Besides, it has nothing to do with the occurrence of Chinese opera and singing and dancing.

Besides, it has nothing to do with the occurrence of Chinese opera and singing and dancing.

Reporter: I "have never associated the occurrence of China opera with singing and dancing". After publication, there were some voices of opposition. So I want to further explain why the occurrence of Chinese opera has nothing to do with singing and dancing.

First of all, it is necessary to explain why Wang Guowei's definition of drama is wrong, because "a dramatist is to perform a story by singing and dancing." (Wang Guowei's Textual Research on China Opera) If it is changed to "Western musicals (musicals), it is said that the story is also expressed by singing and dancing." That's 100% correlation. Wang Guowei's sentence should be changed to "a player", which means to perform the story of the first-person narrator through composition and dialogue. It is the essence of China opera.

"A playwright means to perform the story of the first-person narrator with a set of songs and dialogues." And "A traditional China opera actor means performing a story by singing and dancing." Different, so the whole history of Chinese drama or the historical narrative of drama history is completely different. That is to say, all the so-called drama history and drama history works since Wang Guowei in the past are taking the wrong path that Wang Guowei explored wrongly. Just like before Zhu in the Song Dynasty, when we talked about the Book of Songs, we all started with Mao's Preface, followed by Wang Guowei's A Comparative Talk on the History of China Opera, and then to Zhu, and analyzed that Mao's Preface was not credible. Therefore, from the Han Dynasty to the Song Dynasty, scholars' comments on the Book of Songs for thousands of years were all bubbles and worthless. The sad phenomenon reappears in the research of China's traditional operas since the 20th century. It takes Wang Guowei's thinking as the thinking mode and lacks the ability of self-reflection and independent observation, all in order to worship the so-called divine authority. This feudal worship in academic circles has never been able to get rid of the old and the new since 1950, which means that Wang Guowei's misunderstanding in academic circles has always been the same as Mao's Preface.

Wang Guowei's words, "A dramatist is to perform a story by singing and dancing." Whether it is the reality of China opera. Is there a self-supporting system for establishing a system, which has become a castle in the air, with no roots and no stones? Or develop some China operas to the peak of special achievements, such as some variations and gift boards of Kunqu Opera. In order to ensure that the stage performance is not dull, it is particularly important to follow the characteristics of Qupai, so symbolic dance can be emphasized in it; Or in the war scene, that is, like a banqiang, this song and dance is weak, and doing and playing are also important. Song Zaju, which appeared in China's traditional operas, is called a "dramatist". It is said that the story of the first-person narrator is also performed by groups of songs and dialogues. But is there a "dance"? Is it "singing and dancing" in daily singing and reciting gestures? The singing feature of Yuan Zaju is "it is not easy to sing fast" (Yue Dian by Huang Zuo in Ming Dynasty), that is, the singing of Qu Pai in Yuan Zaju is very fast, just like Zhu Gongdiao. For example, many of today's Quyi, like the tradition of Zhu Gongdiao, are sung slowly and carefully. How can they sing songs from dozens to hundreds? Even if a person sings a song at a discount, few people can perform it, let alone sing Yuan Zaju at a 60% discount, and it is even more difficult to sing it if it is changed to Shuimo Kunqu. Therefore, it is a natural and inevitable defect that all kinds of so-called performers cannot be displayed under the fast singing of Yuan Zaju. At the same time, under the maturity of various so-called later generations, there are some programmed performances of hand, eye and body movements in China traditional opera performances, which are essentially different from "singing and dancing". At the same time, in addition to the literary talent and adagio of Kunqu Opera, it is also an enduring stage inheritance. Only after the decline of Kunqu Opera in Qing Dynasty could the dance performed by the characters be partially completed. Local, because Kunqu opera can be regarded as the focus of song and dance, but there are few passbook, such as "Peony Pavilion? Garden, Palace of Eternal Life, Banquet, Serial Story, Mission, Sword Story, fun run, etc. There are too many passbook, so it can't be called musical, as defined by Wang Guowei. But from the beginning of the cavity, its cavity is naturally not suitable for dancing. Therefore, Mei Lanfang, a master of Peking Opera, once said that he had shaped a plate of Peking Opera and wanted to dance. It's a lot of hardships. After the inheritance and innovation of later generations, the hand-eye posture in China's operas has reached the maturity and decline of modernity, and has achieved concrete results. As a result, all kinds of operas have thrown away the old vocals in the reform, and more of them are created by themselves, not the original vocals of traditional operas. It is more in line with the song, just like the music style of the previous life, and it is easier to insert the dancing figure. While introducing western music, China's operas keep pace with the West in qualitative change, so the songs and dances are also imitated by the West. Under the reform of the old China opera, look at many new Kunqu operas that are not like the Big Four, and those westernized songs and dances are not the essence of China opera. Wang Guowei's definition of China's operas with the phrase "singing and dancing telling stories" in later generations or in some China operas is simply a big joke.

No one can deny that Yuan Zaju, which sings quickly and lacks "dance", is not the pillar of China opera in its initial stage, but it has the feature of "expressing the story of the first-person narrator with songs and dialogues", that is, the Song Zaju, which happened earlier in the Northern Song Dynasty, is so rough, in which "the story of the first-person narrator is performed with songs and dialogues." However, Yongjia Opera was established in the late Hui Zong Dynasty and Sheng Da Yuefu was dissolved. In addition, the Northern Song Dynasty was destroyed by the Jin people, and musicians scattered to make a living. Yongjia Opera was founded in Yongjia, Wenzhou. Its essence, that is, what Liu Biao said in the Southern Song Dynasty, is the "erotic wow" essence different from the "positive tone" in the Song Dynasty. "Sex" refers to numerous voices, that is, what Confucius called "Zheng Sheng's lewdness", and refers to the variety of melodies. Although in Yongjia people's language, Wenzhou dialect is still one of the most difficult languages in China today. Can be popular in other places, can only use the Southern Song Dynasty Mandarin, otherwise no outsiders can understand what to sing. At the same time, judging from the use of Northern Song Dynasty Mandarin by Sheng Da musicians, Lin 'an was also a place where courtiers concentrated in the Northern Song Dynasty, and its Mandarin was still along the Northern Song Dynasty. Therefore, Yongjia Opera created by Sheng Da musicians will not sing Wenzhou dialect as imagined by later generations, but will be an official opera, with some embellishments of hometown dialect or local dialect. That is to say, in order to attract local people to watch, local dialects can be added to local performances, or words can be written with Wenzhou or local songs and put into scripts. Today, it has been proved that Zhang Xie's No.1 Scholar, one of the trilogy of Yongle Dadian, is not the script of Southern Opera in the Southern Song Dynasty imagined by Qian Nanyang and others at all, but the script of Southern Opera in the Yuan Dynasty, so it was influenced by Yuan Zaju. We think this is very correct. In the Southern Song Dynasty, all kinds of performances of Sanle (White Opera) had their own professional trade unions. For example, there is a "cloud suppression club" in singing, and there is also a record of "book club" in the Southern Song Dynasty. So in the Southern Song Dynasty, a professional playwright wrote at least a rough text. However, there is no empirical study on how far Yongjia Opera is from Song Zaju and how it develops. At least in the historical materials of the Southern Song Dynasty, he was neglected, such as Ji Sheng in the capital. In that case, Yongjia Opera, without the nutrient absorption of the more mature Northern Yuan and Yuan Zaju, "performing the story of the first-person narrator by composing and dialogue" is not far from the style and maturity of Song Zaju. Simple plots and times are just Song Like Zaju, with simple composition form and few tunes, which should be the reality of Yongjia Opera. However, just like Song Zaju, it is all about "composing music and performing the story of the first-person narrator in a dialogue way". Besides, this point cannot be ignored. In the Northern Song Dynasty, it was recorded that: "Gousi rewarded people, and after the 30 th anniversary, the drama of moving Mulian to save the mother doubled the audience" (Dream of Tokyo by Meng Yuanyuan in the Southern Song Dynasty), that is, Kaifeng, the capital of the Northern Song Dynasty, actually had a drama that lasted for several days. Although it may be interspersed with many dramatic elements like the future generations, songs and dialogues should also be presented in full. The above narrative begins with the definition of "group songs and the story of the first-person narrator in dialogue", and briefly describes the reasons.

The soul of China's opera lies in "performing the story of the first-person narrator in a group of songs and dialogues." Moreover, the group song is the soul in the soul. The focus of drama emotion lies in the qupai sung by the aria. The structure of China traditional operas is strung together by composing music. In the long years after the Song Dynasty, when China traditional operas took place, all kinds of performance forms can be classified from the perspective of "Sanqu" or "Hundred operas". That is to say, what China traditional opera scholars think is a small kind of drama is one of the hundred plays of the palace giants or kabuki singing and dancing. Before the Song Dynasty, there were no operas in China, but only "three kinds of music" in a broad sense, including acrobatics such as Jiao Di and Quyi, and small song and dance performances such as walking on stilts. Traditional Chinese opera is also a broad sense of "three kinds of music", so the troupe of Yuan Zaju calls itself "three kinds of music", which is to retain the so-called origin of traditional Chinese opera. Before the Song Dynasty, all the sources of traditional Chinese opera considered by traditional Chinese opera scholars were actually a form of performance, that is, a kind of "scattered music". Without an accurate judgment of the attributes of various performance forms, we can't blindly follow Wang Guowei's opinion and say that inheritance is a world axiom. This is a scientific empirical "history" theory, not a "philosophy" theory of Wang Guowei's drama.