What are the feelings of Shaanxi Qin Opera?
Shaanxi Opera "was formed in Qin Dynasty, refined in Han Dynasty, flourished in Tang Dynasty, completed in Yuan Dynasty, matured in Ming Dynasty, broadcast in Qing Dynasty, and evolved into a grand view after several times". It is a very old drama, the originator of China opera, and a replica of the legendary Lotus in the Bowl during the Wanli period of the Ming Dynasty (A.D. 1573- 1620).
Because many plays of Shaanxi Opera are important or interesting themes in the history of our country, such as the war against aggression, the struggle against traitors, the struggle against oppression, etc., and because Shaanxi Opera music embodies the simple, frank, hardworking and brave folk customs of hearty, generous and upright character, a board-cavity music system suitable for expressing various emotional changes was formed earlier (perhaps the earliest); In addition, the artists of Shaanxi Opera gradually created a set of relatively complete performance skills, so wherever Shaanxi Opera went, it had different influences on various operas, and directly affected the formation and development of various Bangzi operas, becoming the originator of Bangzi Opera. Three generations of Qin Opera, namely, Qingkang, Yong and Gan, flowed into Beijing, which directly influenced the formation of Beijing Opera.
The heyday of Qin Opera was during the Qianlong period (1736- 1795). During this period, there were many places in China where there were 36 Shaanxi Opera clubs, including Fu Bao Class, Jiangdong Class, Shuangzhai Class and Jinxiu Class.
The performance of Shaanxi Opera is simple, rough, bold and full of exaggeration. Shaanxi opera singing can be divided into two kinds: joy and bitterness. The former expresses joy and joy, while the latter expresses grief and sadness. The music is colorful, beautiful and moving. The main musical instrument is banhu, with sharp and crisp pronunciation. It has its own unique style in facial makeup (such as the golden face of Qin Shihuang with a beard) and figure (such as riding a horse, pulling a shelf, picking firewood, carrying water, etc.). ), make-up (such as changing the head to comb your hair), stunts (spitting fire, blowing fire, walking on stilts), and language rhymes (Qin opera has fourteen rhymes, and there are tones in it). "Singing roar" is known as one of the top ten monsters in Guanzhong. Role trading is divided into four generations (old pedant, young student, young student), six generations (Lao Dan, Zheng Dan, Xiao Dan, Hua Dan, Wu Dan, Media Dan), two generations (big net, wool net), one generation and thirteen generations, also known as "Thirteen nets".
Because of its different popular areas, Shaanxi Opera has evolved into different schools: Jidong Road Shaanxi Opera is popular in Weinan area in the east of Guanzhong; Popular in Baoji area in the west of Guanzhong, it is called Xifu Qinqiang; Popular in Hanzhong area, it is called Diao Han Qiang Qin; Popular in Xi 'an, it is called Xi 'an Luantan (that is, Zhonglu Qinqiang). Influenced by local dialects and folk music, each Shaanxi opera is slightly different in pronunciation, aria and music. In the past 50 years, the east, west and south roads have been underdeveloped, and the middle road has taken its place, occupying an absolute advantage in the whole northwest region.
Most of the operas performed by Shaanxi Opera are based on the legend of heroes or tragedy stories such as Wan Guo, The History of the Three Kingdoms, Yang Jiajiang and Yue Shuo, as well as myths, folk stories and various case-solving dramas. There are more than 654.38+00000 plays, ranking first among more than 300 operas in China. Because of its long history, it is scattered in many plays. According to the current statistics, there are many plays.
Edit the classification of Shaanxi Opera in this paragraph.
Shaanxi opera is a plate variant, which can be divided into two kinds: joyful sound and bitter sound. The former is good at expressing cheerful and joyful emotions. The latter is good at expressing grief and sadness. Choose to use it according to the plot and the needs of the characters in the play. There are flexible boards, 26, substitute boards, lifting boards, sharp boards, rolling boards, flower cavities and dragging cavities, which are particularly distinctive. The main musical instrument is banhu, with sharp and crisp pronunciation.
Performance features: Shaanxi Opera originated in Shaanxi and Gansu, and it is popular in Shaanxi, Gansu, Ningxia, Qinghai and Xinjiang. Because it is used to play festivals, it is also called Shaanxi Bangzi. Because Shaanxi is located to the west of Guhanguguan, it was called "Xiqin" in ancient times, so it is also called "Xiqin Opera". Local people also call it Bangzi, Bangzi, Luantan Opera, Zhonglu Qinqiang Opera, Xi Luantan Opera and Henan Opera. There are different opinions about the origin of Qin Opera, which was formed in the three periods of Qin, Tang and Ming. During the Wanli period of the Ming Dynasty (1573- 1620), the legendary fourteenth edition of the manuscript Lotus in the Bowl used the tune of "Two Offenders in Shaanxi Opera", which is the earliest record about Shaanxi Opera. The play is an anonymous work in the south of the Yangtze River, which proves that it spread to the south of the Yangtze River, which is far away from Shaanxi, and it takes time to spread, which proves that the Shaanxi opera should have taken shape in the middle of the Ming Dynasty. According to another survey, the earliest Shaanxi Opera Society in Ming Dynasty was Huaqing Society founded by Zhou Zhiren, which was once famous in Shaanxi and Gansu. Later, Shaanxi Opera developed into East, West, South, North and Middle Road, and evolved into East, South and Middle Road in Gansu. Influenced by local dialects and folk music, each Shaanxi opera is slightly different in pronunciation, aria and music. Since the founding of the People's Republic of China, Shaanxi, the east, the west and the south of Shaanxi, and Gansu's Shaanxi are underdeveloped, and Guanzhong in Shaanxi has taken its place, occupying an absolute advantage in the whole northwest region. The aria of Shaanxi Opera is wide and loud, straight up and down. It has the characteristics of deep and tragic style, lingering, delicate and soft, brisk and lively, sad and euphemistic, and sad and beautiful, and is deeply loved by the broad masses of the people. The role of Shaanxi Opera is said to be "thirteen doors and twenty-eight categories". Old students can be divided into three categories, namely, security workers, declining workers, handyman, handyman, shaman-wearing workers, robe-wearing workers and red workers. Young students can be divided into pheasant-tailed students, students wearing gauze hats, poor students, military students, young people and the elderly. Zheng Dan is divided into cuff Tsing Yi and python wearing Tsing Yi, while Xiao Dan is divided into boudoir Dan, Peking Opera Blues and Hua Dan. Each character has its own unique style and specialty. Its performance skills are simple, simple, rough, delicate, profound and beautiful, moving people with emotion, full of exaggeration, strong flavor of life, rigorous programs and rich skills. Characters and stunts include riding a horse, pulling a shelf, spitting fire, blowing fire, spitting fire, shoulder and back skills, sharp skills, feather skills, sleeve skills, fan skills, snuff, dome light, grinding teeth, playing with fire sticks, falling, chewing, teetering, fangs, hat and wing skills and so on. The facial makeup of Shaanxi Opera pays attention to solemnity, generosity, cleanliness, vividness and beauty, with three primary colors as the main color, middle color as the auxiliary color, flat painting as the main color and contrast color as the auxiliary color, so transition colors are rarely used. In terms of expressing characters, it is characterized by loyalty, blackness, powder rape and magic, and its style is mainly characterized by rough lines, bold style, bright colors, strong contrast, thick eyebrows and magnificent patterns. The facial makeup of Shaanxi Opera has a long history. Kang Hai's facial makeup of Ming Dynasty unearthed in Shaanxi Wugong is the earliest facial makeup of Shaanxi Opera. Shaanxi and Gansu provinces have formed different performance styles, so there are many schools on Facebook. For example, there are Longnan facial makeup, Longdong facial makeup, and "Geng facial makeup" representing Gansu Middle Road, and different facial makeup of Shaanxi Opera has also been formed. There are tens of thousands of repertoires performed by Shaanxi Opera, and most of the traditional repertoires come from folk literati, with a wide range of topics and complex contents. Due to the age, there are many scattered books. According to the statistics of the former Shaanxi Repertory Theatre (now the provincial art research institute) from 65438 to 0958, there are only about 3000 copies left. These dramas are mainly tragedies and dramas that reflect historical events, and dramas that show folk life and love and marriage account for a certain proportion. Most historical dramas are the legend of heroes or tragic stories based on foreign countries, the Three Kingdoms, Yang Jiajiang and Yue Shuo, among which there are three kingdoms 108 and Yang Jiajiang 85. Other themes include myths, folk stories and various case-solving dramas. After the Revolution of 1911, more than 30 playwrights of Hehe wrote more than 550 plays, among which Sun, Gao Peizhi, Li and Li Yuezhi made the highest achievements. Among these plays, there are Three Returns, Three Drops of Blood, Golden Pagoda, Double Brocade, Soft Jade Screen, By the Cabinet and so on. In addition, a number of modern Shaanxi opera playwrights have emerged in the revolutionary border areas, with more than 200 plays, among which Ma Jianling is the most successful. His representative works include Revenge of Blood and Tears, Family, Hatred of the Poor, etc. After the founding of New China, the adapted plays include You Gui Shan, You West Lake, Three Drops of Blood, Zhao Orphan, Yuan, Po, Si Zi, Legend of the White Snake, Famen Temple and Burning Yangzhou.
Form of performance
The lyrics structure of Qin opera is seven-character style, with seven-character sentences and cross-sentences, which means that the lyrics of the whole drama are arranged like a seven-character blank poem.
Shaanxi opera stills
Clean and tidy. Corresponding to the lyrics is the tune, and the musical structure of Shaanxi Opera can be summarized as the process of "breaking the board-adagio-from the medium board to the urgent board-ending", that is, the rhythm of playing the board changes from slow to slightly fast and extremely fast, and then gradually slows down before ending, and finally ends. The singer unfolds the story layer by layer according to this step-by-step rhythm. So how to change the rhythm? This is precisely the role played by the "Luban" who sings in the Shaanxi Opera. Shaanxi opera belongs to a variety of plate-type operas, and there are six plates, namely, 26 plates, adagio, ribbon plate, backboard, two-inverted plate and curling plate. 26 boards are two "six boards", and a six board needs to knock six bangzi, all of which are strong shots. Other kinds of plates are made by acceleration, deceleration and free rotation. In this way, artists can express their feelings in different rhythms according to the needs of the plot.
Another feature of Shaanxi opera singing is "color tone", which is sung in falsetto and octave, and is often used in places where the characters are emotional and the plot is ups and downs. Among them, Tuqiang must be classified as "An" rhyme, which is full and vivid, and it is also obviously different from other operas. In addition, the singing of Shaanxi Opera can be divided into joyful sound and bitter sound. As the name implies, Yin Huan is good at expressing cheerful emotions; Bitter sounds are suitable for expressing grief and sadness. All these require the performer to grasp the script, in order to better express the emotion of assisting singing.
The accompaniment of Qin opera is divided into two fields: sub-field and Wu field. The instruments used are banhu, erhu, flute, sanxian, pipa, dulcimer, suona, sea flute, pipe, tuba (trumpet) and so on. There are drums, dry drums, hall drums, sentence gongs, small gongs, horse gongs, cymbals, hinges and bangzi in the martial arts field. Of course, the most important musical instrument in Qin Opera is Banhu, and its sharp and crisp pronunciation can best reflect the characteristics of the changes of Qin Opera plates.
The role of Shaanxi Opera is divided into four students, six Dan, two clean and one ugly, and there are thirteen doors, also known as "thirteen nets". When you sing, you must sing duets from many angles, such as Sheng, Tsing Yi, Lao Sheng, Hua Lian. Therefore, it is also called "disorderly singing". Some people praise Qin Opera for its "exciting sounds, warm and sour ears, and turbulent qi and blood", precisely because of the performance characteristics of Qin Opera. The performance of Shaanxi Opera is simple, rough, delicate and profound, touching and full of exaggeration. After the Revolution of 1911, Yi Sushe was founded in Xi 'an, specializing in Shaanxi Opera, determined to reform, and absorbed the nutrition of Peking Opera and other operas. His singing changed from high-pitched and passionate to soft and beautiful, which not only retained the original style, but also incorporated new styles.
Artistic feature
It is characterized by high excitement and extreme haste. In particular, the singing voice of Hua Lian is even louder, and the locals call it "earning a broken head." Foreigner joke: "singing Shaanxi opera, first, the stage should be strong to avoid collapse;" Second, actors should be healthy and avoid getting sick; Third, the audience should be bold and not be scared. "
Folk songs as evidence: the folk customs are simple and tough, and the face of Shaanxi opera is piercing. The audience was so happy that they were not afraid that the stage shed would turn over.
The aria of Shaanxi Opera consists of "Lu Ban" and "Cai Qiang", and each part is divided into joyful sound and bitter sound. Bitter tune can best represent the characteristics of Shaanxi opera, which is deep, sad and impassioned, and is suitable for expressing grief, resentment, nostalgia and sadness; Yin Huan is cheerful, lively, full of energy and strength, and is good at expressing joy, cheerfulness and heartfelt feelings. There are six basic types of plank road: board 26, flexible board, arrow board, inverted board, belt board and rolling board. Color cavity, commonly known as two tones of an octave, is often used in places where the characters' feelings are agitated and the plot development is ups and downs. It can be divided into four categories: slow board cavity, double-inverted board cavity, substitute board cavity and back board cavity. All plate vocals are voiced by real people; They all use falsetto. Xu Sheng, Tsing Yi, Lao Sheng, Lao Dan and Hualien all sang in Shaanxi Opera, which is called "disorderly singing". There is a folk saying that "Dong 'an Anxi Adagio, xi 'an sings well at will". Before the end of the Qing Dynasty, Qin Opera, also known as Xi Luantan, was named after its two people. Some big boards have horns, which are dozens of sentences long. For example, in "The West Wing", Xian Di's crying sounds are all sweeping the strings, and he has to sing more than 50 sentences, paying attention to the natural and beautiful singing, which is called "crisp board sweeping the strings" by the people. Forty-eight tones in Lower Hedong should be sung in rows; Seventy-two lines of "Chop Li Guang" can no longer be sung. Hualian pays attention to "Jiang Yin" and "Ao Yin" in singing. If it is difficult to sing when raising, those who can become famous. Qinqiang Qupai can be divided into six categories: strings, suona, Haidi, Guan Sheng, Kunqu opera and divertimento, mainly strings and suona Qupai. The musical accompaniment of Qin Opera is called the "bravery" of Qin Opera. The pianist plays an important role in the Shaanxi Opera Troupe and often sits in the middle of the stage. Accompaniment music is good at playing the old tune, and the pitch is "three-eye tone", which was changed to the tone change (that is, pull down) after the 1930s.
The performance of Shaanxi Opera is unique, and the role system has four lines: life, Dan, purity and ugliness, and each line is divided into many kinds, which are collectively called "Thirteen Nets". Generally speaking, a three-way role system with "four beams and four pillars" as the backbone should be established according to the business. The main characters include Xu Sheng, Hua Lian, and the secondary roles include, Uncle Sheng, Lian, and the clown. The other roles Lao Dan and Laosheng are all three roles. The best of all roles can be top grade, and the others are supporting roles. Troupe with superior conditions often pay big money to invite famous actors. All walks of life can, Wen; Martial arts, Kunming and Chaos are all generalists, who are good at handling, that is, the so-called "playing the burden" or "eating a full stomach". The performance skills of Shaanxi Opera are very rich, with all kinds of characters and stunts, such as riding a horse, pulling a shelf, spitting fire, jumping down, sweeping snuff, playing with fire sticks, carrying a gun, holding a dome light, grinding teeth and turning a chair. The performance skills of fairy drama are more peculiar and colorful. For example, The Yellow River Array uses five magic props. Measure the sky ruler, turn over the sky, can cast a long string of fireworks, and gold scissors can fly out of butterflies. In addition, Hualien pays attention to scaffolder to show its heroic spirit and is called "shelf" by the masses.
The state attaches great importance to the protection of intangible cultural heritage. On May 20th, 2006, it was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On June 8, 2007, Shaanxi xi Qinqiang Theatre won the first Cultural Heritage Day Award from the Ministry of Culture.
The lyrics structure of Qin Opera is seven-character style, with common seven-character sentences and cross-sentences, that is, the whole lyrics are arranged neatly like a seven-character blank poem. Corresponding to the lyrics are tunes, and the musical structure of Shaanxi Opera can be summarized as follows
Shaanxi opera
The process of "loose board-adagio-from medium board to urgent board-final board" means that the rhythm of playing the board changes from slow to slightly fast, to extremely fast, and gradually slows down before the final board, and finally ends. The singer unfolds the story layer by layer according to this step-by-step rhythm. So how to change the rhythm? This is precisely the role played by the "Luban" who sings in the Shaanxi Opera. Shaanxi opera belongs to a variety of plate-type operas, and there are six plates, namely, 26 plates, adagio, ribbon plate, backboard, two-inverted plate and curling plate. 26 boards are two "six boards", and a six board needs to knock six bangzi, all of which are strong shots. Other kinds of plates are made by acceleration, deceleration and free rotation. In this way, artists can express their feelings in different rhythms according to the needs of the plot.
Another feature of Shaanxi opera singing is "color tone", which is sung in falsetto and octave, and is often used in places where the characters are emotional and the plot is ups and downs. Among them, Tuqiang must be classified as "An" rhyme, which is full and vivid, and it is also obviously different from other operas. In addition, the singing of Shaanxi Opera can be divided into joyful sound and bitter sound. As the name implies, Yin Huan is good at expressing cheerful emotions; Bitter sounds are suitable for expressing grief and sadness. All these require the performer to grasp the script, in order to better express the emotion of assisting singing.
The accompaniment of Qin opera is divided into two fields: sub-field and Wu field. The instruments used are banhu, erhu, flute, sanxian, pipa, dulcimer, suona, sea flute, pipe, tuba (trumpet) and so on. There are drums, dry drums, hall drums, sentence gongs, small gongs, horse gongs, cymbals, hinges and bangzi in the martial arts field. Of course, the most important musical instrument in Qin Opera is Banhu, and its sharp and crisp pronunciation can best reflect the characteristics of the changes of Qin Opera plates.
The role of Shaanxi Opera is divided into four students, six Dan, two clean and one ugly, and there are thirteen doors, also known as "thirteen nets". When you sing, you must sing duets from many angles, such as Sheng, Tsing Yi, Lao Sheng, Hua Lian. Therefore, it is also called "disorderly singing". Some people praise Qin Opera for its "exciting sounds, warm and sour ears, and turbulent qi and blood", precisely because of the performance characteristics of Qin Opera. The performance of Shaanxi Opera is simple, rough, delicate and profound, touching and full of exaggeration. After the Revolution of 1911, Yi Sushe was founded in Xi 'an, specializing in Shaanxi Opera, determined to reform, and absorbed the nutrition of Peking Opera and other operas. His singing changed from high-pitched and passionate to soft and beautiful, which not only retained the original style, but also incorporated new styles.
Edit the eight traditional stunts in this paragraph 1. blow a fire
Also known as fire breathing, it is generally used in plays with monsters. Li Huiniang used this technique in "Journey to the West, Saving Peisheng". The method of blowing fire is to grind rosin into powder, filter it with reeds, then wrap it with long fibers and strong tension into a small bag that can be contained in the mouth, and then cut off the paper ends. The actor wrapped rosin in his mouth before blowing the fire. Blow the rosin bag with air to make the rosin powder fly to the torch and burn into a flame.
The common forms are: direct blowing, oblique blowing, oblique blowing, upward blowing, prone blowing, turn-over blowing, over blowing and so on. According to its shape, it can be divided into; Single-mouth fire, continuous fire, turning fire, one-step fire, mushroom cloud fire, etc.
Single-mouth fire: that is, blowing fire in one bite. Inhale mainly through the nose, and blow directly against the flame of the torch with the gas in the abdomen.
Spit fire
Even fire: gas method is the same as single-mouth fire. Keep it tight when you blow. Blow the first fire on the fire head, while it is still alive, and then blow another fire on the first fire to keep the fire alive.
Turn over the fire: step on the left, half lying in the position of the fish, start the fire from the fire head (that is, spray rosin powder continuously by the blown flame to make the flame last for four or five feet), and turn over. After a turn, the fire continued.
Yi Long: The half-lying fish dives into the torch to blow the fire, then leaves the torch and blows the fire evenly in one breath, making the fire last for several feet, just like a dragon.
Mushroom cloud fire: half-lying fish, immediately put back on the tail of a "one-stop" fire, and blow the fire hard, that is, one by one becomes a mushroom (also known as the goddess scattered flowers or the phoenix in the fire). Later, blowing this fire can also turn the color of the fire into snow blue. The above is the most basic blowing method, which can also be changed according to the needs of the plot and the changes of dance movements. , He, Ma, Sun Liqun, Zhang Yan; Wang, Tongzhou Bangzi; Both Zeng Jiantang and Li Jiabao are good at this. Ma's Ghost Blows Fire (Ghost Blows Fire to Save Pei Sheng in Li Huiniang The Journey to the West) is famous all over the country. She can blow out fires of various shapes, and she can blow out more than forty fires in one breath, which is a stunt. She taught this skill to many opera singers all over the country, such as Beijing and Shanghai.
Change your face
This kind of stunt is found in Shaanxi Opera, Tongzhou Bangzi, Xifu Shaanxi Opera, and Da and Da's Life, Dan and Ugliness. There are two variants of "changing face" and "blowing face ash".
Face changing: this technique is used in "Three-headed Revealing the Tomb". The grave robber made a ring with a belt, one end was put around the zombie's neck and the other end was hung around his neck. When a zombie takes off his clothes, his feelings change complicated and his facial expression changes accordingly. When he found that the deceased was dressed in luxury, his eyes narrowed into a line with joy, and his mouth tilted to both sides of his nose, trembling with joy. When the cover face of the corpse flew away in fear, revealing a gloomy and horrible face, he shrank his neck, opened his mouth, stared at his eyes and his eyebrows kept beating. In order to suppress the fear in his heart, the grave robbers suddenly raised their eyebrows, glared at each other, cocked their noses and gnashed their teeth, showing a ferocious look. The victim wore seven suits. Every time he rotates his body, he takes off a dress, puts it on himself at the same time, and changes his face. One moment he became stupid and stupid, and the next he became witty and brave; Stretch your neck for a while, put away your chin, put the tip of your tongue against your lower lip, and pull your head and neck into a slender face; After a while, he frowned, shrank his chin and pursed his chin, becoming a sinister villain with no meat on his face; Then he bulged his cheeks, loosened his shoulders and became a big fat man; After a while, I shrank my head, put my chin away, and became a thin man ... with various forms and endless changes, it all depended on the efforts of one face. Tian Xinghua, an actor in the Han Dynasty, was good at this stunt.
Blowing dust on the face: An actor blows dust on his face to make it change. In the Han Dynasty, this method was used in Ann's "Poison Erniang" and "Drug Poison Wu Dalang". Wu Dalang drank poisoned wine, and his abdominal pain was unbearable, and he cursed Pan Jinlian. Pan cruel a robot, covered Wu Dalang with a quilt. By the time Pan got up and sat on the quilt, his face was already gray and black. Sun Wu also has a face-changing plot in Taihe City.
Step 3: Top lighting
The performer lights an oil lamp and puts it on his head to perform various actions. Chang Tianbao, a clown in the third son of Shaanxi Opera, was punished by his wife for gambling.
Lights. Always put the oil lamp on your head, kneeling, walking, lying on your back, drilling chairs, drilling tables, serving tables, etc. , are very comfortable, can let the oil lamp not drop, not spill, not go out. It all depends on the balance skill of the actor's neck. Liu Shengsan, Jin Fuchang, Wang Banjie, Zhao, and Cai, the clown of Han opera, are all good players in this field. King board can also blow out the overhead lights by itself.