Shadow play script

Shadow play was first born in the Western Han Dynasty two thousand years ago, also known as sheepskin play, commonly known as head play and shadow play. It originated in Shaanxi, China, matured in the Tang and Song Dynasties and flourished in Hebei in the Qing Dynasty. As the name implies, shadow play is made of leather. Cowhide and donkey skin are better for firmness and transparency. When coloring, five kinds of fixed transparent pigments such as red, yellow, cyan, green and black are mainly used. It is precisely because of these special materials that the shadows of figures and props in shadow play projected on the screen under the backlight are magnificent and crystal clear, with unique aesthetic feeling. According to the custom of China traditional opera, the characters in shadow play can be divided into five categories: raw, Dan, clean, ugly and ugly. More specifically, each character consists of eleven parts: head, upper body, lower body, two legs, two upper arms, two lower arms and two hands. The performer makes the characters do various actions by controlling a main pole in front of the collar and two game poles at the ends of both hands. In China, many local operas are derived from shadow play, and the performance principles and artistic means adopted by shadow play have also played an important leading role in the invention of modern films and the development of modern film art films. Nowadays, China's shadow play is being collected by museums all over the world, and it is also a good gift from the China government and other national leaders. It can be seen that the art of shadow play has high artistic value in China and even in the world.

Edit the history of shadow play in this section.

Shadow play originated in Shaanxi during the Western Han Dynasty in China, with a history of 1000 years. It is the earliest art of moving shadow play in the world. Some people think that shadow play is the modern "ancestor of movies".

Shadow play is also called "Shadow Play", "Light Shadow Play" and "Earth Shadow Play", and in some areas it is called "Monkey Play" and "Paper Shadow Play". It is a kind of drama, in which figures carved from animal skins or paper plates are illuminated by lights to perform stories. Traditional Chinese opera and aria mostly interact with local operas, which are manipulated by artists and sung with music.

It is said that Chinese shadow play art was introduced to Asia and Europe countries such as Persia (Iran), Arabia, Turkey, Siam (Thailand), Myanmar, Malay Archipelago, Japan, Britain, France, Germany, Italy and Russia from the Yuan Dynasty in the13rd century. From a global perspective, Goethe in the18th century, Chaplin and other world celebrities spoke highly of China's shadow play art, which can be said to be a folk art with a long history and wide spread in China.

From the Qing Dynasty to the late Qing Dynasty and the early Republic of China, the art of Chinese shadow play reached its peak. Many shadow puppeteers have inherited their father's career and passed it on from generation to generation. No matter from the aspects of shadow play modeling, acting singing and popular fields, it has reached the peak of history. At that time, many Wang gentry in the official residence were proud to invite famous teachers to engrave films, store precision film boxes and raise private film classes. Shadow play classes abound in folk rural towns, and it is not surprising that there are twenty or thirty shadow play classes in one township and one city. Whether it is a holiday, a bumper harvest, praying for the gods, or a wedding banquet to celebrate the birthday, it is indispensable to sing a shadow. Even this drama (series) will stay up all night or more than ten and a half months. A temple fair can have several film groups fighting each other, which is very lively and its prosperity can be imagined.

However, the development of Chinese shadow play art is not smooth sailing, and it has experienced ups and downs. In the late Qing Dynasty, some local officials were afraid of gathering people in the dark places of shadow play, so they banned shadow play and even arrested shadow play artists. Shadow puppeteers were also implicated in the Anbaili Uprising in the late Qing Dynasty, and were confiscated on charges of "bandits in Deng Xuan". Before and after the Japanese invasion, due to social unrest and years of war, people lived in poverty, which led to the decline of thousands of households in the shadow play industry.

After 1949, the remaining shadow play classes and artists all over the country began to become active again. Since 1955, shadow play performances have been organized at national, provincial and municipal levels, and delegations have been sent abroad for visits and performances for cultural and artistic exchanges, which have achieved good results. However, during the Cultural Revolution, the art of shadow play was unfortunately broken by capitalism again, and it was greatly damaged from then on.

Edit the origin of shadow play in this paragraph.

When Chinese shadow play originated, it is impossible to know exactly because of the lack of literature. To be sure, China's films were very mature at the latest in the Northern Song Dynasty. When China's traditional opera performance was not yet mature, the cinemas in the Song Dynasty were able to perform a complete and vivid story of the Three Kingdoms. Some works that record the life of Song people, such as Dream of China in Tokyo, Dream of Liang, and Old Stories of Wulin, all talk about the grand occasion of cinemas in the Song Dynasty (mainly in the Southern Song Dynasty), except some famous artists and even Hangzhou in the Southern Song Dynasty. From the Song Dynasty to the Ming and Qing Dynasties, shadow play has been popular, loved by the court and the people, promoted all over the country, and combined with local folk art, language and customs, developed into a shadow play art with local characteristics.

Edit the material of this shadow play.

Because shadow play is a folk art, the situation varies from place to place, and the production materials also depend on the animal skins used locally. Cowhide, sheepskin and donkey skin are widely used in China.

Edit the performance form of this paragraph

Shadow play is a folk art form in China. Longdong Shadow Play in Gansu, northwest of China, is mainly distributed in Pingliang and Qingyang counties, and the triangle bordering Shaanxi and Ningxia in the east is relatively concentrated. Longdong Shadow Play was very popular in the Ming and Qing Dynasties (14th century-19th century), with handsome and generous shapes and straight outlines. The carving is fine and smooth. Longdong Shadow Play uses young black bull cowhide, which is moderate in thickness, firm, flexible and green. The cowhide is scraped and dried until it is bright and transparent. First, draw a sample on the cowhide lightly, and then carve or chisel it with various knives. After that, the transparent water color is used, and the colors are generally not harmonious, so it is pure and beautiful, and the contrast is strong. After cutting and coloring, ironing is the most critical and difficult step. After the water comes out and dries, you can go on stage for binding combination.

Shadow play also requires high performance skills. Performers should not only be able to control the movements of three or four shadow puppeteers by themselves, but also closely cooperate with the music on the field, giving consideration to narration and singing. If you want to practice excellent skills in shadow play performance, you not only need the master to teach by example, but also need him to study hard and accumulate a lot of practical performance experience. Therefore, it is not easy to train actors or even finally form a shadow play troupe. Because of this, there are only a handful of shadow play troupes in China, and they are all concentrated in mountainous areas and rural areas where cultural life is relatively poor. Obviously, this way of performance and communication channels can't let shadow play enter the city or even the world.

In contrast, digital shadow play animation can overcome the above limitations. It not only truly reproduces the principle of shadow play, but also is quite convenient to make and can be modified at will according to the needs of the audience. We can break the heavy feeling of shadow play as a traditional art and give it many modern pop elements. We can use all kinds of long mirror, short mirror and montage techniques in movies in animation, and we can use shadow play to interpret modern stories. The most important thing is that we can make the shadow play (not just the shadow play itself) spread all over the world and be accepted by more and more people through modern network technology. All this does not require the producer to have too many carving and performance skills, but only enough enthusiasm and creativity. This is the original intention of making shadow play into digital animation today, and we also believe that this expression can give new life and vitality to traditional shadow play.

The equipment of shadow play is very light, so the troupe has a strong advantage in mobile performance. No matter in the theater or in the hall, square, courtyard or even ordinary room, you can open the theater by setting screens, curtains and light boxes. A troupe of six or seven people and a box of filmmakers can perform forty or fifty plays. After the performance, all the clothes were packed and left, so it was very convenient to walk around. Therefore, shadow play has been a form of military entertainment since ancient times, and it is also one of the reasons why it is widely circulated and popular among the people.

The skills and singing skills of performing shadow play are the key to the level of shadow play class. The exercises and vocals were written by Master from heart and practiced through long-term hard study. During the performance, artists have the ability to manipulate shadow puppeteers and musical instruments to make up for the chorus and take care of the chorus at the same time. Some experts can shoot seven or eight filmmakers at the same time. Martial arts scene in full swing, shadow people gun rolling up and down, very lively. However, the music and singing in the field of literature are full of charm and beautiful. Or passionate or lingering, there are joys and sorrows, full of emotions and feelings, touching.

Because cars, boats, horses, carriages and grotesque monsters in shadow play can all be performed, such as flying into the ground, stealth deformation, smoking and fire, falling into the sea, etc., and can also be accompanied by various shadow play stunts and acousto-optic effects, the fantasy scene of performing large-scale dramas is unique in shadow play.

The performances of shadow play include historical romance, folklore, martial arts case-solving drama, love story drama, pantomime, fashionable modern drama and so on. There are countless dramas, including single dramas and even dramas. Common traditional repertoires include The Legend of the White Snake, Picking up the Jade Bracelet, The West Chamber, Qin Xianglian, The Cowherd and the Weaver Girl, Yang Jiajiang, The Legend of Yue Fei, The Water Margin, The Romance of the Three Kingdoms, The Journey to the West, The List of Gods and so on. From the revolutionary war years to before liberation, fashion drama, modern drama and fairy tale fable were newly exhibited. Common plays include brother and sister land reclamation, white-haired girl, Liu Hulan, Xiao erhei getting married, little son-in-law, Lin Hai Xue Yuan, red lantern, turtle and crane, two friends, Mr. Dong Guo and so on.

Edit the classification of shadow play in this paragraph.

There are Tangshan shadow play, Jinan shadow play, Xiaoyi shadow play, Fuzhou shadow play, Haining shadow play, Jianghan Plain shadow play, Lufeng shadow play, Huaxian shadow play, Huayin old tune, Agong tune, Xianban tune, Huanxian Taoist shadow play, Lingyuan shadow play and so on.

Due to the wide spread of shadow play in China, in the long-term evolution of different regions, the style and rhythm of its music vocals absorbed the essence of their local operas, folk songs and music systems, thus forming many colorful schools. Among all kinds of shadow play schools in Qin, Jin and Yu, there are more than ten kinds, such as Silban tune, Agong tune, Qiang tune, old tune, Qin tune, North-South tune, Ankang Yuetune, Shang-Dao tune and Blowing tune. Harmony, auxiliary voice and nasal rhyme are also commonly used when singing, which is melodious and very beautiful.

The vocals of shadow play in Hebei, Beijing, Northeast China, Shandong and other places all originated from Laoting in Luanzhou, eastern Hebei, but their respective vocals were nourished by Peking Opera, gongs and drums, bangzi and folk songs, forming different schools. Smooth flat tones, gorgeous and gorgeous tones, and sad and sad tones are all available. Among them, the choking singing method in Luanhe River area in Tang Dynasty is very unique.

In other places, such as Hunan, Hubei, Jiangsu, Zhejiang, Fujian and other places, shadow play music and singing also have local characteristics.

Shadow play? Tangshan shadow play

Tangshan shadow play, also known as Luanzhou Shadow, Laoting Shadow and Donkey Shadow Play, is one of the most influential types of Chinese shadow play. It is generally believed that Luanzhou Cinema was founded in the late Ming Dynasty and prevailed in the late Qing Dynasty and the early Republic of China, with a history of more than 400 years.

There are two main types of manipulation actors in Tangshan shadow play, namely "online" and "offline". There are three poles that dominate the action of the shadow man, which are called "main pole" and "hand pole" respectively. Tangshan shadow play usually has five kinds of division of labor: taking, posting, acting, pulling and singing, which is called "seven busy and eight idle"

There are at least 500 shadow play scripts in Tangshan, also called "shadow volumes". Among them, Liantaiben 130 is more, and there are many single plays. Plays include Five Fronts Meeting, Two Plums, Qingyun Sword and so on. The literary structure of traditional shadow play is that there are "poems" on the stage and "rights" under the stage. Its metrical patterns are commonly used in seven words, cross brocade, three driving seven, five-word fu, hard dispersion, big Phnom Penh and small Phnom Penh. The structure of these lyrics is based on dual upper and lower sentences, and each lyric is generally composed of several pairs of upper and lower sentences with the same rhyme. Based on Laoting dialect, Tangshan shadow play is good at singing and has a unique style. The basic board types are big board, two-character board, three-character board, scattered board, flat singing, coloratura, desolate tone, sad tone, drifting tone, returning tone, and various stresses named after special sentence patterns.

The carving of shadow play should go through several steps, such as scraping skin and pulp, laying samples and carving, painting and oiling, nailing and assembling sticks. Knife edge and coloring are the places that best reflect the sculptor's level. Character modeling is divided into raw, small, big, sideburns, ugly and so on.

The content of Tangshan shadow play is an important material for in-depth analysis of local folk customs and religious psychology. The improvement and innovation of vocal performance, stage prop materials and skills by Tangshan shadow play artists in past dynasties have never stopped, and these experiences are valuable wealth for present and future generations. The inheritance of Tangshan shadow play continues the way of oral teaching and provides important reference value for the ways and means of cultural inheritance. The singing, music, performance and modeling of Tangshan shadow play have a unique style in this region, which is well received by peers and audiences at home and abroad and has high appreciation and research value.

At present, less than 10 people can create shadow play scripts, shadow play artists are too old to find disciples to pass on, and fewer and fewer people appreciate the art of shadow play. Tangshan shadow play is facing the dilemma of being lost.

Shadow play? Shadow play in southern Hebei

Shadow play in southern Hebei is mainly distributed in many counties and districts in Handan, Hebei Province. Shadow play in southern Hebei has a long history. It is said that Beijing Palace Shadow Play was formed in southern Hebei, mainly distributed in southern Hebei, and spread to central and northern Hebei. Southern Hebei movie theater is an important branch of Central Plains movie theater in Song Dynasty, which is closely related to Henan movie theater.

The shadow play in southern Hebei is simple in modeling, combined with carving and painting, and concise in modeling system, which embodies the style of early shadow play in China. The shadow play in southern Hebei is rich in repertoire, and there is no text in singing. It's all word of mouth. The dialogue is humorous, very colloquial, easy to understand and has distinctive local characteristics. The props of shadow play in southern Hebei mainly include shadow play modeling, performance screens and accompaniment instruments. The band is equipped with banhu, erhu, stuffy flute, sanxian, suona, sheng and other musical instruments, and now it is equipped with an electronic organ. The martial arts field is equipped with bangu, war drum, big drum, big gong, small gong, big cymbal, small cymbal, horse number and bangzi. The shadow play club in southern Hebei still maintains traditional customs, which basically embodies the performance form of the original ecological shadow play.

Shadow play in southern Hebei has a glorious history, but today it has fallen into a very embarrassing survival situation. Shadow play artists are mostly too old to sing. There are fewer middle-aged artists, especially young artists, and fewer shadow play boxes. Some clubs only leave props, and artists are gone. According to the statistics of six counties in southern Hebei, the number of shadow play clubs that can perform now has decreased from more than 100 in the early days of liberation to more than 100, the number of shadow play artists has decreased from nearly a thousand in the past to more than100, and the number of performances has decreased from more than 200 in the past to more than 30, with fewer and fewer performances. Traditional shadow play performance skills are difficult to inherit, and its singing, oral repertoire and carving methods are almost lost.

Shadow play? xiaoyi shadow play

Xiaoyi Shadow Play is an important branch of Chinese Shadow Play, which is named after its popularity in xiaoyi city. According to historical records, xiaoyi shadow play had class rules and sculptors in the song and Jin dynasties, indicating that xiaoyi shadow play was mature in the song and Jin dynasties. According to experts' research, Xiaoyi Shadow Play originated in the Warring States Period and is one of the earliest birthplaces of shadow play in China. Leather cavity is the tune of shadow play. Because the music of leather cavity takes suona as the main accompaniment instrument, it is also called "filial piety blowing cavity". Xiaoyi Blowing Opera is one of the earliest folk blowing operas in China.

Xiaoyi shadow play takes hemp paper window as the screen, and because there is sesame oil lamp hanging behind the paper window, it is also called "lamp shadow" and "paper window". The general paper window area is1.75m×1.21m. Paper window stickers have five strict procedures: cutting paper, deburring, proportioning, pasting and leveling, and the window is smooth and wrinkle-free, and white and flawless. Xiaoyi shadow play was carved from sheepskin before the Ming Dynasty, with a height of 58 ~ 60 cm, commonly known as "two-foot shadow". In the Qing dynasty, the shadow figures were reduced to 42 ~ 48 cm, commonly known as "five-foot shadow play", and the three-year-old cowhide was the first-class material for carving. Xiaoyi shadow play is rough, concise and exaggerated, with rich lines and great charm.

The Ming and Qing Dynasties were the heyday of Xiaoyi Shadow Play. Xiaoyi has more than 60 shadow play clubs, which gradually declined. Xiaoyi city Puppet Shadow Play Art Troupe was founded on 1956, and was abolished during the Cultural Revolution. 1978 resumed the performance of shadow play, participated in the performance of the first China Art Festival, and went to the UK for an exchange visit. 1995, the image of the military commander in Xiaoyi shadow play was recognized as a stamp pattern by the people of the whole country. Xiaoyi Shadow Play has a rich repertoire, with a collection of 200 Yu Ben. These plays have a wide range of themes, rich contents and great academic value. Studying the formation and development of xiaoyi shadow play is helpful to explore the internal law of the occurrence and evolution of China opera and understand the original vocal structure of Piqiang.

Shadow play? Fuzhou shadow play

Fuzhou shadow play was spread by Shaanxi soldiers who came to the northeast to defend the border during the Wanli period of the Ming Dynasty (1573- 1620). Shadow play in Fuzhou was really active and popular during Jiaqing period of Qing Dynasty (1796- 182 1). At that time, the "White Lotus Sect" prevailed in Hebei, and some shadow puppeteers also participated in the "White Lotus Sect", which was falsely accused by the Qing government as a "hanging lantern thief" and ordered to ban shadow puppetry. Shadow puppeteers in Luanzhou, Hebei Province were forced to flow into the northeast and southern Liaoning. Fuzhou shadow play was born and developed under this background, and it has a history of more than 300 years.

From 1932, Fuzhou shadow play was forced to stop performing and resumed after the victory of the Anti-Japanese War. After the national liberation, the shadow play in Wafangdian area was very active. At the peak, there were 43 shadow play classes in the county, and there were more than 20 shadow play artists who had great influence among the masses.

Fuzhou shadow play has a long history and important historical and cultural value. It has played a publicity and education role in spreading cultural knowledge, preserving and inheriting folk valuable historical legends, local customs and people's stories. Judging from the contents reflected in Fuzhou shadow play, it covers social life, praises the truth, goodness and beauty, and lashes the false, evil and ugly, and is deeply loved by local people.

Shadow play? Haining shadow play

Haining Shadow Play, located in Haining City, Zhejiang Province on the north bank of Qiantang River, is a classical drama with the style of Southern Song Dynasty. Haining Shadow Play was introduced from the Southern Song Dynasty, that is, it was integrated with the local "Haitang Salt Play" and "Haining Minor", and absorbed the classical tunes such as "Yiyang Tune", and changed the northern tune to the southern tune, forming the ancient music with the two major tones of "Yiyang Tune" and "Haiyan Tune". The tune is sonorous, impassioned and elegant, accompanied by flute, suona, erhu and other Jiangnan silk and bamboo. The rhythm is bright and melodious, full of water town charm. At the same time, the lyrics and lyrics were changed to Haining dialect, which became a regular program for folk weddings, birthdays and blessings. Moreover, Haining is rich in silk, and there is a folk custom of praying for the silkworm god. Shadow play is also called "Silkworm Flower Class" because of its long-term performance of "Silkworm Flower Play".

The figures in Haining Shadow Play are made of sheepskin or cowhide through painting, cutting, hooking, coloring, sewing and inserting. The main features are: "less carving, more painting, single-line flat painting", round face, one-eyed side, less exaggeration, close to reality, full of "human feelings" flavor; The whole body is dominated by one hand and one foot (sideways), which is quite ethnic and folk.

Haining's shadow play has been performed for nearly a thousand years. By 1930s and 1940s, there were more than 20 troupes, more than 300 plays and 120 actors in Haining. With the changes of the times, the living environment of shadow play art has been seriously affected. In 1950s, Zhejiang Provincial Department of Culture went to Beijing to perform in order to form a troupe. After investigation, only Haining in the province has skilled old shadow puppeteers. But today, the only remaining old artists are over 70 years old, and there is no successor, which has become one of the key traditional folk art projects.

Shadow play? Shadow Play in Jianghan Plain

Shadow play in Jianghan Plain refers to shadow play with the same artistic features, which is popular in Qianjiang, Tianmen, mian yang (now Xiantao City), Jianli, Honghu, Shishou, Jiangling, Gongan and Jingshan counties (cities) in central and southern Hubei Province. Jianghan Plain, which borders the Yangtze River in the north and Hanshui River in the south, is one of the cradles of Jingchu culture, and shadow play has found a breeding and prosperous soil here. Although its origin can't be verified, as early as the late Ming and early Qing dynasties, there was a habit of singing shadow play on holidays, which formed a unique style and carving characteristics over time.

The core area of shadow play in Jianghan Plain is concentrated in three areas: heaven, dive and encouragement, and its remarkable artistic features are mainly manifested in the art of sculpture, singing and oral writing. The sculpture art of shadow play in Jianghan Plain originated from Tonge and Guo Ge in Qianjiang, and formed a unique artistic style, especially with fine patterns, rounded and stretching, vivid characters and huge shadows.

The singing of shadow play in Jianghan Plain is mainly singing and fishing drum singing. The "chicken singing" in vocal shadow play originated from Fortress Besieged by Chu State in the Eastern Zhou Dynasty, which is a "living fossil" in China traditional music. Fishing drum cavity comes from the begging songs of old artists, with diverse modes and strong local flavor. There are more than 300 shadow plays in Jianghan Plain. In fact, these "scripts" only have the provisions of the repertoire. When performing, they all rely on artists to unfold plots and portray characters according to historical stories. Singing, doing, reading and acting are integrated, and its oral literary form is another main feature of shadow play in Jianghan Plain.

The shadow play in Jianghan Plain is exquisitely made, vivid in shape and beautiful in singing, and rich in ancient Chu culture style, which is deeply loved by people of all ages. With the maturity of modern civilization and the death of the older generation of artists, the shadow play in Jianghan Plain began to die out, and its artistic essence needs to be passed down by future generations.

Shadow play? Lufeng shadow play

Lufeng Shadow Play is the only relic of Chaozhou Shadow Play, one of the three major shadow play systems in China, and Lufeng Shadow Play Troupe is the only professional shadow play troupe in Guangdong Province. Lufeng shadow play has been surviving and developing among the people, with the genes of the ancient Minnan language family and the breeding of Hailufeng folk customs. It has rich singing music, strong local characteristics, exquisite paintings and sculptures, and vivid and elegant performances.

Lufeng shadow play lives in this small town. It has a long history, formed in the Song Dynasty, prevailed in the Ming and Qing Dynasties and prevailed in the Republic of China. During the war on the eve of the founding of New China, most other operas stopped playing drums, and shadow play classes were still active in surrounding towns and villages, which shows that shadow play has a profound mass base and strong vitality. After the founding of New China, it was revived and developed, attracting worldwide attention in painting, music, production, performance, effects and stage lighting. Wherever it goes, it is welcomed by the audience, especially the children. The performance area is constantly expanding, not only to cities and counties such as northern Guangdong and Guangzhou, but also to many cities and counties in Fujian. After 1975, he went to Beijing to participate in many performances, and his plays, War with the Evil Beast, Chicken and Snake, Race between Tortoise and Rabbit, Flying, Cockfighting and Crying Tower, were widely praised. Lufeng shadow play is a traditional folk art with high historical, educational and artistic value.

Shadow play? Hua county shadow play

Hua county's Wan Wan Qiang Shadow Play (once famous for its time) was formed in the early Qing Dynasty. Because it is mainly spread in the areas of Erhua and Dali in Weinan, it is a house in the Middle East, so it is also called Wan Wan Qiang on the East Road. The play has complete vocals, unique accompaniment instruments, exquisite elegance, tactfully moving and colorful expressions. Shadow play has exquisite modeling, obvious personality characteristics, exquisite material selection and fine production. During the reign of Qianlong and Jiaqing in Qing Dynasty, the dramatist Li and other scholars created many traditional plays such as Ten Books for Qiang shadow play, which have been handed down to this day and have been transplanted and adapted by other operas and put on the stage, making great contributions to Shaanxi opera art for a long time. Shadow play classes and clubs are mostly composed of five or six people. They move easily and don't choose venues. They can live in folk villages and towns and houses for many years, laying a solid foundation in the vast rural areas.

Facing the loss and survival crisis caused by various reasons, it is an urgent and important task to rescue and protect Wan Wan Qiang shadow play, an excellent traditional culture loved by the masses.

Shadow play? Huayin laoqiang

Huayin Laoqiang is a kind of shadow play drama based on the local folk storytelling art in the late Ming and early Qing Dynasties. For a long time, it has always been a family play of the Zhang family in Quandian Village, Huayin County (only the family name, not outsiders). Its voice is tall and straight, sonorous, majestic and heroic, which sounds quite generous with Xi Dahan's singing "Going East to the Great River". Finally, the tune of the boatman's horn in Weishui was introduced, and the drawl (commonly known as Labo) was adopted. Accompaniment music does not need suona, and the clapping rhythm of sandalwood alone constitutes the unique length of this kind of drama, which makes it rich in outstanding historical and cultural value and enduring from generation to generation. However, in view of this special situation (family drama), this drama is still in an endangered state and needs long-term protection.

Shadow play? Agongqiang

A Gong Qiang is a wonderful flower in the shadow play in the central and northern Guanzhong area of Shaanxi Province (Liquan, Xianyang, Jingyang, Gaoling, Lintong, Yaoxian and Fuping). Its singing melody is not heavy and impetuous, clear and graceful; "Turn high" and "Turn high" in the row cavity