The stage art of Peking Opera in all aspects such as literature, performance, music, singing, gongs and drums, make-up and face painting, etc., has constituted a set of mutually restraining and complementary grammatical and normative programs through the long-term stage practice of countless artists. As an artistic means of creating stage images, it is very rich, and its usage is very strict. If you cannot master these programs, you will not be able to complete the creation of Peking Opera stage art. Since Peking Opera entered the court at the beginning of its formation, its development and growth differed from that of local theater. It is required to express a wider field of life, to portray more types of characters, to demand more rigor in the comprehensiveness and completeness of its skills, and to demand more in the aesthetics of the stage image it creates. Of course, at the same time, it also correspondingly makes its folk local flavor weakened, pure and simple, rough style features relatively thin. As a result, its performing art tends to combine the real and the imaginary with the expressive techniques, maximizing the limitations of the stage space and time, in order to achieve the artistic realm of "conveying the spirit with the shape, and the spirit with the shape". Performance requirements on the delicate and delicate, everywhere into the drama; singing requirements on the melodious and gentle, voice and emotion; martial arts theater is not to win the fiery and fierce, but to "martial arts theater singing" see good.
Huangmei Opera features:
Huangmei Opera categories are mainly flowers and words. Its characteristics are: flower cavity to play 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.
Characteristics of Tibetan opera:
Basically, it is a square opera, and a few of them are also performed on the stage.
Singing and dancing are the prominent features of Tibetan opera. However, the dance is often not directly related to the plot, but is mainly for the purpose of emphasizing the atmosphere of the performance on the stage.
In addition, the performing arts are relatively simple and pure. Because many of the roles are performed in masks, the actors pay less attention to facial expressions, and there is less communication between the roles.
Finally, the performance time is as long as three days and three nights, or even six or seven days; and as short as two or three hours, which is controlled by the playwright.
Introduction to Peking Opera:
Peking Opera, once known as Ping Opera, is one of China's five major operatic genres, with its cadences based on xi pi and er huang and accompanied by huqin and gongs and drums, and is regarded as China's national treasure.
Since the 55th year of Qianlong's reign in the Qing Dynasty (1790), the four Anhui classes, namely Sanqing, Sixi, Chuntai and Hechun, which had originally performed in the south, entered Beijing one after another, and cooperated with the artists from Hubei Province who were working in the Han style, and at the same time, they accepted part of the repertoire, tunes and performance methods of Kunqu and Qinqiang, and absorbed local folk tunes, which were finally formed into Peking Opera through continuous exchanges and fusion. After the formation of Peking Opera, it began to develop rapidly in the court of the Qing Dynasty until the Republic of China gained unprecedented prosperity.
Peking Opera is an important means of interpretation and dissemination of traditional Chinese culture. It is distributed throughout China, with Beijing as the center.
Introduction of Huangmei Opera:
Huangmei Opera, formerly known as Huangmei Tune or Caicha Opera, is one of the five major Chinese opera genres. It is also one of the four outstanding opera genres in Anhui, alongside Anhui opera, Lu opera and Sizhou opera.
Huangmei Opera originated from the tea-collecting tunes of the Huangmei area at the junction of Hubei, Anhui and Jiangxi provinces. At the end of the Qing Dynasty, it was introduced into the neighboring Huai Ning County and other areas of Anhui Province, where it was combined with local folk art and sung and recited in the Anqing dialect, gradually developing into a new opera genre. At one time, it was called "Huai Cavity" and "Anhui Opera".
Introduction of Tibetan Opera:
The name of Tibetan Opera is "Ajilam", which means "Fairy Sisters". According to legend, Tibetan opera was first performed by the seven sisters, the content of the play is mostly a mythological story in the scriptures, so it is named.
Tibetan opera originated in the 8th century Tibetan religious art. 17th century, from the monastery religious rituals separated from the gradual formation of singing-based, singing, chanting, dance, table, white and technology and other basic programs combined with the life of the performance.
Tibetan opera singing high and majestic, basically because of the people to set the song, each line of the singing is someone's voice to help and.