The position and significance of Chinese opera in modern Chinese music?

The pioneer of Chinese opera creation in the twentieth century was Lai Jinhui, who created 12 children's operas, such as "Sparrow and Child" and "Little Painter," which had a huge impact in China at the time and set a precedent for Chinese opera creation.In 1934, Nie Er and Tian Han launched "The Tempest on the Yangzi River," and this "drama plus singing This practice of "drama plus singing" later became a more common form of opera structure. From the mid-1930s, some professional composers in Shanghai and Chongqing explored different ways of creating national operas, and works such as Xishi (Chen Gexin, 1935), Peach Blossom Garden (Chen Tianhe, 1939), Song of Shanghai (Zhang Hao, 1939), Song of the Earth (Qian Renkang, 1940), and Song of the Desert (Wang Luobin, 1942) appeared, which Most of them drew on the experience of Western grand opera compositions and sought to solve the problem of musical dramatization. Among these works, Huang Yuanluo's Qiu Zi was the most influential and highly accomplished. In Yan'an, there were also two works, "Rural Song" (composed by Xiangshi) and "March of the People and the Army" (composed by Xinghai). Soon, on the basis of Yan'an rice-planting song movement, the rice-planting song opera "Brothers and Sisters open up the land" (composed by An Bo) and "Husband and Wife Knowing Characters" (composed by Ma Ke), which is a novel and lively form of square song and dance drama with songs and dances, changed the direction of development of China's operatic art and directly nurtured the birth of the large-scale opera "The White Haori Daughter" (composed by Ma Ke, etc.). White-haired Girl" is a milestone work in the history of Chinese opera, which marks that Chinese opera has finally found its own unique development path and formed its own distinctive aesthetic character. After "White-haired Girl", there appeared "Liu Hulan" (composed by Luo Zongxian), "Red Leaf River" (composed by Liang Hanguang) and other excellent plays. Later, opera historians from the "brother and sister open land" to "White-haired Girl", "Liu Hulan", "Red Leaf River" and other outstanding plays in a short period of time in a row called "the first opera climax".

People's *** and seventeen years after the founding of the country, China's opera creation in the formation of several different ways of thinking: one is to inherit the tradition of opera, representative repertoire of "Xiao Erhei Marriage" (composed by Marco, etc.), "Red Cloud" (composed by Zhang Rui), "Red Coral" (composed by Wang Xiren, Hu Shiping), "Dou'e Grievance" (composed by Chen Zi, etc.); one is to take the folk song and dance drama, minstrelsy or Lai's children's song and dance drama, and the other is the folk song and dance drama, minstrelsy or Lai's children's song and dance drama. One is to create a new type of song and dance drama using folk song and dance dramas, minstrel shows or Li's children's song and dance dramas as a frame of reference, represented by Liu Sanjie; one is to use drama and singing as its own structural model, represented by Starlight Starlight (composed by Fu Gengchen and Hu Yi), which appeared after the Cultural Revolution; and one is to use the traditional reference system of borrowing from Western grand operas, represented by Wang Gui and Li Xiangxiang (composed by Wang Xiren and Hu Shiping), which was the first opera of its kind in China. Wang Gui and Li Xiangxiang" (composed by Liang Hanguang), "Song of the Grassland" (composed by Luo Zongxian), "Looking at the Cloud" (composed by Zheng Lucheng), "Ayi Guli" (composed by Shifu and Ushimanjiang); the last is to take the "White Hairy Woman" creative experience as a reference system, in the concept and method of adhering to the content of the need for all artistic ideas as a starting point, is neither subject to, nor to reject any of the techniques, as long as the content needs, can take both Western operatic techniques, the technique of the opera, the technique of the opera, and the techniques of the opera. As long as the content requires, it can also take western opera techniques, plate accent techniques or drama singing techniques. This mode of creation has two masterpieces of opera - Honghu Red Guard (composed by Zhang Jing'an and Ouyang Qianshu) and Jiang Sister (composed by Yang Ming, Jiang Chunyang, and Jinsha), which proves its success.

In the new period, due to the changes in the living environment of the opera and the development of artistic concepts and opera interests, there is a clear trend of polarization in opera creation:

One is the trend of elegance, that is, along the direction of the serious opera to continue to dig deeper and deeper, and to the comprehensive beauty of the opera to achieve an integrated and balanced at a higher level of aesthetics as the main goal of the artistic exploration. The early results of this exploration are "The God of Flower Protection" (by Huang Anlun), "The Hurt Locker" (by Shi Guangnan), followed by "The Wilderness" (by Jin Xiang), "Long Whistle in the Sky" (by Xiao Bai), "Arirang" (by Cui Sanming, etc.), and "The Return" (by Xu Zhanhai), and then, after the 1990s, "The Marco Polo" (by Wang Shiguang), "An Chonggen" (by Liu Zhenqiu), and "King of the Chu Barbarians" (by Jin Xiang), Sun Wu (by Cui Xin), Zhang Qian, Cang Yuan (by Xu Zhanhai and others), Eagle (by Liu Xijin), and Ami Girl (by Shi Fu). In terms of its ideology, artistry and opera synthesis of the beauty of the high-level camp miscellaneous Mang theory, "the original field", "Cang Yuan", "Zhang Qian" can be regarded as the peak of the new period of serious grand opera creation.

The other is the trend of vulgarization, that is, to take the American Broadway musicals as a reference point, to explore the way to develop our own popular musicals in China. The earliest achievements in this regard were "Our Modern Youth" (by Liu Zhenqiu), "The Years of the Wind" (by Shang Yi), and "The Legend of Friendship and Love" (by Tsui Hark) in the early 1980s. Since then, this kind of exploration has been going on throughout the 1980s and 1990s, with no less than a hundred new plays performed, but with few successes.