Shanxi Jin opera
Zhonglu Bangzi is characterized by euphemistic and smooth melody, beautiful, mellow and cordial melody, clear and simple, with strong Jinzhong local flavor and unique style.
Zhonglu Bangzi originated from Zhou Pu Bangzi and was popular in the Qing Daoguang and Xianfeng years. It has absorbed many characteristics of Pu Opera and gradually formed its own style through the enrichment and development of many artists. It can be said that it is a unique Bangzi opera formed on the basis of the bold breakthrough and innovation of Pu Opera.
In the past hundred years, some predecessors and old artists of Zhonglu Bangzi have made positive contributions to the development of this kind of drama, such as Meng Zhenqing (stage name "San Er Sheng"), Zhang Jingyun (stage name "Thirteen Red"), Gao (stage name "Pingshuhong"), Qiao (stage name "Lion Black"), Tian Guizi and so on. Especially, Ding Guoxian, a famous actor of Shanxi Opera, has made new progress in singing, speaking and acting since he took office, which has played an important role in the formation of the style of Shanxi Opera today.
The earliest main activity of Zhonglu Bangzi was in Taiyuan, and it was easy to absorb the advantages of brother operas and achieve mastery through a comprehensive study. Therefore, the performance scope of this kind of drama has gradually expanded. Before War of Resistance against Japanese Aggression, it had spread to western Hebei, northwestern Shaanxi, Inner Mongolia and other places. In the above-mentioned areas, fixed Zhonglu Bangzi troupes have been set up to sing Jin Opera. During the period of War of Resistance against Japanese Aggression, many Bangzi artists took part in the heroic struggle to save the nation from peril under the leadership of the China Production Party, and performed in the revolutionary base areas such as Jinchaji, Jinsui and Taihang. They perform not only traditional dramas, but also modern and new dramas. Performing in the front and base areas was praised by the people and played a certain role in inspiring people's morale. Jin-Sui July Drama Club (Zhonglu Bangzi) once went to Xi, Chengdu, Tianshui, Gansu and other places to perform with the troops for a long time.
After liberation, the number of Zhonglu Bangzi Troupe increased gradually, especially in Jinzhong, Lvliang and Taiyuan. Almost all counties have professional troupes, and many townships have amateur troupes. The famous drama "Golden Skill" has been made into a movie.
Shanxi Jin Theatre is the main performance group of Shanxi Jin Opera. Established in February 1959. This troupe has a long history of performance. Over the years, he has trained many young actors and accumulated rich practical experience on stage. Many outstanding actors gathered here and won the support of outstanding actors in Shanxi Province.
Shanxi Jin Theatre is located in Taiyuan, with 287 cast members. Historically, the theater has gathered a number of old artists of Shaanxi Opera, such as,,, Liang, and Ji Meilian. Through the painstaking management of stage life, these old artists have formed their own unique performance style and singing style, leaving a deep impression and high prestige among the masses.
At present, the famous actors in this theater are,, Jiping, Ma,,, and so on. The representative plays of Jin Opera include traditional plays, such as Beating Golden Branches, Han Yan, Little Banquet, Killing Palace, Counting Grain, etc.
The Origin and Development of Zhonglu Bangzi
Shaanxi Opera, formerly known as Zhonglu Bangzi, is a drama developed from Zhou Pu Bangzi. At first, it was mainly active in the central part of Shanxi Province, that is, the counties under the jurisdiction of Taiyuan Prefecture, Fenzhou Prefecture and Pingding Prefecture in Qing Dynasty. Later, due to the rapid development, the spread area gradually expanded, and the social influence became greater and greater, until it became the representative drama of Shanxi Province today-Jin Opera.
Discussion on origin
The origin of zhonglu bangzi has been a controversial issue for many years. According to the information I have, the origin of Zhonglu Bangzi should be in the Xianfeng period of the Qing Dynasty. Because before this, there were three kinds of urban and rural drama performances in Jinzhong revealed by a large number of stage questions: Zhou Pu Bangzi, Kyoto Huaqiang Class (now Peking Opera) and Jiangnan Sizhu Class (South Kunqu Opera), and there was no trace of description of "Middle Bangzi" at all. It was only in the early years of Daoguang that Zhou Pu Bangzi, then known as Shaanxi Bangzi, was revived. During the so-called "Daoguang Emperor went to Long Ting, Shanxi Bangzi became fashionable again", Pubang performed in Jinzhong and Taiyuan in the north, which not only caused a sensation in Taiyuan and shook Beijing, but also catered to the entertainment requirements of a group of wealthy businessmen rising in the Middle Road area. Its representative classes are Wanhe Class in Pingyao County, XiaoPingyao Class and Qing Ji Class in Jiexiu County.
In the early years of Xianfeng, cattail sticks began to be neglected. At this time, the Taiping Rebellion took place. An insurgent army arrived in Pingyang Prefecture (now Linfen City) in Shanxi Province in August of the third year of Xianfeng, aiming at Beijing, the capital of the Qing Dynasty. Under this historical background, foreign operas, including Pu Opera, rarely come to perform in the Middle Road area, which leads to a relatively vacant period of drama activities in the Middle Road area, which makes the middle road people who love drama, especially the wealthy businessmen, very disappointed, so a few people began to invite idle literati, ticket lovers, yangko and shadow puppetry artists to organize discussion groups and plan to create their own operas. In the middle and late period of Xianfeng, after hard discussions by many teams, on the basis of inheriting the rhyme of Pu Bang and the distinction between gongs and drums, combined with the singing characteristics of Zhonglu Yangko, the embryonic class club of Zhonglu Bangzi was initially formed and began a pilot performance. Among them, there are the representative black shop class in Yuci and Sanqing class in Qixian County. In addition to the stranded Pubang artists, Yangko and Shadow Play artists, there are drummers, shop assistants, miners and ticket lovers.
In the early years of Tongzhi, the social order in Shanxi improved. The appearance of a new type of middle bangzi has also been favored by more wealthy businessmen. So the rich people in Taigu, Yuci Pingyao, Xiaoyi, Jiexiu and other places, represented by the rich people in Qixian County, successively set up the upper and lower Liyuan classes, Sixi classes, Sixong classes and Siqing classes. In the performance practice, learn from each other and improve constantly, so that the singing and civil and military scenes are more and more perfect; And draw lessons from the experience of foreign drama management class clubs, so that the troupe gradually moves towards standardization. Except for the middle-level artists in Wu Wen, most of the members of the troupe are hired from Zhou Pu with high salaries, so there is a folk proverb: "Qi Zhong Tai Zi, Zhou Pu Wan Zi". Secondly, large enterprises have also built theaters, purchased Suzhou and Hangzhou embroidered garments, increased transport vehicles and made performance plans. If the troupe is responsible for transportation, most of the performances on each stage will last for three days, with performances in the morning, afternoon and evening, and the troupe will provide its own meals. Every year, the stacking boxes will be closed on the fifth day of the lunar calendar 10/KLOC-0, and artists will have a holiday, and classes will be organized in the first month of the following year. The monitor is responsible for macro leadership and the class teacher is responsible for specific affairs. The troupe is not commercial, and the profits and losses are entirely borne by the troupe owner. It's just that everywhere I go, I put a wooden tiger sign at the front desk with the name of a troupe hosted by rich people in a county to show off, and I have to write my name on the powder wall in the background. These stage inscriptions have a wide range of contents, which have become the stone evidence for us to study the development of Shanxi Opera today.
As the middle road bangzi became more and more stereotyped, it aroused the interest of the middle and small rich and the Chinese businessmen. They also invite artists or children from Zhou Pu to offer courses. By the end of Tongzhi, Zhonglu Bangzi Society had begun to take shape in a few counties in Shanxi Zhonglu and even North Road. The famous new troupes are: Hesheng Troupe in Jiexiu, Wuyi Garden in Xugou, Sishenghe Troupe in Taigu, Shuangqing Garden in Qixian, Haodian Troupe in Taiyuan and Yiqing Troupe in Fenzhou. Famous actors include 1000 red, 800 black,,, Tian and Bangbanghong, as well as drummer, Song and pianist Peng Genzhi. The repertoires frequently performed are: Congratulations, Chessboard Street, Spring and Autumn Competition, Salvation Poetry, Imperial Garden, Fisherman's Music, Zhao Jialou, Burning Pillar, Forward Arrow, Auspicious Picture, luoma lake, Beitianmen and Father. Thanks to their superb performances, the artists left a deep impression on the audience. Up to now, there is still a "four-happy class" in Jinzhong, which is full of drama, baldness and ugliness, covering Shaanxi. Ginseng dolls, ugly mouths, followed by a flag ... "and other dramas spread. However, at this time, Zhonglu Bangzi was still a rookie of Shanxi Opera, while Zhou Pu Bangzi, headed by Jinhe Class, Huaqiang Class in Kyoto, headed by Sanqing Class, and Jiangnan Kunqu Opera Class, headed by Mingfu Class, were still active in Zhonglu area, forming an era in which many operas coexisted and competed for each other.
Unfortunately, the above situation did not last long, and an unprecedented disaster happened. From Guangxu Yuan to four years, Shanxi and its surrounding provinces suffered serious natural disasters such as drought and insect pests. In this case, most troupes stopped performing, artists were separated or killed, and even the wealthy businessmen who had donated money changed their original intentions. It was not until 1967 Guangxu that Zhonglu Bangzi began to recover. Starting point club is an entertainment group with a long-term contract system, and it has become a commercial management organization led by famous artists or rich people. At this time, there was a serious shortage of artists attending classes, so we had to take in poor children from nearby middle schools to train and use them. After teaching for 3-5 months, he was forced to take the stage, commonly known as "leaving the nest". Some of them forced them to study drama by beating, cursing and corporal punishment. At that time, the famous classes were Erbaohe Class in Liucun, Yuci, Xili Garden in Qingyuan du cun and Xiaoli Garden in Feng Meng Village. Among them, the second Baohe class trained the most actors, almost all over the middle road.
Brilliant period
Ten years after Guangxu, the middle road bangzi rose again, and a new atmosphere of middle road artists performing middle road operas appeared, which changed the old situation of Pubang artists performing middle road operas. From the 15th year of Guangxu to the end of Qing Dynasty, Zhonglu Bangzi entered a glorious period. At this time, wealthy businessmen, rich men and employees from all over China and Shandong once again supported the development of China-Shandong Bangzi. Some of them take over classes by themselves, and some act as backstage artists, which makes drama clubs mushrooming. At that time, there were no less than two or three clubs in various prefectures, prefectures and counties, with Taigu and Pingyao as the most, with no less than five clubs all the year round. The performances include temple fairs, fairs, treadmills, opening ceremonies, business exhibitions, opening ceremonies, praying for gods, making vows, offering sacrifices, weddings, funerals and birthdays, and official dramas. In ordinary villages, there is also a singing opera every year; There are as many as 5- 10 large market towns every year. Zhonglu Bangzi has become the main kind of drama that people in Zhonglu like to see and hear, and it also competes with local operas in Zhangjiakou, Baotou and Guihua with merchants in Zhonglu. During the development of Zhonglu Bangzi, due to geographical relationship and different absorption of folk art, three schools were formed in performance programs, singing styles and frontcourt classics, namely, Luban in the county under the jurisdiction of Taiyuan Prefecture; Off-duty in counties under the jurisdiction of Fenzhou area; Pingding and Liaozhou counties are divided into four levels. It was not until after liberation that the above three small differences were integrated.
During this period, the famous classes in the middle road included He Sanbao Class in Yuci, Yin Hui Class, Li Kun Garden in Taigu, Rongsheng Class and Yongsheng Garden in Qixian, Tongchun Garden and Zhu Feng Garden in Pingyao, Quanfu Class and Tongsheng Garden in Jiexiu, Hechun Garden and Ruyi Class in Fenzhou, Changsheng Class and Cui Liyuan in Xiaoyi, Xiaowanshun Garden and Sanhong Class in Shouyang and Yuxian County. There are Shengxing Class in Xinzhou, Xiaojing Cuiyuan in Fengxian, Wansheng Class in Datong, Changsheng Garden in Wutai and He Yiban in Tiancheng (town) County on the North Road. Famous artists include Sandengqu, Erbahei, Fushengsheng, Jade Doll (Liu Yufu), Walnut Red, Liulicui, Yu Changhong, Jin Dachao, Dog Egg, chamber pot Ugly, Boneless, Flying on the Grass, June Fresh, May Fresh, Jiuhuangya, Shoe-drying Dan, Zisheng and Tian Master Ren Yingzhi. Representative repertoires include North Tour Palace, Yanta Temple, Huluyu, Gankun Belt, Sun and Moon Map, Mu Huguan, Loyalty and Filial Piety, Zangong, Luhua River, Yellow River Array, Fog Star, Nanyang Pass and Yurang Bridge. The audience recognized that the top three plays were Kunli Garden, Jinli Garden and Rong Sheng Class in Qixian County of Taigu. Kun Liyuan, under the leadership of the squad leader's Sanduang District, was very popular and was rated as the "font class". As the saying goes, "When he enters the city, he buys and sells people, risking his soul ..." "When he enters the village, the long-term workers tend the sheep. I saw Qixing Temple in the morning and the stool palace in the afternoon. " It is obvious that the performance is booming.
Another symbol of the glory of Zhonglu Bangzi is the ticket classes and self-help classes all over the urban and rural areas. The so-called ticket class is an entertainment organization spontaneously established by businessmen, farmers and private mats. Participants are called ticket friends, and those with high skills are called "writers". Most of them get together in their spare time and sing by themselves, which attracts many audiences. This kind of organization has played a bridge role in promoting drama to the masses and deepening their love for drama. Solitary Lofty Class is an opportunity for wealthy families to invite famous artists and cultural celebrities to sing and entertain at home, and at the same time discuss and modify scripts, tunes or improve performances. This kind of activity is also called "dark". When it is mature, it will officially perform on stage, which is called "exposure". This trinity self-help class composed of rich people, intellectuals and famous old artists is a pioneering work in the history of the development of Zhonglu Bangzi. Among them, outstanding achievements are the collection of literary works in Taiyuan County (now Jinyuan Town), Caojiaban in Beimeng Village of Taigu, and Qujiaban in Qixian City.
After the middle road bangzi reached its peak, the Jiangnan Sizhu class and Kyoto coloratura class basically withdrew from the middle road stage, and only Pu Bangzi came back occasionally, and the momentum was greatly reduced.
After the Revolution of 1911, the counties in Zhonglu were once in turmoil, and most rich and powerful people took a wait-and-see attitude. Therefore, most of the people in charge of the class in Zhongluzi were replaced by the former Qing government, the old escort agency and others. At the same time, the number of artists in Zhonglu has also grown. Except for the settlers, the other artists of Pubang no longer come to the middle road for classes. During the period of 5-19 (1916-1930), the situation in Shanxi was relatively stable, and Zhonglu entered the second glorious period. Features are:
(1) There are many class clubs and schools are expanding. At this time, Zhonglu Bangzi not only took root in Yanbei and occupied the mouth, but also developed and established class clubs in the western part of Hebei Province, the northeastern part of Shaanxi Province and the northern counties under the jurisdiction of Pingyang House and Lu 'an House in the province, forming a large-scale drama across the five provinces of Shanxi, Shaanxi, Hebei, Suiyuan and Chahar in northern China, so it was called Shanxi Bangzi. As far as 30 counties in Central Shandong are concerned, there are more than 120 troupes in this stage, among which Shouyang is the most, and it has successively undertaken 2 1 troupe. The famous dramas of the last three classes are Jinli Garden in Yangchengzhai, Taigu County, Wanfu Garden in Hu County and Zicheng Garden in Xugou County.
(2) There are many famous actresses and the competition is fierce. Because there are many classes and clubs, they compete with each other. After the Republic of China 14 years, Chen Yu, the squad leader of Xugou Zicheng Garden, transferred back the Kunjiao artists such as Niu Niu and Er Nvzhi from Zhangjiakou for the first time, and performed on the same stage with the male artists in this class, which caused a sensation and attracted a large audience. Later, Hebei Bangzi martial artists came to Shanxi to attend classes, and their martial arts dramas won unanimous praise from the audience. Then there are some class clubs represented by Wan Fuyuan in Ethereum Valley, and they are not far behind. Second, they went back to Zhou Pu to select new talents. In this way, Zhonglu Bangzi has formed a great situation of talented people, strong strength and mutual competition. At this time, the famous artists are: Gai, Shuo Shuhong, (who later sang Peking Opera), Shisanhong, Xiao Shierhong, San Ersheng, Tian Guidan, Dan, Lion Black, Shiqisheng, Fu Yichou, Yan Zhanghei, Bing Xindan, You Fudan, Ling, Yang Li Black, Yan He enema. Famous opera researchers include Guo and Pei Shichang, and there are large and medium-sized Kunqu operas outside the mouth.
Niu, Er Niu Niu, Er Nv, Ji Jin Zhi, Orange Jin Mei, etc. ; Cheng, Li, Wan, Er, Ma Bulong are all famous teachers in education.
(3) There are many scenes and complete civil and military skills. Due to the large number of talents, most of the plays staged are written by celebrities. Common ones are Six Chapters in the Snow, Fengyige, Golden Beach, Going to the Tiantai, Legend of the White Snake, Iron Bow Edge, Baizitu, Famen Temple, Unity of Two Officials, Dress of Ten Thousand Buddhas, Loyalty Map, Ode to Plum Falls, and Double. It can be said that both civil and military.
(4) Exquisite acting skills and a hundred flowers blossom. At this time, all classes and societies are trying their best, and artists from all walks of life are also leading the way in singing, doing, reading and performing stunts. Such as Xiao Sheng's natural and unrestrained cavity and sweating, Mao Mao Dan's ya ya cavity, Tian Guidan's cough cavity, Ge Puzhou's "Ten Don't's" and "Ten Stove Incense" stack, the lion's black pulp spectrum shaping, Lingling's feather work, Yan Zhang's blackhead wrinkle breaking work, self-fragrant seesaw work, grasping Xin Dan's catwalk work, and cake Dan's clothes folding work, and so on. It not only gives the audience beautiful enjoyment, but also leaves a precious legacy for the opera art in our province. There are folk proverbs, such as "I'd rather squeeze my pants than miss my third son's sitting in the kiln", "I'd rather stick from door to door than miss Tian Guidan's bloody handprint", and "I won't have to eat (marry) menstruation all my life after seeing a heartthrob".
Since the 1920s, due to the fact that some old artists in Shanxi Bangzi are still alive, the stage structure can keep men and women performing on the same stage, so three wonderful plays such as Taigu Jinyiyuan have appeared. In the 24th year of the Republic of China (1935), Buyun Drama Club, headed by famous female artists, and tang style Drama Club, headed by Gai, performed in Beijing, Tianjin and Shanghai, which greatly expanded the influence of Shanxi Bangzi, exchanged experiences with other artists and enriched themselves. Later, the protagonist in Shanxi Bangzi gradually changed from male to female. At the same time, it also brings potential problems: because female acting can attract more audiences and earn more money, there is a general upsurge of cultivating female artists everywhere. For example, Taigu Fuqing Garden, Yuci Kunli Garden, Qixian Xiaotong Garden and Yuxian Chengqing Garden. All women, all trained. Even the old artists at that time, such as Shuo Shuhong, Yu Landan, You, May Fairy, Dan, Gai, Narcissus, Pi Jixian, Yi Wanshan and other celebrities, also recruited female disciples to teach and perform. Therefore, before the "July 7th Incident", most of the stage actresses in Shanxi Bangzi were Kunjiao. For example, Bei Guitao, Bei, Bei, Liu Junying, Dong Cuihong, Dong Guihua, Huang Bilou, Radium Lotus, Han Lianchun, Niu Guiying, Guo Fengying, Guo Lanying, Ji Meilian, Sun Fue, Hua Yanjun, Ding Yanxia, Qiao Yuxian, Zhang Meiqin, Liang Xiaoyun, Liu Zhilan and Ji Lanxiang. There are only Wang, Zheng Yalou, Zhao Yuelou and Wang Zhengkui as male rookies.
Because of the actor's "Yin flourishes while Yang declines", Shanxi Bangzi has produced many excellent helmet plays, martial arts plays, painted faces and clown plays. The gradually suspended or lost performances have gradually replaced the impassioned dialogue, singing and ups and downs unique to this North Opera performance with euphemistic melodies and lingering habits, thus losing the masculinity and sonorous spirit of the past.
Be robbed
After Yan and Feng failed to overthrow Chiang Kai-shek, Shanxi's economy was depressed and there was a shortage of money. Some clubs in Shanxi Bangzi are controlled or run by gamblers, drug dealers, local ruffians and others. In order to make money, they often take advantage of performances to openly gamble and sell drugs. They also instigated and lured artists to indulge in hobbies, went astray, and corrupted and degenerated into troupes, resulting in the weakness of typhoons, the degeneration of artists' thoughts and the decline of their artistic level, which brought serious difficulties to many artists' lives, and even a few Kunqu artists were unlucky and imprisoned, which had a very bad influence on the broad masses of the people. The above is the internal cause of Shanxi Bangzi's decline from the peak. However, the external cause of its destruction was the invasion of Japanese invaders.
After the Lugouqiao Incident, the Japanese army soon invaded Shanxi. Wherever he went, he burned, killed and looted, doing all kinds of evil, forcing all the local theatrical troupes to collapse and the artists to scatter. Some of them fled abroad, some turned to farming, some retreated to Taiyuan and Yuci Theatre, and others, such as San Ersheng and Gaitian Hong, were bullied by the Japanese army and died with hatred. Only a few people entered the revolutionary base areas such as Taihang, Jinsui, Shanxi-Chahar-Hebei and served the anti-Japanese military and civilian performances with a brand-new look. After eight years of Japanese invasion of China, the vast rural audience in enemy-occupied areas were basically isolated from Shanxi Bangzi, and the phenomenon of individual takeover of classes in rural areas no longer existed. It was not until after the victory of the Anti-Japanese War that Yan Xishan returned to Taiyuan and organized a cultural propaganda team and so on that he performed occasionally, but the artists in his class were bullied and squeezed by local bureaucrats and local tyrants, so there was no artistic performance.
Throughout the 10 years before and after the Anti-Japanese War, the disaster suffered by Shanxi Bangzi caused the first low tide in the history of Shanxi opera development.
Regain glory
The establishment of New China ushered in the third glorious period of Shanxi Bangzi. First of all, the artist was liberated and became the master of the country. Under the call of the people's government, many artists who were exiled or changed careers returned to the ranks. They formed a new performance group based on city theaters or special counties, and with the help of cultural departments at all levels, established rules and regulations to get rid of all kinds of bad habits left over from the old society. Secondly, following the Party's literary and artistic policies, we adapted some old dramas and created or transplanted some new ones. Then, with the development of electrification, stage equipment such as electric lights and scenery became popular. In addition, art schools and drama research rooms at all levels have been established to cultivate reserve forces. Screenwriters, directors and other personnel have been added. 1956- 1958 or so, literary and art groups at or above the county level have been established and improved in most parts of the province. The best actors are concentrated in Taiyuan, the provincial capital, so Shanxi Bangzi was officially named Jin Opera, and the name of the troupe belonging to each county was changed to XXX Jin Opera Troupe.
At this time, in addition to Ding Guoxian, Niu Guiying, Guo Fengying, Ji Meilian, Cheng Yuying and other Jin opera performers, the first generation of artists were still active outside the opera stage. Famous rookies include Liu Xianling, Ji Ping, Cheng Lingxian, Fan Cuiping, An Dongmei and Ding. By the early 1960 s, there were,,, Ma,, Wu Zhong, Ding,. Then, the repertoires that are often performed are Golden Branches, Xiahedong, Qin Xianglian, West Lake Tour, Lotus Lantern, Two Butterflies, Meng Jiangnv, Detective, Eight Sisters Yang, Twelve Widows' Journey to the West, Liu Hulan and the fiancee of a volunteer. Various theatrical troupes often go deep into the grass roots to perform for the masses, which makes Shanxi Opera present a prosperous scene.
Fall back to low tide
During this period, some problems accompanied by the prosperity of Shanxi opera gradually emerged. First, the troupe is officially run, artists have lived in cities for a long time, and there are relatively few activities to perform at the grassroots level. Secondly, with the development of the situation and the people's different pursuit of cultural life, the audience of Jin opera is getting less and less now. Third, in the implementation of the party's literary and artistic policies, there was a tendency to simply emphasize the singing of modern plays in the 1960s, which made a large number of old artists useless, retired early or changed careers, and many excellent traditional plays were lost. Some directors seldom study the history of Shanxi Opera, and rarely dig out the essence of tradition. Instead, they follow the trend and turn the script into a textbook. Fourthly, in terms of channels for training talents, the enrollment methods of art schools are not perfect, and many graduates change careers. Some actors lack the professional quality of self-respect and self-love, live a free life, and can't pass the "tone sandhi" barrier, and the stage of Shanxi opera appears yin flourishes and yang declines; There is a general lack of hard training for children. Fifth, the number of ticket classes in urban and rural areas has been greatly reduced, while new entertainment activities such as movies and sports have soared, which has weakened people's feelings for Shanxi Opera and directly affected its development. Sixthly, the occurrence of the Cultural Revolution made Shanxi Opera the first target, which was also a main reason for the depression of Shanxi Opera. After the "Cultural Revolution" came, many artists were criticized as "princes and princes, talented people and beautiful women". Then there is the criticism of the script and authority. In some places, clothes were burned and art schools were closed. 1967, the troupe was changed to Mao Zedong Thought Propaganda Team. Later, he changed to sing a model opera, and the actors had to pass the political review before they could come to power. Then, in the process of "cleaning up the class ranks", many artists in the old society were retired, decentralized and removed, and some even wore hats for labor reform. In this way, the vitality of Jin opera has been greatly damaged, resulting in the second low tide in the history of Jin opera development.
The present situation is worrying.
After 1977, Shanxi opera resumed the performance of costume drama, but there were few plays and decent roles. Indulging in the times, the government called for the revitalization of Shanxi Opera, and operas at all levels responded by adjusting their ranks, enriching actors, adding costumes, sorting out old dramas and rushing to produce new ones. Some boldly combined the performance of Jin Opera with popular light music, Kara 0K and other literary forms, which enhanced the performance effect of Jin Opera. At the same time, a number of new artists such as,,,,, Wang,,, and Sun Hongli are constantly emerging. After being repaired and newly edited, Xiahedong, Fifteen Passes, Yuchan Tears, Crouching Tiger, Hidden Dragon, Chopping Son, Wu and Under the Peach Blossom Garden have been assembled in provincial capitals for performances and competitions many times, and some even went to Beijing to perform. In addition, a few people have won the honorary title of Shanxi Opera Performance Artists, some have won the Plum Blossom Award for Chinese Drama, and some have been promoted to first-and second-class actors. These are the main achievements of Jin Opera, and we should fully affirm them.
However, judging from the overall development of Shanxi Opera, it can't be said that she has come out of the trough. On the contrary, I think Jin opera is still wandering in the trough. For example, few troupes run by the provincial government can support the troupes in groups, half of which rely on financial allocations and the other half are in a state of suspension. Another example is the artist. There are not many artists who really practice skills and perform with peace of mind. On the contrary, under the influence of "commodity economy", some of them went to sea, which made the reputation of some famous artists decline. For example, there are not many people who are really fresh, such as putting on a play, turning around or acting twenty or thirty popular dramas such as golden branches and jade leaves. Some also arranged some low-level scripts to deal with it. No wonder the audience of Shanxi opera is getting smaller and smaller. At present, from the perspective of rural areas, the audience is mainly the elderly, and the urban audience is pitiful. This can not help but arouse our deep thinking: when will the depression of Shanxi opera change?