Beijing opera information

Peking Opera, once called Pingju, is also called Luantan Opera and National Opera. China, one of the five major operas in China, pays attention to freehand brushwork in the scene layout, with Xipi and Huang Er as the main melody, which is regarded as the quintessence of China and the "top spot" of China opera. The art of Peking Opera is profound and profound, and both literature and martial arts are beautiful.

Anhui Opera is the predecessor of Beijing Opera. Since the 55th year of Qing Qianlong (1790), four Huizhou classes, Sanqing, Sixi, Chuntai and Hechun, which had performed in the south, have successively entered Beijing. They cooperated with artists in Hubei, and at the same time accepted some plays, tunes and performance methods of Kunqu Opera and Shaanxi Opera, and absorbed some local folk tunes. Through constant communication and integration, Peking Opera was finally formed. After the formation of Peking Opera, it began to develop rapidly in the Qing court until the Republic of China.

Beijing Opera, centered on Beijing, has spread all over the world and become an important medium to introduce and spread China's traditional art and culture. 20 10, 1 10, 16, Peking Opera was listed in the "Representative List of World Intangible Cultural Heritage".

201910 20/kloc-0 February 2/9 China Opera Culture Week, in which Peking Opera participated [1].

Chinese name

Beijing opera

geographical indication

not have

Approval time

In 2006

Non-heritage level

Chinese intangible cultural heritage

Heritage category

Traditional drama

base period

Huizhou merchants have money, and the success of business has triggered a surge in cultural consumption desire [2]. With the development of social economy and the rise of Kunshan dialect, there are many classes who support their families. They try their best to collect songs and dances for Qianlong, Xiajiang and Jiangnan, and are willing to pay a lot of money to package the color art of Anhui opera, which objectively creates conditions for Anhui opera to enter Beijing. Huizhou merchants who ruled the Ming and Qing business circles for more than 500 years were famous for their salt merchants, especially Shexian County in Huangshan, which was rich in salt merchants. With the development of social economy and the rise of Kunshan dialect, scholars and businessmen in Jiangnan and Jiangbei have started family drama. Huizhou merchants who have made their mark in foreign business circles have followed suit. A Chinese opera troupe used by Huizhou merchants for a long time is called "Huizhou Class" by outsiders. Local operas along the Yangtze River in Anhui, including ancient Huizhou, also began to flourish. They sang Kunqu opera because the language differences were not "tuned in" and they sang a little inadvertently. Shipai tune produced in Huaining County, Anqing City, Anhui Province is the most famous. Huizhou artists went to Yangzhou with local accent, and they were sheltered by their families and strongly supported by Huizhou merchants. They either haunt the pier street or are taken in by the Fu family of Huizhou merchants. With the development of skills, the local accent gradually gained the upper hand.

It is worth mentioning that Jiang Chun, a big salt merchant in Shexian County, is a connoisseur of opera with high taste. He likes opera very much. There are often three or four plays at home, and there are hundreds of guests in pavilions that day. He brought all kinds of famous people together, made different voices complement each other on the same stage, and made the Huizhou class, which has sprung up suddenly, have an open pattern of learning from others. "Jump" and singing, the fire is not normal. At this time, the most famous dramatist was from Anqing. Dou wrote in "Yangzhou Painting Spectrum": Anqing's color art is the best, which is based on local chaos, so some people are hired between local chaos. Huizhou merchants have gained a firm foothold in the business world and become more and more closely related to the art of traditional Chinese opera. The "Huizhou class" with a large number of playwrights has been further developed under the new historical conditions.

Tongguang shisanjue

There is no class without stones.

Beijing opera industry

Shipai is an ancient market town in Huaining County, Anqing City. The word "stone" refers to here, and also refers to Anqing and its thousand ships. Businessmen from Jiangxi, Fujian and Hubei have set up museums here. At that time, in addition to local residents, Shipai used to be boatmen and businessmen. When the problem of survival became easier, they began to establish their own market culture.

At that time, there were as many as 800 drama stages available for performance, not only theaters, theaters, but also flower stands. There are three theaters in Shipai Town. The Changle Grand Theater in Shangzhen Hengjie can accommodate more than 600 people, specially designed for Huizhou tune and leather spring classes. The theater is usually in the ancestral hall. At ordinary times, the ancestral temple theater only sings big plays. Every winter solstice, when the clan members are promoted and the clan officials and gentry celebrate their birthdays, they are invited to perform in the theater. In addition, when the ancestral temple is completed, the whole class will be invited to sing opera to congratulate. "Du Jufu" describes: "The beauty of Huizhou class's loss of the sun began with Shipai". It shows that the Anhui class in Anqing once had a glorious history, and many famous Peking Opera predecessors came from this area, so there is a saying that "there is no stone, no class".

In the tiny place of Shipai, Hao Tianxiu, Cheng Changgeng, Yang Yuelou, etc. It has already appeared, and many of them are outstanding in color art! ""No stone (card) is no class! "There was a time when it was widely circulated. Careful Beijing opera lovers can easily find that many words in Beijing opera aria are pronounced differently from Beijing dialect. If you know something about Anqing dialect, you will find that these words are exactly the same as those in Anqing dialect.

In the early Republic of China, Anqing had the People's Grand Theatre. At that time, most famous Peking Opera actors in China performed here. They all came to Anqing with a "pilgrimage" mood. The great dramatist Cao Yu got off at Shipai Town in Huaining, and the first sentence was "I'm going on a pilgrimage". People who come out of the old Peking Opera class will not perform in Anqing for ten days and will not sing Lian Ben. At that time, it was considered as a "corner" with no future. Huizhou Opera, which originated in Shipai Township, Anqing Ancient Town, went out of the ancient town and went to Beijing. The glorious historical aura of Huiban's entry into Beijing still hangs over Shipai ancient town. Anqing is one of the cities that accepted modern civilization earlier in China, and it is also a famous historical and cultural city in China. At the same time, Anqing is also the hometown of Huangmei Opera, a world-famous local opera. Cheng Changgeng Memorial Hall, located in Qianshan County, Anqing City, has collected more than 300 precious objects and pictures, which reproduces the development and prosperity of Peking Opera. In addition, there is Cheng Changgeng's former residence for opera fans to visit.

Su Chang Street Liyuan

The starting point of Huiban's trip to Beijing is Yangzhou. Before leaving, the actresses with stunts must gather at the Liyuan General Administration in Zhangsu Street to discuss the departure schedule and performances, and pose together there, shake their sleeves twice and sing some beautiful songs. Sometimes I simply rehearse a few passbook plays, or "Garden" or "Thinking of the Fan", which is full of sounds and feelings and graceful. At that time, the street where Sue sang was very lively.

Suzhou Singing Street is the only street in old Yangzhou that is directly related to the troupe. When Xu Shangzhi, a salt merchant, recruited Suzhou Kunqu artists, Lao Xu Class, the first Kunqu class in Yangzhou, was on this street.

/kloc-in the autumn of 0/790, in order to celebrate Ganlong's eightieth birthday, Yangzhou salt merchant Jiang Heting (Anhui native) organized a Hui Opera Troupe named "Sanqingban" in Anqing, and the artist Gao Langting led it to Beijing to attend the birthday banquet. This Huizhou class mainly sings Huang Er dialect, and also sings Kunqu opera, opera blowing and bangzi. And it is a parallel troupe of various operas. The birthday performance in Beijing is on a grand scale. From Xihuamen to the high-beam bridge outside Xizhimen, a stage is set up every few tens of steps, and the southern accent is transferred to the north, bringing together music from all directions to compete for beauty. Or sing string songs, or shake the fan dance shirt, the front has not stopped, the rear has risen, the group plays gather, and various arts compete for victory. In this art competition, the Sanqing Huizhou class, which entered Beijing for the first time, stood out and attracted much attention. Gao Langting of Sanqing class is from Anqing, Anhui. He was only 16 years old when he entered Beijing. He plays Dan, who is good at Er Quan accent. "Look at the flowers now" called him: "I am a woman, and I have no strength. You don't need to ask for a song, smile and sit together, depicting the expression of women, and it is almost deformed. "

Class four will go to Beijing.

After the success of Sanqing Class in Beijing, Anhui Class, such as Sixi Class, Riverlip Class and Chuntai Class, gradually dominated the Beijing theater. This is the so-called "Huizhou Class Four goes to Beijing".

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Titles of Peking Opera New Year's Eve Galas over the years

The four major classes in Huizhou have their own strengths, and there is a saying that "the axis of three celebrations, the joy of four joys, the son of Chuntai, the son of Chuntai". Axis finger is famous for performing the whole drama continuously, Music finger is good at singing Kunqu opera, Zizhi wins by martial arts, and Zizhi is good at channeling.

In Beijing, where the wind of holding Dan prevails, the Gaolang Pavilion with extraordinary skills is naturally favored. After arriving in Beijing, he succeeded Yu Laosi, the former head teacher of Sanqing, in charge of the class for more than 30 years. At the same time, he also served as the head of the "Jingzhong Hall" organized by the Shi Jing Opera Association. Through this organization, he managed the Peking Opera Troupe and the theater, and he also became the leader of the Liyuan. After Gao Lanting, Cheng Changgeng, Xu Xiaoxiang, Yang Yuelou and Liu Gansan all held this post.

By the early years of Jiaqing, Huiban had achieved a dominant position on the stage of Peking Opera. According to "Chinese Dream", "A theater must perform a play with Huizhou class". The largest theaters such as Guangde Building, Guanghe Building, Sanqing Garden and Qingyuan Paradise will also be dominated by Huizhou classes. The following' Huiban',' Small Class' and' Western Class' are all mixed. "

The performance of four Huizhou classes in Beijing opened the prelude to the magnificent history of Chinese Peking Opera for more than 200 years.

Faced with the omnipotent and meticulous artistic advantages of Huizhou class, all kinds of singers in Beijing are unable to compete with it, and most of them turn to Huizhou class. Among them, there are famous dramatists from Beijing Normal University, such as Mi, Hu Bei, a famous dramatist who joined Chuntai class, Han Xiaoyu (Pi Huang), a famous plucker from Hunan who joined Sixi class, and Wang Quanfu, a Beijing-born Peking Opera actor who joined Sanqing class. Thus, the trend of gathering a variety of dramas in Huizhou class has been formed. Therefore, in the process of various operas, Huiban gradually focused on the performance of Pihuang opera, from "Erguotou" to "Sanguotou" and then to "wind stirring snow".

Formation and spread

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Beijing opera pictures

Peking Opera, formerly known as Huizhou Opera, was popular in the south of the Yangtze River in the early Qing Dynasty. It mainly sang and blew tunes, played high notes and played Huang Er. Huiban has strong mobility, frequent contact with other operas, and mutual communication and infiltration in vocal cavity. Therefore, in the process of development, it also performed many Kunqu operas, and also absorbed Luoluo cavity and other zaju. In the fifty-fifth year of Qing Qianlong (1790), the first Huizhou class (Sanqing class) headed by Gao Langting (a famous Yueguan) went to Beijing to participate in the celebration performance of Qianlong's 80th birthday. "Yangzhou Painting Boat Record" contains: "Gaolang Pavilion entered Beijing, with Anqing Flower Department and Beijing-Qin Erqiang, and the class name was Sanqing." Yang Maojian's Dream and Storybook, published in the 22nd year of Daoguang (1842), also said: "The three celebrations precede the four celebrations. When the emperor of Qianlong entered the governor's casting box in 55 years, he called it the' Three Celebrations Emblem', which was the originator of Huiban. " Wu Zishu pointed out more specifically in the Notes on Poems with Boundaries that "Na la Wu, Governor of Fujian and Zhejiang, ordered Zhejiang salt merchants and Anqing Hui people to wish Li." Later, many Huizhou classes went to Beijing in succession. The famous classes are Sanqing, Sixi, Chuntai and Hechun. Although He Shen was founded in the eighth year of Jiaqing (1803), which was later than the thirteenth year of Sanqing, it was still called "Huizhou Class Four went to Beijing" by later generations.

There were many names. There are: Luantan, Chundiao, Huang Jing, Jing Erhuang, Pi Huang (Pi Huang), Huang Er (Huang Er), Drama, Pingju, Old Opera, National Opera, Peking Opera and Peking Opera.

incubation period

Qin Hui confluence [3]

In the early Qing Dynasty, Kunqu Opera and Peking Opera (Qingyang Opera) prevailed on the stage of Peking Opera. After the mid-Qianlong period, Kunqu opera gradually declined, and the prosperity of Beijing dialect replaced Kunqu opera to unify the Beijing stage. Forty-five years after Qianlong (1780), Wei Changsheng, a Shaanxi opera artist, came to Beijing from Sichuan. Wei took the Shuangqing class to perform "Rolling the Ground" and "Holding the Baby into the House" in Shaanxi Opera. Wei Changsheng is handsome in appearance, sweet in voice, euphemistic in singing and exquisite in workmanship. The publication of "Rolling the Floor" caused a sensation in Beijing. Shuangqing class is also called "the first in Kyoto". From then on, Peking Opera began to decline. The six famous classes of Peking Opera, Dacheng, Wang Fu, Qing Yu, Qing Yu, Cuiqing and Baohe, were neglected and joined the Shaanxi Opera class to make a living. In the fifty years of Qianlong (1785), the Qing court banned Wei Changsheng from performing in Beijing and expelled Wei Changsheng from Beijing. [4]

In the fifty-fifth year of Qianlong (1790), after Sanqing class settled in Beijing (the class was located in Hanjiatai Hutong), there were also classes such as Sixi, seven show, Nicui, Chuntai, Hechun, Sanhe, Songzhu, Jinyu, Dajing and so on performing in Dashilan area. Among them, Sanqing, Sixi, Hekou and Chuntai are the most famous, so they are also called "Huizhou Four Classes". [4]

According to Han Diao, Chuntai class entered Beijing before the late Qianlong period, and started as the pillar of Chuntai class in Beijing, which proves that Chuntai class entered Beijing earlier than Sixi and Chunchun. Chuntaiban is in Baishun Hutong. [4]

Sixi class came to Beijing at the beginning of Jiaqing. Hui Opera and Kunqu Opera are staged at the same time, especially Kunqu Opera, so there is a class called "A Peach Blossom Fan in a new row and four happy classes scattered everywhere" located in Shaanxi Lane. [4]

Hechun Class was founded in the eighth year of Jiaqing (1804) in Guaixie Street, Litie. This class is good at Wushu. Daoguang was dissolved in the 13th year (1853).

The repertoire and performance style of "Four Classes in Huizhou" have their own strengths, so they are sometimes called "the axis of three celebrations, the joy of four joys, the handle of spring and the son of the stage of spring". "Huizhou Class Four" not only sings Huizhou tunes, but also uses Kunqu Opera, Blowing Opera, Siping Opera and Bangzi Opera. In the performing arts, it absorbs and draws lessons from the strengths of various operas and integrates them into Huizhou Opera. At the same time, the performance lineup is neat and the repertoire is rich, which is quite popular with Beijing audiences. Since Wei Changsheng was forced to leave Beijing, Shaanxi Opera has been depressed. In order to make a living, Shaanxi opera artists have joined the Huizhou class one after another, forming a situation of the integration of Anhui opera and Shaanxi opera. In the process of the confluence of Hui and Qin, Hui classes have widely absorbed the essence of Shaanxi opera singing and performance, transplanted a large number of scripts, and created favorable conditions for the further development of Hui opera art [4][5]

Hui-Han confluence

Han Opera is popular in Hubei, and Huang Er and Xipi in its voice cavity are related to Hui Opera. Anhui Opera and Han Opera had extensive artistic blending before entering Beijing. Following the last years of Qianlong, Mi Ying, a famous Chinese opera master, went to Beijing, and at the beginning of Daoguang (182 1), Li Liu, Wang Honggui, Long Deyun and others, famous Chinese opera elders, went to Beijing successively to sing in Chuntai and Chunban of Huiban respectively. Mi Ying was first famous for singing Guan Yu's plays, and Cheng Changgeng, the monitor of Sanqing, first taught all the red and clean plays in Mi Ying. Li Liu is good at drunk writing scary books and sweeping snow; Wang Honggui is famous for "Let Chengdu" and "pass the parcel Cao"; Xiao Shenglong Deyun is good at performing plays, such as Shooting at the Jib at the Yuanmen and The Yellow Crane Tower. Yu Sansheng, with a mellow voice and beautiful singing skills, is famous for playing such old dramas as Dingjun Mountain, Shiro Visiting Mother, Selling Horses as Hemp, and Touching Monuments. After the actors of Han Opera joined the Hui Opera, they integrated tunes, performance skills and repertoires into the Hui Opera, which made the singing of the Hui Opera increasingly rich and perfect, and the singing method and singing style were more Beijing-like, which was easy to be accepted by Beijingers. [4][2]

Big broken copper net array Bai Yutang

In the twenty-five years of Daoguang (1845), Mingtang was the foreman of old students. After the confluence of Hui and Han Dynasties, Hubei Xipi tune and Anhui Huang Er tune were exchanged again. The confluence of Hui, Qin and Han laid the foundation for the birth of Peking Opera. [4]

formative period

From the 20th year of Daoguang to the 10th year of Xianfeng (1840- 1860), Peking Opera was formed by the confluence of Hui Opera, Qin Opera and Han Opera, absorbing the strengths of Kunqu Opera and Peking Opera. One of its signs: the tune is complete and rich, surpassing any of the three major operas of Hui, Qin and Han. Singing is a mixture of banqiang and Qupai styles. The vocal cavity is mainly Huang Er and Xipi; Second, the business is generally complete; Third, a number of Peking Opera plays have been formed. Fourthly, Cheng Changgeng, Yu Sansheng and Zhang Erkui are the representative figures in the early stage of Peking Opera, and they are called "old pedant, three outstanding figures" and "three Ding Jia", namely Zhang Erkui, Cheng Changgeng and Yu Sansheng. They have their own characteristics in singing and performing styles, and have made outstanding contributions to the main melody, Xipi, Ersong and the form of Peking Opera, as well as the creation of spoken language and pronunciation with Beijing language characteristics. [4]

Among the first generation of Peking Opera actors, there are old students Lu Shengkui, Xue, Zhang Rulin, Mei Lanfang and so on. Xiao Shenglong Deyun and Xu Xiaoxiang; Hu Dan Xilu, Rojov, Mei Qiaoling; Ugly Yang Mingyu, Liu Gansan; Hao Lantian and Tan Zhidao, Lao Dan; Jing Zhu, Ma Zi, Ren Hua face, etc. , all have unique creations to enrich the vocal cavity and performing arts in all walks of life. Mei Qiaoling, the monitor of Sixi Class, bravely broke through the old rules of strict division of labor between Tsing Yi and Hua Dan, and opened up a new road for Dan Jiao's singing art [4].

Thirteen Musts of Tongguang is a portrait of a famous figure in the history of Peking Opera, painted by Shen Rongpu, a folk painter in the late Qing Dynasty. He referred to the figure painting form of The Thirteen Musts of Peking Opera painted by the painter He Shikui in the middle of Qing Dynasty, and selected thirteen famous actors (Cheng Changgeng, Lu Shengkui, Zhang Shengkui, Yang Yuelou, Tan Xinpei, Xu Xiaoxiang, Mei Qiaoling, Shi, Yu Ziyun, Guangxu) on the stage of Peking Opera during the reign of Tongzhi and Guangxu in Qing Dynasty. This painting was acquired by Zhu Fuchang, an evolutionary society, in 32 years of the Republic of China (1943). Restore and photocopy it, and attach a volume of Thirteen Biographies of Celebrities in Tongguang. [4]

mature period

During the period of 1883- 19 18, Peking Opera entered a mature stage, represented by Tan Xinpei, Wang Guifen and Sun Juxian. Among them, Tan Xinpei inherited the strengths of Cheng Changgeng, Yu Sansheng, Zhang Erkui and other great artists, and through creation and development, pushed the art of Peking Opera to a new and mature realm. In his artistic practice, Tan learned from others, borrowed from Kunqu Opera, Bangzi, Drum, Beijing Opera, Tsing Yi, Hualien, etc., and merged into singing, forming a "Tan School" with a unique singing artistic style, forming a situation of "learning Tan without a cavity". After the 1920s, Yan, Yan, Ma and others all developed into different artistic schools on the basis of Tan School. Wang Guifen, an artist living in Cheng Changgeng, has a strong and melancholy voice, solemn and stirring, simple tone, and comments on "Roaring Tigers and Singing Dragons". He has the reputation of "Chang Geng reincarnation" because "imitation can confuse the truth". Sun Juxian, 18 years old, chose Wu Xiucai, who is good at singing Peking Opera and often sings at the box office. At the age of 36, he joined Cheng Changgeng. He is very loud and comfortable. Nianbai is not limited to Huguang sound and Zhongzhou rhyme, but mostly uses Beijing sound and Beijing characters, which sounds kind and natural. The performance is generous and realistic, close to life. The "three masters after the older generation" have their own emphases and different artistic styles. Judging from the comprehensive balance, his combination of civil and military skills is unstoppable, and his artistic attainments and development of Peking Opera far exceed that of Wang and Sun. During Guangxu period, Tan Xinpei was known as the "King of Music", and its position in the drama world was comparable to that of Cheng Changgeng. [4]

In the tenth year of Xianfeng (186 1), Peking Opera began to be performed in the court. From the sixth day of May to the end of that year, there were performances by Sanqing Class, Sixi Class, Shuangkui Class and Foreign Class (Peking Opera Class). In the 9th year of Guangxu (1883), Cixi celebrated her 50th birthday, and 18 people, including Zhang Qilin, Yang Longshou, Bao Fushan, Cai Fulu and Yan Fuxi, were selected to serve in the palace, not only singing, but also teaching Peking Opera and imparting skills to eunuchs. Since then, every year, famous artists such as Sun Juxian, Wang Langxian, Yu,,, and Mu have entered the palace to serve. Because Cixi loves Peking Opera, famous Peking Opera artists frequently enter the palace to perform, and the momentum is getting stronger and stronger. In the same period, Guangde Building, Sanqing Garden, Qingyuan Garden, Zhonghe Garden and Wenming Garden performed Peking Opera every day, forming a unified situation of Peking Opera. In the mature stage of Peking Opera, in addition to "Old Master Q's three outstanding figures", Xu Tang Yin and Jia Honglin were born. Wu Sheng: Jusheng Yu, Yang Longshou; Good lines: He Jiashan, Huang Runfu, Jin Xiushan, Qiu Guixian, Liu Yongchun and so on. Xiao Sheng: Wang, De Junru, Lu Huayun; Dan Xing:, Tian Guifeng,, Zhu; Winners: Wang Changlin, Zhang Hei, Luo Baisui, Xiao Changhua and Guo Chunshan. The rise of Dan religion in this period formed a trend that Dan religion and holy religion kept pace. Jusheng Yu, a martial artist, was the first man to stand on his own feet. It is called "the originator of martial arts" by later generations. The above-mentioned famous artists have innovated and developed in inheritance, and their singing skills have become increasingly mature, pushing Beijing opera to a new height. [4]

Peak period

From 19 17, a large number of outstanding Peking Opera actors emerged, showing the vigorous development of various schools, from the mature stage to the heyday. The representatives of this period are Mei Lanfang and Yu Shuyan. [4]

Four famous Peking Opera actors

1927, Beijing Shuntian Times held a Beijing Opera actress selection. The results of readers' voting: Mei Lanfang won the "Four Famous Corners" for her role in The Legend of Tai Zhen, Shang Xiaoyun won the "Four Famous Corners" for her role in Modern Jia Nv, Cheng won the "Four Famous Corners" for her role in Hong Fu Nv, and Xun Huisheng won the "Four Famous Corners" for her role in Dan Qing Introduction. The emergence of the "four great talents" is an important symbol of the prosperity of Beijing opera. They created their own artistic styles, and formed the "four schools", such as Mei Lanfang's dignified and elegant, Shang Xiaoyun's handsome and vigorous, Cheng's profound euphemism and Xun Huisheng's charming and charming, which created the pattern of taking Dan as the main factor in the Peking Opera stage. After Jusheng Yu and Yang Yuelou, the martial artist Yang Xiaolou developed the performance art of Beijing opera martial artists to a new height, and was known as "the master of traditional Chinese opera" and "the master of martial artists". Together with, Yan and Ma, they were called the "four big students" in the 1920s. At the same time, Shi, Wang Fengqing and Guan Dayuan are also outstanding talents in their careers. In the late 1930s, Yu, Yan and Gao withdrew from the stage one after another, and they were called "four big students" together with Ma, Tan, Xi Xiaobo and Yang. Meng Xiaodong, female, with high artistic attainments, has the artistic demeanor of a teacher in Yu Shuyan. [4]

1in the autumn of 936, Beijing opera lovers and audiences in universities and middle schools in Beijing wrote to the newspaper, proposing to choose Peking opera child stars. Zhang, president of Liancheng Society, reached an agreement with Jin, president of Liyan Newspaper in Beiping. The newspaper issued a notice to accept votes from all walks of life, published the voting figures in the newspaper day by day, and invited several people from Yunshi Society to supervise the newspaper. The voting date is set at half a month, and the leaders of Chinese Opera School and Fulian City Club, as well as The Times, Practical Vernacular Newspaper, Beijing Evening News and Drama Newspaper, also sent people to check the tickets on the spot. As a result of the election, Li Shifang of Fulian City Society won about 10,000 votes and was elected as "Chairman of Tongling". Wang Jinlu, champion of the Ministry of Health, and Ye Shichang, runner-up; Danjiao champion Mao Shilai, runner-up Song Dezhu; Qiu Shirong, champion of Clean Corner, and Zhao Deyu, runner-up; Master Zhan, clown champion, and Yin Jinzhen, runner-up. After the election, a celebration was held at the Fulian City Club of Hufangqiao, and a coronation ceremony was held at the Hua Le Theater in Xianyukou that night. Li Shifang and Yuan Shihai performed Farewell My Concubine. [4]

After Tong Ling was elected, Li Shifang, Zhang Junqiu, Mao Shilai and Song Dezhu were elected as the "Four Little Famous Danes", and the "Four Little Famous Danes" jointly performed "The Legend of the White Snake" and "Four Five Flowers Cave" in Chang 'an and Xinxin Theater to show their congratulations. [4]

Various schools and talented people come forth in large numbers, which is another symbol of the heyday of Beijing opera. During this period, besides Yang School (), Mei School (Mei Lanfang), Shang School (Shang Xiaoyun), Cheng School () and Xun School (Xun Huisheng), Xiao Yu School (Xiao Cuihua), Song School (Song Dezhu) and Zhang School () appeared. Yu School (,), Gao School (,), Yan School (,), Ma School (,Xi Xiaobo), Yang School () and Xintan School () in the old life; Jin School (), Hou School (), Hao School () and Qiu School () formed after 1950s; Jiang School (Jiang Miaoxiang) and Ye School (Ye Shenglan) in Xiao Sheng Xing; Gong School (Gong Yunfu) and Li School (Li Duokui) in Lao Danxing; Leaf pie (leaf), etc. At the same time, there are many Peking Opera actors, such as Wang Fengqing, Xiaodong Meng, Shi, Wang, Li, and so on. Yan, Xu Biyun, Zhu, Xue Yanqin, Xin, Zhang Zhuoyun, Jin Shaomei, Bi, Qin Xuefang,, Tong Lingzhi, Liang Xiaoluan, Wu Suqiu, Zhao Yanxia, Du Jinfang, etc. KAI, Rufulan and Cheng Jixian in the niche; Guo Chunshan, Ci Ruiquan, Ma Fulu and Zhang Chunhua.

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Contemporary famous actors

2010 165438+1October16 Peking Opera was listed in the "Representative List of Intangible Cultural Heritage of Humanity".

Noun interpretation

Ruler, a term of China traditional opera music. Generally speaking, it refers to the scale symbol on the right side of the lyrics in the Chinese opera score. China traditional folk music takes the words "Harmony, Si, Shang, Chi, Gong, Fan and Liu" as scales, which is equivalent to "1234567" of western music. Traditionally, these symbols are collectively referred to as "rulers". Some music scores only pay attention to the board eye (beat) next to the lyrics, not the ruler. There is a kind of music score with working scale, which is called working scale music score.

Chinese, human

Banyan is a term of China traditional opera music. Traditionally, when singing, the drum board often follows the beat, and the strong beat is hit on the board, so this beat is called the challenge. The second strong beat and weak beat are called middle eye and small eye respectively (in four beats, the former weak beat is called head eye or beginning eye, and the latter weak beat is called tail eye). Together, it's called a slap in the face.

Passing the door is a musical term in Beijing opera. Refers to the interlude music between sentences and aria. Small doors are often used between singing sentences, and big doors are often used between singing paragraphs. However, due to different plates, there are many exceptions, and there is no fixed model.

Guaer is a musical term in Beijing Opera. Guaer is the homonym of "Guo er", which refers to the gate between aria, and generally refers to the cadenza. The small door between singing sentences is not called hanging.

Xi, a musical term of Peking Opera. It refers to the melody that acts as a bridge between music communication and music communication, which is called cushion head or small cushion head, also called bridge. The melody of the cushion is short, generally only two or three beats, which plays a connecting role.

Xing Xuan, a musical term of Peking Opera. Refers to the background music when an actor performs an action or dialogue or monologue. Twisting is mostly a repeated performance of qupai or simple melody, which mainly plays a role in setting off the atmosphere.

Tone refers to the tone when an actor sings. Any accompaniment with stringed instruments is freely tuned according to the voice of the actors. Generally, the mode and official tone of Beijing opera are moderate, with B-word singing the highest and Fan Zi the lowest, commonly known as Pazi tune. In the same play, the two main actors have different tones. Sometimes they give in to each other, and sometimes they temporarily raise (raise) or lower (lower) their tones.

Tune the face, and the pitch of the actor's singing is the same as that of the accompaniment instruments (huqin, flute, etc.). ), this is called face adjustment. It means that singing the surface tone according to the "tone" is aimed at the bottom tone. Under normal circumstances, actors all sing the tune.

In a falling tone, the pitch of the actor is eight degrees higher than that of the accompaniment instruments (huqin, flute, etc.). ), this is called falling tone. Is to sing according to the bottom of the tone. Bottom adjustment is used for surface adjustment. Some vocals in Beijing opera, such as doll tune, are often turned up. For example, if the pitch is set high, the actor's voice is not so good. For example, if the tone is set low, the volume of the instrument is too low. Therefore, the singing method of adjusting the bottom is adopted, and the instrument is set at an octave high and the actor sings at an octave low.

Tuning refers to the tuning of stringed instruments (such as, Ruan). Generally speaking, the flute is used as a standard for tuning strings.

B key, the musical term of Peking Opera. One of the keys used in the symbol of Miyachi. When tuning the strings, use the "B" sound of the flute (opening five holes and playing high notes) to tune the "I" sound of the Hu Qin (Xipi tuning the outer strings). B note is the highest note in Beijing opera.

Gong Zheng tune is also called Gong Zheng tune. Beijing opera sets the tone of the huqin according to the pitch of the flute, and the tone of the Xipi outer string is the same as the official tone of the flute, which is called the official tone. One degree higher than the official is called the B key, the other half is called the six-character key, the second half is called the six-character key, and the second half is commonly known as the horizontal key.

Part-time job is one of the main modes of Peking Opera. Slightly higher than the orthodox key and slightly lower than the b key. It is slightly higher than the flute when tuning the strings.

Soft tune is a tune of Beijing Opera. Slightly lower than the orthodox tone, but slightly higher than the six-character tone. It is slightly lower than the flute when tuning the strings.

Six-character tune is one of the tunes of Beijing Opera. When tuning the strings, use the "six" sound of the flute (all six holes are closed, playing high notes) to tune the "I" sound of the Hu Qin (Xipi tunes the outer strings and opens the strings). The six-character tone is lower than the normal tone in Beijing opera, and the tone is moderate.

The word-lying tone is also used as the word-picking tone. One of the main modes of Beijing Opera. Where the tone is lower than the six-character tone by more than one degree, it is collectively called the lying tone.

Walking, the origin of "walking" comes from the dancing figures in the Jin drama "White Tiger Whip Walking"; It is said that because people who walk are afraid of being seen, they often sneak up and down the wall and roadside at night, so it is called "walking". Generally speaking, Huang Tianba in "Evil Tiger Village" is the hardest to walk. Lin Chong in Night Running is the most tired when he walks, and Song Wu in Centipede Ridge is the most diligent when he walks.

Because riding a horse in Beijing opera is often replaced by a whip, or as a symbol of riding a horse, after beating the horse with the whip in your hand, you can combine dancing movements such as beating the horse, returning the horse or prancing the horse, which is Beijing opera. [4]

Artistic feature

introduce

Through the long-term stage practice of countless artists, the stage art of Peking Opera has formed a set of standardized and standardized programs, which restrict and complement each other in literature, performance, music, singing, gongs and drums, makeup and facial makeup. As an artistic means to create a stage image, it is very rich and its usage is very strict. If you can't master these programs, you can't complete the creation of Peking Opera stage art. Just as Peking Opera entered the court at the beginning of its formation, its development and growth are different from local operas. It is required to show a wider range of life, create more types of characters, be more comprehensive and complete in skills, and have higher aesthetic requirements for its stage image. Of course, it also weakens its folk local flavor, and its simple and rude style is relatively weak. Therefore, its performing arts tend to combine reality with reality, which goes beyond the limitation of stage space and time to the maximum extent, thus achieving the artistic realm of "expressing the spirit with form and having both form and spirit". The performance requires exquisiteness and exquisiteness, and it is everywhere; It is required to sing melodiously and euphemistically, and the voice is full of emotion; Martial arts is not won by bravery, but by "singing martial arts".