What are the characteristics of xinhuang dong autonomous county's Nuo opera?

Xinhuang Dong Nuo Opera is popular in Tianjingzhai, Lu Si Village, Gongxi Township, xinhuang dong autonomous county City, Hunan Province. Because it jumps with the sound of drums and gongs, it is named "knocking and pushing".

It is difficult to understand the origin of "knocking and pushing". The earliest residents of Tianjingzhai were Dong people of Long surname who moved from Jingzhou during Yongle period of Ming Dynasty. People surnamed Long said, "Knock, knock and push" has its head in Jingzhou and its tail in the courtyard. " According to this inference, this kind of Nuo opera is likely to come from Jingzhou in the Ming Dynasty.

In the old days, there were Pangu Temple and Feishan Temple in Tianjingzhai. During the Spring Festival, temples take turns to offer sacrifices for one year, and perform "knocking and pushing" when offering sacrifices. Whenever there is a natural disaster or plague, we should also sing "knock knock push".

"Knock, knock and push" is a kind of dance with simple plot, and some of it is Nuo opera with the embryonic form of drama. All the singing is in Dong language. His plays include Jumping to the Ground, Scorpion Stealing Cattle, and Old Man's Cart, which reflect the national life. There are also Three Kingdoms dramas featuring Guan Gong, such as Guan Gong's Catch the Thief First and the story of Gu Chenghui.

The music of "Koukoutui" is mostly developed from local folk songs and ballads, and the commonly used tunes are "Liuliuqiang", "Yin Shi", "chanting" and "Gray".

Perform "knocking and pushing" in the dance. The actor's feet are always close to the "gongs and drums", stepping on a triangle and constantly beating. According to the old artist, this dance of stepping on a triangle is based on the body of a cow. The cow's head and two front feet are triangles, and the cow's tail and two rear feet are triangles. It is Dong people's farming culture that breeds "knocking and pushing".

Dong nationality originated from a branch of Baiyue in ancient China. It was called "Luoyue" in Qin and Han Dynasties, and "Liao" after Wei and Jin Dynasties. Dong people are a part of Liao. In the annals of ancient documents, Dong people were called Dong people, Dong people and Dong people, and they called themselves Gan, which was translated into Ling in Song Dynasty and Liao, Man and Miao in Ming Dynasty, or they were misnamed. After the founding of New China, it was called Dong nationality.

Dong people settled here before the Tang and Song Dynasties. The ancestors were Luoyue of Baiyue, or descendants of Ganyue. Up to now, many customs and cultures of Luoyue people have been preserved.

Dong language belongs to the Dong Shui language branch of Zhuang Dong language family of Sino-Tibetan language family, which is divided into two dialect areas: north and south. Dong people originally did not have their own characters, but used Chinese characters. Later, it was based on the southern dialect of Dong language and took Rongjiang dialect of Guizhou Province as the standard pronunciation. A primitive religion that believes in polytheism and worships natural objects.

Xinhuang Dong Nuo Opera only exists in Tianjingzhai Village, Lu Si Village, Gongxi Township, xinhuang dong autonomous county, and there is no Dong Nuo Opera in Hunan.

The early roles of Nuo opera are identified by the shape of its mask. The business focuses on four actors: Sheng, Dan, Jie and Ugly, and then develops into a more detailed branch. However, whether it is the main drama or the big drama, it is mainly "opposite drama", or it is a primary school student, Xiao Dan, clown, Xiao Dan, or an old student or Lao Dan.

Nuo opera has been performed in Nuo stage for a long time. Most artists are masters, and their plays are religious. Some characters in the play are also incarnated by the gods in the Nuo altar. Therefore, the performance of Nuo opera has a strong religious style.

Nuo opera is rooted in the countryside, so it has also accepted some folk songs and dances and rap performances. At the end of the Qing Dynasty, the Nuo opera artists in Qijiaping and Chenzhou exchanged and merged with each other, forming a Nuo opera cavity dominated by Chenzhou tenor singing today.

Through this cultural exchange, it promoted the stylization of the performing arts of Nuo opera, and at the same time, it also obtained a small number of monks' robes relying on opera programs and enlightenment, opening villages and crossing the army.

The formation and development of Nuo Opera tune has gone through three stages: mage tune, Nuo altar tune and Nuo Opera tune. The mage's accent is a tune that Master Nuotan hummed.

Melody is colloquial and rhythmic, and belongs to recitation style. It just has some dramatic factors. Most of the operas in the Nuo opera world are legal procedures, which is the basis for the development of Nuo opera. Although its melody rhythm is simple, its musical image is gradually clear, its career has begun to take shape, and its aria structure is gradually rigorous.

Tang Nuo opera cavity is produced with the formation of Tang Nuo opera and Big Ben opera. It has inherited all the heritage of witchcraft, maintained a strong "witchcraft style" and became a unique ancient tune in xiang opera's music system.

Witchcraft has a "closed" history, and there is little horizontal communication between them. They all use the local language as their stage language. Therefore, strong locality has become a major feature. Although it has limitations, it embodies its rich and colorful musicality.

There are 2 1 tunes in Chenzhou Nuo Opera in Qijiaping, Yuanling. Commonly used tunes are Jiangnv tune, Fanlang tune and Xiachi tune. In the special plot, there are "poor soldiers tune" and "customs clearance tune", with more than five tones, and there are alternate tones of feather tone and angle quotient. The artistic conception is simple and the melody has the characteristics of folk songs.

Masks play a very important role in Nuo sacrifice. During the Shang and Zhou Dynasties when Nuo ceremonies prevailed, Fang, who presided over Nuo ceremonies, wore a "golden four-eye" mask in order to obtain a strong ancestor worship effect in the exhibition. Zhou Li's Summer View says:

Fang Xiang wore bearskin in his palm, with golden eyes and mysterious clothes at the end of his dress, holding Ge Yangdun, handsome and arrogant, and spread it from time to time to drive away the epidemic.

Fang in Naji has become a mythical image of exorcising ghosts, plagues and eliminating disasters, which is mysterious and awesome.

In the performance of Nuo Opera, masks become an important means of plastic arts, and are the most important and typical props of Nuo Opera. Actors wearing masks is an important feature that distinguishes Nuo opera from other operas.

There are 36 masks of Dong Nuo Opera in Xinhuang, including 12 figures from the Three Kingdoms, including Liu Bei, Zhang Fei, Guan Ping, Zhou Cang, Wang Yun, Lu Bu, the story of Dixin, Hua Tuo, Mrs. Gan and Mrs. Mi. Among them, Guan Gong's mask usage rate is the highest, and Guan Gong has appeared in all the Three Kingdoms operas.

Two pairs of Nuo gods, including Jiang Liang and Jiang Mei. The legendary ancestors of the Dong nationality. This mask is not worn by actors; When washing, it's just for sacrifice.

Six masks of ghosts and gods, Land, Leigong, Leipo, Xiaogong, Xiaopo and Guajing.

Animal masks, including bulls, cows and dogs.

There are 13 other figures, including Gao Liu, officials, scholars, wizards, Wang Po, robbers and lazarillo de tormes, each with1; There are two officers and four soldiers.

The headdress of Dong Nuo Opera in Xinhuang has its uniqueness. After the characters put on masks, they all wear black silk handkerchiefs about 8 feet long, and both ends of the handkerchiefs are dragged from the back of their heads to the ground. During the performance, handkerchiefs were put on their shoulders, and each hand held one end to perform various symbolic performances.

Xinhuang Dong Nuo Opera is a traditional opera relic that happened before the Yuan and Song Dynasties in the south, and it has a history of at least 660 to 700 years. It is a "living fossil" of China's early Southern Opera.

The existence of Xinhuang Dong Nuo Opera proves that Guizhou local opera is not a kind of drama formed under the influence of Yiyang Opera in the Ming Dynasty, because "Zhu Yuanzhang, the Ming Taizu, sent 300,000 troops to Yunnan, and a large number of immigrants came here to fill the south".

As stated in Exorcism in Tianfu: "Xinhuang Dong Nuo Opera does not believe in witchcraft or exorcism, but only worships ancestors." It shows that the development of China's drama has entered a new stage. "Knock-knock-push" just proves that this stage exists in the world.

The Nuo operas performed include Meng Jiangnv, Ponzi Nv, Dragon King Nv, Taoyuandong Shen, Liangshan Di and so on. In addition, there are some repertoires based on the Biography of Mu Lian, The Romance of the Three Kingdoms and the story of The Journey to the West.

During the period of 1956, the central folk music research group conducted an investigation on the "drum push" music in Tianjingzhai, Lu Si Village, Gongxi Township, Xinhuang County. 198 1 year, Mr. Wu Sheng of Xinhuang Cultural Center went deep into Tianjingzhai for investigation and wrote "A Preliminary Study on the Origin and Artistic Features of Xinhuang Dong Nuo Opera", which unveiled the mystery of Xinhuang Dong Nuo Opera. During the period of 1992, rescued by Huaihua Mass Art Museum, villagers in Tianjingzhai made the whole altar mask from memory and resumed the performance of Xinhuang Dong Nuo Opera.