Contents of Peking Opera

The contents of Peking Opera include the following:

The stage art of Peking Opera, in all aspects of literature, performance, music, singing, gongs and drums, make-up and face painting, constitutes a set of metrical and standardized formulae that are mutually restrained and complementary through the long-term stage practice of countless artists.

It is very rich as an artistic means of creating a stage image, and its usage is very strict.

If you can't master these programs, you can't complete the creation of Peking Opera stage art.

Because the Peking Opera entered the court at the beginning of its formation, its development and growth differed from that of local theater.

It is required to show a wider field of life, to shape more types of characters, the comprehensiveness and completeness of its skills are also required to be more stringent, and the aesthetics of its creation of the stage image is also more demanding.

Of course, at the same time, it is also corresponding to its folk rustic flavor weakened, pure and simple, rough style features relatively thin.

As a result, its performing art tends to be more of a combination of real and imaginary expression, maximizing the limitations of the stage space and time, in order to achieve the "form to convey the spirit, the form and the spirit of the" artistic realm.

The performance requires delicate and delicate, everywhere into the drama; singing requires melodious and gentle, voice and emotion; martial arts theater is not to win the fiery and fierce, but to "martial arts theater singing" see good.

Expression

Peking Opera performance of the four artistic techniques: singing, reading, doing, playing, but also the four basic skills of Peking Opera performance.

Singing refers to singing, reading refers to musical recitation, the two complement each other, constituting one of the two major elements of song and dance Peking Opera performing art "song", do refers to the physical movements of dance, fight refers to the martial arts and the skills of tumbling, the two combined with each other, constituting one of the two major elements of song and dance Peking Opera performing art "dance". The two are combined to form one of the two main elements of the performing art of Peking Opera, the "dance".

Opera actors from a young age to be trained from these four aspects, although some actors are good at singing (singing Lao Sheng), some lines to do the work (Hua Dan) is the main, and some to the main martial arts (Wu Jing).

But every actor is required to have a good singing, reading, doing, fighting four basic skills.

Only in this way can the artistic characteristics of Peking Opera be fully realized.

Better performance and portrayal of the various characters in the play.

Peking Opera is a highly integrated art with singing, dancing, dialog, martial arts, and various symbolic movements.

Classification

In addition to the natural attributes of the characters (gender, age) and social attributes (status, occupation), the classification of Beijing Opera is mainly based on the character traits of the characters.

In the old days, there were seven lines and seven disciplines in the Beijing Opera community: seven lines, namely, the Sheng line, the Dan line (also known as the Cham line), the Jingsheng line, the Chou line, the miscellaneous line, the martial arts line, and the popular line.

Everything on the stage of Beijing opera is not in accordance with the original appearance of life.

The roles on the stage of Beijing Opera are not in accordance with the original appearance of life, but according to the gender, personality, age, occupation and social status of the role played in the make-up, clothing and a number of artistic exaggeration, so that the role of the stage is divided into four types: Sheng, Dan, Jingsheng, and Chou.

These four types of special terms in Beijing opera is called "line".

Sheng

In addition to the flower face and clowns, the male frontal role of the collective name, divided into the Lao Sheng (also divided into the singing of the An Gong Lao Sheng, heavy do the decline of the old school Lao Sheng, heavy martial arts rely on the Lao Sheng), Wu Sheng (divided into the long rely on the Wu Sheng, the short beat Wu Sheng and should be working on the Monkey's Opera), the small Sheng (divided into the fan Sheng, the Pheasant's Tail Sheng, the poor Sheng, the martial arts small Sheng), the Red Sheng, the dolls Sheng.

Dan

The female positive role of the collective name, divided into Qingyi (Dan), Hua Dan, the girl Dan, knife and horse Dan, Wu Dan, color Dan.

Pure

Commonly known as the flower face, most of them play the character, quality or appearance of some of the peculiarities of the male characters, make-up with the face, the tone of voice is loud, rough style.

"Pure" is mainly divided into two categories: Wen Jing and Wu Jing.

Wen Jing is also divided into positive net (heavy singing, known as the copper hammer flower face, black head), vice net (heavy frame performance, known as the frame flower face), Wu Jing divided into heavy handles of the frame of the Wu Hua, heavy wrestling and wrestling Wu Hua (also known as wrestling flower face), oil flower (a called Mao Jing).

Ugly

play comedy roles, because in the bridge of the nose to smear a small piece of white powder, commonly known as small flower face.

The clowns (square scarf clowns, robes and belts clowns, old clowns, glory clothes clowns, and also play the color Dan, mother-in-law), martial arts clowns (also known as the open-air jump) and so on.

Each line has a set of performance programs, and each has its own characteristics in singing, reading and playing skills.

Classification of singing voices

Beijing Opera is mainly divided into two categories: "Xipi" and "Erhuang".

Common repertoire, there is the "Four Lang Visiting Mother", Yang Yanhui sang "not open speech can not help but tears" is the old man's "Xipi guide", Princess Tiejing sang "couples sitting in the palace courtyard" is the Qingyi's "Xipi guide".

Xipi guide used to start a lot of singing, more commonly used.

Similarly, Yang Zongbao sang "Yang Zongbao on the horse to pass the order" is the Xipi guide, "Guillotine" in Bao Zheng sang "Bao Longtu sitting in Kaifeng House" is the net line of the Xipi guide, the "Dragon Robe" Chinese eunuchs sang In "The Dragon Robe", the Chinese Tai Tai sings "The Dragon Colt and the Phoenix Chariot Entering the Imperial City", which is the Xipi guide of the old Dan.

Although there are many different types of guide, the door is basically similar, as long as you are familiar with the door, you will know what the actor to sing the plate.

If there are too many guitars in the same opera, the piano player will accompany them with different floral guitars to avoid hearing fatigue.

Stuffed curtain guide and general guide singing is basically the same, but in the case of the actors did not go on the stage in the first behind the curtain to sing, such as the "xiaoyaojin" in Liu Xie (Emperor Xian of Han Dynasty) in the curtain there is a large part of the singing "fathers and sons in the palace courtyard sad tears," is stuffed curtain guide, sung before the characters came on the scene.

But this is a two-huang guide, not a sipi guide.

Pronunciation techniques

The real voice

It is also known as the big voice, the original voice.

One of the methods of pronunciation for Beijing opera singers.

When you sing, the gas comes out of the dantian, and the sound comes out directly through the laryngeal cavity***, which is called the true voice.

The sound emitted by the real voice is called the real voice.

If the dantian gas passes through the laryngeal cavity, the actor narrows the laryngeal cavity so that it produces a higher pitch than the real voice, then it is called the false voice.

The real voice and the fake voice are naturally articulated and do not show any traces, which makes the range of the voice wide and the high and low tones work freely.

In Peking Opera, the real voice is used in the singing of Sheng Xing (Lao Sheng, Wu Sheng, Hong Sheng), Jingsheng Xing (Jing Xing), Chou Xing (Chou Xing), and Laodan Xing (Lao Dan).

The younger generation sings with a fake voice, but the recitation is in a combination of real and fake voices.

False voice

It is also known as "small voice" or "two-book voice".

It is one of the methods of articulation used by Beijing opera singers.

It is relative to the real voice, the big voice and the original voice.

The sound produced by the false voice is called falsetto.

When the voice is produced, the laryngeal aperture is narrowed, the part is raised, and the airflow is thinned compared with the real voice.

The falsetto voice has a higher pitch than the real voice.

In Peking Opera, both Danjiao and Xiao Sheng use the fake voice, but their voices have different strengths.

Left voice

A term used in Beijing opera.

It mainly refers to an abnormal voice in male voice, which can be high but not low, and the other voice is just flat and not round enough, some of them are specialized in singing the high key of the Lao Sheng or Wu Sheng, that is, they sing with this voice.

The voice of the old man is purely left-voiced, and there is also the voice of the old man, which is slightly left-voiced.

In addition, the left voice is sometimes used as an alternative interpretation, meaning that the voice does not match the accompanying instruments, which is generally known as out of tune.

The voice of a singer

It is also known as the voice of a singer.

A method of practicing singing in Peking Opera, and one of the steps in the exercise of an actor's singing ability.

Every day, in addition to shouting and reciting, the actor must also use the huqin (or drums) to accompany the singing, and practice singing in the opera.

Some of them start with a general tune and then raise it appropriately.

The role of voice lifting:1.

By practicing singing loudly, the voice meets the requirements of singing on the stage, and because of the uninterrupted exercise, the voice can be increasingly loud and clear and mellow, full of energy, clear and strong articulation, and to maintain the ability of durability.

2.

Familiar with the accompaniment, a comprehensive understanding of the relationship between singing and accompaniment, *** with the size of the understanding of the meaning of the song, expression of the song, so that the singing and accompaniment with the water *** integration, and then reach a mutual understanding of the art, the coordination of the entire section of the performance style.

Shouting

Peking Opera actors and actresses practice their voices by shouting to exercise the various parts of the voice, and correctly send out the vowel of each rhyme.

Shouting is usually done early in the morning, in an open area, shouting out "唔", "伊", "啊", etc., and repeating the process from low to high, from high to low, etc.

When it is time to practice, you will have to repeat the process.

After the sound is released, then practice with the singing section.

Dantian sound

Also known as ringing the hall, Peking Opera vocal term.

When the actor sings, the lungs are full of gas, the abdomen is hard, and the gas seems to sound from the dantian (about three inches below the navel of the human body is called the dantian).

General traditional singing opera practice method, also believe that the dantian sound can be the most loud hall (that is, the sound sent far, hear clearly).

The clouds cover the moon

A term for the vocal music of Beijing opera.

This is a metaphor for the mellow and more subtle voice of the Lao Sheng.

This voice, which seems to be dry at the beginning, and then the more you sing, the more you feel loud and clear, making people feel that the flavor is mellow, and the potential is infinite, which is a beautiful sound quality formed by long-term exercise.

Tan Xinpei and Yu Shuyan's voices belong to this type.

Collapse in

Peking Opera vocal term.

Actors in the middle and old age, due to physiological relations, the phenomenon of loss of voice, completely unable to sing, called collapse in.

Some actors take care of their voices and keep their vowels unchanged in old age.

The actor who sings with a falsetto voice is more likely to collapse in old age.

The back of the head

A kind of voice in Beijing opera.

It is also known as the back voice.

General pronunciation, gas from the dantian out, through the laryngeal cavity **** sound, directly issued.

Although the same qi from the dantian, but pronunciation, the laryngeal cavity slightly compressed, open the back of the pharyngeal wall, raise the soft palate, the sound into the head cavity, and the nasal sound convergence, so that the sound meandering in the back of the head, through the head cavity **** sound, a kind of implicit and thick tone.

The back of the head sound pronunciation is strong and powerful, and can reach the distance, and close listening and do not feel its sharp.

Lao Sheng and Jiejiao singing, where the closed mouth tone (such as "one seven rut") of the high notes, more often with this singing method.

Dan singing with the back of the head less, Cheng (Yanqiu) school singing sometimes used.

A 荒腔

Also known as the yellow cavity, yellow tone or cool tone.

A term for the vocal music of Beijing opera.

Refers to the actor singing the song tone is not allowed, customarily refers to a slightly lower than the key of the tone.

Most of them are caused by the actor's innate physiological conditions, such as vocal cord variation, ear tone inaccuracy, etc.

Sometimes it is also due to the actor's innate physiological conditions.

Sometimes it is also due to poor vocal practice.

冒调

Peking Opera vocal term.

Refers to the actor singing slightly above the specified pitch.

Mostly due to innate physiological conditions.

Some are due to physiological conditions (such as vocal cords) temporary failure; sometimes also due to the practice of the voice is not caused.

Walking board

A term for the vocal music of Beijing opera.

Refers to the actor singing the song does not meet the prescribed beat.

Peking Opera singing in a board, a board, a board, a board, a running board, and other different board grooves, such as the cavity, such as departing from the provisions of the board, losing the beat of the inch, that is, so-called walking board.

Not in tune

A term for the vocal music of Beijing opera.

Refers to the actor singing the tune or high or low, not in the prescribed key.

It is also known as "out of tune".

Qiqou

One of the methods of singing in Beijing opera.

Refers to the way an actor inhales when singing a song.

Peking Opera singing of various lengths and rhythms of different speeds, the actor must master the accurate inhalation method, in order to sing calmly and beautifully.

The mouth of the air includes two kinds of air exchange and air stealing.

The change of breath refers to the inhalation between singing, stealing air is in the phrase if the intermittent inhalation without making the listener aware.

Breathlessness

One of the methods of singing in Beijing opera.

When you sing a long or high place, you must first inhale and be fully prepared.

The change of breath is not to stop and sing again or obviously a little pause and then sing, but in the moment of the cavity gulping words and sounds, to take advantage of the breathing, storage of air to be changed.

Where to change the air in the singing, varying from person to person, generally known as the mouth of the air.

Stealing air

One of the methods of singing in Beijing opera.

Refers to the change of air without trace, in the audience does not realize when stolen.

For example, in Catching and Discharging Cao, Chen Gong sang, "I can hardly go back to my horse", and after singing the first six words and the word "inside", he used the word "I" to draw inward and "steal" his breath.

Ga tune

In Peking Opera, when a word is sung with a prominent and elevated tone, it is known as Ga tune.

For example, Yang Yanhui sang the word "Fan" in the sentence "Standing at the palace gate and calling for Xiaofan" in "Visiting the Mother of the Four Langs", and Huang Zhong sang the word "Sweeping tomorrow's noon and three minutes into the work" in the sentence "Tian Tian" in "Tingjunshan". In "Dingjunshan", Huang Zhong sang "Sweeping tomorrow at three minutes past noon to make a great achievement", etc., all of which are called ga tunes.

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Long吭

Long (sound palm) is growth, 吭 is the common name for the voice, here refers to the volume.

Long utterance is like increasing the volume.

Smashing rammer

A metaphor for an actor singing like a rammer, with a pejorative connotation.

The actor is not good at mastering the singing method, using too much gas, or making brute force, singing (mostly in the final note) appears awkward accent, called smashing ram.

Classification of plate

The plate of Beijing opera refers to: the singing of the - plate eye structure form.

In common parlance, it is the rhythm of the singing voice.

Usually there are four categories: one-eyed, three-eyed, eyeless, and scattered.

In all kinds of voices, the original plate is the basis for change.

In addition to the original plate, there are slow plate, fast plate, guide plate, rocking plate, two six, running plate, fast three eyes, etc.

The original plate is the basis for the changes.

Peking Opera Faces

Classification

The red face is positive, representing loyalty and courage; the black face is neutral, representing fierce intelligence; the blue face and the green face are also neutral, representing the heroes of recklessness; the yellow face and the white face are derogatory, representing ferocity and viciousness; and the gold face and the silver face are mysterious, representing the gods and demons.

Color painting method

The color painting method of Peking Opera face painting is basically divided into three categories: rubbing face, wiping face, and hooking face.

The initial role of the face painting is to exaggerate the parts of the five senses and the texture of the face of the characters in the play, and to use exaggerated techniques to express the character, psychological and physiological features of the people in the play, so as to serve the plot of the whole drama, but later on, the face painting was developed from simple to complex, from coarse to fine, from the surface to the inside, and from shallow to deep, and gradually became a kind of pattern art with national characteristics, which is expressed by the face of the human being. The art of pattern with the human face as the means of expression.

Performance props

Accompaniment

Peking Opera accompaniment instruments are divided into percussion instruments and orchestral instruments.

The percussion instruments are boards, drums, gongs, cymbals and cymbals, etc., which are known as "wubang".

Orchestral instruments are Jinghu, Jing Erhu, Yueqin, Sanxian, known as "Wenchang".

Stage props

Masonry end is the size of the props and some simple devices collectively, is a special product of the opera to solve the contradiction between performance and physical.

The term "masonry" existed in the Jin and Yuan Dynasties.

Masonry on the stage of traditional opera includes household utensils (such as candlesticks, lanterns, fans, handkerchiefs, stationery, tea utensils, wine utensils), and transportation tools (such as sedan chairs, car flags, oars, whips, etc.).

Weapons, also known as knives and guns (such as knives, guns, swords, axes, hammers, whips, sticks, rods, etc.), as well as the performance of the environment, coloring the atmosphere of the various objects (such as the cloth city, big tents, tents, door flags, banners, flags, water flags, wind flags, flags, fire flags, barbarians, chairs and chairs Phi) and so on.

In addition to the commonly used masonry, can also be temporarily added according to the needs of the performance.

Traditional masonry is consciously distinguished from the natural forms of life.

They are not replicas of the real thing, but an artistic expression of the real thing in the theater.

This is one of the reasons why masonry can be combined with movement and image.

Before the actors are on stage, the tables and chairs are just an abstract arrangement.

Such as the performance of the emperor's view of the dynasty, the table will become the view of the dynasty required for the imperial case; the county court sitting in the Yamen, the table will become the sitting of the Yamen required for the case; friends banquet, will become the banquet required for the banquet.

The above is practical in kind, but the tables and chairs on the stage of the opera can also be used as a substitute.

For example, the table instead of the rock, people want to go up the mountain, stand on the table, if the mountain is very high, with two tables stacked up.

To jump over a wall, the table is used as a wall; to sleep, the body is placed on the table and the head is supported by the hands.

As for what the chair takes the place of, it is much more.

On the stage, it is said that to climb from a low mountain to a high mountain is to climb from a chair to a table, and a chair can also replace the door of a kiln, replace the door of a prison, etc.

The chair can also replace the door of a cell, and so on.

The table and chairs, no matter what they represent, are wonderful in the seeming and unseemly.

Such as opera in the cloth city, although relatively simple, but never pursue the real reproduction of the city.

The cloth city can be freely dispatched according to the needs of the city.

Flags are used a lot on the stage, such as the square marshal character flag, rectangular three military order flag, big banner flag (the big flag in the ancient army), all of which indicate the marshal and the location of the base camp.

There are also water flags, fire flags, wind flags, car flags and so on, which are painted green water patterns, flames, wind, wheels and so on on the white square flag.

The actor holding the flag, slightly trembling, can indicate the wave undulation, fire, wind, ride the car.

Opera stage does not avoid "show fake", and does not require a realistic.

Whip to replace the horse, paddle to replace the boat.

Peking Opera, once known as Ping Opera, one of China's five major operatic genres, the cadence of Xipi, Erhuang-based, accompanied by huqin and gongs and drums and so on, is regarded as China's national treasure, the Chinese opera, three Dingjia, "the first".

Huizhou Opera is the predecessor of Beijing Opera.

Since the Qing Dynasty in the fifty-fifth year of the Qianlong era (1790), the original performances in the south of the three Qing, four joys, Chuntai, and spring, the four Huizhou class one after another to enter Beijing, they and the Han tune artists from Hubei, and at the same time, accept the Kunqu, Qinqiao part of the repertoire, tunes and performance methods, folk tunes, through continuous exchanges, fusion and ultimately the formation of the Peking Opera.

After the formation of Peking Opera, it began to develop rapidly in the court of the Qing Dynasty until the Republic of China gained unprecedented prosperity.