Contemporary Peking Opera Masters

First, health.

Geng Qichang (Old Dean of National Peking Opera Theatre)

Yu Kuizhi (Vice President of National Peking Opera Academy)

Zhang Jianguo (the head of the third regiment of the National Peking Opera Theatre, a veteran of the Western School)

(Head of Qi School of Shanghai Peking Opera Theatre)

Du Zhenjie (an old student of Beijing Peking Opera Theatre)

Li Hongtu (Ye Pai Xiao Sheng, Peking Opera Theatre)

Zhang Ke (Tianjin Youth Peking Opera Troupe Yang Pai Laosheng)

Wang Peiyu (Shanghai Peking Opera Theatre)

Second, Dan

Li Weikang (Peking Opera Master of National Peking Opera Theatre)

Li Shengsu (a famous painter of Mei School in Tsing Yi, head of the first troupe of the National Peking Opera Theatre)

Chi Xiaoqiu (Master Cheng Pai Tsing Yi, Head of the Youth League Committee of Beijing Peking Opera Theatre)

Zhao Baoxiu (a famous Lao Dan artist in Beijing Peking Opera Theatre)

Wang Rongrong (famous Zhang Pai, president of Beijing No.1 Peking Opera Theatre)

Li Jingwen (Wu Dan, Vice President of Shenyang Peking Opera Theatre)

Stone (the famous Mei Pai Tsing Yi in Shanghai Peking Opera Theatre)

Yuan Huiqin (famous actor of National Peking Opera Theatre)

Zhang (Professor of China Theatre Academy, famous Cheng Pai Tsing Yi)

Zhao Xiujun (Zhang Pai, Tianjin Youth Peking Opera Troupe)

Li Haiyan (famous Cheng Pai Tsing Yi, head of the Second Regiment of the National Peking Opera Theatre)

Third, the network.

Meng Guanglu (famous bronze hammer mask of Tianjin Youth Peking Opera Troupe)

Yang Chi (Dean of Dalian Peking Opera Theatre)

Fourth, ugliness

Zhu Shihui (Dean of Hubei Peking Opera Theatre, a famous clown)

Proverbs of Peking Opera and Traditional Chinese Opera

1, Chinese opera proverb: one gong and drum is half a stage.

Classical gongs and drums are the bones of the musical language of traditional Chinese opera, the lifeblood of the performing art of traditional Chinese opera, and one of the most favorable means to assist performance and enhance expressive force. An actor's performance, without the accompaniment of gongs and drums, is as eclipsed as a mute. On the contrary, it will enhance the strength and weight of the characters' movements and make them exaggerated, vivid and radiant.

In stage performances, the accompaniment of gongs and drums has the following functions:

First, render feelings. That is, it strongly conveys the life rhythm and inner feelings of the characters in the specified situation. For example, Zhuge Liang Nianbai said in "Empty City Plan": "... this soldier from Xicheng was sent by the old lady. Sima Yi Enemy at the Gates, do you want me to be captured? This is in your hand. This, this, this ... "At this moment, gongs and drums were loud, and the idea of" disorderly hammer "was played, which clearly set off Zhuge Liang's thoughts, anxiety, chaotic emotions and actions at this time.

Second, strengthen the exaggeration and concentration of performance, and create an atmosphere with actions.

Third, suggest the environment and imitate the effect. If the performance of the dead of night environment, drum; To express the sound of water, knock gongs and cymbals; Playing the whistling arrow sound with a small gong makes the effect vivid and profound, and achieves convincing artistic truth.

Fourth, strengthen the sense of rhythm of performance, and complete the dance of action and the musicalization and rhythm of dance. Routine movements such as "starting the bully", "riding the horse" and "walking the side" are composed of complex and simple sets of movements. In order to achieve the changeable rhythm and make the dance musical, a series of different combinations of gongs and drums are needed. For example, Coming Back to Life uses the ideas of "four blows to the head", "long point", "heavy punch", "tearing the edge" and "returning to the position". From the above four points, we can see how important the accompaniment of traditional Chinese opera gongs and drums is to the actors' performance. It's really a drum and a half.

2. Traditional Chinese opera proverb: Heaven and earth are big stage, and the stage is small world.

Any art is a reflection of real life. Without objective existence, there is no subjective reflection. "... human production activity is the most basic practical activity, and it is the thing that determines all other activities. Everything presented on the stage is inseparable from the outside world, and objective life is bound to be the source of artistic reflection. The truth of stage art is determined by the truth of social life. "Because we admit that in the whole historical development, it is the material things that determine the spirit, and the existence of society determines the social consciousness ..." When the truth of life is created into the truth of art, it becomes an art form and an ideology, which in turn affects life and promotes the development of life. In this sense, "heaven and earth" (that is, society) can be compared to the "big stage" of acting, and at the same time "stage" can be compared to the "small world" (that is, the epitome of society).

During the reign of Tongzhi and Guangxu in Qing Dynasty, there was a pair of gold-plated woodcut couplets on the left and right pillars of the stage in Guanghelou, Beijing, which vividly described the relationship between stage art and real life. The first part is: learn from monarch and minister, learn from father and son, learn from husband and wife, learn from friends, gather loyalty and filial piety through the ages, emphasize performance, and take part in accidental amusement; The bottom line is: rich and poor, joys and sorrows, will be separated for a period of time, look carefully, call it a surprise. This clearly tells people that everything reflected on the stage is a matter of life and a product of people's political, economic and spiritual life in past dynasties. It's just an art form.

3, drama proverb: words are as light as water three times, and actions are not beautiful three times.

A series of artistic expression means of China traditional opera (singing, reading, doing and playing; Hands, eyes, body, steps, etc. ) are the products of the combination of truth, goodness and beauty. In practice, we should pay attention to its characteristics of beauty, completeness, purity and accuracy. For example, a gesture can sometimes make the actor convincingly express a concept and make the gesture a substitute for speech. Sometimes an aria, a look, an appearance ... can paint rich and strong colors for the beautiful characters on the stage, and at the same time, these different means of expression shine like pearls and are loved by the audience.

China's traditional operas are of high artistic level, precise, concise, generalized, exaggerated and expressive. Any form of expression, in addition to giving people a high degree of aesthetic feeling, should also vividly express the mood of the characters, especially to make specific characters show special psychological activities in specific situations.

"If you do something taboo, you will feel bored." When an actor uses many artistic means, he should not find a form of expression that is divorced from the thoughts and feelings of the characters, but should specifically win applause. For example, if you don't move, you will get a very strong and deep impression. In order to let thousands of audiences in the theater see and feel the subtle spiritual activities of the role, actors are required to be concise and appropriate when mobilizing artistic means to shape the stage image.

Artists often say that "words are as light as water three times, and actions are not beautiful three times". No matter how beautiful the performance is, if the actors show off blindly. The audience will hate it, too At the same time, it will weaken its own expressive force because of the lack of refined expression forms (it should be noted that the program actions of Chinese opera have the characteristics of symmetry and repetition, which are determined by the old performance forms of three-sided audience, in order to let the audience see clearly, which is different from the show-off and abuse mentioned in this paper and should be treated differently).

The artist said that "it is forbidden to abuse the method of performance". When actors use artistic means to portray and express characters, what they do is improper, what they should do is not done, what they should do is not enough, and what they should do less is done more ... these are all called abuse. No matter how you sing, read, do and play, many things are complicated and bloated, few things are cut corners, and too many things are distorted and stale. Not much, not much, but not much, which is just right.

4. Drama proverb: Saving people is like putting out a fire.

In the past, the rules in the troupe were unwritten, but the actors' due diligence and various prohibitions were extremely strict, so everyone in the troupe abided by them. Those who violate the class rules are bound to gang up and attack them, so it is not easy to shift again. In the worst case, get rid of the pear orchard and never use it again. Many class rules, except a few superstitious or too complicated, should be inherited and carried forward. "Saving lives is like putting out a fire" is a good class rule.

Traditional Chinese opera is a comprehensive art. Some accidents will inevitably happen before or during the performance. For example, the actor has not arrived, injured, sick and other accidents. At this time, other actors and actresses concerned should obey the distribution, temporarily replace (called drilling pot), and treat the sudden accident during the performance (or near the beginning of the performance) as serious and urgent as firefighting. Therefore, actors are also required to be as duty-bound as fire fighting, lose personal selfishness and maintain the integrity of art from the overall situation. Over the years, this has become a moral requirement for opera actors.

It is said that once the "Fuliancheng" club performed "Three Doubts" in Guangde Building, and the actor Li, who played the girl, missed the scene. Mr. Wang used his quick wits, and it happened that Lian Quan (Xiao Cuihua) went to Guangde Building to find his old classmate Liu Lianxiang, so Liu Xiang recommended him and succeeded in acting on the spot, which was greatly appreciated by Ye Chunshan. Yes 19 12. That's at 19 13.

5. Opera proverb: If you don't practice your hands and feet for one day, you will lose half your weight if you don't practice for two days.

Basic skills are the key to the treasure house of performing arts. China's traditional operas always emphasize the training of basic skills, which are called "basic skills" and "young skills". There are many conditions to be an excellent opera actor. In addition to continuous training and improvement through stage art practice, another important link is to practice basic skills constantly and lay a solid foundation. Usually people often say "a few minutes on stage, a thousand days off stage", "Kung Fu should be practiced well, 360 hours a year", "Practice at ordinary times, use it in an emergency, relax in an emergency, and be poor in an emergency". Often, the success of a work of art lies not only in the correctness of its ideological content and the faltering of its plot, but also in the well-known artistic skills and incisive performances of the performing artists, which often leave a deep impression on the ideas and characters of the work. These artistic skills are acquired on the basis of profound and solid basic skills. Basic skills are the key to performing arts.

Everything has its objective laws, and so do basic skills. As Xunzi wrote in Persuasion: "If you don't know how to advance, you will travel thousands of miles. If you don't accumulate small streams, you won't be a river. This is a leap, not ten steps, which is a great success. " It is impossible to imagine that the practice of basic skills will receive immediate results overnight, and it should be from shallow to deep, from simple to complex. It is necessary to "never leave your fist and never leave your mouth" and "practice for three days in winter and three days in summer", and carry out continuous hard training and long-term and gradual efforts. Can't be violent and cold. At the same time, let our kung fu play its due role and become a living artistic expression skill.

It is often said that "one day you don't practice your knowledge, two days you don't practice your neighbor's knowledge, three days you don't practice your audience's knowledge", "every other day you don't practice your oral knowledge, three days you don't practice your hands", "You can listen on stage and watch it a thousand times under the stage", "You can use it when you have time, but you can't worry" and so on.

Ulanova once said: "The art of dance needs endless and unremitting hard work." This is what the artist said: "always sing beautifully, always speak clearly, always be accurate in form, and always practice your body and spirit." Ulanova also said: "In the early days of my dancing career, technology occupied my main attention and most of my time and energy." "Only when the performers master the dance skills-from impeccable rhythm and beautiful modeling to the ability to seek the harmony of dance, that is, to seek the continuity of action and the connection between nature and flowing water, can dance show great feelings and be general and poetic."

6. Drama proverb: Art is not light.

"Art is not only prosperous" includes two aspects. First of all, actors should not easily show off their technical skills in order to please the audience, and simply pursue the theater effect on the stage, thus undermining the integrity of art. For example, some actors on the stage, regardless of the needs of the plot and the feelings of the characters, blindly play tricks and "sprinkle dog blood" until the audience calls "good". "Art is not light" means that actors should be serious on the stage, be responsible for the audience and art from the perspective of the whole drama.

Then, the actors are warned to master all kinds of technical skills of traditional Chinese opera skillfully, so that they can sing, read, do and perform as they please. For example, Liang Huichao, a famous wusheng, is over 60 years old, and he can perform the complicated dance "Three Rivers Crossing the Tiger City" four or five times, all of which are steady, accurate, ruthless, crisp, fast, efficient and clean. Really achieved the requirement of "art does not fit".

If you don't have the skills to practice at home, it's not easy to get on the stage. To achieve the above two points, actors must have a serious creative attitude, and at the same time, they must constantly strengthen their artistic accomplishment and study hard.

7. Opera proverb: It is better to wear bad than to wear wrong.

The characters in China's traditional dramas all have fixed shapes. What clothes to wear depends on the age, identity, personality, status and official position of the characters. For example, the dragon robes (called pythons) worn by emperors, generals and civil servants in the play are embroidered with two characters-"Dragon Slayer" and "Long Xing". General civil servants are required to wear "dragons" pythons, and military commanders wear "dragons" pythons, which is called "Wen Qunwu" in history; The dragon claws embroidered on the python are also different from the characters in the play. Except for the emperor who sits in the dragon's position, he has to wear a five-claw embroidered robe, and other figures can only wear a four-claw embroidered robe. For another example, it is stipulated in the play that people with high status and great style should wear red pythons, such as Liu Bei in the Yellow Crane Tower and Kanluojili, and Cao Cao in the drum and Yangpingguan. However, when Liu Bei wailed and sang "The lone king wears a white silk coat" in Lian Yingzhai, he should take off the red python and replace it with a white python. In addition, Bao Zheng, who has been wearing a black python costume, had to put on a white python costume to show the inversion of Yin and Yang when he played a scene in The Judge.

Also, the play stipulates that mighty people wear green pythons. For example, Deng Lu in Luan Prefecture, haing s ngor in Jianjingtang, and Guan Sheng in Daxing Liangshan. However, Bai Yang in "Second Palace" and Liu Bing in "The Trial Head" will also wear green pythons. Why? Because Yang is an assistant minister of the Ministry of War, sitting in the lobby of the Royal Guards. His position is armed in the text.

You can't sell everything on the stage. It doesn't matter if the clothes are worn out. You must never try to be beautiful and gorgeous, regardless of the identity of the characters. Actors should abide by the artistic formula of "wear out without wearing wrong" Those who wear pythons cannot wear official clothes, and those who wear plain clothes cannot wear flowers. Wearing the wrong clothes will ruin the plot and characters.

Zheng Faxiang, a famous Peking Opera actor, once staged The Journey to the West on the Shanghai Qitian Stage. On one occasion, Huang Chujiu, a capitalist, bought a brand-new the Monkey King costume in order to attract the audience with gorgeous costumes. He didn't wear Zheng Yi's clothes because it didn't suit his role. He preferred to wear old ones. After becoming famous, Gai Jiaotian, a performing artist, became famous all over the country. However, when he plays the role of Song Wu, he still wears old clothes and trousers, always starting from the specific character of Song Wu and never showing off the actor himself. This spirit of starting from characters and being loyal and responsible for art is exemplary.

The main schools of Peking Opera.

Chinese New Year

Wang Pai: The representative plays include Xin Anyi and Thirteen Sisters.

Mei Pai: Mei Lanfang is the representative, as well as Yan Huizhu, Mei Baojiu and Du Jinfang. Representative repertoires include Cosmic Front, Farewell My Concubine, Drunken Guifei, Broken Bridge in Water War, Strange Couples, Dream in the Garden, Wood Carving King Zhai Mu, Mulan Joining the Army, Anti-Jin Army, Life and Death Hate, Xi Stone, Luo Shen and so on.

Cheng School (Tsing Yi): represented by Cheng, the main descendants are: Xin, Li Shiji,,, and further disciples are Zhang,,. Representative plays include Suolinnang, Tears of the Barren Mountain, Six Chapters in the Snow, Mourning of Shu State, Horse, Daughter's Tomb, Blue Frost Sword, and Jade Hairpin.

Shang School: represented by Shang Xiaoyun, the main successors are Shang Changlin,, and so on. Representative repertoires include Princess Shuangyang, Three Mothers' Godsons, Sacrifice Tower, Zhaojun's Journey to the Fortress, The Worse Gate, Hu Qiu's Wife, Second Palace, Madame Huarui, Emei Sword, etc.

Zhang School: Zhang Junqiu is the representative, and his representative works include Wang Jiangge, Poetry Society, Hatred of Chu Palace, Qin Xianglian, etc.

Hua Dan (Xiao Dan)

Xun school: represented by Xun Huisheng, the main descendants are: children, children, children and so on. His masterpieces include The Matchmaker, Two Lovers in a Dream of Red Mansions, Hua Tian Cuo, Xin Anyi and Thirteen Sisters.

Xiao school: represented by Xiao Cuihua, the main descendants are:,, Cui, Li and so on. Representative repertoires include Cuiping Mountain, Sitting on a Building to Kill Cherish, Capture Zhang Sanlang alive, Hongmeige, Galaxy, Battle of Wancheng, Big Coffin, Lotus Beads Match, A Piece of Cloth, and Ma Siyuan Open a Teahouse.

Lao Dan

Gong Pai: The representative works are Scarab, Meet the Queen: Dragon Robe Play and Six Chapters.

Multi-genre: Li Duokui is the representative, and his representative works include The Second Floor of the King, The Queen of the Dragon Robe, The Scarab Fishing, etc.

Laosheng

Tan Pai: I think the representatives are, Tan, Tan Xiaozeng, Tan Xiaozeng. Representative plays include Dingjun Mountain and so on.

Horse school: represented by horses, it is famous for its elegant and elegant singing and is good at chanting. His representative works are Borrowing from the East Wind, The Camp of Huaihe River and Four Sons. Strict,,, etc.

Qi school: represented by Zhou, the main successors are Cheng, Gao Baisui, Chen Hefeng, Zhou Shaolin and Xiao Wang Guiqing. Representative repertoires: Cutting the Sutra Hall, Chasing Han Xin, Fighting Yan Song, Sizi, Xu Ce's Running the City, Huarong Road, Zhao Wuniang, Motivating the Gods, and Nineteen Days.

Yu School: As a representative, it has made great contributions to the vocal art of old Peking Opera. His vocals are ethereal and persistent, and he makes good use of the afterbrain sounds. His representative tracks include Seeking and Saving the Lonely, Picking the tassels, Dingjun Mountain and Striving for Peace. Xiaodong Meng, Li,,, Yang, etc.

Gaopai: represented by Gao Qingkui. Gao Pai's descendants include Gao Shishou, Li Shengzao, Li Heceng, Li Zongyi, Song Baoluo, Shen Jinbo, Bai Jialin and Yu Zhongheng, as well as other disciples Xin Baoda, Li Wenlin, Ni Maocai, Wu Ping and Zhang Yuefu. Representative plays include: xiaoyaojin, Yuanmen Chop Zi, Cut Yellow Robe, Cut Ma Su, Cry Qin Ting, Shiro Visit Mother, Li Lingbei, Xunyang Tower, Lian Yingzhai, Yan, Seven Stars Lamp and other traditional plays. Jingshan Park hates, Shi Kefa saves the country, digs the mother, Eight Diagrams, Ten Returns to the Song Dynasty, Spring and Autumn Prosperity, Yurangqiao, Lishengyibao, Maling Road, Su Yi, Stealing Symbols to Save Zhao, and

School of Speech: Yan is the representative, and the representative plays include Mourning of Wolong, Let Xuzhou, Celebrating the Queen, Cursing the Hall, etc.

Yang school: represented by Yang, it mainly transmits, Cheng, Cheng, etc. Representative plays include Empty City Strategy, Touching the Monument, Notes of Wu, Wen Zhaoguan, Catch and Release Cao, and Drumming Cao.

Xi School: represented by Xi Xiaobo, the representative plays include Baidicheng and Fan Jinzhong Drama.

The role of male military commanders (China traditional drama)

Yang School: The representative repertoires are Changbanpo, Pullman, Tielongshan, Champion Seal, Eight Hammer, Sunroom, Serial, Roman Lake, An Tianhui, Lin Chong Yeben and Qilin Pavilion.

Shang School: represented by Shang, the representative repertoires include Sunroom, Tielongshan, Changbanpo, Scissors, Leopard, Receiving Guan Sheng, etc.

Gaipai: Gai Jiaotian is the representative, and his representative plays include Song Wu Killing Tiger, Lion Building, Cross Slope, Happy Forest, Yuanyang Building, Baishuitan, Revenge with One Arrow, Washing Floating Mountain, Noisy Heaven, etc.

Li Pai: Li Wanchun is the representative, and his representative works include Song Wudapu, Wusong Killing the Tiger, Fire Combined with Wang Lun, Noisy Heaven, Jiujiangkou, Walking to Maicheng, Gu Chenghui, and Flooding Seven Armies.

Shaopai: represented by Li, the representative repertoires include "Playing the Golden Brick", "Baling Bridge", "Wild Pig Forest", "War of Peace", "Dingjun Mountain", "Broken Arm Ballad", "Julien Village", "Pull Block", "Two Commanders", "Changbanpo", "Sanchakou" and "Eighteen"

Xiao Sheng

Jiangpai: Represented by Jiang Miaoxiang, it mainly spread to Liu Xuetao and Yu Wanzeng.

Ye Pai: Thought is the representative, with, as the main successor. Representative repertoires: The Corner of Luocheng, The Shooting of Yuanmen and Heroes.

Yu school: thought represents.

Large painted face (painted face with copper hammer)

Golden School: represented by Jin Shaoshan, Wang Quankui's masterpiece mainly includes The Imperial Garden.

Autumn School: represented by autumn, its main successors are Li Changchun (Peking Opera) and Kang Wansheng. Representative plays include "Chisang Town", "Tan Mei Case", "Tanyin Mountain" and "Suowulong".

erhualian

Hao Pai: Represented by Vivi, he is good at performing Cao Cao's plays, and his main successors are. His representative works include Lu Hua Dang and so on.

Hou School: represented by Hou, the representative plays include Ma Ta and Qingfeng Village.

Clown (three faces): The representative figures are Xiao Changhua, etc.

Famous actors in Beijing Opera:

Cheng Changgeng, Zhang Erkui, Yu Sansheng.

After Ding Jiasan: Tan Xinpei, Wang Guifen and Sun Juxian.

Hao Lantian, Zhang Shengkui, Mei Qiaoling, Yu Ziyun, Xu Xiaoxiang, Shi, Lu Shengkui, Zhu Lianfen, and.

Four famous artists: Mei Lanfang, Cheng, Shang Xiaoyun and Xun Huisheng.

Four Beards: Four Beards in the 1920s: Yu Shuyan, Gao Qingkui, Yan Ju Peng and Ma Li Anliang; In 1930s, there were four famous students: Yu Shuyan, Yan, Ma and Tan. Ma, Tan, Yang and Xi Xiaobo were four big students in the 1940s.

Students and schools:, Zhang Erkui,,,, Sun Juxian, Wang Xiaonong, Yan,, Zhou, Ma Li Anliang, Yang Baosen, Li Shaochun, Tang Yunsheng, etc. Martial arts students and schools:, Shang,, etc. Clarify the angle and genre:, Qiu,, etc. Dan Jiao and School: Xiao Cuihua, etc.

To sum up, it is the popularization of some knowledge about the main schools of Beijing opera, and I hope that the majority of opera lovers will learn and popularize it together; Strive to carry forward the inheritance of national quintessence and revitalize the development of Beijing opera.

Common sense of Beijing opera music

Common sense of Beijing opera music: touching the board

Touching the board is also called "roof" and "grasping the board". It is a special turntable in Huang Er tune, and its function is equivalent to that of Erliu turntable in Xipi tune, with emphasis on narration.

There are two kinds of rhythm forms: 2/4 beat and 4/4 beat. The 2/4 beat clapper is actually an original Huang Er board that simplifies or omits singing. The 4/4 clapper board is a kind of Huang Er adagio, which simplifies or omits opening the door. Generally speaking, there is only a big drawl at the end, and there is no big drawl in the middle of singing, so there is no intermission form of the gate.

When there is an urgent need to express something, we often use the touch panel to sing. For example, in the drama Xiao He Chasing Han Xin under the Moon, Xiao He chased Han Xin and urged Han Xin to return to camp. When he read "I miss you forever" for a long time and the next paragraph "I am lucky to have three lives", I don't have to open the door to listen to the songs of the touch panel directly. This is the second yellow touch panel, and the drama "Tears in the Barren Mountains" is performed by Zhang.

Common sense of Beijing opera music: water board and allegro

Water board and allegro are only in the Xipi tune of traditional Chinese opera, and the beat is a quarter.

The singing speed of running water board is faster than that of Erliu board, which is actually the contraction and simplification of the tune of Erliu board; Allegro is faster than running water board.

Streamer board and Allegro are more prominent than the 26 th board in the characteristics of "more words and less cavities" Unlike Er Liu Ban, they are more emotional in the narrative process. For example, in the drama "Yu Tang Chun", Susan sang on the 26th board to describe the difference between her and Wang Jinlong, and when she described Shen Yanling's entanglement, she became emotional and became a running board of "dressing up in the mirror that day". Allegro's mood is more exciting. For example, in the drama My Beauty Case, Bao Zheng persuaded Chen Shimei to recognize his wife and children, but Chen Shimei insisted on denying it. In a rage, Bao Zheng sang Allegro Xipi, which quickened the pace, strengthened the tone and intensified the drama contradiction. The duet of Allegro has the special function of expressing the heated debate between the two sides, such as the duet of Xue Pinggui and Wang Baochuan in Wujiapo. The opening lines of water board and allegro are short, and some can omit the opening lines and sing after the gong. When singing, there is no interlude between sentences.

Common sense of Peking Opera Music: Class 26

The beat of the aria in Class 26 is 2/4. The ups and downs of eyes come from the acceleration and simplification of the original singing. In traditional Chinese opera, only Xipi's tunes have two or six boards, while Huang Er's tunes have no two or six boards.

Er Liu Ban Zi has many words but few cavities, which is more narrative than the original version, and the narrative still contains lyrical elements. In the drama "Empty City Plan", Zhuge Liang sang "I am watching the mountain scenery from the tower", which is a narrative aria that Zhuge Liang confessed to Sima Yi that Xicheng was actually empty, showing Zhuge Liang's calm and natural demeanor. In the play, Wu Jiapo and Wang Baochuan sang the phrase "pointing to the coolness of the west and cursing loudly", which is the aria of Dan Xing's "Xipi Erliuban". It tells the story of Wang Baochun's hard years in the cold kiln and accuses Xue Pinggui of ingratitude.

Generally speaking, the opening of the aria of Er Liu Ban is very short, and the door is opened only after two beats, such as Er Liu Ban in "Empty City" above; There is a beat of singing the door, such as the above-mentioned "Wujiapo" board 26, so the first sentence of the board 26 is sung on the board; There is also a posture match when singing on the 26 th board, and the opening performance is longer. For example, in Farewell My Concubine, Yu Ji sang "Persuade you to drink and listen to fishing songs", and its long opening performance is in line with the posture of sword dancing. In Erliuban singing, there is no question-and-answer form of sentences.