A Complete List of the Basics of Huangmei Opera
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The Basics of Huangmei Opera
Huangmei Opera, originally known as Huangmei Tune, also known as Caicha Tune, originated in Huangmei Mountain, Huaining County, Anhui Province or Huangmei County, Hubei Province. It is a major local theater in Anhui Province, originating in the Anhui River basin centered on Anqing City, Anhui Province (up to the Dabie Mountain area at the junction of Anhui and Hubei, and down to the vast Anhui River basin in Anhui, including Anqing Sousong, Yueshi, Taihu Lake, Wangjiang, Qianshan, Haining, downtown Anqing, Fenyang, Tongcheng, and Chizhou, Anhui Province), and ultimately in the form of a complete independent theater was born in the Anqing area, grew in the Anqing area, and thrived in the Anqing The opera was originally called Huangmei Opera (黄梅戏). Huangmei Opera, formerly known as Huangmei Tune, Huaiyun or Fu Tune, is now mainly distributed in the city of Anqing, Anhui Province and its surrounding areas.
I. Singing
Huangmei Opera singing is divided into two main categories and one small category, namely, the main tune, flower cavity, Yin Si cavity.
1. Main tone:
Also known as the main cavity, is commonly used in the Huangmei Opera plate cavity system of singing, there are flat words, two rows, three rows, fireworks and so on. These cavities are divided into male and female cavities. The male cavity for the Gong tone style (1 - 5 fixed strings), the female cavity for the Hui tone style (5 - 2 fixed strings).
Ping words
The highest usage rate in the whole opera, for a board with three eyes, so it is also known as "slow board", "flat". The tune is serious and solemn, beautiful and generous, with many changes and strong adaptability. It can be used independently or in conjunction with other chambers. The basic structure of the tune consists of four phrases: the first, the second, the first and the last. The third and fourth phrases are the backbone, and no matter how many or few words are sung, the melody of the third and fourth phrases can be sung over and over again, or slightly decorated, until the end of the last phrase. In addition, there are "Maiqiang", "single cry", "double cry", "cut plate", In addition, there are additional phrases such as "maiqiang", "single crying medium", "double crying medium", "cutting board", "inverted board", "scattered board", "flat words to board", etc., which make up a flat words type of cavity.
The second line
is not an independent cadence, but must be attached to the lyrics or other tunes. There are no starting and ending lines, but only two upper and lower phrases characterized by the leakage of the board, so it is also known as "several boards" and "two streams". The second line is also divided into men's and women's singing voices, and is characterized by a slow tempo with a board and no eyes, and is notated in 1/2 beats. Often its rhythmic pattern and flat words of the slow plate or three lines of the fast plate relative to express the excitement of the drama characters or used for narrative.
Three lines
is a compressed version of the two lines, with a faster tempo and less melody. The speed is one of the fastest in Huangmei Opera singing, and it is a quick tempo, 1/4 beat, also known as "quick counting board". It is mostly used when the characters are in an excited mood, and is often used in conjunction with two lines and eight plates. There are male and female cadences, male cadences for the Gong style, female cadences for the Ching style.
Eight boards, fireworks
are boards without eyes, notation for 1/4, the structure of the singing, the door, the transfer method and the male and female cadences, there is no major difference. The eight boards are slower, and the fire works are faster. Traditional singing eight beats per sentence, so the name "eight board". According to its speed, there are "slow eight board", "fast eight board" points, and then called "fireworks", "running water". Traditional singing in the second half of the last sentence, called "compound sentence", is no longer used. Eight boards, fireworks are often used in flat words, two lines, three lines, forming a rhythmic contrast to express the characters resentment, fear, impatience and other emotions.
2. Huaqiang
is a general term for the traditional "Huaqiang Xiaojiao" singing style. The small operas such as "Husband and Wife Watching the Lantern", "Beat the Pig's Grass", "Drawing Water from the Blue Bridge", "Repairing the Back Corset", "Playing Cards", "Selling Groceries", "The Three Character Classic", "Delivering the Damask", "Look at the Picture", "Ask for a School Salary", and so on, have their own special tunes from one to several tunes, and the gongs and drums are used in between. In addition to a few plays with a rotating palace, generally a few tunes are kept in the same palace, forming a simple joint song. These singing styles are relatively independent, so they retain the characteristics of folk songs and ditties, and have not been developed to the board cavity. The modes are Gong, Shang, Horn, Zheng, and Fei, but the Zheng mode is the most utilized, followed by Fei and Gong, and then Shang and Horn.
Between the flat word class and the flower class, there is a colorful cavity, originally for the local flower drums singing, early used to ask the audience for color, so also known as "flower drum tune", "colorful cavity". It is used in both small opera. Such as "husband and wife watching the lamp", "bitter daughter-in-law sighs", "send Ayala", etc., and the song of the body of the small dances of the flower, but also has its own number of boards, boards and Mai cavities, cut boards and other additional phrases to the board cavity of the evolution of the tunes in the original play. The cantata consists of four phrases in the form of opening, closing, turning, and closing, in the form of a levy, a plate, and in 2/4 notation.
3. Xian cavity, Yin Si cavity this is a small tune, is a special tune. This kind of specialized tunes after the founding of the country has broken the boundaries of use, so some people also include this kind of singing in the category of the main cavity.
Xian cavity
also known as Tao cavity, Taoism, the original Shinto appearance of the special tunes, tunes melodic and smooth, but also by the four phrases composed of a single section of the structure. Originally, it was in the Shang mode, and then gradually transformed to the Zheng mode to be close to the colorful cavity. This specialized tune has developed into a plate cadence, and has added additional phrases such as the pair of plates, the number of plates, the Mai cavity, and the cut plate.
Yin Shi cavity
Also known as the "soul cavity". In the old opera, it is used as a ghost or a character who is sick and dying. The tune is in the Shang mode, with the structure of the upper and lower sentences, and the notation is 2/4. The melody is low and beautiful, miserable and sad, with a long trailing accent. In the process of development, additional phrases such as counting boards and mai canton have been added. After the founding of the PRC, it has been widely used in lyrical places, and the development of the creation of a pair of boards, two rows, three rows and other boards.
II. Language
The language of Huangmei Opera is based on the local language of Anqing, which belongs to the Jianghuai dialect of the northern dialect family. It is characterized by ---- the structure of the lyrics in the whole play mostly in seven-character sentences and cross sentence patterns. Most of the seven-character sentences are two, two, three structures, and most of the cross sentences are three, three, four structures. Sometimes according to the need to seven words, cross sentence as a framework, the number of words can be compressed or expanded, the tune is often used palletized sentence. The lyrics of the opera are flexible, ranging from three to seven words, often interspersed with a variety of colloquial words without meaning. The number of sentences is not necessarily even, sometimes the odd numbered sentences are repeated and the last sentence becomes even. The method of singing and reciting is close to the Putonghua Anqing dialect. The whole play in rhyme, sung in Mandarin, the small drama speech is used in Anqing local native language, singing is still sung in Mandarin.
Three. Accompaniment
Huangmei opera initially only percussion accompaniment, the so-called "three seven singing". During the War of Resistance against Japanese Aggression, there was an attempt to use the Jinghu to support the cavity; and then tried the erhu accompaniment, but were unable to promote. In the early years of the founding of the country, it was gradually determined to use the Gao Hu as the main accompaniment, and gradually established a mixed band of ethnic instruments, Western instruments as a supplement to enhance the musical expression.
The accompanying gongs and drums initially consisted of a large gong, a small gong, and a flat drum, and were called "three playing and seven singing", meaning that three people played percussion instruments and participated in singing, and seven people sang. Later, the drummers also played bamboo and cymbals, and the three accompanists sat in the door of the upper field and in the center of the grass platform (the drummers.) After the 1930s, they were gradually moved to the side of the lower field due to the influence of the Huiban and Peking Opera. The traditional gongs and drums are simple and concise, and the commonly used ones are one, two, three, four, five, six, nine mallets, and thirteen and a half mallets, four unglued (also known as the "one-word gong"), toad jumping, phoenix head nodding, three arrows, and pushing the bus, etc. In conjunction with the performance of the figures, there is the starting board. In addition, there are gongs and drums with the body, thirteen-and-a-half mallets, seven-word gongs, and gongs called gongs. After the founding of the People's Republic of China, they absorbed the techniques of Beijing Opera and created some new gongs to meet the needs of performance and vocal accompaniment.
At first, Huangmei Opera had no accompaniment, and it was only because of the same performance with Hui Tune and Peking Opera before and after the War of Resistance Against Japanese Aggression that it absorbed the Peking Opera's Three Guns, Big Open Door, Small Open Door, and Kukuangtian, and other tunes. In the early years of the founding of the country, artists absorbed some folk blowing and Taoist music in the "spring", "Pipa words" and other songs, so that the accompaniment of Huangmei opera music gradually enriched.
Huangmei Opera has two major vocal systems - the flower cavity system, the flat word system. Flower cavity system is born from the folk song ditty, is a song system; flat word system originated from the high cavity, playing words, Luohan pile, Daoxiang, blowing the cavity, Hui tune, Beijing Opera and other sound, is a plate cavity. These two major vocal systems are rooted in the soil of the Anqing region. Huangmei Opera performance form, in learning from the Kunqu, Beijing Opera, Hui Opera and other major types of theater on the basis of the gradual formation of their own style.
If we talk about the language of Huangmei Opera in shaping the artistic image, rendering the artistic situation, the migration of the tacit "moral education for fun" artistic function, can be summarized from the following aspects:
First, the language of Huangmei Opera has a "song" of the inner rhythmic beauty of the body.
First, the language of Huangmei opera has the inner rhythmic beauty of "mountain song".
Huangmei Opera developed from a lyrical, playful little play, its predecessor is the mountain songs, small Dan, clowns stage duets, in the process, it attracted a variety of times, places, humanities, cultural nourishment, the development of today's Huangmei Opera theater, and the main "soul" of the beauty of the mountain songs. --The aesthetic qualities of the songs remain unchanged. Therefore, the language of Huangmei Opera is complementary to the music it relies on, thus forming the inner rhythmic beauty of the language of Huangmei Opera scripts.
Secondly, the language of Huangmei opera is close to the feelings of remote, popular.
Huangmei opera language from the surface, is more rustic, sentence is the truth, but a careful consideration, you will find that it is actually rich in content, extremely flexible, in the dyeing of the dramatic situation, the expression of conflict, highlighting the character of the situation, there is a good job of the wonderful.
As the Huangmei Opera language and lyrics at the same time to draw on ancient poetry, ancient words, spoken folklore, folk proverbs, folk songs of the long, abandoned its too elegant, so that people do not understand, not good into the theater of the drawbacks, to play the language close to the feelings of the remote, understand the characteristics of the language, and thus become a kind of elegant and popular **** appreciation, Wen Ye merged streams, the love of the language of the play literature.
Third, the Huangmei opera language tendency of Lotte exaggeration.
The language of Huangmei Opera is like a playful coat, covering most of the traditional repertoire, thus forming a unique style. The language is basically out of the oral creation of the working people and the lower class, to the Huangmei Opera, after the artist's processing and refining, so that it is more personalized, more combined with the dramatic situation, triggering the audience's laughter, so the Huangmei Opera can give a person a pleasant, energetic feeling.
Fourth, the language of Huangmei opera is full of philosophical experience of the real society.
Because many traditional Huangmei Opera plays come directly from the local folklore, its language and lyrics are inevitably infiltrated with the philosophical and experiential aspects of life in that era, and the portrayal and expression of the people in the lower class is especially delicate, unique and full.
Fifth, the language of Huangmei opera in some unique use.
The language and lyrics of Huangmei opera have some special uses. First, according to the key changes and add the liner notes, pad words, such as "ah ho what, yi ho ah" and so on. This liner notes at first glance inconspicuous, but they will be removed, only sing the actual words will be tasteless. Liner pad words is the embodiment of the rhyme of folk songs, leaving them, is equal to a good flower away from the soil, rootless and bottomless. Huangmei opera in the song team dance form is very common, small Dan, clowns or riddles, or flowers, or report the name of the place, or ancient, both lively and good-looking, but also lyrical and interesting, and it requires the singing of the words generally have the form of the same meter.
In addition, the use of hiatus to guess the name of the drug, "with one, two, three ...... ten" the number of words to string lyrics, have played a lively singing, vivid and lyrical effect.
The language of Huangmei opera can be summarized in four words: light, easy, humorous and elegant. Light, refers to its depth, understand as words; humor, refers to its style and interest in the generous, witty banter; style, refers to it constantly learn from the folk oral literature creation of the nutrients, enrich themselves, often with fresh and unique.
What are the roles of Huangmei Opera
The system of Huangmei Opera roles is developed on the basis of "two small plays" and "three small plays". After the staging of the whole opera, the role of the line gradually developed into the Dan, Zhengsheng, Dan, Xiao Sheng, Xiao Sheng, clowns, old Dan, Milk Sheng, Huafang line. Before and after the Xinhai Revolution, the division of roles was categorized into the upper four feet and the lower four feet. On the four feet are: Dan (green), Lao Sheng (white beard), Zheng Sheng (black beard), flower face; the next four feet are: Xiao Sheng, Hua Dan, clowns, old Dan. Although there is a division of labor, but few people specialize in one line. After the 19th year of the Republic of China (1930), the Huangmei Opera Society often performs with the Hui and Peking Society. As a result of the needs of the repertoire, the knife and horse Dan, Wu Erhua line appeared, but not fixed. At that time, the Huangmei Opera class was mostly semi-professional, generally only three playing, seven singing, box on (management of clothing and props), box under (responsible for burning tea and cooking) twelve people. The line with basically is the Dan, Zhengsheng, small Dan, Xiao Sheng, clowns, old Dan, flower face seven lines. Due to the small number of people in the class, when the whole opera, often an actor to play several roles, and thus in the Huangmei Opera, the role of the theater although there are line norms, but the actors are not strictly divided.
Cheng Dan: Mostly playing solemn, decent adult women, heavy singing, performance requirements of the steady and generous. The roles played, such as: "Buckwheat" in the Wang San female, "Luo Paji" in the Chen Saijin, "fishnet will mother" Chen, etc.
small Dan: also known as the flower Dan, mostly play a lively, sentimental girl or young woman, the requirements of the singing and doing and heavy, chanting with a lot of Xiaobai (Anqing official language), the voice of the sweet and brittle, and performances are often handkerchiefs, fans, and so on, dancing! When performing, they often hold handkerchiefs and fans and dance with simple handkerchiefs and fan flowers. The roles they play are: Tao Jinhua in "Beat the Pigweed", Zhao Cuihua in "Spring Tour", and Liu Fengying in "Little Quit Shop", etc. After performing the whole opera, Xiao Xiaoying is the only one who can perform the role. After the performance of the whole opera, the small Dan line is subdivided into the maiden Dan and the line of maids "holding the support". Dan line is the main line of Huangmei opera, the old "once picked a class" said.
Small Sheng： Mostly play teenage men, singing with a big voice, often holding a folding fan when performing. They play roles such as Wang Kexu in Luopa, Wang Jinrong in Chunxiang, Li Zhaoting in Female Emperor's Son-in-law, and Dong Yong in The Match of Heavenly Fairies.
Clowns: clowns, clowns, female clowns (colorful Dan) three small lines. In Huangmei Opera, the clown line is more popular. In order to help the performance, clowns often hold a seven, eight-inch long dry tobacco bag, clowns are holding a two, three feet long long long tobacco bag, gags, regulating the atmosphere of the performance. They play roles such as Wang Xiaoliu in "Beating Bean Curd" and Yang Sanxiao in "Fishing Toad".
Lao Dan: Playing the role of an elderly woman, in the theater for the supporting role. For example, Mrs. Wang in "Buckwheat".
Face: Huangmei Opera in the face of a very small number of specialized plays, in addition to the role of Bao Zheng and other roles in the main play, more to play the role of the bully, the lord of the village and other roles, such as the "selling flowers" of the grass tripod, "Two Dragon Mountain" Yu Biao, and so on.
Zheng Sheng: also known as hanging beard, there are black and white beard, generally black beard called Zheng Sheng, white beard called Lao Sheng. He sings and reads heavily, and emphasizes the powerful spouting and spitting of words. The roles played by the characters such as: "Buckwheat" in the Xu Wenjin, "sue Jingcheng" of Zhang Chaozong, "Tongcheng strange case" of Zhang Bailing and so on.
Huangmei opera singing cavity of the basic knowledge
Huangmei opera singing cavity has three forms: the main cavity, flower cavity, three cavities ("color cavity", "Xian cavity".), "Yin Si cavity" three cavities of the collective term).
The main cavity of the Huangmei Opera
The main cavity is the most dramatic and expressive of the traditional singing of the Huangmei Opera a cavity system. It is based on the principle of plate change body (or plate cavity body) for the musical structure, it is this main feature that makes it different from the qu plate linkage body (or qu plate body) of the "flower cavity" as well as both institutional characteristics of the "three cavity".
The main cavity does not mean that in all the repertoire of Huangmei opera is always the main. In fact, the small opera basically do not use the main cavity, some of the big opera is not the main cavity, the reason why the cavity system called the main cavity, is on its musical form and musical performance function. In addition, from the point of view of the history of the development of Huangmei Opera music, the main cavity is also later than the flower cavity and three cavities. This development process and the repertoire from the monodrama, two small plays, three small plays to the development of the string of plays and ultimately can play the whole course of the opera coincides with the course. Therefore, it can be considered: the main cavity is the product of the development of Huangmei Opera to a mature stage. Its appearance marks the framing of the basic style of Huangmei opera music.
The Flower Cavity of Huangmei Opera
Huangmei Opera originated from folk songs and dances. The labor songs of the mountain villagers, the alley rhymes known to women and children, and the songs and dances in the lantern festivals and social fires are the lively source of Huangmei Opera. Huangmei Opera in the formation of the first stage results - two small plays, three small plays in the process, but also formed more than a hundred small songs and tunes of the "Flower Cavity" cavity system. Huaqiang came from folk songs, but its role is not quite the same as that of folk songs. It has gone from the field to the stage, from the spontaneous song to the prescribed dramatic situation, conveying the voice of the character. Today, no matter how similar it is to the folk songs, it has undergone the polishing of the theater wave, and possesses some of the qualities of dramatic music, which is a kind of folk song system.
The Three Chambers of Huangmei Opera
The three chambers are the "color chamber", "fairy chamber", and "yinji chamber". The three cavities are collectively known as "Color Cavity", "Xian Cavity" and "Yin Si Cavity".
The three cavities have many **** the same point. First of all, the three chambers in the music system synthesized the elements of the song and plate cavity, showing a "quasi-plate cavity" state. Each of the three cavities has a basic cavity, and the color cavity and the immortal cavity are four lines, and their word arrangements, compound sentence positions, and the use of gongs and drums are all relatively fixed, with a sense of the stereotype of the song form. However, each cavity of the three cavities is derived from a pair of boards or several boards, and also forms some supplementary cavity sentences, therefore, the three cavities are also characterized by the board cavity system. Secondly, in the male and female cavities, the three cavities are different from the male and female cavities of the main cavities which are connected with each other, and also different from the male and female cavities of most of the opera songs, which are sung in the same key with the same cavities, but the male and female cavities are more different from each other in terms of melody, which is easy to differentiate from each other. Moreover, in the dramatic performance function, three cavity both lyrical narrative performance ability.
The three chambers are a group of sister chambers with different interests, and their differences are also very obvious. For example, the origin of the three cavities is different. Color cavity, also known as "playing color tone", it is gradually evolved from the flower cavity song. Xian cavity, also known as "Taoist cavity", "Taoist feelings", produced in the local Taoist music, directly into the Huangmei Opera or first absorbed by the Qingyang cavity by the Huangmei Opera heritage. The Yin Si Cavity, also known as the "Soul Returning Cavity", comes from the Qing Yang Cavity, so it is also called the "Yin Si Gao Cavity". The expression and use of the three cavities are also different: the colorful cavity expresses the joyful and celebratory feelings of light; while the male immortal cavity has a spacious and free temperament, through the treatment of special singing, you can also get a strange comedy color or expression of sadness, the yinshi cavity is a performance of the melancholy cavity, the original for the play of the dead or the dying character to express the sadness of the emotions used, the words of their relatives, the sound of their sadness, as if they had entered the netherworld in general. In addition, the tuning and syntax of the three chambers are not the same. The colorful cavity, the immortal cavity has a five-tone levitation, six-tone levitation two kinds of, Yin Si cavity is a five-tone Shang mode.
Poetry of Huangmei Opera
The local flavor permeates the air
The idyllic scenery is infinite
A unique Huangmei Opera
From the Tang Dynasty
Originally from Huangmei County
Flowed into Anqing with the flood water
Huangmei tune, tea picking opera
Is the The evolution of its predecessor
through
one-act plays, three small plays
three dozen, seven singing is the key
until the emergence of the orchestral accompaniment
ignited the sky-high flames of the Huangmei Opera
"Daben Thirty-six"
"Small out of seventy-two"
The Flower, the Sister, the Flower
The Lotus Flower with an Umbrella
Huangmei Opera
The Sea of Opera
The Celebrity Pushers of the Opera
A Grandmaster, Xing Xiu Niang
The First to Open up the Pearland
Yu Haixian, Ding Laoliu
The Next to be a Fish, the Peach and the Plum
Yim Fengying, Wu Qiong
How many performances have been held by these two masters?How many years have they starred as the leading flower girls
In their interpretations
Sheng, Dan, Jie, Mu, and Chou
Role transitions make people in love
Gong, Shang, Horn, and Chanting
Changes in the singing tone make people entwined
Huangmei Opera
Simple and smooth
Lively and clear
Popular among the people, the opera is loved by many. p>
Loved by the people
Intangible cultural heritage
All the way to the fragrance
Toward the splendor
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