A brief history of the development of Jingzhou ancient painting drama

Jingzhou ancient painting drama was originally a minor in Mianyang, with few singing items, only high notes and low rhymes. In the Yuan Dynasty, it was named Mianyang Huagu Opera by local Liyuan disciples. Then, this kind of drama was located in the early Ming Dynasty and developed by combining Mianyang folk songs with Mianyang dialect. It took shape in the late Ming and early Qing dynasties and was exquisite in the late Qing dynasty.

The earliest recorded performance of Jingzhou ancient painting drama was in Daoguang period of Qing Dynasty, which generally went through pastoral period, Cao Taitai period, introduction of stringed accompaniment period, decline period of Cultural Revolution in ten years and heyday from 1980s to the end of 20th century.

In the hinterland of central Hubei, south of Hanshui River, north of Yangtze River, GuanPingchuan and Bailiwoye. There are Tongshun River, Tongzhou River, Dongjing River, ditches, lakes and ponds in the territory, which is one of the breeding places of "Chusheng" and "Nanfeng". Grass-cutting songs and wheat-beating songs come one after another, fishing songs and songs go to heaven, and three-stick drums, colorful lotus boats, lotus flowers and clam shells are popular in rural areas ... It is these Han folk music, dances, stories and customs that gave birth to the unique local style of Han opera in Jianghan Plain. Jingzhou ancient painting drama has experienced a history of more than 300 years from its emergence to today. Like many operas, it originated from folk drums. In ancient times, Mianyang was located in a thousand lakes. On the ridge, one by one sang well, beating gongs and drums to sing, "beating gongs and drums to sing yangko, forgetting the pain and working quickly", and the lively and loud singing songs spread all over the ridge. As early as the reign of Zheng De in the Ming Dynasty, Leo Lee, as an official of Mianyang, recorded in Mianyang Folk Custom that Mianyang "sat and played drums and cymbals at night, but was lonely in a secluded place, and sang at night with Hao beginning of autumn". "And the scholar-officials also have followers." In the five years of Wanli in the Ming Dynasty (1577), Mianyang scholar Fei Shangyi wrote in Transplanting in the Southern Suburb that "the stream is winding, the sun is shining, and the five-acre hall is full of green radish. Idle in the bean shed to accompany guests, I suddenly heard this poem "Drumming and Singing Farmers' Songs". "

According to the records of Mianyang House Flood in Qing Dynasty, in the second year of Yongzheng (1724), there was a case of "wandering and begging across the street and singing flower drums along the door".

Historically, floods often occurred in Mianyang area of Jianghan Plain, and there was a saying among the people that "Husha Mianyang did not harvest for ten years and nine years". In every disaster year, people go out to escape from the desert one after another, and make a living by performing arts such as three-stick drums, fishing drums, lotus picking boats and singing folk songs. On this basis, it gradually evolved into a track with stories and simple characters, which was originally called "Flower Drum along the Door" (also known as "Flower Drum in the Ground"). Because most of its early performances were performed by victims lifting wooden benches, pushing carts, hanging gongs and drums, and singing while knocking, it was also called "shelf flower drum" or "scooter flower drum".

Most of the performances are drama fragments reflecting the love between men and women. Accompanied by simple wooden boards and fishing drums, the performance was deeply loved by the people in the four townships because of its soft voice. It is for the "pastoral period" of flower millet. Pastoral, Tian Ye.

In Maozui and Sanfutan, Xiantao City, Jianghan Plain, villagers planted and mowed grass with songs, which formed a "high tune" and a "sad tune" (composed of local Han folk tunes such as Dabian song, Mianyang fishing drum tune and shadow play singing). Among them, mowing the grass song is a special singing form popular with productive labor. The singing content of mowing songs is rich, and the qupai is also changeable. Except for you singing with me, most of them are sung by one person, with high-pitched and simple voices, using the dialect vernacular in Tongshun River basin, with strong local flavor.

Its performance form is developed on the basis of Han folk songs and dances and ground flower drums. During the Qianlong period, these artistic forms also developed in the artists' practice, and gradually evolved into performance forms with characters dressed up and simple story plots, and most of them mainly sang greetings or short stories about love life, such as Ten Plums, Nostalgia, Embroidering a Pouch, Flying a Kite, Luhua and Double Left Bamboo Shoots. This is what people called "flower drum along the door" and "flower drum on the ground" at that time. Later, artists borrowed from other operas and constantly enriched and improved them. They changed from singing to singing, from disguised as men to disguised as men, making their performances closer to life and art. During the Daoguang period of the Qing Dynasty, Huaguzi went out of the countryside and became a kind of ancient painting drama with dramatic form, which was called the "Caotai period" of ancient painting.

During Caotai's period, Jingzhou ancient paintings and dramas were gradually enriched. From "Single Play" to "Double Play" and "Three Little Plays" by Xiao Sheng, Xiao Dan and the Clown. The content of the drama is mostly a life drama that reflects marriage, love and family entanglements. During this period, the group performance of artists has developed from three to five people to the scale of "seven panic, eight busy and nine ready".

As a form of China traditional opera, the performance of Jingzhou ancient painting opera was first recorded in Daoguang period.

Fu Zhuoran's Maojiang Nighttalk in the Qing Dynasty said: "During the Daoguang period, Daijiachang had a singing class with a fishing drum board, and the audience sat around. The venue was packed and famous. The villagers call it the platform flower drum. " This shows that Mianyang Flower Drum Opera has begun to take to the stage, and it is no longer a flower drum along the door. During the reign of Xianfeng and Tongzhi, "Taiwan Flower Drum" developed into a wide six-pole stage. Although the performance form is still "accompanied by gongs and drums, accompanied by voices", the flower drums here have been widely integrated into folk etiquette activities, and connected with folk rap arts such as three-stick drums, fishing drums and Taoist feelings, and obtained the gene of "drama".

At this time, Jingzhou Flower Drum has entered its first heyday, from "platform flower drum" to "six poles" (a stage form). Artists have developed from a class of three to five people to a scale of seven tight, eight loose and nine chaotic, and the repertoire has also developed from a single play to an opponent's play and three small plays (xiaosheng, xiaodan and clown), such as "Flower Picking Pot" and "Double Left Bamboo Shoots", which are often performed when greeting gods, playing games, celebrating birthdays and congratulating others. Known as divine drama, lantern drama and social drama, the performance scale is unprecedented, forming the performance scale of "Wuli Santai Drama" in rural areas of Jianghan Plain.

The four main themes and more than 200 kinds of minor of Jingzhou ancient painting drama recorded in the literature are lively in rhythm, beautiful in melody, lyrical in narrative and full of the fragrance of earth. The percussion accompaniment of Jingzhou ancient painting drama comes from the folk gongs and drums in Jianghan Plain, and there are 76 traditional percussion brands recorded in the existing literature.

The earliest recorded Mianyang ancient painting artist was in the Kangxi period. Wang Yuanfa, the fifth son, was homeless and anonymous. Although he entered the Jianghu, he always showed off, pushed ancient paintings, made colorful lotus boats, sang ditties, played lotus incense and played tiles. To his son ... and Wang Chunbao. (See the genealogy of Wang disciple preserved by artist Liu Tiandang 1944 from his teacher). Wang Chunbao is the eighth generation descendant of Wang Family. During the period from Daoguang to Xianfeng and Tongzhi, Jingzhou ancient painting drama was very active in Mianyang.

Since the appearance of Wangmen, its influence has been expanding, and there have been three gates of Huang, Shi and He, and * * * is also called Mianyang Flower Drum.

With Wang Chunbao (1832- 19 10) as the representative figure, Wang Jiatou is from Changjiawan, Mianyang, with nearly 100 followers all over Jianghan. Wang has cooperated with Zheng Donghua and four famous mountains in Mianyang, such as Lu Songshan, Xiao Yushan and Wei Mingshan. Create a batch of single-brand, opposite plays, such as Jianghan Map, Death of Four Fathers, Tomb of Liu Chongjing, selling groceries, and Sending Duanyang, and transplant and adapt suitable Chinese repertoires. He focused on the singing skills of solo, duet and three operas that Zheng Dan and Er Dan should perform. He was unconscious, easy to save in cold and hot weather, rainy at night, and polished with great concentration, and finally made a positive result. He formed a new singing method of ancient paintings and operas, emphasizing high-pitched, sad-voiced, water-voiced and minor tunes, paying attention to clear pronunciation, and taking the local language and pronunciation in Tongshun River basin as the standard. Its lines are smooth and smooth, the flower tips are changeable, and the performance is steady, beautiful, delicate and true, which transforms the elegance of Tsing Yi from Chinese to local charm. Wang Chunbao has a wide range of disciples and rigorous teaching. He also formally formed a standard troupe to sing Cao Taige's operas. Later, people called it "Master Wang Pai".

Wang Shi (1832- 19 16) is the leader of "historians". History began in Mianyang Nanxiang Jinchuan Bay (now a tributary of Honghu Lake). A scholar was born, and his career was disheartened because he failed to pass the provincial examination. After knowing Wang Chunbao's troupe, he worshipped Wang as a teacher and learned the flower drum. He began to learn from Dan, and later changed to life. I can also write scripts and make up words, mainly in high-pitched and Qinshui dramas.

Huang Jiasheng (1853- 19 13) is a native of Zhaoganhe, Huilongwan, Mianyang. Xiao Huang loved watching sambang drums and Dihua drums, reciting lyrics and avoiding singing in the fields. When his father saw this scene, he sent his son to Wang Chunbao's troupe to study drama. 16 years old took to the stage. After that, he left the teacher and became a family of his own, focusing on [four tones and minor].

With what (? -1928) (from Hejiawan, Sanguandian, Jianli County). Because I loved playing flower drums when I was a child, I was exiled by my clan elders. He studied under Mianyang artists and entered the teaching from "Dan". In view of the lack of flower drum art, he disguised himself as a clown, studied hard and practiced hard, and was deeply loved by the audience, so he was called He Pai. His sects are all ugly, mainly ugly, water cavity and special minor.

From this point of view, Simen is the ancestor of Mianyang ancient painting, and Wangjiamen is the first of them.

At the end of the Qing Dynasty and the beginning of the Republic of China, the scholar Du of Mianyang Wangchang (now the town) cooperated with Mianyang artists to sort out official scripts for the first time, that is, the famous Shibashui Scenic Spot's half-books, such as Chen Shimei Denying His Ex-wife, Wu Han Killing His Wife, White Fan Story, Sanguantang, Description of Willow Forest, Zhu Shi Cutting Liver and Copying Hongmei, etc. The birth of official script greatly expanded the business of ancient painting and drama, and increased the number of students, old students, clean angles and miscellaneous angles; Dandan was divided into Zheng Dan (Tsing Yi), Erdan and Hua Dan, and absorbed the blues of Jordan and Peking Opera. Generally speaking, there is a difference between young people and civil servants, and clowns should be both old people and old people. The rich and complete commercial system has directly promoted the ancient painting drama to become a formal drama on an equal footing with Chinese dramas and other dramas.

A large number of artists from counties around Mianyang have come to Mianyang to learn from their teachers, or Mianyang masters have gone to Jianghan to preach. In the early days of liberation, the number of Mianyang ancient painting artists was unprecedented. According to the Records of Jingzhou Ancient Paintings, before 1949, there were 579 famous ancient painters in Jingzhou, including 284 famous artists in Mianyang (including Honghu Lake), accounting for half of the total number of artists in the region. At that time, there were many folk troupes, which performed in rural areas of Jianghan Plain and even in Henan, Hunan and other provinces. Jingzhou ancient painting drama originated in Mianyang.

In Xuantongyuannian (1909), Jingzhou ancient paintings were first performed in three towns of Wuhan. Mianyang ancient painting artists Lu Jinyu and Zhou Gao organized classes and went into the open-air (theater) venues such as Xujiapeng in Wuchang, Hankou Railway Station and Hanyang Parrot to perform programs such as Standing on the Flower Wall, liu ling's Description and Sanguantang for two months without losing their seats.

In the sixth year of the Republic of China (19 17), more than 20 people, including Mianyang ancient painting dramatists Chen Xingou, Chen Jialin, Shen Si, Xie, Tang Shitou, Yao Yuchun, Huang Heigou and Wu Fuxing, entered Hankou French Concession and Shengpinglou for the second time (this was the first official theater in three towns of Wuhan at that time).

In the early years of the Republic of China, the first generation of female artist Feng Duan appeared in Mianyang ancient painting drama. (Date of birth and death unknown), a peasant girl in Zhu Lin Bay, Daijiachang (now Honghu), Mianyang, made her debut as a real phoenix for the first time. After her, a group of influential actresses broke through the secular prejudice and the old habits of black powder, such as Wu Cui, Jiang Jin, Jin Xiu and Li. They have made positive contributions to enriching the singing and performing arts of Mianyang ancient paintings and operas.

In the late 1920s, the first and most influential professional class appeared in Mianyang Ancient Painting Opera House, which specialized in training talents in ancient painting and drama. Monitor Cui Song (1887- 1952), a native of Mianyang, is the third generation descendant of "Wangmen". Since the Republic of China 17 (1928), it has set up accounts in Makou, Canghe Pavilion, Shidudian, Duojiawan and Sanjiangkou for seven sessions, which lasted for more than 20 years and had more than 80 apprentices. There are as few as seven or eight artists and as many as a dozen artists in each discipline, and they will leave this discipline in about three years. More than 80 apprentices have been trained, and 6 1 person knows their names. Among them, Chen Yaoshan, Yang Jingxiang, Chen Dazhong, Daofa Wu, Hu Monk, Liu Tiandang, Han Naizi, Liu Xianzao and Zhao all have high attainments. When artists enter the school, parents will pay their own accommodation and a little tuition, and all orphans will be subsidized by the class. After a year's internship performance, the apprentice's income is not only the teacher's salary and material handling expenses, but also a little pocket money, which is used to buy sheets, cotton-padded clothes and cloth shoes for the apprentice. When entering this topic, you should worship the king of drama and recite the class rules. Practice teaching pays attention to teaching students in accordance with their aptitude, giving a single essay to literate apprentices, and then explaining the meaning of drama. The disciples all respected Master Cui Song and called him Dad Cui. After leaving school, apprentices can attend classes voluntarily. Excellent artists are recommended by the class to the troupe. When each apprentice entered the internship period, he formed a doll class, led by Cui Song himself, and performed in rural market towns in Mianyang, Tianmen, Qianjiang, Honghu and Jianli. Among the masses, there is a kind of praise for Cuisong doll class, which is fresh every three years.

After the victory of the Anti-Japanese War, Chiang Kai-shek's puppet regime continued to "ban flower drum opera and prostitutes' performances" and the troupe was forced to dissolve. Some artists were imprisoned, some went home to farm, and some went to other places. In order to survive, most artists have to form a "trinity class" or a "two-in-one class" with Henan Han Opera, Chu Opera (Huang Xiao Opera) and even Yue Opera, and sing Han Opera or Chu Opera, or half a stage (that is, half singing Han Opera or Chu Opera, commonly known as "cherishing the house to hide from the rain") until the national liberation.

Due to historical reasons, many Mianyang ancient painters mainly sang Chu Opera, forming numerous Chu Opera Troupes. There are four influential Chu troupes in Mianyang, namely, Yiguang, Guangfu, Fulian and Lianyuan. They are named after fish biting their tails, and they also sing Chu opera and ancient painting drama.

The ancient painters who sang Chu Opera in hiding from the rain played the banner of "the return of opera" and got the attention and support of the local cultural authorities. The establishment of New China has brought warm spring to Mianyang ancient paintings, dramas and artists.

Jingzhou ancient painting drama is full of strong local flavor and melodious singing. The performance not only shows the colorful life and style of Huxiang, but also has a strong flavor of Han folk life. During the Republic of China, many Mianyang flower drum artists resolutely joined the domestic revolutionary movement and the liberation war led by War of Resistance against Japanese Aggression and the * * * production party.

In the agrarian revolution led by the * * * Production Party in China, Du Jinting and Wang Gan (female), artists of flower drums in Xiliuhe, Mianyang, were arrested and sacrificed heroically.

In 23 years, Mianyang artist Liu, once participated in the propaganda work of Honghu Soviet government led by He Long.

During the period of War of Resistance against Japanese Aggression, Song Jingui, a famous old artist in Mianyang, organized a troupe to sing operas in Yao, and often lived in the anti-Japanese base area in the Hubei-Henan border region. He gave a condolence performance for the Fifth Division of the New Fourth Army in Bazimen and Dahuangling of Jingshan, and was ordered to cover the scouts who went to the occupied areas of Japan and the Puppet, and arranged fashion ancient paintings for the anti-Japanese propaganda activities.

During the period from 1939 to 1943, when Kuomintang 128 Division was stationed in Mianyang, Wang Jinzai, a patriotic anti-Japanese general and division commander of 128 Division, learned that Mianyang people liked to watch ancient paintings and operas. Therefore, he took great interest in Mianyang ancient painting and drama, and held it firmly in his own hands like a gun, making it a strong force for 128 Division to contact the masses against Japan.

Singing opera with ancient paintings is forbidden. During the Republic of China, the county government banned the singing of ancient paintings, and some actors were convicted and punished for being "forbidden" to sing ancient paintings, so that some ancient painting troupes were dissolved, some ancient painting artists switched to other operas, and some people were unemployed and exiled. There is a Nanba village in Miannan Township. There are 100 people in this village. Men, women and children love the Flower Drum Opera, and many people can sing it. During the slack season, the village organized four troupes to sing operas, and the proceeds built a bridge on the river near the village, named Guhua Bridge. Nanba village is also known as ancient painting village. The township head sued the county and severely punished the actors who broke the ban and the villagers they led.

At that time, because 128 division commander Wang Jinzhan approved the singing of Flower Drum Opera in Beiziqiao of the division headquarters, it was inconvenient for the county to investigate the "Flower Drum Opera Case" in Nanba Village, and the case was dropped. After the news that Baiziqiao was forbidden to sing ancient paintings and operas by the 18th Division spread, the ancient paintings and operas that had been banned for many years in Jianli, Qianjiang, Tianmen and Hanchuan became active again.

Open a flower drum teaching class. Wang Jinzai instructed his think tank "New Reform Committee" to hire Huagu artists, Yang, Huang Chuxiang, Huang Zhengdian and Mo Zhengdian to start Huagu teaching classes, and the funds were provided by 128 Army. Therefore, all classes of Huagu Opera are collectively called "the128th Huagu Opera Teaching Class". It is equal to the military "compulsory primary school" established in the division. After graduation, students in compulsory primary schools can go to the army to serve as squad leaders, trainee platoon leaders and other official positions; After leaving school, the students in the ancient painting class went to sing operas and do anti-Japanese propaganda work.

During the four years from 1940 to 1943, the regiments and battalions of 128 Division set up 45 ancient painting troupes in Mianyang, Beiziqiao, Changgong, Xingou, Qinchang and Panchang in Jianli, with as many as 1435 students.

Set up an anti-Japanese propaganda team. The teachers and students in the ancient painting and opera teaching class are like the monitor and actors. They are both ancient painting and opera classes and anti-Japanese propaganda teams. In the military station, contact the masses in the form of singing ancient paintings and dramas, and actively carry out anti-Japanese propaganda activities. Teacher Wang Jinzai's Training Rules and propaganda slogans became the main contents of anti-Japanese propaganda. The ten contents of its Discipline are: "Pay attention to conscience, respect morality, be clear and upright, do your duty, love groups, believe in orders, know how to treat, be loyal to the people, and protect the country and defend the country." 128 All adults in Mianyang, Jianli, Tianmen, Hanchuan and other counties where the division was stationed at that time should read these ten sentences carefully and keep them in mind. They have to recite the "training rules" when they walk through the checkpoint, and they will be punished if they fail to recite them.

People in their eighties are still fresh in their memories. "I love my country, and the patriot is me!" People who are full and have nothing to do are sinners of the country! Wang Jinzai would rather die than surrender! Traitors are sinners of the country! Set off a national war of resistance and strive for final victory! "These slogans are widely known by the anti-Japanese propaganda team in the form of Flower Drum Opera. According to the facts of the Anti-Japanese War, the troupe also created and performed new dramas such as "Capturing Japanese Soldiers" and "Killing Dogs and Traitors", which were well received by the audience. Due to teacher Wang Jinzai's attention, the propaganda team with ancient paintings and operas as the main body played an important role in the anti-Japanese war propaganda.

Many Mianyang ancient painting artists have sacrificed their precious years and even their lives for resisting Japan and saving the country, leaving an extremely precious page in the development history of Mianyang ancient painting and drama. After the founding of People's Republic of China (PRC), Jingzhou ancient painting and drama gained a new life. Five county-level civilian-run professional troupes (later changed to local state-run), more than a dozen self-financing township troupes and many amateur troupes were established. 1955, the singing of musical was reformed, and the accompaniment of strings was changed from chorus and gongs and drums. By arranging traditional plays and editing new plays, the performing arts have been greatly improved; The scale and area of the performance have also expanded.

195 1 year, Mianyang county government held a meeting on literature and art work in Miancheng to implement the State Council's "Instructions on the Reform of Traditional Chinese Opera" and register traditional Chinese opera associations and famous artists. With the approval of the county cultural and educational department, many artists of Mianyang ancient paintings formed four professional Chu Opera Troupe (later changed to Ancient Painting Troupe). The name of the troupe is Yiguang, Guangfu, Reunion and Union, which means "one troupe of brothers" and is subject to the administrative management of the cultural and educational department of Mianyang County. Since then, Mianyang Ancient Painting Troupe has been recognized by the government as a legitimate and formal troupe.

Since then, due to the flow of troupes, the first county-level flower drum troupes such as Tianmen, mian yang and Qianjiang have been established one after another.

The "Yiguang" Troupe, headed by Wang Shouyin and Ni Xinping, performed in Jianli after its establishment, which was called "Yiguang Chu Troupe" in history. 1954, Zhongxiang county government accepted it as "Zhongxiang Huagu Opera Troupe", headed by Yang. /kloc-performed in Qianjiang in 0/957 and settled down. It was renamed Qianjiang Huagu Opera Troupe, later renamed Qianjiang Jingzhou Huagu Opera Troupe, and later upgraded to Hubei Experimental Jingzhou Huagu Opera Troupe. 199 1 Hu Xinzhong, a famous actor, is the head of the team. It is still active in Qianjiang and surrounding counties and cities.

In 1950s, Jingzhou ancient paintings and operas tended to be stereotyped and mature. More than 200 traditional plays were collected, selected and re-examined, and at the same time, the dross was eliminated while "picking flowers", "coloring" and "biting bowls" were carried out.

When Guangfu Troupe was founded, Shao Faqing and Zhao Dexin were in charge, and performed in Jiayu Jiezhou Resident, and later changed to Jiayu County Chu Troupe, and it is still touring around Xianning City.

When the Reunion Troupe was first established, Yu Haosheng and Li Xianghuan were in charge. Moved to Tianmen Yuekou 1952 1 1 in June. 1954 went to Tianmen chengguan to be named "Tianmen Ancient Painting Troupe". A large number of famous Mianyang actors, such as Wei Zebin and Xiao (female), wanted to leave the troupe and return to Mian. After coordination by relevant departments, they were named Tianmen Tianmian Troupe, and Li Xinnian and Shen Shan were elected as deputy heads. Still traveling in Tianmen.

Liu He of the United Troupe is in charge. 1953, Cui was elected as the head, and Gong succeeded as the head. 1955 later, Huang and Shu Xiaoyun were appointed as deputy heads. 1May, 956, it was officially named "Mianyang Huagu Opera Troupe", with Huang as the head and Cheng Lanting and Ou Qingsheng as the deputy heads. 1960, Jin was appointed as the team leader. 1973, the ancient painting troupe was re-established. 1977, Guo Ren's secretary and head, Xiao Yuanlin, Shu Xiaoyun and Xie Guifang as deputy heads. 1986 was renamed as "Hubei Mianyang Flower Drum Troupe" after it was withdrawn from the county to build the city, and it is still performing in urban and rural areas inside and outside the city.

From 65438 to 0955, Jingzhou ancient painting drama took a step on the road of inheritance and reform. Its important symbol is the inheritance of "singing in unison" and "stunt". "Picking flowers", "raising colors" and "biting bowls" are the only three stunts left in Jingzhou ancient paintings. For example, Cheng Lanting, a famous artist of the former Mianyang Huagu Opera Troupe, performed flower picking performances such as "Six Steps", "Eight Steps" and "Ten Gods", which vividly showed the gestures of seeing, smelling, listening, picking, stabbing, climbing, beating, releasing and tying. It has a strong flavor of life, pays attention to truth in shaping tasks, dares to break through, and does not stick to one pattern, which greatly enriches the expressive force of opera and shows the artistic characteristics of Mianyang ancient painting opera.

Shen Shan is also an outstanding representative of Jingzhou ancient painting and drama. His famous plays include The Temple of Kindness, Visiting Friends, Blue Bridge, Embroidering the Pocket, Picking Cabbage and so on. 1953, Shen Shan and Yang participated in the first folk art performance in New China with "Playing Lotus in Hunan", which reflected the poor life of Huagu artists and was received by central leaders such as Zhu De and others.

From the 1950s to the mid-1960s, the stage of Jingzhou ancient painting and drama was clean and beautiful. His plays, such as Double Skimming Bamboo Shoots, Sutra Cutting Hall, Sanguantang, Spring Axe Picking, Borrowing Cattle and Stopping the Flower Sedan, won prizes in Hubei Province and Central and South China respectively. These achievements laid the foundation for Jingzhou ancient painting drama to be as famous as Hubei Han Opera and Chu Opera.

After the "Cultural Revolution" began, the ancient painting troupes in various counties were abolished, and after 1970, the ancient painting and opera performances were gradually resumed. The eighties and nineties of the 20th century witnessed the all-round development of Jingzhou ancient painting and drama. From performance content to form, from script to stage, from music to dance beauty, there have been refreshing and unforgettable artistic creations.

Since the reform and opening up, Jingzhou ancient painting and drama has been fully developed, which is more perfect in art and more novel in ideological content. The newly-edited historical drama Thirteen Sections, modern drama Family Case, Love in the Straits, and Mother-in-law and Daughter-in-law's Daughter-in-law all won the creation award or performance award at the provincial level in Hubei Province, which made this local drama enter its heyday. 1980 The newly edited traditional drama "Standing on the Flower Wall" was made into a colorful stage art film by Zhujiang Film Studio. Tv dramas such as Wang's Tearing Down the Store, Zhao Wolf and Selling Losers have all been made into TV dramas.

There are eight major dramas in Jingzhou ancient paintings, including Family Case-solving and Old Three Mother-in-law and Daughter-in-law, all of which are sung in Beijing on the capital stage. In September, 1988, Mianyang Ancient Painting Troupe came to Beijing to perform at the invitation of China Traditional Drama Modern Drama Research Association and Drama Review. The traditional drama "Send Sweet Tea" and the large-scale modern drama "Marry a Husband to the Third Child" evolved into Zhongnanhai to participate in the performance of the China Arts Festival (South China Film). Qianjiang Ancient Painting Troupe adapted Jingzhou ancient painting drama based on Cao Yu's masterpiece Yuanye, and went to Beijing twice: 1990 participated in the "65th anniversary of Cao Yu's drama activities" and sang in Zhongnanhai; 1996, vilen was adapted as Love and Hate in vilen, and he went to Beijing to perform for the 6th National Congress of Literature and Art..

1993 Qianjiang Ancient Painting Theatre was upgraded to Hubei Experimental Jingzhou Ancient Painting Theatre. Vilen's Love and Hate, performed in the theater, highlights the integration of song, dance and drama, creates an artistic realm of "deja vu without novelty" and gives people a brand-new aesthetic feeling. The play won 1995 gold medal in Hubei New Drama Exhibition, 1997 China Caoyu Drama Literature Award and Hubei "Five One Project" Award, 1998 China Wenhua New Drama Award. Hu Xinzhong, Li Chunhua and Sun Shi An, the national first-class actors of the troupe, won the 14, 15 Plum Blossom Award for Chinese Drama and the 8th China Wenhua Performance Award respectively for their successful performances in Yuan Ye.

From 2000 to 20001year, Mianyang Ancient Painting Troupe had eight dramas, including Standing on the Flower Wall, Thirteen Sections, Mo Chounv, Double Jade Cicada, Pasturing Sheep, Qingfeng Pavilion, Three Mothers Teaching Children and Fake Wedding Room.

In 2008, at the first Hubei Local Opera Art Festival, Mianyang Ancient Painting Troupe selected and presented large-scale ancient costume drama "Declining the Official", traditional passbook drama "Chen Lin Kao Kou", modern drama "Old Neighbor" and other masterpieces. With its accumulated artistic level and vivid performance strength, Mianyang Ancient Painting Troupe stood out in the art festival, dazzled and won 14 awards in one fell swoop. In particular, The Story of Officials' Demotion won three artistic laurels: Excellent Transplant Drama Award, First Prize of Music Creation and First Prize of Actor Performance.

20 13, 10, Mianyang Ancient Painting Troupe won the Drama Stars Award of the 10th China Arts Festival.

Around 2 1 century, Jingzhou ancient painting and drama encountered an irresistible crisis. Excavating and rescuing Jingzhou ancient paintings and operas is of great significance for the inheritance, protection and research of Jingchu folk culture and art. In 2006 and 20 1 1 year, Jingzhou ancient paintings and operas were declared by Qianjiang City and Xiantao City, and were included in the national intangible cultural heritage list with the approval of the State Council twice.