Flower Drum Opera is the most famous opera in Hunan, originating from folk songs and gradually developing into a primary form of Flower Drum Opera once a clown sings. Qing Jiaqing 23 years (1818) published "Liuyang County Zhi" about the local Lantern Festival to play the Dragon Lantern situation, said: "and to children dressed in clowns and Dan opera singing, drums and drums, since the beginning of the night until the night stops". That once a clown sings the flower drum opera - ground flower drums, at the latest in the Qing Jiaqing period has been formed. According to Yang Enshou "Tanyuan diary" in the first year of the Qing dynasty Tongzhi (1862), Yang Enshou in Hunan Yongxing to watch the "Flower Drums" (i.e., Flower Drum Opera), there have been four roles of the scholar, the boy, Liu Ying, Liu Ying maidservant, and the plot and performance is more vivid, indicating that at this time of the Flower Drum Opera not only has been developed into a "three small" (the little Dan), but also "three small" (the little Dan, the little Dan, the little Dan). Three small" (small Dan, clown, small student) play, and the performance form also has a certain scale. From the sound and repertoire, the initial folk tunes and songs and dance songs and life drama, such as "playing birds", "disk flower", "send cousin", "look at the face" and so on.
Later, the "gong cavity" and "Chuan tune" came in, and gradually appeared in the story of strong folklore theme plays. The main repertoires of the gong-playing cavity are "Qingfeng Pavilion", "Lulin Meeting", "Eight Hundred Miles of Dongting", "Xuemei Teaching Her Son", etc. The main repertoires of the Chuan tune are "Liu Hai Playing with the Toad", "Whipping the Reeds", "Zhang Guangda's Birthday", "Catching the Son on the Road", etc. Thus, the repertoires are more artistic, and the storytelling of the folk legend is more and more interesting. In this way, it has formed an artistically complete local theater. Early flower-drum opera, only semi-professional class in the rural areas for seasonal performances, busy farming, agricultural leisure from the arts. Since the Guangxu period, the development of this class society faster, only Ningxiang, Hengyang two counties have dozens of "line box", nearly 200 artists. Training actors to take with the class with the teacher, there are also apprentices to pass on the art, called "teaching field" or "teaching museum", each dozens of days, teaching three or four plays. In the past, due to the frequent discrimination and banning of Hua Drum Opera, Hua Drum Opera classes all over the world used to perform locally popular opera repertoire as cover, and this kind of classes were called "half-taiwan" or "half-opera, half-tongue," "yin and yang classes. ". People's Republic of China **** and the establishment of the country, respectively, around the establishment of professional troupes, into the city theater public performances. According to 1981 statistics, there are 54 flower-drum opera troupes in the province, and set up the Hunan Provincial Flower Drum Opera Theatre. 1957, Hunan Provincial Academy of Arts was established, with a flower-drum opera specialist.
The musical tunes of Flower Drum Opera are about 300 in number, basically the structure of the tune, supplemented by plate changes. According to the tune structure, musical style and different methods of expression, can be divided into four categories: Chuan tune or called the Palace tune, that is, the string tune, the big tube, suona accompaniment, tune by the door phrase and singing phrases, modes, melodic variations are rich, is the main singing of the flower-drum opera. Causeway Cavity, also known as gong cavity, the structure of the song, "cavity", "flow" (several boards) combined, not hosting the strings, a person to start the mouth of the crowd to help and, as high as the cavity, is the Changsha, Yueyang, Changde, one of the main singing of the flower-drum opera. Pai Zi Pai Zi, there are Walking Pai Zi and Drum and Drum Pai Zi, originated from the folk songs of southern Hunan, accompanied by small suona and drums and gongs, it is lively, light and fast, suitable for song and dance opera, and is one of the main singing styles of the southern Hunan schools. There are folk songs and silk-string tunes, the latter belonging to the Ming and Qing dynasty but localized. The various forms of tunes are characterized by their roughness and cheerfulness. Although Hunan Flower Drum Opera later developed with Sheng, Dan, Jings and Chou lines, the small Dan, Sheng and clowns still dominate the performance, which is rich in the flavor of life, and at the same time pay attention to absorbing the traditional performance techniques, such as Yueyang Flower Drum Opera, which borrows the performance techniques of the traditional opera such as gowns and belts, plumes, fins, fans, official clothes, hats, beards, handles, and pouncing, dropping, flipping and playing, etc., from the Baling Opera, which is used to shape the characters and express the plot, so as to enrich the flower drum opera and to make it more attractive. The performing arts of Flower Drum Opera are simple and simple, and the performances of Flower Drum Opera are very simple and simple. The performing arts of Flower Drum Opera are simple, bright and lively, and the performances of clowns, small dancers and small students are still the most distinctive. The clowns are exaggerated and funny, the young Dan is cheerful and spirited, and the young Sheng is free and easy. The footwork and stances were rich, and the performers were good at using fans and handkerchiefs, and had various programs to express rural life, such as rowing boats, picking burdens, pounding pestles and pestles, chopping firewood, playing irons, playing cannons, grinding tofu, touching mudskippers, flying kites, catching butterflies, and so on. In the later stage, due to the development of the repertoire, the performing arts were also enriched, such as absorbing some of the carpet work and handlebar work of the sister operas and enriching the martial arts performance. The division of labor of the Flower Drum Opera is also more detailed, not only by the development of the "three little" to the student, the Dan, the net, the ugly, and the "three little" also has a more detailed division of labor. Taking Changsha Flower Drum Opera as an example, the clowns are divided into pleated clowns, short-bodied clowns, official-clothed clowns, rotten cloth clowns, and milk-sheng clowns; the small dan is divided into Zhengdan, Erdan, Huadan, and Boudoumendan; and the small sheng is divided into Zhengxiao Sheng, Fenliu Xiao Sheng, Wuxia Xiao Sheng, Rotten Cloth Xiao Sheng, Milk Sheng Zi, and so on. In the long-term artistic practice, the flower-drum opera in various places have some famous actors, recently there are Changsha's He Dongbao (ugly), Xiangtan's Liao Chunshan (Dan), Shaoyang's Wang Yousheng (old Dan), Taoyuan's Zhang Shusheng (Sheng), Yueyang's Yang Bocheng (ugly), Hengyang's Zhang Tingyu (Sheng) and so on. Due to the differences in regional voices and folklore, Hunan Flower Drum Opera is divided into Changsha Flower Drum Opera (Yiyang Flower Drum Opera), Yueyang Flower Drum Opera (Linxiang Flower Drum Opera), Changde Flower Drum Opera, Hengyang Flower Drum Opera, and so on. They all use Changsha dialect as the unified stage language, and each has its own representative repertoire and musical voice. Changsha Flower Drum Opera (Changsha Huadu Opera) is popular in Changsha, Xiangtan, Zhuzhou, Ningxiang, Liuyang, Pingjiang and other places, and it is one of the most popular and influential types of Hunan Flower Drum Opera. As early as in the middle of the Qing Dynasty, it became popular in these places and has been performed continuously. The main voice of Changsha Flower Drum Opera is "Chuan tune", which is used in most of the plays. Because of the use of silk and bamboo instruments for the accompaniment, the folk call it the "string accent". The "string accent" is also influenced by the Han tune Pihuang, gradually close to the music of the plate, there are also [first class], [second class], [third class], [guide], [wailing], [four wailing], [gin cavity], [tip cavity] and so on, and the main repertoire includes "Panfu", "Sacrifice Pagoda", "Catching Butterflies", "Flying a Kite", "The Miserable History of Liangzhu", "The Legend of the White Snake", "The Vegetable Garden", "The Legend of the Vegetable Garden", "The Legend of the White Snake", "The Legend of the Vegetable Garden" and "The Legend of the White Snake". The Legend of the White Snake", "The Vegetable Garden Club", "The Hunt for School Money", "The Lulin Club" and so on. Changsha Flower Drum Opera, with Changsha dialect as its stage language, is one of the more influential flower drum operas in Hunan. It was developed from rural labor songs, folk ditties and local flower-drums (including flower-drums, ground flower-drums and flower-drum lanterns), and has been around for more than a hundred and sixty years. Changsha Flower Drum Opera has developed from "two smalls" (clowns and small dancers) to "three smalls" (two smalls plus a small student), and then from "three smalls" to a wide range of roles in the stage of local flower drums. However, it is still an important feature of Changsha Flower Drum Opera that the "three little ones" are the main characters. Repertoire and Music In the traditional repertoire of Changsha Flower Drum Opera, there are a large number of small plays and folded plays, which are the most distinctive and representative plays. The small plays include the "Pair Play" and the "Three Small Plays". Most of the small operas are developed on the basis of mountain songs, fishing songs, ditties, ground flower drums, bamboo horse lanterns and so on. Folding plays are often performed separately from the main plays, and they are the most popular plays in Changsha Flower Drum Opera. After the founding of the People's Republic of China, the traditional repertoire of Changsha Flower Drum Opera was excavated and adapted, relying on the cooperation of veteran artists and literary workers. The focus of processing and organizing includes fifty plays such as Liu Hai Chopping Woodcutter, Lulin Meeting, Yin Yang Fan, Nan Zhuang Collecting Rent, Liu Hai Playing Golden Toad, and so on.
In the music, it belongs to the "tune plate linkage", the method of linkage is based on the need to shape the image and the requirement of maintaining the unity and coordination of the singing layout, linking multiple tunes in the same key to achieve the purpose of characterization and presentation of the plot. However, in terms of expression, it is supplemented by plate changes to make up for the shortcomings of the tunes. The vocal cadences of Changsha Flower Drum Opera are categorized into three main types, namely, "Chuan Tune", "Causeway Cavity" and "Minor Tune". The first two categories are called the "main tunes", which have a fixed vocal format and melodic characteristics; the melodies, rhythms, and modes of the latter category are highly variable, and basically each maintains its own original folk song structure. The music of Changsha Flower Drum Opera is derived from folk songs and classical tunes. Changsha Flower Drum Opera has developed the roles of Sheng, Dan, Jing, and Chou on the basis of the "three little ones". However, the clowns, small dans and small shengs still represent the unique artistic style of this opera. Clowns are categorized as pleated clowns, short-bodied clowns, official-clothed clowns, rotten cloth clowns, and milk-sheng clowns. The accompaniment band of Changsha Flower Drum Opera is divided into civil and military scenes. In the cultural scene, there are big tubes and suona. The big tube is the main instrument, shaped like an erhu, made of bamboo tube and snake skin, with a clear and thick tone, used to support the accent and keep the tune when accompanying; the suona is divided into big suona and small suona, mainly used to play the door. There are drums, gongs (Su gongs), banknotes (Han banknotes), small banknotes and small gongs in the martial arts field. The beat is "kozi" (i.e., rectangular clappers). Yueyang Flower Drum Opera Yueyang Flower Drum Opera originated from Linxiang Flower Drum Opera, which is popular in Yueyang, Miluo, Linxiang, and Tongcheng, Chongyang and other places in Hubei. In the Qing Dynasty, Jiaqing "Baling County Records" recorded the flourishing flower-drum opera in the rural areas around Baling. In terms of music, the main voice of Yueyang Flower Drum Opera is called "qin cavity". The tunes of "qin cavity" include [single sentence] (positive tone), [clip sentence], [dream tone], [yin tone], [mournful tone], [a word tone], etc. Other folk songs and ditties such as [a word tone], [a word tone], etc., are also used. Other folk songs such as [Sifu Tune], [Acacia Tune], [Haunted Five Nights], [Ten Embroideries], [Returning to the Door Tune], [Ten Cups of Wine], and [Plum Blossom Leader] are often interspersed with it. The influence of the "qin cavity" by the Han tune is very obvious. Yueyang Flower Drum Opera has a lot of repertoire is also based on the "qin cavity", so it spread to E'nan Tongcheng, Chongyang performance, due to the music of the same origin, similar language, loved by the local people, and gradually formed a new local theater, called "fiddle play". The main repertoire includes "Thinking of My Husband", "Mending the Back Corset", "The Story of Lulin", "Double Stealing of Flowers", "Double Selling of Wine", and "Cowherd and Weaving Maiden". Whether it's "Qinqiang" or "Chuanxiao" strings, it's accompanied by strings such as big drums, and its pronunciation is rich and simple. The second voice of Changsha Flower Drum Opera is called "Gong Cavity". The "gong cavity" is also called "gong cavity", which means that the singing is accompanied by gongs and drums, and no strings or vocals are used to help the singing. Before the liberation of Jingzhou flower-drum opera is also accompanied by gongs and drums, the human voice and help, only in the 1950s to join the cultural field accompaniment. Both Yueyang and Changsha Flower Drum Operas have absorbed some of the plate music of the Chinese tune Pihuang on the basis of the local music of the drums and gongs such as [Mu Pi Tune], [Trojan Horse Tune], [Rhetoric Shop Tune], [Four Sixes Tune], and [Eight Tongs Tone], forming the combination of the plate structure of the [Guiding Plate], [Three Streams], [Rapid Plate], and [Scattered Plate]. Yueyang Flower Drum Opera, Changsha Flower Drum Opera, the third voice called "ditty", for local folk music, with a strong local vernacular color. Such as folk songs [tea picking tune], [Wang Niang tune], [inverted plate tune], [four seasons green], [Cailian boat tune], [wash vegetable heart] and so on. However, some gongs and drums of the Han tune are also used as the music for the door and the stage, such as [Wannian Huan], [A Flower], [Puffing Lamp Moth], [Order of Victory], [Willow Shaking Gold], [Pong Zhuangtai], etc. The Yueyang Flower Drum Opera, Changsha Flower Drum Opera, Changsha Flower Drum Opera, and Changsha Flower Drum Opera are the most famous operas in China. The earliest performances of Yueyang Flower Drum Opera and Changsha Flower Drum Opera, which became independent opera genres, were the less melodramatic "Two Little", i.e., Once a Lifetime, and "Three Little", i.e., Once a Lifetime, and One Ugly. Song and dance theater, mostly with local ditties, later influenced by the Han opera and other plays to move the strong plot, more characters of the play. Because of the low degree of Xiao Xiao opera, it absorbed the music of the Han opera, which was adjacent to it and close to the language and voice, forming the later "qin cavity" or "chuan tune" and some "gong cavity". And in the process of long-term stage performance into the local music, following the melodic characteristics of the relatively fixed vocal format. Flower Drum Opera refers to this as the "main tune". The formation of the "main tune" makes up for the lack of minor tunes and the lack of songboards, so that Flower Drum Opera has the musical conditions to perform this opera. Changde Flower Drum Opera is mainly popular in Changde, Taoyuan, Hanshou, Linli, Dayong and Cili. It originated from the folk "tea light",
"car light", the end of the Qing Dynasty into the city. Changsha Daily News during the Xuantong period, Changde banned "lantern obscene theater" records, because of this, forcing the later flower-drum opera class and Hanban co-starring, in the co-starring directly by the influence of the Changde Han opera. Before the liberation, many flower-drum opera artists learn Han opera, into the Han class, the performance is often flower-drum, Han tune "two pots", locally known as this class for the "two whirling class". This situation has continued until after the liberation. The music of Changde is also "Sichuan tune", "gong accent" and "small tune". The main repertoire includes "Lin Ying Guan Hua", "Jumping the Powder Wall", "Picking Mushrooms", "Double Down the Mountain", and the post-liberation adaptation of "The Death of Sister You Er". Newly written modern opera "Village Veterinarian". Hunan Flower Drum Opera, in addition to the vocal music, many traditional repertoires were moved from Han Opera, and it is said that there are several hundred of them, such as Song Jiang Killing Shih, Meilong Playing Phoenix, Guan Wang Temple Burning Incense, Samuel Yin Delivering the Son, Pavilion of Qingfeng, Catching Pan, and so on. Hengyang Flower Drum Opera Hengyang Flower Drum Opera is a kind of folk drama popular in the southern Hunan province. The name of the opera varies from place to place, and it is called "Horse Lantern" in the area of Hengyang, Hennan, Leiyang,
Changning, "Ground Flower Drum" in the area of Youxian and Chaleng, "Flower Lantern" in the area of Anren ", Yongxing Jiang left area is also called "lanterns", the right side of the river is called "singing". After the founding of the People's Republic of China, it was called Hengyu Opera, and in 1954, the Hunan Provincial Bureau of Culture named Hengyang Flower Drum Opera. 1983, when compiling and repairing the "Chinese Drama Journal - Hunan Volume", the name of Henzhou Flower Drum Opera was edited to include the repertoire of traditional repertoire of traditional repertoire of Hunan Flower Drum Opera all over the country, which is more than 400 repertoires in total, and is based on the reflection of the folk life, and the themes are mainly about the production and labor, the love of men and women, or the conflicts of the family. After 1949, the art of Huadu Opera had a great development, not only finishing the traditional plays such as "Liu Hai Chopping Woodcutter" and "Playing Bird", but also creating a lot of modern plays such as "Double Delivery of Grain", "Aunt and Sister-in-Law Busy", and "Sanliwan". And "Playing the Causeway", "Mending the Pot", "On the Way of Delivery", "Wild Duck Island" and so on have been made into movies. After the liberation, under the guidance of the Party's literature and art policy, Hunan Flower Drum Opera, under the efforts of old artists and new literature and art workers***, has unearthed, collated and adapted a lot of traditional repertoires, among which the ones with greater influence in the whole country are Liu Hai Chopping Woodcutter and Liu Hai Playing the Golden Toad, etc. The classic play Liu Hai Chopping Woodcutter is also known as Liu Hai Playing the Golden Toad. The classic play Liu Hai Chopping Woodcutter, "I live in Wuling, Changde, and I am a member of the Liu family by the well of Silkmelon". These are two lines of Liu Hai's lyrics in the Hunan Flower Drum Opera "Liu Hai Chopping Woodcutter". Another "authentic version" of the legend of Liu Hai Chopping Woodcutter is circulating among some old people in Wuling District of Changde: In ancient times, there lived Liu Hai's mother and son beside the Silkmelon Well in Wuling District of Changde City
. Liu's mother cried herself blind because she missed her late husband. Liu Hai was very diligent and filial, and went up the mountain every day to cut firewood to feed his mother. In Liu Hai chopping wood in the big high mountain, small high mountain area, lived a many years of cultivation of the fox spirit, she refined into a treasure pearl, contained in the mouth can be transformed into a human form. At this time she has become a half-immortal, and if she cultivates for a few hundred years, she will become an immortal and go to heaven. She admired Liu Hai's behavior, so she took the name Hu Xiuying and insisted on marrying Liu Hai. But the simple and honest Liu Hai, afraid of involving Hu Xiuying suffer, several times to decline, and then see Hu Xiuying a sincere, before agreeing to marry with Hu Xiuying. After returning home, Liu Hai told his mother, who also liked it and agreed to their marriage. Liu Hai then went to the center of the city of chicken goose alley to buy things to get married. There was a small temple next to Chicken and Goose Lane, and there were eighteen Luohan in the temple. One of the ten Luohan with a group of disciples (Golden Toad) also practiced in secret. He refined a string of money, has also become a half-immortal, if you can get Hu Xiuying's pearl, you can instantly become an immortal and ascend to heaven. Seeing that Hu Xiuying and Liu Hai were married, Ten Luohan became evil and led his disciples to take away Hu Xiuying's precious pearl. When Hu Xiuying lost her pearl, she had no choice but to tell Liu Hai the truth. When Liu Hai found out, he didn't blame Hu Xiuying, he picked up the stone axe he used to chop wood at home and went to fight with the ten Luohan, and finally, with the help of the axe god and Hu Xiuying's sisters, Liu Hai defeated them and got the precious pearl. From then on, they lived a happy life of farming and weaving. The legend of Changde's Liu Hai Chopping Woodcutter had already taken shape during the Northern Song Dynasty, and by the middle of the Qing Dynasty, it had formed the main version of the Liu Hai Chopping Woodcutter legend circulating today. Today in Changde, you can still find the legendary Well of Silkmelon, but now the mouth of the well is weathered and peeled off the slate, the wall of the well stone tiles are broken and damaged, and the well is surrounded by overgrown weeds. Legend has it that the "Liu Hai Temple" where Liu Hai fought the ten Luohan has long been destroyed. The legend of Liu Hai Chopping Wood still has profound practical significance today, and the virtues of diligence, integrity, filial piety and the pursuit of loyal love, the pursuit of a happy life embodied in Liu Hai and the Fox Fairy, truly expresses the aspirations of the laboring people to beauty and goodness. The characters in the legend are full-bodied and have distinctive personalities, which can be regarded as the fine works of Hunan folk oral literature. The legend of "Liu Hai Chopping Woodcutter" has preserved the living condition and folklore of the people of Changde at a certain stage of history, and the values it expresses will be passed on with the circulation of the story. In the play, "Liu Hai brother, then I will be good to you than ...... I here will be big sister good than ......" Hu Xiuying and Liu Hai's duet is lively and joyful, which makes the two of them get married and return home. The duet between Hu Xiuying and Liu Hai is lively and cheerful, showing the joy of their marriage and their return home in a funny and lovely way. It is one of the most characteristic singing sections of Hunan Flower Drum Opera, which has been sung all the time. The famous section of Hunan Flower Drum Opera "Liu Hai Chopping Woodcutter" has been sung all over the country. It is performed by famous Hunan Flower Drum Opera actors Ye Hong as Hu Xiuying, Li Zuo as Liu Hai, and Li Xiaojia as Liu's mother. Liu Hai Chopping Woodcutter (Biku Tune) (Female) I have a good comparison with Hai here! (Male) Hu Da Sister, (Female) Hey (Male) My wife, (Female) Ah (Male) What do you compare me to! (Woman) I'd compare you to a cowherd, no less. (man) Then I'm no match for him! (Woman) You're much more than him. (Man) You're my wife, Sister Hu. (Woman) You're my husband, Brother Liu Hai. (Male) Hu big sister you with me to walk Luo, (Female) sea brother you lead the way forward which, (Male) walk Luo ho, (Female) line Luo ho, (Male) walk Luo ho, (Female) line Luo ho, (Together) get children to get children to get children to get children to get children to get children to get children to get children to get children to get children to get children to get children to come hey hey hey hey hey hey hey hey hey hey hey hey hey. (man) I have a big sister here to compare ah, (woman) Liu Hai brother, (man) hey (woman) my husband, (man) ah (woman) what do you compare me to, (man) I compare you to the weaving girl, not bad, (woman) that I can not be compared to which! （I think you're just like her. (Female) Liu Hai brother you are my husband, (Male) Hu big sister you are my wife, (Female) Hai brother you lead the way forward, (Male) my wife you with me to line up, (Female) to go, (Male) to line up, (Female) to go, (Male) to line up, (Female) to go, (Male) to line up, (Combined) to get children to come to children to come to the children to come to the children to come to the children to come to the children to come to the children to hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey hey. Liu Da Niang, a pig farmer in a production team, hopes to find a cultured, skilled, professional and contributing young man to be her son-in-law. However, her daughter Lan Ying hides the fact that she is looking for a pot mender. Danniang Liu and her daughter have different views, thinking that mending pots and pans is a profession of "squatting under the eaves and squatting in the dust", and there is no prospect of success. One day, Mrs. Liu accidentally broke a large iron pot of driving rain, and in a hurry, she took the rice pot as a driving rain pot, so she had to ask her daughter to ask the pot mending master to mend the pot. Lan Ying and her boyfriend Li Xiaocong agreed on a plan to take this opportunity to enlighten and educate her mother.
Small Cong came to Lan Ying's house, Liu Da Niang did not know that Small Cong is Lan Ying's boyfriend, and urged him to hurry up to mend the pot. Xiao Cong is not in a hurry to tell his mother-in-law look down on the pot maker, Liu Auntie also expressed his mother-in-law's thinking, then, Xiao Cong to Liu Auntie's old ideas to give severe criticism, educate her revolutionary work is the whole, 72 lines are important, each other can not be separated. Listening to Xiao Cong's reasoning, Liu Da Niang said that not only do they have to change their old ideas, but also to help Xiao Cong persuade his mother-in-law to accept this son-in-law. Seeing that his mother-in-law has changed her mind, Xiao Cong quickly reveals his identity to her. Dame Liu accepts the son-in-law with a satisfied smile. Li Guyi, who played Liu Lanying and later changed her name to Li Guyi, entered the vocal hall from singing flower-drum opera and became a famous soprano singer today. The popular classic Hunan Flower Drum Opera "Mending Pot" is performed by the famous soprano Li Guyi as Liu Lanying, the famous Hunan Flower Drum Opera national actor Peng Fuguang as Li Xiaocong, and Zhong Yichun as Liu Daniang. Mending the Pot (Backhand Cave) (Female) The hand pulls the bellows, and the fireplace burns red-hot (Male) The son-in-law comes to mend the pot and hides it from his mother-in-law (Female) Be careful with the operation, and beware of hand burns (Male) It doesn't matter if your hands get burned (Female) I'm afraid of that (Male) What are you afraid of (Female) Saying that I don't want to obey my mother's mother and that Li Xiaochong is my comrade's brother (Male) Running a horse is not to be afraid of the mountains, and rowing a boat is not to be afraid of the shoals (Together) Help my mother's mother to reform the old thinking (Female) The bellows pulls loudly (Female) and the wind box is sounding. (Male) The stove burns brightly (Female) I pull the bellows (Male) I mend the pot (Female) Pull and pull (Male) Mend and mend (Female) Pull and pull (Male) Mend and mend (Male) Mend and mend (Male) Educate my mother-in-law, Lanying, my comrade sister (Female) Educate my mother-in-law, Xiaocong, my comrade brother (Female) Reform of the repertoire In addition to organizing and adapting the traditional operas, the Hunan Flower Drum Opera pays special attention to the creation of modern operas, which have a great influence on the province and the whole country. The Hunan Flower Drum Opera has a great influence in the province and the whole country. In 1965, Hunan Flower Drum Opera House statistics alone showed that "of the 94 plays of all sizes staged, 69 were modern plays, such as Sanliwan, Playing the Causeway, Mending the Pot, Double Delivery of Grain, Red Salesman, Guo Liang Taking Troops to Capture Guo Liang, My Family, Returning the Cow, On the Way to Delivery, Two Drawings, Veterinarian of a Mountain Village, Mallard, Objects, Niu Duo Xi Sitting on the Cow, and The Comrade Brother of Niu Duo Xi, which are all modern plays. Objects", "Niu Duoxi Sitting in a Sedan Chair" and so on. Among them, "Playing the Causeway", "Mending the Pot", "Two Drawings", "On the Way of Delivery" and "Wild Duck Island" were made into color stage art films, and "Sanliwan" and "Objects" were awarded the Creative Prize for the 30th Anniversary of the Founding of the People's Republic of China in 1979 by the Ministry of Culture for the creation of a performance dedicated to the 30th anniversary of the founding of the country." Mention of "Liu Hai Chopping Woodcutter", can not help but mention Chen Bei, He Dongbao. 1947, He Dongbao came to Changsha from Dongting Lake, after liberation, and Tian brothers Tian Qionglin, Tian Yunlong had **** ministry in the people's flower-drum opera troupe. He Dongbao came from a poor background, active and willing to work, and famous, April 17, 1951 by ................................ Chen Beifang, a cadre in the Changsha Cultural Bureau, adapted the original "Da Chopping Woodcutter" of the "Hitching Opera" into the scripted "Xiao Liu Hai Chopping Woodcutter" in 1951. In the past, there was no script for this opera, only a story, and the actors made up their own lyrics on the stage. Chen North will be "small Liu Hai Chopping Woodcutter" script to He Dongbao, because too many performances at that time, no time to worry about rehearsals, He Dongbao will be thrown in the script on the top of the Tian Qionglin's bed tent, a throw is several months, and later, Hunan Province to engage in the opera repertoire, which recalled the script, the script to be compiled, He Dongbao to the public troupe of drummers Tian Qionglin, qin master Tian Yunlong, we sit together on the The first time I saw the movie, I was in the middle of it, and I was in the middle of it. A few of them can be used to set the old accent, which is not a problem. In the opening paragraph, we were thinking hard, Liuyang-born Tian Yunlong had a flash of inspiration and proposed to use Liuyang's Cailian boat tune, the original lyrics are "Liuyang's firecrackers cracking and snapping clothes so la zi yo fire, cracking and snapping clothes so la zi yo fire", and then put the script's new lyrics, "The wind and the sun are warm and beautiful" on it, and it was very good. The new words of the script, "Wind and Sun, Warm, Good Scenery", were put on the set, which was very good, and the mood was also suitable, and a few people were very happy. The last paragraph of the words, He Dongbao proposed to use the ground flower drums of the "October Wanglang" set of new words, we found that this is very suitable, except for the middle paragraph of the new words "I here will be a good brother of the sea than" we have some difficulties, why? Why? The words are not neat, all of a sudden nine words, all of a sudden eight words or six words, three words, one word, everyone is silent. Tian Qionglin pondered for a long time, and suggested that we could sing it in "An Tong Tune". The original lyrics are "Zhang Laosan is busy (ah) cleaning up at home", with nine words, and "I'm here to make a good comparison with Hai". The first line is out, but how to sing the next line? Or He Dongbao turned fast, called out "Hu Da Sister", Tian Qionglin, Tian Yunlong two brothers immediately answered "Hey", He sang "Liu Hai brother", this side and answered "ah", "you compare me to what people Luo ho ho" naturally sang the next line of the "Antong tune", so back and forth, will be the new words all sung, have not left the "Antong tune". The new words were sung in this way, without leaving the basic melody of the "An Tong Tong", but it was a new tune. Tian Yunlong, a qin master, proposed to put together the upper and lower passages of the "Flower Stone Tune" to make the passages of this new tune. Because the lyrics were compared to the ancients, the new tune was later called "Bigu Tune".