Which big troupes were the predecessor of Chinese Peking Opera?

Formation and Dissemination: Peking Opera was formerly known as Huizhou Opera, which was popular in the south of the Yangtze River in the early Qing Dynasty. It mainly sang and blew tunes, played high notes and played Huang Er. Huiban has strong mobility, frequent contact with other operas, and mutual communication and infiltration in vocal cavity. Therefore, in the process of development, it also performed many Kunqu operas, and also absorbed Luoluo cavity and other zaju. In the fifty-fifth year of Qing Qianlong (1790), the first Huizhou class (Sanqing class) headed by Gao Langting (a famous Yueguan) went to Beijing to participate in the celebration performance of Qianlong's 80th birthday. "Yangzhou Painting Boat Record" contains: "Gaolangting entered Beijing, joined Anqing Flower Department, joined Beijing and Qin, and its class was called Sanqing." Yang Maojian's Dream Book, published in the 22nd year of Daoguang (1842), also said: "And the third celebration comes before the fourth celebration. When Qianlong entered the bamboo box in fifty-five years, he called it the' Three Celebrations Emblem', which was the originator of Huizhou class. " Wu Zi-shu pointed out more specifically in the Notes on Poems with Boundaries that "Na la Wu, Governor of Fujian and Zhejiang, ordered Zhejiang salt merchants to unite with Anqing Hui people to wish Li". Later, many Huizhou classes went to Beijing in succession. The famous classes are Sanqing, Sixi, Chuntai and Hechun. Although He Shen was founded in the eighth year of Jiaqing (1803), which was later than the thirteenth year of Sanqing, it was still called "Huizhou Class Four went to Beijing" by later generations.

During the years of Qianlong and Jiaqing, Beijing was rich in cultural relics, politically stable and economically prosperous, and all kinds of opera artists gathered. Kunqu Opera, Peking Opera and Shaanxi Opera are opposites on the Beijing stage. When Huiban came to Beijing, he first devoted himself to "the combination of Beijing and Qin". At that time, Shaanxi Opera and Peking Opera were basically performed on the same stage, and "Beijing and Qin are not divided" (Yangzhou Painting Boat Record). Huizhou Class carries forward the tradition of learning from others, widely absorbs the repertoire and performance methods of Qin Opera (including some Beijing operas), and inherits many Kunqu Opera repertoires (side by side performing Kunqu Opera Peach Blossom Fan) and its stage art system, so it has been rapidly improved in art.

The artistic features of Huiban itself are the main reason why it can win in the struggle for balance. In terms of vocal cavity, in addition to singing Huang Er tune, "even the voices of five parties are the same" ("Looking at Flowers in the Sun"); In terms of repertoire, there are a wide range of themes and forms; In terms of performance, it is simple and true, with complete business, which is suitable for the appreciation requirements of the broad audience.

In terms of performance arrangement, according to the Chinese Dream, the four Huizhou classes are "each good at winning". Sanqing won with "Axis" (a new drama recently), Sixi won with "Quzi" (good at singing Kunqu opera), Hechun won with "Ba Zi" (good at playing martial arts drama), and Chuntai won with "Child" (called Tong Ling). Attaching importance to art and management, we can give full play to our expertise and make rapid progress. In the late Daoguang period, Huiban gained an advantage in Beijing. "Chinese Dream" said: "Today, there are the most people in Anhui, and Wu people are not as good as them. Unknown person in Shu. " He also said: "The troupe must perform in Huizhou." The largest theaters such as Guangde Building, Guanghe Building, Sanqing Garden and Qingyuan Paradise will also be dominated by Huizhou classes. "

The process of the growth and development of Huiban is also the process of its transformation into Peking Opera. The completion of this evolution is mainly marked by the confluence of Hui and Han, and the blending of Pi and Huang, forming a piano singing music system with Xipi and two accents, and gradually improving the singing, reading and playing system. Mi Yingxian (also known as Mi), a native of Chongyang, Hubei Province (referring to Anhui), was the first Chinese-style actor to accompany Huiban to Beijing. Born in forty-five years of Qianlong (1780), he joined Huizhou class in Chuntai and went to Beijing to sing around Jiaqing. He performed brilliantly, was good at red dramas and had a long reputation (see Li Dengqi's Chinese Dream and Frequent Talk). It is regarded as the pioneer of Yu Sansheng, a famous actor in China (at that time, there was a saying in the lyrics of Quyi that "rice should come first in the Asian Games"). During the reign of Daoguang (182 1- 1849), more and more Chinese opera actors came to Beijing to join the Huizhou class, including Wang Honggui and Li Liu. Su Haian's layman Yan Tai Zhao Hong Ji (written about 12 years before Daoguang) said: "The capital is still in Chu tune." Among them, musicians, such as Wang Honggui and Li, all claim to be people of the new era. "Chu tune is Han tune, and Han tune is Xipi tune. It can be seen that Xipi tune was popular in Beijing at that time, and Wang Honggui and Li Liu's "Goodness is a New Voice" promoted the innovative development of Xipi tune. With the joint efforts of actors returning to Han Dynasty, Xipi and Xihe gradually merged. Start different plays and sing Xipi or Huang Er respectively according to different sources; Later, some plays sang Xipi and Huanger at the same time, and even sang Huang Er first and then Xipi in the same aria, which can be coordinated and integrated. Luo Guan (from the emblem tune Nihe) is an example. In terms of phonology, it forms the metrical form of "Zhongzhou Rhyme and Huguang Rhyme". There is a mixed voice of Beijing and Hubei, with two tones of Beijing and Hubei, sharp and rhyming according to Thirteen Strings. Huang Er's accompaniment instruments, after repeated times, finally abandoned the flute in Xianfeng and Tongzhi years (1851-kloc-0/874), and used the huqin (with different tunes) in unison with Xipi, but still accompanied by the flute according to the tradition of Huiban when singing and playing.

At the end of Daoguang, Xipi Opera appeared in large numbers, and it was common for Huiban and Pihuang to perform in parallel. According to Yang Jingting's A Brief Introduction to Doumen published in the 25th year of Daoguang, Cheng Changgeng of Sanqing Class, Zhang Erkui of Sixi Class, Yu Sansheng and Li Liu of Chuntai Class, Wang Honggui of Chunban Class, etc., such as Catch and Release Cao, Dingjun Mountain, Drumming Cao, Sweeping Snow and Playing Bowls, etc. Since then, it has been compared with the traditional plays that are common on the stage of Beijing Opera. Another view is that Peking Opera was formed after Tan Xinpei became famous (1late 9th century and early 20th century). The reason is that at that time, Pihuang Opera had strict rules from music, performance to singing. Prior to this, that is, in the era of Cheng Changgeng, it still belonged to the category of Huizhou tune.

In the sixth year of Tongzhi (1867), Peking Opera spread to Shanghai. The newly-built Man Tingfang Theatre was invited to Beijing from Tianjin and was welcomed by the audience. In the same year, Tan Gui Tea Garden invited a large number of famous Peking Opera actors through Beijing Sanqing Class, including Xia (the father of Run), Xiong Jingui (the father of children) and Hua Dan Feng Sanxi (the father of Feng). They all settled in Shanghai and became a southern Peking Opera family centered on Shanghai. Later, more Beijing corners went south one after another, such as Zhou Chunkui, Sun Juxian, Yang Yuelou, Sun Chunheng, Huang Yueshan, Li Chunlai, Liu Yongchun, Bangzi, Hua Dan and Tian Jiyun, making Shanghai another Peking Opera center alongside Beijing.

Prior to this, Shanghai had Kunban and Huiban performances in the early years of Xianfeng. After Beijing Opera entered Shanghai, there were also situations in which Beijing emblem, Beijing Kunming and Beijing Bangzi were on the same stage. This has played an important role in the formation of the characteristics of Southern Opera. Wang Hongshou (son), an outstanding Anhui opera actor, often participated in Peking Opera performances after arriving in Shanghai, and brought with him Anhui operas such as Xu Ce Entering the City, Sweeping the Book of Matsushita, and Snow Embracing the Blue Pass. It is integrated into Beijing Opera, and the "high beat", one of the main themes of Anhui Opera, is integrated into Beijing Opera music, and some red operas of Anhui Opera and their performance methods are also absorbed into Beijing Opera. This has played a certain role in expanding the repertoire of Peking Opera and enriching the stage art. In addition, the artistic activities of Bangzi artist Tian Jiyun in Shanghai have also affected the development of Nanpai Peking Opera. His "Lantern Opera" and "Bullfighting Palace" are really the overkill of the later "combination of government and drama". From the fifth year of Guangxu (1879), Tan Xinpei went to Shanghai six times, and later famous actors such as Mei Lanfang often performed in Shanghai, which promoted the exchange of Peking Opera between the North School and the South School and accelerated the development of Peking Opera art.

Before Beijing Opera entered Shanghai, that is, after the tenth year of Xianfeng (1860), it spread rapidly all over the country with business trips and theatrical performances. For example, Tianjin and its surrounding Hebei area are one of the earliest areas where Peking Opera spread. At the end of Daoguang, Yu Sansheng was active in Tianjin (he and his father were buried in Tianjin after their death); Liu Gansan, a clown actor, first made a box office in Tianjin, and then went to Beijing to "go to sea". Sun Juxian, an old actor, used to be a fan of Jin Yao. Shandong is the only place where Huizhou people pass in and out of Beijing, and Shandong businessmen are an important force in Beijing's economic activities, so Peking Opera performances have appeared in Shandong for a long time. As early as the Qianlong period, Anhui artists entered Qufu Confucius House to perform. Anhui, Hubei and Northeast provinces are also the areas where Peking Opera spread earlier. By the beginning of the 20th century, there were Peking Opera activities in Fujian and Guangdong in the south, Zhejiang in the east, Heilongjiang in the north and Yunnan in the west. During the War of Resistance against Japanese Aggression period, Peking Opera also developed greatly in Sichuan, Shaanxi, Guizhou and Guangxi.

19 19, Mei Lanfang led a troupe to perform in Japan, and Peking Opera first spread overseas. 1924 led a delegation to perform in Japan again, 1930 led a crew of 20 people to visit the United States, which was a great success. 1934 was invited to visit Europe and perform in the Soviet Union, which attracted the attention of European drama circles. Since then, Peking Opera has been regarded as a school of drama in China all over the world.

Two or three development periods: from 1860 to 1949, Peking Opera has generally experienced three development stages.

The period from 1860 to 19 17 is the period of further maturity of Peking Opera. In terms of repertoires, the traditional repertoires passed down from Hui, Han, Bang and Kun have been refined through continuous processing and tempering in performance practice. Many first plays have been gradually cut and simplified into their own dramas. For example, the whole version of Cosmic Frontline usually shows the Revised Edition and the Golden Temple only 20% of the time. Before and after the Revolution of 1911, a number of new dramas appeared in the social and political changes, such as Wang Xiaonong's Crying at the Ancestral Temple and Melody in the Blue. In music, plates and melodies are added, and the pronunciation and rhyme are more stereotyped, which makes the singing of Beijing opera euphemistic and beautiful and more distinctive. In the stage performance art, it is also more delicate, exquisite and colorful. Three outstanding artists in the history of Peking Opera (Cheng Changgeng181-1880, Huizhou School; Yu Sansheng 1802- 1866, Han School; Zhang Erkui 18 13- 1860, Beijing school) also has the emblem of the predecessor of Beijing opera and the local color of the Han dynasty, which was passed on to three outstanding artists after the older generation (Tan Xinpei 1847- 1965438, Sun Juxian/kloc-).

From the 9th year of Guangxu (1883), a large number of famous Peking Opera artists were recruited as "imperial tributes" one after another, and received a certain amount of silver rice to perform in the theater at ordinary times, and were called into the palace as messengers from time to time, thus breaking the old system that the court kept the troupe since Qianlong. Because of the royal family's love, it not only provided superior material conditions for the performance, but also had strict artistic requirements, so it left a number of relatively complete repertoires, which laid the foundation for the strict standardization of Beijing opera art, and at the same time, the court performance also brought some negative effects to Beijing opera in the tendency of repertoire content.

During this period, some Peking Opera artists directly participated in the political struggle. For example, in the coup d' é tat of 1898, the famous Dan Yu Qin Yu and Tian Jiyun tended to reform and reform, and sent messages to Emperor Guangxu. In Shanghai, the Revolution of 1911 hit the Manufacturing Bureau, and Pan Herun directly participated in the war and was awarded by Sun Yat-sen. ..

In the 24th year of Guangxu (1908), the first modern drama stage appeared in Shanghai. Out of patriotic enthusiasm, Brother Xia Yuerun built a theater with lighting and scenery facilities on the ground outside the concession at that time, which changed the traditional square stage, thus promoting the innovation of Peking Opera stage art and influencing other places.

From 19 17 to 1937, Peking Opera reached its peak. In terms of repertoire, traditional operas have been continuously processed and renovated, and a large number of new dramas have emerged. The scope of subject matter has been expanded, and the number of plays expressing patriotism and democratic ideas has increased. The repertoire is more closely combined with the performance characteristics of the actors, and there are some unique repertoires of art schools. In terms of stage art, genre art has made great progress. Previously, the stage of Beijing opera was dominated by old pedants, and the genre of old pedants was more obvious. At this time, Mei Lanfang, Cheng, Xun Huisheng and Shang Xiaoyun were determined to innovate and actively rehearsed new plays. Mei Lanfang absorbed China's traditional classical dance art into Peking Opera in the newly edited "costume dramas" such as A Moth to the Fire, Farewell My Concubine and History of Xi, enriched singing tunes and accompaniment instruments, and made many innovations in costumes and makeup. Cheng, Xun Huisheng and Shang Xiaoyun. He also developed his creativity and edited new dramas that can reflect his artistic characteristics, such as Cheng's Dream of Spring, Xun Huisheng's Hairpin Phoenix and Shang Xiaoyun's Princess Hamming. There has been a situation in which the "four great talents" compete for balance on the stage. This not only makes Dan Jiao's art glow with unprecedented brilliance, but also drives other industries, competing with each other and having various schools. Such as, Ma,,, Yan, etc. all developed their own schools on the basis of inheriting the tradition. In Shanghai, Zhou (Kirin Tong)' s new dramas are unique, such as Xiao He Chasing the Moon under Han Xin, which has a wide influence all over the south of the Yangtze River and is known as the "Qiqi School". Wu's, Shang's and Southern's also formed schools with distinctive artistic characteristics. Besides, there are many talented people, such as Hua Lian, Xiao Sheng, Lao Dan and Ugly, and the stage of Peking Opera has reached the peak of art..

Since the 1920s, a large number of Liantai dramas have appeared on the stage of Shanghai Peking Opera. This dramatic structure, with vivid plot, beginning and end, and easy to understand, was deeply loved by the audience, gradually became popular in major cities in the south of the Yangtze River, and later spread to Beijing. Some of these clips have also become independent solo performances. But later, some Luen Thai dramas went astray in the commercialization of capitalism. Sometimes the theme of the first play is very clear, but if you continue, the more books you have, the farther you will go.

During the same period, a large number of female artists appeared on the stage of Beijing Opera, and some of them had high artistic achievements. Since the formation of Peking Opera in Daoxian period, all Peking Opera actors, regardless of health, beauty and ugliness, have been played by male actors. About the Tongzhi period (1862- 1874), Shanghai began to have a troupe composed of young girls, called "children's play". After the Revolution of 1911, the female class also appeared in Beijing and Tianjin. Some actresses are quite famous, but due to social conditions, most of them are short-lived. Since the1920s, many outstanding actresses have come to the fore and are quite mature in art, so they can choose their own courses. 1930 male and female co-production in Beijing Guangde Building (earlier in Shanghai). These outstanding actresses, in addition to the earlier veterans En Xiaofeng, Xiao, Dan, Liu Keqin, etc. , experienced veterans, Xiaodong Meng, Dan, Yan Qin, Xin, etc. Since the 1920s.

During this period, more attention was paid to personnel training and new measures were taken. From Xiaorongchunke, which was founded in the 6th year of Guangxu (1880), to Fulian City, which was founded in the 30th year of Guangxu, all the teaching methods were hard work before skills. 19 19 Nantong Gongling Society was established in South China (with Ou Yangyuqian as the director), 1930 China Theatre Academy was established in Beijing (with Jiao Juyin as the principal), 1934 Shandong Theatre was established, 1938 Shanghai Theatre School was established, and Xi 'an was established in the same year. Although this educational system and teaching method are still in the exploratory stage, it has achieved certain results in improving the artistic quality of a new generation of actors.

From 1937 to 1949, the Peking Opera team split and reorganized in the war. After "August 13th", many Peking Opera actors took an active part in the national salvation movement. After War of Resistance against Japanese Aggression entered the protracted war stage, different situations appeared in the liberated areas, the Kuomintang-controlled areas and the enemy war zones. In the Shaanxi-Gansu-Ningxia border region and other revolutionary base areas, a large number of new historical dramas and modern dramas have been created and performed in eight years. Well-known ones are The Battle of Pingxingguan, Driving to Liangshan, Sanda Zhujiazhuang, Breaking the King into Beijing and so on. 194 1 year, Yan' an Pingju Troupe and the Eighth Route Army 120 Division Fighting Pingju Club merged to form Yan' an Pingju Institute. Some progressive Peking Opera actors and new literary and art workers who like Peking Opera gathered in the revolutionary holy land to cooperate with Peking Opera reformers in other revolutionary bases in a difficult environment and explore a way for the innovation of Peking Opera. Many of them became the leading backbone of the opera front after the founding of New China. In the late period of the Anti-Japanese War, some Japanese puppet troupes and actors were absorbed and reformed.

In the Kuomintang-controlled areas, shortly after the beginning of the Anti-Japanese War, an anti-enemy propaganda team was formed, including various dramas, and toured various war zones to perform a new historical drama "Jianghan Fisherman's Song". After giving up Wuhan, Liu Kuitong and Liu Kuiguan maintained their stage performances in Chongqing, Chengdu and Kunming, but their art was hard to improve ... In Guilin, some Peking Opera actors cooperated with Tian Han and Ou Yangyuqian, devoted themselves to reform, and compiled and performed The Golden Rice Bowl, which accumulated preliminary experience for Beijing Opera innovation.

In the occupied areas, Mei Lanfang was indomitable. Cheng lived in seclusion in the farmhouse and declined to go on stage. In the difficult and dangerous environment, Zhou wrote and performed the drama against the enemy and puppet troops with national consciousness, such as Two Emperors of Qin Hui. On the other hand, the reactionary rule destroyed the cause of Beijing opera, and also caused the talent to wither and the repertoire to be poor. Fulian City Club, China Theatre Academy and Shanghai Theatre School all closed down. It was not until the late War of Resistance against Japanese Aggression that Li Shifang, Zhang Junqiu, Mao Shilai, Song Dezhu and some actresses, such as Yan Huizhu, Tong, Wu Suqiu and Li Yuru, began to be active on the stage of Peking Opera. I hope you can adopt it!