In the early days of Huangmei Opera, most of the repertoire was written and performed by old artists to reflect the life of the grassroots folk theater. In the 1950s, a large number of intellectuals interested in the cause of opera to join the ranks of the traditional repertoire of Huangmei Opera discovery and re-creation, they joined, greatly enriched the expression of Huangmei Opera, strengthened the Huangmei Opera literature, the development of the cantata and accompaniment, so that the original folklore and popularity to get the qualitative sublimation of the melody is more beautiful, and the influence of the more expanded, Huangmei Opera ushered in the real blossoming of flowers! Huangmei Opera really ushered in the artistic spring of blossoming of a hundred flowers. It was also during this period that a large number of outstanding performers such as Yan Fengying, Wang Shaofang, Pan Jingli, and Zhang Yunfeng appeared, and "The Match of Heavenly Immortals", "Female Emperor's Son-in-law", and "The Story of Luopa" were the representative works produced during this period. With the continuous release of many excellent plays, audiences at home and abroad have come to know and accept Huangmei Opera, which has gone from the countryside to the city's elegant halls and eventually become a famous opera at home and abroad. The repertoire of the theater and the actors have won many awards, many times to Hong Kong, Macao, Singapore, Germany, Taiwan, the United States, Australia and other countries and regions to perform, and won the praise of the cultural pan, by foreign friends as "China's country music".
Pride and glory has become history, the new century has opened the door of hope, now the Anhui Huangmei Opera and emerged as Malan, Huang Xinde and other representatives of the many new people. In the face of the new century, we are counting on a new generation of Huangmei Opera heirlooms to carry on the past and the future, and to create a new brilliant ......
Huangmei Opera Development History
Huangmei Opera is the main local opera in Anhui Province. In Hubei, Jiangxi, Fujian, Zhejiang, Jiangsu, Taiwan and other provinces as well as Hong Kong there are also Huangmei Opera professional or amateur performing groups, which are widely welcomed. Huangmei Opera, originally known as "Huangmei Tune", is a folk opera formed in the late 18th century in the adjoining areas of Anhui, Hubei and Jiangxi Provinces. One of them gradually moved eastward to the Anqing area centered on Huaining County, Anhui Province, and combined with local folk art, sang and spoke in the local language, forming its own characteristics, known as "Huai Cavity" or "Huai Tune". This is the predecessor of today's Huangmei Opera.
The history of the development of Huangmei Opera is roughly divided into three stages:
The first stage was from the Qianlong period of the Qing Dynasty to around the Xinhai Revolution. Produced and circulated to the Anhui, Hubei, Jiangxi Province between the three provinces of Caicha tune, Jiangxi tune, Tongcheng tune, Fengyang song, by the local opera (Qingyang cavity, Hui tune) performance of the influence of the folk art of Lianxiang, stilts, dry boat and other folk arts to form a combination of, and gradually formed a number of small plays. It further developed and absorbed the performance content and expression from a form of opera called "Luohan Pile", Qingyangqiang and Huizhou tune, and thus produced the original opera with a complete story. There is also a transition form from the small play to the original play, which is called "string play" by the old artists. The so-called "string play" is their own independent and related to each other with a group of small plays, some with things "string", some with people "string". The plot of the "string play" is richer than that of a small play, and the characters have broken through the three small ranges of the clown, the little Dan, and the little boy. Some of the older characters need to be played by the main Dan, the old man, the old clown. This creates the conditions for the creation of this play.
The second stage is from the Xinhai Revolution to 1949. At this stage, Huangmei opera performance activities gradually professionalization, and from the rural grassroots stage on the city stage. After the Huangmei Opera entered the city, it was combined with Peking Opera, and was influenced by Yueju Opera, Yangju Opera, Huaiju Opera, and Pingju Opera from the north (then called "Bopu Opera") in Shanghai, which made great changes in the content and form of performances. A number of new plays were arranged and transplanted, including the serialized plays "Wen Suchen", "Hong Bi Yuan", "Hua Li Yuan", and "The Bee's Tale". In terms of music, preliminary reforms were made to the traditional singing style, reducing the false sound liner notes in the old style, making it bright and smooth, and making it easy for the audience to understand what is being sung. Canceled the help, try the huqin accompaniment. In terms of performance, it absorbed and melted the programmed movements of Peking Opera and other brother operas, enriching the means of expression. Other aspects, such as costumes, make-up and stage settings, were also developed compared to those of the rural stage.
The third stage is from 1949 to the present. 1952, Anqing Huangmei Opera artists went to Shanghai to perform in the plays such as "Beat the Pigweed" and "Blue Bridge Meeting". A large number of actors and actresses were created in the past decades. In addition to Yan Fengying, Wang Shaofang and other artists of the older generation who had outstanding achievements in the art of singing of Huangmei Opera, the young and middle-aged actors and actresses, such as Malan and Han Zaifen, successively showed their respective valor on the stage, the silver screen and the TV screen, and aroused the attention of the audience. Yan Fengying and Wang Shaohang co-starred in "The Pairing of Heavenly Immortals," which was made into a movie for the second time and became a sensation at home and abroad.
The Artistic Characteristics of Huangmei Opera
In terms of repertoire, it is said that there are thirty-six major plays and seventy-two minor ones. The main expression of the opera is the people's dissatisfaction with the reality of class oppression, the disparity between rich and poor and the desire for a free and beautiful life. For example, "Buckwheat", "Sue the grain official", "Tianxian Match", etc. Most of the small plays are about rural laborers. Most of the small plays show the life of rural laborers, such as "point barley", "spinning cotton yarn", "selling bucket".
After the liberation, it has successively organized and adapted a number of small and large traditional plays such as "Match with Tianxian", "Female Emperor's Son-in-Law", "Lo Pa Kee", "Zhao Guiying", "Tears of a Compassionate Mother", "Three Searches for the House of the State Abbot" and so on, and it has also created the mythological play "Cowherd and Weaving Maiden", the historical drama "Losing the Punishment and Chopping Off", and the modern plays "Spring Blossoms", "Spring Morning at a Small Shop", and "Early Opening of a Pebble Bud". Among them, "The Match of Heavenly Immortals", "Female Emperor's Son-in-law" and "The Cowherd and the Weaving Maiden" were put on the screen one after another, which had a great influence both at home and abroad. Yan Fengying, Wang Shaofang, Wu Qiong and Malan are famous actors of Huangmei Opera.
The main categories of Huangmei Opera are flower cadence and flat words. Flower cadences are mainly used in small plays, rich in life and folk song flavor. Ping words, the main singing voice in the opera, commonly used in large narrative, lyrical, rich in flavor, such as running clouds and flowing water.
The excellent repertoire of Huangmei Opera includes "Tianxian Match", "Cowherd and Weaving Maiden", "Soprano's Tale", "Female Emperor Son-in-law", "Husband and Wife Watching Lights", "Beat the Pigweed", "Willow Well", "Blue Bridge Club", "Road Encounter", etc. The opera is also known as the "Yellow Plum Opera", which is the most popular opera in China.
The name and origin of Huangmei Opera (quoted from the research article of Mr. Wu Gongmin, a famous theorist of Huangmei Opera)
Huangmei Opera has two major vocal systems---flower cadence system, and flat word system. The flower cadence system is derived from folk songs and ditties, and is a song system; the flat word system is derived from high cadences, playing words, Luohan piles, Daoxiang, blowing cadences, Huizhou tunes, Peking Opera and other vocal cadences, and is a plate cadence system. 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.
Early practitioners of Huangmei Opera, there are achievements, and historical records of the Huangmei Opera veteran artists, the vast majority of them are people in the Anqing area. For example, Cai Zhongxian (the earliest known Huangmei Opera actor, born in 1821, Wangjiang County), Hu Pusai (the earliest Huangmei Opera actress, born in 1821, Taihu County), Hong Haibo (Qianshan County), Ye Bingchi (Dongzhi County), blame Shuangyin (Huaining County), Hu Yuting (Wangjiang County), Long Kunyu (Wangjiang County), Cheng Jishun (Guizhi County), Cha Wenyan (Huaining County), Ding Yongquan (Huaining County), Pan Yongquan (Huaining County), and Cheng Jixian (Guizhi County). (a native of Huaining County), Pan Zehai (a native of Anqing City), and Yan Fengying (a native of Luoling, Tongcheng), all of whom had a teacher relationship with each other.
Before the founding of the PRC, there was no literati involvement in Huangmei Opera, and the vast majority of the more than 100 traditional plays of all sizes performed were transplanted from Qingyang opera, Yuexi Gaoqiang, Beijing opera and Hui opera.
Through the above discussion of the formation of the voice of Huangmei opera, the repertoire of the accumulation of the trace, the actors and actresses of the master of the relationship between the trace as well as the overall grasp of the development of Huangmei opera history, we have a clearer understanding of the development of Huangmei opera drama, a clearer understanding of the general situation. The source of Huangmei Opera is in the Anqing area, Huangmei Opera was born in the Anqing area, grew in the Anqing area, flourished in the Anqing area. Vocal system is an important symbol of a play, any play and the formation of the vocal system attached to the play, there is a continuous absorption, borrowing, integration, abandonment, transformation, circulation, constantly adapted to the aesthetic needs of the audience, the accumulation of difficult and complex process of creation. In the process of maturing, there must be a certain kind or several kinds of music materials that have a relationship with this kind of theater in terms of cultural background, humanistic environment, aesthetic tendency, life customs, etc., which is an important nutrient for this kind of theater, thus accelerating the formation of this kind of theater. If we compare a genre to a river, then a certain type or types of music materials that give birth to the maturity of the genre can only be considered as tributaries that flow into the river along the way. The relationship between Huangmei opera and the Huangmei tea ceremony is the same as the relationship between the river and the tributaries. Huangmei tea ceremony is an important factor contributing to the maturity of Huangmei opera, but it is never the source of Huangmei opera.
The historical record of the source of Huangmei Opera Mr. Lu Hongfei in the book "Huangmei Opera", the source of Huangmei Opera lists several legends.
Legends -: "Huangmei Opera was developed on the basis of the 'Huaining accent'. ...... Whenever the spring planting and autumn harvest, farmers used to sing 'Huai tune mountain song' to celebrate the harvest of their labor. This kind of folk beautiful lyrical mountain song ditty, collectively known as 'Huai Ning tune'."
Legend No. 2: "...... Huangmei opera originated in Anqing, Anhui Province. Once upon a time, every yellow plum season, often flooding, four farmers in order to pray for a good year, it was held at this time to welcome the gods race, there will be a variety of songs and dances, singing in this form of singing in this form of singing on the basis of a form of opera, because of the season related to the yellow plum season, so it is called 'Yellow Plum Tune.'"
Legend No. 2: " Huangmei Opera originated in the Anqing region of Anhui.
Legend No. 3: "Huangmei Opera originated in Huangmei County, Hubei, from the folk songs of Huangmei tea-picking tune."
The above three legends, I think the first two legends are more in line with the historical reality, the latter legend is far-fetched, many people because of the Huangmei Opera and Huangmei County with the same word homophonic and convergence of the Huangmei Opera originated in Huangmei County, said. Of course, some experts have also analyzed from the music, repertoire, teacher level, deduction, that the Huangmei Opera originated in Huangmei tea ceremony, but the arguments put forward, the argument is not persuasive, they also admitted that due to the lack of information available, so, can not ultimately form a definitive conclusion. As for where the Huangmei Opera actually originated from, few people are interested in exploring the research. This is not only a long time ago, the original lack of written information, some of the understanding of the situation of the old artists have also passed away, and no financial support for the reason, but also with the general attitude of indifference to the origins of Huangmei Opera.
Sex Huangmei Opera after generations of painstaking creative development, has been from a little-known folk opera, a leap into the national famous opera, and in the overall shrinking of opera situation, still maintain a good development trend, thanks to the Huangmei Opera popularization, popular artistic character and the spirit of innovation and advance with the times. We can not only focus our attention on today's achievements, and ignore the Huangmei Opera stormy road. If even has been to Huangmei Opera for the hometown of Anqing people, can not say that the origin of Huangmei Opera, is not the suspicion of forgetting their ancestors? Moreover, clarify the source of the play, find our *** with the spiritual home, arouse people's sense of identity and pride in Huangmei Opera, the source, and further cohesion and pioneering, but also the sustained development of Huangmei Opera in the new century.
Theme excavation on the more profound
Huangmei Opera's prosperity again in the era of the excellent traditional culture of the Chinese nation and the world's cultural excellence in the era of intermingling, is a variety of ideological and cultural mutual agitation of the times, but also the quality of the spiritual and cultural life of the masses of the people to rapidly improve the times. The path of deepening the theme of the opera that Huangmei Opera's Dream of Red Mansions has traveled has been more broadly extended in the atmosphere of the era at the end of the 20th century. For example, Women of Huizhou sublimates a kind of waiting into a kind of faith and personality strength, in which the women in the play have been disappointed and even despaired because of their inability to wait, but finally baptized and sublimated in despair because of their unshakable faith. Rain or Shine" puts three intellectual women's personality sublimation as the main object of expression, eulogizing them in the struggle against inhumanity "from humanitarianism to heroism". Huangmei opera drama "Autumn" in the adaptation, also the choice of history on the young generation and the choice of young people on history as the focus of expression. The performance and broadcast of these plays can move people's voices, shaking the heart, stirring up the feelings of people, all in the work of the theme of the excavation process shows a deep ideological and cultural content.
More diversity in the pursuit of style
Inspired by the overwhelming contemporary art styles, and following in the footsteps of the second boom, the Huangmei Opera's renewed prosperity at the turn of the century showed a strong sense of diversity in the pursuit of style. For example, the stage of "The Swing Frame" is a collection of various art forms, intended to try the style of Huangmei musicals, and the ancient costume theme is expressed as a modern fairy tale, which is more suitable for the tastes of the young audience; "Wind and Rain Lillian Line" focuses its viewpoints on the emotional depths of several intellectual women, and it uses a lot of space for poetic descriptions of their emotions, so that Huangmei Opera displays an elegant demeanor on the stage and wins over intellectual audiences; "The Women of Huizhou" shows strong diversification in the pursuit of styles. The audience; "Huizhou Woman" takes physical language as an important stage tool, experimenting with a stylized way of expression, which is refreshing to many viewers; "Papaya Listing" and "Dark Flowers in the Willow" are different degrees of modern interpretation of the traditional style of writing, which is closer to the aesthetic interests of the audience nowadays; "Dendro Ring" and "Qianlong Discusses Painting" are completely a stormy and heroic stage scene, which is originally a gentle Huangmei Opera has imported a masculine spirit. Through the pursuit of these plays, the artistic style of Huangmei Opera really presents a colorful landscape.
In recent years, excellent Huangmei Opera plays have been put on the screen and the silver screen, which is no longer a simple copy of the stage scene. Huangmei opera plays have been able to go to the audience with the identity of "music drama" and "film feature film". Moreover, Huangmei Opera movies and TV dramas strive to highlight the multiplicity of images in the pursuit of aesthetics in film and television, and try to strengthen the singing of the singing voice and the simplicity of the performances. When these pursuits are given full attention and to a certain extent infiltrated into the stage, it makes the Huangmei Opera even more "all the colors are always in the spring". From the artistic point of view of the Huangmei Opera to make the prosperity again after summarizing and sorting out, need to immediately put forward the Huangmei Opera how to sustain the development of the problem. Huangmei Opera's future development task will be heavier and more arduous. Looking back on the prosperity of Huangmei Opera several times, there is a basic experience worth remembering, that is, to give full play to the plasticity of the artistic personality, to fully demonstrate the charm of the art of light and airy, unremittingly take the road of artistic change, unremittingly pursue the goal of artistic innovation. Looking back to the 1950s, the popular cantatas in "The Match of Heavenly Immortals" and "Female Emperor's Son-in-law" were formed on the basis of the traditional cantatas at that time, after increasing the variety of tunes and reassembling various tunes, and introducing Western instruments and their orchestration, which was the result of the artistic change. At the end of the 80s and the beginning of the 90s, the artistic changes of Dream of the Red Chamber and Much Ado About Nothing were mainly manifested in the acceptance of Cao Xueqin's and Shakespeare's profundity by the Huangmei Opera, which is famous for its lightness and spirituality, and the deepening of the ideological connotation of the play and the expanding of the capacity of the play's carrying capacity. Looking at the Huangmei Opera in recent years, the elegance of "Huizhou Woman", the fairy tale color of "The Swing Frame", the poetic structure of "Rain or Shine", the rustic fun of "Darkness in the Willow" and "Papaya on the Market", and the masculinity of "Dendro Ring" and "Qianlong's Discussion of Paintings" all show the spirit of the Huangmei Opera's artistic transformation. Therefore, we should seriously summarize the experience of Huangmei Opera's prosperity over the past half century, and actively promote the artistic change and innovation of Huangmei Opera. Huangmei opera's plasticity is strong, with the advantages of the drama of the conversion, but to transform this objective advantage into a subjective pursuit of the Huangmei opera artists need to be more sensitive and more flexible, and constantly strengthen the drama to adapt to the changing times of the artistic factors, to maintain synchronization with the social aesthetic tendency.
To grasp the pulse of the times for artistic innovation, it is necessary not only to transform the artistic form, but also to reflect the spirit of the times in the artistic content. As a traditional art style of Huangmei Opera, acting up the ancient drama to be familiar, comfortable; create a modern theater is less, the quality is always poor a fire, this situation needs to be changed. Huangmei opera can not be satisfied with the ancient subject matter, can not be satisfied with the adaptation and transplantation, to penetrate into the hot real life, reflecting the people's commitment to modernization and construction of the great social practice, the form of innovation and content innovation organically combined. To find out the way of elegance and vulgarity **** appreciation, we should study the various artistic styles that are popular today. Practice over the years has proved that, from the colorful modern media, the Huangmei Opera stage to the screen and screen extension, is to expand the viewing surface of an effective means. Huangmei opera can be spread so widely, singing melody is the main reason. Love of Huangmei opera audience to the theater, often to appreciate the beautiful melody of Huangmei opera, very afraid of the auditory experience on the flavor. Therefore, the singing cavity seems to be the part that can show the essential characteristics of the opera, but also the most important part of the process of innovation and inheritance, should be cautious. In short, Huangmei opera to adhere to the artistic innovation, but innovation to grasp the "degree", to move forward one step at a time.
Huangmei Opera language based on the local language of Anqing, belonging to the northern dialect of the Jianghuai dialect. It is characterized by ---- the structure of the singing words in the whole play mostly seven-word sentences and cross sentence style. 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 is read in rhyme, sung in Mandarin, and the small plays are sung in the local dialect of Anqing, which is still sung in Mandarin.
If we talk about the language of Huangmei Opera in shaping the artistic image, rendering the artistic situation, the migration of the silent "moral education for fun" artistic function, can be summarized from the following aspects:
First, the language of Huangmei Opera has a "song" of the inherent 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, developed into today's Huangmei Opera theater, and its main "soul" --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, it is more rustic, sentence is the truth, but a careful consideration, you will find that it is actually rich in content, very elastic, 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 language and lyrics of Huangmei Opera at the same time draw on ancient poetry, ancient words, spoken folklore, folk proverbs, folk songs, and discard 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, understandable as the characteristics of the words, and thus become a kind of elegant and popular **** appreciation, Wen Ye merged, the love of the language of the script 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 at that time.
Because many traditional Huangmei Opera plays come directly from the folklore of the local community, 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 of 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" 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, understandable as words; humor, refers to its style and interest in the generous, witty banter; style, refers to it constantly draw on the oral literature of the folk creation of the nutrients, enrich themselves, and often have a fresh and unique.
The Huangmei Opera was originally accompanied by percussion instruments only, the so-called "three hits and seven songs". 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. It was only in the early period of the founding of the PRC that the use of the gaohu as the main accompanying instrument was gradually determined, and a mixed orchestra with ethnic instruments as the main instruments and western instruments as the supplementary instruments was gradually set up to enhance the musical expressiveness. At first, the accompanying gongs and drums were only big gongs, small gongs and flat drums, which were called "three playing and seven singing", i.e., three people played percussion instruments and participated in helping, 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 non-stick (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 are the starting boards. In addition, there are gongs and drums that are performed in conjunction with the body, such as the 13-and-a-half-mallet gong, the seven-word gong, and the gong called "gong". 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 and Peking Opera before and after the War of Resistance Against Japanese Aggression that it absorbed 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 also 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 is a kind of opera that was formed and developed gradually from mountain songs, rice-planting songs, tea songs, tea-light picking, and flower-drum tunes, first in the countryside and then in the city. His origin can be traced back to the Qianlong period of the Qing Dynasty, but the formation of a complete theater, it is still a modern thing. During this period of time, he absorbed the essence of Han Opera, Chu Opera, Gaoqiang, Caicha Opera, Peking Opera and many other sister arts, so that he gradually perfected and became a famous opera. When talking about this famous opera, we can't help noticing that the group performing this kind of opera has also gone through such a long development process. He is also from scratch, from small to large, from simple to complex, gradually perfected. It can also be said that the formation and development of Huangmei Opera and the formation and development of his performing groups are complementary.