Jargon and appellation in Yue Opera

Introduction: Each drama has its own jargon name. The following are the jargon and jargon names in the Yue Opera I compiled. Welcome to read!

Four stigmas

In a troupe, Xiao Sheng, Hua Dan, Laosheng and Clown, the four leading actors, are called "four stigmas", which are equivalent to four pillars of a stage, indicating their importance to the performance of the troupe. In the 1920s and 1930s, "Four Tops" became the basic system of the actors' combination in the troupe of Yue Opera, which was the inheritance and development of the "two little" (Xiao Dan, clown) and "three little" (Xiao Dan, xiaosheng, clown) systems in the early stage of Yue Opera.

Six stigmas

The top performers in the troupe are Xiao Sheng, Hua Dan, Laosheng, Clown, Lao Dan, and Da Mian (with a big face), which are collectively called the "Six Stigmas". The early Yue Opera did not pay attention to Lao Dan and its general situation, and there was a saying that "Lao Dan was embarrassed to eat and took the copper coin". Since the establishment of 1930, the stage class of Goldman Sachs has had six professional talents. Since the mid-1930s, some large-scale theatrical troupes (troupes) with complete lineups have had a "six-stigma" actor combination system. This is the development of the "four capitals" system.

Shoulder and card

In 1930s and 1940s, the Yue Opera Troupe called the division of labor and status of actors. "Shoulder" is used for internal division of labor, and "brand" is used for external publicity. "Shoulder" originally refers to the weight of the shoulder, so as to express the weight of the role that an actor can be competent for. In a certain line, the most effective person is "head and shoulders", followed by "two shoulders", and so on. Xiao Sheng and Hua Dan have the most actors in the troupe of Yue Opera, so there are "Xiao Sheng with Six Shoulders" and "Dan with Seven Shoulders". The field director or director assigns roles, that is, on the basis of "shoulders", one role is played by "head shoulders" and the other role is played by "four shoulders", so they only need to be assigned according to the rules, not by name. Among Xiao Sheng and Hua Dan, "Three Shoulders" is generally more difficult to be competent and more promising, because if "Head Shoulders" cannot be performed for some reason and "Two Shoulders" are too heavy to be replaced, they will often be replaced by "Three Shoulders". "Brand" refers to a famous name for external publicity. Regardless of occupation, only the three most appealing actors in the class (group) are taken as the first, second and third cards (occasionally four cards). For example, in the early 1940s, the ranking order of Shanghai Dangui Troupe was Xiao Dangui (Hua Dan), Jia Lingfeng (ugly girl) and Zhang Xiangqing (Xiao Sheng). After the founding of New China, the troupe system changed, and the appellation of epaulettes and brands faded.

Head and shoulders

It means that there are two famous and equally paid actors in the troupe. For example, Hua Dan, with two shoulders, is called "joint shoulders", and Hua Dan, with two shoulders, is called "joint shoulders". Other businesses are similar.

Fighting and clowns

Fandou is specially designed for trivial details. It can be combined with various cards to form a game. The early theatrical troupe lacked the specialties of all walks of life, but lacked a great actor class. It is characterized by open roads, strong imitation and adaptability, and good cooperation with various actors. However, the two are slightly different. Generally, Fan Dou only plays the role of a supporting role, flag or umbrella, and is often a clown. Clowns play a supporting role, and sometimes they can also play the leading role, not limited to clowns. Some actors who became famous later, most of them became wild after graduation. For example, when Yin Guifang went to Ningbo with Dahua Opera Troupe in 1933, he played various roles, men and women, old and young. Only in 1934 did he become a professional student and was promoted to a pillar.

On-site scheduling master (hoop master)

A master who assigned actors and decided the number of episodes in early Yue Opera. Before the performance of the play, he told the actors the outline of the plot, the order of intermission and the roles of the whole play, and assigned the actors according to their roles, explaining their identities, ages, costumes, props, how to enter and how to leave. Their duties are similar to those of directors. During the performance, the director sits behind the entrance door, watches the performance on the stage, and urges the actors in the next scene to get ready, which is called "going on stage", and its duties are similar to stage supervision. Because the role of the owner is like bundling scattered boards into a whole, it is nicknamed "hoop owner". The director is suitable for the "Reuters Opera" of the old troupe. Since the late 1930s, the Yue Opera Troupe has gradually changed to the choreography system, and the theater owners have gradually completed their historical tasks and changed to the master who specializes in teaching old operas.

Malays, bend down.

During the road show of Yue Opera, the backstage master told the actors on the stage to speed up the performance, which was called "Malay", and the code word for telling the actors on the stage to slow down the performance was called "Bend over".

job-hop

For their own development, actors leave the original troupe to another troupe to improve their artistic status and living conditions, which is called "job-hopping" in the industry. By "job-hopping", actors often take the lead with two shoulders and shoulder with three shoulders, or the shoulders of a small troupe go to a big troupe to sing with two shoulders, all of which have reached a higher level to varying degrees.

Knock on shells

It refers to the initial procedure of script creation, which was popular in Shanghai Yue Opera in the 1940s. Also known as "attacking the outline". After the playwright chooses the theme to make up the story, he needs to finalize the shell with the drama department of the troupe before he can enter the writing stage. Knocking on the shell has two meanings: one is to shape the shell of the plot and scene, and the other is to shape the shell of the character design. Plots and scenes must be suitable for the tastes of the audience of Yue Opera, such as sad plots, gorgeous costumes and rich scenes, and both male and female protagonists can "see off guests" (curtain call) at the last moment. The role design must be suitable for the reality of the troupe actors. For example, to give full play to the specialty of one card and two cards, six players need to have a heavier style of play. The number of plays of all roles is generally allocated according to the size of the actor's bag. So knocking on the shell is troublesome, but it is very important.

mother

Artists in the women's Yue Opera Troupe or Troupe are privately taught and call their masters "Niang". "Niang", pronounced as "Yang Ni" in Shengxian dialect, is a general term for menstruation and menstruation. It is used in the relationship between master and apprentice and implies closeness. However, there are also ceremonies to learn from teachers or contracts to close books. Some teachers are so strict that they even use artists as maids. After studying with the master, the artist was named after the master. Generally speaking, the stage name of a master will be followed by a small or "Shinohara". For example, among the artists in Yin Guifang are Shinohara Gui Fang and Yin Xiaofang. Shinohara's Fu Quanxiang (Xue Ying) is Fu Quanxiang's high foot. The name "Niang" began in the late 1930s and gradually disappeared after the founding of the People's Republic of China.

Knock on the head field

During the period of Du Ban and Yue Opera, gongs and drums were used to attract the audience before the performance, because most performances were held in rural areas at that time, and non-gongs and drums were not enough to attract the audience. Schools are divided into two types: two-headed and five-headed. The former was mostly used in Du Ban period, while the latter was mostly used in Shaoxing literature and drama period. "Shaogong" is used in the field of literature, that is, using percussion instruments and gongs and drums classics of Shao Opera. Percussion instruments include drums, drums, cymbals, gongs, gongs and water cymbals. The gongs and drums are composed of [three hats], [cannon], [underwater gong], [swallowing head] and [yin gong]. "Gong Jing" is used in Wutou Field, that is, Beijing Opera percussion instruments and Beijing Opera gongs and drums classics are used. Percussion instruments include drums, Beijing drums, Beijing gongs, big gongs, cymbals and small gongs. The gongs and drums pass through "sudden wind", "drumming", "boxing", "tapping", "small hammer and a half", "horse's leg" and "the latter is more intense, so the former is called" Wen "and the latter is called" Wu ". After entering the town theater from the countryside, gongs and drums were loud and noisy, so Peking Opera Qupai was used instead of "knocking on the head". After the founding of the People's Republic of China, the art of drama developed day by day, and the "stepping stone" came to an end.

The second tradition

From 1942, Yuan Xuefen launched the banner of "New Yue Opera". After taking the lead in reform, various Yue Opera troupes competed to explore and gradually formed a new artistic model of Yue Opera which was different from the original tradition in Du Ban and Yue Opera periods. It includes four basic contents: first, it combines the realistic expression of drama and film with the virtual technique of traditional opera, so that Yue Opera can embark on the performance road of combining freehand brushwork with realism; Second, set up a drama department to organize the organic cooperation of editing, directing, performance, music, bel canto and other departments, so that the troupe can become a creative collective with independent creation and mutual integration; Third, abolish the role system, establish the director system, pay attention to the practical significance of drama, the shaping of characters and the embodiment of the theme, pursue the overall beauty of stage art, and form an artistic production system with director as the core and reform and innovation as the goal; Fourth, learn the form of Kunqu opera, enhance the dance and standardization of the performance of Yue opera, thus forming the unique delicate and lyrical performance style of Yue opera. These four fruitful reforms have promoted the innovation of various departments of Yue Opera. For example, in the aspect of music singing, it has created "scale key" and "chord key", enriched and improved the chamber system of Yue Opera, basically canceled the gong and drum routines in Beijing Opera and Shao Opera, borrowed from the music processing of drama and film, and composed music according to the needs of the plot atmosphere, thus enhancing lyricism; In terms of makeup, whenever a new play is performed, Facebook, gouache, Baotou and stickers are abolished, and the oil makeup method of the play is used instead, which is in line with the aesthetic concept at that time, and the Dan Jiao bun is specially designed from the perspective of characters; In the new drama, the traditional style of clothing regardless of dynasty, region and season was abolished, and the design was carried out according to the needs of the characters, forming a unique style of Yue opera clothing in terms of style, pattern, material and color ... All these reforms were generally finalized on the eve of the founding of the People's Republic of China, making Yue opera unique and full of vitality among many dramas. After the founding of New China, with the support and guidance of the people's government, the reform of Yue Opera was further developed, fully matured in the mid-1950s, and entered the heyday of excellent structure, which spread all over the country and enjoyed a high reputation overseas. The "second tradition" of Yue Opera not only changed the image of Yue Opera itself, but also affected the reform of the whole national opera. This new play was arranged and performed during the reform of Yue Opera in the 1940s, and it is also called "the second traditional repertoire of Yue Opera".

operating system

The management system of women's Yue Opera Troupe came into being in the early 1930s. There are two kinds of monitor. One is that several people jointly set up a troupe (often starting with an ordinary class), and one of them is the monitor on behalf of the shareholders. The other is that an individual or several people invest to buy a deputy class, and the monitor is responsible for leading the class. During the operation of the troupe, the internal and external affairs are decided by the monitor, and the cast members have no right to ask, but the life and death of the cast members have nothing to do with the monitor; Two days are deducted from the total monthly performance income, which belongs to the monitor, and the rest is paid to the cast according to the monitor's likes and dislikes (the salary is extremely low). Because the surveillance system is obviously feudal, in addition to economic exploitation, the personal safety of actresses is often lacking. After a large number of women's troupes entered Shanghai in the late 1930s, the monitor system was quickly replaced by the boss system.

Boss system

Management system of yue opera theater. A wholly-owned or joint venture cinema has only one owner. All the expenses and income of the theater are controlled by the boss, and the cast members are also employed by the boss. The salary of the cast members is determined by the boss and the employees themselves, and the "deposit system" and "contract system" are adopted, that is, no matter whether the business is good or bad, the cast members will have a fixed income every month during the contract period, and each will protect his own money and keep it confidential. The rise and fall of Yin Bao, the combination of personnel, the selection of plays and the number of performances. It's all decided by the boss. Cast members have become ordinary employees, and they have no rights except receiving Yin Bao on a monthly basis.

Sisters class

The management system of "sister class system" is similar to that of cooperatives, and it is a voluntary combination of * * * and system. There are three situations: in the 1930s and 1940s, when the business was slack in summer, the troupe stopped performing, and ordinary actors with little savings temporarily formed small groups to perform for a living, and shared the fare income equally every day according to the agreed proportion, which was called "sister class"; Secondly, after War of Resistance against Japanese Aggression's victory, Shanghai's prices soared and the situation was turbulent. Most theaters are not doing well. Some bosses and cast members jointly run classes, maintain performances and share profits and losses according to the agreed proportion, which is also called "sister classes". At the beginning of the founding of the People's Republic of China, under the guidance of the people's government, the Yue Opera Circle abolished the boss system and established a folk professional troupe with the main actors as the core, still using the title of "sister class". But at this time, it has a relatively perfect cooperative nature. Its highest authority is the general meeting of all league members, and all major issues must be passed by it. The organization responsible for handling the resolutions and daily affairs of the League members' meeting is the League Committee with the head and deputy heads (usually the main actors) as the core. Generally, a full-scale troupe has a general affairs department, a drama department, a music group, a wing group (managing costumes and props) and an actor group under the Youth League Committee to share all the work; In addition to the youth league Committee, there is also a supervisory Committee responsible for supervision. The number of troupes ranges from 70 to 80 to 30 to 40. In this sister class, everyone is paid according to the contribution of the assessment, and the operating profit and loss are also shared according to the proportion of everyone's income. Compared with the sister class assembled temporarily before the founding of the People's Republic of China, it has made great progress, but the wage gap between actors and actors is still very large. The highest can reach two or three thousand yuan, and the lowest is sixty or seventy yuan. At the same time, because of taking care of the face of the main actors, some redundant staff were used, which invisibly reduced the economic benefits of the whole group; The rules and regulations are not perfect, and often the main actors have the final say. Therefore, the sister class system is not perfect.

Long feet

One of the traditional forms of traditional opera advertisements. Since the end of the Qing Dynasty, women's Shaoxing literature and opera period has still been followed, especially in urban and rural performances in Zhejiang. This kind of mobile advertisement is more effective and less and less used after entering Shanghai. After the daily drama is confirmed, several common "long legs" (or "long legs") front desk employees set off separately, carrying a long-handled wooden sign on their shoulders, writing a letter about the drama and main actors of the day, ringing gongs (or bells) while walking, and shouting loudly to attract more people. 1938 At the beginning of the year, when the Yuesheng stage led by Yao Shuijuan was performed at the Shang Tong Theatre, the oral advertisement of Long Feet was as follows: "The new Shaoxing woman will be staged at the Shang Tong Theatre on the first day of the first month. Dozens of young girls, a series of performances are ugly. Pearl throat jade has both appearance and color and art, come out! The matinee "Man Yi Yuan" and the evening performance "Aquilaria sinensis Fan" are both sad and happy, and the gimmicks are ridiculous. Don't leave too many tickets. If you want to buy it, please be early and fast! "

Reuters Opera House

Term, also known as "screen play". There are no scripts and fixed lyrics, to put it bluntly, only the story frame and the outline of the exit ("screen table"). Before the performance of the new drama, the director will talk about the outline of the story, the names of the characters, the relationship between the characters and take a walk on the stage. During the formal performance, according to the performance outline stipulated by the master, the actors improvise, commonly known as "Dao Tou". In order to avoid the difficulty in wording when actors take the stage, masters often teach some "Fu Zi" in class (see article). At the same time, there are often "road heads" to follow in the plot of every road head play, such as "walking", "waiting for the store", "garden", "robbing relatives", "going to court" and "visiting the prison". , are established scenes. Actors can substitute flowers for trees and improvise according to their own learning and performance experience. This form of performance began with civilized dramas and Cao Taijing dramas in Shanghai and southern Jiangsu after the Revolution of 1911, and was also used in early Yue operas, which gradually decreased after the 1940s.

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