Classification of folk rap

The so-called storytelling means that the stories of such works are mainly expressed in verse. Among them, there are tunes, rhymes, strings and drums, which are called aria, including drums, fishing drums (Taoist feelings), tanci, pendants, piano books, Haolaibao (Mongolian), Dabenqu (Bai), (Yi) and octagonal drums (Manchu). There is no musical instrument accompaniment, only clapping and chanting with certain musicality are called rhyming styles, such as Shandong Allegro, Tianjin Allegro, Qianban, Zanha (Dai) and Hani.

Folk rap, whether it is singing or rhyming, is mostly evolved from folk songs, minor tunes and folk songs. The content mainly reflects the real life of the general public, and some show historical themes, eulogize the peasant uprising and expose the darkness of the old society, such as "Changbanpo" and "Noisy Jingzhou". Some attack feudal ethics and express people's good wishes of pursuing marital autonomy, such as "the young couple carry water"; Others show people's humorous interest and are full of comedy. For example, the Henan pendant "Jade Pomegranate" reflects the unreasonable marriage system in the old society. "Nineteen-year-old daughter-in-law is ten years old." The future groom is inexperienced, stealing pomegranates to the old father-in-law's back garden, and then being caught, and the "thief" is just a wife. It exposes the unreasonable arranged marriage in the form of comedy, the innocence of the son-in-law and the unremitting self-improvement of the daughter-in-law, all of which show that even in rural areas, the idea of freedom and democracy has emerged. Storytelling, a folk rap art form, is short and interesting. Some of the lyrics are refined and lively, and some are good at detailed description, which has been loved by the masses. Narrative-oriented works in prose narrative form, such as storytelling in the north and storytelling and comments in the south. Are formed by inheriting the ancient art of speaking. After the development of a group of famous artists such as Liu Jingting in the late Ming and early Qing Dynasties, two systems of storytelling in the south and storytelling in the north were formed in the early Qing Dynasty. Southern Pinghua is represented by Yangzhou Pinghua and Suzhou Pinghua, as well as Nanjing Pinghua, Hangzhou Pinghua and Fuzhou Pinghua. The comments of this system are directly influenced by Liu Jingting. The storytelling in the north is mainly in Beijing dialect, which is said to have been created by Wang Hongxing during the Qianlong period.

Traditional storytelling and storytelling generally have three aspects. First, the golden pavilion is called "a big robe and a book", which mainly shows the contents of attacking the enemy and himself, changing the dynasty, fighting loyalists and traitors, and bringing peace and stability to the country. Such as the Qingqi Brigade of Wan Guo, Three Kingdoms, Sui and Tang Dynasties, Yang Jiajiang and Daming. Second, chivalrous men, also known as "short stories", write about sworn partnerships, fighting violence, fighting competitions, breaking mountains and breaking villages, etc. For example, Water Margin is divided into six parts: Wu, Song, Shi, Lu, Lin, Lu and Houshui Lake, and each part is repeated several times. In addition, there are Three Heroes and Five Righteousness, Green Peony, Eight Zhu Qiao, etc. 3. Ghosts and ghosts, mainly based on myths and legends, mostly show supernatural ghosts, foxes, snakes and immortals, and show human reality with illusory artistic images, such as Liaozhai, The Journey to the West and Shenbang.

The cultural connotation of storytelling is mainly manifested in the following aspects: First, it shows all social phenomena. Like a mirror, it profoundly and vividly reflects the complex and colorful world and constructs a historical picture of China from ancient times to the present. For example, an emperor mentioned in the book can not only attract the emperors of previous and later dynasties, but also attract the reputation of subjects and people, and even use foreign presidents or emperors for comparison and foil. Secondly, it embodies traditional virtues. From the perspective of aesthetic implication, it involves complex ethical concepts, which not only reflects the moral concepts contained in social life itself, praises truth, goodness and beauty, but also dares to choose and speak frankly about the ideological tendency of storytellers. For example, in feudal society, the traditional virtues of the Chinese nation are embodied in loyalty, filial piety, chastity and righteousness. In Storyteller, they are not summarized in a cage, but distinguished and analyzed. The supreme monarch is divided into a wise monarch, a bad monarch and a tyrant, and the upper-class figures are also divided into honest officials and corrupt officials, and then their merits and demerits are described and commented. Third, it contains rich philosophy of life, not overlooking the universe and making a macro discussion, but attaching people's world outlook to various complex concrete things to make people think. Without looking at thousands of years, I am good at intercepting a specific historical cross-section, examining the ups and downs of the long river of history and expressing the people's view of history; The outlook on life it contains is not to speak abstractly and express feelings about life, but to speak through specific plots and typical characters, so that the audience will have a * * * sound.

The artistic characteristics of storytelling and storytelling are as follows: 1. Clever conception and tortuous plot. Its structural means mainly rely on "beam", "ladle" and "buckle". "Liang Zi" is an outline of an artist's storytelling, which is generally passed down from mouth to mouth. For example, the thirty-six friends of Wagangzhai in the Romance of Sui and Tang Dynasties, the twenty-eight generals of Yuntai in the Romance of the Eastern Han Dynasty, the names of all kinds of birds and animals and the poems and songs describing the scenery in Shi Gong 'an should be memorized and blurted out when used. These "enemies" become the main line of storytelling, connecting other related materials in series. "Fenzi" is the main plot in a work and the intersection of many contradictions and clues. For example, the "Three Big Zhujiazhuang Villages" in Water Margin is a "big Fenzi", and it also includes several small "single books" such as Cuiping Mountain by Yang Xiong, Shi Xiu, Sun Li, Sun Xin and Robbery by Gu Dasao. "Kou", also called "Guan Zi", means that the story in the book stops telling, intentionally stops, and temporarily hangs on the key point, commonly known as "suspense". For the fascinating and gripping content, it is about to give hints or hints in advance, but it does not answer immediately, leaving doubts in the audience's mind and generating expectations that they are eager to know the root. Buttons are actually the focus of personality conflicts and contradictions, which are often closely related to the fate of characters. As the saying goes, "Listen to the axis of the play, listen to the book and listen to the button". The storyteller uses the button to make the plot ups and downs, seize the audience and enhance the artistic charm.

Second, vivid image, both form and spirit. The characters selected in storytelling are often superior in character, or immoral, or beautiful, or both intelligent and brave, or unparalleled in loyalty, which is related to their legendary color based on folk oral legends. More importantly, storytellers say that when shaping characters, they are not good at similarity, but win by similarity. They take pains to use various artistic techniques, such as frontal description, side contrast and redrawing, to make the characters lifelike.

Third, combine narration with discussion and reason with emotion. Storytelling is good at combining narrative, description and discussion. In the process of narrative story development, it is necessary to constantly comment on the characters to show the author's attitude. Storytelling got its name because of its comments. If "evaluation" is cancelled and only "book" is left, its characteristics will no longer exist, which shows the importance of book review. Comments on storytelling sometimes come straight to the point and directly explain the discussion; Sometimes, it is borrowed from others and the topic is used for fun; Sometimes, they will quote the classics and make sense. The comments in the book have never been seen by Taoist priests or done by others, which provide a reference for the audience to analyze and judge and sublimate the theme. Of course, "evaluation" should be just right and interspersed freely, rather than putting the cart before the horse and usurping the role of the host. Mainly cross talk, it is an art form of comedy style with speaking, learning, teasing and singing as the main artistic means. Its origin can be traced back to the antics in the pre-Qin period, the satirical remonstration in the dream, the outstanding achievements in the Qin and Han dynasties, the "joining the army" in the Tang Dynasty and the "pretending to be a student" in the Song Dynasty. However, the formal formation of crosstalk art should be in the Tongzhi period of the late Qing Dynasty. At that time, the Qing government was corrupt and incompetent, and the imperialist aggression turned China into a semi-feudal and semi-colonial country, and the people were in dire straits. Some poor folk artists are worried about the country and the people, dissatisfied with the status quo, and forced to take to the streets to make a living as entertainers, taking the opportunity to express their inner grievances. Zhu Shaowen, an artist whose stage name is "poor and not afraid", inherited funny art such as folk jokes and made a living by telling jokes on the streets of Beijing. At first, he said it alone, but later he took an apprentice and changed it into a dialogue between two people, which became a cross talk between the two sides. Subsequently, the number of performers increased and group activities were created. Since then, crosstalk has spread, the performing arts have been improved day by day, and the performance paragraphs have been enriched.

The most prominent feature of cross talk is that it can make people laugh. Without laughter, there would be no crosstalk. Therefore, it can be said that crosstalk is an art with comedy style. The humor and jokes of cross talk can help people open their locked brows, relax the wrinkles on their foreheads, stretch their contracted myocardium and forget the troubles in life. These humors and jokes are bred in the fertile soil of people's lives, and are derived from the phenomena of daily life, the deviation between phenomena and essence, and the great disharmony between content and form. But some cross talks have no life content and social significance. If you just talk, talk nonsense, or make fun of people's physical defects, you will have a tendency to vulgarize with low style.