"Jiaozhou Rice-planting Song" is famous for its brilliant artistic charm and was successfully selected as a national intangible cultural heritage in 2006. Jiaozhou Rice-planting Song is one of the three major rice-planting songs in Shandong Province, and its dances, musical numbers and melodramas are unique among the Chinese rice-planting song groups. However, there is still no conclusion as to when exactly the Jiaozhou Yangge originated.
"Qingdao Cultural Journal" said the birthplace of Jiaozhou big rice-planting song is Ma Dian Dong Xiaotun, is the product of the intruder, the formation of the age of the late Qing Dynasty and the early Republic of China, I had to the Journal contributors raised objections to the author later told me, in the preparation of the "Jiaozhou Cultural Journal" collection of information found in the Jiaozhou nationality of the nine years of Xianfeng (1859), a scholar of the twelve "rice-planting song lyrics" poems for the seven-verse stanzas, respectively, on the six lines (actors) of the Jiaozhou The six lines (actors) of Jiaozhou rice-planting songs were fully described, and later Jiaozhou Cultural Records revised the formation date of Jiaozhou rice-planting songs to the third year of the Xianfeng reign (1853), and the exact date of the rice-planting songs should be in the period from 1854 to 1858.
I. Song Guanwei's twelve poems are based on the date of their formation, but there are no other examples.
Second, according to the Qianlong edition of the "Jiaozhou Zhi", "on the first day of the Yuan, the lights, the performance of a variety of plays, the clamor of the night". The book was written in 1752, after checking a variety of information, Jiaozhou in 1752 before any miscellaneous plays. Zhi in the "miscellaneous plays", should refer to the Jiaozhou Yangge opera.
Three, "Jiaozhou City Cultural Records" in the East Xiaotun "horse, Zhao two surnames, abandoned their families to break into the Guandong. On the way to escape, from begging and singing, and then changed to dance while singing, and gradually formed a number of simple dance programs and ditties with the local color of Jiaozhou, they returned to their hometown, after generations, refining processing, to the middle of the Qing Dynasty, and gradually became a stereotypical dance rice-planting songs, "This said ignores the key issue of" rice-planting songs This statement ignores the key issue of the origin of the term "Yangge". Yangge, originating in agricultural labor, is the southern working people planting rice seedlings sung by the labor song. The reason why Jiaozhou has a southern rice-planting song is that Jiaozhou was the largest harbor in the north during the Tang and Song dynasties. During the Northern Song Dynasty, it was the only port in the north where the Hublot Department was set up, and it had a close connection with the south of the Yangtze River. Along with the commercial and trade exchanges with the south, the southern culture and arts such as Yangge and other labor songs were also spread to the north. The Jiaozhou Yangge is a new art form formed by introducing the local tunes of Jiangnan and absorbing the essence of the northern opera.
Jiaozhou Yangge is a kind of theater from the point of view of art form and category, not just dancing and singing. It has scripts, props, songs, actors and actresses, and it is a kind of lively song and dance drama. Such a variety of forms, rich in cultural connotations of the local theater, can not be formed in a remote village of less than a hundred households, but should be around the Jiaozhou maritime culture should come into being. From the analysis of its song, line and other artistic factors, the formation of Jiaozhou Yangge has undergone a relatively long process, which is related to the miscellaneous operas and songs since the Southern Song Dynasty. The author deduces that Jiaozhou Yangge has a close relationship with Yuan miscellaneous operas based on its song, roles, performance forms, and the cultural characteristics of the region in which it was passed on, and that its origin should be in the end of the Song Dynasty and the beginning of the Yuan Dynasty at least.
One of the most important evidences that Jiaozhou Yangge is related to Yuan miscellaneous operas is the performance form of Jiaozhou Yangge. Jiaozhou rice-planting songs are square (street) four-way continuous visual performance form, the actors perform in the face of the called weekly audience. According to the evidence, this form of performance came from the early theater. Gu Xuejie "Yuan and Ming miscellaneous drama": "in recent years in Jin, Shaanxi, Henan border area found in the Song, Liao, Jin and Yuan era of the theater site, no less than ten places. One of the earliest named 'dance pavilion', is a building on the terrace and the pavilion, can be viewed on all sides of the audience." This shows that the predecessor of Chinese theater developed from folk square performing arts. Jiaozhou Yangge opera has retained the square art (street) form until the beginning of liberation, and then by the literary workers in the continuous reference to its performing art form at the same time, the performance of the complete content of the performance part of the deletion of the theater part, the most representative part of the people so forgotten, but the only way to glimpse its ancient form is to play the dance part of the field before the performance.
The second important evidence that Jiaozhou Yangge is related to miscellaneous dramas is the character line.
"The roles of the actors in Yuan miscellaneous operas can be divided into four major categories, namely, the end, the dan, the jing (including the ugly), and the miscellaneous, with the end and the dan being the main colors, and each category being divided into a number of subdivided items (Gu Xuejie, "Yuan and Ming Miscellaneous Operas")." Actors in Jiaozhou Yangge Opera also have roles (lines), and their roles are: Xiao Man (Hua Dan), Fan (Hua Dan and Qing Yi), Cui Hua (Qing Yi and Lao Dan), Mallet (Mou, which is now Xiao Sheng and Wu Sheng), Drums (Lao Sheng and Clown), and Anointed Guest (Miscellaneous). The roles of the actors in Yuan miscellaneous operas are strikingly similar to those in Jiaozhou rice-planting operas, and very much in line with the characteristics of that era; this is not a coincidence, but a direct message from that era. Wang Guowei in the "Yu" has a general description: "our country drama, Han Wei since, and a hundred theater together, to Tang and divided into song and dance drama and burlesque two kinds of song and dance drama and burlesque is especially prevalent in the Song Dynasty, but also gradually from the song and dance to the edge of the decorative story, so to the song and dance drama, not song and dance-based, but to the story-based to the Yuan Yuan miscellany of drama out of the body to be set, the South out of the opera and more changes, so our country began to have a purely of opera." Basically, the general lineage of Chinese opera is clearly outlined here. The composition of Jiaozhou Yangge Opera performance form is basically in line with the above assertion. The three elements of song and dance, burlesque, and storytelling are clearly characterized in the Yangge opera performance forms of Xiaogouya and Nanzhuang Village, and the existence of these three elements can be seen.
The third evidence that the Jiaozhou Yangge is related to the Yuan miscellaneous operas is the proximity of the songs and scripts.
After the liberation of the People's Republic of China (PRC), literary workers at all levels investigated and excavated the Jiaozhou rice-planting songs and found that the songs were mainly of two types: suona songs, which mainly included the order of victory, the playing of zaos, the sound of a small wave, the small white horse, the fight of the quail, the eight boards, and the stirring up of the dustbin, and so on.
Singing songs, mainly including buckling cavity, sawing cylinder, playing stove, stacking broken bridge, male western cavity, female quartet cavity, and so on. The small drama book, including the big parting, small parting, want to mother, five nights and so on 72 (this), now only found 35 (this).
Analyzing the above songs and scripts against the Yuan miscellaneous dramas, the suona songs of Jiaozhou Yangge opera, "Winning Order" and "Fighting Quail" are used in the Yuan miscellaneous dramas such as "The Soul of a Sinful Woman", "The Orphan of Zhao", and "The Sinus Grievance", etc., especially in Wang Shifu's "The West Wing". In Wang Shifu's The Story of the Western Wing, the song "Fighting Quails" is used seven times and "Order of Victory" is used five times, but in Tang Xianzu's The Peony Pavilion in the Ming Dynasty and Hong Sheng's The Palace of Eternal Youth in the early Qing Dynasty, neither of the above two songs is used. The fact that these two classic plays did not use these two songs indicates that they were already diluted in the Ming Dynasty and the early Qing Dynasty. In Peach Blossom Fan written by Kong Shangren in the late Ming and early Qing dynasties, although the above two songs are used once each. However, Kong Shangren was a native of Qufu, Shandong Province, and the reason why he continued to use the above two tunes of Yuan dynasty opera was probably related to his familiarity with the tunes of Yuan dynasty opera in the north, which was influenced by the genetic characteristics of his hometown's traditional culture. From this, it can also be seen that the relationship that exists between Jiaozhou Yangge and Yuanzai Opera is not indirect, but is a unified product of the cultural phenomenon of an era. This cultural phenomenon should be recognized from the height of the history of Chinese literary development.
In the history of Chinese literature, there are Tang poetry, Song lyrics, Yuan miscellaneous operas, Ming and Qing novels. It can be seen that Yuan miscellaneous operas are of high status. Jiaozhou Yangge opera has this characteristic, so the study of it is also of historical significance. "Yuan miscellaneous opera has a special form. Before that time, the traditional literary genre was lyrical poetry and prose, but since then, new genres of literary works have appeared in drama and novels with plots, characters, and mainly narratives, and thus poetry and prose have lost their dominance over the literary world." (Wen Zhen, "Briefly Speaking Yuan Miscellaneous Dramas"), Jiaozhou Yangge opera is the main component of this new genre. The test is as follows:
I. Wang Shifu, the famous author of Yuan miscellaneous operas, was a native of Dadu (now Beijing), and his creative activities were mainly in the years of Yuan Emperor Chengzong's Dade (1298~1307), and his The Story of the Western Wing repeatedly used the same tune as that of the Jiaozhou Yangge Opera, which conveys to us the information that the Jiaozhou Yangge Opera and The Story of the Western Wing were the forms of artistic performance that coexisted in the same period of time (at that time). Jiaozhou Yangge was already in its mature stage).
Two, Wang Guowei in "Song and Yuan Opera Examination" divided the formation and development process of China's opera into the following four stages: "First, from the ancient times to the Five Dynasties, is the budding period of China's opera. Second, the Song and Jin Dynasties, the period of the formation of China's theater. Third, the formation of miscellaneous operas in the Yuan Dynasty marked the formal maturity of China's theater. Fourthly, the Yuan and Ming Southern Opera had more changes than the Yuan Miscellaneous Opera, and there was a new development of Chinese theater."
In the second stage of Wang Guowei mentioned above, there is such a discourse: Song and Jin dynasties of miscellaneous opera theater book, but also "not all pure drama, and both competitive games in which ...... its structure is very different from the later generations of drama." The fourth stage of the discussion: "to the Tang is divided into song and dance and burlesque two kinds, Song time burlesque is especially prevalent, and gradually through the song and dance to the edge of the story, so to the song and dance theater, but not to song and dance is the main, but to the story is the main." According to Wang Guowei's argument, none of the performance forms of Jiaozhou Yangge Opera is consistent with his thesis. In particular, "drums and mallets" and "competitive games" are the most characteristic performance forms of Jiaozhou rice-planting opera. The "Wrestling" and "Rolling Embroidery Balls" are performed in the form of difficult martial arts movements to beat various kinds of "mallets", and the "Twisting and Breaking the Waist" and "Triple Trio" performed by women are the most distinctive forms of Yangge Opera. The female performances of "twisting and breaking the waist" and "three bends" are very representative. The performance of Yangge Opera is based on this opera, which has its own "playing songs", "singing songs" and its own "repertoire". The performance of Yangge Opera has its own "repertoire" and "singing tune", and also has its own "repertoire" and its own unique form of performance. Different historical periods, the development of theater art should have different characteristics of the times. This art form of Jiaozhou Yangge opera, its repertoire, costumes, props, color tones, the dynamics of the characters, charisma, etc., all reflect the aesthetic habits of the Song and Yuan dynasties, aesthetic psychology, social customs and national spirit.