What is the development history of northern shadow play?

Shadow play has a long history and is constantly developing. Since the Song Dynasty, China's shadow play has been divided into north and south factions. Later, in the long historical development process, the North and the South gradually formed their own styles and characteristics.

The manipulation of the Northern Shadow Play is mostly oblique. Shadow figures are made of soft donkey skin and soft cowhide, and the movements of the head and hands can be changed back and forth at will.

In terms of performance style, the northern shadow play is relatively rough. In order to change the timbre, most actors use throat-pinching singing. In addition, there are also great differences in form and posture between the north and the south.

In addition to Luanzhou Shadow Play in eastern Hebei and hua county Shadow Play in Shaanxi, there are also representatives of Longdong Street in Gansu, Beijing Shadow Play and Xiaoyi Shadow Play in Shanxi.

There is a love shadow on Longdong Road, which is called "cowhide lamp shadow" or "old-fashioned love" by the people.

According to textual research, the love of Longdong Road originated from the late Song Dynasty and the early Yuan Dynasty. At that time, the Five Tangmen of Taoism and the Shaolin Sect of Buddhism often brought fishing drums, simple wooden boards and wooden fish into the tile shop to encourage people to resist aggression. This kind of lobbying accompanied by fishing drums and simple wooden boards gradually produced an early "Taoist sentiment."

The construction of the Taoist temple in Xinglong Mountain in Siheyuan Township, Huan County, Gansu Province and the sacrifice to the gods provide a golden historical opportunity for the combination of Taoist feelings and shadow play in Huan County. It is not only a holy place to publicize Taoist thoughts, but also a real cradle for the artistic growth of Taoist shadow play in Huan County.

During the Ming and Qing Dynasties, folk artists here gradually absorbed the nutrition of local folk music on the basis of Taoist music, and added musical instruments such as two strings, which evolved into puppet shows circulating in Longdonghuan County, Huachi and Qingyang.

During the Tongzhi period of Qing Dynasty, the shadow play troupe of Xie Changchun, a famous Taoist artist in Huan County, performed in Ningxia, Inner Mongolia, northern Shaanxi and local areas for many years, which was deeply appreciated by the masses.

With the continuous development and prosperity of Longdong Love, in the late Qing Dynasty, Longdong Love formed different styles of singing schools according to different geographical conditions and artists' different conditions and characteristics.

Its popular singing in the south of Central County is euphemistic, delicate, fresh and smooth, and good at lyricism. Representative artists include Shi Jiejie, Jing Tingxi, Jing Nailiang and Ma.

The vocals circulating in the northern part of Huanxian County are simple and heavy, high-pitched and exciting, and good at narration. Representative artists are Xu Yuanzhang, Wei Yuanshou and Liang Shicang.

Longdong's feelings contained a strong religious color at the beginning of its formation, so in the long river of history, it has already broken through the fetters of Taoist thought and become an all-encompassing folk art form deeply rooted in folk singing content. However, there are still traces of religious culture in Longdong Road's singing, performance forms, accompaniment instruments and plays.

Longdong's feelings are inextricably linked with Taoist culture, which is reflected in its moral education and aesthetic character. As a local opera still living in Longdong, it has a strong "greenhouse effect" in cultural communication and artistic style because of its remote location.

Longdong's emotional expression art emphasizes truth, attaches importance to starting from life, and depicts the inner world of characters with delicate techniques.

The emotional expression of Longdong Road has absorbed some silhouette shapes. For example, guards often use the silhouette posture of big side, especially the crying action is more natural and unrestrained. The figure hung down his left sleeve, covered his face with his right hand, leaned forward and leaned back, convulsing and crying. This kind of performance has formed a unique style in Longdong.

In addition, in terms of dance beauty, Longdong Road has several outstanding features. Longdong Daoqing's Dan Jiao makeup abandons the traditional big bun style, takes the shadow puppeteer's high-bun dovetail as the basic style, and imitates the hair styles of women in the Tang Dynasty in Dunhuang murals, and combines them to design a variety of unique dovetail bun styles, such as single bun, double bun and ring bun. , with a mane angle in front and an umbrella braid at the back. Clothing that is generally close to Longdong Taoist sentiment has got rid of the traditional style of opera, redesigned the pattern style and broken it.

The patterns are diverse, the styles are remarkable, and the colors are elegant and clean. Skirts, sweaters, empty roads, etc. They are all based on plain colors and embroidery, and they don't take flowers. Shit, armor or something. It is based on the costumes of temple statues, generally similar to the armor of Qin terracotta warriors and horses.

In addition, the scenery and props of Longdong Road retain the style of shadow play and serve the plot with exaggerated methods. The music of long plays belongs to the banqiang style, which can be divided into two categories: the sad tone is deep and euphemistic, which is suitable for expressing sadness, so it is also called "bitter tone" or "crying tone"; Huayin's tune is lively and jumping, and it is good at expressing happy feelings, so it is also called "Yin Huan".

In addition, Longdong's love singing method has no strict beat, and it is more free and lively, with strong rap. The harpsichord is one of the main musical types of long-tune opera, with a regular head and a large door, and its aria is composed of various beats, which has certain rules.

Among the accompaniment instruments, orchestral music includes Hu Si, erhu, pipa, flute and suona. Percussion music includes fishing drums, simple boards, water bangers, big picks, small gongs, cymbals, hinges, drums, drums, bangu, teeth and so on.

The music of Longdong Love is also unique, because Longdong Love is an art taught orally by the people, and its music is a musical language created collectively by the people. So its music is rough, lively, melodious, deep, sad, humorous and full of local flavor.

Beijing shadow play is also called "donkey shadow play". In the middle of Ming Dynasty, it was first introduced into Zhuozhou, Hebei Province from Lanzhou and Huating, then into the western suburbs and northern suburbs of Beijing, and then into Beijing.

During the Tongzhi period of the Qing Dynasty, Beijing's shadow play was divided into two factions: East and West, with Luanzhou Opera in the east and Zhuozhou Shadow in the west. At that time, except for the "Heshun Society" in Maojiawan, Xicheng, it was western, and everything else was oriental.

The difference between the two factions, the western faction has no background, and the filmmakers are all dressed in ancient costumes; Oriental School has a background, and actresses use fashion, so later Oriental School became the mainstream of movies.

The performance content and art form are introduced. In the early years of Jiaqing, cinemas were banned nationwide. According to the famous opera writer Weng Ouhong's "Talking about Beijing Film from Lujia Cinema Troupe", it is recorded that:

At that time, "White Lotus Religion" broke out everywhere, shocking the Qing Dynasty. After the crackdown, it ordered a surprise attack. Folk rumors: Bailian Sect makes good use of paper men and horses, smears people's blood to live, directs eviction, and lacks soldiers. Some people are greedy for merit and invite them to appreciate the history of emperor Wen Yi. Like paper men and paper soldiers, filmmakers who play in film troupes are framed as "hanging bandits". Therefore, film artists are strictly arrested, resolute and nervous. It forced all shadow troupes in Beijing to disband ... It was not until 182 1 year that Daoguang ascended the throne that Peking Opera gradually resumed. Soon, Hebei Luanzhou Cinema entered Beijing with novel singing and vivid performances, which was welcomed by Beijing audiences. Because they came from the east and settled in the area of Dongsi Pailou, they were called "Oriental School".

The Oriental Luanzhou Cinema was born in a high-pitched voice. At first, it used a high-pitched voice, a white mouth, but no sharp words. Stars are fashionable, and when they are filmmakers, they mainly look at the "head code" at that time. So you can know when it was produced by looking at the cinema.

For example, when I was in Qianlong and Jiaqing, I sorted out Yuan Bao Dian, when I was in Daoguang and Xianfeng, I sorted out Gone with the Wind Tea Dian, and when I was in Tongzhi, I sorted out Wolong Boat in the early years of Guangxu. Later, I changed it into Suzhou Mystery, Yuan Dian, Thirteen Dishes and Lasu.

At that time, shadow play was not only welcomed by farmers and citizens in Beijing, but also entered the court. During the Kangxi period, there were eight officials in charge of film and television in Prince Li's mansion.

During the Jiaqing period, on festive days such as holidays, there will be shadow puppetry groups performing in the house. At that time, the Beijing Shadow Play Troupe performed puppets during the day and sang shadow plays in the hall at night. Many Peking Opera actors also participated in the performance of the Shadow Troupe.

The design of shadow play in Beijing highlights the shaping of characters' emotions and demeanor, and pays attention to the connection of characters' clothing at the joints of shadow play and the unity of rationality of clothing. Lu Jingda, a famous artist in Qing Dynasty, creatively integrated Peking Opera facial makeup into the modeling of shadow play, which was elegant and colorful.

Beijing shadow play is good at line carving. From the mid-Qing Dynasty, Peking Opera was used for reference in modeling, and a face of life, beauty, purity, ugliness and ugliness appeared. It is the efforts of artists from generation to generation that make the art of shadow play continue to multiply and develop.

Shadow play is inseparable from shadow play. Shadow play is a technical job.

Shadow play in Beijing is different from that in other places in terms of modeling and production methods. The modeling of Beijing shadow play draws more lessons from the modeling patterns of Beijing opera costumes, especially the fourth generation "Lujiadeshun Shadow Play Troupe" represented by Lu Jingda in the late Qing Dynasty and the early Republic of China. Since then, the modeling of Beijing shadow play has reached a brand-new period.

The vocal cavity of Beijing Shadow Play has absorbed Kunqu Opera, Beijing Opera and Quyi, as well as the vocal cavity and tunes of Beijing local operas and schools, and a variety of vocal cavity tunes have been skillfully integrated into a aria, forming the unique artistic characteristics of Beijing Shadow Play.

There are eight plays in Beijing Shadow Play, among which four plays are historical stories: The Spring and Autumn of Heroes, Remembering Luo Hong, Four Famous Mountains and Xiang Lian School. There are four fairy tales: The Legend of the White Snake, Mixed Box, The Journey to the West and The Hill.