What are the Shanxi Jin Operas?

Jin Opera is one of the four major types of operas in Shanxi Province, and is also known as Middle Road Opera because it was produced in the center of Shanxi Province, also known as "Middle Opera", and called Shanxi Road Opera in the provinces, and it is mainly popular in the center and north of Shanxi Province, as well as in Shaanxi Province, Inner Mongolia, and some parts of Hebei Province. In the early years of the Qing Dynasty, Puzhou Bangkas flowed into Jinzhong, combined with Qitai Yangge and Jinzhong folk tunes, and formed Jin Opera through the participation of Jin merchants and local literati. After a few changes, it developed and spread in Jinzhong, Jinbei, and even parts of Inner Mongolia, Hebei, and Shanbei. The nearly 100 years of the late Qing Dynasty and early Republic of China were a period of development for Jin Opera, when there were many companies and many talented people, especially after the appearance of the first generation of actresses represented by Ding Guoxian, the art of Jin Opera was upgraded to a new stage.

[Editor's note]Historical traceability

1. Origin The origin of Zhonglu Opera should be in the Xianfeng period of the Qing Dynasty. In the early years of the Daoguang, was then called the Shanxi opera Puzhou opera revival, the so-called: "Daoguang Emperor boarded the Dragon Court, Shanxi opera and the boom", Pu Bang north, came to the Jinzhong, Taiyuan performances, not only stirred up the Taiyuan, but also shocked Beijing, which is also catering to the middle of the road area of a group of rich businessmen rising entertainment requirements, so they are contracted to the form of inviting the Pu Bang troupe in the middle of the road performances, this is the middle of the road rich businessmen to host the theater troupe. This was the beginning of the theater class contracted by the rich merchants in the middle of the road, but the type of theater was still Pu Opera. The representative classes were the Wanhe class of Pingyao County, the Xiaopingyao class, and the Jiqing class of Jiexiu County. To the early Xianfeng years, Pu bang began to fall down, resulting in the middle of the road in the area of the emergence of a relatively vacant period of theatrical activities, which love the play in the middle of the road crowd, especially the rich merchants were doubly disappointed, so a few people began to invite idle literati, ticket enthusiasts, as well as rice-planting songs, shadows, artists, etc., the organization of seminars to create their own drama. To the middle and late Xianfeng, after many classes of efforts to discuss, finally in the inheritance of Pu bang rhyme and gongs and drums on the basis of the points, combined with the middle of the road, such as the characteristics of the singing of rice-planting songs, the initial formation of the middle of the road in the embryonic Bangkok class society, and began to pilot performances. Which is representative of the Yuji black store class and Qixian three Qing class, participating artists, in addition to the stranded Pu bang artists, rice-planting songs and shadow artists, there are drummers, shopkeepers, miners, ticket holders. By the early years of Tongzhi, the social order in Shanxi had improved. The emergence of the new Middle Road Opera was also favored by more wealthy merchants and property owners. So has set up the upper and lower poly Liyuan class, four happy class, four Xingban, four Qingban class, etc., in the performance practice, learning from each other, and constantly improve, so that the singing and the literary and military scenes are becoming more and more perfect; but also to learn from the experience of foreign drama management class, so that the troupe has gradually moved towards the formalization of the experience. The troupe personnel, in addition to the cultural and military field to retain the Middle Kingdom artists, most of the other actors with high salaries hired from Puzhou, so the folk have: "Qi too lutetium, Puzhou pills," the proverb. The troupe is not commercial in nature, and the profits and losses are all borne by the troupe owner. Just every place, will be wooden, labeled with a certain county, a certain property owner by the name of the troupe of tiger signs standing in the foreground, to show boast, but also in the backstage powder wall inscription pen name. These stage inscriptions have a wide range of contents, and they have become the golden stone evidence for the study of the development history of Jin opera today. With the increasing stereotyping of Zhonglu Bangzi, it aroused the interest of small and medium-sized wealthy people and medium-sized merchants to undertake the class. They also invited artists or recruited children from Puzhou to set up classes. By the end of the Tongzhi period, the Zhonglu Bangkas had begun to take shape in a few states and counties in the middle and north of Shanxi. The superb performances of the artists left a deep impression on the audience, and to this day there is still a saying in Jinzhong, "The Four Happiness Classes are good plays, Bald and Red, Spit and Clown, and Gai Shaanxi. Ginseng dolls, big-mouthed clowns, followed by a flag ......" and other proverbs are still circulating in Jinzhong. 2. Splendid period After ten years of Guangxu, Zhonglu Bangzi rose again, and there was a new phenomenon of Zhonglu artists performing Zhonglu opera, which began to change the situation of the old Pu Bang artists performing Zhonglu opera. From the fifteenth year of Guangxu to the end of the Qing Dynasty, the Zhonglu Opera entered a glorious period. There were temple plays, marketplaces, stage-stepping plays, light-opening plays, business plays, market-opening plays, god-appealing plays, wish-returning plays, sacrificial plays, wedding and birthday plays, and official plays, etc. The general villages also sang one play every year. General villages, also sings a play every year; large towns, as many as 5-10 per year, in the middle of the road has become the main play in the middle of the road people enjoy, and it is also with the middle of the road merchants traveled to Zhangjiakou, Baotou, naturalization, etc., with the local drama competition to dedicate skills. In the development process, due to regional relations, absorbing folk art and other components of the different, in the performance program, singing style, before the scene on the spectrum of the formation of the three major schools, that is, the upper road class in Taiyuan Prefecture County; Fenzhou Prefecture County, the lower road class; Pingding, Liaozhou Prefecture, the county under the jurisdiction of the East four classes and the difference between the four classes. Until after the liberation of the above three smaller differences, merged into one. After the middle of the road to the flourishing of the clappers, Jiangnan silk and bamboo class, Kyoto, such as flower class basically withdrew from the middle of the road stage, only Pu bang occasionally still come, the momentum has been greatly reduced. After the Xinhai Revolution, the middle of the road counties were once in turmoil, the rich and powerful people mostly take the attitude of avoidance and wait-and-see. Therefore, the middle of the clappers in the class of the former Qing Dynasty Yamen, dart boards, such as the remains of the old people to fill the role. At the same time the middle of the road artists team has grown, Pu Bang artists in addition to the settlers, the rest no longer come to the middle of the road class. Republic of China 5-19 years (1916-1930), the situation in Shanxi is relatively stable, the middle of the road in the second brilliant period. At this time, the middle of the road in the clapper, class society, expanding schools. Not only was it rooted in Yanbei, occupied outside the mouth, and in the western part of Hebei Province, the northeastern part of Shaanxi Province, as well as the northern counties under the jurisdiction of the former Pingyang and Lu'an Provinces, it also developed and established a troupe, forming a large-scale drama across five provinces in the north of the country: Shanxi, Shanxi, Hebei, Suiyuan, and Chahar, and thus it was known as Shanxi Opera. There were many famous actors and actresses, and the competition was fierce. Zhonglu Bangkas formed a great situation of abundant talents, strong strength and mutual competition. The repertoire is numerous, and the literature and the military are complete. Because of the many talents, the repertoire was mostly celebrity plays. Commonly known as the "June Snow", "Phoenix Pavilion", "Golden Beach", "on the roof", "White Snake", "Iron Bow", "Hundred Children's Figure", "Famen Temple", "Double Officer Harmony", "Ten Thousand Buddhas Clothes", "in the Liangtu", "Plum drop commendation", "Double Rousseau", "Thirteen Sisters", "Ta Zi Gou", "Jade Chess", "Flaming Flag", "A Handful of Snow", "Money Leopard" and so on, **** more than 200 books, back, Out. It can be said that both military and civil, line line not block. The acting skills are exquisite, and a hundred flowers blossomed. At this time, each class society to show the new tricks, each door artists in singing, doing, reading, playing stunts and other performances. From the 20's, Shanxi opera due to some of the old artists alive, the stage pattern can maintain the men and women on the same stage, so the emergence of Taigu Jinyi Park and other on the three classes of good theater. In the 24th year of the Republic of China (1935), the famous female artist Ding Guoxian headed the Buyun Drama Society, and the Tangfeng Drama Society headed by Gai Tianhong went to Beijing, Tianjin, Shanghai and other places for performances, which greatly enlarged the influence of the Shanxi Opera, and also exchanged experiences with the artists of the brotherhood and enriched themselves. Later on, Shanxi Opera gradually transformed from a male actor to a female actor. With this also brought potential problems: because of the influence of women's acting can attract more audience, can earn more money, around the general set off a special cultivation of female artists of the craze. Shanxi opera due to the actors "Yin and Yang decline", so that many excellent helmet by the play, hard play, martial arts play, as well as flower face, clown play. Gradually discontinued or lost, but also make this northern drama unique exciting and unrestrained speech, singing, and the ups and downs of the performance program, gradually replaced by the melodious and melodious tunes and the style of sheep winding, so as to lose its former kind of masculinity and resounding characteristics. 3. Toward a low ebb After the failure of Yan and Feng's campaign against Chiang, Shanxi's economy was in the doldrums. Shanxi opera part of the class society went astray, the corrupt atmosphere into the theater, resulting in the wind is not vibrant, artists degenerate, the level of art decline, to many artists life has brought serious difficulties, and even a few kunjiao artists, repeated misfortunes, into a difficult situation, can not be extricated. After the Lugou Bridge Incident, the Japanese army soon invaded Shanxi, wherever they went, burning and looting, no evil, forcing all the disintegration of the theater all over the artists scattered, some of them died abroad, part of the line into the land. Only a few people into the Taihang, Jinsui, Jinchaji and other revolutionary bases, with a new look for the anti-Japanese military and civilian performances. Before and after the war, more than 10 years, Shanxi opera suffered from the disaster, resulting in the first low tide in the history of the development of Jin opera. The founding of New China created a third brilliant period for Shanxi opera. 1956-1958, most of the province's county and city troupes were established one after another. The best actors were concentrated in the provincial capital of Taiyuan, so the Shanxi Opera was officially named Jin Opera, and the names of the troupes belonging to various counties were also changed to so-and-so Jin Opera Troupe. The Cultural Revolution made Jin Opera one of the first targets of the onslaught, and it was once again in the doldrums; in 1967, the troupe was transformed into the Mao Zedong Thought Propaganda Corps, and was later unified into the Model Opera Troupe. In 1967, the troupe was transformed into a Maoist propaganda unit, and later it was unified into a model opera troupe, where artists had to pass a political examination before they could appear on stage. Jin opera was greatly injured, resulting in a second low period in the history of development.

[Edit paragraph]Traditional repertoire

The traditional repertoire of Jin Opera is rich, with more than 200 plays regularly staged, including Weishui River, Playing the Golden Bough, Lintong Mountain, Qiankun Belt, Shatuo Kingdom, Battle of Wancheng, Baishuitan, Jinshui Bridge, Flaming Pony, Palace of the King of the Brahma Kingdom, and Double-locked Mountain, etc. The traditional repertoire of Jin Opera is very rich, with more than 200 plays regularly staged.

[Edit Paragraph]Artistic Characteristics

In the process of development, Jin Opera retains the impassioned artistic characteristics of Puzhou Opera, and at the same time develops a gentle and delicate lyrical style. The structure of Jin Opera's singing voice belongs to the plate cadence, which is divided into three categories: "chaotic play", "cadence", and "quzi". Chaos Bomb" is the main singing control of Jin Opera, **** there are seven types of plates: flat plate, plywood, two sex, running water, mesopanel, rolling white, guide plate." Cavity" refers to the various cadences in the Jin Opera, which are generally not used separately, but are attached to the various boards in the "chaotic bombing"." Cavities" include "Five Flower Cavities", "Three Flower Cavities", "Walking Horse Cavity", "Two Fingers Cavity", "Thirteen Coughs", "Four No Signs", and "Guiding Plate Cavity", etc. "Tune" refers to a variety of cadences used in Jin opera. Quzi" refers to the Kunqu Opera and local songs sung in Jin Opera. This kind of singing and performance of Jin Opera not only has the general characteristics of the agitation and roughness of the clapper clapper, but also has a unique style of mellowness and delicacy. As a result, it can express both impassioned historical stories and beautiful and healthy folk life. This art form, which skillfully combines roughness and delicacy, is the most direct factor in winning the favor of many audiences. Jin Opera is characterized by its melodious, smooth, beautiful, mellow and friendly tunes, clear speech, and the rich local flavor of the Jinzhong region and its own unique style. In the past, Jin Opera was sung purely by male actors and was generally set in the key of F. Afterwards, it gradually developed into an actor-oriented opera, and was set in the key of G. In addition to the two tones sung in falsetto, there are seven types of plate styles: the flat plate (also known as the four-stranded eye) is 4/4 for the beat; the splint is 2/4 for the beat; the two sexes are 1/4 for the beat; the running water is 1/4 for the beat; and there are also the intermediate plate, the inverted plate, and the roll of the white, etc. There are also many variations of each type of plate style. There are also many variations of each type of plate. For example, there are big flowing water, small flowing water, tight flowing water, slow flowing water, two flowing water and so on. In addition, there are many other styles such as three-flower accent, five-flower accent, horse-riding accent, three-inverted accent, inverted plate accent and so on. Jin Opera pays great attention to the use of two or more people singing in pairs and rounds to give full play to the artistic characteristics of its singing. For example, in "The Loyal Repayment of the Country", through the rounds of singing by the big flower face and the shengsheng and the dan, the story of the past is recounted and the feelings of the present are exchanged. In the round singing, the duality plate suitable for narrative is used, and the melody is stretched. In Walking in the Snowy Mountains, the story of the old family's rescue of the girl after the disaster of the Cao family is represented by the duet between the old scholar and the green scholar. Firstly, they sing in pairs, showing that the master and the servant are in a state of distress when they leave the tiger's mouth; then they sing in rounds with the two sexes, recounting the process of persecution, and the male voices fall, and the female voices rise, singing alternately, with a distinctive flavor. In Jin opera, there are also large solos. This kind of solo singing, generally with a slow pallet; such as the "Empty City", "see the imperial aunt", "playing the golden branch" in the Kong Ming, Qin Xianglian and Shen after a separate section of the singing, no gongs and drums of the sound of the sound of the silk strings, the line of the tone is like manna and fine rain, a little into the ground. In Jin Opera, there is also a set of singing style composed of flat boards, plywood, two sexes and running water. It is generally used for recounting, confessing, thinking about problems, and so on. Rolling white is used to express the emotion of sobbing and extreme sadness. From the door to the singing, it is extremely infectious. For example, Min Deren's two flashes of rolling white in "Reed Flower" are often sung by actors in tears and listened to by the audience in tears. In the past, Jin Opera's civil and military field was composed of nine people, known as the nine-handed field, i.e., the drum plate (conductor), cymbals, gongs, gongs, clappers, sucking hu, three strings, two strings, and four strings. Sometimes the accompaniment needs to use hinges, by playing the four-string manipulation; need suona accompaniment, by playing the three-string, pull the two-string blowing on behalf of the person. Wenchang musical instruments, huohu is the middle musical instrument, also known as huluzi. Coconut shells, larger than the shells of the Panhu, shaped like a chicken heart, mouth diameter of about 12-13 centimeters, glued to the tung wood board. The main file is made of hardwood, 70 centimeters long. There is a waist code, fixed in the middle of the file. The lower code is placed in the upper five-sixths of the tung wood surface. Horsetail bamboo bow, soft sound quality, like baritone voice. Hohu plays the main melody, accompanied by two strings, three strings and four strings. Artists say: Hohu, three strings are muscles, two strings are bones, four strings are tendons. It is also said that the huohu is the pole, the two strings are the plugs, the three strings are the holes, and the four strings are the rulers and the tunes. Percussion instruments in the gong, both heavy and large, 55 cm in diameter, about 1 cm thick, the sound is not scattered and not manic, now more than six words with the gong, and strings sl tone, so there is a gong to set the tone of the traditional habits. There are many stringed songs in Jin opera. There are many stringed pieces in Jin Opera, such as [The Embroidered Lotus Bag], which expresses pleasant emotions. To express distress, there are [Sun God Needle] and so on, with [Tightly Killing Chicken] for tension and [Great Parasite] for relief. These songs can be used individually or in combination. For example, the music of "The Haunted Palace" and "Pick Chai" in "The Spring and Autumn Match" is a joint piece composed of a number of tunes. There are many suona tunes, such as the [open door drum] and [slow worship field] used in the tent, which can render the solemn atmosphere when the marshal rises to the tent. The [pair dance] used in "The Battle of Wancheng" has the momentum of thousands of troops and horses rushing to attack the battle. There are about 40 to 50 kinds of percussion drums and gongs. There are about 40 to 50 kinds of percussion points, such as [hard three hammers], [five hammers], [three harriers], [small battle], [battle fury], [sea sand], [cape], [hat head], [turn back], etc. When they are used, they can be used according to the development of the play. When used, they can be chosen according to the needs of plot development. For example, [Bored Field] (commonly known as belly rubbing) can be used in conjunction with the movements and shouting rhythms of the characters who beat their chests, stutter their feet, and sit uneasily. In "Chopping the Yellow Robe", Gao Huaide came on stage, in "Returning to Jingzhou", Zhao Yun came on stage, and in "Changbanpo", after Zhang Fei rebuked Zhao Yun, this kind of drumming was used to set off the characters' irritability and anxiety. The Zhonglu Opera sometimes uses [seven hammers] and strings before the four eyes, the cleat, and the two-natured singing, and if necessary, brings [ruffles] to match the playwright's action of playing the horsewhip, or catching the door. When Song Jiang kills Yan Boshi and searches for Liangshan's letters from her in "Sitting on the Floor and Killing Shih," he accompanies her with [small war], which powerfully renders her trembling and extremely tense state. In Jin opera, the three major acts of the traditional sheng, dan, and flower face are divided into five lines: red, black, sheng, dan, and chou. At the end of the Qing Dynasty and the beginning of the Republic of China, five major lines and fifteen minor lines were formed in the Jin Opera. The five major rows refer to: red (bearded students), black (flower face), raw, Dan, ugly. Fifteen small line refers to: red, Lao Sheng (red, big black and), big black, two black, small Sheng, Wu Sheng, dolls Sheng, Zheng Dan (Qingyi), small Dan, Lao Dan, color Dan, Wu Dan, knife and horse Dan, Wenchou, Wu Chou. In the Qing Dynasty, the north and south road clappers were roughly the same as the Puzhou clappers, and then gradually developed and changed. By the end of the Qing Dynasty and the beginning of the Republic of China, the middle and north road clappers had formed five major lines and fifteen minor lines. Five major lines: red (bearded student), black (flower face), student, Dan, and ugly. Fifteen small rows: red, old man (red, big black and), big black, two black, small, Wu Sheng, dolls Sheng, positive Dan (Qingyi), small Dan, old Dan, color Dan, Wu Dan, knife and horse Dan, Wen Chou, Wu Chou. Bearded Sheng line there are old. Red Sheng points. Lao Sheng, playing the elderly, hanging white three repairs or pale three locks, performance to advocate the main, old, heavy, simple is its main feature. The Red Sheng wears three locks of black color and has a red face, and plays the role of a brave, loyal and upright character. Xiao Sheng: divided into Wen Sheng, Wu Sheng, doll Sheng. Wen Sheng has a hat Sheng, plume Sheng, scarf Sheng, poor Sheng and so on. Mainly play young men. Sheng, wearing a hat, wearing a python robe or official clothes, playing the role of a character with a title, the performance requires a dignified and unrestrained demeanor. Plume student with head inserted cone tail as the main symbol, mostly play the role of military generals and civil and military characters. Generally played by the civil and military students. To plume for this kind of footwork. Towel Zisheng, wearing a scarf in, wearing pleats, holding a folding fan (so also known as fan Zisheng), the main actor in the flow of elegant gentleman, the performance requires the flow of dashing, elegant and handsome. Poor students, wearing vegetarian robes or rich clothes to play a poor scholar class characters. Requirements for the performance of the character poor and downtrodden and poor and ambitious form of expression, dolls Sheng, play children and young people, the weight of the play is not heavy, mostly by the child actor, students play. Wusheng: short fights, long leaning two kinds. Playing the young and strong men who are good at martial arts. Short-playing Wusheng, wearing a hat, wearing an arrow coat, foreign-accented clothes, leopard coat, performance to the martial arts, tumbling mainly, Wusheng Zha big leaning, wearing thick-soled boots, performance to open the fight, the frame mainly. Dan line: there are mainly positive amount (including the lady's door Dan), decimal Dan, old Dan, color Dan, Wu Dan, knife and horse Dan. Zheng Dan, also known as the big Dan, Qing Yi, mostly playing married, decent middle-aged women. To sing and do the main, quiet and dignified, know the wisdom of its main features, in addition to some singing in the unmarried woman (the so-called "boudoir Dan"). Also by the main Dan should work, the main Dan often with bearded students with the play, the weight of the play is generally heavier. Small Dan, mostly play teenage women, there are small Dan, flower Dan, the difference between the two lies in the character's personality and performance characteristics. Xiao Dan mostly plays decent and innocent young women, and the performance is mainly based on singing and doing. To lively and clever, naive and agile behavior. Flower Dan is to do work and read white mainly, mostly play the wild and spicy or beautiful young women, in order to spicy and ruthless as the main characteristics. The main Dan, small Dan for the opera in the main line, so there is "a nest of Dan (Dan and small Dan) to eat a full meal", "once the pick of the octagonal" said. Old Dan, playing elderly women, color Dan, also known as ugly Dan, ugly woman, playing funny or tricky women, Wudan, playing a brave female characters, generally small dress, do not wear python leaning, heavy martial arts. The general class society by the knife horse Dan part-time. Dagger and horse Dan, more than playing a good martial arts young and strong women. Body tie big leaning, head wearing seven stars forehead, insert plume, singing and playing and dancing and emphasize. This kind of footage is mostly played by a solid small Dan actor, so it is also known as the knife horse Dan. Flower face line: also known as net, black head. Divided into big flower face, two flower face. Most of them play the characters with special appearance, character and quality, and all of them are marked by facial hook face (i.e., face paintings of various colors on the face). Dahuamian, favoring singing, reading, doing, and behaving steadily, mainly plays the role of higher status characters, such as Bao Zheng, Cao Cao, and Xu Yanzhao. There are different types of Da Hua Mian, including Hua Mian, Bai Mian, Hei Mian, Hong Mian and Jing Mian, which are determined by the character's personality, quality and behavior. For example, Bao Zheng has a black face to show that he is impartial and unselfish; Cao Cao and Pan Shimei have white chests because of their treachery and cruelty; Guan Yu has a drama face to show his loyalty and martial character. In the past, it was said that "the flower face does not pick a class", but there are individual actors with high artistic achievement who can still pick a class, such as the Jin Opera flower face trainee Qiao Guorui (Lion Black), who has been picking a class for many years. In the past, there was a system of substitute feet (also known as the substitute line system) in the opera, which was due to the lack of actors in the old class society. Color Dan usually by the clown line on behalf of individual small Dan actor also on behalf of, such as Jin opera actress Ji Meilian play "pick up the jade bracelet" of Liu Matchmaker, "kite error" of the ugly girl, won the majority of the audience's praise. After the founding of the People's Republic of China, with the development of the times and the requirements of the audience, the gradual expansion of the troupe's establishment, the cast has increased greatly, the theater school and training classes also pay attention to the training of the old Dan actor, in addition to a small number of troupes, most of which are specialized in playing. But the color Dan, dolls foot system is still used today.

[Edit paragraph] Inheritance and development

Into the eighties, the government called for the revitalization of the Jin opera, troupes at all levels have adjusted the team, enrich the actors, add a line of work, sort out the old play, rush to arrange a new play, and some of the performance of the Jin opera and the current popular forms of art and culture, such as light music, to combine, and enhance the effect of the performance of the Jin opera. At the same time, there were also new talents such as Song Run Run, Shi Jiahua, Cui Jianhua, Li Tianxi, Wang Xiaoping, Wang Erqing, Li Guilian, Sun Hongli and so on. The repertoires of "Down to Hedong", "Fifteen Guan", "Tears of the Jade Cicada", "Crouching Tiger Order", "Falsehood", "Sword of the King of Wu", "Three Peach Gardens", etc. were restored and newly edited, and were brought to the provincial capital for evaluation and appraisal for many times, and some of them even went to Beijing to present their performances. In addition, a few of them have won the honorable title of Jin Opera Performing Artist, some have won the Plum Blossom Prize of Chinese Drama, and some of them have been promoted to the first and second grade actors. Nowadays, the famous actors of this theater include Wang Ai Ai, Tian Guilan, Jiping, Ma Yulou, Liu Han Yin, Guo Fengying, Wang Baochai and so on. The representative repertoire of Shanxi Jin Theater includes the traditional plays "Playing the Golden Branch", "Hanyan", "Little Feast", "Killing the Palace" and "Counting Grain". The state attaches great importance to the protection of intangible cultural heritage. On May 20, 2006, Jin Opera was approved by the State Council to be included in the first batch of national intangible cultural heritage list. Literature 1. The Way of Xu Hezhi's Drums: Contemporary Drum Masters of Jin Opera / by Zhang Linyu and Zhang Zhiyong. --Beijing: Culture and Art Press, 1998. 854 p. 2. Guo Fengying, a famous student of Jin Opera / by Li Wenhu; edited by Shanxi Drama Research Institute. --Taiyuan: Beiyue Literature and Art Publishing House, 1998. --258 pages 3. The Art of Wenchang in Jin Opera: An Essay on the Master and Disciple of Tian Jiuyun and Niu Qiaozhen / by Zhang Linyu. --Beijing: People's Music Publishing House, 1995.--433 pp. 4. A collection of sung pieces by famous artists of Jin Opera / edited by Liu Heren and others. --Taiyuan: Beiyue Literature and Art Publishing House, 1987.10.--552 pages 5. A hundred years of history of Jin Opera / narrated by Wang Yongnian; edited by Liu Jucai and Duan Shuren. --Taiyuan: Shanxi People's Publishing House, 1985.--346 pages. --(Shanxi opera history series) 6. Jin opera hu hu playing method / edited by Dong Wenrun. --Taiyuan: Shanxi People's Publishing House, 1981. --391 p. 7. The music of Jin opera / collected and organized by Zhang Pei and Guo Shaoxian. --Taiyuan: Shanxi People's Publishing House, 1981.--391 pp. 7. --Taiyuan: Shanxi People's Publishing House, 1979. 540 p. 8. Chinese opera. Shanxi volume / edited by the editorial committee of the Chinese opera journal. --Beijing: Culture and Art Publishing House, 1990.12.--830 pages