Definition of Quyi

Category: Culture/Art >> Literature >> Drama

Analysis:

Quyi literature is a genre of literary creation, which generally refers to the script creation of Quyi.

To understand the characteristics of Quyi literature, we must first understand what Quyi is. At present, there are basically three views on this issue: one is the traditional "rap story theory" represented by Mr. Tao CuO and Mr. Shen Pengnian; One is the "spoken words" represented by Mr. Dai and Mr. Ren Cheng; One is the theory of "Today's Hundreds of Dramas" represented by Mr. Liu Ziyu. I prefer what Liu Ziyu said: "In fact, Quyi is today's hundred plays. But: first, it is a hundred plays after excluding sports, acrobatics, music, dance, drama and other specialized systems; Second, some elements of music, dance, drama and other arts are retained, which intersect with these art categories in extension; Third, the various artistic forms of rap stories are its main part. "

The theory of "Today's Hundred Dramas" is abstracted from the concrete thing called "Today's Quyi", and it is clearly pointed out that the art of rap stories is its main body. Teacher Liu actually talked about the concepts of "Quyi" and "Quyi". "Daqu art" refers to today's hundred plays, and "Xiaoqu art" refers to the art of rap stories. Xiaoquyi is included in Daquyi; There are still some characteristics of "Daqu Art" and "Xiaoqu Art". Knowing what Quyi is, we can analyze the characteristics of Quyi literature.

First of all, analyze the characteristics of "Daqu Art" literature.

In the past, it was inherited and changeable. A work is often created by an artist and passed down from generation to generation through oral communication. In the process of communication, every artist should process according to the requirements of the times, the needs of the audience, his own subjective conditions and the characteristics of the genre. The process of circulation is also the process of creation. An excellent work is often the crystallization of several generations of artists. For example, the cross talk "Lun Heizi" turned out to be a joke told by the immortal artist De Shoushan. De Shoushan comes to power every day, first weaving the knowledge of the day into six "twists", which is humorous and can be called a must. He loves telling jokes and once told a story about "blowing up a corpse". Some people think that a little processing is cross talk. Hearing this, Zhang Shouchen asked De Shoushan to tell it again, and after finishing the supplement, he made a cross talk. Three months later, it was staged in the "Song and Dance Building" of Taikang Shopping Mall in Tianjin, and later renamed "Lun Heizi". Chang Baoting, Bai Quanfu and others also processed it, forming what it is today. Another example is Yangzhou's comment on Water Margin. Yangzhou artists said that Water Margin has a long history and has been handed down from generation to generation for more than 200 years. Wang Deshan was famous for his ten-character martial arts during the Qianlong period of the Qing Dynasty. Later, Deng Guangdou, Song, Wang, Wang Jinjian and others made great progress in processing, and they all gathered their achievements on Wang Shaotang. Wang Shaotang dictated, sorted out and published more than 800,000 words of Yangzhou Pinghua Song Wu.

After the founding of the People's Republic of China, most of Quyi works were created by writers and amateur writers who specialized in Quyi creation and enjoyed copyright. On the stage, actors often re-create according to their own subjective conditions and objective environment. However, the central events, story lines and main characters of the works are generally unchanged. For example, Ma Ji's cross talk "Friendship of Tanzania-Zambia Railway" and Li's story "A Roman Watch" were re-created by the Literature and Art Propaganda Group of the Third Design Institute of the Ministry of Railways and Zhao on the basis of the original works. The main body of the original work has not changed.

Quyi literature is the basis of Quyi performance. The creativity of Quyi performance is based on the provisions of Quyi literature script, and the actor's re-creation is based on the literary content of the script. However, it is not enough to rely solely on the literariness of the script. Actors need to use dialogue, chanting, imitation (language and action), singing, dancing and other performance means to reflect the content of the script through their own feelings and understanding, that is, the literariness of the program. Therefore, Quyi literature has to be restricted by Quyi performance.

The first is popularity. Popularization first means that Quyi pays attention to the absorption and utilization of spoken language, and tries to adopt those fresh, vivid and expressive words, grammar and rhetoric in spoken language, so that the language is easy to understand, suitable for the audience with general cultural level and understood and accepted by them. Secondly, it can adapt to the aesthetic taste and psychology of the general audience and has a complete and systematic unique artistic skill. The storytelling pays attention to buckle, the crosstalk pays attention to shake the burden, and the skill of duet fully embodies the aesthetic taste of farmers in Northeast China: they like simple and witty characters, and they pay attention to "seeking cleverness from stupidity"; They like strong and implicit feelings, which pay attention to "seeing the big from the small"; They like simple and bright colors, which pay attention to "red in the dark"; They like the style of coarse and fine, which pays attention to "coarse and fine"

The second is performance. In other words, there is room for the performance of Quyi. First of all, the content should have vivid images and vivid details for the actors to perform. Secondly, we should take into account the performance characteristics of actors jumping in and out. This is reflected in the script and is called "personal confusion". In this regard, I wrote in "Is Personal Confusion a Grammatical Error? -As for the syntactic features of Quyi's aria, it has been discussed that the phenomenon of "person confusion" in Quyi's lyrics is related to the performance characteristics of Quyi, more specifically, it is related to "jumping around".

"Leap forward and leap out" requires "in, out", "in fast, out fast", clean and neat. This requires that the lyrics must be adapted to it. "Jump out" is the storyteller, and "jump in" is the expression of characters A, B or C in the lyrics. It is precisely because of this special requirement that there are many "personal confusions" in the lyrics. For example, in the rhyme drum "Forced to Liangshan"-

Lu Qian said that the fire would definitely kill Lin Chong.

Guan Ying said that arson should also be taken as an official.

Fuan said, pick up two bones and go back to see Qiu.

Without exception, you will be promoted to a formal position and get a reward.

Lin Chong heard that the fire was crashing up.

Break into houses and shout Lu Qian!

The traitor heard the alarm and asked who you were.

The immortal Lin Chong is just around the corner!

It fell into my hands today,

Moths come and go!

In the above example, Lu Qian appeared at the beginning, followed by Guan Ying, Fu An, and finally Lin Chong. In the blink of an eye, four big characters appeared. People who can't or are not good at performing Quyi will inevitably give the audience an impression of being confused and confused. Writing a composition inevitably gives people an impression that it is not grammatical. Little did I know that this so-called person confusion phenomenon is a syntactic feature of Quyi lyrics.

In terms of ideological content, Quyi literature often has a distinct tendency, with clear distinction between right and wrong, clear distinction between love and hatred, punishment of evil and promotion of good, and turbidity and agitation. "Shu Shan Qu Hai" is the same, praising national heroes and attacking national scum; Praise honest officials and wise kings, lash treacherous court officials and faint kings; Praise the chivalrous man who is generous in aiding needy people and belittle the wicked and greedy villain; We must be diligent and thrifty, and satirize for nothing; Eulogize the autonomy of marriage and oppose arranged marriage; Praise loyalty, honesty, wit and courage, and laugh at treachery, cunning, stupidity and weakness; Wait a minute. However, in some traditional works, there are many dross because the author takes feudal ethics or the concept of right and wrong of ordinary citizens as the standard of praise and criticism. After the founding of the People's Republic of China, some works that cooperated with "Center" also made mistakes because of the wrong wording or reaction of "Center". But in any case, the tendency of the work is very clear.