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As an independent variety of storytelling, the art of storytelling spread in northern China was formed in the early Qing Dynasty. According to various sources, although storytelling is a form of oral performance, its artist source is mostly "singing songs". According to legend, Wang Hongxing, the first generation of storytelling art formed in Beijing, was originally a "rap" artist named "Heizaiben"; At the beginning of the 20th century, many "rap" artists who performed "Xihe Drum" and "Northeast Drum" in northern rural areas switched to telling stories after entering the city. This is a very interesting phenomenon in the evolution of China Quyi.

Early storytelling was a person sitting behind a desk folding a fan and waking up the wood. It is often used at the beginning of a performance or during intermission as a prop to remind the audience to be quiet or warn them to pay attention to enhance the performance effect, hence the name), wearing a traditional gown, giving speeches and commenting on stories. By the middle of the 20th century, most people did not need props such as tables, chairs, folding fans and awakening wood, but stood and said and performed, and their clothes were not fixed in robes. Storytelling is mainly based on northern pronunciation, with Beijing pronunciation as the standard pronunciation. China is popular in most parts of North China and Northeast China. Due to the use of spoken language, third-person narration and introduction are the main language uses. And formed a unique set of procedures and norms in art, for example, the traditional performance procedure is generally: first read a "fixed poem" or tell a short story, and then enter the formal performance. When performing formally, tell a story and comment on the human feelings and things in the story. If new characters are introduced, we should say "open face", that is, describe or explain the origin, identity, appearance, personality and other characteristics of the characters; The story-telling scene is called "bricklaying at the end"; If you praise the character's morality, appearance or scenic spots in the story, you will often recite parallel prose in the form of long sentences, which is called "ode", full of musical beauty and linguistic beauty; When speaking and performing in important or wonderful places, we often use "overlapping sentences" or "serial ports", that is, we use overlapping sentences to enhance the effect of speaking and performing. In story telling, in order to attract the audience, creating suspense and using "imprisonment" and "buttons" are fundamental structural skills. Therefore, its performances are endless, coherent, interlocking and fascinating. It is not easy for performers to do this, and they need all kinds of qualities. For example, a poem "Xijiang Moon" said, "There are many things in the world, and storytelling is difficult to learn. Narrative table is not easy to comment on, and a thousand words must be memorized. One should be loud and the other should be frustrated and late. Pretending to arm myself with words is like a play.

The storytelling programs are mainly long volumes, and the performances are mostly historical dynasties, heroic battles and chivalrous stories. Later, in the mid-20th century, there appeared short stories and short books suitable for stage performances at parties, but long books were still the mainstream.

Storytelling, also known as storytelling, is popular in North China, Northeast China and Northwest China. In Jiangnan, it is called Pinghua. It has a long history. As early as the Spring and Autumn Period, people told stories. It is an oral literature created by the working people in our country. During the Warring States Period, hundred schools of thought lobbied the princes, often quoting classics and taking stories as metaphors. Later, many popular idioms were formed, such as "rushing to the crown in a rage", "carving a boat for a sword" and "filling in the blanks". In fact, this is the early storytelling. The popular storytelling in Beijing is said to have been handed down by Liu Jingting (1587 ~ 1668), a storyteller from the south of the Yangtze River, when he came to Beijing in the late Ming and early Qing dynasties. It is also said that when Wang Hongxing, a drummer of Beijing dialect in Qing Dynasty, performed in Jiangnan, he worshipped Liu Jingting as his teacher. After returning to Beijing, he changed to storytelling, and in the thirteenth year of Yongzheng (1735), he filed a case with Zhang Yishi as a disciple, which has been passed down to this day.

As an independent variety of storytelling, the art of storytelling spread in northern China was formed in the early Qing Dynasty. According to various sources, although storytelling is a form of oral performance, its artist source is mostly "singing songs". According to legend, Wang Hongxing, the first generation of storytelling art formed in Beijing, was originally a "rap" artist named "Heizaiben"; At the beginning of the 20th century, many "rap" artists who performed "Xihe Drum" and "Northeast Drum" in northern rural areas switched to telling stories after entering the city. This is a very interesting phenomenon in the evolution of China Quyi.

There have been ten generations of storytellers. Among them, the most famous ones are Shuang Houping (the sixth generation), Wang Jiekui (the eighth generation), Lian Kuoru (the ninth generation) and Liu Lanfang (the tenth generation). They are all good at telling the historical romance of crowns, robes and horses. After liberation,,, Li, and others have made great achievements in editing and performing new books.

Characteristics of storytelling

Storytelling is mainly based on northern pronunciation, with Beijing pronunciation as the standard pronunciation. China is popular in most parts of North China and Northeast China. Due to the use of spoken language, third-person narration and introduction are the main language uses. And formed a unique set of procedures and norms in art, for example, the traditional performance procedure is generally: first read a "fixed poem" or tell a short story, and then enter the formal performance. When performing formally, tell a story and comment on the human feelings and things in the story. If new characters are introduced, we should say "open face", that is, describe or explain the origin, identity, appearance, personality and other characteristics of the characters; The story-telling scene is called "bricklaying at the end"; If you praise the character's morality, appearance or scenic spots in the story, you will often recite parallel prose in the form of long sentences, which is called "ode", full of musical beauty and linguistic beauty; When speaking and performing in important or wonderful places, we often use "overlapping sentences" or "serial ports", that is, we use overlapping sentences to enhance the effect of speaking and performing. In story telling, in order to attract the audience, creating suspense and using "imprisonment" and "buttons" are fundamental structural skills. Therefore, its performances are endless, coherent, interlocking and fascinating.

It is not easy for performers to do this, and they need all kinds of qualities. For example, a poem "Xijiang Moon" said, "There are many things in the world, and storytelling is difficult to learn. Narrative table is not easy to comment on, and a thousand words must be memorized. One should be loud and the other should be frustrated and late. Pretending to arm yourself is like a big drama. " The storytelling programs are mainly long volumes, and the performances are mostly historical dynasties, heroic battles and chivalrous stories. Later, in the mid-20th century, there appeared short stories and short books suitable for stage performances at parties, but long books were still the mainstream.

The traditional storytelling handed down now has the characteristics of folk oral literature. It brings together the wisdom of the people, which is not only the painstaking efforts of storytellers in previous dynasties, but also the mass artistic creation results. It was handed down through "pamphlets" (a detailed outline of a book, also known as "Liang Zi") and oral teaching. Different genres and actors have different ways to deal with the characterization and plot arrangement of a book, especially in the aspect of "comment", which varies greatly from person to person. The storyteller is both an actor and a screenwriter, and their performance process is often a process of careful conception and continuous creation. This is the characteristic of oral literature.

Types and Bibliography of Traditional Storytelling

The traditional storytelling bibliography is divided into 29 books in four categories.

(1) Long guns and robes with books (13): List of Gods: Romance of the Western Han Dynasty, Romance of the Eastern Han Dynasty, Romance of the Three Kingdoms, Romance of the Sui and Tang Dynasties, Xue Jiachuan, Yang Jiajiang of the Five Dynasties of Tang Dynasty, Ten Pills Elixir, Loyalty, Moon, Heroes and Heroes, Ming and Qing Dynasties.

(2) Bamboo Slips Case-solving Book (13): Fenzhuanglou Dasong Bayi Hongbiyuan Ming and Qing Dynasties Bayi Yongqing Shengping Sanxia Xianjian Gong Peng Case Stone Bow Case Bao Case Xiao Wuyi Shuihu Children Heroes Biography

(3) The Genie Book (Part II): Journey to the West in Hijigong

(4) The Ghost Book of Fox (Part I): Most of the 29 books in Liaozhai are the battle stories of Jin Goma Iron and Heroes. Few people tell love stories except serial stories. There is no such thing as "ladies and talents meet, spring flowers and autumn moon are tender", which is also a major feature of traditional storytelling.

Story-telling language

Storytelling scripts must be readable on the table, performable on the field, colloquial and vivid. In this way, it is beautiful to introduce victory. Avoid pronunciation errors, illusions or ambiguities in language. For example, in novels, gluttonous people are often called "gluttonous people", but in storytelling, many people don't understand. If this person is a greedy ghost, it is not vivid enough. In fact, traditional storytelling has been demonstrated. As described in the Wild Pig Forest, the ugliness of two tolerant gluttons is like this: they raise their windward arms, hold their big teeth with whirlwind chopsticks, hold their confidence, take out their bellies, throw away their cheeks, the chickens and dogs they eat are sad, and the cats and dogs are crying. This description is very vivid and makes people laugh. In the actor's words, this is "the language of standing up".

Storyteller

Tell stories, portray characters, and pay attention to "opening a face." When writing a new book, we should outline the appearance and temperament of different characters according to their personalities and ideological characteristics, and then dress them in clothes that suit their status. In this way, the audience will establish a vivid character image in their minds. Yuan Kuocheng, a storyteller, edited Dinner in Xu Yunfeng, so he "opened his heart" to Xu Yunfeng, a positive figure: he raised his head ... with thick eyebrows and big eyes, wearing a blue cloth coat, simple and generous, and walked leisurely into the hall. According to this "face-opening" design, the performers also adopted the expression technique of close-ups in movies, with concentrated thoughts and cool heads. When imitating a character, the face is serious and natural, not just imitating the appearance. Xu Yunfeng's dinner reflected the complicated struggle between the enemy and ourselves. At the beginning of the story, the background and environmental characteristics of the times were explained in a few words, and the conspiracy attempt of the enemy spy to hold a banquet was buried. As soon as Xu Yunfeng appeared, the sharp struggle between the rocks where Mount Tai was located was officially launched. The book pretends to please through Xu Pengfei's hand, but Xu Yunfeng ignores it. Reporter Mary didn't touch the glass. Xu Yunfeng severely reprimanded the enemy. Director Ma turned pale with fear. When Xu Yunfeng knocked down the dining table, Mao Renfeng spoke, the power plant workers went on strike, and the room was dark. It vividly shows the heroic spirit of proletarian warrior Xu Yunfeng and the embarrassing situation of the enemy from the front and side.

Storytelling should shape the heroic image of positive characters, so that their thoughts reach a certain height and their images are realistic. It is not enough to complete the task just by "opening your face". Editors should realize the ideological depth of the characters themselves and adopt various artistic techniques to reflect it. The story-telling scene tells the audience clearly the environment in which the characters in the book are active. Such as the location of doors and windows, the number of interior decoration, mountains, water, rivers, cities, main roads, etc. While listening to the activities between the characters, the audience naturally associate with the characteristics of the environment in which the characters live and feel the blending of scenes.

The main plot should be carefully designed to "lay out the last words", and the bricks, tiles, grass and trees needed in the book should be skillfully placed in front of the audience (of course, not everything is listed), so that the audience can feel immersive and arouse their appreciation interest. For example, the Sichuan storytelling "Seize Printing" wrote that rotten melons were nervous when they heard that Secretary He was coming: rotten melons put on their clothes, got out of bed and put on their shoes, lit a torch with a foreign torch, picked up the lamp and rushed to the kitchen to make breakfast. Suddenly I heard someone knocking at the door: "Dong! Knock on the door! " "Which ... which one?" Rotten melon asked in panic. "Aunt, it's me-Guangxi." "What is Guangxi? Tut tut, scared your aunt. " Just then, the rotten melon put the lamp on the table: "Guangxi, what are you doing standing outside?" Come on in! ""Aunt, your door is closed tightly. How can I come in? " "Hey hey, you this boy is really funny! The door is tight, open it quickly! " "Aunt, is your bolt outside?" "Hum! I ran out, so I was the prison door! The bolt is inside! " "Aunt, I am outside, how can I open the latch inside you?" "Oh, it took a long time, you are outside! "Through the details of the conversation between two people inside and outside the door, I really wrote a scene where the rotten melon had a guilty conscience and was so scared that I forgot to open the door. People will have a sense of reality when they hear this. Then it was written that Chen Jingyi went to open the door: Chen Jingyi cursed: "You are confused before my name comes." While opening the door, he cursed: "Come in, where is Guangxi? "rotten melon said," you are just like me. Guangxi people are knocking at the door of the back eaves. Go open the front door and call the child. " This further reveals Chen Jingyi's calm appearance and panic. In life, it is not surprising that a house has a front door and a back door. However, in artistic creation, "door" has become an indispensable and important prop to truly describe the psychological activities of two negative characters. This is the truth of art.

Seven ways to tell a story

(1) Ming pen

Clearly describe the time, place, scene and plot of the story. As mentioned above, the example at the beginning of "Seize the Print" is Ming Pen.

(2) Dark pens

Ignore trivial and unimportant processes to avoid verbosity and delay. For example, there is a passage in "Breaking into Coral Pond at Night": "Xia Shuji organized several young people engaged in offshore production to patrol and inspect at night according to the instructions of his superiors." As for how to patrol, who to send and which intersections to guard, they are all handled with hidden pens.

(3) bedding

There is an ambush in front, so I don't need to elaborate on it later. For example, in "The Old Woman with Two Guns", the old woman was dressed as a lady in front and explained clearly, and then the puppet troops behind claimed to catch the old woman in front of her and get a large reward, which was an ambush. This treatment has a strong artistic effect.

(4) Magic pen

Arrange the plot nervously to increase the audience's appreciation interest. For example, in Loyalty and Righteousness, Yang hid in the closet of the president of Tangshan Pseudo-Chamber of Commerce late at night. The enemy searched the house several times, but for other reasons, he was never found.

(5) Insert the pen backwards.

In the positive narrative story, there is another story flashback. For example, in "bullets in the plain", it is only said that I returned to the town from Zaoqiang County, and then I flashed back my life experience, experience and persecution by the landlord Su family six years ago.

(6) Make up the pen

Draw a character and explain the ins and outs of the character in a few words.

(7) mask pen

Also known as "buttons". In order to make the story compact and moving, the results that the audience is eager to know often arouse suspense first, and the truth is not told until the end of a paragraph. "Buttons" should be formed naturally with the development of the story. For example, Bao Guang, a novella that praises Lu Chun, a porcelain-burning craftsman, for protecting the national treasure and fighting against the reactionary forces all his life, has sixteen chapters, with ups and downs, dense density and strong artistic appeal. There is a "button" at the end of each time. Like the end of the fourth time: "... Lu Chun took a closer look and was surprised: Ah!" How did Wang Fu die? The end of the eleventh time was: "Guo Laoqi saw Lu Chun and couldn't help shouting,' You, how did you get out?' When the manager heard the color change, he turned and stared at Lu Chun. "This button is commonly known as the book button.

In order to buffer the tense atmosphere of the plot in the book, I sometimes spend the story in a tense and relaxed way. For example, in Yang Jiajiang, it is said that "the emperor was furious and wanted to kill Yang Liulang. The Manchu civil and military officials guarded the capital, but the emperor refused. " This was originally a very tense plot, but the storyteller deliberately put it aside and turned to another thing in a funny way: the emperor refused to allow Ben, and the officials looked at each other. Suddenly, Prime Minister Wang Bao fell to his knees under Dan: "Long live Le, I am old, deaf and dizzy. I can't serve my country by stealing a vegetarian meal. I really feel uneasy. Please allow me to go back to my hometown to farm. " The emperor said; I may have resigned to lead the troops! "Ok, print it on the third day and call it on the fifth day." "Long live Xie!" The king's robe was left behind. Just after he left, another man knelt down. who is it? Kou Zhun of Shuangtiangong: "Long live the opening ceremony. I am in my fifties, deaf and blind, so I can't serve my country. I really feel uneasy. Please allow me to go back to my hometown to farm. " The emperor said, hmm! Or this: "ok, print it on the third day and call it on the fifth day." "Long live Xie!" As soon as Kou Zhun left, another inspector knelt down: "Long live the opening ceremony, I am thirty years old, deaf and blind ..."

One by one, the more the audience listened, the more ridiculous they felt. But the audience did not forget whether Yang Liulang was killed in the laughter. This technique is called "tying rattan buttons". There is also a suspense, called "chain buckle", which is also commonly used in storytelling.

Famous musician:

, Chen Qingyuan, Shuang Houping, Wang Jiekui, Wang Shaotang, Ding, Liu, etc., such as Ma Zengkun, Tian Lianyuan, Lian Liru, Liu Lanfang, Tian Lianyuan, Zhang Shao Zuo, etc.

Representative works:

Reform Movement of 1898, Romance of the Eastern Han Dynasty, Xue Jiajiang, Xue Gang's Anti-Tang Dynasty, Romance of the Gods, Liangshan in Shui Bo, Xiong Feng in Nagano, Money Dart, Romance of the Three Kingdoms, Hongyan Soul, Loyalty, Fire King Kong, West

References:

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