In a nutshell: singing refers to singing, singing
Nian refers to recitation, dialog, mainly rhyming white, and a small amount of Beijing white and local language.
Doing refers to doing, i.e., performing, and dancing should also be considered as doing, such as water sleeves, whiskers, hair flinging, plumes and so on.
Fighting is martial arts, martial arts, with the blanket work as the basis, another handle work, leaning work, and many other martial arts skills.
Specifically;
"Singing" means singing. "Doing" refers to doing, or performing. "Reading" refers to musical recitation. And "fighting" refers to martial arts. Opera actors are trained and nurtured in these four areas from an early age, although some actors specialize in singing (Singing Lao Sheng), some lines are dominated by doing (Hua Dan), and some are dominated by martial arts (Wu Jing). However, every actor is required to have excellent singing, reciting, doing and fighting skills in order to give full play to the function of opera performance as a song and dance drama. Better performance and portrayal of the various characters in the play.
Singing refers to singing, reading refers to musical recitation, the two constitute one of the two major elements of song and dance opera performing arts "song"; do refers to the dancing physical movements, playing refers to martial arts and tumbling skills, the two combined, constituting another major element of the "dance". The combination of the two forms the other major element of "dance".
Singing
Singing is one of the main artistic means of opera, and the first step in learning to sing is to shout and hang the voice, to expand the range and volume, to exercise the endurance of the singing voice and the timbre, to separate the four tones of yin and yang, the sharp and rounded, the clear and cloudy, and the five tones of the four calls, and to practice biting the words, returning to the rhymes, the spouting of mouths, and embellishing the cavity, etc. But what is even more important is to be adept at using the vocal skills to express the characters' personalities, feelings and mental states through the artistic art of vocal music. But more importantly, singing is a good use of vocal techniques to express the character, feelings and state of mind of the characters, and to express the heart of the people in the drama through the artistic infectiousness of vocal music.
The first step in learning to sing is to shout and hang up the voice, to expand the range and volume, and to exercise the endurance and timbre of the singing voice, but also to separate the four sounds of the word yin and yang, the tip of the group, the clear and cloudy, the five sounds of the four calls, and to practice biting the words, returning to the rhyme, the spouting of the mouth, and embellishing the cavity and other skills. When the actor has mastered all these, what is more important is to be good at using vocal skills to express the character's personality, feelings and state of mind. Over the centuries, the aesthetics of opera has been the voice and feelings of the differences, some actors focus on the tone and melody of the beauty of the melody, pay attention to the flavor of the singing; some actors focus on the full of gas, the words are round, and advocate that the first thing to be sung out of the feelings. Most of the outstanding actors combine the sound and emotion, through the vocal art of infection, the performance of the playwright's heart song.
Singing in opera is never an independent vocal performance interspersed in the play, but one of the important means of shaping characters. Some excellent plays, the arrangement of singing is based on the needs of the plot, the need for character, thought and emotional development. Through the beautiful musical image to enrich and strengthen the literary image, appealing to the audience's auditory senses, just as do and fight through the beautiful dance image appealing to the audience's visual senses. Thus, the singing of the opera, the skills and training of the actors are important factors in determining the success or failure of the artistic creation, the high and the low. The same role of the same play, due to the actor's experience, understanding of different, but also due to the singing singing method is different, and gradually formed on the singing of a variety of interest in different artistic styles.
Different types of theater, the use of singing is also different. Some sing a lot, easily thirty or fifty sentences, or even more than a hundred sentences. Some sing less, and only set up a large section of singing in the emotional moments of the play. Singing more of the play, often singing instead of reading, or between singing and reading, less embellishment. Singing less drama, most of the vocal art deliberately seek to work, the line of music, a high degree of refinement.
From the perspective of the process of development of opera, singing accompaniment is from simple to complex. The ancient Yiyang opera, which used the form of singing and singing, was accompanied only by simple percussion. The Kunshan Opera, which was formally established during the Jiajing period of Ming Dynasty, developed into a form of accompaniment with orchestral instruments such as sheng, xiao, flute, pipa, etc., and the musical effect was greatly enhanced. In modern opera, more attention has been paid to the role of accompaniment, gradually increasing the variety of instruments and closely matching vocal and instrumental music. There are also some kinds of operas that stop the instrumental accompaniment in the main singing section, and the actors sing the "clear plate" alone to emphasize the expressive power of the vocal music. The form of the "gang accent" is still retained in some of the high-cavity system as a means of setting the mood and revealing the inner world of the characters.
Because the sung words are all in poetic form, the syntax is compact and refined, and the literary nature is strong, so it is more convenient to concentrate on the expression of emotions. In addition, in the narrative, scenery, argument, rebuke and other occasions, generally also often play the function of singing, in order to enhance the artistic effect, and give a person aesthetic enjoyment. In order to facilitate the conveyance of feelings, evoke * * * song, the literary not elegant, but in the elegant and popular * * * appreciation, concise and clear, involving the pen into interest.
In the opera, singing as one of the main artistic means, it is not used alone, but with the reading, doing, playing and other artistic means of organic combination, into one, for the characterization services.
Renunciation
Renunciation and singing complement each other and are important artistic means to express the thoughts and feelings of the characters. Actors practice basic skills from childhood, and recitation is also one of the required courses. Opera recitation can be roughly divided into two categories, namely, rhyme white and scattered white, are through the artistic refinement of the language, with a sense of rhythm and musicality, resonant and pleasing to the ear, and singing and coordinating with each other.
Doing the work
Doing the work refers to performance skills in general, but also refers to the choreographed physical movements in particular, which is one of the main signs that opera is different from other performing arts. When actors create their roles, there are various programs for their hands, eyes, bodies and steps, and there are various techniques for their whiskers, plumes, hair flaps and sleeves, so they can flexibly use these programmed dance vocabularies to emphasize their characters' personalities, ages and identities, and to make their artistic images more successful. Do is not a purely technical performance, but the connotation and appearance of each characteristic, a hand, a foot, both the inner experience, but also through the appearance of the performance, internal and external integration, handy, all for the shaping of the image service.
After practicing various basic skills of waist, legs, hands, arms, head, and neck from childhood, opera actors must also carefully consider the drama and the characteristics of the characters in order to make the drama come alive. Actors in the creation of roles, hands, eyes, body, steps have a variety of programs, beard, plume, hair, water sleeves have a variety of techniques, the flexible use of these programmed dance vocabulary, in order to highlight the character of the character, age, identity characteristics, and to make their own artistic image more glorious. Such as in a variety of steps, the wolf struggling to take a kneeling step, the girl in the joy of throwing the braid to take a broken step, is not only a purely technical performance, but can play a role in rendering the atmosphere and depicting the role of the mood. The same plume work, used in different characters, some show martial arts, some show frivolity, some show impatience, some show anger. In the work of the beard, the flicking of the beard, the beard, the flinging of the beard ...... each has a specific connotation and appearance. Excellent actors and actresses perform both inner experience, but also through the appearance to be expressed, internal and external integration, comfortable, not in form.
Fighting
Fighting is another important part of the physical movements of the opera, which is the choreography of the traditional martial arts and a highly artistic refinement of the fighting scenes in life. It is generally categorized into two main types: handle gong and blanket gong. Not only do you have to have a deep foundation, but you must also be good at using these extremely difficult techniques to accurately display the character's mental outlook and demeanor. Where ancient weapons such as swords, guns, swords and halberds (commonly known as "sword and gun handles") are used for sparring or solo dancing, this is known as "handle work". The skill of rolling and falling on a blanket is called blanket kung fu. Actors practicing martial arts from a young age need to put in hard work. Take the top, a practice is an incense burner time; small flip, spinning, a walk is dozens of; play the knife flower, play the gun flower, not more than exhaustion. Only by practicing hard can we lay a solid foundation. But the technical skills are only creative material, the actor must also be good at using these extremely difficult skills, accurately show the character's mental outlook and demeanor and temperament, and to distinguish between the hostile sides of the positive and negative, victory and defeat, and high and low.
Doing and fighting in opera are also never separate dance performances interspersed in the play. Some items of the carpet work, when viewed separately, are almost acrobatic; some sets of the handle work, when viewed separately, are similar to martial arts. However, when they are linked together and combined in a play, they become a dance language with rich expressive power, which can bring out the people, the feelings, and the play. At the end of a section, both sides appear, not only to win or lose, but also to distinguish between positive and negative. The victor plays off the stage, showing a glowing demeanor. Wu Erhua even fell grease-potatoes, woeful appearance. Scurrying hair indicates that the water, stomping mud embodies composure. The small flip of the horse boy sets off the commander-in-chief's momentum. In some plays, the inverted tiger, cloud flip, the insanity of the mentally disturbed, and so on. When these technical skills combined with the plot, it will help to portray the characters, explain the plot, and make the audience in the intuition to get artistic enjoyment.