The Development of Yueju Opera Performance

The Development of Yueju Opera Performance

Introduction: Yueju Opera is one of the five major types of Chinese opera, known as "China's second largest opera", and is the first batch of national intangible cultural heritage. The following is my compilation of the development of the performance of Yueju Opera, welcome to read!

First, from scratch to the stage of imitation

Yueju Opera is transformed from a form of opera singing book, the first male class actors are all singing book artists, who have never been trained in the basics of opera performance, in addition to the tunes of the singing book, in terms of performance, there is nothing. In the early stage, because the repertoire is mostly small folk plays, there is no special line (costume), the performance is mainly imitation of life movements, or imitation of other kinds of plays of certain simple programs, but not standardized. As there was no full-time band, no silk string accompaniment, no percussion, no music to support the performance, no gongs and drums to match, the plot requires only vocals or hands to beat the table to enhance the rhythm. The performances of this period were characterized by a rich sense of life, but the form was simple and crude, lacking in artistry.

Second, the programmed performance stage

After entering Shanghai, in order to stay on the ground and seek development, artists extensively study and absorb the performance techniques of other operas, especially the Shaoxing Daban and Peking Opera performance programs. As the repertoire developed into a big costume opera, the performance adapted to it and gradually formed a complete character line, embarking on the programmed road.

Female class from the beginning of the founding, that is, the basic skills of performance training, and combined with the drama to learn a variety of performance programs; martial arts skills are generally hired Shaoxing Daban or Beijing Opera artists to teach. For example, when the first female class was opened, the students learned eye, body, footwork, and techniques from the male artist Jin Rongshui, while martial arts skills were taught by the Peking Opera artist Wang Heqian. Yin Guifang's Dahua Stage is a triad class, learning martial arts from Shaoxing Daban and Hui Ban (Southern Peking Opera), and literary arts from Shaoxing Wen Opera; Yuan Xuefen's Four Seasons Spring class is also taught martial arts by Shaoxing Daban artists. After the female class entered Shanghai, through observing the Shaoxing Daban and Peking Opera performances, they learned and mastered more program techniques, and took the path of Shaoxing and Peking Opera, sometimes even copying the "improved women's opera" of the "isolated island" period, and a number of fashion plays appeared, and the performances were affected by dramas, movies, and Shenqu, which strengthened the realistic factors, but did not harmonize with the original style of performance. In addition, because of the theater system or half-act system, the actors can improvise on stage, so the performance with a greater degree of arbitrariness.

Third, the formation of performance characteristics stage

In the "new Yueju" period, the performance of Yueju opera has undergone profound changes. Yuan Xuefen and other "Ten Sisters" as the representative of the reformers of the Yueju Opera established a formal system of choreography, changing the past performance of the randomness; emphasize from the character, the performance should have real feelings, changing the past from the program from the false; in order to improve the performance level, on the one hand, from the Kun Opera absorbed the beautiful dance body, on the other hand, absorbed drama, Chinese and foreign films delineation of character and inner activities of realism, and gradually in practice, the performance method of the "new Yueju Opera". In order to improve the level of performance, on the one hand, absorbing the beautiful dance figure from Kun Opera, and on the other hand, absorbing the realism of characterization and inner activities from drama and Chinese and foreign films, gradually integrating the two into one in practice, and attaching importance to the beautification and refinement of physical movements as well as to the inner experience of the unique style of performance. As an important part of the comprehensive artistic mechanism, the performance of Yueju Opera is intertwined with the script, direction, music and choreography, forming an organic whole and enhancing the expressive and infectious power.

Fourth, improvement and refinement stage

After the founding of the PRC, the performing art of Yueju Opera has been newly improved through cultural exchanges with foreign countries and domestic organizations, as well as the creation of Yueju Opera circles themselves. 50's, the reasonable part of Stanislavsky's performance theory has enriched and perfected the characteristics of Yueju Opera's performances that focus on inner experience; many times Nationwide and regional opera performances and tours brought Yueju opera actors into wide contact with other styles of opera, opened their eyes, and created conditions for wide-ranging and horizontal borrowing; Yueju opera actors participated in research classes and workshops for further study, which also helped to summarize the practical experience of the art and improve the theoretical literacy. Such as Yuan Xuefen in 1960, had to the Chinese Academy of Opera Performance Art Research Class, by Mei Lanfang as class director, Yu Zhenfei, Xu Lingyun demonstration, Chang Xiangyu, Chen Bohua, red thread girl, Ma Shi Zeng, Guan Sushang, and other famous actors and actresses with the researcher. During the three months of the class, Yuan Xuefen observed and exchanged views on her performances of The Story of the Western Chamber and Sisterhood of the Xianglin, and made a preliminary summary of her performance, and explored the theories of opera performance, which was beneficial to her later processing of Sisterhood of the Xianglin to further improve her performance art. The improvement of the performing art of Yueju Opera in this period is mainly reflected in the clear characterization as the central task and the importance of completeness, distinctiveness and originality of the image, and the stage image shaped by many outstanding actors and actresses left an unforgettable impression on people. For example, Yuan Xuefen's Cui Yingying and Xianglin Sister-in-law, Yin Guifang's He Wenshu, Liang Yushu and Qu Yuan, Fan Ruijuan's Liang Shanbo, He Laoliu and Zheng Yuanhe, Fu Quanxiang's 🌟 Guiying, Zhu Yingtai and Liu Lanzhi, Xu Yulan's Zhang Sheng and Jia Baoyu, Wang Wenjuan's Lin Daiyu, Chunxiang and Carp Fish Spirit, Qi Yaxian's Wang Qianjin, Bi Chunfang's Lin Zhaode, Zhang Guifeng's Liu Yanchang, Zhang Yunxia's Li Cuiying and Diao Cicada, and Jin Caifeng's Li Xiying, Wang Xifeng, Lu Ruiying's Hongniang, Junrui, Xue Baochai ...... These lifelike characters represent the high level of the performing art of Yueju opera. In addition, due to the attention to the brotherhood of learning and hard work, the means of performance is richer, more exquisite performance skills, such as the rehearsal of the "Love Detective", Fu Quanxiang has learned from the Sichuan Opera artists Zhou Mulian, Yang Youhe, enriching the performance vocabulary of Yueju Opera.

The performing art of Yueju Opera was created from scratch, and through continuous absorption and innovation, it gradually developed from a lower form to a higher form, and formed its own performing system and unique performing style.

Roles in Yueju Opera

The roles in Yueju Opera have gradually evolved with the development of the genre, from simple to complete. In the early stage, because the repertoire is mostly expressed in the rural love, marriage theme of the "pairs of plays", so the "two small" (Xiaosheng, Xiaodan), "three small" (Xiaosheng, Xiaodan, clowns) mainly; later, with the expansion of the subject matter, the development of the "four columns of the head" (also known as the "four court columns", that is, the "three small" plus the old man), the old man, the face of the status of the flower is not high. 40 s after the reform of the Yueju opera, the break of the strict boundaries between the line, but still maintains the basic system of the line. The system still maintains the basic line system.

Nowadays, the roles of Yueju Opera are divided into six categories:

I. Xiao Dan.

Playing young, teenage female characters. Which can be subdivided into six kinds of road and title:

Sad Dan, specializing in the role of young, middle-aged women with a tragic fate, similar to the Beijing Opera "Qingyi", to sing the work of the main, do the work of the auxiliary. For example, Qin Xianglian in Three Officials Hall, Zhao Wu Niang in Pipa Tale, Chen Xingyuan in Plum Blossom Soul, and Wang Qianjin in Blood Handprints, etc. In the traditional repertoire of Yueju Opera, especially in the traditional repertoire of Yueju Opera, the sad dan has been playing the role of a young, middle-aged woman. In the traditional repertoire of Yueju Opera, especially the "second traditional repertoire" of the 1940s, there are a large number of tragedies, which played an important role in the formation of the tragic Dan's line.

Hua Dan, specializing in the role of innocent, lively, clever and clever girl, the performance of the work to win, the movement of dexterity and lightness. The performance is characterized by excellent workmanship, and the movements are deft and light. For example, the Jiu Jin girl in "The Bucket Tale", the Hong Niang in "The Story of the Western Wing", Li Cuiying in "Jade Ring", and the Princess in "Playing the Golden Bough".

Boudoir Dan, specializing in the role of a famous girl, a kind of young lady, the performance is characterized by a dignified demeanor, quiet and generous, singing and doing both good. Such as Cui Yingying in "The Story of the Western Wing", Xue Baochai in "Dream of the Red Chamber", Liu Yue'e in "The Story of the Colorful Mansion", Wang Yuzhen in "The Story of the Western Garden", etc.

The girl's dan is specialized in playing the role of a kind of lady of the family.

Flower Shirt, playing the role of ancient young women, the performance form between the girl's daughter and flower Dan, both the girl's daughter of the identity of the family and the dignified and generous demeanor, but also the flower Dan playful, lively demeanor. For example, Zhu Yingtai in Liang Zhu, Yan Lanzhen in Panfu Suofu, and 敫 Guiying in Love Detective.

Zheng Dan, mainly playing a mother of middle-aged women a role, dressed in plain, steady action, in the play generally do supporting roles. For example, Mrs. Wang and Aunt Xue in Dream of Red Mansions, Li Xiuying's mother in The Jasper Hairpin, Wang Guiying in The Second Church, and the Empress in Playing the Golden Bough, etc.

Wu Dan is the main role of a middle-aged woman who is a mother, wearing a plain dress and having steady movements.

Wudan, specializing in female roles with martial arts skills, is known for its martial arts performances and plays, such as Mu Guiying in Mu Guiying Hangs Up the Marshal, Fan Lihua and Xue Jinlian in Fan Lihua, Yang Bajie in Yang Bajie Steals the Knife, Bai Suzhen in White Snake Thief of Immortal Grass, and Xu Fenzhu in Eleven Lang. Yueju Opera has always been mainly a literary opera, with very few martial arts plays, and the repertoire and martial arts skills learned by Wudan are mostly absorbed from other types of operas. No one in the cast specializes in wudan, and the roles are generally performed by other wudan actors who have a better foundation in martial arts.

The second, the little boy.

Playing young male characters. In women's Yueju Opera, because the young male is played by female actors, so it is more feminine than other types of young male line, and its status in the opera is more important. Which can be divided into four kinds of road and title:

Scholar, also known as Confucian scarf student, elegant small student, wearing a scarf, Xie Yuan scarf (collectively referred to as the square scarf), mainly playing elegant and elegant, well-mannered readers, the performance is characterized by elegant and dignified, gentle and elegant, rich in bookishness. For example, Liang Shanbo in "Liang Shanbo and Zhu Yingtai", Liang Yushu in "Pan Wife and Suo Wife", Zhang Junrui in "The Story of the Western Wing", He Wenshou in "He Wenshou", Zhang Jihua in "The Story of the Western Garden", Meiliangyu in "Plum Blossom Soul", Wang Yulin in "The Jasper Hairpin", Xu Wenshou in "Sinking Scented Fan", and Jiao Zhongqing in "Southeast Flight of the Peacock", and so on.

The Poor Sheng, also known as Shoeskin Sheng or Ragged Towel Sheng, named after the foot slippers and leather, wearing a ragged towel, wearing a cassock, mainly playing the role of the poor and downtrodden son of the poor and the children of the cold family class of roles, performances characterized by the shabby phase and pedantry. Such as "Love Detective" in the pre-Wang Kui, "Pearl Tower - before seeing the aunt" in the Fang Qing, "Du Shiniang" in the Li Jia, "Li Wa biography" in the downtrodden Zheng Yuanhe, "colorful building" in the Lv Mengzheng, and so on.

Officials, mainly playing the role of ancient officials, dignitaries and other roles, head wearing a veil, dressed in official robes, performances with a certain frame of work and temperament. For example, Guo Zhi in "Playing Golden Bough", Zhao Favored in "Horse Traders", Wu Nandai in "Rouge", etc.

Wu Sheng is a kind of official who mainly plays the roles of ancient officials and dignitaries.

Wusheng, mainly playing the role of young and middle-aged male characters with martial arts, performance is characterized by martial arts upright, both military and long, able to participate in martial arts scenes. For example, Lu Wenlong in "Two Guns Lu Wenlong", Lu Bu in "Sable Cicada", Xue Dingshan in "Fan Lihua", Yang Zongbao in "Regulus", and so on. Yueju Opera is not much of a martial arts play, no one specializes in this line of work, generally according to the needs of the plot, by the martial arts better actor actor also acted.

Three.

Playing the role of elderly men. Performance hanging beard, black beard, flower beard, white beard three categories. According to the performance characteristics, can be divided into two kinds of road and title:

Zheng Sheng, wearing a black beard, singing, doing and heavy. Such as "playing the Golden Bough" in the Tang Emperor, "two halls to put the son" in Liu Yanchang, "Bleak Liao Palace Moon" in the Daozong, "Dream of Red Mansions" in the Jiazheng, "Liwa biography" in the Zheng Beihai, and so on.

Old foreigners, wearing white beard and flower beard, used to be called "end" in the opera, mainly to do the work, the performance of action, such as "Pearl Tower" in the Fangben, "Love Detective" in the Wangzhong, "Liang Shanbo and Zhu Yingtai" in the Zhu Gongyuan, "Liwa biography of the Zonglu, and so on.

The foreigners often both civil and military Lao Sheng, mainly playing a role of martial arts generals and marshals, the performance of the work of the frame, extraordinary temperament. Such as "playing the golden branch" in the Guo Ziyi, "Jinshan War Drums" in the Han Shizhong, "Regulus" in the Yang Liulang and so on.

There are not many dramas in Vietnamese Opera in which the Lao Sheng is the main character, and there is no strict division of labor among the actors for the above three kinds of Lao Sheng.

Fourth, the clown.

Also known as the small flower face, because of the past disguise often painted on the bridge of the nose a white square and named. The performance is characterized by humor, wit or cunning, sinister, flexible, exaggerated movements, rich expression. They can be divided into four kinds of ways and titles:

The long-shirt clowns, also known as the clerical clowns, mostly play the role of playboys, readers of bad character, or other positive roles with comedic colors. For example, Gu Wenyou in The Jasper Hairpin, Wang Tianbao in Wang Tiger Snatching Kisses, and Zhou Huiji in The Edge of Benevolence and Righteousness, and Zhang Youyi in The Two Lions Treasure Map.

Official clowns, playing villainous or ridiculous officials. For example, the Hutu Magistrate in "Spring Grass Trespassing", Zhao Wenhua in "Panfu Suo Fu", and so on.

The short-shirted clowns usually play the roles of tea doctors, shopkeepers or shopkeepers, servants, magistrates or officials. For example, Chong Gongdao in Yutangchun - Su San Rising to Solve the Problem, Zhang Hoop Bucket in Hoop Bucket Tale, and Fan Zhonghua in Falling Hat Wind.

Female clowns, also known as colorful Dan, usually play matchmakers, witches, pimps and funny middle-aged and elderly women and other roles. For example, Fang Duo Hua in The Pearl Tower, Lu in The Jasper Hairpin, Yang Mama in He Wenxiu, Three Immortal Nuns in Xiao Erhei's Marriage, and Bustard in Du Shiniang and Li Wa Zhuan.

V. Old Dan.

Playing the role of elderly women. The performance is characterized by calm and sophisticated, singing and doing.

Such as "Dream of the Red Chamber" in the mother of Jia, "Pearl Tower" in the Fang Yang, "blood handprints" in the mother of Lin, "The West Wing" in Mrs. Cui and so on.

Sixth, large surface.

Also known as the big flower face, more than playing the role of treacherous ministers and treacherous members, bullies, more Shi white face.

Such as the "benevolent edge" in the Zhao Degui, "selling flowers in the Sanniang" in the Cao Chao Bao, "Red Mane Horse" in the Wei Hu, etc.; but also play a straight, loyal and courageous or rugged character, such as "Qin Xianglian" and "chasing the fish" in the Duke of Bao, "three look at the imperial sister" in the Liu Tianhua, etc., in addition to Duke of Bao hook face, the other roles are generally not hook face. The line is not developed in Yueju Opera, after the reform in the 40s, it is often played by the old man, and has been weakened since the 50s, and after the revolution, there is no one to follow it, and it is almost extinct.

Programs and Basic Skills in Yueju Opera

There are programs in Yueju Opera, which are mainly absorbed from Shaoju, Jingju, Kunju, and other ancient styles of opera, but there are also a few programs that are absorbed from other local styles of opera, which are absorbed and then melted in the portrayal of the characters.

In order to master the skills of the program, the actors of Yueju Opera have been trained in the basic skills of performance since the beginning of their studies. Physical training from the standing method, techniques, leg work, waist work began, belonging to the *** with the training program; later, according to the different lines were practiced step (step), as well as carpet work, handle work, sleeve work, fan work, beard work. Another way of learning is to suit the needs of the basic technical training of the play, such as small plays or folding plays, from simple to complex, from easy to difficult, step by step to learn the basic skills, to play with the work, you can learn to learn the play further mastery of the basic skills, and at the same time to learn how to flexibly apply the program skills according to the plot.

Characteristics of Yueju Opera Performance

Yueju Opera performance embodies the same laws of Chinese opera performance, such as the comprehensive use of singing, doing, reading, dancing (playing) a variety of means of expression to create a stage image, virtualization of the performance, singing and dancing, rhythm, the use of programs and focus on the beauty of the form, etc.; and their own special rules, which is absorbed. This is to absorb the drama, film performance to pay attention to the inner experience, pay attention to the characteristics of authenticity, to delineate the character as the core, the combination of realistic and imaginative, experience and performance, realism and beautification. The performances are intertwined with the sets, lights, music and costumes, and are integrated with a strong lyrical flavor. Compared with some ancient opera types, the performance of Yueju opera is not subject to strict program specifications, often according to the needs of the plot and the flexible use of the program, is regarded as "free action with norms", relatively free, flexible, full of life and sense of authenticity; compared with some of the more lifelike local theater, Yueju opera performances pay more attention to the refinement of the means of expression is also more abundant.

First, the stage time and space embodiment of the virtual reality

The stage structure of the Vietnamese opera system, since the reform of the 40s, the influence of the drama, most of the plays using a split-screen system. Due to the use of near-realistic sets, stage time and space are relatively fixed in the vast majority of cases. However, unlike the drama, the performance of Yueju Opera inherits the time-space and virtual expression methods with transcendence in traditional opera, which are flexibly utilized according to the needs of the plot, and there is a virtual in the real, and the virtual and the real are intertwined. In a fixed space, time can be condensed, such as the "Three Covers of Clothes" in The Jasper Hairpin, where the location is in the new house, using the drums of the bawl tower to indicate the flow of time, and through Li Xiuying's singing and the action of covering Wang Yulin's clothes three times, condensing the time of a night into a short section of the play. Another example is the eleventh scene of Sister-in-law Xianglin, in which Sister-in-law Xianglin is terrified after hearing Mrs. Liu say that she will be sawed in half in the underworld. Through the performances of chopping firewood, shaking her hands, fixing her eyes, and the singing of "A Thousand Regrets, Ten Thousand Regrets," the actors show the character's thoughts and activities of having a hard time sleeping all night, and by the time it ends, the sky has already broken through the dawn. The stage space is the kitchen of Lu's house, but the time is expressed through the performance and the singing for the whole night. In relatively complete time passages, the transformation of space can also be expressed through virtual performances. For example, in "Liang Shanbo and Zhu Yingtai", "Eighteen Send-offs" and "Eighteen Returns", in terms of time, it is the process of leaving Hangzhou and walking to Caoqiao Pavilion, but the space has been changed for many times: over a hill and a mountain, over a pond, over a river, over a wooden bridge, over the Hall of Guanyin....... The space of the specific scene is all expressed through singing and virtual performances. Another example is "traveling" in "Love Detective", the time is on the way from Laiyang County to Bianjing, the conversion of Lishui, Yishui, Qingzhou, Taishan, Canal, Liangshanbo, Yellow River ...... These specific locations are also expressed through the actors' singing and performance, which is virtual. As the stage focuses on the performance of the characters, is the character's thoughts and feelings, the inner world, time, space conversion will have a greater degree of freedom, and are embodied through the performance, through the performance to mobilize the audience's associations and imaginations in order to get recognition, cause **** song. The use of scenery, lighting, props, is not to interfere with the destruction, but to strengthen this artistic effect.

Two, create roles from the characters, not limited by the line

The performance of the early traditional repertoire of Yueju Opera, as well as some of the older types of theater, is divided into lines. This method of dividing roles by lineage was prone to typecasting. Since the reform of Yueju Opera in the 1940s, there have been numerous new plays and the influence of drama and movies, the performances are not satisfied with typecasting, but strive to show distinctive personalities from the specific experiences and situations of the characters. Some characters in some plays are difficult to categorize with a certain line of performance. For example, Yuan Xuefen's Sister-in-law Xianglin is neither a blue coat nor a flower girl when she is young, nor an old maid when she is old. Sister-in-law Xianglin is Sister-in-law Xianglin, with the irreducibility of "this one". Yuan Xuefen starts from the character's fate as a poor rural woman with a difficult life, and she strives to match the character's specific emotions in a specific environment in every performance. Another example is Zhang Guifeng, although she is a veteran, she plays Wei Laizi, Two Zhuge, and Old Woman with Two Guns, all of which break the line and try to show the special character of each character, making them seem vivid. Another example is Fan Ruijuan's role as Dull Da in A Wisp of Hemp, which is neither a minor character nor a clown, but a unique image of a dull son of a wealthy family. In some plays, the basic line division is maintained, but the actors are not restricted by the line, and still pursue the unique personality of the characters. For example, in The Story of the Western Wing, Cui Yingying can be categorized as a lady's maiden in this line, Yuan Xuefen performance, not from the line of work, but strive to show the character of the elegance of the noble lady, showing that the Miss Xiangguo is bound by feudal etiquette, and yearning for freedom of marriage complex contradictions, the performance of no shortage of magic; similarly, Hongniang can be categorized as a flower girl in this line, but Lu Ruiying is not from the line of work, but to show the character's wit, boldness and personality, and to show the character's personality. But Lu Ruiying does not start from the line, but focuses on showing the character's wit, boldness and stubbornness, which is full of youthfulness. Lin Daiyu in Dream of Red Mansions can be categorized as a sad dan, but Wang Wenjuan's performance highlights the character's personality: sentimental, noble and capricious, with a strong sense of self-esteem and rebellious spirit; similarly, although Jia Baoyu belongs to the line of the boy, as Xu Yulan said: "Cao Xueqin's Jia Baoyu is created according to his unique personality. The actor's task is to find Jia Baoyu`s `all personality traits and perform the complex human nature he possesses by studying the original text, the script, and the materials of Red Study." ("I Played Jia Baoyu") The Jia Baoyu that people see on the stage of Yueju Opera is just such a unique image with a distinct personality. Because of this characteristic, the procedure of creating roles for actors in Yueju Opera is generally to y understand the script and characters, on the basis of which to collect relevant information to start the idea of reference, to mobilize their own experience for reference in the emotional memories and accumulation of life, and when possible, to go deep into the life to directly observe and experience, so as to make themselves deep into their roles, and to make their roles come alive in their minds, instead of performing based on the performance experience of a certain line of work. The first time I saw this was when I was a student at the University of California, Berkeley.

The program is used to show the character and the relationship between the characters

The program is used in the performance of Yueju Opera, but it is not a ready-made program that can be used as a means of applying to different plays, rather, it is a way of absorbing the aesthetics contained in the program, and it is naturally used in the progress of the play in accordance with the specific characteristics of different characters in different situations. For example, in the "appearance" of the characters, the traditional method of the opera is that the characters are in the "Nine Dragons' Mouth" to concentrate on their breath, and the long pause and sculptural modeling, together with the strong percussion music, give the audience a distinct impression. Yueju Opera has absorbed the two factors of taking stillness in movement, showing movement by stillness, and sculptural modeling, and takes the "appearance" as a part of the specific life process of the character to express the character's change of expression and psychological transition in a specific moment, the character's temperament, and the ideological activities in a specified situation, which integrates the realistic elements in the realistic "appearance". For example, in "Xianglin Sister-in-law", Xianglin Sister-in-law is carrying a wood stretcher sideways, out of the corner of her eye, she found Wei Laizi walking in front of her, sensitive to the thought that something related to herself is about to happen, in the process of thinking, she changed the wood stretcher to the shoulder, and incidentally turned back to look at Wei Laizi. With this short pause, the formation of "appearance". Another example is the first appearance of Jia Baoyu in Dream of Red Mansions, he turned his hand to Buddha beads, walking happily through the corridor, and then into the room, suddenly saw Daiyu was attracted to a sudden shock, psychological formation of the interval. This pause is the "appearance", which reveals the character's identity, mood, position in the family, and attitude toward Daiyu. Before Zhang Jihua's appearance in "A Tale of the Western Garden", two fluttering pink butterflies were used as a prelude. Zhang Jihua crossed the rocks sideways and pushed aside the grass and flowers with both hands to search for them, and then he suddenly found that there was a cave in front of him, which made him look so surprised that he gave a slight pause, which was quite a legendary appearance. In addition to the "appearance", the use of other programs is also based on the same principle. For example, the play "Love Detective", Sichuan Opera and some other types of theater also, but the play of the "road" this one, but for the unique Yueju Opera. This scene is fully song and dance, with a lot of programmed movements, including absorbing many of the dance figures of Kun Opera and the techniques of red silk dance, borrowed from the Shao Opera "female hanging" in the "Ghost Walking Steps". When Fu Quanxiang performs, she does not put the programmed movements together, but makes a unified conception from the character's situation, selects, changes, redesigns and reassembles the various programs, and combines them with the content of the play to give them distinctive personalities and strong emotional colors. Programs are used in the course of the play, and become the vocabulary for expressing feelings, with a clear purpose and content. For example, at the beginning of the play, when the Judge shouts, "Where are the supplements? She gave a sharp "come also" first sound, then back to the field in a hurry, 360 degrees small cloud hand turn, upward high jump throw double sleeves; landing feet and tight, toes on the ground straight, back to the audience downwind flag "debut". Water sleeve dance is not a general water sleeve program, "appearance" is not a programmed "appearance", they all show supplements Guiying accumulated for a long time, and now like a volcano eruption of grief and anger. When walking under the leadership of the Judge and the little ghost, she also uses not the usual round scene, but with her arms hanging down, dragging the 4-foot-long water sleeves forward with high and low ups and downs, revealing the character's eagerness to take revenge, and the shape of the wronged souls floating and swimming. In the process of traveling, along the way through the mountains and water, she was in different places with different movements, gestures to show the different feelings born of the scene, such as seeing the Yellow River flowing east, she drew on the red silk dance in the big arm movement, waving the long sleeve, followed by both hands in front of the belly from the lower winding sleeve, sleeve head to form two vortexes, both the Yellow River roaring thunderous image, but also shows the character inside the Yellow River like the waves of the surging passion.

Fourth, to accurately express the inner world of the character in detail with the external movements

The traditional programmed performance, the expression of a certain emotion has a certain routine, such as sadness, the actor with "ah ...... ah .... ...ah ......" three voices, and then on the water sleeve to cover the face, said crying; happy, "ha ...... ha ...... ha ... ..." three sounds, is to laugh. In the reform of Yueju Opera, this kind of programmed performance method was broken, and the actors were required to show their emotions in the middle of the play, cry and feel sad from the bottom of their hearts, and laugh and feel happy from the bottom of their hearts, and design external movements based on their inner activities, and the external movements should convey the inner activities of the characters in detail and impress the audience with their true feelings. When Yuan Xuefen performed The Broken Hearted in the winter of 1942, in order to reflect the pain, surprise and sadness of the heroine Fang Xueying after hearing her aunt's repentance of marriage, she drew on the acting method of Madame Curie in the American film Madame Curie when she heard the sad news of her husband's death by a collision and firstly, she used a long pause to reflect the character's mental shock, only feeling the surrounding emptiness and silence, and then she finally landed on a wooden fish before letting out her voice and cried. Instead of crying three times "ah" programmatically, the character cries out in a loud voice. Zhang Yunxia plays the roles of Chuncao and Li Cuiying, both of whom are working as Hua Dan, and in the scene of "Walking the Road", although they both use the same program and basic skills of rounding the stage, they perform according to the different mentality of the characters to achieve the same with differences. Chun Cao is afraid that the road is short, try to delay the time, with seemingly fast but slow steps, face often to the back; while Li Cuiying is afraid of the time, straight ahead to catch up with the road, with the fast in the show the hurry of the line, the body often lean forward. This is an accurate and delicate representation of the different situations of the two people traveling.

V. A beautiful lyrical style characterized by softness and beauty

Because the style of Yueju Opera was formed during the period of women's Yueju Opera, all the roles were played by actresses; and because Yueju Opera has absorbed the characteristics of Kunju Opera's songs and dances since its reform, as well as being influenced by Shanghai's cultural environment and the audience's aesthetic taste, Yueju Opera performances focus on beautification. Since the reform of Yueju Opera, it has absorbed the characteristics of Kun Opera, which is full of songs and dances, and has been influenced by the cultural environment and aesthetic tastes of the audience in Shanghai, which is a big city. This is different from the Peking Opera, Shao Opera, and the Bang Opera system. For example, in "Dream of the Red Chamber", in the performance of "Daiyu's Burial of Flowers", Daiyu buries the flowers on one side and sings "words about the burial of flowers" on the other side, and Wang Wenjuan pays attention to dancing with props such as the flower hoe, flower basket and the water sleeves during the performance. This kind of dancing is the beautification of physical movements and the expression of feelings of the characters in a specific environment, so that the intangible inner activities through the action of modeling, rhythm, amplitude, and changes in the intuitive feelings of the people, the combination of performance and singing, resulting in a poetic and picturesque sense of context. Yueju Opera has absorbed the artistic achievements of other operas, but what it has learned has been Yuejuized. The so-called "Yuejuization" is mainly from the need to create roles, and those factors that are not coordinated with the soft and lyrical style of Yueju Opera are weakened and changed, and those that are not enough to show, are designed separately. For example, Fu Quanxiang played the scene "Fighting God" in "Love Detective", he had learned from Sichuan Opera, but the external movements of the characters in the performance of Sichuan Opera were relatively strong, with a large amplitude, strong strength, and a lot of straight lines, which did not harmonize with the soft and beautiful style of Yueju Opera. Fu Quanxiang weakened these factors, while absorbing the Kun Opera's technique of rounding the water-sleeve movements, enhancing the soft quality of the performance. Another example is "Eleven Langs", which is based on the stories of Peking Opera's "White Water Beach", "Tongtian Rhinoceros" and "Yan Yang Lou". Peking Opera performances are characterized by a strong rhythm and difficult skills of martial arts, although the performance of Yueju Opera breaks through the routine to add martial arts, but not to fight fiery, fierce victory, but to dance, strong and soft, giving people a beautiful feeling.

The characteristics of the performance of Yueju Opera are both stability and variability, which are constantly enriched, developed and changed in practice. Especially in modern theater, co-educational performances, the art of performance has more exploration, innovation and expansion. Actors' performances pay more attention to the sense of history, the sense of reality, pay more attention to the life from the start to be refined, giving the characters with the temperament of the great man and the common sense of ordinary people, so that people refreshing.

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