Who knows the changes and history of China Cantonese opera costumes?

Cantonese Opera, also known as Grand Opera or Guangdong Grand Opera, originated from Southern Opera and began to appear in Guangdong and Guangxi during Jiajing period of Ming Dynasty. It is a performing art of mixing chorus, musicians playing music, stage costumes and abstract forms. Every business of Cantonese opera has its own unique costumes. The language of the original performance was Zhongyuan phonology, also known as Opera House Mandarin. By the end of the Qing Dynasty, in order to publicize the revolution, cultural people changed their singing language to Cantonese, making it easier for Guangzhou people to understand. Cantonese opera was included in the first batch of 5 18 national intangible cultural heritage list published on May 20th, 2006.

history

Before the yuan dynasty

Cantonese opera originated from the rise of China folk songs, which can be traced back to the Book of Songs in the pre-Qin period. However, it is in the same strain as all the plate operas in China, such as Peking Opera and Cantonese Opera, as well as poetic dramas, such as Shanghai Yue Opera and Huangmei Tune.

China's seven-character folk songs reached an unprecedented peak in the Middle Ages, that is, the Wei, Jin and Tang Dynasties, and even formed a generation of literary styles-Tang poetry. These orderly folk songs not only formed the story-telling content, but also added the rhythm characteristics of Muyu Festival to the popular performances of Buddhist temples in the Tang Dynasty. However, due to being at the bottom of society for a long time, and the influence of foreign music, banquet music (or Yan music) has been appreciated by the ruling class in the Tang Dynasty, so it has not been greatly developed. Ci music developed from banquet music, after Tang and Song Dynasties, formed a kind of drama with different rules as Gongdiao.

the Yuan Dynasty

In Yuan Dynasty, Zaju became the most popular drama type. There was a scene called 10% discount. In the future, only one scene will be selected, which is called the passbook play. There are many Cantonese operas handed down from Yuan Zaju, and even some traditional Cantonese operas are exactly the same as Yuan Zaju, such as The West Chamber (known as the crown of Yuan Zaju), The Grief of Dou E, Walking in the Snow, Away from the Soul, The Orphan of Zhao, etc.

Ming dynasty

Volume 9 of Zhuangqu's suicide note compiled by Gui Youguang in Ming Dynasty records the suicide note sent to Wei Pai in Ming Dynasty in 16 (152 1). It contains "Chongxian is a servant, and the son should not be sent to Du Xue in vain." "Don't make up obscene songs, play emperors of past dynasties, slander ancient and modern times, offenders will ask" and so on. This can be said to be the earliest written record of drama in Guangdong. According to the records of Xinhui County Records, in the early years of Chenghua in Ming Dynasty, the local "children of rural customs mostly didn't keep their posts and made a living by playing". In the forty years of Jiajing in the Ming Dynasty (156 1), it was recorded in Guangdong Tongzhi: Fu Shuo, Guangzhou, "acted in the city in February, and it was said that it was" difficult to move the play, but it was unwise to play the string ". Therefore, "Jiangsu and Zhejiang artists will call themselves rural when they arrive, so they need to refuse." This proves that drama was very popular at that time.

In the Ming Dynasty, Yiyang Opera, a southern opera, became popular in Guangdong, and Kunban Opera, Huizhou Opera and Jiangxi Hunan Opera Troupe often performed in Guangdong. According to the history of Cantonese opera, there was a female Hua Dan named Zhang Qiao in Guangdong, who was from Nanhai. Her ancestral home is Suzhou, and she was born in Guangdong. Because her mother is a Suzhou Kunqu Opera actress, she was recorded as a Kunqu Opera girl. It can be seen that people from local theatrical troupes began to take root in Guangdong. [2] Although Cantonese people began to learn acting under the influence of foreign countries, they were still not accepted by conservatives during Chenghua period. The Huo family tree in Shiwan Taiyuan once forbade everyone to learn to perform. Later, a troupe with local people as the main body gradually appeared, and it transitioned to a troupe with local people as the whole. In order to distinguish the two, the former is called "Waijiang class" and the latter is called "local class".

Cantonese Opera not only absorbs the characteristics of Yiyang Opera, but also has blood relations with Anhui Opera (Anhui), Han Opera (Hubei), xiang opera Opera (Hunan), Qi Opera (Hunan) and Guangxi Opera. Because of the repertoire, aria, music, performance methods, etc. It is roughly equivalent to Huizhou, Han, Hunan, Qi and Guangxi operas. For example, these two dramas, Wen Qing Bu Qiu and Exclusive Flowers, as well as southern martial arts dramas, such as Shovel Chair, Platform Jumping and Night Fighting Ma Chao, are exactly the same as those in Cantonese operas. Although Waijiang class is close to Huizhou class and local class is close to Xiban class, in fact, in the early days of the establishment of local class, the main difference lies in the people who organize the class. Local classes are composed of local people, mainly referring to professional theatrical troupes composed of local artists. However, sometimes it can also include temporary theatrical troupes formed by some farmers during seasonal performances.

There is no one who doesn't understand that there is harmony after the Qionghua in the play. Qionghua Guild Hall was founded in Wanli period of Ming Dynasty. According to the "Foshan Zhong Yi Township Records", "There are thirty-seven halls in the town, and Qionghua Hall is the most magnificent building." . At that time, Qionghua Club was located in Dajipu (i.e., Hong Qiang District, Foshan City), where "excellent boats gather and the restaurants are on the edge of the city". At that time, there were four big pillars and a pavilion at the entrance of the hall. The plaque at the entrance of the museum is the word "guild hall", and the whole museum is bigger than the ancestral hall at that time. The whole museum is divided into three parts: the first part is the bell and drum, and then the detachable temporary stage; The second entrance is Qionghua Palace Hall, in front of which is Riling; The third entrance is the clubhouse. On Huaguang's birthday, people in the theater gathered in the main hall of Qionghua Palace to worship Huaguang. Qionghua Club is near Qionghua Water Port near Dajiwei River in Foshan, which is convenient for actors who take red boats to go ashore or perform in other places. It is said that the actor originally rented a purple-hole boat as a play boat, and later added sails to draw dragons and chrysanthemums on the hull, and the bow was painted red, so it was called a red boat.

Ching Dynasty

The center of early activities of Guangdong local troupe is Foshan. In the 15th year of Shunzhi (1658), Jianhua sealed the stage in front of the ancestral hall of Ling Ying Temple, on which there were various drums and tables. During the reign of Kangxi, it was renamed Wanfutai, which is the most magnificent and exquisite ancient stage in Guangdong and the largest stage in Lingnan area, and witnessed the development history of Cantonese opera. The stage is divided into two parts, the front desk is set with gold lacquer wood carvings, and the stage effect is strong. The entire Wanfutai also adopts an arched structure, and the sound quality that can be heard no matter where you stand is basically the same.

During the Yongzheng period, there were more "local tyrants" and "local tyrants" in Guangzhou. It is recorded in the literature: "Fu Fanqiao in Guangzhou is the head of the pear garden, with many female geisha, and its song price is twice that of male geisha. ..... Remnant Kunqu Su Bai, similar to Wu Na. In addition, they all belong to a wide cavity, singing in unison, and their voices are quite mixed. Every performance will be noisy for a long time, and then it will be staged. ..... Liu Yueshuo, acting in the department, Yulin local class, neither lenient nor generous, extremely intolerant of listening. There are only White Rabbit, Romance of the West Chamber and Fifteen Passes to explore its songs. I don't know what the story is. "

During the Qianlong period, Guangdong was relatively stable and developed in commerce and trade. Foshan is a gathering place for business gangs, so it has a strong demand for entertainment, attracting more than 100 provincial troupes to perform in Guangdong. These classes mainly come from Jiangxi, Hunan, Anhui, Gusu and other places. In the twenty-fourth year of Qianlong (1759), he established the "Guangdong Waijiang Liyuan Guild Hall" in Guangzhou. Local classes have set up Qionghua Guild Hall in Foshan, where they are concentrated, which is a theatrical troupe peer organization of "the place where artists report". In addition, the performing arts activities of Xiasifu (Gaozhou, Leizhou, Lianzhou and Qiongzhou) in western Guangdong are very frequent. Every year, Guan Di and Mrs. Xian have the custom of "acting to worship God".

In the fourth year of Xianfeng (1854), Cantonese opera artist Li responded to the Taiping Heavenly Kingdom Uprising and led the disciples of the pear garden of Foshan Jingtang Ancient Temple to form three armies: Tiger and Flying Tiger. In order to eliminate the forces of the three armed forces, the Qing government slaughtered artists, burned Qionghuatang and banned Cantonese opera 15 years. During the performance ban, local artists fled overseas one after another, and some Cantonese opera artists made a living by joining the Waijiang Huihan troupe and performing in Beijing, Han, Hui and Hunan troupes, which contributed to the confluence of Bangzi and Hunan. In the eleventh year of Xianfeng, Li and Chen Kai were defeated, the Qing government's ban was slightly relaxed, and the local class took the opportunity to rise again. In the ninth year of Tongzhi (1870), Feng Guangwei, a gentleman from Gaoyao County, and others wrote a letter requesting permission for evening performances, and the magistrate of a county also agreed, which shows that the ban has been relaxed.

During the same period, a large number of China workers were taken overseas. With the emergence of a large number of overseas Chinese workers, Cantonese opera has gradually spread overseas. The History of Chinese in the United States records that Cantonese opera has brought Chinese folk culture to live on. Young actors invited from San Francisco (there were no actresses at that time) often traveled to and from mining areas such as Bart and Marysville to perform traditional dances and operas for local Chinese workers. Hongfutang Troupe, with 123 actors, made its debut at the American Grand Theatre, staged Cantonese Opera, which was a great success, and set up its own theater in Chinatown. On the other hand, a large number of overseas Chinese who have emigrated to Vietnam, Singapore, Indonesia and other places still maintain their inherent habits. Among the expatriates, Cantonese is the majority, and they like Cantonese opera. So there is a Cantonese Opera Troupe in Saigon, Vietnam. Singapore's plays are also performed by Cantonese. In the 1970s, Indonesian published Javanese translations of Xue, Yang Zhongbao, Di Qing and Guifuren, and later there was a Malay translation of Xiajiangnan by Gan.

After the lifting of the ban on Cantonese opera, the performance methods of local classes have changed a lot, and the tunes have absorbed Huang Er, and they can mainly be Bangzi and Huang Er, or they can perform in a big cavity. At that time, the performing roles were divided into ten categories: Wushu, Zheng Sheng, Xiao Sheng, Xiaowu, Zongsheng, Gongjiao, Zheng Dan, Hua Dan, and Jing Chou. Later, thanks to the efforts of Kuang Xinhua, Du Jiaoying, Linzhi and others, Cantonese opera gained a new life and formed a new Cantonese opera organization-Bahe Guild Hall. At that time, the cost of building the Eight Pavilions and the Guild Hall was raised through the charity performance held by the whole bank during the closing period of leap month every year, and the salary was deducted. In addition, all members need to pay one or two pieces of silver as the "golden share". Finally, in the 18th year of Guangxu reign of Qing Dynasty (1889), Bahetang was built in Haibin Street, Huangsha Old Land, Guangzhou. Bahe Hall is divided into eight halls for Cantonese opera artists to stay: Zhao He Hall, Qinghe Hall, Fuhe Hall, Xinhe Hall, Yonghe Hall, Dehe Hall, Shenhe Hall and Puhe Hall. Different occupations are arranged to live in different halls. Xiao Sheng, Zheng Sheng and Dahua masks are in Zhaohe Hall. Erhualian and Liu Fen live in Qinghe Hall. Hua Dan lives in Fuhetang. The clown is in Xinhe Hall. Wusheng is in Yonghe Hall. The tiger of the five armies, the martial artist is in Dehetang. The man who took over and sold the play is in Shenhetang. The musicians in the shed are in Puhetang. Due to the large number of staff, Bayi Club also has a convenient place (medical room), a sanatorium, a separate place (to arrange things after death), a primary school, and Heyi Company (theater line). Bach Club has many members and its management system is constantly improving. In the later period, the president system was implemented, and the presidents of all banks were elected by all employees.

Although Cantonese opera began to resume performance, great changes have taken place in the content of the repertoire and the performing arts. New dramas that reflect real life are constantly emerging, such as Liang Tianlai's complaints, Wang Daru's confession, and the egg girl selling horseshoes. And add Guangzhou dialect to the official language of the theater. At that time, theaters such as Henan, Guangqing, Haizhu, Leshan and Nanguan were successively built in Guangzhou. Later, troupes such as Changbao, Hongshun, Yishun and Taian were all active in Guangdong, Hong Kong and Macao. According to the literature, "Guangzhou Class attracts the attention of the whole province, and its high-quality salary, as for two or three thousand yuan, is very high, but playing with men and women is probably the first color ...".

At the end of the Qing Dynasty, intellectuals in China inspired the wave of drama reform sweeping across the country. In the 24th year of Guangxu, the 10th Supplement of China Daily published a special propaganda record, in which several reporters, such as Yang Xiaoou and Huang, satirized the political gains and losses of the current situation by writing opera songs, which attracted the attention of newspapers in Guangdong and Hong Kong. [In the twenty-ninth year of Guangxu, a story of watching a drama violently criticized the pedantic drama books at that time, which could not inspire the national spirit. Soon, works reflecting the disadvantages of the times appeared one after another, such as: The Legend of the Daughter of New Guangdong, Huang Xiaoyang Looking Back, Liang Qichao's Semi-Fixed Yuan Ping Western Regions and so on. Some of these newly edited scripts were written by artists with rich stage experience. It should be the "Shi Zhi Class" formed by the Youth League that has a profound influence on Cantonese Opera. In the ten years before and after the Revolution of 1911, there were more than 30 such "Shi Zhi classes" in Hong Kong, Macao and Guangzhou, such as Cainan Songban, Youtian Society, Zhentiansheng Society, Rensheng Drama Society, Minjing Society and China Police Soul Society. The Spring Willow Society, which was the first to sing Cantonese opera in Cantonese, influenced people with lofty ideals in other classes. In order to facilitate the propaganda of revolutionary ideas, we sang Bang Huang in Cantonese, and performed Teacher Zhou's Foot is Broken and Ask M Blindly, which made the propaganda effect exceed expectations. In order to strengthen the anti-Qing, anti-imperialist and anti-feudal propaganda, Wen Tianxiang Martyrdom, Quitting Smoking and Smoking, Criticism Newspaper, Qiu Jin and Stabbing Fu Qi were compiled.

Early years of the Republic of China

Before and after the Revolution of 1911, some old directors of Cantonese opera, including Jin Shanbing and Zhu Cibo, began to carry out innovative movements on Cantonese opera. The reason is that in the 30th year of Guangxu (1905), after the first opera garden appeared in the 30th year of Daoguang (1850), Guangzhou rebuilt a theater building and called it "the theater building". The theater has changed the singing method of Cantonese opera, which not only meets the needs of outdoor singing, but also overcomes the situation that the wind is urgent and the sound is weak, making it possible to sing with a flat throat. However, because the theater has reduced the mobility of the audience, unlike the previous troupes, which all performed in different places on red boats, the consumption habits of the audience have also changed, and Hongling needs to attract the audience. This time, Zhu Cibo, a fledgling, sang "Baoyu Cry" in the flat-throat vernacular because his youngest son Cong refused to play the ending play, making it fashionable to sing in the flat-throat vernacular.

According to the research of Lu Feng, a researcher of Guangzhou Cantonese Opera, the stage language of Cantonese Opera singing changed from 192 1 to 1927, and because of the flat throat singing method, it can not only absorb Guangdong rap music such as Nanyin and Muyu, but also record that Chen, his father, first mixed Nanyin with Bang in 1924. Also because of singing flat-throat vernacular, the tone of Cantonese opera has also become a B-flat tone.

Bai Jurong's main contribution is that in 19 17, he revived the class with a thousand flowers in China, changed the cross sentence "Erhuang" into "Eight-character sentence Erhuang", created a new form of Cantonese opera, successfully introduced Cantonese vernacular into Cantonese opera, and lowered the tone. Because Cantonese Opera used to be sung in Zhongzhou dialect, Jin Shanbing was the first to bring vernacular Chinese into Cantonese Opera, and Zhu Cibo and Bai Jurong made great efforts to introduce vernacular Chinese. As for the falling tone, the performance in the theater shed is high-profile and loud singing, while the contemporary Prince Zhuo is still singing his voice and has begun to lower his voice and sing his own songs. At around 1920, the Putonghua in the trick shed was finally changed to Cantonese, and the singing changed from split throat (falsetto) to flat throat (original sound). Bangzi and Huanger are all an octave lower, which unifies the styles of Bangzi and Pihuang.

After that, Xue Juexian took the lead in introducing new makeup artists and western musical instruments. At the same time, the rise of provincial and port classes and the fierce competition between Xue Juexian and Ma Shiceng promoted the reform and prosperity of Cantonese opera. For example, Xue Juexian collaborated with violinist Yin Ziwei to design the Xue Qiang. Lu Wencheng, from Shanghai, changed the silk strings of the northern erhu into steel strings, and created a Gao Hu with high and bright timbre. The famous actor Chen Feinong invited Liang to be the music director of his troupe. At that time, Lu Yourong, Liang Jintang and other famous screenwriters appeared. They successively created many famous dramas for Ma Shiceng and Xue Juexian, and their techniques were very close to the popular film and television dramas at that time.

In fact, according to historical records, there were more than 40 large-scale Cantonese opera troupes in Guangzhou in 1925, and each class could have as many as 150 people. There are ten theaters in Guangzhou, such as Haizhu, Leshan, Taiping, Bao Hua, folk music and Henan Opera. During the same period, five schools of thought "Ma Xuebai Guiliao" began to appear. At that time, the income of the elders was considerable. When they can buy two tons of rice per lap, their annual salary can be as high as 18000 yuan. Therefore, many people think that performing Cantonese opera can be famous and make money, which makes people flock to it. According to incomplete statistics, during this period, more than 100 screenwriters were hired by professionals and artists in Guangzhou, Hong Kong and Macao, and as many as four or five thousand new plays were produced. It can be said that it is the golden age of Cantonese opera!

In the 1930s, there was a law in the Legislative Council of Hong Kong prohibiting boys and girls from being in the same class, so over the years, Cantonese opera was divided into all-male classes and all-female classes. Later, Sir LAW Chi-kin asked in the Legislative Council, since men and women can sit together, why can't they sit in the same class? In the autumn of 1933, Hong Kong Governor Hokuriku lifted the ban on coeducation. Although there was a coeducational "* * * and Music Class" in Guangzhou, the performance was banned by the Guangzhou Public Security Bureau only ten months later, but Guangzhou also followed Hong Kong to lift the ban around 1936 10. Chen Feinong and Ma Shiceng left Taiping Troupe because they accepted the appointment of Vietnam and Myanmar. Yuan Xingqiao, monitor of Taiping Troupe, happened to have a meeting. Under the leadership of the original team (,,Feng, Feng Xia Soul, Yuan is me,, Feng), three female artists, Tan Lanqing, Sister Shanghai and Mai Qiqing, were hired as Hua Dan, which made the audience feel refreshed and shine. Other classes also hired female Hua Dan, so male Hua Dan was gradually eliminated, which is one of the great changes in the history of Cantonese opera.

Since then, Cantonese opera has been very popular in Hong Kong. At that time, the performances were mainly concentrated in the old theaters such as Lee's Stage, Goldman Sachs Theater, Taiping Theater and Guangxin Theater. There are different plays almost seven days a week. At that time, Cantonese opera was not only popular in Guangdong, Guangxi, Hong Kong, Macao and other places, but also performed in Southeast Asia, Oceania and China where overseas Chinese lived. There are even some Cantonese opera artists, regular troupes, guilds and performance venues handed down from generation to generation in Southeast Asia. For example, Singapore's "fresh reform" and Kuala Lumpur's "Changchun". In addition, the demand of overseas Chinese for Cantonese opera has attracted many Cantonese opera troupes to perform overseas. However, the number of large troupes often exceeds 100, and the expenditure is huge, which leads to the reduction of manpower, and a small Cantonese opera troupe composed of about 50-70 people appears. This also prompted the formation of the "six-column system" of the troupe.

* * * In the early days of People's Republic of China (PRC).

In the 1950s, when New China was just founded, it actively explored excellent opera codes, inherited the tradition of Cantonese opera, made comprehensive innovations in art, and trained a number of new artists. 1958, Guangdong Cantonese Opera Troupe was formally established. Guangdong Cantonese Opera School and Guangdong Cantonese Opera School Zhanjiang Branch were established in 1960 and 1962 respectively. For the first time in the history of Cantonese opera, there is a comprehensive professional school to train successors.

At the same time, movies began to flourish, and the attraction of Cantonese opera was greatly reduced. However, the Cantonese opera films created later brought Cantonese opera back to the cinema, making it reproduce its former glory. At that time, the famous Cantonese opera films included Beauty of the Crab, Dragon King, The Master of the Three Houses, Yellow Against the Five Customs, Pipa of Wanli, Off-duty Moon, Shiro's Visit to Mother, Lotus Lantern, The Moon Pavilion of Two Immortals, The Matchmaker, chamber pot and Mermaid with a Thousand Faces.

In the late 1950s, Cantonese opera was in a bad situation in Hong Kong. At that time, the famous actress Fang Yanfen retired because of her marriage, and Xue Juexian, Ma Shiceng and Xian Nvhong also left Hongkong. Even Sun Mashen, who holds up half the sky, was not keen on acting. Fortunately, Bingrong Mai and Fung Wong-Nui later organized the "Dragon and Phoenix Opera Troupe", with Tan Lanqing joining in and Lin Jiasheng as a junior, and performed many famous plays, such as Welcome Cai Feng after Hundreds of Wars, Marshal Mang, Double Worship of Cai Fengrong, Xiefeng Pavilion and so on. Soon, Chen, Hecheng set up a new class "Da Longfeng Troupe". Since then, many new troupes have emerged, such as the Qinghongjia Troupe, the Extraordinary Troupe and the Qingxinsheng Troupe.

During the Cultural Revolution, Cantonese opera was in a slump, many music scores were almost burned and countless artists were robbed. Many artists fled to Hong Kong and Macao, and people all over the country could only perform model operas. After 1976, Cantonese opera was reborn. On the basis of folk music, accompaniment absorbs western instruments, especially jazz instruments, including electric guitar and saxophone. Some plays are excellent works adapted from plays or movies. For example, Guan Hanqing and Peony Pavilion.

During this period, the price of chewing gum in Singapore soared because of the Korean War, which led to an increase in income, a booming entertainment industry, and local Cantonese opera benefited a lot. During this period, Cantonese opera actors such as,,, Xin Haiquan, Feng Feng, Chen and Ying Xiuhui came to Singapore one after another. 1952, Xue Juexian organized the Juexian tour group to come to Singapore for the second time. In the late 1950s, many Hong Kong Cantonese opera artists performed in Singapore. Such as Su Shaotang, Ye Kunlun, Kwan Tak-hing, Sek Yin-Tsi, Xiaoli Qin and Lizhen Yu. Due to fame, ticket prices have skyrocketed several times. In the 1960s, various new entertainment undertakings sprang up in Singapore, and movies and television soon became the mainstream. The pace of life has become faster, and the audience has begun to be reluctant to watch lengthy local operas. 1968, local professional Cantonese opera troupes in Singapore could no longer survive, and many professional Cantonese opera troupes were dissolved.

Modern Times

In order to strengthen Cantonese opera education in Hong Kong, the Guangdong Artists Association of Hong Kong [Hong Kong Cantonese Opera Academy Limited] and the School of Continuing Education of the Chinese University of Hong Kong jointly organized the Cantonese Opera Training Certificate Course on 1996, which was changed to [Hong Kong Academy for Performing Arts] on 1998. 65438-0999 [Hong Kong Academy for Performing Arts] on the basis of [Cantonese Opera Training Certificate Course], it hired all the evening course staff to hold a two-year full-time Cantonese Opera diploma course to train professional Cantonese opera actors. In order to improve the students' level, in 2000, he co-organized an advanced class of Cantonese opera. In 2004, for the sake of cooperation, [Hong Kong Academy for Performing Arts] voluntarily dissolved its cooperative relationship with [Bahe Cantonese Opera Academy]. Only 12 students and two tutors of Bahe Cantonese Opera Theatre stayed in Bahe Cantonese Opera Theatre and moved to the squash center of Tongzhou Street Park in Sham Shui Po to continue to hold Cantonese Opera training certificate courses. Due to the loss of a large number of students, the Hong Kong Arts Development Council once considered terminating its funding for Bahe Cantonese Opera Academy. In 2004, we not only offered gongs and drums courses, but also offered Cantonese Opera accompaniment courses and quarterly short training classes in the community Cantonese Opera College in 2005. The number of students in the college quickly increased from 12 to more than 180, and children's Cantonese opera classes were also opened. In 2006, we also plan to open a Cantonese opera screenwriter class. Eight harmonious colleges also have students with high majors. In 2006, Gao was officially invited by the Leisure and Cultural Services Department to become a martial arts student in literature and to cooperate with Cantonese Opera.

In recent years, the Hong Kong Arts Development Council has sponsored Cantonese opera courses for children and teenagers. The Leisure and Cultural Services Department sponsored the International Association of Performing Critics to organize the "Cantonese Opera Cultural Messenger Scheme" to promote Cantonese opera to the society. Jianxin Cantonese Opera Troupe also held the "Southern Red Bean Breeding New Seedlings" children's Cantonese opera promotion and education program.

Modern Cantonese opera began to be welcomed by foreigners. In order to let foreigners participate in and continue to promote Cantonese Opera abroad, English Cantonese Opera with English as the performance language came into being. At the same time, the English Cantonese Opera in Singapore was initiated by Huang Shiying.

In order to improve Cantonese opera, actors in the industry began to study whether the styles and colors of costumes, props and scenery matched the dynasty of the story. For example, Hanfeng Cantonese Opera Research Institute performed Bronze Quetai in the Grand Theatre of Hong Kong Cultural Center on June 5438+065438+ 10, 2005.

Because Hong Kong society attaches great importance to the development of Cantonese opera, in addition to some folk opera research centers, various universities in Hong Kong have also set up academic research centers for Cantonese opera. For example, the Chinese University of Hong Kong Opera Information Center was established in March 2000 1, and the China Cultural Center of the City University of Hong Kong was established in March 1998. The Music Department of the University of Hong Kong also offers Cantonese opera courses.

[trade]

Hua Dan changjian modeling

The lines of Cantonese opera were originally 10, that is, tail, raw, Dan, clean, ugly, foreign, small, husband, paste and miscellaneous. Later, it was simplified to a six-column system, namely, Wen Wusheng, Xiao Sheng, Andrew Hua Dan, Erhua Gangdan, Ugly Student and Wusheng. These are all classified according to the characteristics of roles, such as age, gender, personality and appearance. "End" stands for an old role. "Life" stands for male role. "Dan" stands for female role. "Net" is a strong and violent male character. Ugly is a funny character.

[editor] make up

Thick powder was popular in the early days, but the cosmetics used were relatively simple. I don't wear rouge, but at most I paint my eyebrows black. Hua Dan just paints with powder. According to the custom in the industry, old men all make up themselves in front of the mirror. Generally, the old-fashioned makeup is to pull up the skin of the face, tie up the hair with cloth, draw a manuscript with white paint to ensure that the lines are symmetrical and fair, and then formally make up other bright colors. For clean makeup (such as Z Ryan), the industry calls it "face-opening". First, the manuscript is painted with white pigment, and the eyes and mouth are painted black. The eyebrows are painted long and upturned to demonstrate strictness, and other places are painted red to complete the whole "face opening" process. Of course, different industries have their own unique makeup methods. Clowns often have a big white spot in the center of their faces. In fact, the makeup colors are mainly red, black, white, blue and yellow. Red stands for bloody loyalty, black stands for integrity, white stands for evil and insidious, blue stands for arrogance and fierceness, and yellow stands for fierce chain.

In the 1920s, Xue Juexian combined Peking Opera, drama and film makeup with traditional makeup. Makeup tends to be low-key, simple and natural. The most common makeup is "red and white face". Apply white foundation to the whole face first, and then apply red rouge around the eyes and cheekbones. Sometimes I draw long eyebrows and use bright red lipstick.

theatrical/stage costume

The costumes in the early stage of Cantonese opera mainly imitated the costume style of the Ming Dynasty and were improved into costumes. During the Qing Dynasty, Peking Opera became more and more popular, communication increased gradually, and the clothing system was gradually influenced by Peking Opera. At that time, the role of court officials was added to the new play, and some costumes also had the style of official uniforms in the Qing Dynasty. Traditional Peking Opera costumes can be divided into: python, lying, pleating, squatting and clothing. However, traditional Cantonese opera costumes can be divided into: python clothes, lying clothes, pleated clothes, open clothes, official clothes, clothes and clothes.

The material is mainly cloth, and later, film or bronze mirror is added to decorate the clothing. In the 1950s and early 1960s, beaded clothing became very popular. According to the description of costumes in A Brief History of Cantonese Opera: "Guangdong still pays attention to embroidery and is expensive, so it is resplendent and magnificent, which is better than Beijing and Shanghai. European and American films are imported, and they shine like mirrors and flowers. The pear garden is famous, competing for mining, wearing strange clothes, extravagant and modern, competing for beauty and gradually flowing. " It shows how crazy it is. At the end of 1960s, embroidered clothing became popular, and it is still the mainstream in the theater.

Different industries need different clothes. For example, he usually plays a gentle role and sometimes shakes his sleeves, so long sleeves are called Wen sleeves. Xiaowu needs fighting, and short sleeves are convenient for actors to move, so short sleeves are also called Wu sleeves. Therefore, Wen Wusheng (Xiao Wujia Xiao Sheng) will wear Wu Wen sleeves.

Head ornament

Cantonese opera hair accessories are mainly pieces, hats, buns and ornaments, and there are systematic pieces, hats and ornaments. Different kinds of headwear, bun, braid and contract also have their own characteristics, usage, production methods, wearing and maintenance equipment.

Basically, all Hua Dan need headdresses, among which flaky is a must for Hua Dan. There are many kinds of headdresses and different materials. The headdresses worn by princesses and empresses are also divided into positive phoenix and rockhopper. Sticker needs special tools, basic techniques and skills. Use the stick to improve the face shape and make the stick firm.

In fact, there are headdresses worn by male horns, but not many, such as the prince's helmet. Jia Baoyu in A Dream of Red Mansions and Cao Zijian in Luo Shen both wear the helmet of the prince. According to "Xiangjiang Pear Garden: Luo Jiaying from Cantonese Opera", the prince's helmet is also called "Zijin Crown", which is used by princes or young generals. The crown is a pattern of dragon swallowing beads, plus a red tassel, and the pheasant tail is the commander-in-chief army.

[Editor] Sing, do and play

Singing refers to singing, and different roles have different singing methods, including flat throat and split throat. Flat throat is a normal intonation. The infralarynx is eight octaves higher than the flat larynx. Loud voice is the use of coarse voice. At the same time, Cantonese opera will also absorb the unique vocals from various places, such as Guangdong Nanyin and Muyu from Fujian, as well as local folk songs in Guangdong, such as Yuefu and Banyan.

Doing is doing work, that is, performing. Including gestures, catwalk, walking, closing eyes, making hands, drawing, sleeves, badminton, water hair, abstract performance, traditional kung fu and so on.

Reading refers to reading white, that is, reading lines. Explain the plot, the thoughts and feelings of the characters in words.

Fighting refers to martial arts, such as: dancing sleeves, water hair, playing with fans, using knives and guns, playing with sticks and waving flags, etc.

aria

In the early Qing Dynasty, the Waijiang class introduced Geyang and Kunshan dialects to Guangdong. During the Taiping Heavenly Kingdom, local classes appeared gradually, but the singing was still dominated by bangzi. Later, with the decline of Kunqu opera and the influence of Huiban, Xipi and Huanger sang mainly. During the Revolution of 1911, the improvement of Shi Zhi class began with the singing language, and now Mandarin has been changed into Cantonese, also called new tune. During the period of War of Resistance against Japanese Aggression, old masters who studied Cantonese opera and developed their own vocals emerged constantly. For example, Xue Juexian's Xue Qiang. Ma Shiceng's "horse accent". Sinuhong's Female Voice. Sun Ma Shizeng's New Horse Cavity.

figure

Through symbolic gestures and actions, actors explain the characters' personalities and feelings, the changes of time and space and the development of the plot.

The basic picture includes: standing posture, catwalk, seven-star step, palm of the finger, palm of the cloud, appearance, running around the platform, opening the door, pulling the mountain, getting on the horse and offering the back. Xiao Sheng's catwalk is a T-step, so he should show his momentum. Hua Dan's catwalk is skimming, so it should be light. In order to make indecision, consider how to deal with it, or find an object, find a way and other plots, actors will use the program "Water Wave" to express it.

Different industries have their own unique basic skills. Martial students who wear "big oblique" must know how to "jump". Jumping is composed of a series of physical movements, including the actor's coming to the stage, pulling the mountain, hanging one foot, entering the stage, seven-star step, water wave step, pinch step, small jump, kicking, kicking nails, washing the body, walking along the wind flag, and so on.

give a performance

The self-introduction of the main characters in the play "Self-report" consists of three parts: self-introduction, fixed field poem and sitting on the field.

The "introduction" means that the protagonist sings some rhyming words when he first appears, which is called "introduction". It simply describes a person's mood, situation, identity, experience and personality, and expresses a person's interests, ambitions and emotions.

And "Dingtian Poetry" is the four poems that the character will read after reading "Introduction". Most of the content is to introduce the specific scenes and the thoughts and feelings of the characters in the play.

A monologue read by the protagonist of Sitting in the White House after reading Introduction and Setting the White House. The content is to introduce the name, native place, life experience, experience and psychology of the characters.

"walk-on" and "walk-on" refer to attendants who play soldiers, husbands, maids, etc. In China's traditional drama, harmony is named after wearing a special form of walk-on costume. "Walk-on" is to play these roles.

Spoken part

Speaking English can be divided into monologues and dialogues, as well as rhyming and non-rhyming. Rhymes include Baishi, Kougu, Prynne and Bai Yun. What doesn't rhyme is white mouth, white gongs and drums and white waves.

music

The vocal music of Cantonese opera is mainly divided into three categories: banqiang, Qupai and poetry praise. In fact, this is all related to the development of Chinese opera and Cantonese opera. Poetry praise is also called rap.

Guangdong's local opera music should be based on rap-like Nanyin, Muyu, Dragon Boat, Banyan and Cantonese, because it is composed according to the linguistic characteristics of Cantonese. The rap vocals and lyrics in Guangdong must be divided into upper and lower groups on the basis of flat words and upper and lower sentences, because Cantonese is divided into yin and yang, which is different from northern languages and has very different pronunciation.

The basic characteristics of Cantonese opera aria music are banqiang, namely Bangzi and Huanger, commonly known as "Banghuang".