How to use breath in traditional opera-How to use breath

How to use breath in traditional opera - How to use breath. Opera actors must not only have a good voice, but also practice good breath and master the use of breath.

Only in this way can we sing the opera well, sing beautiful melody and charm, and give the audience a beautiful auditory enjoyment.

Below, I will share with you how to use breath. I hope it will be helpful to everyone! Part of the discussion in ancient singing theory: Singers must pay attention to breath.

In ancient singing theory, it is said that the breath should be used in a deep and deep way to produce a sound like a sheng, which should be loud when breathing out and breathing in. This means that the breathing should be used delicately, cooperatively and with tacit understanding.

Qi practitioners should meditate and practice to the point where they can withstand the cold and avoid the heat, which is the so-called "three nines in winter and three volts in summer", so that the singer can adapt to any difficult conditions and produce beautiful and resonant sounds.

Therefore, before the famous Liyuan practitioners in the old days came to the stage, they would exercise their breathing like meditating, so that the blood vessels in the whole body could flow around so that the breath could be smooth.

At the same time, he tried to vibrate his throat to avoid suffocating his throat after waiting for too long.

For another example, regarding the use of breath, there is a saying in "Yuefu Miscellaneous Records" written by Duan Anjie of the Tang Dynasty: "A good singer must first regulate his breath, and the dense water will come out from the navel and reach the throat before the words are sucked."

The so-called "emanating from the navel" refers to the use of Dantian breath.

When using Dantian breath, you must straighten your waist, open your mouth to speak, and retract your lower abdomen naturally.

If you contract your lower abdomen first, your mind will be tense in your abdomen, your voice will stop in your chest, and you will not be able to use it freely.

Of course, whether the Dantian breath is used properly, you can pinch your ribs with your hands when making a sound. If the ribs are swollen when the sound is made, it means that the Dantian breath is used.

For another example, Zhi'an's "Singing Theory" of the Yuan Dynasty also said: "There are stealing breath, taking breath, exchanging breath, resting breath, and returning breath. The lover has one breath. For "the lover has one breath", we can understand it as: no matter singing

A paragraph or a play needs to be sung in one breath.

That is to say: no matter what tune you sing, you must make reasonable use of your breath; even if you are ventilating, you cannot wait until you are completely exhausted before ventilating.

These are all the rules for using breath.

In the old days, famous opera masters advocated that the use of Qi should be circuitous and that the skills of breathing and exhaling should be used in order to make the singing tune mellow, euphemistic and touching.

Moreover, these rules for using breath must be combined with the pronunciation, meaning, emotion, performance, etc. of the opera aria.

The organic combination of breath and emotion. If you want to express various emotions in opera well, you must learn to use Qigong. If you use it improperly, there will be no drama on your face.

There are roughly the following methods for using Qi Gong: choking, sticking, holding back, horizontal, sinking, fanning, etc.

For example: when expressing "surprise", one should use Shen Qi, sinking the Qi into the chest, which is called "Sinking in the chest"; when expressing "surprise", one should also use Shen Qi, but sinking the Qi into the navel, which is called "Sinking in the Chest".

The Qi sinks in the navel, and when showing fear, the Qi sinks in the kidneys.

Only when the Qi is used in the right place can the eyes be lively and the voice be emotional.

Mr. Li Hongchun, a veteran of Peking Opera, has a very insightful saying about his feelings in this regard. He said: There are 13 words for opera performance, namely: joy, anger, sadness, joy, worry, thinking, wine, drunkenness, and subversion.

, crazy, crazy, splashing, slutty?.

Worried? Use smashing force to push the Qi down.

Thinking? Hold your breath and stop it in your chest.

Xi? We should use righteousness, and the qi should be released correctly and used steadily.

Angry? The air is spinning in circles in my chest. The angrier I am, the tighter the air is.

Crazy? Keep your Qi close to your left and right sides, and keep your Qi close to your ribs.

Splash? After lifting the Qi, distribute the Qi to both ribs.

The swaying energy rushes upward and goes straight to the shoulders.

When you are sad, you can use panting. If you are extremely sad and tears are about to fall, you can use the method of "applying Qi" (applying luck to the front of the eyes) to hold back the tears.

Cheer should be filled with joy.

Wine? (slightly drunk) Use puffs of air to blow the air out of your chest.

When you are drunk, your Qi should be centered and relaxed naturally.

Dian? (Nervous disorder) requires breathing back and forth.

Crazy? (Arrogant) To pump up and down, hold it in horizontally.

The use and preservation of breath. The use of breath in traditional opera can often make it invisible to the outside when inhaling. The breath is inhaled deeply and naturally. When singing, the throat does not strain and the sound is natural.

Singers should develop the habit of exhaling gently when singing any sentence or word at the beginning, so that the sound goes from light to heavy.

In this way, you can achieve the effect of exercising diaphragmatic breathing. Breathing lightly requires slowing down the movement of the diaphragm, which helps achieve the purpose of breathing freely and improving lung capacity.

On the other hand, the sound goes from light to heavy without hurting the throat, making it tired and lasting.