Liuzhou Fortune Telling Tone _ Liuzhou Fortune Telling
Tone, commonly known as tone, tone, color light, harmony and sea, etc. , one of the local operas in Guangxi, belongs to the lantern opera system and originated from the "sub-tune" derived from rural singing and dancing and rap in Guilin. Originated in the rural areas of northern Guangxi, it is widely spread and has different names. Guilin is called "Tea Picking Play", Liuzhou, Hechi and some counties in Wuzhou are called "Tiao Play", Pingle and Lipu are called "Tea Picking Play" and "Lantern", and Ningming and Baise in the left and right rivers are called "Great Tea Picking Play" and "Hehe Play", which are collectively called "After 6438+0955". Next, this paper will introduce the artistic characteristics of tonal drama in detail. Let's have a look! Tone, originally called "tone". It is a local opera loved by people of all ethnic groups in Guangxi and one of the local operas in Guangxi Zhuang Autonomous Region. It belongs to the lantern opera system, originated from the rural songs and dances and rap in Guilin, and is widely distributed. There are about 500 kinds of color-coded dramas, namely, one-man show, rival show, big flirt, three minor shows, leading show and rival show. Colored dramas are popular in Guilin, Liuzhou, Hechi and Baise. Due to dialect differences, there are different names in different places: Guilin is called "Lantern", "Colored Tone" and "Singing Lantern"; Pingle, Lipu, Liuzhou and Hechi are called "tea picking dramas" and "flirting"; Baise and Nanning are known as "big tea picking", "harmonious drama" and "harmonious drama", but "flirting" and "tea picking drama" are the most common. 1955 was named "color flirting" when he participated in the Beijing mass music and dance performance.
1. Historical origin of color drama
In the early years, tea-picking songs and lanterns were popular all over Guangxi, but they did not form a drama. In the process of spreading, it absorbed the folk songs and minor tunes in northern Guangxi and gradually enriched them. During the light years of the Qing Dynasty, Quyi artists began to teach in counties in northern Guangxi and Xinning Prefecture in southern Guangxi (now Fusui County), making a living by teaching and performing Quyi, and gradually became professional artists. During the Guangxu period of Qing Dynasty, the tune spread from north to south, forming a main distribution area centered on Guilin, Liuzhou and Yishan, and continued to spread to the south. During the reign of Daoguang and Guangxu in Qing Dynasty, a large number of Hunan immigrants moved to counties in northern Guizhou, and this tune (another name for ancient paintings and operas in southern Hunan) was introduced to Guangxi. At the end of the Qing Dynasty and the beginning of the Republic of China, on the basis of ancient paintings and operas, a kind of opera voice was formed, which was different from ancient paintings and operas. Influenced by Hunan ancient paintings and operas, Quju gradually developed from the "two plays" of the clown and Xiao Dan to the "three plays" of Xiao Sheng, the clown and Xiao Dan, with characters' stories. There is a "seven tight, eight loose and nine music" in the rural areas of northern Guangxi, that is, a "mountain-crossing class" composed of seven, eight or nine people, which requires artists to specialize in a variety of skills to facilitate them to wander between villages. Through their long-term performances in rural areas, festivals and temple fairs, they have accumulated 36 "three plays" (the so-called "Thirty-six Jianghu tunes"), such as double visits, double shops, fortune telling for the blind, Wang San's bird hunting, three visits to relatives, begging for money and going to Nanjing. Modal music in this period initially formed three categories with their own characteristics, namely, tune, board and tune, which has been called "nine tones and eighteen tones", and at the same time, it has also been reformed in makeup, performance and business. In the thirty-second year of Guangxu in Qing Dynasty (1906), the most famous grass head broke the old habit of "women don't sing tunes" for Xu Diaoban, and the first batch of female roles appeared in color-coded dramas. Before and after the Revolution of 1911, famous artists came forth in large numbers, such as the "four top scholars": Leng Guifu, Zhu, Luo and Qin Laosi; "Four famous Dan": Wu Laonian, Pan Fafu, Liang Rushan and Liu Fangsi; "The grimace king" Zhou Chaogang; "Yin Wang" Li Dashu, Chen Songshan, etc. Tone art has matured in this period.
After the Revolution of 1911, the multicolored tune entered the town stage from the rural building, and the "mountain-crossing class" developed into a semi-professional tune-up class for twenty or thirty people including Le Tong Hall, Cuile Hall and Group Amusement Park. At this time, the original 36 "Jianghu Tunes" could not meet the audience's requirements, so artists compiled and performed "major" dramas such as "Two Women Fighting for Husband", "Catch grinding bean curd", "Broken Spoon" and "Bad Daughter-in-law Becoming a Cow" based on novels and folk stories. At the same time, in order to make a living, artists have also created many "anti-Taiwan dramas", such as Class A's performance of "Mom Sending Girls", Class B's performance of "Girls Sending Girls", Class B's performance of "Three Visits to Family" and Class A's editing of "Four Girls Dating". The results of this competition against Taiwan not only enriched the repertoire of timbre, but also promoted the development of timbre music and performing arts. Color plays are mostly small plays reflecting rural life, family ethics and fairy tales. There are about 500 traditional plays, of which 344 are recorded as scripts.
After 1927, the artists were devastated and the color tone was on the verge of decline. After the founding of People's Republic of China (PRC), Caidiao was reborn, and professional troupes such as osmanthus troupe and Liuzhou peasant troupe were established one after another. Amateur troupes also spread all over urban and rural areas. 1955 In the spring, Guangxi Literature and Art Cadre School held a training course on color tone, and trained a number of outstanding young actors, such as Fu Jinhua, Tang Ji, Wang Yuzhen, Luo Liang and Yang Aimin. 1956, Guangxi Caidiao Drama Club was established. 1959, Liuzhou Color Tone Drama Troupe compiled and performed the color tone drama Liu Sanjie, which was warmly welcomed by audiences inside and outside the region and contributed to the improvement of color tone art. 1965, Guangxi Color Tone Drama Troupe compiled and performed the modern drama Three Little Red Flowers, which was made into a color film by Beijing Film Studio.
Second, the artistic characteristics of color drama
Pay equal attention to singing and dancing, especially among the "three major operas", there are three kinds of musical vocals: cavity, board and mode. The same tune can be changed on the board cavity according to different trades and characters, and there is a saying that "the tune is shared by many people and the board cavity is subdivided". For example, the cavity types are named according to the industry, such as Lao Dan cavity, Yao Dan cavity, Xiaosheng cavity, Shoujiao cavity, Ugly foot cavity, Laosheng cavity and Wazi cavity; According to the identity and occupation of the characters, there are Xianggong, Huazi, Matchmaker, Robber, Monk and Immortal. According to labor and daily life, there are load-bearing cavities, rowing cavities, digging cavities, dressing cavities and drinking cavities. There are complaint boards, crying boards, scolding boards and worrying boards. There are two kinds of tunes: Bigu and Zouma. In addition, it also absorbed some tunes of folk rap music, such as coloratura, fishing drum cavity and so on. Music accompaniment is divided into left and right fields. The left field is orchestral music, mainly for tuning Hu, as well as dulcimer, pipa, sanxian, suona, flute and so on. The right field is percussion instruments, including gongs, drums and cymbals. Gong and drum are commonly used as "one stop" and "three nods", and are also called "dragon gong", "one cymbal", "three cymbals" and "four cymbals".
The eye, hand, posture, footwork and other basic features in tone expression are mostly seen in Xiao Dan and the clown (including Xiao Sheng), followed by Ugly Dan. The footwork, turn, appearance, fan flowers and hand flowers of the clown and Dan characters are very rich in the characteristics of this play, especially the footwork. Only clown footwork can be divided into four categories: short pile, middle pile, high pile and high-low pile, such as lame step, twisting step, kicking step, exploratory step, horizontal step and short step. The "heel step", "broken step" and "cloud step" of Dan Jiao. Fans, handkerchiefs and ribbons are the three treasures of color-coded performances. Among them, fan is the most important one, and there are dozens of dances of fan flowers, such as: three strikes and five moves, round fan, high and low fan, butterfly fan, cover fan, swing fan, swing fan, swing fan, rolling fan, wave fan, combined fan and reverse fan. In the performance, fans can be used as brooms, umbrellas, paddles, poles, knives and guns, which are really universal props.
The appearance of all walks of life is also called "Mingtai", and there are more than ten kinds of works. There are stage corners, fans, fans, fans, fans, sideways, and shame. Xiao Sheng and Dan Jiao's common appearances are Golden Rooster Independence, Hu Fu Wolong, Drunk Fairy Lying on the Pillow, Looking Back at the Moon and Looking Back at the Eyes.
3. The role of color-coded drama: color-coded drama mainly has three major businesses: life, Dan and ugliness.
Fourth, the expression form of color drama
The performance of tonal drama is a comprehensive art including singing, reading, doing and dancing. One of the most prominent is the performance of doing and jumping. Because Caidiao performed 36 Jianghu tunes with song and dance as the main melody, the hands, eyes, body and footwork in the performance basically run through Caidiao's "small step" and "fan flower", so "small step fan flower" is the most distinctive performing art of Caidiao. Color short-step fan flowers have different performance figures in all walks of life.
Verb (abbreviation of verb) Singing of Color-coded Drama
Color-tone music is very rich, and its aria belongs to couplets, which are divided into three categories: cavity, board and tone. Seven-character metrical poems are the most vocal, followed by four metrical poems. Singing in Thirteen Rhymes and Liuzhou Dialect, commonly known as "Tofu Block" music. According to incomplete statistics, there are 289 color-coded aria qupai, including 25 1 aria (172 cavity, 10 board, 69 tones), 29 qupai and 8 gongs and drums. They are all services that focus on shaping characters. Melody can reflect the characteristics according to the character, business, feelings and plot needs of the role. For example, there are singers such as Xiaoshengqiang, Yao Dan, Clown, Danjiao, Wazi and Old School, and singers such as Xianggong, Monk, Robber, Matchmaker, Blind Man and Fool who reflect the identity of the characters. There are "carrying a load", "boating", "dressing room", "drinking room" and "toasting room", etc., which show the various actions of the characters in labor. All kinds of thoughts and feelings of the characters are expressed through "Five Watches", "Crying Board", "Scolding Board", "Complaining Board", "Excellent Tone", "Three Board Excellent Tone" and "Yin Tone". There are five unique vocals in Liuzhou Caidiao, namely [Siping Tune], [V Board], [Right Cross], [Crying Board] and [Beam Tune]. These five kinds of tunes are indispensable in the performance of large-scale plays, with colorful flirting. [Siping Tune] is the "king of tuning" in Liuzhou. There are five tones: Slow Siping, Fast Siping, High Siping, Low Siping and Over Siping, which are combined with each other. There are also five types of complaint boards: slow complaint board, fast complaint board, high complaint board, complaint board head and start board head. There are two types of crying boards: [scattered board head]. The five major vocals all have the characteristics of rigorous structure, smooth voice type, balanced line cavity, clear pronunciation and mellow voice, and combination of rap and singing.
6. Music of color drama
The development of color-coded music not only depends on its own musical characteristics, but also has a close relationship with its brother operas. Hunan ancient painting opera, Guangxi Guiju opera and Wenchang three major operas influence and promote each other, and jointly promote the development of color music. For example, Melon Seeds, Flower Melody, A Si, Jade Beauty, Leaping over the Pink Wall, Hangzhou Red, Falling Bridge and Moon Melody in the tunes of Wenchang, Liuzhou are different from Xiao Si Chang, Snowflakes Floating, A Si, Leaping over the Pink Wall and so on. For another example, the [Liu Hai Qiang], [Yi Zhazi] and [Liang Shi Qiang] in color-coded vocals are similar to the [Bi Gu Diao], [selling groceries] and [Multi-sentiment] in xiang opera. The music of Guangxi Opera in Liuzhou has a great influence on the gongs and drums of Caidiao, because there was no court drama in Caidiao in the past. Later, most of the court dramas were transplanted from Guangxi Opera, so they were transplanted from the music of Guangxi Opera, such as Liu Maoling, Wind as Loose, San Ji Gun, Lunar New Year's Eve, Liu Taosha, Crying for the Land and Gu Ping.
Seven. Dramas and troupes of colored drama.
Color-coded dramas mainly focus on labor, love and family life, and there are a large number of oral and handwritten copies circulating among the people. Guiliu dialect is used in the performance, with Xiao Sheng, Xiao Dan, clown (third grade) and other forms of singing and dancing as the main forms, among which the footwork, turn around, appearance, fan flowers and hand flowers of the clown, with footwork being the most prominent. Because it is deeply rooted in rural people and closely combined with local folk songs and tunes, the color tone has formed a humorous performance style with lively form. Fans, handkerchiefs and ribbons, known as the "three treasures" of colors, play an important role in the performance.
Since the Republic of China, there have been Lin's tea-picking class, Liucheng Jingxi Baxian class, Liujiang Jiandu class, Liucheng suburb Huangcun tune, Changtang tune, Tuanleyuan tune, Yiletang tune, tea club tune and Guile tune. In recent years, in addition to the famous Six Sisters, color dramas have also created many well-known outstanding plays, such as "Kicking Down the Bridge", "Two Women Fighting for a Husband", "Wang San Beats Birds", "Wang" and "Listening to Bamboo in Dreams". 5438+
Eight. The present situation of color drama
After the founding of New China, the color tone developed rapidly, especially the performance of outstanding plays such as Third Sister Liu, which expanded the influence of this kind of drama in the whole country. However, at present, because there is no performance market in Guangxi Caidiao, fewer and fewer people know and understand Caidiao, and they are caught in an unsustainable predicament. Under the impact of the market economy, hundreds of color-tone opera troupes have been dissolved one after another, leaving only a few professional troupes such as Guangxi Color-tone Opera Troupe, Liuzhou Color-tone Opera Troupe and Guilin Color-tone Opera Troupe, and the amateur color-tone troupe has dropped sharply, making it difficult to maintain. The rescue and protection of color tone is imminent. The state attaches great importance to the protection of intangible cultural heritage. On May 20th, 2006, the colored sculptures were approved by the State Council to be included in the first batch of national intangible cultural heritage list.