How many people have sung double reed?

Shuang Huang is two actors, one performing with his body, the other rapping with his voice, combining reality with reality. A rapper must have a good voice and a bright voice. Performers don't talk, just open their mouths to imitate the mouth of rap, and their big mouths are open, which can even make people see the fleshy reeds in their throats-vocal cords. There is a pair of couplets that vividly describe the performance of the double reed: suppose that you sing two voices after the performance.

The founder of double spring

The founder of Shuanghuang is Huang, an artist of hard book (playing and singing by himself) in the late Qing Dynasty. The date of birth and death is unknown. There are different opinions about his transformation from hard book to Shuanghuang. It is said that hard book artists lost their voices in Qianlong and Jiaqing in their later years, and changed to two performances, one performance and one simulation performance. On the other hand, Huang, a storyteller in Tongzhi period, was good at imitating characters' language, singing of birds and animals, local accent, and even learning and performing. Later, it was changed to one person to talk about learning and one person to perform. Although both theories are recorded in writing, I don't know their origins.

A common saying about double reed is: After the death of Emperor Xianfeng, Empress Dowager Cixi was in power. Besides going to the theatre, she also likes listening to folk art and rap. It is said that once Huang called to perform in the palace. At that time, Huang was over 70 years old and could not sing. If he can't sing in the palace, he is guilty. If he doesn't enter the palace, he will be disobedient and beheaded. What shall we do? He has an idea. His son can also play the piano and sing, so he took his son into the palace. During the performance, he asked his son to squat under his robe and sing. He sits and plays the black boy himself, and only opens his mouth to imitate his son's mouth when singing. Cixi was very happy after seeing it. She said, "You are getting old and your voice is getting better. It's really rejuvenation! " As soon as Huang Gang knelt down to thank her, Cixi found his voice hoarse, and at the same time he found his son. She began to rage. Later, I learned that she was singing a watch and said happily, "You are a yellow man!" " Double yellow originally refers to two surnames Huang. Later, in order to distinguish it from Huang Er in Peking Opera, a bamboo prefix was added to the yellow character, hence the name Shuang Huang. So it was named by Empress Dowager Cixi. This legend has been recognized by people. But in fact, Huang can't bring his son into the palace without permission, let alone secretly sing in front of the queen mother. These can only show that "Double Spring" is a folk art form created by Huang in the late Qing Dynasty.

There is no accurate record about the birth and death of Huang. According to relevant written records, he lived in Qianlong (1736- 1795), Jiaqing (1796- 1820) and Daoguang (1821- Suppose he was born at the end of Qianlong (A.D. 1795), about 26 years old at the end of Jiaqing, 56 years old at the end of Daoguang, 68 years old at the end of Xianfeng, and over 70 years old at the end of Tongzhi. After Tongzhi, Empress Dowager Cixi listened to politics behind the scenes, calling old artists poor, and Huang Lao couldn't sing. It is also reasonable to create a new form of separation and integration of performance and singing. Therefore, the appearance of the double spring can not be before the Tongzhi year of the Qing Dynasty.

The word "spring" of double spring

The word "double yellow" has been changed to "double spring", whether it is to distinguish it from the "two yellow" in Beijing opera or for other reasons, this word has been really changed well.

Speaking only in yellow means making a sound. The vibrating piece in a musical instrument is called a spring. There are many kinds of reeds, including bamboo, wood and metal. Musical instruments have one reed, two reeds and multiple reeds. One is called a single spring, such as a clarinet; Many songs are called free springs, such as sheng and harmonica; Two tunes are called double reed, such as oboe. The double spring, single spring and free spring in musical instruments are all hidden in the tube, and only the sound can be heard, but the shape can't be seen.

The vocal cords in a person's throat are also two thin slices, which play the role of pronunciation, but they are not called double springs. It's just sometimes used when expressing different languages. For example, if a person speaks to others, it is a diversion and is called "throwing spring"; Sweet words confuse people and are called "drum tongue"; Two or more people discuss and fabricate a set of lies in advance. In order to achieve a certain goal, mutual echo is also called "double spring". This kind of double spring, commonly known as "pinching the nest", is a double spring in life. It may be based on the folk art double reed, but it is also true, to borrow its name.

Quyi Shuanghuang is two actors, one performing with body, the other rapping with voice, combining reality with reality. A rapper must have a good voice and a bright voice. Performers don't talk, just open their mouths to imitate the mouth of rap, and their big mouths are open, which can even make people see the fleshy reeds in their throats-vocal cords. There is a pair of couplets that vividly describe the performance of the double reed: suppose that you sing two voices after the performance.

Shuanghuang makeup

You must have a stage and a chair to play the double spring. In addition to the wooden wake-up call, handkerchief and folding fan used in cross talk, there is also a kind of headdress with double springs: a small round brace tied to the head with a rope ring, a single braid tied with a pestle, and other styles. When Zhao Yiru played the double spring, she made up two lambs made of moss on her head and two lambs on her ears. This can be designed according to different face shapes.

When double-reed actor A (performer) puts on makeup, he first sits in the chair behind the desk, and actor B (rapper) nests his coat collar to show his neck, and then paints three pieces of white on his eyes and mouth with a big white sheet, so as to see clearly his head movements, facial expressions and language patterns. While putting on makeup, Party A said that in the collar of the nest, Party A regarded Party B as a barber and said, "Just one person? I shave! " When I began to whitewash, I said, "People are clothes and horses are saddles; West Lake scenery, with foreign movies. People don't look good if they don't fall down, and then look down-"B:" Good-looking! " A: "poorer!" Put on white, put on braided hair and start the performance.

There are also different ways to make up. For example, Zhao Airu's double spring makeup is to crush white powder into powder and rub it on her face with her hands. This may be because his face is thin and his eye socket is deep, and some places can't be wiped off with flat white pieces.

A few years ago, Mo Qi and Wang Fengchao were shown on TV. Moqi uses makeup powder instead of white. Take a makeup puff and sprinkle three white cakes on your eyes and mouth. With the performance, with the white powder flying from the face. I haven't finished writing a double-reed poem, and three white cakes have basically fallen out, revealing the true colors of Lushan Mountain. Powdering instead of white, although the stage effect is not ideal, it will never burn the skin and destroy the appearance.

Double reed performance

The double reed in Quyi is mostly performed by crosstalk performers. Performed by A and B, the front one is made up to simulate the mouth shape, which is called "front face". B is knocking at the back and calling "Come back". Traditional cross talk is all a bluff, but playing double reed is the opposite, and most of them suffer. When a double-reed actor comes out, he will use cross talk to pave the way first. A will find the baggage and B will hold it. Sometimes, Huang, the founder of Shuanghuang, is introduced, saying that his father is performing in front and his son is rapping in the back, thus finding the advantage of B. At the beginning of Shuangchun performance, the front face sits in the chair behind the table, squints at the audience silently, then suddenly converges his smile, looks serious, pats wood to give a signal, rappes in the back, and learns the movements of the front face. This term is called "selling images with hair supports". Play a little more, deliberately reveal flaws and find jokes to catch the baggage. A stands up and leaves the table to reveal B, say a few words to each other, and then learn the double spring.

Sun Baocai (Bear) and Wang Wenlu are in the first stage, specializing in the study of double springs. Wang Wenlu bounced back, squatted behind a chair, and covered her mouth with a fan to rap. Because he is far from the front desk, he has to sing in a very strong and bright voice, which is the basic form of cross talk. It takes a lot of effort to bounce back. You can't play without a solid basic skill and a good voice. Now it is easy to put a microphone behind the chair, and any actor with good or bad voice can play in the back.

Gu and Yin Fulai, who took apart the octagonal drum, also played the double reed. The octagonal drum was also taken apart to perform a brand play. The two sang the brand music of Dan Xian to each other, made a funny and lovely performance, and chatted with gossip related to the story for fun. The difference between their duet and crosstalk duet is that there are two chairs behind the desk. When Yin Fu came to play the back, he also sat in a chair, not covering his face, but also playing the three strings and singing by himself. On the front of the ancient bomb, the three strings are simulated by folding with a big drum stand. The skills of plucking, sweeping, pressing and changing the handle are the same as those of the last three strings, and the lip-synching skills are deeper when singing.

Lotus drop actors Qu Guotian and Wei Meiying also played the double spring in the above form. Wei Meiying plays the back, sits in a chair, sings on clappers, and Qu Guotian plays the front.

The double spring is attached to the cross talk, no matter sitting on the back, it is a cross talk double spring. Crosstalk originated from the teasing of the octagonal drum, and the actors of the octagonal drum used to play and sing by themselves. You must sit and squat and play the strings. So the two chairs and the double spring sitting at the back should be the original form of the double spring. Later, the form of music became independent, and most of them could not play the strings on their backs, so they squatted and hid their faces instead.

Development of double springs

Crosstalk double reed is the standard form of double reed, and there are many different forms of double reed in the Wang Yang sea of China literature and art. Some are called double springs instead of double springs, and some are actually double springs instead of double springs. Here are a few. For the convenience of narration, it is not necessarily appropriate to give each one a name for the time being.

Mask double spring

In the early 1960s, the stage of Quyi was mostly new programs, which cooperated with politics, publicized current events, praised contemporary hero models, and emphasized that literature and art served politics, followed by artistry and interest. Wang Qianxiang and Li Zengrui played some new double reeds. Wang Qianxiang plays a positive face, no makeup, no braids, squatting behind a desk while making up, wearing a robe and a mask to play the role. Its mask covers the hair, not completely covering the face, revealing the mouth and chin to match the mouth shape. Play a short play, change a mask and robe, and change the characters in the play. Li Zengrui came back, his lines were all about international current affairs, with a little joke, and he cooperated with the situation for publicity. This interesting double reed is very similar to a live soap opera.

Supplementary information:

Double reed is a kind of music popular in Beijing. Formed in the middle of Qing dynasty. It turned out to be a form performed by Quyi artists in the "octagonal drum in the whole hall", formerly known as "double learning and one person". The earliest known double-reed artist is Huang. In the "hundred copies" of double reed banknotes in the late Qing Dynasty, it was mentioned: "We learn from the late businessman Huang." The 23rd edition of Gong Liu An, a musical version written by Che Wangmi in the early years of Jiaqing, Qing Dynasty, was about the performing activities in Xuanwumen to Xidan at that time, and the lyrics were "The third class is Shi Gongan, whose name is heard in Kyoto. His real name is Huang Lao, and the word "assistant minister" is called by everyone. " Therefore, Huang Ying performed in Beijing from the last years of Qianlong to the early years of Jiaqing. Uncle said in "Miscellanies of Plum Blossoms": Huang "looks very ugly, and was called a scholar at first. Because a person can learn all kinds of words, it is named Shuang Huang. After that, I was divided into two people and one person. According to this, some people think that Huang is the founder of Shuang Huang, that is, the theory of one-person founding is founded by Beijing amateur Huang Kunzhong, so it is called Shuang Huang. His specialty lies in that his front face is not behind his face, but in pointing fingers and not playing the devil's advocate. "That is what the two brothers of the founding of the People's Republic of China said; There is also a saying that Huang is not an opera fan, but a storyteller who is good at saying Water Margin. The double spring was created for him and his nephew Huang Hefei, that is, by two uncles. Artists often say: "The front face pays attention to selling photos (performances), while the back face pays attention to speaking, learning, teasing, singing and playing. "It makes the audience look like a person playing, singing and performing, so there used to be a saying that" double reed should learn yellow, and it looks like a person before and after. "In the beginning, I mainly learned to sing. On the back, I played sanxian, sang hard books, lotus drops or some ditties. On the front, I hold the drum stand as three strings, with corresponding expressions and movements. Double spring through learning, crooked learning, deliberately exposed flaws and mistakes, making people laugh. Because they are good at gag, after the early years of the Republic of China, many crosstalk performers learned to act one after another, and the back faces were often abandoned, which enhanced the composition of speech. At the same time, changing the yellow characters into bulging reeds gradually made some people mistakenly think that "double reed is a kind of cross talk." "Crosstalk needs to make people laugh, and there are many ways to make people laugh, and double reed is one of them" (Overpass in People's Capital, p. 62). Due to the short repertoire, Shuanghuang usually performs two or three repertoires in a row at each performance. At the end of the performance, it set off a climax, sometimes learning to dance yangko, sometimes learning to sing miscellaneous songs, and sometimes learning to dance, which came to an abrupt end in the hearty laughter of the audience.

Since Huang Dynasty, famous actors have appeared one after another: Sun Pi, Zhang Dequan (stage name Zhang Mazi), Li Deyang (stage name Zhang Mazi), Xu Weiting (stage name Xu Gouzi), Zhang Shunyi, Zhao Airu, (stage name Da Bread), Guo Rongshan, Han Yongxian, Sun Baocai (stage name Big Bear) and Wang Wenlu. In addition to Sun Pi singing octagonal drums, Xu Weiting singing lotus flowers, Guo Rongshan and Han Yongxian singing octagonal drums, others are mainly performing cross talk, supplemented by double reed.

After the founding of New China, Sun Baocai and Wang Wenlu of Beijing Quyi Troupe performed a duet. In the early 1960s, this form was considered vulgar and began to disappear. After 1980s, the double spring reappeared as a traditional art form, and was performed by Luo Rongshou, Guo Quanbao, Mo Qi and Wang Fengchao, which was welcomed by the audience. The traditional plays of Shuang Huang include Xiang, He, Rome, Doulton, Playing with Bears, Poetry and Book Debts, Meaning Three Emperors and Five Emperors, Stuttering as a Cow, The Sun is a Little Red, My Brother, Looking at the Flower Stand in the Moonlight, and Yutangchun.

After the founding of the People's Republic of China, the newly compiled tracks include Mianyang Fishing Drum, Yangko, Performing Drama, Suppressing Counter-Revolution, Killing Mosquitoes and Flies, and Harvesting Wheat.