Characteristics of Japan's energy rate

● It was not until the Meiji era that people with lofty ideals imitated western music and drama and created a term that suits both refined and popular tastes, and the name "Nenglie" was determined. This art form was still called "the ability of apes to enjoy music" when it reached its climax in the 14 and 15 centuries. For the convenience of narration, we will call the ape's ability to appreciate music "Nenglie" below.

● The energy rate has developed to the Muromachi shogunate period, which is very mature. It already has many factors such as drama literature, performing arts, music, dance and stage art. However, it is mainly a musical of song and dance, which is short and pithy, does not pursue the change and development of the plot, and is mainly narrative and lyrical. Its themes are mostly taken from Japanese classical literary masterpieces, such as Ancient Stories, Japanese History, Ye Ji, Ise Tale, Genji Tale, Past and Present Tales, Tales of Pingjia, Tales of Zengwo, Yijing Record and so on. In an able play, there is a protagonist named "Guan Shou", wearing a mask and splendid clothes, and sometimes taking the deputy protagonist "Lian" (the person who plays for the protagonist) on stage. A main supporting role is called "bullying", and sometimes he will bring a supporting role "bullying company" (he is a supporting role) to the stage. There are also some foil characters, such as Xiao Sheng (also known as Zifang, similar to the "walk-on" in Chinese Peking Opera, but different from it, Japanese "walk-on" is allowed to have lines). Generally speaking, none of these roles will be played. For example, the energy drama An Zhai, which has a large number of appearances, has fourteen actors and only five types of roles: entourage (also known as "Li Zhong"). In a typical drama, only two or three actors perform. All musicians are men. If they play women, they wear masks. In addition, in the performance of "Nenglie", there are "actors", whose role is to help the audience understand the background of the story, make the plot have a logical transition, and let the trick lead to a climax. They only speak plain English and don't sing and dance, so they are called "wild words", and because they appear in the joints of the front and back fields, they are called "wild words", which is the predecessor of the later wild words. However, after the formation of wild talk, this kind of "wild talk" has not been abolished, and it still plays the role of a transitional plot, coexisting with the wild talk staged in the two plays.

Nenglie is a drama, and the literary script is called Ballad. There is also a note called "The Book of Events" in the folk works of master Xie Mi, which suggests how to perform here. Therefore, it can be said that ballads are the earliest performance drama scripts in Japan. Folk songs have high artistic achievements in language, including dialogue and lyrics, and have a certain rhythm. Most of the lyrics quoted Japanese chorus or China's poems. It is a treasure in Japanese classical literature. It has a great influence on the development of Japanese literature. Later forms of drama, such as puppet pure glass and kabuki, all inherited and developed its tradition and staged its plays. The style of folk songs uses both verse and prose, and the dialogue part belongs to prose. These essays pay attention to rhythm, and also use classical Chinese and spoken English in Muromachi era. The poem consists of seven or five tones (seven syllables in the first half and five syllables in the second half).

The basic structure of folk songs is divided into sequence, interruption and urgency, which is the norm to enjoy music. It is indispensable for understanding the structure of energy rate.

The appearance of the foreword threat

Break the image of an official

Question and answer between officials and threats in the second paragraph

Break the development of the first three paragraphs, dance and intermission (transition from "intermission")

Ji Duan's master reappeared and performed a dance.

The preface is a narrative of the plot, including three parts: the second part, the general name and method. At first, the band played music first, and then slowly strolled onto the stage from the "curtain mouth" on the left side of the stage. "Threaten" on the stage is sung along with music, usually seven, five or five sentences, but there is a syllable missing at the end of the third sentence, and * * * is thirty-five sounds. The second sentence should repeat the first sentence. The chorus "Folk Songs" is also sung repeatedly, which is called "second appearance". Followed by "The Name of the General", the supporting role is accompanied by music and chorus, explaining his name and the purpose of this trip. For example, in Lai Zheng (note 1), the monk has a common name: "I am a monk who travels around the world. I recently visited all the monasteries in Beijing, and now I plan to visit Nara. " Then there is the passage "Daoxing", which explains the time, place and cause and effect of the whole story. As a "representative of the audience", the supporting role "Threat" won the audience's understanding in this way and looked forward to cordial emotional exchanges with the audience. After these expressions came to an end, the supporting role "threatened" to sit in the prescribed position (supporting role). This is the end of the prelude.

● After fully arousing the audience's expectations, the protagonist "Shishou" came to the stage dressed as a countryman and walked across the bridge corridor while singing. And made a fantasy story related to the plot. When the "official hand" and "threat" were asked and answered, the plot unfolded. The "official hand" explained the main character of the play according to the question of "threat", that is, let the audience understand the plot. In Lai Zheng, the monk asked the official, "I'm new here, and I hope I can show you all the places of interest in Uji." (Note 2) The historical sites related to Minamoto no Yorimasa, such as Byodoin Temple and Fan Lawn, are used to arouse the audience's understanding of the hero.

● After the story is narrated through the dialogue between the protagonist and the supporting role, the threat (and the audience) has a certain understanding of the protagonist. The protagonist dressed as a "countryman" claims to be "I am the undead of the protagonist" and disappears. In Lai Zheng, an old man in the countryside, Minamoto no Yorimasa, sang: "Dream into the dust and empty this life, and cure the bridge with frost." My forehead is wrinkled, and I am too old to speak. I am three Minamoto no Yorimasa who became ghosts in the battle of the palace. Names are not invisible until they disappear. At this time, the supporting actor "Weiwei", who was still in awe of the profound knowledge of the unknown villagers, met the "sword" who played the local people. In the question-and-answer between Bian and Threaten, Threaten learned that the man he had just met was the ghost of the hero. "Sword" advised "Threaten" to pay homage to the dead, and then retreated to madness. This passage was called "crazy talk" and later developed into a funny comedy that had nothing to do with the plot. (This kind of energy that divides the front and back fields with "space" is called "composite energy", and only one scene without "space" is called "single energy")

When the supporting actor "threatened" to learn that the farmer turned out to be a dead soul just now, he was amazed. Then, the "threat" dozed off while recalling the historical figures mentioned just now (indicating that he had entered a dream). This is the protagonist "official hand" who has left the scene, pretending to be the protagonist's life and reappearing. In other words, he appeared again. At this time, the supporting role is facing a living historical figure. At this point into the emergency stage, and a series of songs and dances and questions and answers. The rhythm gradually became tense and reached a climax. The official told the threat (that is, to the audience) about the story of that year. In Laizheng, Nabeno Laizheng talked about supporting the rebellion in Takakura Palace and finally failed. After the speech, disappear again (exit), and the whole play is over.