What schools are there in Yangzhou Tanci?

the genre of tanci system based on Yangzhou dialect. Formerly known as string words. Popular in Yangzhou, Zhenjiang, Nanjing, Jiangsu and Lixiahe, northern Jiangsu. Yangzhou Tanci and Yangzhou Pinghua belong to sister art, and Tanci was formed late, starting from the late Ming and early Qing dynasties.

Yangzhou Tanci, formerly known as Yangzhou Xianci, is a folk art form of rap in Yangzhou dialect, which is popular in Yangzhou, Zhenjiang, Nanjing and Lixiahe. Yangzhou Tanci and Yangzhou Pinghua are first-class. Tanci began in the late Ming and early Qing Dynasties. In the early days, one person rapped and played the three-string accompaniment, hence the name Xianci. At the beginning of the Qing Dynasty, storytelling artists often had the same skill and string, and gradually separated after being dry and fine. During the prevalence in the middle of the Qing Dynasty, it developed into a double-stage performance, called "Bai Xian Ci", with pipa accompaniment, which was characterized by talking more and singing less, and the lyrics were only narrative. Yangzhou Tantong's traditional bibliography has recorded eight books, including Pearl Tower, Double Gold Ingots, Wopao Ji, Jade Dragonfly, Golden Fan and Legend of the White Snake.

Yangzhou Tanci, formerly known as Xianci, is popular in Yangzhou, Zhenjiang, Nanjing and Lixiahe area in northern Jiangsu, and is a genre of Quyi, which is also called Suzhou Tanci. There are two kinds of performances: single-file and double-file. One-file rap is accompanied by three strings. Double-file duet, musical instruments are Sanxian and Pipa.

The performance of Yangzhou Tanci is mainly based on expression, supplemented by playing and singing. It pays attention to clear pronunciation and mellow voice, and its intonation charm. Yangzhou dialect is often used in his speeches, and "Wharf Dialect" is also used in his roles to distinguish and depict characters. Two-stage performance, two people cooperate accordingly, and talk in different characters' tones, one focuses on narration and the other on singing.

The lyrics of Yangzhou Tanci are mainly dual seven-sentence, and the superimposed single sentence is called "Feng Nod". Music tunes come from three aspects: ① evolved from the folk songs of the Ming Dynasty; (2) Absorbing some tunes of Nanbei Opera and local operas to reform; 3 artist creation. Qupai includes "Lock the South Branch", "Play with Children", "Sanqi Pear Flower", "Submerged Water", "Haiqu", "Cut Flowers" and "South Tune". The lyrics also have an "opening" added before the main book. Most of the contents are works of chanting people's narratives, writing scenery and expressing feelings. To put it bluntly, in addition to mastering the general rhythm, there are also fast workers (also known as "pushing pagodas"), slow workers and detours, among which fast workers are the most commonly used and difficult to say. To put it bluntly, when you need to take a breath, you don't feel a pause. You must do it "without stopping, without stopping" and "fast without chaos, slow without stopping".

Among the early storytelling artists in Yangzhou, many performed storytelling and string lyrics, such as Hins Cheung and Zhang Jiesan, who had high attainments in these two art forms. Therefore, the two arts absorbed and influenced each other and improved together. In modern Yangzhou, there were three main schools of tanci. The most influential one was Zhang's tanci, which was gradually formed by Hins Cheung descendants Zhang Lifu, Zhang Youfu, his sons and nephews Zhang Jiqing and Zhang Huinong. The books he performed well were Pearl Tower, Wopao Ji, Double Gold Ingots and Falling Gold Fan, which was known as the "Four Treasures of the Zhang Family". The other two factions are represented by Zhou Tingdong and Kong Qingyuan respectively. There are more than 1 traditional bibliographies of Yangzhou Tanci, among which the Jade Dragonfly, Legend of the White Snake, Double Pearl Phoenix, Double Haircut, Dahongpao, Golden Seal and White Crane Map are influential.

The performance of Yangzhou Tanci is mainly about saying the table, supplemented by playing and singing. Its performance is roughly the same as the commentary, but the difference is that it pays more attention to clear pronunciation and mellow voice, and its intonation charm; Second, the range of demonstration movements is smaller, and even the movements of hands are rarely done, focusing on facial expressions. Yangzhou dialect is mostly used in his speech table, and "Wharf Dialect" is also used in his role to distinguish and draw characters. Two-stage performance, two people together, dialogue with different characters' tones and tones. Beginners focus on narration, and most of the songs are performed by beginners.

The lyrics of Yangzhou Tanci are arranged in the calligraphy. Commonly used Qupai are [Sanqi Pear Flower], [Zonan Branch], [Submerged Water], [Haiqu], [Daoqing], etc., and most of them are feather tune and Shang tune. The tune is simple and elegant, antique, and has rarely changed over the years. Lyrics include first-person narrator and narrative style, which are generally three-sentence or seven-sentence, and words can be added or subtracted appropriately, mostly rhyming with even sentences. Accompaniment "on, laid hands on" harmonious tacit understanding, three sentences or seven sentences, can be appropriately increased or decreased, mostly even sentences rhyme. The accompaniment is harmonious and tacit, and the three strings play the skeleton sound, which is elegant and simple, while the pipa is moist, dense and changeable, which is called "three-stringed bone pipa meat"

Yangzhou Tanci is a kind of rap art with the most artistic characteristics of "talking and singing, singing with singing, talking with singing, and both rap and singing". Yangzhou Tanci (also known as Xianci) was quite prosperous in the Qing Dynasty. Li Dou's masterpiece "The Record of Yangzhou Original Boat" once recorded several famous artists of "Gong Xian Ci", such as Wang Bingwen, Wang Jianming and Gu Hanzhang. By the end of the Qing Dynasty and the beginning of the Republic of China, there were three kinds of tanci in Yangzhou, namely, Zhang (Jingxuan), Zhou (Tingdong) and Kong (Zhuangyuan), each of which became a school and flourished in tea shops. Later, Zhou Kong's two schools were lost one after another, but Zhang's tanci continued to spread and learn. In 196s, Zhang Huinong and Zhang Huixiang, the third generation descendants of Zhang's Tanci, taught a group of students in Jiangsu Quyi Troupe and Yangzhou Quyi Troupe respectively, and they later became the backbone team of Yangzhou Tanci. Among them, Li Renzhen, Shen Zhifeng, Xu Guiqing, Gu Qun and Li Laimiao are known as the "five golden flowers" of Yangzhou Tanci, and they are active in tea houses and bookstores in the north and south of the river, which are very popular and extremely popular.

The artistic performance form of Yangzhou Tanci is relatively simple, but its expression techniques are rich and varied. Technically, it emphasizes "speaking, expressing, playing and singing", and the performance pays attention to the integration of saying and doing work. In particular, the long-form bibliography describes the big scenes and the psychological expressions of the characters, ranging from hordes to grass and trees. All kinds of people are represented by one person, not only jumping in and out among many characters, but also changing freely in the actor's "table" and the role's "saying", which includes both the performer's objective comments and the subjective feelings of the role.

However, the influence of Yangzhou Tanci is much smaller than that of Qing Dynasty. To find out, apart from the external environment differences, as far as art itself is concerned, "playing" is not as good as people, which is probably the main reason. The so-called "playing" refers to the music part of the word: singing and accompaniment. The main aria tunes of Yangzhou Tanci are "Sanqi Pear Blossom", "Submerged Water", "Suo Nan Zhi", "Hai Qu" and "Daoqing", among which "Sanqi Pear Blossom" is the most important and basic tune. It should be said that it is a top-grade qupai with beautiful melody, various forms, wide range of expression and large emotional capacity, which is quite popular with the audience. In that case, why say "not as good as people"?

Perhaps "it's better to listen than to sing" is an important factor that hinders its spread, making it far less popular than others. For example, for the audience of Suzhou Pingtan, it may be a piece of cake to hum two sentences of Pingtan singing casually, and there are many people who even hold the first paragraph of the "ticket" of the three strings of the pipa. However, for the audience of Yangzhou Tanci, I'm afraid there is no one who can sing "Sanqi Pear Blossom", because for outsiders, it's really "pear blossoms all over the floor don't open the door". If ordinary people can't hum, it's naturally difficult to "sing". Moreover, the melody of its business mode is euphemistic and lingering, clear and rigid, which also limits the field of its emotional expression. The weaker link is the real "play", that is, accompaniment. Yangzhou Tanci and Suzhou Pingtan are accompanied by a pipa and three strings, which are played by the singer himself. In the long-term practice, Suzhou Pingtan has gradually formed an accompaniment system of "singing and playing", not all of which simply follow the cavity. Sometimes, it is similar to the decomposition of modern music, such as "jumping beans" interspersed with jumps in the aria, full of vitality and characteristics. However, Yangzhou Tanci is mostly accompanied by the cavity. Because singing is difficult, accompaniment is naturally not easy, so it is often not satisfactory. Coupled with the reasons caused by singing, the pipa's tuning is a sophomore lower than the normal tuning, which also causes the accompaniment color to be low and dim.

If Yangzhou Qingqu is the art of sitting and playing, Yangzhou Pinghua is the art of speaking, and Yangzhou Tanci is a comprehensive art, which emphasizes expression, playing, speaking, singing and acting, which requires a lot of tanci artists. On the other hand, Li Renzhen thinks that the performance of Tanci is not very appealing, mainly because of music. The traditional qupai and music of Tanci are monotonous and obsolete. For example, "Pear Blossom on Sanqi" is a commonly used qupai for tanci, and the joys and sorrows of characters are often expressed by this song, so that singing will lose its value and it will not impress the audience. Therefore, Li Renzhen began the road of innovation in Tanci. She successfully applied Gongdiao to the performance of Yangzhou Tanci, and created a new style of Tanci with the characteristics of more than 1 richest people, forming her own school. At the same time, Li Renzhen used to play the pipa only with the upper, middle and lower hands, so the melody changed a lot and the pitch was high and low. In 1985, Li Renzhen went to Shanghai to perform alone for two months. The venue was full and the social reaction was strong. She immediately became famous in Shanghai. Chen Ruheng, a professor at Shanghai Theatre Academy, praised Li Renzhen in public: "Yangzhou's playing and singing are the most refined and true, but now its skills are old and Li's tune is multi-faceted, and it is Renzhen to carry forward the past into the future." Shanghai Radio also specially recorded Li Renzhen's Yangzhou Tanci Album for her.

With unremitting efforts from generation to generation, Yangzhou Tanci has gradually stepped onto the elegant stage. In 1986, the Municipal Quyi Troupe was invited to perform in Beijing. In 1992, Li Renzhen went to North Korea to perform with the Art Troupe, and Yangzhou Tanci went abroad. From 22 to 23, Yangzhou Tanci programs such as "Double Pearl Phoenix", "Romance of the West Chamber" and "You can walk in the sky" were continuously broadcast on CCTV, further expanding the influence of Yangzhou Tanci in the whole country.