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How to revitalize China opera? Please give some suggestions.
[Edit this paragraph] China local opera
China opera has a long history and is a unique drama art in the world. Due to China's vast territory, numerous nationalities and different dialects, besides Peking Opera, various local operas have been formed. According to statistics, there are more than 300 kinds of local operas in China, ranking first in the world. Among them, Pingju Opera, Cantonese Opera, Yue Opera, Henan Opera and Huangmei Opera have great influence.
Pingju: Originated in Tangshan City, Hebei Province, Pingju is a local opera popular in Beijing, Tianjin, North China and Northeast China. It was originally developed on the basis of Hebei folk rap "Lotus Fall", and later absorbed other operas and folk rap music and performance forms, forming the drama commentary in the late Qing Dynasty. Pingju is lively and free, full of life, and good at expressing modern life. The famous actors are Hexin, and the representative plays are Qin Xianglian, the little son-in-law and.
Cantonese Opera: It is the main opera in Guangdong Province, and it is mainly popular in Guangdong, Guangxi and southern Fujian. Overseas Chinese and compatriots from Hong Kong and Macao living in Southeast Asia, America, Europe and Oceania also like Cantonese opera very much. During the Ming and Qing Dynasties, many operas spread from China to Guangdong, and their vocal cavity was combined with Guangdong music and folk tunes, gradually forming a new kind of opera-Cantonese opera. Cantonese opera is sung in Cantonese, forming its own unique style. Famous actors include Sinuhong and Ma Shiceng, and representative plays include Search Academy and Guan Hanqing.
Yue Opera: Originated in Shaoxing, Zhejiang Province, where the ancient Yue State was located, it is the main local opera in Zhejiang Province and is popular in Zhejiang, Shanghai, Jiangsu, Jiangxi, Anhui and other places. Yue Opera was formed in the late Qing Dynasty. At first, it was all played by actors, but in the 1930s it was all played by actresses. With its euphemistic singing and delicate lyrical performance, Yue Opera has become another major drama after Beijing Opera. Famous actors include Yuan Xuefen, Wang and Xu Yulan, and representative plays include Dream of Red Mansions and Butterfly Lovers.
Henan Opera: It is the main local opera in Henan Province, also known as Henan Bangzi and Henan Gaoti. It has been popular in Henan and surrounding provinces for more than 300 years. The voice of Henan Opera, some loud and lively, some sad and lingering, can perform various styles of plays, with more than 650 traditional plays, and has developed into a drama with national influence. Famous actors include Chang Xiangyu and Niu, and representative plays include Mu Shuai, Matchmaker, Seven-level Sesame Officer, Mulan, Chaoyanggou and so on.
Huangmei Opera: It is one of the local operas in Anhui Province. Formerly called Huangmei tune, it is mainly popular in Anhui, Jiangxi and Hubei. Huangmei Opera originated from tea-picking songs in Huangmei, Hubei Province. After it was introduced into Anqing, Anhui Province, it absorbed local folk music and developed into this kind of drama. Huangmei Opera is loved by people because of its good singing and dancing, euphemistic singing, simple and beautiful performance and strong flavor of life. Famous actors include Yan Fengying, Wang Shaofang and Ma Lan. Traditional plays include The Fairy Couple, Ma Xu, Cowherd and Weaver Girl, etc.
Shanghai Opera: It is a local opera in Shanghai, belonging to the Tanhuang School in Wuyu District. Shanghai Opera originated from "small folk songs" in order to distinguish it from other beach springs, such as Sutan and Tan Yong, who also sang in Shanghai, which are called local beach springs and Shentan tunes, or "Bentan" for short. 19 14, Shao, Shi Lanting and Ding Shaolan initiated the organization "Zhenxinji" to improve this beach and renamed it "Qushen". 194 1, "Shanghai Shanghai Opera Society" was established, and Qu Shen changed its name to "Shanghai Opera". Excellent plays include Lohan Qian, Deer Dang Fire, The Meeting of a Star, etc.
Lu Opera: It is a local opera in Shandong Province, China. Formerly known as "makeup dulcimer" or "dulcimer play", it evolved from the folk rap art "Shandong dulcimer".
Chizhou Nuo opera
Chizhou Nuo Opera originated from the consciousness of totem worship, and mainly spread in Guichi, Shitai and Qingyang counties (districts) at the foot of Jiuhua Mountain in China 100 km away, especially in dozens of villages and towns such as Liu Jie, Mei Jie and Mao Tan in Guichi District of Chizhou City. Historically, it is said that "no village can be built without Nuo". It has no professional clubs and artists, and still takes the clan as the performance unit, with the purpose of worshipping ancestors, exorcising evil spirits and entertaining ancestors, and wearing masks as the performance feature.
Chizhou Nuo opera has Nuo instrument, Nuo dance, Nuo opera and other forms. The whole "drama" is a drama with both dramatic plots and performances, as well as dramatic features such as foot color and stage construction. It is passed down by word of mouth, and it is passed down from generation to generation by the clan. There are Spring Festival and Mid-Autumn Festival every year. The Spring Festival is on the seventh day of the first lunar month (People's Day) to the fifteenth day of the first lunar month, and the Mid-Autumn Festival is on the fifteenth day of the eighth lunar month. There are no performances at ordinary times.
Chizhou Nuo Opera has accumulated and precipitated a large amount of cultural information in various historical periods since ancient times, involving many disciplines and fields, with rich connotations and profound cultural implications, and has high academic research value in cultural anthropology, drama, religion, art, history, archaeology and folklore. Up to now, it still maintains its primitive and rough style, which is the oldest and most important folk ceremony in China and the most national cultural symbol in China.
The state attaches great importance to the protection of intangible cultural heritage. On May 20th, 2006, Chizhou Nuo Opera was approved by the State Council to be included in the first batch of national intangible cultural heritage list.
[Edit this paragraph] Grand View of Beijing Opera and Drama-Beijing Opera, Kunqu Opera and Beijing Quju Opera
Tianjin-Peking Opera and Pingju
Hebei Pingju, Hebei Bangzi, Sixian and Old Tune
Keywords haha cavity, random play, flat tone,
Errentai, Tang Opera, Wu 'an Nuo Opera
Longyao Yangko and Dingzhou Yangko
Shadow play in Tangshan and shadow play in southern Hebei
Shanxi-Shaanxi Opera, North Road Bangzi, Pu Opera, to amuse children.
Shangdang Bangzi, duet, gongs and drums.
Wan Wan Qiang, Shuozhou Yangko,
Fan Shi Yangko and Xiaoyi Shadow Play
Northern Shaanxi Taoist drama, Linxian Taoist drama, Luoluo drama.
Inner Mongolia Errentai and Manchu-Han Banquet
Tibetan opera in Tibet
Liaoning-Peking Opera, Pingju Opera, Jiaoju Opera and Southern Liaoning Opera.
Fuzhou Shadow Play and Lingyuan Shadow Play
Western Liaoning puppet show
Ji Opera, Xincheng Opera, Huanglong Opera
Heilongjiang-Longjiang Opera
Shaanxi, Wan Wan, Hu Mei and Han dialects.
Huang Er, Shangluo Flower Drum and Chord Board Cavity in Han Dynasty
Huaxian shadow play, Huayin old tune, Agong tune
Heyang puppet show
Gansu-Dragon Opera, Dunhuang Quzi Opera, Huating Quzi Opera
Huanxian Daoqing Shadow Play
Ningxia Hua 'er Opera
Qinghai Pingxian Opera and Huangnan Tibetan Opera
Xinjiang quzi opera
Beijing Opera, Shandong Opera, Qiang Mao Opera, Wuyin Opera,
Liuqin Opera, Languan Opera and Yigougou
Shandong Bangzi, Laiwu Bangzi and Liu Zi Opera
Henan Henan Opera, Yuediao Opera, Henan Quju Opera and Wanbang Opera
Dapingdiao, Taikang Daoqing and Daxian Opera
Huai Bang, Siping Tune and Nanle Mulian Opera.
Jiangsu-Kunqu Opera, Huai Opera, Yang Opera, Opera, Su Ju.
Anhui-Huangmei Opera, Anhui Opera, Lu Opera and Sizhou Opera
Qingyang Opera, Chizhou Nuo Opera and Fengyang Ancient Painting Opera
Western Guangdong Gaoqiang Opera, Huizhou Mulian Opera and Pendant Opera
Shanghai-Yue Opera, Peking Opera, Kunqu Opera and Shanghai Opera,
farce
Zhejiang-Yue Opera, Wu Opera, Kunqu Opera, Shao Opera and Yong Opera
Xi An Gao Qiang, Songyang Gao Qiang, Ou Opera,
Xinchang Tone, Ninghai Flat Tone, Random Play
Haining Shadow Play, Taishun Medicine Puppet Play, Lake Play
Jiangxi Gan Opera, Nanchang Tea-picking Opera and Gannan Tea-picking Opera
Yiyang Opera, Qingyang Opera, Pingxiang Tea Picking Opera,
Anhui Opera, Ji 'an Tea Picking Opera, Guangchang Mongolian Opera
Yihuang opera
Fujian-Puxian Opera, Liyuan Opera, Gaojia Opera, xiang opera
Fujian Opera, Daqiang Opera and Siping Opera
Meilin Opera, Minxi Han Opera, Hokuriku Opera
Quanzhou Puppet Show and Jinjiang Bag Puppet Show.
Zhangzhou cloth bag puppet show
Guangdong-Cantonese Opera, Chaozhou Opera, Zhengzi Opera, Guangdong Han Opera.
Xiqin Opera, Meishan Opera, Bai Zixi.
Hua Chaoxi and Lufeng Shadow Play
Gaozhou puppet show, Chaozhou Tiezhi puppet show
Taiwan Province Province-Gezai Opera
Hainan Qiongju Opera and Lingao Puppet Show
Guangxi-Southern Guangxi Opera, Color Play, Zhuang Opera and Tea Picking Opera.
Hunan-Kunqu Opera, xiang opera, Qi Opera, Chenhe Gaoqiang,
Baling Opera, Hunan Ancient Painting Opera, Shaoyang Puppet Opera
Changde Gao Qiang, Chenhe Mulian Opera, Jing Hexi.
Dong Nuo Opera and Yuanzhi Chenzhou Nuo Opera
Hubei-Han Opera, Chu Opera, Huangmei Opera,
Jingzhou Ancient Painting Opera and Jianghan Plain Shadow Play
Sichuan Opera, North Sichuan Lantern Opera, North Sichuan Puppet Show
Chongqing-Sichuan Opera and Liangshan Lantern Opera
Yunnan-Yunnan Lantern Festival (Yuxi Lantern Festival)
Dian Opera, Bai Opera, Dai Opera and Yi Opera
Guizhou Guangxi Opera, Sinan Lantern Opera, Dejiang Tang Nuo Opera.
Buyi Opera, Yi Cuoji Opera and Dong Opera
Anshun Local Opera and Shiqian Puppet Show
Tibetan opera in Tibet, Shannan Menba opera
[Edit this paragraph] Ecological protection of local operas
Local operas are facing survival crisis in contemporary society.
Under the background of economic globalization, due to the increasingly strong cultural exchange barriers, many local forms of national cultures, especially the overall composition of national cultures, have fallen into certain survival and development difficulties. As an important part of China's traditional cultural expression, local operas are just like this. Although the creation and performance of local operas continue, surprising masterpieces appear from time to time; However, it is an indisputable fact that the audience of local operas is losing and the market is shrinking. This shows that many local operas have failed to adapt to the rapidly changing world and lack the ability to adjust themselves when cultural ecology changes.
In the long-term farming civilization and rural social pattern in China, what is precipitated by local operas is actually the overall cultural spirit of a certain region. When China's modernization marked by industrialization and urbanization is striding forward, this "regional cultural spirit" is difficult to follow up and stick to; It is also difficult for local operas immersed in the spirit of regional culture to quickly feel the new atmosphere of the times and close the new rhythm of the times. We have noticed that many solidified local opera programs are difficult to express the content of new life, and their narrative mode is difficult to adapt to the aesthetics of new audiences ... When the main media in the "E era" such as TV and Internet infiltrated into the relatively closed "place" in the past, when the residents of the "place" stepped out of the "closed" and experienced the baptism of "opening", the local operas originally rooted in the people's tastes changed, and "other mountains". How to make the local drama produced by the people stick to the people rooted in it and win more people, and how to continue its historical and cultural value through creative transformation is a problem that we need to think strategically from a global perspective.
While pursuing its own performance characteristics, local operas have formed their own ideographic limitations.
Local operas in China, together with Kunqu Opera and Peking Opera, are called "Chinese operas". The same sex in its form is what Mr. Wang Guowei called "performing stories with songs and dances." China traditional opera art calls its main means of expression "four feats", namely "singing, reading, doing and acting"; In fact, "singing and reading" is more important than "doing and playing" in modern opera. In local operas, "Nian" is the phonology of dialects, and "Singing" is a sound system that is convenient to express the phonology of dialects. In the performance of many local operas, if you don't know the dialect, you won't feel the interest and charm of the drama, and it is difficult to capture the subtle emotions contained in its voice cavity. In other words, while strengthening its performance characteristics, local operas also form their ideographic limitations accordingly. Relatively speaking, those local operas that live in larger dialect areas often have a broader market. The problem is that some local operas emphasize "characteristics" and even divide the use of "dialects" more and more carefully: for example, Suzhou dialect is used to play Su Ju, Wuxi dialect is used to play Shanghai opera, Shanghai dialect is used to play Shanghai opera, Huzhou dialect is used to play Shanghai opera, and Ningbo dialect is used to play Yong opera. "Dialect" is getting finer and finer, but it doesn't necessarily mean that everyone has a corresponding systematic voice cavity, which aggravates the ideographic limitation of local operas. In fact, the vocal cavity of the operas such as Jiangsu, Shanghai, Hu and Yong all evolved from "Tanquan". Why can't it be aggregated into "Beach Spring Festival Evening"? The approaching vocal cavity should be separated from the dialect, and the result is often that the "characteristics" are not ready and the "limitations" are even worse.
The survival state and development trend of local operas vary with "operas".
Local operas are different, not only because of the "local" gap, but also because of historical changes. We have made a brief analysis of the living conditions and development trends of local operas, and found that local operas with better living conditions have the following conditions: First, local operas in economically developed areas have better living conditions. This is because the government will invest more in the construction of spiritual civilization and the protection of traditional culture, and the rich people will have richer requirements for culture and entertainment. Therefore, the survival of local operas in the southeast coastal areas is better. Secondly, the local operas with influential plays and actors are in good living condition. In recent years, there are Mao and her starring Lu You and Tang Wan in Yue Opera, Huizhou Woman starring with her in Huangmei Opera, Gold starring with her in Sichuan Opera and Zeng Jingping starring Dong Shenghe in Liyuan Opera ... The opera is full of vitality because of its influential plays and actors, which not only shows that "one drama" will be staged. Thirdly, the local operas with flexible forms and vivid contents are in good living condition. For example, lanterns in Yunnan, colored tones in Guangxi, flower drums in Hunan and tea picking in Jiangxi. Most of these local operas are developed from folk operas, with unstable programs, flexible forms, singing and dancing, full of fun, and the plays are based on reality and close to the countryside. Fourthly, many local operas of private theatrical troupes are in good living condition. As far as its geographical distribution is concerned, Henan Henan Opera is almost the largest kind of opera except Beijing Opera, which is closely related to the existence of nearly 400 private Henan Opera troupes. The same is true of Zhejiang Yue Opera. There are more than 300 private Yue Opera groups registered in Shengzhou, Shaoxing, its birthplace. Fujian's Puxian Opera, Liyuan Opera, Gaojia Opera, etc. also have a considerable number of folk troupes active among the people.
Grasping the survival state and development trend of local operas, we can also see the pursuit of local operas at two different levels, namely "from scratch" and "from scratch to Excellence" "From scratch" refers to the construction of local operas on the basis of folk song and dance dramas or folk art, and "from scratch" refers to the perfection of local operas with Kunqu opera and Beijing opera as the paradigm. Corresponding to these two different levels of pursuit, there are two kinds of local operas with different characteristics, which are common in many places: one is what we call "grass-roots opera", such as Lantern Opera in Yunnan, Flower Drum Opera in Hunan and Tea-picking Opera in Jiangxi. The other kind is called "Main Opera", which corresponds to Yunnan Opera, Hunan xiang opera Opera and Jiangxi Opera. In fact, many "main plays" are regarded as local variants of Kunqu opera or Beijing opera because they take Kunqu opera or Beijing opera as the paradigm to improve themselves. For example, xiang opera, Yunnan Opera and Sichuan Opera. So that when emphasizing the characteristics, only some special effects (such as the "face change" of Sichuan opera) can be displayed besides dialects and harmony. Comparatively speaking, Yunnan Lantern Opera, Guangxi Colored Opera, Hunan Huagu Opera, Jiangxi Tea-picking Opera and other local operas developed from folk songs and dances or musical dramas still maintain their distinctive characteristics. Its deficiency mainly lies in that the poor Qupai can't cope with the complicated plot, which makes it want to stick to purity, and its means are pale, and it wants to enrich its means but is worried about losing itself.
"Ecological protection" is an important topic for the survival and development of local operas.
We have noticed that although some local operas are ancient, they are still full of vitality. For example, the Liyuan Opera in Quanzhou, Fujian, sometimes has new works, which is gratifying; For example, Kunqu opera, which has long been endangered, is also full of vitality in Suzhou, Jiangsu. There used to be a view that the more isolated the place is, the easier it is to preserve the purity of "cultural tradition". Therefore, Ren Bantang believes that the tradition of China's ancient drama has been effectively preserved in southern Shanxi and southern Fujian. This view certainly has some truth. But in fact, Suzhou and Quanzhou are not closed. The former is the back garden of the international metropolis Shanghai, and the latter is an important port of the famous foreign gateway "Maritime Silk Road" in history.
In fact, in Suzhou and Quanzhou, not only traditional drama has a cultural soil for survival and development, but other traditional cultures have also formed a complementary cultural ecology with it. Taking Suzhou as an example, the spontaneous revival of "Kunshan Quhui" by the masses is related to the protection of traditional cultural ecology, thus cultivating the cultural feelings that the masses admire. Suzhou has not only Kunqu Opera, Pingtan and Guqin (Yushan Piano School), but also gardens with winding paths, tangible and meaningful Suzhou embroidery and jade carvings. It is conceivable that when you step into the small bridge of the garden and enjoy playing with jade carvings, how can an elegant Kunqu opera not blurt out? The same is true of Quanzhou. Traditional performing arts born out of Liyuan Opera include Nanyin and Gaojia Opera in Quanzhou. We believe that these traditional performing arts are inseparable from Quanzhou's leisurely and exquisite tea culture. Stepping into the teahouse, the bamboo chair leans back, the Oolong tea is lit at the top of the cave, and the nose smells and the lips sip ... At this time, if there are songs from the pear garden or southern tunes floating in, it is really refreshing. No matter whether local operas are "endangered" or not, it is difficult to develop for a long time without paying attention to the protection of their cultural ecology, not to mention.
Local operas should learn from the "takenism" of Beijing opera.
The local opera we are talking about now is relative to Kunqu opera and Beijing opera. In fact, in terms of origin, Kunqu Opera and Peking Opera are also "indigenous". Kunqu Opera was originally called "Kunqu Opera" or "Kunqu Opera" for short. It was produced in Kunshan, Jiangsu at the end of Yuan Dynasty and the beginning of Ming Dynasty. At first, it was just folk songs and small songs. After the innovative creation of Wei Liangfu and Liang Chenyu, it became the most influential local opera since the middle of Ming Dynasty, and later became the "ancestor of hundreds of operas" because of various kinds of operas competing to follow suit. Beijing Opera is a local opera that was formed in Beijing, but it was actually perfected on the basis of Anhui Opera and Han Tune, absorbing the advantages of Kunqu Opera, Shaanxi Opera and other operas. Today, Beijing Opera still adopts "Huguang Rhyme", which shows its original local attributes. Kunqu opera and Beijing opera are not local operas now, because they once had and still have national influence. Although Kunqu Opera is "endangered", it is still divided into Jingkun (Beijing), Shanghai-Kunming (Shanghai), Ningkun (Nanjing, Jiangsu), Su Kun (Suzhou, Jiangsu), Zhekun (Hangzhou, Zhejiang) and Xiang Kun (Chenzhou, Hunan). Peking Opera has more than 80 national institutions covering more than 20 provinces, and it can indeed be called the chief of contemporary China opera art.
Why can Peking Opera become a "national drama", or why can it become the "chief" of contemporary China opera? We believe that it is not only a solid foundation at the beginning of development. Judging from the development of Beijing Opera, it attaches great importance to drawing nutrition from local operas. According to incomplete statistics, there are Daughter of Yangmen, which is adapted from Yang drama Hundred Years Old, Harbor, which is adapted from Huai drama Morning in Harbor, and Shajiabang, which is adapted from Shanghai drama Lu Danghuo. Other repertoires of the same name adapted from Beijing Opera include Mu, Liu Yin, Pu Xian, Shilongwan, Thin Horse, Yunnan and Declining Officials. The "takenism" of transplanting Beijing opera art and adapting local operas not only enriches the art galleries that shape the image of Beijing opera, but also becomes their own "housekeeping drama". This phenomenon of the survival and development of Beijing Opera shows that the existence of local operas is not only its artistic personality and performance characteristics, but also the vegetation that provides nourishment for "national operas", which may be the bud of future "national operas". Letting local operas suffer soil erosion will also affect the survival and development of "National Opera". In our opinion, there are many reasons why Kunqu opera is in jeopardy today, but giving up the transplantation and adaptation of excellent local operas may be one of the important reasons. Besides, judging from the national influence of Henan Opera, who can say that it will not produce a new "drama" with national influence? Therefore, we believe that the ecological protection of local operas is not only the obligation of "local", but also the responsibility of the state.
Local operas should strengthen the consciousness of "self-help by production" and realize the creative transformation of cultural traditions.
For the survival and development of local operas, "ecological protection" refers to "cultural ecology". This concept is far greater than the "cultural space" mentioned in the protection of intangible cultural heritage. In our opinion, there are two concepts to be strengthened in the implementation of ecological protection of local opera culture: one is to break the administrative division and establish the concept of "cultural division"; the other is to stop the refinement of "local" and implement the concept of "cultural integration". As far as the concept of "cultural division" is concerned, the cultural and ecological protection of Huangmei Opera should consider the "cultural division" of Anqing in Anhui and Huangmei in Hubei, rather than just mentioning Huangmei Opera in Anhui. Similarly, although Yue Opera has been involved in Zhejiang, Shanghai and Fujian, the focus of its cultural and ecological protection should be Shaoxing, including Shengzhou. As far as the concept of "cultural integration" is concerned, it is actually to integrate the resources of local operas and make them bigger and stronger. A Chinese opera researcher believes that when it comes to "Huaiyang cuisine", there is no separation. Can't Huai Opera and Yang Opera be merged into "Huai Yang Opera"? Another example is the "Beach Spring" series that we have already mentioned. If the integration of Suzhou, Wuxi, Shanghai and Nanjing can be realized, I'm afraid it can really hold up half the sky in East China. We used to pay close attention to the living conditions of the "First Group in the World" (actually the "only group"), but in fact, the local opera that disappeared the fastest was the "First Group"-sometimes it disappeared without even hearing it shout "crisis". At the beginning of Peking Opera, it was able to integrate Han, Hui, Kun and Qin operas. Why do we still stick to the barriers of traditional Chinese opera and refuse cultural integration today?
In order to get rid of the predicament of survival and development, local operas should especially strengthen the consciousness of "self-help in production" and realize the creative transformation of cultural traditions in the production process. As we know, the living state of traditional Chinese opera is reflected by drama. It is very important for the survival and development of an influential drama to introduce a leading "wrist angle". In the 1950s, Kunqu opera, which had been sold for a long time, could be saved by "one play", leaving a story of "one play (fifteen levels) to save one play". To strengthen the consciousness of "self-help in production", we must change our production relations from what products to produce and how to organize production, so as to liberate and develop our artistic productivity. Local opera troupes, even those with a long history, can't wait to look forward to the intangible cultural heritage protection project. The "project" protects opera, which is a historical and cultural value that can still have an impact today. Troupe that can't achieve "self-help in production" may not be competent for the protection of traditional Chinese opera with the support of "Project". It should also be emphasized that local opera, as a traditional cultural expression, is a "living culture" that is still being passed down and can be activated. Intangible cultural heritage protection project emphasizes "original flavor". The concept of self-help in production also includes the creative transformation of tradition, which is a developing self-help in production. We believe that local operas can survive effectively only by pursuing development, and only the construction in development is the most effective protection.
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