How to pronounce Yun Bai? Is there any pattern to follow in Yun Bai in Peking Opera?

The following is an original work by the famous Peking Opera master Sun Yumin:

The Narration of Peking Opera

I think any audience who has some knowledge of Peking Opera knows that there is such a saying, called : "Thousands of gold words are sung in vain". Obviously this is an exaggeration. The reason for saying this is to emphasize the importance of reading.

The narration in Peking Opera includes Jingbai, Yunbai and Su Bai. My teacher Xun Huisheng also invented a kind of narration between Jingbai and Yunbai. It is both cute and cute, so I named it The name is Xiebai.

Jingbai is the Beijing-flavored version of the Beijing character pronounced according to the Beijing dialect. It is mostly used for Hua Dan, pretentious painted face, and small painted face. Sometimes Xiaosheng also intersperses a few lines of Jingbai in rhyme and Bai, such as Chang Baotong in "Da Yan Song", which has a humorous and ridiculing meaning. Some people say that Qingyi and Laosheng do not read Jingbai, but this is not true. For example, the princess in "Silang Visits His Mother" and Hu Ayun in "Su Wu Shepherd" are both played by Qingyi Yinggong, and both read Jingbai. Mr. Zhang Junqiu's Jingbai Bai Qingqing's singing is particularly beautiful, as interesting as his singing voice. Laosheng opera is mainly a Qing Dynasty costume opera. For example, in "Hong's Mother scolds Chou", Hong Chengchou changes his flag uniform and headband after surrendering to the Qing court, and at the same time changes to Jingbai, which contrasts with his mother's rhyme Bai, which is fully ironic. This traitor has the face of forgetting his ancestors. The most typical Huadan opera is He Yufeng in "Thirteen Sisters". It is said to be Mr. Wang Yaoqing's classic play, mainly due to Jingbai's good reading and originality. Later Hua Dan and Jing Bai were all influenced by Mr. Wang. There are many scenes where the little flower-faced Nian Jingbai plays, which sounds very casual, but actually requires a lot of effort. For example, when counting boards, you should also follow the rhyme and follow the rhyme, and it should be done in a precise manner, just like singing. There is also a kind of "Guankou Bai", which seems to be reciting a long paragraph in one breath, and the faster and faster the recitation is, the spirit is soaring. Playing a long note at the end, just like the singing tune, can also get applause from the audience. This requires a lot of talking, and if you don't handle stealing and exchanging breaths well, you won't be able to recite it. Especially the martial arts dramas, such as Zhu Guangzu in "Serial" and Yang Xiangwu's Jingbai in "Kowloon Cup" are very difficult. When I listened to Ye Shengzhang and Zhang Chunhua's recitation, it was as crisp, neat and refreshing as stir-fried jumping beans.

Yunbai, like the singing style of Peking Opera, uses Huguang rhyme. In other words, they are all the products of when the Huizhou Troupe came to Beijing 200 years ago. When you listen to the people in Wuhan talking now, especially when they learn Beijing dialect, it is really like the Yun Bai on the Peking Opera stage. In fact, if you add some long notes to the rhyme and add some flowers, it is the singing style of Peking Opera. It can be seen that Yunbai's melody is a simplified Pihuang tune. Someone said, "I don't believe it. You can't sing Peking Opera without Huguang rhyme." In fact, he didn't understand that the singing melody of Peking Opera evolved from the four tones of Huguang dialect. How could you use the four tones of Beijing dialect to speak Huguang? Where is the flavor of the words? Some playwrights who were not familiar with Huguang Yun wrote the same lines for Jingbai and Yunbai. The actor said he couldn't read them out, and he was quite unconvinced. He forgot that different dialects have different grammars and different language structures. For example, when Su San recited Yunbai in "Qi Jie": "You and I, father and daughter, are the walkers." If it were replaced by Jingbai, it would be difficult to pronounce it, so it could only be changed to: "Let us go slowly." On the contrary, if Jin Yunu recited Jingbai: "I said hey, come back to me." The Peking Opera actor saw that this word was Jingbai, because he couldn't pronounce Yunbai, so he had to change it to: "Listener, come back with me." ! "It seems quite simple when I say this. In fact, in addition to the image design and aesthetic factors of art, it also includes dialectology and phonology, which is very complicated.

Xiebai is between Jingbai and Yunbai, and it also has a bit of timidity. I understand that it uses the tone of Jingbai, the melody of Yunbai, and a few Beijing characters. Son. As for the true original intention of Teacher Xun in creating "Xiebai", I was not very clear at first. After many years of stage practice, I feel that the secret of this kind of recitation is to inject the breath of life into the traditional rhyme, making it more appealing and closer to the audience. For example, the narration in "The Matchmaker" is so moving and cooing because it is more lively than the rhyme and more intimate than the Beijing narration.

According to different occasions and functions, the narration in Peking Opera can be divided into the opening narration, introduction, dialogue, interlocutory narration, counting boards, batting moths, chanting pairs, calling the head, back bowing and harmony. Crying about lovesickness and so on.

The opening line: after the characters in the play appear, they read the opening poem after playing the introduction or singing card, and then announce their family name, say their surname, what their name is, what they do, what official they are, and then Introduce the background of the plot development yourself. Let's talk about Zhuge Liang's closing remarks in "The Empty City Strategy":

(After the four generals took over, Zhuge Liang was promoted to the main camp to handle military affairs. After taking the stage, he read the introduction:

Lufan The turban and the four-wheeled vehicle are as fast as the wind and clouds.

The yin and yang are reversed, the world is determined, and the Han family is protected by two generations of wise ministers.

(After returning to the seat, read the closing poem:

Recalling the past when Wolong was in control of the universe

He was a great hero who returned to the Han Dynasty.

(Self-reported:

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My surname is Zhuge, my given name is Kongming, and my Taoist name is Wolong. Since the late emperor Tuogu, I have been raiding the Central Plains and turning the Han Dynasty around. I heard that when Sima Yi's troops arrived in Qishan, they would definitely seize the street pavilion. The ground must be defended by a capable general to ensure safety...

This form of opening remarks is completely self-promotion by the actor to the audience, which seems to be divorced from the character itself. The plot does not seem to be separated. Past dramas did not handle it this way, especially Stanislavsky in the former Soviet Union, who believed that actors should become one with the character and achieve a state of selflessness. How could it be possible to narrate the plot outside of the character? ? But the German Brecht found that the opening line of Chinese Peking Opera or self-introduction is a unique and advanced dissociation effect, and it is exactly the kind of art form he wants to pursue. There is no conflict in this kind of statement. The climax is related to the lifeblood of the whole play, and it is difficult to attract the audience.

Read it right: Don’t look at the actors who only read a couplet, which is only five words, but the introduction is right. The plot, characters, mood, etc. can play a key role. For example, in "The Empty City Strategy", there is a flag official who delivers a geographical map from the street pavilion to the West City. He said: "A man travels a thousand miles, and a horse travels thousands of mountains." The identity, role and journey of the flag officer across thousands of mountains and rivers are revealed. This is a typical way of freely changing time and space in Peking Opera. Another example is the couplet read by Zhao Yanrong in "Universal Frontier": The cuckoo weeps on the branches, and the blood and tears cry secretly.

In just ten words, the character's full sorrow and resentment are vividly displayed in front of the audience, especially when Mr. Mei Lanfang read it, it made Zhao Yanrong's unbearable grief and choked-up state after losing her husband. Cast in these ten words, the audience will immediately feel shuddering.

Shuban: mostly used in clowns, such as the lamp official in "Dragon Robe"; the door official in "Golden Terrace" and so on. The lines must be the same on both sides, but the last word of each sentence must be in a oblique tone, or even in a flat tone, or even in a flat tone. It is required to always be on the same side, similar to limericks, such as "Deng Guan" in "Dragon Robe". Number board:

The lantern official is good, the lantern official is wonderful.

Listen to me and tell you the name of the lantern:

One harmonious gas lantern, two holy lanterns in harmony,

Three Yang Kaitai lanterns, four seasons peace lanterns,

harvest lanterns, six kingdoms seal lanterns,

seven riches lanterns, eight immortals crossing the sea lanterns,

Nine sons make 100% of the lanterns, lanterns ambush from all sides,

This lantern, that lantern, I can’t tell clearly at the moment...

Crying for lovesickness: because There is no accompaniment and it is included in the recitation. Like the introduction, it is sung with a score. For example, in "Qin Qiong Sells a Horse", Qin Qiong bursts into tears and lovesickness when she comes on stage, with a sad voice, which expresses the hero's plight. The lines are as follows:

The hero is trapped in heaven, and he doesn't know when he will return to his hometown.

Guankou Bai: It pays great attention to clear articulation, cadence and strong rhythm. Most of them are read faster and faster, showing the power of reciting Bai Bai. For example, in the first court of "Four Jinshi", Song Shijie refuted the prefect Gu Du's statement:

Your Excellency: The villain Song Shijie opened a small shop outside the west gate, just to make ends meet. That year, the villain went to Shangcai County, Henan Province on a business trip and met Yang Suzhen's father by chance. The two of us had been friends for eight times, so I worshiped Yang Suzhen at my knees as my adopted daughter. At that time, Yang Suzhen was just as tall as she was. March came and went in May. Now she was married into the Yao family. She was full of grievances and came to Yue Yamen in Xinyang Prefecture to complain.

She had to live, and the villain had to stay. The right thing to say was that one could not ignore those who were relatives, and one could not take care of those who were not relatives. If she did not live in her godfather's house, could she still live in the nunnery and monastery?

The first few sentences are told in a straightforward and eloquent manner. When you read the last few sentences, the speed should gradually increase. After reading "antang", a gong is sounded. Say "Temple" loudly again and end. It can be said to be reasonable, powerful and restrained, which shows the iron mouth and teeth of a litigator.

There are many programs and routines for reciting Bai Bai. The key is to recite beautifully and lively.

When I talked about singing, I quoted a sentence from Mr. Yu Shuyan, who said: "The highest state of singing is reading." So it can also be said here: "The highest state of reading is singing." Because no matter what you say, it cannot be the same as speaking in daily life. They must be full of melody, rhythm and musicality. Because if you read and speak the same way as usual, it wouldn't be called art. Why would the audience come to the theater? Operators in the past believed that opera was "singing and dancing to tell stories", while current operatic operas are "telling stories to tell songs and dances". In any case, Peking Opera is silent and does not sing. The narration and singing belong to the category of singing art. This is There should be no doubt.

On the Peking Opera stage, many artists have created some unique Nianbai operas. For example, Mr. Ma Lianliang's "Night Trial of Pan Hong", "Huaihe Camp", and "The Stolen Records"; Mr. Zhou Xinfang's "Song Shijie" and "Qingfeng Pavilion"; Mr. Xiao Changhua's "Famen Temple" and "Jiang Qian's Stolen Books"; There are even more Nianbai operas for Hua Dan, such as "Hua Tian Cuo" by Xun Huisheng; "Famen Temple" by Hao Shoushen; such as "Wulong Yuan" by Xiao Cuihua; etc. are all very famous Nianbai operas, giving people a high artistic level. satisfy. Let's take Mr. Xiao Cuihua's "Oolong Courtyard" as an example. He carefully considered every line in the play and read it very movingly and vividly. Especially the lines that others thought were insignificant, he put a lot of effort into. He specifically talked about the greetings between Yan Poxi and Zhang Wenyuan when they met:

Yan Poxi: Are you here?

Zhang Wenyuan: I’m here. Ah, sister, how are you?

Yan Poxi: Oh, I’m fine.

Many actors think this is a dispensable line, nothing more than a cut scene. Mr. Xiao Cuihua said that if it was just a cutscene, these two sentences could be cancelled. But he believed that these two lines were very important to the development of the plot. Yan Poxi said: "Are you here?" You need to lengthen the word "you" and pronounce the word "la" very softly. First, you need to say: "You are here", and then say: "You are still here" Huh?" The audience heard that Zhang Wenyuan was too old to come back, which meant that he was overjoyed and angry. This is used to portray the degree of love between characters. Pause for three seconds after saying "I", which means asking Zhang Wenyuan, do you still think of me? Say "I'm good" again. It means dissatisfaction, a little temper, and a tendency to ignore others. It was also a complaining tone, so as to punish Zhang Wenyuan. Some people say that Xiao Cuihua performed this play superbly. In fact, she didn't have any special skills. She just acted every word and every look to perfection. No one can surpass him so far.

Because I am a disciple of Mr. It’s not just the roundness and gorgeousness of the voice and so on. Sometimes, due to emotional needs, he even "breaks" the sounds, or embellishes his recitations with some life-changing sounds, trills, yellow sounds, and breathy sounds. When emotions are intensifying, his thoughts are like the "big break" in a play. Everyone knows "Er You in the Red Chamber". In the play, when the second sister You begged Wang Xifeng before her death, she had a passage that made her burst into tears. It was too tragic to watch. Mr. Xun Huisheng read it like this: "Auntie - (struggles in despair) you and I (sighing with emotion) have no hatred in the past and no hatred in recent days.

When my son died just now, it was clearly you... (The subtext here is self-evident, but if you don't say it, it is silent, which highlights Wang's ferocity and You's cowardice, and is also a silent accusation)... As soon as my son dies, that will be it (big interval) Why are you trying so hard to kill me (when you read it, you burst into a hoarse crying sound like cracked silk, especially the word "bitter" is as ugly as a broken gong)? Auntie, you (read loudly) you... please spare me...! "Finally, recite it with a breathy cry, while reciting it, while crawling forward, to recite the heart-breaking feeling.

You think, if this recitation is very beautiful and beautiful, the sound will be It's so crisp and sweet, but it's impossible to portray the sorrow, indignation, desolation and despair of Sister You's begging and struggle before she died. Is it just like a drama that can be read with the emotions in life? No, it also requires precise and delicate modifications, a strong sense of rhythm, melody and tune, and the accompaniment of gongs and scriptures. It just needs to be full of tragedy at the end of the performance of "Golden Jade Slave". During the "beating with a stick", when Jin Yunu was accusing the ungrateful lover Mo Ji with blood and tears, there was a long paragraph of narration, which was Jin Yunu's painful memories, and he explained to his adoptive parents the reason why he was unwilling to reconcile with Mo Ji, so he just went with the above The difference is that Second Sister You is submissive, while Jin Yunu is assertive, so Jin Yunu's speech emphasizes "the mood of the character." While "intermittent", it is also necessary to emphasize the contrast between high and low sounds, and use the unique "pointing" of Xunpai to emphasize the power of "key sentences" and "subjects". Only in this way can people feel that Jin Yunu has mastered Mo Ji. The scolding is full of joy and relief.

The Jingbai of Xun School is also very unique, so the pronunciation position when pronouncing Bai should be forward, and the power of the teeth and the tip of the tongue should be fully used. The mouth should be slightly open, fast and slow. Although it is also important to express words clearly, and pay attention to the beginning, abdomen and ending of words, he believes that this kind of attention cannot be heard by the audience and cannot make the audience feel that you are speaking. It's a show off of kung fu. It requires the audience to hear every word clearly, but also to be extremely natural. When portraying a teenage girl, his narration is somewhere between tongue-biting and non-biting. It is clear, pleasant, and has a particularly strong sense of age. For example, the characters he played, Sister Han Yu, Jin Yunu, and Sister You, all put a lot of effort into recitation.

For example, Sister Han Yu in "Tricking a Wife to Marry a Sister", each of her recitations is short. , but the personality of the character must be pronounced, so that the audience can feel the childishness, honesty, and cuteness of the character through the narration. The speech must be kind and sincere, and the voice must be a little coquettish, even a little bit lame, but the cuteness must not be lost. For example, in the last scene, after Chen Zhi handled the case, he personally acted as a matchmaker and betrothed Sister Han Yu to Zhang Shaolian. At this time, Sister Han Yu asked: "Master Chen, Zhang Shaolian didn't agree to my marriage, why did you ask Yu Ren to prepare the dowry?" "

Chen Zhi said: "I have the final say. "

Sister Han Yu said: "That's not possible. (Innocent, but very serious) You can't treat marriage as a trivial matter. I will dress up later. What if he doesn't want me? ? "

Chen Zhi said: "This matter is my responsibility. "

Sister Han Yu said: "What's the matter, wrap it up on you? That was great, so I went to dress up. I dressed up as a bride, and after a while I worshiped heaven and earth with him. If he wants me, that's fine. If he doesn't want me, we'll settle the score later. "

This paragraph of one to five sentences should be pressed step by step and completed in one breath. It shows the innocence, eagerness and fluency of the little girl, so start with "I dressed up and went to take a breath," No more breathing is allowed in the middle. The breathing process in this process is inhaling - inhaling again - inhaling again - exhaling - exhaling. At the same time, the expressions and gestures must be consistent with the breathing, and produce a strong humorous effect. The whole room burst into laughter. If there was a breath after each natural sentence, the mood would be completely different, and the identity of the character would be wrong, especially after the words "If he doesn't want me", there would be a breath. If you think "let's settle the score later", then you are not a cute girl, but the vicious Yan Poxi. It is not a comedy, but a cruel struggle.

This shows how important the rhythm of reciting and a small breath are. It is really a slight difference and a huge difference.

Of course, the reason why recitation is an art is not just its musicality and technique. The key is the artistic means of shaping an artistic image. For example, there is a dialogue in "Er You in Red Mansions":

Jia Rong: Third Aunt, what do you think of the matchmaker I protected for Second Aunt?

Sanjie You: Not bad! (Irony)

Jia Rong: If it’s good, my uncle and uncle still have more. How about I find another one for you?

Sanjie You: I’ll beat you up!

Although you only say these three words every time, these three words can accurately portray the personality of you. If you change one line or one word, for example, If "I beat you" is changed to "I beat you", it is no longer Sister You, and it is also inconsistent with the temper of Sister You who teased Jia Lian and Jia Rong during the "banquet" later. Only such sharp and cunning language can express the characteristics of Sister You San who dares to hate and love, and can she later have a tragic death for love. Therefore, the language of drama must not only be logical, but also have artistic personality. I remember that when the Peking Opera Theater in Beijing was rehearsing "Three Beats of Tao Sanchun" written by Mr. Wu Zuguang, many actors and directors were interested in the line Tao Sanchun recited before entering the Golden Palace: "I will ring his mother's Jingyang Bell first." When he went down to the palace, he recited "Long live Lord, see you tomorrow!" raised doubts. But Mr. Wu Zuguang said: "That line can be changed, but this line cannot be changed. If it were changed, it would not be this play. This is the specific language of a specific character. The reason I wanted to design this line was because I considered it The script has considered the audience's appreciation habits. I believe that this line of dialogue will have a strong effect. "Sure enough, during the performance, the stage effect of this line of dialogue was very strong, and it even became the image language of the character Tao Sanchun. has become synonymous with this drama. It can be seen that excellent playwrights are very particular about the narration of their characters