Characteristics of Qian Opera, Historical Development of Guizhou Qian Opera

Guizhou Qian Opera was developed from the Yangqin opera of Guizhou. Since 1953, Qian Opera has been prevalent in Guizhou, and the singing style of Qian Opera is mainly inherited from the folk rap tradition of Wenqin. After borrowing the basis of other opera performances and local folk art performances, Qian Opera has formed its own unique opera style. In this article, we will take you to understand the characteristics of Qian Opera and take a look at the complete list of operas.

History:

The predecessor of Qian Opera is Guizhou Yangqin. Guizhou yangqin, also known as Guizhou popping words, Wenqin, is a kind of rap art with yangqin as the main accompaniment, sitting and singing in different roles.

During the Jiaqing period of the Qing Dynasty, Yan Yixinghui of Guizhu County, and Zhang Guohua of Xingyi in the fifth year of the Qing Daoguang period (1825) mentioned in their poems that there were yangqin activities in Guiyang. Yu Baiwei, after many years of research on Gao Ge, believes that the Yangqin "began to be popular in Guizhou during the Kangxi period of the Qing Dynasty, and has a history of more than two hundred years" (About Guizhou Playing Words and Wenqin Opera). During the Guangxu period, Yunnan yangqin, Sichuan yangqin, Sichuan Qingyin, and Hunan Changde silk string were introduced to Guizhou, which promoted the development of Guizhou yangqin.

In the ninth year of Guangxu (1833), Wang Shiqing, Jiang Fasan, and Ding Xiaorui set up the yangqin "Three Friends Society" in Guiyang, and sang openly in the "Wenyin Tea House". After that, Qianxi established the Wenyin Club in the eleventh year of the Guangxu reign, Zijin established the Courtyard Music House in the fifteenth year of the Guangxu reign, Anshun established the Xiangyue Tea House in the sixteenth year of the Guangxu reign, and Bijie established the Bijie Tea House in the third year of the Xuantong reign (1911). Xuantong three years (1911) established the "hometown entertainment".

Around 1921, yangqin classes appeared in Zunyi, Anshun, Panxian, Tongren, Duyun, Xingyi, Anlong, Dushan, Dafang, and Zhenfeng. After years of singing practice, Guizhou yangqin gradually matured and finalized. According to the compilation of "Guizhou playword", the earliest Guizhou yangqin singing book is "Erduimei", which was compiled by Wang Shiqing in 16th year of Guangxu.

Qian opera was born at the beginning of the establishment of the People's Republic of China.

In 1950, the yangqin artists of Dading (now Dafang) County, in order to cooperate with the campaign of "clearing the bandits and countering the hegemony", used the tunes of the Guizhou yangqin to compose the music for the Qin opera play The Hatred of the Poor, which was performed in the local dialect, thus creating the precursor to the Qian Opera. The play uses the tune accompanied by yangqin, sanxian and huqin to convey the drama of sadness and joy, and the songs and lines are easy to understand, which is welcomed by the general public.

In the fall of 1952, Qianxi County yangqin artists Xu YouSan, Feng BingKun, Li ShaoZhi, Wei LiHeng, etc., wu opera script "100 days of fate" with Guizhou yangqin singing, with local dialect, imitating the performance of Peking Opera, Sichuan Opera, gongs and drums, the performance was a success, and named WenQin opera. Afterwards, Xu You San also organized and adapted the traditional Guizhou yangqin piece "Moving Kiln" into a wenqin opera rehearsal, and performed it for the first district and township cadres' meeting at the Wushen Temple of the county, and the familiar local dialect caused the audience's ****sing, and the performance was regarded as the birth of Guizhou opera by the Guizhou opera circle.

In the spring of 1954, Qianxi County set up an amateur Wenqin opera troupe. In order to establish the audience base of Wenqin Opera, the troupe performed in the next two years in seventy to eighty percent of the townships in the county, and was generally welcomed. Subsequently, the troupe went to the neighboring Jinsha and Zijin counties to perform, which was a delight for the audience and provoked the imitation of Yangqin artists in the two counties.

The appearance of Wenqin Opera and Qianxi Amateur Wenqin Troupe aroused the attention of Guizhou Provincial Party Committee and the provincial cultural authorities. in May 1956, the People's Government of Qianxi County approved the establishment of the Wenqin Troupe of Qianxi County, and the first professional Wenqin Troupe appeared in Guizhou.

After 1957, under the influence of Qianxi County Wenqin Troupe, professional or semi-professional Wenqin troupes were set up one after another, and two Wenqin Opera Performances were held from 1959 to 1960, and the Wenqin Troupe of Qianxi County, as a local opera of Guizhou, visited Sichuan and performed in Chengdu and Chongqing.

In February 1960, the Guizhou Provincial Party Committee officially named the Wenqin Opera as Qianju Opera and formed the Guizhou Provincial Qianju Opera Troupe. In the fifth year of the same year, Zhou ** visited Guizhou and watched the troupe's performances of "Zhuo Wenjun" and "The Story of the Western Chamber". In June of the same year, the troupe took "Qin Niangmei", "Zhang Xiumei", "Red Flag Canteen", "Female Miners' Platoon", "Moving the Kiln", "Good Day Cuffing", "Burial of a Flower" and other plays to Beijing, and then went to Shanghai and Hangzhou to stage public performances, which were all well received and acclaimed.

In 1960, Guizhou Guizhou Opera Troupe, Zunyi Qian Opera Troupe and Bijie Qian Opera Troupe jointly rehearsed outstanding plays of other genres, such as Half a Scissors, After the Reunion, Pearl Pagoda and Double Jade Cicadas, and created and performed modern plays such as The Mountain is High and the Waters are Long and The People's Case. In September 1965, Guizhou Provincial Qian Opera Troupe, Zunyi Qian Opera Troupe's "Missy", Bijie Qian Opera Troupe's "Guan Guan", "Unlocking", etc., went to Chengdu to participate in the Southwest District Drama local theater repertoire.

Qian opera since its birth to the end of 80, more than 20 years has created, adapted, transplanted, staged a large number of plays, which, adapted the excellent traditional Dong Opera "Qin Niangmei", filmed in 1960 as a stage art film; the creation of the Yi historical story of the play, "Mrs. Xuxiang," in the writing, directing, acting, music, choreography and so on, have reached a new level.

The play went to Beijing in September 1979 to participate in the 30th anniversary of the founding of the People's Republic of China *** and the State Observation Performance, was awarded the Ministry of Culture issued by the first prize for the creation of the first prize, the performance of the first prize. It was awarded the first prize for creation and performance by the Ministry of Culture of the Central Government. There are also Miao historical story drama "Zhang Xiumei", as well as other modern plays "High Mountains and Long Water", "Blood Felt", "Examining the Youngest Daughter" and "Gatekeeper", etc., and collated and adapted traditional plays "Moving the Kiln", "Pearl Pagoda", and "Three Difficulties of the Bridegroom", etc., all of which are loved by the audience.

Artistic features:

Qian Opera music is based on Guizhou yangqin rap music, after continuous reform, and from other local opera and other Guizhou opera and folk music to draw material, and gradually developed.

Qian Opera singing in Guizhou dialect, represented by Guiyang dialect and Qianxi dialect, is a northern language, southwest dialect, its voice, rhyme, tone have their own distinctive characteristics.

Qian Opera's basic singing is a four-sentence plate variation, the words are mainly in seven or ten words, and according to the end of the word level and oblique even sentence rhymes, forming a strict upper and lower sentence pattern.

Qian Opera singing by the basic singing and other singing two types of composition, the formation of the plate changes, supplemented by a comprehensive system of single song.

The basic cantata in Guizhou yangqin on the basis of the seven commonly used cantata, according to the plate changes in the body for categorization and development, the formation of a multi-system basic cantata pattern, there are Yangtong cantata, two plate cantata, two yellow cantata three cantata:

The Yangtong cantata in the [Yangtong] on the basis of the development of the formation of the [Yangtong], [Bitter endowment], [antiphonary] three cantata composition.

The two-board cavity in the [two-board] on the basis of the development of the formation of the [two-board], [Gong two-board] two singing tunes.

The two-reed accent consists of [two-reed one-word], [two-reed quick one-word], [two-liu], three traditional plate styles of Qian Opera, and on the basis of which [two-reed palletizing], [two-reed rocking], [two-reed scattering], [two-reed drying], [two-reed inverting], [two-reed snatching], and other plate styles have been developed.

Other singing styles include: some ditties of Guizhou yangqin, new styles created and developed in folk music and Qianju opera singing materials, chorus and backing vocals, and *** three parts.

The connection of Qian Opera cantatas is flexible, and its connection types include: the connection of basic cantatas Yangtong canton, two-board canton, and two-reed canton; the connection of basic cantatas with another basic canton, such as the connection of Yangtong canton with two-reed canton, and the connection of two-board canton with Yangtong canton; the connection of basic cantatas with other cantatas, including ditties, new cantatas, and traditional cantatas not categorized into the basic cantatas; the connection of basic cantatas with choruses and background singing; and the connection forms of chorus, background singing, and so on.

The basic singing and other singing, including the chorus, backing vocals and connection forms.

There are three sources of instrumental music in Qian Opera: one is the inheritance of Guizhou Yangqin's traditional tunes [Eight Scores], which can be divided into [Big Eight Scores] and [Small Eight Scores]; the second is the absorption of Guizhou Bang Opera's tunes, which are now commonly used in the opera, such as [Small Open Door], [Wannian Huan], and [Liou Qinglian]; and the third is the new tunes, which are written or created for the needs of specific scenes.

Instrumental music is divided into two categories: string music, suona music. String music, such as [Liu Qinglian], [Wave Taosha], [cave music], etc., often used to welcome guests, banquets, marriages and other occasions; suona music, such as [a wind], [urgent three cavity], etc., often used in the fighting scene.

The accompanying instruments of Qian Opera are mainly the gaohu and yangqin, accompanied by other orchestral music to form the wenyang. Percussion instruments according to the needs of this opera, by the snare drum, plate (above the selection of the soprano), gongs, big bowl, horse gongs or small gongs, with hinges, bumper bells, bass gongs, bags of gongs, drums, timpani, etc., the composition of the martial arts Yang. The gongs and drums are mainly absorbed from the Guizhou Opera, and the gongs and drums of other operas are borrowed and adapted to form the gongs and drums of other operas, such as the recitation gongs and drums, the opening gongs and drums and the gongs and drums of the body sections, and so on.

The costumes of Qian Opera are designed by integrating the characteristics of local ethnic groups and depending on the plot and characterization.

The costumes of Qian Opera are designed according to the characteristics of local ethnic groups and the characters.