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volume 1september 2021

CHINESE OPERA INTANGIBLE CULTURAL HERITAGE

STORY OF THE FAMOUS ARTIST WHAT IS CHINESE OPERA FESTIVAL OF CHINESE OPERA SPECIAL OF MUSIC AND INFLUECE IN MUSIC FIELD MAKEUP STEP LEARN FOR BEGINNING

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CONTENT Feature Story

8. Mei lanFang

After liberation, I am determined to dedicate art to the people

11.Wang XiuLan

Not true is not a play, too true is not an art

14.Yan FengYing

“I was a ghost in the old society. After liberation, the party turned me into a human being.

16.Yao ShuiJuan

One minute on stage, ten years of work off stage, everyone can’t be successful casually

18.What is Chinese Opera

19.The Most Popular Type of the

Chiense Opera

21.Chinese Opera Coustume 23.The Secret of Opera Makeup

24 .Stage Setting .

26 .Special of Chinese Opera Music 28.influence of Chinese style in The field of music 30.Good Place to Experience Chinese Opera Culture 32.How to Prepare An Event 34.The Basic Skills of Chinese Opera

EDITOR’S NOTE

The current situation of Chinese opera Chinese opera now is decline because the young geranation no chance to know and learn what is chinese opera. Why see more of the audians go to looking chinese opera were the old genaration. In there genaration there seems to be no other entertainmentand through and there will like chiense opera is cause the influnence of theere parents and enviroment so they have change to learn and know about Chinese opera. However, young people have been lacking the environment of comedy since they were young, and the mental activities that the younger generation can choose from are very rich. Secondly, the process of urbanization has reduced the chances of opera to get close to the masses. It is often necessary to buy tickets to enter the theater to watch operas in the city. Young audiences have not been immersed in opera sincechildhood, let alone love. This makes the audience of Chinese opera no longer increase. Although the decline of Chinese opera is irreversible I hope this culture can be passed on forever.

Geng Xuhua

Director of the editorial department of “Chinese Drama” magazine.

CONTRIBUTORS INFO

MEI LANFANG

WANG XIULAN

Drama is a kind of group life, so the group that loves our work and enjoys the group must have serious discipline. The public in our organization must have an absolute, active, and responsible sense of obedience to the discipline of the organization. Then, our group (that is) is becoming more and more strict day by day, and our group becomes a pure art group. At the same time, the cultivation of an artist is a positive creative act, not a negative pastime, so it is most (avoid) decadence to follow the path, and it needs to be brave and diligent!

YAN FENGYING

YAO SHUI UAN

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MEI LANFANG:

After liberation, I am determined to dedicate art to the people “Beijing opera fans” all know that Mei Lanfang studied opera at the age of 8 and came on stage at the age of 11, specializing in Tsing Yi and acting as Dao Ma Dan. In his longterm stage practice, his singing, chanting, dance, music, costumes, makeup, etc. All aspects have been created and developed, and many wonderful repertoires have been written and performed, forming their own artistic style, known as the “Mei School” in the world.

Wish fulfilled In the 1950s, at that time, Mr. Mei was in his sixties and had just participated in the first National People’s Congress. As soon as we sat down, he told me with a smile on his face: “We are rushing to make a stage life art film at the Beijing Film Studio. I heard that the

workers in the capital asked to see my play. I immediately made the decision and would rather make the film. After a few days of work, I have to perform for the workers again!” Then, he talked about an unforgettable event three years ago: “It was also a midsummer, and it was the first time for the workers in this open-air labor theater. Workers in the capital performed a performance. During the performance, it suddenly rained heavily. The theater was supposed to stop, but the workers in the audience insisted on watching it in the rain. The whole theater was still silent. I was very moved to see this scene. I promised that I will give performances to the workers in the capital when I have time.” He said this, raising his voice and saying, “This performance can be regarded as the realization of my wish that I made.” In the old society before liberation, he only performed in big cities such as Beijing, Shanghai, Wuhan, etc. The theaters were full of dignitaries. At that time, not only people in small and medium-sized cities looked down on Mei Lanfang’s play, but also workers in these big cities. And the poor citizens, don’t have so much money to listen to his play. They can only read news about his performance in newspaper advertisements or posters in front of the theater. He said: “After liberation, I am

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Mei Lanfang condolences employees

tickets were all sold out within one and a half hours in the morning before the performance. Hundreds of people still gathered around the theater box office and refused to leave. Hearing this news, Mr. Mei decided to act in another scene. “The workers are working intensively to realize the five-year plan. It’s too hard. I should come to condolences.” Mei Lanfang said to me like this while busy getting dressed in the backstage. On the night of early autumn, the audience sitting in the open-air labor theater quietly watched Mei Lanfang’s mesmerizing Peking opera “Universal Front”. “Why do you implement the “united front” especially for workers”? I asked this question. He said: “This play has a bit of effort in singing, reading, doing, and dancing. The plot is a bit ideological. I have always liked it, and I believe the workers will also like it.”

The one that I takes deepest effort and thinks the proudest is “Universe Front”. From this, I think of the conversation he had with Xu Zhucheng, editor-in-chief of “Wen Wei Po” in the early days of liberation. That night he selected this play for performance, which also expressed his determination to dedicate art to the people. He once said: “I don’t dare to say that there is any good show, only the deepest and most proud of the effort, that is “Universal Front”. This is an old drama. It was originally taught by Teacher Wu Lingxian, and I will ask for further advice later. I have passed Chen Delin and Wang Yaoqing. But I think this drama is very difficult to sing. She is obviously a clever and well-mannered lady, and suddenly she has to pretend to be crazy, and she has to pretend to be

determined to dedicate art to the people. In the past three years, I have performed for farmers in small and medium-sized cities and for soldiers on the North Korean front. Now I can squeeze more time to perform for workers. My wish in my later years. .” Mei Lanfang’s wish has finally come true, and people like him more What I saw during an interview at the Labor Theater of the Cultural Palace that night fully demonstrated this point.

Strange behavior of the audience In the theater, some spectators walked from the back row to the front of the stage to take a look, and walked away like “wandering around the court”. I was attracted by this phenomenon and “tracked” to pursue it. It turned out that many workers bought a theater ticket in partnership with several people, and everyone took turns to watch the theater. I asked them: “How can you watch a good show like this?” A middleaged worker replied: “I just have to look at Mei Lanfang!” According to the theater manager, the labor unions in each factory gave workers collective priority this time. The purchase method has already bought nearly 10,000 tickets, but still cannot meet the requirements of the majority of workers. Many people still rush to the theater to line up to buy retail tickets. The 2,400 retail

Mei Lanfang’s “Universal Front”

Feature like her. There is no flaw under Huwei. What is even more difficult is to make the audience see that she is pretending to be crazy, but also to make the audience think that Zhao Gao and the II believe that she is really crazy. When I was in a play, I also unknowingly indulged in my performance, which is not available in other plays.

Thanks from the workers It turned out that what Mr. Mei performed for the workers that night was to dedicate the best work of his life to the audience. No wonder the workers welcomed and loved him so much. The curtain of each scene had just been opened, and as soon as Mei Lanfang stepped onto the stage, the audience burst into applause. Mr. Mei portrayed the typical image of an ancient Chinese woman named Zhao Yanrong, who is “not looking for money and cannot surrender” in “The End of the World”, which embodies Zhao Yanrong’s will to pursue freedom and the spirit of striving forward courageously. The oppression of the feudal system. His superb performance deeply infected the employees and continuously won the applause of the masses. Each show is called four to five times.

Before the fourth performance of “Universal Front”, six employees from Shijingshan Iron and Steel Factory, Beijing No. 1 Cotton Textile Factory, Beijing Agricultural Machinery Factory and Beijing No. 1 Machine Tool Plant suddenly ran backstage and met in the dressing room. Mei Lanfang. When they met, they were as cordial as old friends reunited. “You come to our factory to perform “The Drunken Concubine”...” Fan Jizong, head of the amateur Peking Opera Troupe of Shijingshan Iron and Steel Factory, hadn’t finished speaking. Mei Lanfang immediately remembered that he went to Shijingshan Iron and Steel Factory and the workers in May of this year to make a stage life art film. The amateur Peking Opera troupe performed on the same stage in “The Drunken Concubine” and “The Reconciliation of the Generals”. He then asked with a smile: “How are the photos we took together?” Liu Jinzhou, a textile factory

Mei Lanfang and workers

worker, squeezed to the front and said excitedly: “We greet you on behalf of all the employees in the factory and thank you for your performance.” The opening gongs and drums on the stage were about to ring, and Mr. May asked the workers to continue to the theater. At this time, the female worker from that factory yelled: “Good night to Mr. Mei!” When the play was over, the worker representative ran to the stage and presented flowers to the artist serving the people. From outside the city Kang Guoquan, a veteran worker from Shijingshan Power Plant who rushed to watch the play, said to me excitedly: “The famous domestic and foreign Mei Lanfang, who is more than 60 years old, also specially performed for us workers. We are very grateful. In the old society, workers would never dream of watching such a play! ‘’Hearing these words from the heart of the old workers reminded me of what the dramatist Ouyang Yuqian said when the dramatist Ouyang Yuqian introduced Mr. Mei’s artistic life at the “Mei Lanfang Zhou Xinfang’s 50th Anniversary of Stage Life” this spring: “Together with many revolutionary young patriotic artists, he went to North Korea to condolences the Chinese People’s Volunteers, and when he returned home, he condoned the People’s Liberation Army. He sang like

that in the open air, in the wind and rain, and sang a cappella at the work site of the cooks and attendants. He He also went to factories, construction sites, and rural areas to perform for workers and farmers. This is how he unreservedly contributed his tempered art to the working people of the motherland.”

Responsibilities as an actor Mr. Mei finally told me that there were more than 110 performances on this trip, with an audience of 240,000. He will never forget the two performances of condolences he gave on the construction site of the Wuhan Iron and Steel Complex. He saw the newly emerging steel base in the motherland and thought of the workers’ contribution to the country. He immediately felt that there was another power to perform for the workers, and his singing became louder and louder. This veteran artist who is over 60 years old has always adhered to the direction of performing for the workers, peasants and soldiers and the people in the seven years after liberation. When I was about to leave, he excitedly said to me: “I will continue to perform for the working people in the northwest or southwest in the second half of this year. It is my duty as an actor to live and act until I am old.”

Feature

WANGXIULAN:

Not true is not a play, too true is not an art

The famous Puju opera artist Wang Xiulan was her “Flower of Puju Opera” in her youth. Among the flowers of the masses in the two provinces of Shanxi, it is said that Qin Liangzhu praised her with a slogan: “Thousands of flowers. Not as good as Wang Xiulan’s water flower.” “”;”Twisting left and right, it is better to walk on stage as Wang Xiulan. “These fully express the masses’ love for her art. Lu Fengfeng, Mei Ying, Matchmaker, Bai Zhen, Yan Yan, Dou E, Zhou Ying, Mu Guiying and many other ancient girls and young women with different environments and different personalities. She also portrayed modern characters such as Li Xiang, Xiaoqin, Li Shuang and so on. She has a deep foundation and is good at teasing the population. Although she is the first celebrity in Pu opera, she has performed dozens of performances on the Pu opera stage. The year begins with her. Development has created tremendous contributions and can be regarded as the pride of Jinnan.

Start acting The life of teacher Wang Xiulan can be summed up in the life of the drama and the life of the stage. She has been associated with the stage and drama for 75 years. In addition to her performance in the early days under the precepts and deeds of her master, in the following decades, she has been observing life, studying life, understanding roles, enriching roles, grasping art, and perfecting and improving her artistic life. Starting from starring in a small conch at the age of 7, she embarked on the road of art and became a famous drama star all over the country. She has gone through too many ups and downs, hardships and frustrations. However, in the 10-episode narration, she only talked about art, only Puju, but never about her personal suffering. Standing in front of us is a strong artistic old man. When talking about the first appearance in Little Conch and “The Edge of the Cabinet”, the old man seemed so happy and sweet. She was only 8 years old when she played “The Fate in the Cabinet”. She

Feature was an 8-year-old girl. She didn’t know what shyness was. She couldn’t perform it all the time. Under the repeated enlightenment of her master, she finally got used to it. This detail shows that Wang Xiulan has talent, but the most important thing is acquired hard work. After listening to Mr. Wang’s narration this time, I feel that her performance is supported by theoretical literacy. She is good at summarizing, and puts the theoretical knowledge learned into practice. Her performance, in her own words, is that it is not true that it is not a play. Taizhen is not an art. It is derived from life and is higher than life. It must have the truth of life, and not simply copy life, but use artistic techniques. After processing and refining, it is both typical and universal. For example, when she talked about the Jiao in “Kill the Dog”, it can explain the problem. Jiao is an unfilial shrew with almost no merit in her body. However, Teacher Wang Xiulan conducted an in-depth analysis of this character, and believed that the strange and weird external movements could not conceal the kindness and reformation of her heart. For example, Jiao made noodles for her mother-in-law. In fact, she herself was very hungry, but she only made one bowl, which shows that she is also a frugal person who can live a life; she is very greedy, Wang xiulan”s still unknowingly she missed eating, and ate all the noodles. When it was over, she simply ate a clean meal without leaving a piece of noodles to her mother-in-law. Although it was annoying and hateful, she could give herself a reasonable explanation. Teacher Wang’s evaluation of Jiao’s is that she is serious about telling lies, and she regards all her lies as true. This is her ridiculous side. It is precisely because of grasping the characteristics of the characters that she has made Jiao lively and vividly, coupled with the fact that it is the life language of the farmers in reality, it is very cordial and lively, which makes people laugh, and integrates on stage and off stage. , Played the role of education persuasion.

Good at summarizing and applying in practice Being good at mastering the script, understanding the script, going deep into the inner world of the characters, grasping the inner psychology of the characters, and expressing the character characteristics of the characters through body language, eyes and expressions are important means for Mr. Wang to interpret the success of the characters. “Dou E’s Injustice” is Wang Xiulan’s “Kill the Dog” stills a masterpiece of Teacher Wang. As a typical tragedy in the history of Chinese drama, Dou E’s image has been deeply rooted in the hearts of the people. Almost all major dramas have performed this show. Wang Xiulan has a deep understanding of the protagonist Duan Yun: she lost her mother at the age of three, and was sold to Granny Cai as a child daughter-in-law because of poverty due to poverty. Duan Yun had to admit his fate, hoping to spend the rest of his life with her mother-inlaw in peace. Unexpectedly, he was framed and sentenced to death. On the execution ground, the innocent girl’s grief and anger erupted like fire. She asked the heavens and the earth, cursing the unfairness of the world. This is the climax of the whole drama. Wang Xiulan’s grieving expression, angry eyes, helpless singing and three heartshaking vows erupted Duanyun’s grievances and anger like a volcanic eruption, shaking the earth and expressing a strong accusation against the dark society. Teacher Wang Xiulan said, whoever acts like who, whoever I act, is who I am. This seemingly simple requirement criterion is actually the biggest element of her success. Wang Xiulan has devoted her life to creating numerous artistic images. From the standpoint of identity, there are maids, young ladies, middle-aged women, and rural youths; from the standpoint of professions, there are Qingyi and Huadan; from the perspective of character, some are charming and charming. Some are fierce and vigorous, some are clever and witty, and some are eccentric, but no matter what business or role, she is

Feature dedicated, delicate and sincere, and lively. In addition to the careful study of the script and the profound understanding of the characters, the biggest factor for Wang Xiulan’s success is her superb acting skills. Her understanding of art far exceeds that of ordinary actors. This is not only the stylized performance inherited from masters and even generations of old artists, but also constant renovation and creation, so that stylization is no longer a simple copy. To copy, but to find a basis for life, and create actions based on the character of the line. She proposed the stylized “new four modernizations”, namely: life-oriented, personalization, dancebeautification and standardization. This is a high-level summary of her successful artistic experience. In her, there are many unique performance skills and tricks that no one else can match, such as eating buns, noodles, and belts in “Killing a Dog”; folding clothes in “Roasting Fire”, and sailing in “Tibetan Boat”, In the eyes of the audience, they are all classic creations of art. These are all superb performance skills. Wang Xiulan has her own unique understanding of this kind of art. “Technology” serves the content, and “art” is the sublimation of content. This is the unity of content and form. Drama is the art of performance. It is precisely because of these special effects that Pu opera has a unique artistic and appreciative value, which increases the effect of performance. On the basis of inheritance, Wang Xiulan deepens the character’s character through careful observation of life, then carries forward it, injects new content, and after reprocessing, it strengthens the penetrating power of art and becomes a pleasing stunt performance. It not only strengthens the personality of the characters, but also increases the fun and appreciation, which often wins the audience’s full house. At the same time, it also adds a huge charm to the local drama of Puju.

Wang Xiulan’s “Kill the Dog” stills

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YANFENGYING:

“I was a ghost in the old society. After liberation, the party turned me into a human being.

n the spring of 1930, when the rape blossoms were in bloom, a little girl fell to the ground at Yan’s house in Weijia Lane, Longmenkou, Anqing. Her parents gave her a nickname called Hongliu. Anqing is the birthplace of Huangmei Opera, where everyone can hum, and Xiao Hongliu is no exception. When she was four or five years old, she became interested in Huangmei Opera and followed the adults in singing and dancing.

Young learn art, bravely pursue dreams “Yan Fengying is studying, and her home is nearly three miles away from us. She reads books during the day and plays at night. She ran up after reading the book at night, so she called me, Brother Jihuai, you take me. I’ll just Say, go to you. A little girl, how can I take you there.” As the saying goes, interest is the best teacher. Indeed, interest can often bring great enthusiasm and motivation, so that people can stick to it. Yan Fengying’s enthusiasm for opera was noticed by Yan Yungao, a local master who sang Huangmei opera, so he accepted Yan Fengying as a disciple and officially began to teach her opera. When Yan Jihuai recalled Yan Fengying’s talent, he said: “We have to learn opera at least three times... She doesn’t need it, and it’s done once.” At that time, Yan Fengying’s family was very conservative. When he learned that Yan Fengying was studying opera, his grandfather was furious, and the family also wanted to “sing the Huangmei opera secretly” as the famous general Yan Fengying to fall into the river. Fortunately, someone set off a fire, and Yan Fengying took advantage of the chaos and escaped. From then on, he embarked on a career of leaving his hometown and taking a shift to the dock. At this stage, Yan Fengying got acquainted with many famous performing artists in Huangmei Opera. She herself is also very

hardworking, learning and practicing every day, never letting go. She’s apprentice Ding Junmei talked about Yan Fengying of that period in an interview: “As long as I have time, I will learn to sing in the mirror and learn to act. When I was 8 years old, I felt that in such a small heart, I felt, how beautiful this sister is so beautiful? My eyes can speak. They all sing so nicely.”

Strong personality In 1949, after the founding of the People’s Republic of China, Yan Fengying, who lived in Nanjing, was introduced by a friend and met Gan Lvzhi, a son of a large family. The Gan family is a family of Jingkun, a well-known family, strong, handsome in appearance, and versatile. Not only can sing old students, but can also sing xiaosheng, but also a good erhu, he is an out-and-out prince charming. Since meeting Yan Fengying, Gan Lüzhi fell in love with her at first sight and invited Yan Fengying to join the “Youyi Collection” he organized. When the two were together, she followed Gan Luzhi to learn Kunqu Opera

“A Dream in the Garden”, and incorporated the unique style of Kunqu Opera into Huangmei Opera. At this stage, Yan Fengying’s artistic level has truly grown. Compared with the past, it is a completely reborn existence. The same artistic pursuit makes the two cherish each other and become confidantes. But one is a noble-born young master, and the other is an actor who lives in the dust. The disparity in status makes she still unable to obtain a truly stable life from Gan Luzhi. Besides, Yan Fengying also wants to continue to pursue her dream of drama. , Continue to go north and south performances. In 1951, Yan Fengying returned to Anqing and joined the Shengli Theater. There, her career began to gradually get on track. “She still quite famous in Anqing. People like to watch her plays. She not only sings well, because her voice is very sweet, but also she has a beautiful appearance and good lines in all aspects. Her singing voice, The country has a strong atmosphere, and people like to listen to her sing.” Yan

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Yan FengYing “Tian Xian Pei”

Fengying’s apprentice Tian Yulian recalled. At first, Yan Fengying was proud of her popularity, but soon she felt her shortcomings. She began to observe other people’s performances, analyze her own problems, and ask competitors for advice. During this period, Yan Fengying’s “Fighting Pig Grass”, “Lanqiao Meeting”, and “Liu Shujing” were staged in the East China Opera Hui. This was also the first time that Huangmei Opera appeared on the Shanghai stage after the founding of the People’s Republic of China. When Yan Fengying appeared, he immediately won Full house. At the age of 22, her reputation spread throughout East China. Huangmei Opera, as a local opera, also gradually developed and prospered during this period.

cannot be avoided when talking about Huangmei Opera. The achievement of such a great artistic achievement is not unrelated to Yan Fengying’s efforts.

Pursue excellence and become a master The period from 1953 to 1965 was the heyday of Yan Fengying’s artistic career. In this short 13 years, she has starred in more than 20 major dramas, nearly 30 minor dramas, and also made 3 movies. Among them, there are many familiar items such as “Heavenly Fairy Matching”, “Golden Branch”, “Peach Blossom Fan”, “Beast Jade Pipe”, “Cowherd and Weaver Girl”, “Female Horseback Riding”, “Red Promoter”, etc. Huangmei Opera is also from an Anhui local drama. Yan Fengying became the “master of the first generation” of Huangmei Opera.v Among them, “Xianxian” broke the record for the number of audiences in opera movies, the influence of Huangmei Opera spread all over the country, and Dong Yong and the Seven Fairies became eternal classics. Even now, this play is still a classic that

Yan FengYing “Tian Xian Pei” Still

Feature School arrived. We went to the entrance of the village to greet them. From a distance, we saw a team of more than 50 people neatly and orderly, leading the “Zhejiang Literature and Art to the Countryside Propaganda Team”. The red flags, their unconventional hairstyles, costumes, and dresses made the villagers stunned. I had just graduated from junior high school and I was considered half a cultural person in the village, so the team leader arranged me to act as a liaison officer. The liaison officer’s job is to report to the village leaders on the needs of the propaganda team in time, and what arrangements the village leaders have to communicate to me. Leader of the propaganda team. Play the role of a bridge of communication. The propaganda team leader’s surname is Kan. He is from Anhui. He is bold and humorous. He is a martial arts instructor at the school. He is very good with fighting. He often shows us his stunts in the field. When we get along for a period of time, we become like Peng. He He introduced me to the teachers and students in the propaganda team. When he introduced Yao Shuijuan, he appeared to be very solemn: Yao Shuijuan is a master of a generation, a figure of national treasure level, a pioneer and practitioner of Yue Opera, and has served in Zhejiang Province. The vice chairman of the Dramatists Association, a representative of the Provincial People’s Congress and a member of the CPPCC.

YAOSHUIJUAN:

one minute on stage, ten years of work off stage, everyone can’t be successful casually

here is a saying in the Yue opera world that “three flowers are not as good as one Juan, and one Juan is not as good as one Dan.” From this, I deeply feel that Teacher Yao Shuijuan is a hardworking, comprehensive, practical, pioneering and innovative, advancing with the times, not satisfied with the status quo. The pioneer of Shaoxing opera reform and innovation.

First encounter with Yao Shuijuan

On May 8, 1968, there was an explosive news in the small mountain village where my hometown was. There was a cultural and artistic publicity team going to the countryside in the provincial capital to be stationed in my village tomorrow. Among them were the big names in the art circles and the stars of the future. The news aroused everyone’s eagerness. The next day, a propaganda team composed of teachers and students from Zhejiang Art

In August 1935, the Yue Opera Troupe led by Yao Shuijuan performed “Jade Hairpin” in Hangzhou Great World, starring Li Xiuying. With its elegant and soft sleeves, the steps that move like clouds, the singing voice and the exquisite and vivid acting skills, Conquered the audience. Zhang Zaiyang, the chairman of Zhejiang Province at the time, was moved by her performance and praised her, chanting “Wonderful, three flowers are not as good as one Juan” (three flowers refer to Shi Yinhua, Zhao Ruihua, Wang Xinghua, one Juan refers to Yao Shuijuan), a famous Peking Opera performance Master Mei Lanfang even called Yao Shuijuan the “Queen of Yue Opera.”

Feature After listening to Captain Kan’s introduction, I began to respect the kindlooking aunt, and saw it with admiration. I met Yao Shuijuan for the first time. She gave the impression that she was amiable and approachable.

Become friend with Yao Shui Juan In the contact and understanding with Yao Shuijuan, she is usually reticent, but as soon as she talks about Yue Opera, Yao Shuijuan’s originally slightly sad and vicissitudes of life eyes immediately radiant and speak, from the past and present of Yue Opera to the origin of the title of “Queen of Yue Opera”, and The stories of interactions with some celebrities are just as precious. Yao Shuijuan told us that the predecessor of Yue Opera is called “Landing Sing Shu” and “Shaoxing Wenxi”. The voice is clear and graceful, beautiful and beautiful, the performance is deep and affectionate, sincere and moving, and it is quite local in the south of the Yangtze River. In early 1935, Ningbo newspapers first mentioned the name “Yue Opera”. Later, she made a final decision and Yao Shuijuan performance still

renamed all posters and advertisements “Yue Opera”. In this way, the wonderful art garden of “Yue Opera” became the second largest in China Opera When I asked how the laurel crown of “Queen of Yue Opera” was worn on her head, Yao Shuijuan smiled and said, “This is nothing but the audience affirmed and encouraged the actors’ performance level.” It turned out that in September 1938, the “Queen of Yue Opera” was jointly organized by Shanghai “Xi Bao”, “Xi Shi Shi Jia Shi” and “The Play World”, and the audience voted for the “Queen of Yue Opera”. Throne. In addition, the inscription “Shuijuan artist, Queen of Yue opera” by the master of Peking opera performance by Mei Lanfang was widely spread, which made Yao Shuijuan famous and famous in the south of the Yangtze River.

Words that enlighten my life In a small chat, I talked to Yao Shuijuan: “What a beautiful professional actor, fame and fortune are both desirable and enviable.” Yao Shuijuan told me: “You only saw the brilliant side of the actor on the stage, there was applause. There are flowers, but I don’t know the effort and hardship behind the actors. I learned art from a teacher at the age of fourteen. I started with niche students, then Huadan, practiced in summer, winter practiced thirty-nine, day and night, all the hardships. One minute on stage, offstage. After ten years of work, everyone can’t be successful casually. God rewards hard work, perseverance, and only a little bit of hard work will make a point.” After listening to her words, I like to inspire and benefit a lot. Her teachings I still remember it in my heart and enlighten my life.

Yao Shuijuan performance still

Opera Type

WHAT IS CHINESEOPERA

hinese opera is dominated by folk song and dance, rap and burlesque. It originated from primitive singing and dancing and is a comprehensive stage art style with a long history. It took many dynasties to form a relatively complete opera art. It is composed of literature, music, dance, fine arts, martial arts, acrobatics and performing arts. There are about three hundred and sixty species. It is characterized by aggregating multiple art forms into one standard, and reflecting their respective personalities in a common essence.

DEVELOPMENT OF CHINESE OPERA Ming and Qing Dynasties

Tang Dynasty

The prosperity of literature and art in the Tang Dynasty was the result of the rapid economic development, which promoted the art of opera. At the same time, the rhythm of poetry and the maturity of narrative poetry gave a decisive influence on opera. The prosperity of music and dance provides the most solid foundation for performance and singing for Chinese opera. Improved the artist’s artistic level, accelerated the dramatization of song and dance, and produced a number of opera repertoires that used song and dance to act out stories.

Because the drama style of Ming Dynasty legends continued into the Qing Dynasty, they are habitually called Ming and Qing Legends. Ming and Qing legends inherited the Nanxi system in form and are more complete. A script is mostly only about 30, often divided into upper and lower parts; the writer also pays special attention to the compact structure and interspersed with Cohun. The legendary music is also in the form of tunes and cards, but Binan Opera has developed, and the tune is no longer limited to one palace tune; the number of tunes also depends on the needs of the plot; all the characters on the stage can sing.

Modern times

Before and after the Revolution of 1911, a group of accomplished opera artists engaged in opera art improvement activities. The famous ones were Wang Xiaonong, Pan Yueqiao, Xia Yueshan, etc. They accumulated valuable experience for the improvement of opera in the future. From the “May Fourth Movement” in 1919 to the founding of the People’s Republic of China, during this period, some people with lofty ideals reformed Chinese opera. On the eve of the “May Fourth Movement”, Mei Lanfang performed new fashion dramas that promoted democratic ideas such as “Chou Gu Deng” and “A Wisp of Hemp”. Zhou Xinfang and Cheng Yanqiu also created many works. [2] Yuan Xuefen held high the banner of Yue opera reform, starring in Lu Xun’s famous work “Xianglin’s Wife”, and formed a comprehensive art mechanism integrating choreography, directing, dance, sound and beauty in Chinese opera. “It was the first to start the mechanism of combining freehand brushwork and realism in Chinese opera

After the founding of the People’s Republic of China, a number of outstanding plays emerged, such as Peking Opera “Jian Xianghe”, “The Legend of the White Snake”, Ping Opera “Qin Xianglian”, Yue Opera “Liang Shanbo and Zhu Yingtai”, Kun Opera “Fifteen Guans”, etc. The historian Wu Han also wrote the historical Peking opera “Hai Rui Dismissed from Office”. The art of opera has developed to this day. After different times, it has continuously adapted to the needs of the new era and new audience, maintaining and carrying forward the traditional artistic characteristics of the nation. The issue of “and “dramaticization” has become an issue of active discussion and active practice in the new historical period.

Opera Type

THEMOST POPULARTYPE OF THECHINSEOPERA C

hinese opera, Greek tragedy and comedy, and Indian Sanskrit are also known as the world’s three ancient theater cultures. After a long period of development and evolution, five main types of operas including “Peking Opera, Yue Opera, Huangmei Opera, Ping Opera, and Henan Opera” have gradually formed.

Peking Opera

One of the biggest characteristics of Peking Opera is that it is more procedural, because different operas have different voices in the performance, and even the actions, costumes, and props in the performance are different. Everyone integrates with others on their own basis. There are various styles and singing voices.

Yue Opera

In its development, Yue Opera has absorbed the great achievements of Kunqu Opera, Drama, Shao Opera and other characteristic operas, and has experienced a historical evolution from male Yue Opera to female Yue Opera. Yue Opera is good at lyricism, mainly singing, with beautiful voice, real and moving performance, beautiful and elegant, and full of Jiangnan spirit; mostly based on the theme of “talents and beautiful ladies”, there are many artistic genres, and there are 13 recognized genres. many.

Opera Type

Ping Opera

Good at singing skills, clear words, easy to understand singing, clear singing, strong breath of life in performance, and a cordial folk flavor. Its form is lively and free, and it is best at expressing the lives of contemporary people. Therefore, there are a large number of audiences in cities and villages.

Henan opera

Famous for its sonorous singing, ambiguous environment, loud voice, clear speech, mellow charm, vivid image, flesh and blood, and good at expressing the inner feelings of the characters. Because of its high artistic quality, it is widely welcomed by people from all walks of life.

Huangmei Opera

Mainly sung in the Huaining dialect of Anqing. The singing is simple and fluent, and it is known for its bright and lyrical emotions. It has rich expressive power. The performance of Huangmei Opera is simple and meticulous, and it is known for its authenticity and liveliness.

Costume

CHINESEOPERACOUSTUME Rule Of the coustume

There is a common saying in the opera circles: “I would rather wear it, not wear it wrong”. This sentence does not allow actors to wear ragged and unsightly costumes, but emphasizes the seriousness of the problem of “wearing the wrong costumes”.Is really to make people laugh.So if you before you buy the costumes You must understand all the details of the role you play.If you simply pay attention to the bright and gorgeous costumes themselves, and distort and destroy the characters, this is an unforgivable mistake on the opera stage.

“Python robes”

Taken from the official dress of the imperial court. Most of the pythons are the general dresses of emperors, generals, concubines and ministers in operas. The patterns of the pythons are mostly on the lower part of the front and back of the robe. The whole body of the male python is embroidered with the dragon and the female python is slightly shorter. Embroidered dragon or phoenix drawings.

Armor

Commonly used by soldiers in ancient times was a battle gown commonly used by generals in operas. Its style is: round neck, encirclement collar, tight cuffs, two pieces of armor standing on the front and back, reaching to the foot, slightly wider in the middle of the front piece, called “belt belly”, embroidered tiger head shape on the armor belly is called “wu armor “Belly”; only embroidered with general patterns, so-called “the pattern of wen armour belly armour is mostly fish scale pattern or T-shaped pattern, to simulate the nail plate on the armour

Pleats

Casual clothes that are widely used in the play, and can be worn by military commanders and ordinary people without scholars. It is a large right gusset, diagonal collar, pleated body length and feet, body width, and sleeves. Women’s pleats are double breasted, small round stand-up collar, and slightly shorter body length. There are two types of patterns on pleats: those with patterns embroidered on the pleats are called “flower pleats”, and those without embroidery are called “plain pleats”.

Costume “Cape”

Mainly casual clothes worn by emperors,

concubines, high-ranking officials, and rich people. The style is double-breasted, straight collar, wide sleeves, water sleeves, and left and right open crotch. Men are as long as their feet, while women are slightly shorter. There are many embroidered patterns and there are many embroidered patterns. For example, the emperor uses Tuanlong, the concubine uses Tuanfeng, and other characters use Tuanhua, Tuanshou, branch flowers, cranes, butterflies, deer, etc., depending on their age.

“Cloth”

“Kaicloak”

Originally a casual dress worn by generals and officials in Peking opera on non-ceremonial occasions. Cantonese opera was also worn as casual clothes and also used for ceremonial banquets and other occasions as a formal dress. Generally unofficial persons cannot wear it. It has a large slanted front, a large collar, a long cloak and feet, large sleeves, a hem at the bottom of the rib, and a fringe decoration, but the waist does not use a jade belt. The patterns mainly include lions, tigers, leopards, unicorns, cranes, swallows, eagles, but also clusters of flowers and eight treasures. And nowadays Hailong has more fourpole flowers than Haiqing

Official clothes

Official clothes worn by hundreds of civil and military officials when conducting official business. The style is a disc collar, large sleeves, and water sleeves. The shape is similar to that of a python, and the lower body is not embroidered with river cliffs and sea water patterns. There is a ribbed pendulum, a jade belt hung, and a square pattern embroidered on the chest and back to distinguish the ranks of the officials, military officers, and official ranks. This is called “buzi”. The pattern of official clothes is mainly the patch pattern on the chest and back. The current subsidy system is based on the official subsidy system of the Qing Dynasty.

Whether it is Peking opera or Cantonese opera, the style of “clothing” is the most diverse and the most diverse. Any clothing worn by people who do not fall into the above six categories can be classified into this category. From princesses, royal families, to eunuchs, soldiers, soldiers, court servants, scholars, commoners, monks, Taoists, etc., they can wear this kind of costume. Since the styles and patterns of various “clothes” are different, it is impossible to specifically summarize the patterns or patterns shared by the “clothes” category. “Clothes” roughly include: palace clothing, Chaoyang clothing, fast clothing, arrow clothing (called “riding horse” in Cantonese style), black ghost clothing, gossip clothing, coats, robes, horse jackets, tea clothing, upper and lower hands Costumes, soldier costumes, flags, etc.

Make Up

THESECRET OF CHINESE OPERAMAKEUP Before you make up you need sure What role are you playing is Sheng, Dan, Jing, Mo, or Chou.Diffrent role there makeup are diffrent and the color you use to makeup are important.Because diffrent main color will representing different character personalities. Red shows the character of loyal and heroic characters. Blue expresses the character of strong, brave, and scheming charactersBlack shows the image of integrity, selflessness, and upright characterWhite represents the image of insidious, suspicious, flying, and solemn charactersGreen represents the image of tenacious and irritable characters and others

MakeUp Step and Detail Step 1: Make The Background Color

the background color in the opera makeup needs to be mixed with red and white oil paint to make a tender flesh color, and then photograph it on your skin, be sure to shoot evenly, master the thickness of the oil paint, too thin will reveal your own skin color , And too thick to look like a mask is very dull, but also according to the stage lighting, the identity of the characters, etc. to shoot the background.

Step 2: Blush When we make up, we habitually apply or brush sun red, but because what we need for opera makeup is oil paint, we need to pat the blush on the skin and let it melt into it. The base color is oil paint, the color is best to use rose red to be more natural, the blush on the upper eyelid is the reddest, and it must be very natural in the position of the connection.

Step 3: Set Makeup In the usual makeup, we all know that we need to set makeup to prevent makeup from falling off. In the same way, when setting makeup, we must start from top to bottom from the inside to the outside, first apply the base color, then apply the blush, and finally apply the face. Go on the floating powder bomb

Step 4: Rouge The method of rouge and blush are basically the same, but the difference between the two is that rouge can make the face makeup more vivid, you must remember that the color of the upper eyelid is the deepest

Step 5: Draw Eye Circles Compared with ordinary makeup, the eye circles of opera makeup should be exaggerated, but in the process of making them, you must remember to make them according to the shape of the model’s eyes and the height of the characters. The effect will not be good

Step 6: Eyebrows Eyebrows are also a very important part of drama makeup. First of all, it must be based on the character. For example, Tsing Yi Hua Dan needs to be transformed into willow eyebrows. At the same time, it must be transformed according to the appearance of the character, so that it will have a three-dimensional effect.

Step 7: Lips First, outline the edges of the lips with big red oil paint, and secondly, use the opposite way to make the lips according to the characters. For example, if the lips are thin, the bulge must be reduced, and those with the big mouth must be reduced.

Stage Setting

STAGESETTING Stage Time and Space View

Drama, as a special form of reflecting life, requires that the scene of life in the show be expressed in the limited space of the stage and the limited time of a performance, which will inevitably produce an infinite space reflecting the scene of life (in a relative sense) and the stage. There are two contradictions between the limited space, the infinite time for the continuation of the drama plot and the limited time for the actual performance. Traditional Chinese opera has its own approach in resolving these contradictions. It publicly expresses the hypothesis of the stage, admits that drama is a drama, and adopts a detached attitude towards the treatment of stage space and time, and does not investigate whether the use of stage space is in line with life. The scale does not ask whether the performance time is in line with the continuation of the plot time. Instead, it relies on the structure of the branching system and virtual expression techniques to create a unique artistic conception on a stage without any installations, and make a broad image of life.

Hypothetical Stage Height

The highly blurred stage is the most important and unique way of expression of Chinese opera art. There is often nothing on the opera stage. However, when this character appeared in the music and danced with wooden paddles, the audience was immediately taken into a flat boat and bumped on the turbulent river. The audience and the characters seem to be in the same boat, and experience the feeling of meeting in autumn together. In roleplaying, the high whip, the “vaulting horse” performance, and sometimes the horse Selected stills from “The Peony Pavilion· A Dream in the Garden”

boy’s tossing and turning, can immediately bring the audience into the battlefield of the golden horse and iron horse. Spectators and characters experience sword and shadow, light and sword, and the battle of flesh and blood

imagination, through the roles of singing, doing, reading, and dancing, can the time, place, and environment be concretized. Then let the audience begin to associate and be recognized.

After the role was played, the stage was still empty. However, the audience admitted that the rowing and galloping on the stage was “real”. It should be said that traditional Chinese opera performances are performed on an empty stage without scenery, using virtual actions to mobilize the audience’s associations, and jointly create a specific drama situation composed of factors such as environment, events, and character relationships. Sometimes, a table and two chairs are placed on the opera stage, but they often do not represent any specific scene. Only when an actor comes on stage, relying on the actor’s

The detachment of the concept of stage space in opera is manifested in two aspects: The determination of the stage environment is based on the activities of the characters. There is a certain stage environment for activities with characters; for activities without characters, the stage is just an abstract space; even if there are some decorations or music performances sometimes, if the performances of different actors are combined, it will only play a role. A certain suggestive effect cannot independently show the dramatic environment. Therefore, the character’s on and off stage becomes the hub of the drama environment change and plot development.

Spatial Performance

For example, in “The Peony Pavilion A Dream in the Garden”, Chunxiang sang two tunes with Du Liniang, and “the twelve pavilions were actually seen all over.” The audience followed them to see the golden powder in the gallery, the moss in the pond, the broken wall, the Yunxia Cuixuan, the Yanbo painting boat, the tea mushroom stand, the peony pavilion, hear the singing of fireflies, and see the mountain azaleas. It can be described as one step at a time. However, when the actor has finished singing and dancing, all this will cease to exist, and the stage is still empty. Everything is false, everything is false. In the first scene of “The Meeting of Heroes”, although there are big tents and tables and chairs on the stage, it does not specify the specific environment, so Huang Gai and Gan Ning can dominate in front of the big tent. When Zhou Yu appeared, the stage was determined

Stage Setting to be Zhou Yu’s camp; when Zhou Yu and others stopped, the specific environment disappeared. In the second scene, the big tent and the table and chairs were changed, which was only a hint to the environment; it was not until Lu Su came on stage to “collect books” before the stage was determined to be Zhou Yu’s sleeping tent. ②In the same scene, through the virtual actions of actors, one can quickly transfer from one environment to another. “Pedestrian walks thousands of miles” and “horse crossing ten thousand mountains”, as long as a round field, a horse wandering can be expressed; a “digging door” means entering indoors from the outside, “one turn over twice” or a “turn around the field” means Changing places and so on are all common methods of Chinese opera.

Song Shijie Song Shijie arranged for the two bribes to steal the book after sleeping “Gathering of Heroes” Ma Chongren as Gan Ning, Ma Shenglong as Kan Ze, Ma Lianliang as Zhuge Liang, Ye Shenglan as Zhou Yu, Tan Fuying as Lu Su, Qiu Shengrong as Huang Gai

Time Performance

The detachment of the concept of stage time in opera is manifested in: the arrangement of stage time is completely determined by the needs of the plot of opera. During the book stealing of “Four Jinshi”, Song Shijie arranged for the two bribes who had been ordered to fall asleep, dial the door, steal the book, open the book, and copy the letter word by word and send it back to the original place. All of this, He did everything calmly and methodically. As soon as the dark joint evidence was obtained, four watchdogs rang out on the scene; after a moment of silence, the cock crowed at dawn, and the bribes and the accusers went their separate ways. The arrangement of the stage time is tight, the main actions of the characters are completed, and the stage tasks of the scene are also completed. Even the arrangement of the quiet field is very ingenious. If the sky is already bright when the letter arrives, doesn’t it seem that Song Shijie is too hurried in his work? This shows that the time processing of the stage is definitely not to show the time itself, but to show the actions and characters of the characters in this time. Song Shijie was busy all night: stolen books at the door, recorded evidence on clothes, blocked his wife’s interference, dealt with with tolerance, etc., all for the purpose of complaining about the victims, anti-injustice, and also showing Song Shijie’s righteous and sophisticated character. Just to show sleep time, even one minute is not allowed. The detached view of stage time and space has two meanings:wwwwwwwIt brings a fluid, flexible, relatively fixed, continuous and relatively spaced sub-field structure to the opera.

Song Shijie prevented his wife from interfering with copying letters

Special of Music

SPECIAL OF CHINESEOPERAMUSIC Chinese opera music is dominated by singing, and there are singing forms such as solo, duet, unison and gang, which are the main means of expression for developing plots and characterizing characters. The accompaniment of the singing, the opening and the string play the role of supporting the tune and setting off the performance. The percussion music used in the opening, cutscene and martial arts venues is an important factor in the noisy atmosphere, the adjustment of the stage rhythm and the structure of the opera. Opera music is an important part of the comprehensive art of Chinese opera, which integrates drama, music, performance, acrobatics, stage art and other artistic methods. It can centrally express the content of drama and is also the main symbol of distinguishing different types of drama. The development of opera music has a long history. The folk songs and Baixi music of the Han Dynasty, the song and dance music of the Tang Dynasty and the rap art music of the Song Dynasty are the foundation of its development.

Music Structural Characteristics The structure of opera music mainly has two forms: 1. Qupai (also known as Lianqu). That is, various tunes are combined according to the needs of vocal design. Including scattered-slow-fastscattered plate changes; 2. Plate cavity (also called plate variant), including basic plate type, auxiliary plate type and various accents, etc.

As music combined with opera, the difference between Chinese opera music and other forms of music art is that it embodies and adapts to the requirements of drama, and serves to express drama characters, promote plot development, and create a situational atmosphere. It is a dramatic music. This kind of drama music has its own unique structure, expression methods, and artistic skills, and has a strong national artistic style. From the perspective of production music, opera belongs to Chinese musical drama. It is obviously different from Western operas and the musical traditions created by their composers.

Another characteristic of opera music is its stylistic nature. The formula of opera music is as large as the musical structure and aria system (qupai for singing southern and northern tunes or Banqiang for singing random tunes) throughout theatrical performance, and as small as the structure of qupai, bantai singing, gongs and drums, etc. Technology and its application are ubiquitous and very rich. Any repertoire of singing, chanting, doing, and playing is inseparable from the combination and application of music programs. This kind of creation method is not to abandon tradition, but to realize new synthesis and new creation on the basis of traditional expression forms and methods. There are certain rules for the use of programs. Regardless of the tunes and dramas, there are often different music programs. Based on the logic of music, the requirements for the program are strict, but the strictly

standardized program can be mastered flexibly and freely in specific applications. In the long-term practice, it has been proved that the expressive function of the opera music program is an important means for creating the stage image of opera. The Chinese opera music troupe exhibits its own unique professional level, national characteristics and aesthetic significance due to its folk and programmatic nature. This characteristic, to this day, still remains in the creation of opera music.

Singing and Chanting

In the musical structure of opera, the vocal part is its main body. Traditional Chinese aesthetics believes that vocal singing is more intimate and moving than instrumental accompaniment, and it is easier to arouse the understanding and resonance of the audience. The reason is that the music played by the instrument, although it can also express emotions, can not express it. Opera music portrays the image of characters, and the main body relies on vocal music, that is, beautiful singing and moving singing. Regardless of whether the singing is qupai or banqiang, opera can be divided into lyrical singing, narrative singing and dramatic singing. Lyric singing is characterized by fewer words and more voice, strong melody, and longer than expressing inner feelings; narrative singing is characterized by more words and fewer voices, strong recitation, suitable for narration and answering occasions; dramatic singing is mostly free of beat There is great flexibility in the expansion and contraction of the rhythm, so it is better than expressing passionate and strong feelings. The alternating use of these three types of tunes constitutes the dramatic and varied opera music. Chinese opera has many traditional repertoires, so it can be sung on the stage for a long time, mainly due to the popular singing voice among them. The art of opera singing has also formed its own unique style and professional skills in the long-term

development. Pay attention to the relationship between words and sounds, and between sounds and emotions in singing. Clearly and accurately expressing the pronunciation and meaning of words is the first requirement of singing skills. A series of singing methods and skills have been produced from this. Singing generally includes vocalization, utterance, use of air, decorative singing, etc. Its purpose is to express the thoughts and feelings of the characters in the drama. Singing a song and moving people with emotion is the highest aesthetic standard of singing art. Singing and reading are the two major components of opera vocal music. All the accomplished actors in the past are good at singing and thinking. Singing tones is the basis for expressing expressions. The fourtone tones of Chinese characters, with ups and downs, are also the basis for the beauty of white music. Various forms of chanting, such as rhyme white, Jingbai, and dialect white in Peking opera, are different Henan opera performance ↓

Special of Music

Kunqu Qin Opera Performance Overture to the Strong (2017 National Taiwan Academy of Chinese Opera and Music Department High School Graduation Performance)

degrees of combination of language and music. Opera uses instrumental music as a means of expression, mainly used to accompany singing, doing, reading, and playing, that is, performing arts, as well as to develop drama contradictions, to shape characters, to express thoughts and feelings, and to enhance the atmosphere of the stage. The task of instrumental accompaniment is performed by the band. The opera band consists of two parts, the stringed orchestra part is called Wenchang, and the percussion part is called Wuchang. Collectively called Wenwuchang. The role of the literary field is mainly to accompany the singing, and to play the tunes

(scenario music) used in conjunction with the performance. The main task of the martial arts field is to use percussion instruments to hit the gongs and drums, coordinate with the actor’s body movements, chant, sing, dance, and start the fight to make the start and end clear, and the rhythm is orderly. And, under the lead (conductor) of Master Guban, adjust and control the rhythm of the whole play. Although instrumental music plays an auxiliary role in opera music, it has advantages over vocal music. Instrumental music includes a variety of pipes and percussion instruments, each of which has its own characteristics and colors. Although the instrument combinations of the various bands are different, the role of the drum master and the role of the lead instrument are the same. The main musical instruments of Chinese opera music include: Qudi in Kun Opera, Banhu in Bangzi Operas such as Qin Opera, Henan Opera, Hebei Bangzi, Huqin in Pihuang Opera such as Peking Opera and Han Opera, and Pendant Qin in Shandong Lu Opera, etc. The different timbres and performance methods of the lead instruments are often important signs that form the unique style of this play. From hearing the lead instrument, we can tell what kind of drama or voice is performing. Percussion instruments are widely used in opera and have outstanding artistic effects. The singing, doing, reading, and playing of opera have a strong rhythm, and gongs and drums are a kind of musical instruments with strong sound and clear rhythm, which are the backbone of the

Henan opera performance

rhythm of drama. With the cooperation of gongs and drums accompaniment, it can enhance the rhythm and accuracy of opera singing and performance, help express the emotions of the characters, add the colors of the drama, and enhance the atmosphere of the stage. The various tunes in opera instrumental music and the various gongs and drums of percussion constitute the scene music in opera. The use of scene music strives to be concise and concise, which is very similar to the style of Chinese painting.

Basic Skill

THEBASICSKILLS OF CHINESEOPERA The basic skills of Chinese opera include all aspects of technical skills, dance moves, and special tricks. Mastering the basic skills is very important for any opera performer. The socalled mastering of basic skills actually means mastering all the performance abilities and performance methods in the performing arts of Chinese opera.

Diligent study and practice of basic skills, on the one hand, enables actors to master and accumulate the necessary artistic vocabulary for shaping the stage image; at the same time, it also changes the physical quality of the actors themselves, turning the actors from ordinary people into qualified opera actors.ww

“Singing” refers to singing skills. “Do” means to do work, that is, to perform. “Reading” means chanting. “Fighting” refers to martial arts. Opera actors have been trained in these four aspects since they were young. Although some actors are good at singing (sing to old classmates), some concentrate on Qigong (Hua

Dan) and some concentrate on martial arts (Wu Jing). But it is required that every actor must have the four basic skills of singing, reading, doing and acting in order to give full play to the function of opera as a musical performance. Better performance and portray various roles in the play.

Basic Skill Waist and Leg Skills:

the basic skills of an actor. It is also a required course for practicing somersaults. Traditional Chinese opera, dance and martial arts must use waist and leg kung fu. Without waist and leg skills, one cannot flexibly grasp the transfer of the body’s center of gravity. The waist and leg skills can also make the actor’s body movements beautiful and coordinated. Like harrier turning over, shabu-shaking, flying feet, spinning, exploring the sea, iron thresholds, and kicking up to the sky are all waist and leg skills.

Hat-Wing Technique:

Performing body stunts, also called shawl-hat wings. Taking the neck as the axis, it drives the gauze cap wings on the head to swing up or down, or rotate left or right, or circle forward and backward. Sometimes I play with a single wing, and sometimes both wings rotate and agitate at the same time. When playing, the hat wings stop if you want to stop, and move if you want to move; or stop or move, flexibly. It is often used to express the emotions of the characters in the play such as contemplation, inner conflicts, indecision, excitement and joy.

Handlebar Skill:

“Handlebar” is the general term for weapons and props on the opera stage, and is also called knife and gun handle. Such as knives, guns, swords, halberds, axes, hooks, forks, sticks, etc. Ba Zi is also extended to be synonymous with martial arts, so the basic skills of using various equipment to train martial arts techniques are also called Ba Zi Gong. Only when actors have mastered and used the technique of handlebars, can they show the scenes of characters fighting and fighting on the stage. There are many routines for handle skills, generally divided into long (long swords,

big guns, forks and sticks, etc.), short (short swords, such as single knives, double knives, swords, kidnappers, daggers, etc.), and three unarmed ones. kind. Each set of handles has a proper name, such as small quick gun, big quick gun, small five sets, big sword gun, double sword gun, eighteen sticks, etc. The performance is divided into two types: solemn and funny. The former refers to the use of serious martial arts to create a solemn and mighty atmosphere, to express the character of the characters in the play, and to express the development and change of the drama plot; the latter is mostly used

for joking martial arts, which is characterized by witty, funny, funny, and performance. The positive characters in the middle school have high martial arts skills and ridicule their opponents. Both types of handles require emotional, rhythmic, hierarchical, and structured play.

Basic Skill Water Sleeve Work:

The actor uses a piece of white silk (water sleeve) sewn on the cuffs of the costume to make rich and dance-like movements. It sometimes resembles flowing clouds and flowing water, sometimes like clusters of tidbits, sometimes like waves and ripples; some are shaped like wheels, and some are shaped like totas; there are single pendulum turntable sleeves, there are overlapping turntable sleeves on the front side, and there are straight wings and flying sleeves, etc. . The purpose is to exaggerately express the complex thoughts, feelings and psychological activities of the characters such as excitement, grief, anger, and pain. There are hundreds of body and postures in the water sleeve dance. The basic movements include hooking, picking, holding, punching, swiping, raising, dusting, shaking, hitting, shaking and so on.

Handkerchief Skill:

Performing body stunts is also a basic skill. Originated from the two-person turn, Ji opera has developed. Handkerchiefs are dance props, and there are two types: four-corner and octagonal. Techniques include turning the flower inside and outside, pulling the flower inside and outside, shaking the flower, turning the silk, supporting the silk, kicking the silk, throwing the silk, playing the silk, turning the silk, turning the silk on the top, etc. In recent years, the double-layer octagonal handkerchief inlaid with sequins has been used to develop various styles of handkerchiefs, with superb skills and strong characteristics, which play a role in setting off the atmosphere of the drama and portraying the feelings of the characters.

Shankou Gong:

Performing body stunts is also a kind of basic skills. Actors show the mood of the characters with the help of the movement of dancing the beard (beard). There are many techniques in shankou Gong, such as building, licking, picking, pushing, holding, spreading, squeezing, copying, tearing, twisting, throwing, winding, shaking, blowing and so on. Some are single movements, and some can be combined and coherent, requiring close coordination with the dance body in order to accurately express the emotions of the characters.

Basic Skill

Blanket Kungfu:

It is to practice various somersaults, that is, various body parts such as jumping, falling, turning, rolling, leaping, and jumping. Because of the practice on the blanket, hence the name. There are many styles of somersaults, and most of the movements are supported by hands or kicking on the ground with feet, forward, backward, and toss to the left and right sides, commonly known as “four-sided somersaults”.

Hair Throwing Skills:

Most male characters shake a lock of long hair tied on the top of their heads. They are a kind of performance stunts that perform fierce and abnormal emotions and situations such as panic, grief and indignation, desperate pain, rushing for their lives, dying struggle, etc

Fan Skill:

Performing stunts is also a basic skill. The fan is not only a cooling tool on the opera stage, but also a special dance prop. Actors often use the fan in their hands to make various movements and postures to express the thoughts and feelings of the characters. All characters have this skill, but the most used ones are Xiaosheng and Huadan, and their skills are more abundant.

Lingzi Gong:

the dancing of two long pheasant feathers inserted on the head of the helmet (hat), commonly known as “Shua Lingzi”. The skills of playing Lingzi include: digging ling, holding ling, circling ling, turning ling, shaking ling, throwing ling, vertical ling, rotating ling and so on. All professions are used, the niche uses the most. Sometimes with one hand, sometimes with both hands, relying on the swing of the head to match various body shapes, expressing the characters’ psychological activities and personality characteristics such as surprise, resentment, complacency, and frivolousness.

Influence of Music

INFLUENCEOF CHINESESTYLE INTHEFIELDOF MUSIC What is “Chinese style”

some people sum it up as a unique Chinese music genre combining “three ancients and three new” (ancient poetry, ancient culture, ancient melody, new singing method, new arrangement, new concept). Most Chinese style songs are based on R&B, combined with the traditional tunes of Chinese music, with the addition of national instruments such as erhu, pipa, and flute, often imitating or quoting the singing of Peking opera, opera, and Chinese folk songs, and the lyrics have a Chinese classical artistic conception. Chinese style songs have successfully borrowed the elements of Peking opera, mainly infiltrating the opera elements into popular music from the three aspects of lyrics, singing and orchestration.

Lyrics and Material “Daomadan”

Mv of “Daomadan” Li Wen

The lyrics of a song written by Jay Chou and sung by Coco Lee vividly describe the scene of the opera performance: “Playing with a flower gun is a backflip, and the waist is steadily pierced with the horse; playing with a flower gun is more beautiful than anyone else, and then sing a paragraph. Yu Ji and the Overlord; the troupe playing the flower gun stage, the sound of the erhu pulls, and the audience applauded vigorously; The scene, it is eager to put on gorgeous and beautiful opera costumes to have an addiction

“Heroes”

The song of the same name in Wang Leehom’s “Heroes” album is based on the Peking Opera “Farewell My Concubine”. “Domineering and arrogant in the Central Plains, the king raises the beacon, strives to push the mountains and rivers, and the grandeur is triumphant.” A few lyrics sang the overlord’s momentum. The first main song “Hua Tian Cuo” is based on the representative play “Hua Tian Cuo” of Xun Pai, one of the four famous Peking Opera. The title of the song directly quotes this poetic name.

Wang Leehom’s “Heroes”

“Su San Shuo”

Tao Zhe’s masterpiece “Su San Shuo” uses the running water allegro of the famous Peking opera “Su San Qi Jie” as its material, expresses the feelings of Su San’s story and composes lyrics based on it. The Houxian’s “West Chamber” is taken from “The Story of the West Chamber”, which describes a romantic and green classic ancient love, with a classic artistic conception. A few lines in the “General Order” “Different skin colors speak different words, the same rhythm has different melody. Your own culture must explain it yourself, and your own stage has our own top”, which expresses the modern people’s understanding of Peking Opera And understanding.

Tao Zhe

Singing

Influence of Music

Nowadays, many Chinese-style songs created by popular people follow the context of classical palace-tuned music. The new singer Hou Xian proposed the “gong mode” singing method. Many people think that it has many similarities with the major style commonly used by R&B. The tone-pulling and transphony of the palace mode are also strikingly similar to the trans-phonic techniques in R&B. So the two can blend together very smoothly. In the early days, many pop musicians integrated opera singing into pop music. The melody of the song is adapted from the opera. For example, the melody of the classic band “Fen Mo Life” by Zero Point is derived from Peking Opera, during which the melody of Peking Opera is added. Xie Jin’s “Rap Facial Makeup” is also integrated into Peking Opera singing. The famous musician Zhu Derong’s “Dream of Beijing” first had a Mandarin version, and later it was changed to a Cantonese version of “Lover” sung by Vivian Chow. There is a large section of Peking opera female vocals, and the singing of Peking opera is free and radiant. Aftertaste.

The Peking opera singing in the prelude of the song “Su San Shuo” and the false voice singing accompanied by the door are amazing. A lot of Pap chants deeply and affectionately. Tao Zhe uses “Yeah~, oh~, wo~” and other impromptu singing frequently in his creation, with frequent changes between true and false voices, making him relaxed and comfortable. Tradition and fashion, time and space intersect, witness the promise of loyalty to love.

TANK’s “Three Kingdoms”

The new singer TANK’s “Three Kingdoms” combines rock and Chinese elements, wonderfully adding a feminine Pingju singing method, and composed a moving love song for the soldiers who have gone through the battle in the turbulent age.

Beside the Plum

“Beside the Plum” draws inspiration from Kunqu Opera, which is known as the “fossil” of opera, and incorporates the arias of “Peony Pavilion” and a large number of Peking Opera singing into the rap. In line with the atmosphere of the plot, the rhythm is fast and slow. After a Chinese theme, he showed off a smooth and high-level Rap with incredible rap speed to show its strength. In order to better express the opera, Leehom puts the characters, costumes and costumes of Peking Opera throughout the MV. The brand-new shape not only exudes a strong oriental flavor, which makes the eyes bright, but also fully embodies the music concept of the album. The listener cannot be extricated from the associations and emotions of the reincarnation of ancient and modern times. TANK’s “Three Kingdoms”

Wang Leehom “beside Mei” Mv

Place

GOODPLACETO EXPERIENCECHINESE OPERACULTURE Xiqu Center

It has been said that watching Cantonese opera can be very trendy. If you don’t believe me, come and take a look at this Xiqu Center on the east side of the West Kowloon Cultural District. The appearance of the center is like a traditional Chinese lantern, which combines traditional and modern elements. It is very imposing and adds a lot of contemporary sense to the traditional opera. It is definitely suitable for taking pictures and checking in. However, when Wen Qing came here, his business was of course to appreciate operas, so that he would not let down this world-class performance venue specially designed for operas. You can watch traditional opera performances in the Grand Theater, which can accommodate more than 1,000 people, or enjoy dim sum and tea in the exquisite and elegant Tea House Theater, while enjoying a 90-minute Cantonese opera excerpt performance up close. The in-depth explanation by the guide reproduces the ancient Chinese opera teahouse culture in the theater. In addition, the center also has extensive activities such as Xiqu film screenings, workshops, lectures and exhibitions.

Yau Ma Tei Theatre

Go to Wenqing’s favorite old building to listen to the show! The Yau Ma Tei Theater, completed in the 1930s, is the only pre-war theater building still standing in the urban area of Hong Kong. It closed in 1998. The red brick house just across the street has a history of 100 years. It was originally the engineer’s office of the old pumping station. It is the oldest existing waterworks building in Hong Kong. In 2012, the Yau Ma Tei Theater and the Red Brick House were revitalized and converted into theaters, focusing on promoting Cantonese opera and continuing the authentic culture of Yau Ma Tei opera appreciation and singing. The original appearance, part of the structure and architectural features of the two historical buildings have been preserved, including the pillars on both sides of the theater’s main entrance, the Chinese-style sloping roof, and the arches of the original stage. In these two historic buildings full of ancient flavours, I believe it will be special to enjoy the performances of young Cantonese opera troupes and new troupes.

Place

Ko Shan Theatre and New Wing

Cantonese opera has the interpretation of “sing, do, recite, and hit”. It is very enjoyable to watch actors play guns and sing songs on stage. The Ko Shan Theater, which focuses on Cantonese opera performances, has its new wing completed in 2014. Many of the theater designs are tailor-made for Cantonese opera performances, which are especially suitable for actors to show martial arts. Even the ceiling of its rehearsal room is particularly high for actors to practice. Actions such as tossing and tossing. The design of some facilities is also very intimate, such as making the row spacing of the auditorium in the auditorium extra wide to facilitate the access of the elderly audience. Even if you don’t watch the show, you can still take a walk here and spend a leisurely afternoon. The theater is built on the mountain, and the glass curtain wall in the lobby introduces the outdoor garden scenery, making the garden scenery a part of the design, and being in it makes people feel refreshed! Or visit the Cantonese Opera Education and Information Center to learn more about Cantonese opera through interactive exhibits. Otherwise, just visit the gift shop and choose some boutiques with opera elements to take home!

Sunbeam Theater

Hong Kong Heritage Museum

The predecessor of the Sunbeam Theatre is the Sunbeam Theatre. It opened in 1972. It has been a great theater for many years and is one of the few existing large-scale Cantonese opera performance venues in Hong Kong. The Coliseum is also a landmark in North Point. Its location is just beside the MTR North Point Station, with convenient transportation. In recent years, although this veteran theater has faced the crisis of closure several times, it has finally been able to overcome its dangers. It still stands tall and has performances almost every night, providing artistic enjoyment to the broad audience.

On weekends, there are also Cantonese opera excerpts performed here! Free ticket request, first-come, first-served, if you are interested, go after a good time!

“Watch the big show, go to Xinguang” (for Cantonese opera, go to Xinguang)! This argument has been circulating in the market, which shows the status of this grand theater in the hearts of Hong Kong Cantonese opera fans.

Entering the “Cantonese Opera Museum”, the permanent exhibition hall of the Hong Kong Heritage Museum, feels like being in the world of Cantonese opera. The performance supplies, exquisite costumes and props used by celebrities in the past, as well as the reconstructed bamboo theater, all seem to take you through time and become a gifted and beautiful woman in ancient times. The vivid computer audio-visual media in the museum also allows you to easily and profoundly experience the exquisiteness of Cantonese opera! Here is a collection of rich cultural relics since the 20th century, which can explain the development of Hong Kong Cantonese opera.

Prepare Event

HOWTOPREPAREANEVENT Talking About Handling Activities—— Mastering The Elements

When handling activities, do you often encounter that you don’t know how to start? Don’t know what to plan? In other words, the planned content is not comprehensive enough? In the implementation of plans, projects, etc., we often encounter matching activities, how to handle the activities, I will lead everyone through 5W2H to think about how to master the elements of event management.

1. Why-The Purpose Of The Activity (Why Do It)

In the first part of handling the activity, we must grasp some information related to the activity, such as what is the purpose of the activity and why do we do this? what is the reason? The purpose of the activity, we will suggest a specific narrative. With a clear purpose, it is for us to plan smoothly and move towards the goal when we carry out the activity.

2. What-Activity Content (What To Do)

After grasping the purpose of the activity, we need to know what we are going to do. In this part, we will extend the planned activity content items according to the direction proposed by the determined activity objective, confirm the content of our planned activities, in the project The execution of the activity can achieve the purpose of the activity, so the content planning and purpose of the activity are related to learning. We usually think about these two parts together, and confirm that the two inherit and echo each other.

3. Who-The Event Executive (Who Will Do It) and The Target For the Who part, we will think about the executors and participants of the event at the same time, that is, think about the relevant personnel of the event together. In this part, we will plan how much work colleagues’ assistance is needed based on the purpose and content of our planning, and Set suitable objects. For example: to understand the background of the activity object, such as characteristics, needs, age group, degree of cooperation and so on. A clear object of activity can attract relevant people to participate, and it is easy to achieve the goal setting, and it can also enable the objects participating in the activity to achieve the most effective harvest.

4.Where Activity Location (Where To Do It)

The design and planning of the event location is related to each of the above-mentioned studies. It is recommended to pay attention to the appropriateness of the location, the convenience of transportation, and the equipment of the venue. You can also think coherently from the participants of the event, what kind of location will improve Participants’ willingness to attend the meeting and the motivation to come, through these thinking aspects, to plan the location of the event, so as to enhance the bright spot of the event.

5. When-Activity Time (What Time To Do It)

The choice of activity time needs to consider the arrangement of the time period, the length of the time, etc., and cooperate with the object and location of the activity. It is important to match the purpose and content of the activity that we have set. These will indirectly affect how we perform activities and arrange budgets.

6. How To Perform The Activity (How To Do It)

After planning the five major activity elements above, it is the stage of execution. How to achieve the content and purpose we hope to present through the execution of our plan is a very important key. In this part, we usually think about how to proceed on the day of the event, but not only on the day of the event, do we need to make any preparations beforehand? Whether there is anything to pay attention to after the event, we will also think about it together during the execution and planning of the event. If it can be combined with the pre-rehearsal and rehearsal, I believe it can greatly add points to the event.

7. How Much-Activity Budget (What is The Cost Budget)

Finally, the budget of the event is also an indispensable part. First of all, we must think about the costs that may be incurred in handling this event? Are there any budget constraints for our activities? If so, how to allocate the budget for the activity, these parts are also parts that need to be considered. The most common method used by the author is to first divide variable costs and fixed costs. Fixed costs are the unchangeable parts, and variable costs are the parts that we can flexibly adjust and use. Start finetuning variable costs, and pay attention to maintaining the level of overall performance of the activity.

The key to the success of the event

Prepare Event

The event is organized through a variety of methods, and the success of the event first depends on the planning and implementation of the purpose of the event. For the successful execution of the event, the key elements that need to be paid attention to are human arrangement, time, event venue and application planning, as well as the promotion of the event site. However, the plan will never keep up with the changes, so every event should be non-conformist, and it needs to be instantaneous. In response to changes, holding an event will make people look forward to and excited, but it will also be thrilling due to the rapid changes. Before the start of any large-scale event, one of the most important roles in the team is the accumulation of experience. The accumulation of experience does not necessarily mean that the same or similar activities have been performed, but the person responsible must participate in the execution of any activity through the field. Take a role and understand the changes in the activity and the mastery of the tempo through participation and observation. Only by participating and taking responsibility can everyone have the opportunity to learn from it and lay a good foundation, so that everyone can have a wealth of knowledge and knowledge in the execution of the activity. Connotation, especially mastery.

Manpower arrangement-the key to success of the event

The team must have a system to move more steadily, and depending on the conditions and planning of each exhibition venue, the execution of each event has always been to different degrees and differences. Generally, it is necessary to establish consensus, complete the division of labor and cooperation through meetings and communication, especially the connection and opening of the event. , Pay special attention to the navigation. The event will never be successful if one person is responsible. Teamwork is the long-term solution. The leader or the leader of the event will play the key to success in the event. Let the team be in no matter what situation it encounters. All have the ability to solve the problem!

Time-The Focus of Event Planning

Before any activity starts, everyone must have experienced a mountain of documents, to-dos, and endless contact work. In addition to routine work, there are also

differences (site inspections, equipment confirmation, coordination meetings, etc.), although Every event hopes to be planned as early as possible, but each event can never be prepared early due to various situations. Therefore, in addition to often encountering unknowable changes, there are often policy changes. At this time, we are not only Event meetings are held from time to time. Apart from brainstorming and consensus building, time allocation and mastery are the key. Immediate and on-scheduled activities are the basic requirements. If the time is properly arranged and responded to in advance or immediately, the activity can be executed calmly. If the application can be perfected and the response adjustment and rehearsal training period can be reserved, then the activity will be easy to take care of both inside and outside. The activity must grasp the timeliness, so that you can calmly find out the needs and treatment methods of all aspects, so that the activity can be successfully completed.

Work Before The Event:

The implementation of large-scale events can also be more careful and there are separate planning documents (event manuals for executives), which can include all related matters (people, time, and objects), preparation staff, entry and exit, testing and inspection, venues, meetings, Management, logistics, command, notification, assessment and form management, etc., in more detail, the weather overview (average in the past years), road conditions, traffic, accommodation and surrounding cooperation system arrangements during the processing period can be included. There are manuals to

follow, and no manuals are available. Rely on the team leaders and experienced persons to assist in the promotion, confirmation and control of all related matters.

Event Venue and Time:

The venue is also an important item at the time of the event. It must be based on the needs of the time. The location should be selected according to the nature of the event, especially the participation of professional specific people and popular participation by the general public. There is a difference between whether it is charged or sold. , The selection of the event location should be based on the overall consideration of the negotiation, use planning and survey of the venue, the method of the event, the content of the event, the number of participants and the number of participants, traffic and emergency response, etc., and use it according to the coordination of the staff, according to the work progress, The budget estimate is complete.and budget estimates are complete.

Preparation For The End of The Event:

There is a beginning and an end, and the event is over. Don’t fall short. No matter it’s history records, file collection, on-site restoration, return of public property, opinion collection, satisfaction survey, problem collection, implementation review, and even expense report, case closing report, etc. Mastering the timeliness and handling it, that is, the event can be reviewed in the end, and the stone of other mountains can be used as an imitation or improvement.

DISCLAMER&SOURCE This magazine is just a student project most of the content just copy and paste from the google.

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