Where Cantonese Opera Originated

Cantonese Opera originated in Foshan.

Yueju Opera (Cantonese-Opera), also known as Guangfu Opera and Guangdong Opera, is the largest type of opera in the Cantonese-speaking areas of Guangdong and Guangxi. It originated in Foshan and is sung in the Cantonese dialect. It is one of the traditional operas of the Han Chinese people and a masterpiece of intangible cultural heritage of mankind. Formed in Guangdong, Cantonese opera was later introduced to Guangxi, Hong Kong, Macao and Taiwan, and is performed in Southeast Asia and the Americas wherever there are overseas Chinese living.

Yueju Opera originated from the Southern Opera, which was formed on the basis of the Haiyan, Yiyang, Kunshan, and Bangkang operas that flowed into Guangdong during the Ming and Qing Dynasties, and absorbed the folk music of the Pearl River Delta. During the reigns of Xianfeng and Daoguang in the Qing Dynasty, the local class in Guangdong used the "bang chung" (xi pi, er chung) as the basic tune in their performances, and also included gao chung, kun chung, and Guangdong folk music and seasonal tunes, and used the "official language of the opera house" as the basic language, mixed with Cantonese dialect, which gradually formed the Yueju opera.

The Cantonese Opera was gradually formed.

Characteristics of Cantonese Opera

Cantonese Opera is characterized by easy-to-understand lyrics, musical interludes of folk songs and ditties in the "bang-reed" style, and a change in singing style from "falsetto" to "flat-throat". The singing style was changed from "false voice" to "flat throat" (true voice), and after repeated practice, all the songs were sung in the Guangzhou dialect. In the rural areas, the "Overhill Class" retains the rough and simple characteristics of the early days, and many famous performers have masterpieces such as the one-legged, somersaulting, hair-flinging and bearded stance.

The wushu is based on the "Southern School of Martial Arts," which consists of strong, stiff-necked targets, hand-raising, Shaolin boxing, and difficult chair and high-table feats. After the characters appeared on the stage, the male often "small jump" female more "waist" performance, is also quite rare. The style of stage art is almost literalistic. The sets are simple, and the play is contextualized.

Mainly relying on the virtual performance program to show that the program can not be shown, the sign written on the "river", "high mountains" and other text description. In the city performances, the "Provincial and Hong Kong Daban" absorbed some of the artistic nutrients from drama, opera and movies, and improved its performances by reflecting contemporary life and making them more life-like.

Headdresses of Cantonese Opera

The hair accessories of Cantonese Opera are mainly characterized by pieces, headgear, chignons and ornaments, and there is a systematic way of putting on pieces, headgear and headdress ornaments. Different types of headgear, buns, braids and hair bundles also have their own characteristics, usage, production methods, wearing and maintenance tools.

Basically, all flower girls need headdresses, of which the katazome is a must. There are many different types of headdresses, each using different materials. Princesses and princesses wear headdresses also have a phoenix and phoenix crown points. To put on the piece requires special tools, basic techniques and skills, and the use of the piece to improve the shape of the face and make the piece firm face skills.

In fact, male characters also have headgear to wear, but not much, such as the Prince Helmet and so on. In "Dream of the Red Chamber", Jia Baoyu and Cao Zijian in "The God of Love" wore the Prince's Helmet. According to "Pear Garden: Cantonese Opera Wen Wu Sheng Luo Jiaying", the Prince's Helmet, also known as the "Purple Gold Crown", was worn by the Prince or young generals. The top of the crown for the cloud dragon swallowed the pearl pattern, plus a large red ball tassel, inserted pheasant tail is the main general of the army.