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1, starting from the leaver and ending with

China opera is a comprehensive stage art form. Its characteristic is that many art forms are gathered together by a standard, and their respective personalities are reflected in the same nature. These forms mainly include: poetry, music and dance. Poetry refers to its literature, music refers to its music accompaniment and dance refers to its performance. In addition, it also includes stage art, clothing, makeup and so on. These artistic factors are all for one purpose in China traditional operas, that is, acting stories; Everyone follows a principle, which is beauty.

2, opera, that is, singing and dancing to play the story.

In a word, China's traditional opera is characterized by "singing and dancing to tell stories" (Wang Guowei, a scholar in the late Qing Dynasty). Traditional Chinese opera and drama in China belong to drama, and they all play characters through actors, and express stories of a certain length through dialogues and actions. The difference is that China traditional opera uses musical dialogue and dance movements to express real life, that is, the means of singing and dancing. Also known as "singing, reading, doing and playing".

3. Get out of the form and take its meaning, get carried away.

China's traditional operas express life in a way of "taking its meaning and abandoning its form", such as freehand brushwork in Chinese painting, which embodies all the beautiful things in life with vertical and horizontal strokes. Therefore, there are red-faced Guan Yu and white-faced Cao Cao on the opera stage; When you were in Long song, you cried and danced with long sleeves; With the spring scenery without flowers and trees, there is no river without waves.

4. Small stage, big stage of heaven and earth

As a stage art, China opera needs to face the contradiction between the narrowness of the stage and the vastness of life. Unlike drama, China traditional opera does not squeeze life with the principle of "three unifications" to facilitate expression. Instead, we use virtual means to create flexible time and space, and complete the description of the vast world with the help of the vivid performance of actors and the imagination and understanding of the audience. Therefore, opera can create the illusion of night under bright lights, and it can ride horses and sail on an empty stage.

Second, the history of China opera

1, the gestation and formation of China opera.

China opera originated from primitive songs and dances. In the Han Dynasty, there was a kind of "corner play" with performance elements, especially "East Sea Huang Gong". During the Northern and Southern Dynasties, there appeared a "musical drama" combining singing and dancing with performance, with more intense performance elements, such as the head, the face, and the picking of mothers. In the Tang Dynasty, there appeared a "joining the army drama" characterized by funny performances, which developed from the actors' performances in the pre-Qin period. Folk song and dance dramas entered the court and got greater development; Popular rap forms such as "rude words" and "variant characters" have appeared among the people. In Song Dynasty, the urban commodity economy developed by leaps and bounds, and many public entertainment places appeared-"Washe" and "Goulan". Folk songs and dances, rap and burlesque have a comprehensive trend, and "Song Zaju" has appeared. In Jin Dynasty, on the basis of Song Zaju, "Jin Benyuan" appeared in the north and "Southern Opera" appeared in the south. In the Yuan Dynasty, "Northern Zaju" was formed in the north, and the southern opera was further developed and matured, forming a traditional opera.

2. The earliest mature form of China Opera-Southern Opera in Song and Yuan Dynasties.

Southern Opera is the earliest form of China Opera, which was formed in Wenzhou (formerly known as Yongjia) in Zhejiang at the turn of the Northern and Southern Song Dynasties, and is called "Wandering in the Orchid". It was formed on the basis of the drama of the Song Dynasty, combined with artistic factors such as southern folk ditty and rap. Its characteristics are huge system and concise lyrics, which have the basic artistic characteristics of China traditional opera. Drama mostly shows folk stories.

3. The first prosperous period of China opera-Yuan Zaju.

Yuan Dynasty is an important period in the history of China opera. Famous for Yuan Qu, the most influential writer in Yuan Qu is only Northern Zaju (also known as Yuan Zaju). The literature of northern zaju is superior to simple nature, and the drama literature of later generations is second to none; Guan (), Wang (poetry), Bai (Pu), Ma (Zhiyuan) and other zaju writers have made a generation of northern zaju literature. The performance of the northern zaju shows the simplicity and rich folk flavor of the opera at the beginning of its formation.

4. The second prosperous period of China opera-Ming and Qing legends.

Legend originated from the Southern Opera in the Song and Yuan Dynasties, which is the result of the maturity and standardization of the Southern Opera. After the middle of the Ming Dynasty, legends replaced zaju as the leading role in the drama stage. Hey? The word Que was taken from its bracket. Hey? Characteristics of lutein. Its scripts, literary works and dictionaries are exquisite, its system is huge, and there are countless famous works, which is the heyday of China traditional opera literature. The performance is becoming more and more mature, and more is sung with Kunqu opera.

5. The four major tunes of Ming Dynasty

The so-called four major tunes of Ming Dynasty are the collective names of Zhejiang Haiyan tune, Zhejiang Yuyao tune, Jiangxi Yiyang tune and Jiangsu Kunshan tune in the Southern Song Dynasty system of China in Ming Dynasty. There was an obvious localization trend in the music of Ming Dynasty, mainly manifested in the rise of local tunes. The latter two have the greatest influence on later operas, namely Yiyang Opera and Kunshan Opera. The former has developed into a high-pitched opera system with extensive influence in China. The latter developed into an elegant and exquisite Kunqu opera.

6. The transformation period of China opera-the rise of local operas in Qing Dynasty.

Since the early Qing Dynasty, great changes have taken place in the stage of traditional Chinese opera, which is mainly manifested in the folk and popularization of traditional Chinese opera. First, Kunqu opera and Gao Qiang prevailed, and then the rise of local operas. Since then, the stage of national drama is no longer the world of legendary drama, and Kunqu Opera and Gaoqiang have competitors from the people. The performance place of China traditional opera has also changed from a hall to a teahouse.

7. Huiban went to Beijing.

In the fifty-fifth year of Qianlong, namely 1790, to celebrate Qianlong's eightieth birthday, "? Ji Hui's half-time performance in Beijing brought a totally different local tune from Kunqu Opera-jujube emblem tune, which gave the audience in Beijing a refreshing feeling. Subsequently, Huizhou classes from Fujian, He Zhi and Fu Tong went to Beijing in succession. Huizhou tune won the welcome of Beijing audience for its popularity and simplicity, and has since taken root in Beijing.

8. The formation of Peking Opera is an important event in the history of China opera.

After Huiban went to Beijing, Hubei Han Diao artists also went to Beijing to perform with Huiban artists during the Daoguang period (around 1828). They sang Pi Huangqiang as Huizhou artists, but with more Hubei style. Hui and Han nationalities coexist in Beijing. After decades of development, Pi Huangqiang Jujube Peking Opera with unique northern characteristics was finally formed around 1840.

9. The first heyday of Peking Opera-Tongzhi and Guangxu years in Qing Dynasty.

Shortly after the formation of Beijing Opera, it ushered in its first prosperous period, which was during the Tongzhi and Guangxu years of the Qing Dynasty. At that time, a group of outstanding Peking Opera actors appeared, which attracted the love of court officials at this time. The rich material conditions in the palace promoted its artistic maturity. First, the emergence and development of China's opera.

China traditional opera originated from Xuanhe (11/kloc-9-125) in the12nd century to Shaoxing (115/kloc-5) in the Southern Song Dynasty. A few decades ago, there was a misunderstanding that Beiqu was earlier than Nanqu. Personally, I think Nanqu is actually earlier than Beiqu. This refers to the original official opera-Nanxi, which originated in Wenzhou, Zhejiang. Let's talk about the situation before the emergence of formal opera.

When our nation was still in a slave society (Yin Dynasty), songs and dances were already quite rich, which were roughly divided into two categories. One is to imitate life. Like hunting, imitate what you hit. The second is to imitate war. A bronze mask with feathers and animal tails. Later, due to the development of society, it was more prosperous in the Spring and Autumn Period and the Warring States Period, and it was still dominated by song and dance, music, sports (corner arrival) and comedy, which was called acrobatics or acrobatics. In the Han, Wei and Six Dynasties, this was still the case. If rap, doing, reading and playing together are called plays, they are only some incomplete plays. Zhang Heng of the Western Han Dynasty wrote "Ode to Xijing", which said many things, such as "there will always be immortals to preach", playing Nu Wa and singing with actors who play all kinds of immortals; For example, "Wu Huo lifts the tripod", Wu Huo is an ancient Hercules; "Dulu looking for a collision", playing Dulu climbing pole; "Chong Narrow" is about putting a knife in a jar and people running in and out of the jar; "Zhuo Yan" jumps back above a basin of water like a swallow; "Stab in the chest" means that a person stabs himself with the tip of a sword and can't die. Actually, this is a trick. "the luxury of jumping pills and swords" means playing with three projectiles or three swords like modern people and throwing them in the air in a circular way; "Meet on a tightrope", just like walking on a tightrope now. These acrobatics are similar to modern acrobatics. Although it is unique to China, it is not a play.

Qin Ershi is mentioned in Historical Records and Warring States Policy. He is good at irony, and he dares to say what others dare not say. If Qin Ershi wanted to raise deer, the ministers opposed it, but Qin Ershi wouldn't listen. Youyou said, "Good! Ok, 1 If the enemy attacks, as long as the deer raised in the imperial garden is released, the deer's horns can resist the enemy. " For another example, Qin Ershi wanted to draw a city wall and said leisurely, "Good! All right! The city is beautifully painted, and the enemy is too scared to come when he sees it. " Later, this art of speaking gradually developed into modern cross talk. This is not a formal opera, it can only be regarded as the bud of opera.

After the Northern and Southern Dynasties, there are three things worthy of attention, namely "bedding face", "pottou" and "stepping on a ballad mother".

"Da mian" is also called "Dai mian", but now people in Hunan still pronounce "Da" as "Dai". "bedding face" began in the northern qi dynasty. Lan Ling, a soldier in the Northern Qi Dynasty, was beautiful. He was afraid that he could not shake the enemy during the war, so he put on a ferocious hood or mask to make himself look terrible. In modern Beijing opera, the jumping official should wear a white mask, while in the Kunqu opera The Horse Dealer, the owl should wear a hideous hood, like a haunted Lama (but in Beijing opera, it is white face and beard), which is closer to the "big face". By extension, the facial makeup of Peking Opera can be said to come from "bedding face" without a hood.

These forms of song and dance performances provide the prototype of China traditional opera.

These are not official operas either. Why do you say that? Because a formal opera needs three conditions:

(1) Be sure to sing in disguise.

(2) Be sure to sing in the tone of the live characters, that is, sing in the first person, not in the tone of the storyteller.

(3) Must have a high degree of story (this condition is the most important).

But the song and dance mentioned above are sometimes confused with traditional Chinese opera. Why? The reason is that "joining the army drama" is also called "drama" and "Daqu" is also called "Qu". Although the performances in the pear garden in the Tang Dynasty developed in music, singing and dancing, they did not meet the above three conditions. However, these songs and dances had a great influence on the formation of China traditional operas, although these influences were indirect.

(2) singing. There are "Daqu" tunes, lyrics tunes, popular tunes and tunes created by folk artists in the Tang Dynasty.

(3) the story. Mainly telling stories and singing stories. At that time, storytelling was very popular, and rap alternated with each other, each with its own emphasis. Among them, singing was the main form, which developed into later operas.

There were many songs sung at that time. Daqu is sung repeatedly with a tune. Zhugongdiao (such as Dong Xixiang) is sung with many gongdiao changing together. There are only three kinds of Zhugongdiao: there are two kinds in Jin Dynasty, namely Zhugongdiao in the West Chamber and Zhugongdiao in Liu Zhiyuan; There is a song in the Yuan Dynasty, which is the tune of Tianbao Legacy Palace.

Other tunes include Entanglement (also known as Zhuan Tread or Zhuan Zhuan) and drum words (such as the story of A Rider's Zhuan sung with more than a dozen songs).

China traditional opera is a comprehensive art, and there are many clues about its origin. It is mainly a combination of performance, singing and stories, the greatest contribution of ancient artists and the crystallization of their wisdom.

Second, China's two major systems of ancient opera

After the appearance of China opera, two systems were formed in the Yuan Dynasty in the13rd century. A kind of Song Dynasty that existed a long time ago, originated in the south and sang Nanqu (also known as Nanxi Opera). The other was later produced in the north. Sing the Northern Song Dynasty (also known as Northern Zaju). These two kinds of music are combined into a big system, which is called the North-South Music System.

(3) 1824 Han Opera, Hubei Bangzi, Xipi (and possibly other components) were mixed with other Beijing Opera (that is, Xipi and mixed) and absorbed other Qin operas, forming the early Pi Chun Opera. Because it absorbed some Kunqu opera, there are still some Kunqu operas and tunes in Beijing. The whole history of the formation of Peking Opera is only 150 years.

Summarizing the 900-year history of the development of China traditional opera, although there are different ideas, the context is still clear. From the North-South Opera System to the Local Opera System. All this was created by the people (including ancient actors).