What is the role and significance of Yue Opera music in the stage performance of Yue Opera?

Yue Opera is a comprehensive art that integrates editing, directing, acting, sound and beauty. After a hundred years of exploration, innovation and development, it has made remarkable achievements and formed major schools with far-reaching influence. As the core of the stage language, Yue Opera music not only accompanies the actors' vocals, but also plays an important role in coordinating the stage actions, promoting the plot progress, adjusting the stage rhythm, rendering the plot atmosphere, unifying and completing the whole drama structure.

The development process of Yue Opera music: "two stages and six periods", and the formation of tunes and genres.

Since the birth of 1906, Yue Opera and its music have a history of more than one hundred years. It originated in Shengxian, an ancient civilization in Zhong Ling, Zhejiang, and flourished in Shanghai. After several stages of innovation, it has formed its own distinctive characteristics. Six periods of development: in the first 50 years (1906-1950), Yue Opera music went through the initial stage (1906-1923): Lou Shu singer Ma Chaoshui built a grass platform with a square table and staged "Pearl Tower". The tune used is (1923- 1942), which is the transitional period of Yue Opera 1923. On May 27th, the first class of Yue Opera women, represented by Shi, was founded, which marked the beginning of the alternation of male and female voices in Yue Opera and the formation of the basic tune of female voices in Yue Opera, laying a prerequisite for the transformation of Yue Opera music system.

(1942 ——1956) is the perfect maturity of Yue opera music. China's music culture in the 20th century was influenced by western music culture. Yue Opera, which was born in Shanghai at the beginning of this century, is also faced with double disharmonious factors from inside and outside. Therefore, under the impetus of 1942 "Yuegai" and 1953 "Xigai", the female music mechanism of Yue Opera has been further improved and enriched. Based on the tone sandhi principle in [Four Tones (Cavity)], there are many singing styles such as [Scale Tone (Cavity)], [Chord Down (Cavity)], [New Six Tone], [Anti-Four Tone] and [Southern Tone], and there are many singing styles such as slow, middle, slow, fast, middle and even. In the last 50 years (1956 to present), Yue opera music has experienced a period of prosperity (1956- 1966). 1956, a large number of yue opera troupes were sent from Shanghai to support all parts of the country, so yue opera music became a popular voice in the country, and the performance market of "blooming everywhere" became increasingly prosperous. Wang, Wang, Wang, Wang, Wang, Wang, Wang, Wang, Wang, Wang, Wang, Wang, Wang, Wang, Wang, Wang, Wang, Wang, Bi Chunfang, Wang, Wang, Wang, Wang, Wang, Wang, Wang, Wang, Wang, Wang, Wang,,,, etc, and Yue Opera music ushered in its heyday. Due to the arrival of the Cultural Revolution, Yue Opera was criticized as a "strange phenomenon" and entered a period of silence (1966- 1976). Only when a group of famous Shaoxing opera actors in Shanghai performed on stage for the first time, the music of Shaoxing opera once again entered a new development period. Nowadays, the music of Yue Opera is rich and colorful, and it pays more attention to "song and dance" and "theme". The combination of composers, actors and pianists, through the organic unity of "seeking sound according to the score" and "playing and singing by oneself", constitutes the "group creation" of Yue Opera music. This interactive mechanism has enabled Yue Opera music to enter a new period of harmonious development again, and its role in the whole drama has also been greatly improved. As Mr. Zhang Geng said, "the second creation of opera begins with the musicalization of the whole drama."

Second, music-the core of stage language

The music image of Yue Opera is an extremely important part of the performing art image of Yue Opera. It has three functions: lyricism (directly or indirectly expressing the characters' modality and inner temperament), drama (creating a stage atmosphere, suggesting, setting off and promoting dramatic contradictions) and rhythm (leading all artistic factors on the stage, including the changing rhythm of performance, lighting and scenery). It is composed of vocal music (singing) and instrumental music (soundtrack). Instrumental music not only accompanies the actors' voices, but also coordinates the stage movements and promotes the story progress.

The stage performance art of Yue Opera takes music as the core to organize its own stage language. The music layout of the whole drama, including the scattered musical emotions in every scene and paragraph, the Zhang Chi change of rhythm, the emotional contrast of melody, the prolongation of singing and the length of entering the door, all directly affect the stage performance. The primary task of stage performance art is to shape typical characters, and the most basic means to shape typical characters is through "four skills and five methods", namely "singing, doing, reading, playing, hand, eye, body, method and step".

Shaping the musical image of characters is an important task of stage performance. According to the needs of the plot and the unfolding of the plot, the composer designs aria music around the character's personality. On the basis of the original melody, the actor makes a second creation by grasping the inner feelings of the characters and understanding the plot, combining his own touch-up, pronunciation, voice and genre charm, showing a kind of "elasticity" that is constantly improving. Good aria music can not only fully reflect the emotions of the characters in the play, but also further stimulate and help directors and actors to experience emotions, provide more image association and inspiration, design new detailed movements and create new stage scheduling. Of course, a beautiful and moving aria is often inseparable from the strong cooperation of accompaniment music to set off the aria; Make the colors of aria more vivid; Giving full play to the artistic conception of singing, the musicians tried to cooperate with each other tacitly, and used various accompaniment expressions such as "suppression, promotion, pause, frustration", "flashing, occupation, soaring and grabbing" to supplement the unfinished feelings of singing by means of introduction, ending, passing the door, subterfuge and playing strings, and * * * jointly completed the shaping of the image of stage music. For example, Jade in our group, when Wang Zhizhen saw her 16-year-old biological son Xu knelt down and cried, "People say that mother and son are as close as flesh and blood, why is my mother cold to me?" Why am I passionate about ruthlessness? Why does she treat me like a stranger? "At that time, the composer used the [flowing water] board in the [tune tune]. The violinist of the band pulled up the banhu commonly used in Beijing opera and slowly sang, which closely cooperated with the singer's singing, fully rendering Wang Zhizhen's painful ambivalence at that time and pushing the story to a climax. As an actor in Xu Yuan Massacre, I was deeply infected by the sadness in the agitation at that time and the anti-anger in the grief and indignation. In fact, there are countless such examples. A classic traditional repertoire of Yue Opera will have some classic old jokes, such as Crying Soul, Burning Draft and Sister Lin Falling from the Sky in A Dream of Red Mansions. Eighteen Gifts and Death of a Mountain Man in butterfly lovers; The words "the palms of the hands are all meat" and "the daughter was born and raised by the mother" in the Jade Hairpin are the main jokes sung by the protagonist. When people are obsessed with these wonderful music melodies, they also deeply remember these classic plays, which is the charm of Yue Opera music.

Besides singing, Yue Opera music runs through the whole performance, and it is an ever-present artistic force. In addition to singing, the music of western opera is only used to express the emotional atmosphere of the plot, while the music of Yue opera is always accompanied by the performances of actors: except singing, prelude and ending, the rhythm of singing, performance and fighting should be unified in the musical norms, and even one eye can't do without music, such as opening song, theme song, interlude transition, characters up and down, scene atmosphere and so on. Such as music that expresses the atmosphere of the environment: snow and wilderness, celebration and joy, mourning, etc. ; Simulate wind and underwater sound; Bird, goose, chicken and other sound effects. The music in the stage performance of Yue Opera should be said to be an extension of the actors' performing art, which plays a role in beautifying, strengthening, deepening and supporting the performance. For example, in the drama Jade Dragonfly, when the performance of "buddhist nun confesses his mother" lasted for 50 minutes, both the audience's vision and the actor's emotional release were fully satisfied and vented. Therefore, the composer Chen Guoliang used a tearful erhu solo during the intermission between the field and the field, which made the Yue Opera especially capable even if it dragged on, and achieved unimaginable auditory artistic effects, either ups and downs, or crying, or complaining.

The music in the stage performance of Yue Opera includes literature field and martial arts field. Wenchang refers to the orchestra, and Wuchang refers to percussion, which is also an indispensable part of stage performance. No matter the singing, reading and acting of actors, or all kinds of scene music in stage performances, it is inseparable from the close cooperation of percussion music. Percussion music uses logical rhythm combination and musical instrument timbre change combination to form musical program structure such as sentence, paragraph and formula. Through the subtle changes and sharp contrast of rhythm, intensity, speed, timbre and sound, we can express the thoughts and feelings of characters, beautify the expression forms of actors, strengthen drama conflicts, render the environmental atmosphere of the stage and imitate specific sound effects, thus completing the unity of drama structure and the whole stage rhythm.

There are hundreds of years of music in Yue Opera, and now the requirements of Yue Opera art for music are more contemporary and romantic, especially the use of theme music, which will play a very important role in the excavation of theme ideas and the sublimation of artistic value. For example, before the opening of the large-scale traditional drama "The Legend of Mulan", a folk theme song "Mulan, Magnolia; Red as fire, rotten as chardonnay; Say it is a fire-like addition, say it is a fire and a flower. "Immediately draw the artistic image of Mulan and present it to the audience. When Mulan revealed her daughter's identity, the theme song sounded for the second time, singing the hard course of Mulan disguised as a man for twelve years. At the end of the play, the theme song was sung again. Mulan wrote "Honor and disgrace in foreign affairs, rejuvenating the country and helping the world", expressing the noble feelings of a heroine! It further sublimates the theme, so music is an irreplaceable language and one of the important means to enrich the stage performance art.

As the core of stage language, Yue Opera music plays an important role in the stage performance of Yue Opera. The quality of music design will directly affect the effect of stage performance and the vitality of artistic works. Therefore, the level of music will restrict the artistic level, and its artistic value will eventually be affected.

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