defective, but the water is not boiled, the gas top is not benevolent to come, the whistle is also not able to make a clear sound." From this matter, we can see, Mr. Qiu all the time in thinking about art, touch the class, from life to explore the true meaning of art.

Mr. Qiu's singing, whether it is a high tone, or a broad tone of the drag cavity; whether it is up to dozens of words of a pallet of words, or the number of words in each sentence, but the rhythm is very tight sentence, he sang never give a person the feeling of laborious effort. This is due to his voice talent and vocal method, but more importantly, it is due to his ability to utilize his breath. Mr. Dantian gas, which can naturally produce Dantian *** sound tone, sound through the top of the head, so that it becomes the driving force of the voice. Such as "two into the palace" "to explore the mausoleum to Zhaoyang" in the "Yang" word drag cavity, he is to use the dantian gas "Yang" word after half the word sound catalyzed, so that the whole singing voice high and powerful.

Mr. Qiu to maintain the integrity of the singing sentence and avoid the sound of air change, he gradually groped in the singing to create a "silent breathing method", with stealing air, air change, deep inhalation, etc., to regulate the breath, so that the singing sentence sound breaks the meaning of the continuous, giving a person a sense of consistency and fluency. For example, after the line of the word "heart" in "Stealing the Royal Horse", "I'll talk about my heart with all the sages", he sang the line of the word "heart" after a slight change of breath here. Although there is an obvious air gap in the middle of the line, the whole phrase does not seem to be fragmented, and Mr. Qiu's work with the air gap in his later years appears to be particularly outstanding. His use of proper and abundant breathing makes his voice smooth and his words round. This kind of skillful qimen kung fu is really admirable.

3. On the basis of inheriting the traditional singing style, greatly enrich the original singing style.

Mr. Qiu can be described as a master of characterization, using the "heart" to shape the role: he is in the character of the figure, in the character portrayal, good use of special techniques, performance of different character images, movements and emotions. This is the most basic starting point of Mr. Qiu's innovative art.

Mr. Qiu's understanding is extremely high, and his singing technique can be said to be the peak, with profound singing power. Each section of the singing voice has its own head, so it can be said that it is carved in detail. Mr. Qiu uses his singing technique and singing power to perform the characters and express his feelings. The same traditional singing from Mr. Qiu's mouth will become "another flavor", which makes people feel that the rhythm is infinite and refreshing. Any old opera, even the traditional old opera, many times, Mr. Qiu is always on the character of the character's personality, age, identity, etc., for careful speculation, how to use the voice to express the thoughts and feelings of the character, with action, body to the character to reproduce the living out of it. Mr. Qiu has created some new voices, which have added the "soft" side of low and gentle, such as "Generals and Ministers" and "Getting Rid of the Three Pests". In Orphan of Zhao, he absorbed the Han tune singing of the traditional play Seven Captures of Meng, and created [Erhuang in Han tune], which is even more popular. Mr. Qiu's roles as Bao Zheng, Wei Jiang, Choshi, Dou Er Dun, and Shan Xiong Xin all have distinctive personalities. Therefore, in Mr. Qiu's body, we can often experience a "bone flavor".

"Bone flavor" is the strength, strength from the young work, reflecting a person's cultivation, strength, can show how much sweat you pay; for the character of the external and internal performance, it is through the actor "variables" of the Long-term accumulation, practice makes perfect. Shape the image of the character, in the sleeves and feet between the performance of the psychological activities of the character, in the singing of the character's thoughts and feelings, all need to pay hard work, the theater singers to understand, get familiar with the sentence. Without the processing of the characters, it is impossible to express the characters well, and it is not possible to succeed, it is not possible to truly interpret the true meaning of art.

Four, playing the strong voice of the times for future generations to show a broader freedom of development space

Beijing opera Qiu Pai art to our descendants left a very valuable treasure. I think, we can also learn from it, understand some of the truth.

1. Inherit, but more to develop, more to have the flavor of the times.

For the art of Qiu Pai, we must first inherit. Because this school of art, on its own, has experienced more than 60 years of refinement, can be said to be pure fire, the peak. However, the sea of art is endless, art is never-ending. Qiu school of art to inherit and develop, we must adapt to the development needs of the times, and the times of integration, coordinated development. It is impossible for the Qiu School to cease to develop, or to hold on to what is left of it and remain stagnant. If Mr. Qiu were alive, there would still be many innovations. We can understand this from Mr. Qiu's own artistic activities, as well as the process of the Qiu school of art.

2. To learn from others, but more importantly, to have their own characteristics.

The maturity of the art is in the continuous learning, continuous learning and continuous integration and innovation in the development. While carrying forward, learning without dying, learning and forming your own style of performance. This is not only the law of art, but also the need for the development of the times, it is not to denigrate the art, but to make the art in our continuous exploration, continuous accumulation of new vitality.

3. To learn on their own, but also have the obligation to teach others to learn.

The conditions for the existence of a school must have "horizontal flow" and "vertical flow". Not only do people of the same generation learn, but also those who follow and learn from masters. Qiu School not only has these two conditions, but also "ten net nine Qiu" pattern, will continue. Continuously pursuing the art of maturity, to promote the national essence of the Chinese people.

4. To perform well, but also to serve the people and society.

Mr. Qiu's character and virtues are admirable. Several of my mentors have also often taught me that acting well is first and foremost about being a good person. And with a good character, you will get more help, the people like you, you are on the social stage, you will be great. There will be more opportunities to dedicate your expertise, your skills, to the people, to the hot land that nurtures the arts. Dedication to the hot land, will inevitably be rewarded by the people's love.

As for me personally, I'm just a newcomer to the arts. In many ways, the understanding of the art of Peking Opera Qiu Pai is still very biased. However, I have the determination and confidence to devote myself to the art of Qiu Pai. Learning from my ancestors, learning from my teachers, learning from others, dedicating my whole life to the ideals and pursuits of art to the art of Peking Opera, inheriting the will of the masters, following the teacher's teachings, carrying forward the art of Qiu Pai, serving the people, popularizing and prospering socialist arts and culture, spilling my blood and composing a brilliant chapter of my life.

;