Characteristics of Qiu School's Beijing Opera Singing

Characteristics of Qiu School's Beijing Opera Singing

Peking Opera is the essence of China's traditional opera art and China's national art ... On the basis of China's ancient national culture, it has been continuously fused, melted, enriched and perfected, forming a profound artistic system, which is known as "the quintessence of China". The following are the singing characteristics of autumn Peking Opera that I shared. Let's have a look.

First, learn from others' strengths and make the Autumn School the core of stage art..

We usually learn art in several ways: on the one hand, we inherit and transform our predecessors; On the one hand, learn from and absorb the achievements of others; On the one hand, it also includes seeking the answer and true meaning of art from life and appreciating the "Samadhi" of Peking Opera. Teacher Qiu has also made a lot of efforts from these aspects in learning the stage performance art of Peking Opera.

Mr. Qiu once played "Two-way Flower Face" and so on, and often secretly watched Mr. Zhou's "Qiqi School" with others. He not only seeks ways suitable for his own conditions, but also grasps the success of various performance styles with his heart. He learned to use a bronze hammer as a shelf, made a living in Shanghai and other places, made a bottom package, and played a supporting role, which broadened the road of play; Through the analysis of Qiqi school's singing method, it is realized that if you want to "catch" people in stage performance, you must make this soup distinctive and attractive, and you must show your strength in singing. Reflect the edges and corners from the action design; According to the plot and the psychological activities of the characters, the portrayal of the psychological activities of the characters shows rich feelings. It is necessary to form ups and downs and have a strong sense of rhythm, so that people will not feel that the whole is a bowl of tasteless boiled water. Therefore, the emergence of the Autumn School is that Mr. Qiu and his son absorbed the singing style of the Jin School and the performing arts of the Hao School and Hou School, integrated other performing skills, developed their own characteristics, and finally formed a style in which bronze hammers and shelves were integrated. From this, we can also feel that every action of God and Inner, Qi and Inner, and even the stage figures is standardized; The spirit of the actor lies in colliding with the hearts of the characters on the stage, giving off a strong appeal. At this point, we feel that the establishment of the aesthetic consciousness of autumn school art has actually gone through a process of learning from others. Through extensive collection and study, the artistic level will be greatly improved.

Teacher Qiu's gesture, his good intentions and his practical actions tell us that there should be a scientific way to use the voice, the lines should have a cadence feeling, the feelings should be relaxed and soothing, the action performance should be appropriate, and the characters should be vivid. Not to emphasize how noble and elegant it is, but to reflect the artistic truth.

Second, superb artistic skills laid a solid foundation for the vocal music singing of the Autumn School.

Mr. Qiu's exquisite art is obvious to all and deeply admired by the world. I feel that it can be mainly reflected in the following four aspects:

1. Pronunciation, highlighting "* * *".

When singing in Beijing Opera, the * * * sound in the head cavity is the vertical sound, the * * * sound in the throat cavity is the alto sound, and the * * * sound in the chest cavity is the bass sound. According to the teachers, the tune [Huang Er] sung by Mr. Qiu on the stage in the 1940s and 1950s was mostly "bureaucratic" or "six parts and a half", which was loud and generous, loved by everyone and particularly tasteful.

According to the condition of personal voice, Mr. Qiu skillfully communicated with the head cavity, pharynx cavity and chest cavity through continuous efforts and small-stage practice. When you sing, you can see everything from the top of your head. That is to say, people often say, "Qi sinks in the abdomen and sound permeates the top of the head." The whole vocal part is relatively high. Even when singing in low-pitched areas or low-pitched doors, he also uses the method of "singing in a low voice", which can not only hold his breath, sharpen his edge, increase his strength, be loud and powerful, but also mobilize the audience's emotional excitement and push his singing to a climax.

2. In phonetics, it embodies "phonology".

In the early years, Huizhou tune and Han tune merged into one, which evolved into Jingpi Huangxi, and was renamed Jingxi in the late Qing Dynasty. In the process of voice change, Mr. Qiu Guixian turned to Tan Xinpei, Yu Shuyan and other great masters to tune and play the piano. In his singing, he improved the pronunciation and intonation of the old students of Henan School, which mainly focused on Hu Chang and Zhongzhou rhyme, and changed the singing tendency of the original Peking Opera "Copper Hammer", which mainly focused on Beijing characters and Beijing sounds, and only emphasized the tone and not the charm. He not only pays attention to the exertion of voice and singing, but also pays attention to the coordination and coherence of singing and enunciation. More importantly, when reciting words and sentences, we should properly use the phonological charm of some Huguang sounds and Zhongzhou rhymes to decorate the singing of the whole set of Copper Hammer Opera. His new voice was applied to the stage after his voice was restored, which brought a refreshing effect. For example, in the album "White" co-produced by Mr. Qiu Guixian and Hao, Weichi Gong, played by Qiu Laodoyen, sang "This doll mentioned Mei Xiuying and remembered what happened in those years ..." The aria in Class Three and the "White Kill" in the scene of "Recognizing the Son in the Willows" can clearly hear Qiu Laodoyen borrowing Mr. Hu's words.

3. In terms of working cavity, pay attention to "gas sound"

It is very important to master the temperature of "rhyme" in the singing art of autumn school. It makes people feel euphemistic and pleasant to enter the vocal cavity with Huguang sound and Zhongzhou rhyme, but the words are too soft, which not only makes it difficult to contrast the complex feelings of the characters, but also makes masculinity and masculinity disappear.

Mr. Qiu's enunciation skills are really profound, reaching a clear, powerful and pleasing artistic conception. This is mainly because he laid a solid foundation in the use of "five tones", "four tones" and three-level rhyme. The perfect combination of singing and controlling the mouth shape of each word.

Teacher Qiu is very particular about the use of five tones, four tones and three levels of rhyme. For example, when he sang "Du Fu Mountain", he used the words "He is a good party member" and "party member". Sing "Xu" first, play "An" to rhyme, and finally end with "En". In this way, the whole word "member" is clearly sent to the audience's ears, which sounds clear and round, without biting or chewing the word, eating or out of tune. This excellent handling is amazing.

In addition, I think Mr. Qiu's arrangement of singing in the section of "Walking Alone in Longting" is also quite distinctive. It is much harder than the traditional singing edges and corners, and looks tall and strong, which shows the joy of seeing the king soon. Really gives people a feeling of endless aftertaste.

4. In the cavity, show the "taste"

The so-called "taste" is the "taste" of the characters themselves. In other words, in the process of fishing for this character, you should use the skill of moistening the cavity to describe the character, show the emotions of the character, and show whether the character is bold, rough or gentle and delicate.

The other is that the expression of "taste" should have "degree". Just like when we stew meat and stir-fry sugar, we put the sugar in an oil pan, and when it gets hot, it begins to melt and change color. If you don't master the heat well, put the meat early and it won't stick 1: color. If the meat is put late, the sugar will get old, which is not only heavy in color but also bitter in taste. What a good pot of meat, even if it is stewed, it is hard to swallow. "Degree" itself can also reflect "taste". Therefore, it is good to moisten the cavity and sing. If you don't grasp this "degree" well, the ending will be like stew.

For example, the word "body" in "Chisang Town" means "died under the bronze shovel of Changting". When Mr. Qiu sang, he made a short and bumpy sound, which made the audience hear a rickety "body" with prominent edges and corners, tough timbre and fast rhythm, thus showing Bao Zheng's inner excitement after being crushed.

When Mr. Qiu sings on the stage, he often uses "Huyin" to emphasize the line cavity of the last word in the singing sentence, so as to highlight the text content of the singing sentence and properly express the characters.

Teacher Qiu's cavity moistening technique has outstanding characteristics. The teacher and Zhen once said to me, "Your teacher Qiu, he sings with great momentum and uses several singing methods, and he also uses some special terms to describe it." For example: "throwing" and singing. Throw this word out like an audio-visual object. In other words, it is necessary to pronounce the word truthfully, and don't overemphasize the word. The beauty of this "throwing" singing method lies in its deep and powerful pronunciation and full and thick singing.

Others use different methods, or make the linear cavity unique and extraordinary; Or separate the strength of the singing sentence, which appears ups and downs and has a pleasant charm; Or have a sense of cadence, express the specific thoughts and feelings of the characters and so on.

Thirdly, the constant artistic pursuit explains the true meaning of artistic sublimation.

Mr. Qiu deserves to be a master of the Internet generation. Through his unremitting pursuit of art, he left precious wealth to future generations. During his stage singing career, Mr. Qiu kept innovating and reforming, and achieved success after success.

1. He made bold reforms to Jian Tuan Yu and Shang Kouzi.

When Mr. Qiu sings and recites sharp words, he bites the prefix lightly, which not only distinguishes the sharp sound group, but also highlights it too much, always taking care of the whole pronunciation to reach a beautiful state. This correct pronunciation method is the result of years of research by Mr. Qiu. When two sharp words are connected, if the actor sings according to the sharp words strictly, it is easy to have dry and boring pronunciation. In this case, Mr. Qiu often bites the first sharp word and even sings into a group of words directly. For example, the handling of the word "Jiang Jiu" in "Stealing a Horse" and "Holding a Banquet in Juyitang" sounds clear and pleasant. According to the traditional singing method, the word "Chu" in "Chisang Town" should be read as "rough", but Mr. Qiu boldly broke through and read the word "Chu" as "food day". This kind of reform is unprecedented in Beijing Opera.

He often flexibly handles the breakthrough of catchy words according to the needs of the plot or singing, and boldly changes some catchy words into non-catchy singing. For example, the words "dry tongue rust" and "shout" in "Da" should be sung in the traditional way, while Mr. Qiu sings the word "shout" directly. When I played Huang Gai in Hero, I read a sentence "Today, there are Cai Mao and Zhang Yun in Jiangbei ...", in which the word "Huan" should be pronounced as "ink" according to the traditional pronunciation, and he also pronounced it as "Huan" directly, which is more convenient for contemporary young people to learn to sing.

Another example is the word "Ru" sung by Lian Po in "General Hehe" and the word "Shu" sung by Dan in "Lock Five Dragons", which all break the traditional pronunciation of these words and are easy to understand.

But it is not completely changed, but it is flexibly mastered according to the development of the plot and the inner changes of the characters. For example, the word "Ru" in Shu Period and the word "Ru" in I am as old as ever are handled flexibly, while the empty word with "Mm-hmm" after the word "Ru" sounds calm and firm, which is very suitable for the identity of Shu Period in the play. This bold "breakthrough" to the traditional model has great enlightenment to our later generations.

2. The use of breathing and vents is also unique.

The singing art of Qiu School pays special attention to the use of breath and venting.

Teacher Zhen said to me, "Your master usually sings about the relationship between qi and sound, and he humorously compares it to:' A boiler is filled with water. If the water boils, the gas will concentrate on the top, and the whistle installed on the top of the boiler can be blown. But if there is a leak or the whistle itself is faulty, the sound will not be crisp and loud. On the contrary, there is nothing wrong with the boiler and the whistle, but the water is not boiled and the whistle can't make a crisp sound. "From this incident, we can see that Mr. Qiu is always thinking about artistic issues, drawing inferences from others and exploring the true meaning of art from life.

Mr. Qiu's singing, whether high-pitched or wide-pitched; Whether it is a stack of dozens of words or a few words per sentence, the rhythm is very tight, and he never gives people the feeling of hard work. Although this is inseparable from his vocal talent and vocal methods, it is more important from his kung fu of using breath. Teacher Wang pays attention to the use of qi, and the timbre and sound that can be naturally produced penetrate the top of the head and become the driving force for vocalization. For example, when the word "Yang" in "Entering the Palace" and "Exploring the Mausoleum to Zhaoyang" drags on, he only uses Dantian Qi to make the second half of the word "Yang" sound, making the whole singing high and powerful.

In order to keep the integrity of singing sentences and avoid breathing, Mr. Qiu gradually explored and created the "silent breathing method" in singing, and used the methods of stealing breath, breathing and inhaling deeply to adjust the breath, so that the singing sentences were continuously interrupted and gave people a coherent and smooth feeling. For example, in "Stealing a Horse", "I have a heart-to-heart talk with all my good brothers". After he took a breath here, he went on to sing the line cavity of "Intestines". Although there is an obvious air gap in the middle, the whole singing sentence does not appear fragmented, and Mr. Qiu's air gap kung fu is particularly prominent in his later years. He used proper and abundant breathing to make his voice steady and clear. This ingenious valve skill is really amazing.

3. On the basis of inheriting the traditional singing method, it greatly enriches the original singing method.

Mr. Qiu is an expert in characterization. He uses "heart" to describe characters: he is good at using special skills to express the images, actions and emotions of different characters in characterization. This is the most basic starting point of Mr. Qiu's innovative art.

Teacher Qiu's understanding is extremely high, and his singing skills are at their peak and profound. Every aria has a thoughtful head, which can be described as exquisite carving. Teacher Qiu uses his singing skills to perform characters and express feelings. The same traditional singing method, sung from Mr. Qiu's mouth, will become "another blindness", which makes people feel memorable and refreshing. In any old play, even the traditional old play, Mr. Qiu always thinks carefully about the character, age, identity and so on. And how to express the characters' thoughts and feelings with voice cavity, and vividly reproduce the characters with actions and characters. In some of Mr. Qiu's new songs and dramas, a feminine side has been added, such as "General Peace" and "Eliminating Three Harms". In The Orphan of Zhao, he absorbed the Chinese tune of the traditional drama "Catch Meng Huo Seven times" and created "Han Diao Er Huang", which is even more popular. Bao Zheng, Liu Qi, Doulton and Dan played by Mr. Qiu all have distinct personalities. Therefore, in Mr. Qiu's body, we can often experience a kind of "bone taste".

"Bony feeling" means energy. Starting from youth, it reflects a person's self-cultivation and skill, and can show how much sweat you have paid; The external and internal performances of characters are obtained through the long-term accumulation of "variables" of actors, and practice makes perfect. It takes a lot of effort to create a good image of the characters, show their psychological activities in the action of swinging sleeves and feet, and reveal their thoughts and feelings in singing, so as to understand and be familiar with the lyrics of the characters in the play. Without the re-processing of characters, it is impossible to express characters well, to succeed, and to truly interpret the true connotation of art.

Fourth, play a strong voice of the times to show a broader space for free development for future generations.

The autumn shooting art of Peking Opera has left us a very valuable wealth. I think we can also learn and understand some truth from it.

1. Inheritance, but development, with the flavor of the times.

For the art of autumn shooting, we must first inherit it. Because this art school, as far as it is concerned, has experienced more than 60 years of tempering, which can be described as complete and complete. However, the ocean of art is endless, and so is art. In order to inherit and develop, autumn school art must adapt to the development needs of the times, integrate with the times and develop harmoniously. It is impossible for the autumn school to stop developing, and it is impossible to cling to incompleteness and stand still. If Mr. Qiu were still alive, there would still be many innovations. We can understand this from Mr. Qiu's own artistic career and the process of the emergence of autumn school art.

2. Learn from others, but have your own characteristics.

The maturity of art is developed through constant learning, constant reference, constant integration and constant innovation. Carry forward, while learning but not dying, learn and succeed, and form your own performance style. This is not only the law of art, but also the need of the development of the times. It is not to denigrate art, but to inject new vitality into art in our continuous exploration and accumulation.

If you want to learn by yourself, you should have the obligation to teach others.

The existence conditions of a genre must have "cross flow" and "vertical flow". Not only peers are learning, but the younger generation is also learning with teachers. Autumn school not only has these two conditions, but also the pattern of "ten clean and nine autumn" will continue. Constantly pursue mature art and carry forward the quintessence of the Chinese nation.

To put on a good play, we should serve the people and society.

Mr. Qiu's personality and artistic virtue are admirable. Several of my teachers often instill in me that the first thing to do is to be a good person. With good character, you will get more help, people will like you, and you will show your talents on the social stage. There will be more opportunities to dedicate their professional knowledge and skills to the people and to this hot spot for cultivating art. If you love this land, you will be rewarded and loved by the people.

Personally, I'm just a literary recruit. The understanding of Qiu school art in Beijing opera is still biased in many aspects. However, I have the determination and confidence to devote myself to the autumn school of art. I will learn from my ancestors, teachers and others, dedicate my life's ideals and pursuits to the art of Peking Opera, inherit the ambition of my predecessors, listen to the teacher's teaching, carry forward the art of Autumn School, serve the people, shed blood for the popularization and prosperity of socialist literature and art, and write a brilliant chapter in my life.

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