Is the singing characteristic of Qi Opera high and passionate?

Qi Opera is one of the local operas in Hunan Province, also known as Qiyang Tuan, and also known as "Chun 'an Opera" in the late Qing Dynasty. Because it was formed in Qiyang, it was named Qiyang Opera.

Qi Opera is widely popular in Qiyang, Hengyang, Shaoyang, Lingling, Chenzhou and Huaihua in Hunan, and Quanzhou, Guilin, Pingle, Liuzhou, Gannan, northern Guangdong and western Fujian in Guangxi.

Qi Opera is the most popular and oldest local opera in Hunan, which is more than 400 years earlier than Beijing Opera. Among the eight ancient local operas in Hunan Province, only Qi Opera occupies half of Hunan, such as Yongzhou, Hengyang, Chenzhou, Shaoyang, Huaihua and Loudi.

Qi Opera originated from Yiyang Opera, which was introduced to Qiyang in the early Ming Dynasty and gradually formed after being merged with local art. According to legend, in Yongle period of Ming Dynasty, Yiyang tune spread to Qiyang with Jiangxi immigrants, and gradually localized. During Chenghua period of Ming Dynasty, Yiyang tune was combined with rich local folk art and gradually localized, forming a high tune in Qiyang area.

During the Wanli period of the Ming Dynasty, Kunqu opera was popular all over the country, and the operas in Qiyang area absorbed Kunqu opera and Kunqu opera repertoire. After Kangxi in the Qing Dynasty, Qi Opera has successively integrated Hui tune, Han tune and Qin tune into drama tune. With the increase of vocal cavity, the repertoire and performing arts of Qi Opera are increasingly rich, and it has gradually developed into a multi-vocal drama with bullet cavity as the main part.

Yiyang Opera's earliest repertoire is Mulian Biography, which is called the ancestor of Qi Opera. In the late Ming Dynasty, Qi Opera has become a popular drama in Hunan. According to the records of Qiyang County Records and Art Records in Qing Dynasty, Qiyang had a relatively sound troupe activity system at the end of Ming Dynasty.

During the reign of Kangxi and Qianlong in the Qing Dynasty, the society was peaceful, the economy was prosperous, and the people lived and worked in peace and contentment. Officials asked performers to sing songs, and people paid God to act, which became a social fashion for a while.

During this period, Qi Drama Club had a great spread and development, covering Guangxi, Guangdong, Jiangxi, Fujian and other provinces. During the Jiaqing period of the Qing Dynasty, the famous Qi Opera Club included Jixiang Class and Laosi Happy Class. After Xianfeng and Tongzhi, Qi opera developed in an all-round way, and new drama clubs, dramas and famous artists emerged constantly.

During the Qianlong period, there were classes such as Fang Qing class, Ruihua class and Xinxitang class. During Guangxu period, famous class clubs such as Rong Qing Class and Laoyonghe Class appeared. Sixi Class, Rong Qing Class, Laoyonghe Class and Tianxianyuan in the late Qing Dynasty are collectively called "Four Famous Classes".

In the late Qing Dynasty, Jiangxi, Fujian and other places called Qiyang Opera "Chun 'an Opera", which has three parts: tenor, Kunqu opera and altar film, and is divided into Yonghe Opera and Baohe Opera. Its artistic features are high-pitched and rough, with strong Shan Ye flavor. However, the stage language is unified with the standard Qiyang Mandarin.

When singing, Yonghe school was assisted by drummers, and Baohe school used suona to help out, with a high and exciting tone. Qi Opera is a multi-voice xiang opera, which mainly plays tunes. There are many plays and rich tunes.

Qi opera is widely spread. In addition to Hengyang, Lingling, Huaihua, Shaoyang and Chenzhou in Hunan, many Qi troupes also perform in other provinces, including Guangxi, Guangdong, Jiangxi, Fujian, Yunnan and Guizhou.

During the performance, Qi Opera, Guangxi Opera, Guangdong Opera, Minxi Han Opera, Guangdong Han Opera and other local operas learn from each other and promote each other, which not only expands the influence of Qi Opera, but also enriches its own artistic expression and promotes the development of local opera art.

During the Tongzhi period of the Qing Dynasty, Zuo led troops to fight. He once joined the army with Qiyang team and led Qi Opera to Xinjiang. There is a folk saying that "Qiyang children are all over the world", and Qi opera is very popular.

Qi opera sings with high spirits and excitement. Traditional singing pays attention to the use of "sleet", that is, the combination of true and false voices, except the true voice of Dandan and the clown. Singing requires strict pronunciation, and attention should be paid to single, double, empty and solid expression, while the voice should be cadenced, cadenced and cadenced, and the pronunciation should be correct, clear and round.

In performing arts, Qi Opera has the characteristics of roughness, exaggeration and simplicity. Its movements pay attention to the consistency and symmetry of eyes, nose, chest, fingers and toes, and must conform to certain norms, which is called "returning to the classics".

The performance of Qi opera has a set of strict procedures unique to this kind of drama: for example, it is stipulated that "appearance" should be carried out after the sleeves are lifted, the sleeves are shaken, the crown is adjusted or the temples are adjusted; Cardigan can be divided into full shirts and half shirts; It is very difficult to show the general's combat preparation before going out to war, with complicated action procedures and strict specifications.

At present, the roles of Qi Opera can be divided into seven lines: raw horn, niche, painted face, clown, Zheng Dan, Xiao Dan and Lao Dan. Apart from Lao Dan's less role in major events, other transactions are divided into several plays because of his different roles.

Among them, there are white beards, flower beards and green beards; The painted face includes the full-line role; Clowns are different from Wen Chou and Wu Chou. There is only one Zheng Dan and Lao Dan in each troupe, and there are many people in other walks of life.

The fingers, eyes, steps and figures of all the characters in Qi Opera have their own set of techniques: the requirements are too flashy, with eyebrows and shoulders. For example, drawing a face generally pays attention to the rotation of eyes and the trembling of facial muscles; Danxing pays attention to soft and relaxed "cotton map" and so on.

Qi opera pays special attention to wrist skills in its performance, which requires handstand, that is, palms facing outward, fingers touching arms, and flexible rotation, and can play various "wrist flower" styles, so as to be weak, boneless and flexible.

There are also various eye expressions, such as cross-eyed when expressing surprise or anxiety, glaring when expressing anger or threat, shuttling eyes when expressing meditation, opening eyes when expressing anger, splitting eyes when expressing people's dying, denying eyes and handsome eyes when expressing people's love and feelings.

The performing arts of Qi Opera are mostly based on life and developed into dance. In addition, Qi Opera has many unique performance skills, such as horse racing dance, which is customarily called "Lu". There are dozens of different dance movements, which are not only realistic but also very beautiful. At the same time, it combines and absorbs folk martial arts such as boxing and sword dance, which has more local characteristics.

Facebook generally only uses red, black and white, and pays more attention to the contours of eyes, nose and mouth, with strong lines.

There are four main accompaniment instruments in Qi Opera: Qihu, Yueqin, Sanxian and Banhu. Qihu's piano barrel is generally made of bamboo, generally small and long, with a trumpet-shaped mouth, iron bars in the piano column and iron wires hidden in the bow, with high and loud scales. In terms of percussion instruments, there are special high-pitched drums and hat-shaped noise drums, as well as wide-brimmed drums and cymbals.

According to statistics, there are 893 traditional plays of Qi Opera, 80% of which are plays. The whole dramas of Gao and Kun are divided into four parts: Biography of Mulian, Biography of Zhongjing, Guanyin Opera and Master Opera, which are collectively called the representative dramas of Qi Opera.

Other legendary high-pitched tunes and Kunqu operas in Ming and Qing Dynasties are called "playing high" and "playing Kunqu opera". "Play high" plays include Pipa Xing, Golden Seal, Notes, Yipin Zhong and so on. The repertoire of "Playing Kunqu Opera" includes Lutai Banquet, Dismantling Armor to Seal the King, Another Mother's Arrow, Hidden Boat Stabbing the Beam, Persuading Farmers to Enjoy Flowers and so on.

Most Dan Qiang operas are based on historical stories, such as Romance of the Three Kingdoms, Water Margin, Yang Jiajiang, some myths and legends and case-solving dramas. After sorting out, the more influential traditional repertoires are Zhao Jun's Embarrassment, Niu Hao's Disruption, Noisy House, Surabaya Nangang and so on.