When did China opera originate?

China's ancient drama is called "drama" because it is mainly composed of "drama" and "qu". China's operas mainly include Southern Opera in Song and Yuan Dynasties, Zaju in Yuan and Ming Dynasties, legends and legends in Ming and Qing Dynasties, and traditional repertoires of modern Peking Opera and other local operas. Is the floorboard of China national drama culture.

Modern drama mainly refers to drama, opera, ballet, etc. Since the 20th century, drama has been introduced from the west, while foreign drama generally refers to drama.

China opera has a long history, which originated from songs and dances imitating labor.

(A) Pre-Qin-the embryonic stage of China traditional opera. The "Ode" in The Book of Songs and the "Nine Songs" in The Songs of Chu are the lyrics of singing and dancing when offering sacrifices to the gods. From the Spring and Autumn Period and the Warring States Period to the Han Dynasty, recreational songs and dances gradually evolved. From the Han and Wei Dynasties to the mid-Tang Dynasty, there appeared "Jiao Di" (that is, a hundred plays), in which "joining the army" performed in a question-and-answer way and "dancers" performing short stories of life were all budding plays.

(2) The Tang Dynasty (middle and late period)-the formation period of traditional Chinese opera. After the mid-Tang Dynasty, China's drama advanced by leaps and bounds, and the art of drama gradually took shape.

(3) Song and Jin Dynasties-the development period of China traditional opera. "Zaju" in Song Dynasty, "Courtyard Style" in Jin Dynasty and "Zhu Gong Tune" in rap form all laid the foundation of Zaju in Yuan Dynasty in music, structure and content.

(D) Yuan Dynasty-the mature period of China traditional opera. In the Yuan Dynasty, "Zaju" developed greatly on the original basis and became a new kind of drama. It has the basic characteristics of drama, which indicates that China's drama has entered a mature stage.

Yuan Zaju is a comprehensive stage art that inherits and develops the literary achievements of the previous generation on the fertile soil of folk operas, and is improved and created through the joint efforts of teaching workshops, theaters, actors, musicians and "book clubs". Metaphysically, Yuan Zaju uses four sets of northern songs to arrange stories, and the disjointed parts are combined with wedges to form the usual format of four folds and one wedge (Wang Shifu's The West Chamber is a unique novel in Yuan Zaju, * * * wrote five 2/kloc-0 folds), and each fold is composed of several tunes of the same palace tune, and a "wedge" is added when necessary. At the end, two, four and eight lines are used to summarize the content of the whole play, which is called "getting to the point". Each fold includes three parts: Qu Ci, Bai Hua () and (). The lyrics are written according to the music cards that the tutor needs, also called Wen Qu, lyrics or lyric poems. Its function is to tell stories and portray characters. All the lyrics rhyme. Vernacular writing is an artistic means to express the plot or explain the relationship between characters in the form of words, which can be divided into dialogue (dialogue between characters), monologue (words that characters express their personal feelings and wishes alone), narration (words that characters recite to the audience from other players on the stage) and vernacular writing (words inserted in lyrics). The subject is action, expression, etc. A play is usually sung by one person to the end or the end, and the other feet are all white. The lead singer at the end of the program is called "Final Book", and the lead singer at the end of the program is called "Final Book".

Foot color:

Ending: male role. The hero is the hero in Yuan Zaju.

Dan: Play a female role. Zheng Dan (the heroine in the play), Xiao Dan and Cha Dan.

Jing: Commonly known as "painted face" and "painted face", most of them play male roles with special characters or appearances. For example, Yuan, a civil servant (government official), falls into this category.

Ugliness: Also known as "Three Faces" or "Small Faces", it plays humorous roles, including Wen Chou and Wu Ugly.

Foreigner: There are foreignness, foreignness and foreignness in Yuan Zaju. , which are the secondary roles at the end, Dan and Jing. Inside job-the end of the outside.

Miscellaneous: Also known as "miscellaneous". Play the role name of the old woman. Such as: Cai.

In just a few decades, Yuan Zaju writers have created at least 500 or 600 plays, and more than 50 plays of/kloc-0 are still preserved today. These works comprehensively and profoundly reflect the social life of the Yuan Dynasty, and many of them have become valuable cultural heritage of our country. For example, Guan Hanqing's "Dou Eyuan" describes the tragic experience of the kind and naive child bride Dou E, reflects the cruel exploitation of usurers, extortion by local ruffians and the perverting of the law by corrupt officials, profoundly exposes the dark reality of the Yuan Dynasty society, and praises the strong will and indomitable resistance spirit of the oppressed. With the help of historical themes, Ma Zhiyuan's Autumn in the Palace of Han Dynasty describes Wang Zhaojun's loyalty to the country, Mao Yanshou's betrayal of the country and the corruption and incompetence of his officials, mercilessly exposes the national oppression of the Yuan Dynasty and satirizes the rulers at that time. Wang Shifu's The West Chamber describes the story of young men and women fighting for the autonomy of marriage in feudal society. From stunning, couplets to refusing to get married, Cui Yingying's desire for love has been fully demonstrated. However, she was born in a famous family and was influenced and bound by feudal ethics. As a result, she had twists and turns such as "making trouble with Jane" and "relying on Jane". She finally embarked on the road of rebellion in such scenes as Listening to Qin Qu, The Book of Rites and The Pavilion, which added a strong comic color to her works. The main line of the whole drama is the contradiction between fighting for the autonomy of marriage and obeying the "parents' orders", and the misunderstanding and conflict between Cui Yingying, Zhang Xun and the matchmaker is the secondary line, which is interwoven rhythmically, with moderate relaxation, dynamic and static combination, mixed happiness and sorrow, and mixed gathering and dispersion. His theme of "May all beings in the world become well-being" and vivid artistic image have strong artistic charm, which can give people a strong infection and is deeply loved by the masses.

○ Four masters of Yuan Qu: Guan Hanqing-Dou Eyuan; Zheng Guangzu-Ghost Story; Bai Pu-Wu Tongyu; Ma Zhiyuan-"Autumn in Han Palace";

(5) Ming and Qing Dynasties-the prosperous period of China traditional opera. In the Ming Dynasty, legends developed. The legend of the Ming Dynasty was formerly the Southern Opera in the Song and Yuan Dynasties (Southern Opera is the abbreviation of Southern Opera, which is a new form of drama developed on the basis of the Zaju in the Song Dynasty combined with the tunes of the southern region). Wenzhou is its birthplace. South Opera is different from North Zaju in system: it is not limited by 60% discount or one person singing to the end. It has an opening story, mostly a happy ending, and its style is mostly sentimental. Unlike the northern zaju, it is more free in form and more convenient to express life. Unfortunately, the books of the early Southern Opera are rarely preserved. It was not until the end of Yuan Dynasty and the beginning of Ming Dynasty that Southern Opera began to flourish. After the processing and improvement of the literati, this short play which is not rigorous enough has finally become a quite complete long play. For example, "Pipa Story" is a transition from southern opera to legend. The theme of this work comes from folklore, which shows a story completely and has certain drama. It was once known as "the ancestor of reviving southern opera". In the middle of Ming Dynasty, a large number of legendary writers and scripts emerged, among which Tang Xianzu was the most successful. He wrote many legendary plays in his life, and Peony Pavilion is his masterpiece. Through the story of Du Liniang and Liu Mengmei's life and death parting, the work praises the rebellious spirit of opposing feudal ethics, pursuing happy love and demanding individual liberation. The author endowed love with the power to bring it back to life, overcame the shackles of feudal ethics and won the final victory. This had far-reaching social significance in the society firmly ruled by feudal ethics at that time. This play has been loved by readers and audiences for 300 years. To this day, the boudoir, The Scared Dream and other fragments are still active on the stage of traditional Chinese opera performance, radiating its artistic brilliance.

Interviewee: xhbadmx- scholar level 3 4-27 15: 15.

Chinese Peking Opera is the quintessence of China with a history of 200 years. The name of Peking Opera first appeared in Shenbao in the second year of Guangxu reign in Qing Dynasty (1876). Historically, it has been called Pihuang, Huang Er, Huang Qiang, Peking Opera, Pingju, National Opera and so on. After entering Beijing in the 55th year of Qing Qianlong (1790), Sihui Class became attached to Kunqu Opera, Han Opera and Yiyang Opera in Beijing. Its rich repertoire, the number of performing artists, the number of troupes, the number of audiences and the profound influence are the highest in the country. Peking Opera is a comprehensive performing art, which integrates singing (singing), chanting (reciting), acting (acting), fighting (martial arts) and dancing (dancing). It tells stories, depicts characters and expresses the thoughts and feelings of "happiness, anger, sadness, joy, surprise, fear and sadness" through programmed performance means. Roles can be divided into four categories: raw (male), Dan (female), pure (male) and ugly (both male and female). Characters are divided into loyalty, ugliness, good and evil. Every image is vivid.

Formation and Dissemination: Peking Opera was formerly known as Huizhou Opera, which was popular in the south of the Yangtze River in the early Qing Dynasty. It mainly sang and blew tunes, played high notes and played Huang Er. Huiban has strong mobility, frequent contact with other operas, and mutual communication and infiltration in vocal cavity. Therefore, in the process of development, it also performed many Kunqu operas, and also absorbed Luoluo cavity and other zaju. In the fifty-fifth year of Qing Qianlong (1790), the first Huizhou class (Sanqing class) headed by Gao Langting (a famous Yueguan) went to Beijing to participate in the celebration performance of Qianlong's 80th birthday. "Yangzhou Painting Boat Record" contains: "Gaolangting entered Beijing, joined Anqing Flower Department, joined Beijing and Qin, and its class was called Sanqing." Yang Maojian's Dream Book, published in the 22nd year of Daoguang (1842), also said: "And the third celebration comes before the fourth celebration. When Qianlong entered the bamboo box in fifty-five years, he called it the' Three Celebrations Emblem', which was the originator of Huizhou class. " Wu Zi-shu pointed out more specifically in the Notes on Poems with Boundaries that "Na la Wu, Governor of Fujian and Zhejiang, ordered Zhejiang salt merchants to unite with Anqing Hui people to wish Li". Later, many Huizhou classes went to Beijing in succession. The famous classes are Sanqing, Sixi, Chuntai and Hechun. Although He Shen was founded in the eighth year of Jiaqing (1803), which was later than the thirteenth year of Sanqing, it was still called "Huizhou Class Four went to Beijing" by later generations.

During the years of Qianlong and Jiaqing, Beijing was rich in cultural relics, politically stable and economically prosperous, and all kinds of opera artists gathered. Kunqu Opera, Peking Opera and Shaanxi Opera are opposites on the Beijing stage. When Huiban came to Beijing, he first devoted himself to "the combination of Beijing and Qin". At that time, Shaanxi Opera and Peking Opera were basically performed on the same stage, and "Beijing and Qin are not divided" (Yangzhou Painting Boat Record). Huizhou Class carries forward the tradition of learning from others, widely absorbs the repertoire and performance methods of Qin Opera (including some Beijing operas), and inherits many Kunqu Opera repertoires (side by side performing Kunqu Opera Peach Blossom Fan) and its stage art system, so it has been rapidly improved in art.

The artistic features of Huiban itself are the main reason why it can win in the struggle for balance. In terms of vocal cavity, in addition to singing Huang Er tune, "even the voices of five parties are the same" ("Looking at Flowers in the Sun"); In terms of repertoire, there are a wide range of themes and forms; In terms of performance, it is simple and true, with complete business, which is suitable for the appreciation requirements of the broad audience.

In terms of performance arrangement, according to the Chinese Dream, the four Huizhou classes are "each good at winning". Sanqing won with "Axis" (a new drama recently), Sixi won with "Quzi" (good at singing Kunqu opera), Hechun won with "Ba Zi" (good at playing martial arts drama), and Chuntai won with "Child" (called Tong Ling). Attaching importance to art and management, we can give full play to our expertise and make rapid progress. In the late Daoguang period, Huiban gained an advantage in Beijing. "Chinese Dream" said: "Today, there are the most people in Anhui, and Wu people are not as good as them. Unknown person in Shu. " He also said: "The troupe must perform in Huizhou." The largest theaters such as Guangde Building, Guanghe Building, Sanqing Garden and Qingyuan Paradise will also be dominated by Huizhou classes. "The process of Huiban's growth and development is also the process of its transformation into Peking Opera. The completion of this evolution is mainly marked by the confluence of Hui and Han, and the blending of Pi and Huang, forming a piano singing music system with Xipi and two accents, and gradually improving the singing, reading and playing system. Mi Yingxian (also known as Mi), a native of Chongyang, Hubei Province (referring to Anhui), was the first Chinese-style actor to accompany Huiban to Beijing. Born in forty-five years of Qianlong (1780), he joined Huizhou class in Chuntai and went to Beijing to sing around Jiaqing. He performed brilliantly, was good at red dramas and had a long reputation (see Li Dengqi's Chinese Dream and Frequent Talk). It is regarded as the pioneer of Yu Sansheng, a famous actor in China (at that time, there was a saying in the lyrics of Quyi that "rice should come first in the Asian Games"). During the reign of Daoguang (182 1- 1849), more and more Chinese opera actors came to Beijing to join the Huizhou class, including Wang Honggui and Li Liu. Su Haian's layman Yan Tai Zhao Hong Ji (written about 12 years before Daoguang) said: "The capital is still in Chu tune." Among them, musicians, such as Wang Honggui and Li, all claim to be people of the new era. "Chu tune is Han tune, and Han tune is Xipi tune. It can be seen that Xipi tune was popular in Beijing at that time, and Wang Honggui and Li Liu's "Goodness is a New Voice" promoted the innovative development of Xipi tune. With the joint efforts of actors returning to Han Dynasty, Xipi and Xihe gradually merged. Start different plays and sing Xipi or Huang Er respectively according to different sources; Later, some plays sang Xipi and Huanger at the same time, and even sang Huang Er first and then Xipi in the same aria, which can be coordinated and integrated. Luo Guan (from the emblem tune Nihe) is an example. In terms of phonology, it forms the metrical form of "Zhongzhou Rhyme and Huguang Rhyme". There is a mixed voice of Beijing and Hubei, with two tones of Beijing and Hubei, sharp and rhyming according to Thirteen Strings. Huang Er's accompaniment instruments, after repeated times, finally abandoned the flute in Xianfeng and Tongzhi years (1851-kloc-0/874), and used the huqin (with different tunes) in unison with Xipi, but still accompanied by the flute according to the tradition of Huiban when singing and playing.

At the end of Daoguang, Xipi Opera appeared in large numbers, and it was also common for Huiban and Pihuang to perform in parallel. According to Yang Jingting's A Brief Introduction to Doumen published in the 25th year of Daoguang, Cheng Changgeng of Sanqing Class, Zhang Erkui of Sixi Class, Yu Sansheng and Li Liu of Chuntai Class, Wang Honggui of Chunban Class, etc., such as Catch and Release Cao, Dingjun Mountain, Drumming Cao, Sweeping Snow and Playing Bowls, etc. Since then, it has been compared with the traditional plays that are common on the stage of Beijing Opera. Another view is that Peking Opera was formed after Tan Xinpei became famous (1late 9th century and early 20th century). The reason is that the Pihuang Opera at that time had strict rules from music, performance to singing. Prior to this, that is, in the era of Cheng Changgeng, it still belonged to the category of Huizhou tune.

In the sixth year of Tongzhi (1867), Peking Opera spread to Shanghai. The newly-built Man Tingfang Theatre was invited to Beijing from Tianjin and was welcomed by the audience. In the same year, Tan Gui Tea Garden invited a large number of famous Peking Opera actors through Beijing Sanqing Class, including Xia (the father of Run), Xiong Jingui (the father of children) and Hua Dan Feng Sanxi (the father of Feng). They all settled in Shanghai and became a southern Peking Opera family centered on Shanghai. Later, more Beijing corners went south one after another, such as Zhou Chunkui, Sun Juxian, Yang Yuelou, Sun Chunheng, Huang Yueshan, Li Chunlai, Liu Yongchun, Bangzi, Hua Dan and Tian Jiyun, making Shanghai another Peking Opera center alongside Beijing.

Prior to this, Shanghai had Kunban and Huiban performances in the early years of Xianfeng. After Beijing Opera entered Shanghai, there were also situations in which Beijing emblem, Beijing Kunming and Beijing Bangzi were on the same stage. This has played an important role in the formation of the characteristics of Southern Opera. Wang Hongshou (son), an outstanding Anhui opera actor, often participated in Peking Opera performances after arriving in Shanghai, and brought with him Anhui operas such as Xu Ce Entering the City, Sweeping the Book of Matsushita, and Snow Embracing the Blue Pass. It is integrated into Beijing Opera, and the "high beat", one of the main themes of Anhui Opera, is integrated into Beijing Opera music, and some red operas of Anhui Opera and their performance methods are also absorbed into Beijing Opera. This has played a certain role in expanding the repertoire of Peking Opera and enriching the stage art. In addition, the artistic activities of Bangzi artist Tian Jiyun in Shanghai have also affected the development of Nanpai Peking Opera. His "Lantern Opera" and "Bullfighting Palace" are really the overkill of the later "combination of government and drama". From the fifth year of Guangxu (1879), Tan Xinpei went to Shanghai six times, and later famous actors such as Mei Lanfang often performed in Shanghai, which promoted the exchange of Peking Opera between the North School and the South School and accelerated the development of Peking Opera art.

Before Beijing Opera entered Shanghai, that is, after the tenth year of Xianfeng (1860), it spread rapidly all over the country with business trips and theatrical performances. For example, Tianjin and its surrounding Hebei area are one of the earliest areas where Peking Opera spread. At the end of Daoguang, Yu Sansheng was active in Tianjin (he and his father were buried in Tianjin after their death); Liu Gansan, a clown actor, first made a box office in Tianjin, and then went to Beijing to "go to sea". Sun Juxian, an old actor, used to be a fan of Jin Yao. Shandong is the only place where Huizhou people pass in and out of Beijing, and Shandong businessmen are an important force in Beijing's economic activities, so Peking Opera performances have appeared in Shandong for a long time. As early as the Qianlong period, Anhui artists entered Qufu Confucius House to perform. Anhui, Hubei and Northeast provinces are also the areas where Peking Opera spread earlier. By the beginning of the 20th century, there were Peking Opera activities in Fujian and Guangdong in the south, Zhejiang in the east, Heilongjiang in the north and Yunnan in the west. During the War of Resistance against Japanese Aggression period, Peking Opera also developed greatly in Sichuan, Shaanxi, Guizhou and Guangxi.

19 19, Mei Lanfang led a troupe to perform in Japan, and Peking Opera first spread overseas. 1924 led a delegation to perform in Japan again, 1930 led a crew of 20 people to visit the United States, which was a great success. 1934 was invited to visit Europe and perform in the Soviet Union, which attracted the attention of European drama circles. Since then, Peking Opera has been regarded as a school of drama in China all over the world.