Ankang traditional art

Speaking of diaojiao building, you will think of Fenghuang ancient city; Speaking of duet, you will think of the northeast; When it comes to traveling in the sky, you will think of high loess slopes. This is the charm of culture, unique and concentrated. With the passage of time, it has become a symbol of high recognition of a region.

Nowadays, people are not ignorant of the charm of culture. This can be seen from the looting of Zhuge Liang's hometown and Guiguzi's hometown. A city, no matter how prosperous its economy is and how many tall buildings there are, will be flashy without its own history and culture. Because, in the long river of history, Xie Wang's wealth is fleeting. Only culture has preserved the freshness and soul of life. Only the richness of culture is complete.

Ankang, the city where we grew up, has the most auspicious name in the world. Where is our history and culture? What is the most recognizable cultural symbol? Many people will be ashamed. Actually, we don't need it. Our ancestors gave us rich gifts, but we never had foresight.

? This is the first sound of Beijing Opera.

? Some people say that opera is the product of farming culture. For a long time, there was no TV, no internet and no comics. Books were a luxury and only a few people could read them. Traditional Chinese opera is the main form of entertainment for people in Yuan, Ming and Qing Dynasties. Going to the opera, he spent his spare time reading history and learning the ways and means of being a man.

In this huge audience, Ankang's ancestors are one of them. When you visit the century-old theaters scattered on Yuehe Road, it seems that you can see the crowds and the upturned faces of children, and you can hear Hua Dan singing in red and green.

Looking at the historical coordinates of China's operas, Huang Er, Diao Han, is a kind of opera that started in the early Qing Dynasty, formed and flourished in southern Shaanxi and Guanzhong areas.

? This is a play named after a tune. Xipi's tunes are high-pitched, intense and unrestrained, while Huang Er's tunes are soft, tactful and expressive. Together with Kunqu Opera, Gaoqiang Opera and Bangzi Opera, it is called the "Four Major Tunes" of China Opera.

The first quintessence of Peking Opera.

In the history of China opera, the "dispute between elegance and vulgarity" in Qing Dynasty is undoubtedly a turning point.

This is a contest between Kunqu opera, which boasts elegance, and local opera, which refers to vulgarity. After the tug-of-war between Kang and Gan Dynasties, Kunqu opera, which was highly praised by the imperial court, was finally defeated because of its strong imperial tone. At the end of Qianlong period, Huizhou Class 4, the head of the flower department, went to Beijing under the leadership of Gaolangge, forming an enduring Peking Opera.

In this historical event, Huang Er tune played a role brought to Beijing by four Huizhou masters.

Academic research has proved that there are two Qin operas in the history of China opera, namely, pre-Qin and post-Qin operas. Huang Er tune is the common name of pre-Qin opera; The post-Qin opera is today's Qin opera. During the Qianlong period, Wei Changsheng, an actor, entered the palace in the former Qin Dynasty and became a famous figure. The status of Kunqu Opera in the court was crumbling. The imperial court was furious and took cruel measures to suppress the dramas of the former Qin Dynasty. Wei Changsheng was forced to go south to Anqing and Yangzhou. During his stay in the south, artists from Anqing Flower Department, such as Hao Tianxiu, Gao Langting and Suzhou Linger Yang Baguan, followed Wei Changsheng to learn to sing pre-Qin operas. Gaolangge, later formed Sanqing class, and Beijing and Qin combined to produce Peking Opera.

This is not groundless. According to the Record of Yangzhou Painting Boat, Qianlong has a history of 55 years: Long Changsheng returned to Sichuan, Gaolangting entered Beijing, Anqing Flower Department joined Beijing and Qin, and the class name was Sanqing.

At the same time, this book records that Hao Tianxiu, an artist in Anqing Flower Department, and Yang Baguan, an actor in Suzhou, said: Peking Opera is especially good for those who use the eternal Shaanxi Opera, so the Spring Opera Troupe combines Beijing Opera and Shaanxi Opera.

There is no doubt that the pre-Qin opera, namely Huang Er in Shaanxi, is the real mother of Peking Opera.

In fact, as early as the early days of the founding of the People's Republic of China, Cheng, one of the four famous corners of Peking Opera, studied this. Cheng went to An twice, and compared Beijing Opera with Shaanxi, which proved that they are in the same strain. He said in "Seeing Peking Opera from Local Opera-A Letter to Comrade Tian Han": "When I came to the northwest last year, I heard that there were several tribes of Pihuang Opera, which spread in Guanzhong, Shangluo and Hanzhong. Although I tried my best to visit, I still didn't see it. When I came back this year, it happened that actors from Guanzhong and Shangluo jointly organized a troupe to perform. We watched it several times and found that this kind of play is of great research value. First, it comes down in one continuous line with Beijing Opera, and many things that have been lost in Beijing Opera can still be found in it. Second, many people say that Beijing Opera has been quite urbanized, but from the comparison of this folk branch, Beijing Opera is not far away from the folk times. Third, from their music tunes, we can see the source of Shaanxi opera. "

? In the Interview with Northwest Opera, it is written that in Shaanxi, "there is another kind of Han Huang Er, but it is quite different from Hubei Han tune; Much like Beijing opera. "

Qi Rushan is a famous playwright and drama critic. He has written many plays for Mei Lanfang. He is very familiar with Peking Opera, which is called Pingju. He wrote in The Origin and Evolution of Pingju: "After more than 20 years of investigation and study, Huang Er was indeed produced in Shaanxi. Now it is popular in the province. " "So his name is Han, or Han in Hannan and Hanzhong, not Han in Hankou." "Since Peiping, Tianjin and Huangbanshe went to Ann to sing, people called Peiping and Tianjin Huang Er. Therefore, the local people are called local Huang Er or Tuhuanger. So far, in several counties east of Hanzhong, the old peasant women in Shan Ye in all villages are singing yellow. " This statement not only shows the relationship between Huang Er and Peking Opera, but also further proves that Huang Er is from Shaanxi.

In this regard, Shu Wenshou, a researcher of Ankang local opera, made a systematic demonstration in the article "On the Mode of Peking Opera Originated in Shaanxi", which won the first prize of the second Wang Guowei's opera paper, the highest academic award in China.

? Erasing the fog of history, we finally found the treasure left by our ancestors. In 2006, Diao Han Huang Er was selected as the first batch of national intangible cultural heritage list.

Give the past a future.

When Chinatown Opera rose in South China, Huang Er Banshe of Yang Jinnian, Haoping River in Ziyang County, became a famous Banshe, a river and toured Sichuan. During the reign of Jiaqing Daoguang, Yang Opera Troupe settled in Xixiang, Hanzhong, and started classes of Han, Er and Huang. At that time, hundreds of professional troupes toured the Four Seasons Temple Fair all the year round, moving from one town to another and running along the Hanshui River. When a play started, people from all over the country came to watch it. This is the peak period when Huang Er's plays are deeply rooted in people's hearts and widely spread abroad.

According to Li Jingci's "On Diao Han Huanger Opera" (Art Life June 1952), I once found that local farmers, herdsmen, women and children can sing this kind of opera, just like Beijingers love to sing Peking Opera, and they and their living habits are often criticized by the words and characters in the tricks. During the Republic of China, Huang Er declined gradually.

? After the founding of New China, China traditional opera ushered in the peak of prosperity and development. At this time, Gong, two national inheritors in our city, joined the Ankang Han Opera Troupe. In the process of China's transformation from an agricultural country to a modern country, with the popularization of more convenient forms of entertainment such as television, movies and the Internet, the slow-paced traditional operas gradually faded out of people's lives.

Whether we like it or not, when Kunqu Opera and Peking Opera were listed as world-class intangible cultural heritage by UNESCO, the most glorious era of China traditional opera has passed.

Han Opera is a book that records Ankang's yesterday and the day before yesterday. We must not let her disappear in our generation, otherwise it will be the sorrow of the times and our dereliction of duty. A nation without its own culture will eventually be eliminated, and a region without its own culture will eventually be assimilated.

Fortunately, the leading group in the city realized very early that the ultimate goal of inheriting and developing Diao Han Huang Er is to make Ankang people sing her from generation to generation, so that future generations can deeply understand themselves and enhance their sense of self-identity.

Set up an expert steering committee to revitalize Han Opera, and name a group of municipal Han Opera inheritors. Ziyang, Baihe, Gao Lan and other counties have successively conducted resource surveys and collected some traditional classic plays. The Municipal Bureau of Culture, Radio, Film and Television edited and published Selected Singing of Huang Er in Han Dynasty, which made the ancient art of oral singing change to recitation. Through various channels, many departments have provided corresponding human resources for Han Opera to enter institutions, schools, enterprises, communities and rural areas. Hanbin District Han Opera Research Institute has been digging up historical classics, boldly employing new people, rehearsing "Big Sky Gate Array" and "Yangmen Woman", and creating a number of excellent plays. Diao Han Huang Er Square in Jiangbei was completed as scheduled, becoming a unique landscape in Ankang.

This is by no means an unresponsive government action. Diao Han Huang Er comes from the masses, and only in the masses can she live. At present, there are seven amateur dance clubs in Ankang all the year round, including Diao Han Huang Er Troupe Art Troupe, Diao Han Huang Er Longxing Drama Club, Diao Han Qing Huang Er Club, Ankang Diao Han Huang Er Troupe and Hanjiang Wanxia Art Troupe, with more than 200 members, most of whom are retirees aged 40 to 60.

One afternoon, members of Ankang Diao Han Huang Er Troupe were rehearsing at the Urban Agglomeration Art Museum. Xu Shilian, head of the troupe, introduced that the troupe was formally established in 2004, with 23 members, 80% of whom are retired actors of Ankang Han Opera Troupe. This publishing house is full of nostalgia for the past years. Zeng Hong, a member of the class club, said: "I liked it since I was a child, but I kept going to work before I retired and had no time to study. As soon as I retired, she joined the class club. Diao Han Huang Er has a profound cultural heritage, rich repertoire and beautiful singing skills. " In 65,438+00, they performed countless plays, including the traditional play "Da Deng Dian" and "Da Jin Zhi", the modern play "My Brother's Sorrow and Joy", and the flower drum play "Wu Youchun". Last year, there were 55 performances, of which 1 1 was purely for public welfare, and the income was not enough. Regarding the development of Han Opera in Ankang, Director Xu Shilian said that she believed that more and more people would realize the charm of Han Opera.

? Play and sing gracefully.

Shu Wenshou, a researcher in Huang Er, Diao Han, sang the original Diao Han Huang Er for the author in a simple and elegant hut on the bank of the Hanshui River. /kloc-He was an artist at the age of 0/3, and now he is an old man of eighteen or nineteen. For inheritance, he is more of a rational reflection of scholars. He said that the social atmosphere of publicity and popularization has not yet formed, and the attention of the masses is not high. The drama creation is weak. What is lacking is talent that can be heard all over the country. Several self-music clubs in Ankang City are mostly composed of three or five groups of playwrights and artists from the original Han Dynasty after retirement, and there are very few non-professionals, let alone those under 50. The participation of the masses is not high, especially among the young and middle-aged groups, there are very few people who watch, love and learn Chinese dramas.

? He said that the protection and development of Huang Er in Diao Han are facing severe challenges.

The protection of the Second Yellow River in Han Dynasty is a systematic project. This requires the joint efforts of the whole society. The purpose of protection is inheritance, and the effective carrier of inheritance is not only professional groups. Yuan Chaoling, head of Ankang Han Opera Troupe, expressed this view on different occasions. "We have held Diao Han Huang Er's singing contest for several years. Through these competitions, we not only expanded the influence of Huang Er in Diao Han, but more importantly, trained a group of fans and spectators, which is the most important thing for the development of Huang Er in Diao Han. " Ankang Han Opera Troupe is the only professional group in the province at present. For many years, it has been doing its best to protect and develop Han Opera and Huanger Opera.

Luo Yumei, a veteran actor in Huang Er, Diao Han, has been committed to the inheritance of this drama, not only singing in person, but also writing many articles with profound theories. She calculated that the cost of a performance in Ankang Theater is 3,000 to 5,000 yuan, and the performance in the square is 1000 yuan. The performance threshold is high, which ordinary people can't afford, and the theater audience is limited. If you choose to build 1 or two small theaters in the popular area of Hanjiang Park, it will not only solve the performance venue problem of the class club, but also become a city landscape of Ankang. Outdoor theater is irreplaceable for indoor theater. You can get in touch with the audience at zero distance, which will play a great role in widely spreading Ankang intangible cultural heritage.

Liu Housheng, a drama theorist, advocates that the protection of drama should be hierarchical. Some operas that have little value in musical singing, performance programs and qupai scores can survive the fittest and let nature take its course, but we should collect and sort out the materials in kind and leave audio-visual materials; Some operas with profound cultural heritage and a long history, but divorced from reality and market, can be turned into museums. The government should give it certain social status and economic support with special policies to continue its "incense"; There are also some operas to arouse people's re-understanding and promote their artistic youth; Liu Housheng, an active drama theorist, advocates that the protection of drama should be hierarchical. Some operas that have little value in musical singing, performance programs and qupai scores can survive the fittest and let nature take its course, but we should collect and sort out the materials in kind and leave audio-visual materials; Some operas with profound cultural heritage and a long history, but divorced from reality and market, can be turned into museums. The government should give it certain social status and economic support with special policies to continue its "incense"; There are also some operas to arouse people's re-understanding and promote their artistic youth; We should guide some more active operas to gain new life in the market.

Diao Han Huang Er belongs to "rich culture and long history, but it is out of touch with the real market" and "arousing people's re-understanding and promoting their artistic youth". Therefore, we should pay more attention to science and be cautious when formulating the protection policies and measures of Han Diao Er Huang.

In this regard, Yan Wenshou said that there is an urgent need to strengthen performances and cultivate audiences. Use radio, television and online media to increase publicity. Let Diao Han Huang Er walk into the campus, into the classroom, and selectively teach Diao Han Huang Er's excellent plays and excellent aria to some school children. With a new generation of fans, Diao Han Huang Er can be passed on. In addition, amateur singing organizations and singing activities in various counties will be organized as soon as possible. With the participation of many amateurs, the inheritance of Diao Han and Huang Er will have a considerable mass base. At the same time, we should seriously publicize the significance of protecting the Han Dynasty and the Yellow River, so that the people can further understand and understand, and then get wide support and support.