My opinion on the future development of Qin opera

Speaking of Shaanxi opera, first of all, I am obsessed with this traditional art and full of gratitude. I am obsessed with it because I grew up listening to Shaanxi Opera, and I have lived in an environment where even the air is filled with the strong flavor of Shaanxi Opera since I was a child. How can I not love this traditional art form? I am very grateful, because Shaanxi Opera made my childhood different, gave me the opportunity to get on the stage and TV, and let my opera fans know me. Then I was affectionately called a prodigy of Shaanxi Opera by the vast number of opera fans in Sanqin land. Qinqiang opera has given me too much, so I am naturally grateful. It has been 18 years since I first appeared on the stage of "Qin Zhisheng" in Shaanxi TV Station at the age of three. Therefore, my feelings for Shaanxi Opera can't be expressed in one word. I didn't consult any books and materials when writing this article. I just talk about my views on the future development of Shaanxi Opera through what I have seen, heard and thought in 18.

At present, the development of Shaanxi Opera has indeed encountered unprecedented resistance and reached the so-called bottleneck period. For many young Shaanxi people born in 1980s and 1990s, the traditional opera culture of Shaanxi Opera is unfamiliar. In the past, there were no high-tech products such as televisions and computers, and the entertainment methods were relatively simple. For rural people in the northwest of China, listening to or singing the Qin opera left by their ancestors is particularly comfortable, and they feel that their lives are very happy. With the reform and opening up, more and more high-tech products, new trends of thought, Japanese and Korean cultures, European and American cultures have come one after another, which has had a great impact on traditional opera culture.

As the only TV media platform for the external display of Shaanxi opera, the "Qin Zhisheng" column of Shaanxi TV Station, which I used to participate in, has indeed made great contributions to the development of Shaanxi opera. However, today, in the face of the impact of various cultures, it is a big question mark how many people will watch Qin Zhisheng in Shaanxi's local Shaanxi opera culture.

At this stage, I think it is urgent to attract young audiences as soon as possible if we want to develop Shaanxi Opera. In life, most of the friends who like Shaanxi opera are middle-aged and elderly people, and there are few young opera fans, not just a few. At least one university can have 100 opera fans, which I think is too much. Just imagine, 30 years later, when our generation enters old age, where is the future of Shaanxi Opera? I am afraid that the artistic treasures handed down by our ancestors for thousands of years will be broken in the hands of our generation. Of course, we don't want to see this day coming. The children asked us what Shaanxi Opera was, and then told them that it was a lost national art. ..

However, how to attract young people to pay attention to Shaanxi Opera and gradually like it requires a process, which requires the joint efforts of media workers, opera groups, practitioners and the younger generation. Next, I will talk about my personal views on how to revitalize Shaanxi opera culture from four angles: media workers, opera groups, practitioners and the younger generation.

As a media worker, in 1990s, "Qin Zhisheng" column was among the best in the ratings list of various TV programs of Shaanxi TV Station for four consecutive years, and "Qin Zhisheng" studio wrote striking characters: "Running a program without ratings is a crime". Today, ten years later, is "Qin Zhisheng" still the original carrier and platform that can represent Shaanxi Qinqiang culture? At least at this stage, I haven't seen Qin Zhisheng for several years, because I like Shaanxi Opera so much. Why? Because I think this program is really boring, nothing new, nothing that catches my eye, and there is no way to compare it with the column "Liyuan Spring" in Henan. Since 2002, I have staged the sketch "Brothers and Sisters Little Opera Fans" at the Spring Festival Opera Evening of Shaanxi TV Station, and launched the program "Scream of Opera Fans", which has been screaming every day for almost 10 years! The audience was tired of watching it, and it was not until this year that new programs were launched-Wenhua Award Competition and Qinqiang Yangfei Competition, one for professional actors and the other for the majority of opera fans. Just ask your classmates and friends around you, and how many people know about it? The Wenhua Award competition seems professional, but the judges' comments on some players are really unprofessional. For example, it is a problem to evaluate that some actors' makeup is too dark, but this is not a professional evaluation. Ordinary viewers can also see this superficial problem. Can you comment more on singing and performance? This is what we want to see. Another contestant, the judge commented that the mask painted was not commensurate with other actors. This is obviously because the judges and teachers didn't do their homework, because the original Peking Opera facial makeup is really different, and the actors respect the original. There are still many things that I won't go into detail. Did the judges and teachers do their homework for the competition?

If we still pin the development of Shaanxi opera on the column "Qin Zhisheng", I think the leaders of the column group should find ways to improve the current bottleneck. For example, in the form of learning to sing, the program is taught by famous teachers, and each period invites different performing artists and guests of all ages, such as university professors, college students, chefs, migrant workers' brothers and so on. The whole program should be full of joy and promote the art of Shaanxi Opera in an interactive way. For example, it may be more interesting to make the national drama competition into a form similar to China's good voice and join a group for tutor training. Of course, the premise of these two forms is that the contestants have to go through the sea election. First of all, they should not be too prominent in appearance, at least they should be worthy of the audience and let people have the idea of watching. Nowadays, "Qin Zhisheng" can be played by anyone, and some of them are really likable, and they also bring their own clothes. The program group doesn't have too many requirements. Of course, this is not to discourage opera fans. I think the audition should be a special program or something. Not everyone's arias are played on TV. If Happy Boys are broadcast in every competition area, there will be a lot of wonderful things unless they are very beautiful. Alternatively, the program can take the form of interviews, in which different famous artists are invited to share their unknown sadness and happiness in each issue, and their masterpieces can be performed live in the middle, so that audience friends can really interact with their favorite famous artists and understand the different lives on and off the stage. Of course, in previous issues, we can invite our Shaanxi stars, such as Dai Chunrong, Miao Wei, Feng He and Wen Zhang, to talk about the influence of Shaanxi Opera on them. Moreover, Dai Chunrong is the winner of the Plum Blossom Award, and Miao Miao is a small star of Shaanxi Opera. This is a gimmick to attract young audience members to pay attention to Shaanxi Opera. The premise is to do a good job in publicity, such as advertising on major video websites and TV programs, so that the audience can know that there is such a thing. As the main traditional opera art group in China, I think the theater development of various troupes is a good model. For example, at present, China Opera Academy and Yi Sushe allow opera fans to enjoy high-level Qin opera with lower ticket prices and enjoy high-level performances with the least money. For the development of Shaanxi Opera, we need Yi Sushe, Sanyi Society, and an art group that adheres to traditional opera culture, such as Three Drops of Blood and Foal of Fire, all of which are authentic Shaanxi Opera that ordinary people love. We also need China Theatre Academy, a modern drama that closely combines contemporary social reality with life, such as the modern drama trilogy A Late Rose, The Tree Moves to the West and The Story of Xijing. At the same time, we don't lose traditional plays, but pay attention to the overall effect and sound effect of the stage. In a word, audience friends who have little contact with China's traditional opera culture need to appreciate the modern drama of China Opera Academy, so that they may love China's traditional opera culture. For opera fans who really know how to appreciate Shaanxi opera and understand this art, the original Shaanxi opera may be more attractive.

As a practitioner of China traditional opera, I think the first thing to establish is that Shaanxi Opera is not only a means and a rice bowl for actors to make a living, but more importantly, it plays the role of transmitting culture to a wide audience. As long as the actors can treat Shaanxi Opera as a career, learn the essence of the older generation of artists, and then study hard and strive for perfection, the artistic level of Shaanxi Opera will not be worse from generation to generation. Here, I especially want to mention the older generation of Shaanxi opera actors such as Quan Qiaomin, Xiao Yuling, Chen Miaohua, Xiao Lanruo and Ren Zhe. Their persistence in Shaanxi opera is worth learning from every opera practitioner now.

Finally, I want to say that as a young audience, the first thing to establish is that Shaanxi Opera is an artistic treasure left by our ancestors and has declined in the hands of our generation. Why bear it? When many young people talk about Shaanxi opera, their first reaction is that they won't listen. Therefore, I have an exclusive attitude towards Shaanxi Opera in my bones. I will never go to the theater or watch Shaanxi Opera on the Internet at all, and I have no chance to understand Shaanxi Opera. In fact, when you really sit in the theater or listen carefully in other ways, I think everyone will be moved by Shaanxi Opera. The passionate melody of "Back to Zhou Ren" will shake your heart, and the gentle melody of "Three Drops of Blood" will deeply attract you. It's not that young people can't understand Shaanxi opera, but that they haven't given themselves a chance to feel it well.

My master, Mr. Li Xiaofeng, a famous Shaanxi Opera performer, once said: Shaanxi Opera is the art of educated people, adults and people who have experienced many vicissitudes. Therefore, as long as media workers, opera groups, opera practitioners and the younger generation work together, there will still be spring in Shaanxi Opera, and the future of Shaanxi Opera is still promising, and our national culture still has the opportunity to rejuvenate again.

These are my views on the future development of Shaanxi Opera. Please share your good idea with me! We must not let the artistic treasures left by our ancestors fall into the hands of our generation. Everyone in Shaanxi has the responsibility to save Shaanxi opera!