On the international art stage, Peking Opera is listed as one of the three major drama systems in the world. The so-called "three systems" are the performance system of stanislavski, the former Soviet drama master; One is Brecht's system, the other is Mei Lanfang's performance system. Although this formulation is not so scientific, both Smith and Brinell highly admire Mei Lanfang's performance art and think that Mei's performance enriches and supplements their performance theory. However, judging from the social function and prominent position of Peking Opera in the world, as a China person, if you don't know Peking Opera, you won't know your own national quintessence. It is wrong to even underestimate yourself. So I think it is necessary for the people of China to know their national treasure, our Peking Opera.
As far as I know, some people who look down on the art of Peking Opera think that our traditional opera pays too much attention to the shaping of appearance, rather than emphasizing the inner experience like the Four-Family System, so there has always been a dispute between expressionism and experientialism in the drama circle. Hegel pointed out: "The essence of artistic ideal is to make external phenomena conform to the mind and become the expression of the mind." In fact, our Peking Opera art is to portray the classical beauty, moral beauty and spiritual beauty of the Chinese nation with various procedural skills of singing, reading and dancing, that is, the so-called external expressions.
Yes, we attach great importance to external performance, emphasizing the basic skills and performance skills of singing, reading and dancing, and emphasizing formal beauty. Every movement of ours is carried out by the five-body synchronous cooperation of "hand-eye-body footwork". For example, the smallest element of the action of "Mountain Gang" may seem to be nothing, but to achieve formal beauty, there must be such a procedure: first start from the waist, then look at the hands, follow the eyes, step up, pull away, look forward, step up, meditate, appear, open your eyes, inhale, shut up, tuck in your abdomen, and straighten your waist. And the visual effect of attracting spirit, coordination and integration is produced in the action. In other words, from such a small action, we should also show the boldness and agility of a female hero. Otherwise, if there is no soul-driven "mountain arm", it is a manifestation of formalism, and the audience will think that you don't know what you are talking about. At best, it is an empty shell movement. This shows that our Beijing opera attaches importance to the expression of appearances, but it must be "to make external phenomena conform to the expression of the soul." For example, the rise of our martial arts actors is a combination of program actions, and the order of action combinations is similar, but we demand that the rise of Hu Sanniang should show the arrogance of the characters; Jiang Wei is required to show the courage of the commander-in-chief and the wisdom and courage of the characters in the rise of Tielong. Zhao Yun took the lead in "Borrowing Dongfeng" because he was a supporting role. Although he took the lead in half the performance, he also had to show the eight sides of the characters. The characters of these different roles should be expressed by basically the same and tempered every move. In other words, we should not only pay attention to the shaping of appearance, but also make every action show the subtext of the character. For example, in Yu Tang Chun, when Susan states her grievances, she should say, "Everyone is tolerant." At the end of this sentence, the pronunciation is very long, from weak to strong, from low to high. In order to understand this sentence, all actors should practice it every day. From luck to stealing gas, from bending to playing, as well as the standard of timbre, volume and timbre, you must practice until you get used to it. However, the practice of this technique is not only to show the complexity of the technique, but also to show the grievances of the characters when they state grievances and to render the solemn atmosphere of the trial case, and of course, to cooperate with the different performances of the three presiding judges. Therefore, the artistic beauty of Peking Opera is universally recognized, because "beauty is the result of harmony between soul and nature." (Modern aesthete Santayana)
In singing, we emphasize clear pronunciation and mellow voice, full of sound and emotion. Therefore, we should not only attach importance to the charm of singing, but also emphasize the appeal of singing. Therefore, the timbre, volume and timbre are not good at all, and the emotions to be expressed when singing are not good at all. Only in this way can the external performance be organically combined with the internal experience.
Peking Opera is an art of combining reality with reality, and its performance has unique aesthetic characteristics. In particular, it is fundamentally different from the reality of the West. For example, there is no door on the stage, but the actors show the audience the existence of the door through their own performances, which makes you have to admit that there is a door. Obviously there is no horse, but you admit that there is a horse without a boat, but you admit that there is a boat. This is Peking Opera, and it is also a feature of China opera art. Let's invite netizens to enjoy a poem called "Peking Opera is Poetry", which introduces the aesthetic characteristics of Peking Opera, which may be beneficial to our understanding of Peking Opera:
A "bitter wow"! The sun flies by (taking you into the mood),
An adagio, the earth stops turning (time and space are controlled by actors).
Toast, banquet (unexpected, freehand performance),
Turn around and go to Wan Li (free transition of time and space).
The jump of time and space is concentrated in virtual reality,
"Wow!" An angry face,
"Hey," cried Tsing Yi.
Exaggerated beauty,
Implicit beauty.
Simulation beyond life.
Let me get this straight:
A gesture, that's the tentacles of emotion,
The shape of the hand is a portrayal of personality.
Four fingers together-solemn,
Open five fingers-unrestrained.
Loose fingers-old,
Orchid finger-depicting the beauty of women.
Every movement and style is in the rhythm,
Singing and playing are all in the melody.
Music can be heard and seen (singing and dancing),
A whole in inspiration.
Orchestra, vocal cords, percussion instruments,
Emit national timbre (not imported).
Pavarotti listened in surprise,
Blackheads that shake the roof (Jin Shaoshan tenor)
In Tsing Yi (Mei Lanfang, who caused a sensation in the United States, the Soviet Union and Japan), larks fled with shame.
The imposing manner like a gale, the delicacy like love words,
Better than Pushkin's handwriting.
Paddle, conscious boat, whip, rendering horse,
Gong is water and drum is night.
Images are colorful, and objects and images are transferred.
Get its "meaning" on the stage and forget its "shape".
The audience knows its "shape" and its "meaning".
Beijing opera is poetry, and poetry is Beijing opera.
The third lecture on the singing art of Peking Opera
For any kind of drama, singing is the most important artistic means, and the musical image established by singing is also the most moving. Therefore, the art of Peking Opera pays attention to singing, reading, doing, playing and dancing, and singing is the first.
How is the aria of Beijing Opera formed? When it comes to this issue, we can't help but talk about the phonology of Beijing opera singing. As we all know, all parts of the motherland have their own local languages, so it has always been "the same form but different meanings, the same book but different sounds". It is these various dialects that have formed various dialect operas, that is, local operas. It is said that in a survey in 1980s, there were 3 17 kinds of operas in China. Although the operas are different, they all have a common feature, that is, the aria of each opera is formed by the intonation characteristics of dialects. A language expert said that singing local operas is to lengthen the intonation of dialects. I don't think this statement is rough.
So Peking Opera must be a dialect of Beijing? Wrong. Because Beijing Opera evolved from the Chu tune in Hubei (called Huguang in Ming and Qing Dynasties) and the Hui tune in Anhui, the singing and singing of Beijing Opera were formed on the basis of Huguang and Anhui dialect. However, the singing styles of Beijing Opera, Han Opera and Hui Opera we are listening to today are somewhat similar to those of Nianbai, but they are not completely similar. Why is this? Because Beijing opera is formed by the mutual integration of Huizhou and Chu performers in Beijing, it is inevitably integrated into Beijing dialect in order to adapt to the audience in Beijing. Just like Hubei people speak Beijing dialect. The tone is Huguang, but many words are from Beijing. Huguang people can understand it, and so can Beijingers. As Huguangyin and Sichuan, Hunan, Yunnan, Guizhou and other local dialects south of the Yangtze River belong to the northern language family, Peking Opera can be accepted in most parts of the country, which lays the foundation for Peking Opera to go to the whole country and become our national drama. The most typical is the singing of old Peking Opera students. For example, Sean's line "Father and Daughter Fish River" sung on the stage of "Fisherman" should be "going to the sun and going to the shade" (that is, "even ping") according to the four tones of Beijing pronunciation, not the taste of Pingju, but perhaps rhyming and drumming. According to the pronunciation of Beijing opera, the four tones are "upper yang and lower yin" (that is, "flat and flat"), and only in this way can the charm of Beijing opera be sung. Someone said "fight", how can you sing "take"? If you go to Wuhan, Hubei Province to listen to the local people, you will find the answer: Because Beijing Opera is "character-based" and developed from Hubei dialect opera (Chu tune), the basic melody of Beijing Opera singing evolved from Hubei dialect intonation, which in our experts' opinion is Huguang tone. Why should I make this clear first? Because we often say that the singing of Beijing opera pays attention to "clear pronunciation and mellow voice", but we must never use Beijing dialect or Putonghua to regulate the "clear pronunciation and mellow voice" of Beijing opera. If we ask our Peking Opera actors like this, we will find trouble.
Now that we know the rhyme of Peking Opera, we can understand that Peking Opera is not singing Beijing's "Beijing accent and Beijing rhyme", and we can also understand why the singing of Peking Opera is so similar to that of today's Han Opera in Xipi and Huang Er accents in Hubei and Anhui. Even some Peking Opera actors, especially those in Jiangnan, directly sang the high-pitched tune of Huizhou Opera. Let's begin to introduce the singing method of Beijing Opera.
First, the aria of traditional Chinese opera is divided into banqiang and Qupai (such as Kunqu opera and Quju opera), and the main aria of Beijing opera belongs to banqiang. The so-called banqiang lyrics are similar to metrical poems. Each aria is divided into seven words or crosses, and special stamped sentences can be as long as twenty crosses. There is no limit to the number of sentences, but rhyme is required. The last word of the previous sentence is Pingsheng, and the last word of the next sentence is Pingsheng. Word rhyme is divided into 13 rhymes, which are also one, three, five, two, four and six distinct.
Secondly, the tunes of Beijing Opera are divided into Xipi and Huanger. Xipi's tune is more exciting and lively, and Jinghu's tune is bass 6 and alto 3. Another feature is weak beat and singing. The singing rhythm of Beijing Opera can be divided into three parts: the blind eye, the strong beat for the blind eye and the weak beat for the blind eye. Therefore, we say "eyes" open our mouths and eyes start to fall. Some plays, such as Shiro's Visit to Mother, The Fierce Horse with Red Bristle and Lost in Space, sang Xipi from beginning to end. Huang Er's tunes are relatively smooth and deep. The tune of Jinghu is bass 5 and alto 2; Another point is different from Xipi's, because the singing is stiff, so the singing is more neat. Like "Second Palace" and "Welcome the Queen to Scold the Hall", Huang Er sang from beginning to end; There is also anti-Huang Er, that is, the Huang Er is reduced by four degrees, that is, the 52nd string is changed to 15 string. After the mode modulation, the pitch is lowered and the range is widened, so the ups and downs of Huang Er's singing are also increased, which makes him look passionate and tragic. For example, "Touching the Monument" and "Cosmic Front" are typical anti-tune vocals. Then there is the anti-Xipi, which is lower and more sad; Nanbangzi basically belongs to the category of Xipi, which is light and mild, and is mostly used in Dandan Noodles and Xiao Sheng. Such as Farewell My Concubine and The West Chamber; The tune of Siping is smooth, just like Huang Er's tune. Although there is only one kind of original board, it changes endlessly. Some are leisurely, such as The Crown Princess, The Dancer and Wulongyuan; some are lingering, such as The Drunken Imperial Lady and Wang Jiangge; and some, such as The Poetry Society, can express joy.
Thirdly, the type of Beijing opera aria determines the rhythm of the aria. Xipi has original board, adagio, running water, allegro, guide board, board 26, scattered board, rocking board and so on. Huang Er has original board, adagio, scattered board, rocking board, guide board and return board. What is the original board? As the name implies, it is the original, original plate type. Other plates are all evolved from the original plates. The original board was two quartets, slowed down to quartets, then became an adagio, accelerated the speed, changed to quartets and became an allegro. When the strong and weak beats are sung freely, a scattered board will be formed. But no matter what kind of plate, the structure of the aria is the same, and it is also the structure of the upper and lower sentences, and the pause of each sentence is the same as that of the original plate. Both running water and Allegro are quarter beats, but we are used to calling them Allegro faster than running water. Both loose board and swing board are free beats, but generally the board with tight beat and slow singing is called swing board. However, I would like to remind you that Mr. Mei Lanfang's singing, especially the music score of Mr. Xu Lanyuan's piano performance, is called a slow-singing pine board, which means that a board without sandalwood accompaniment is called a swing board.
Now that we know the common sense of Beijing opera singing, such as rhyme, mode, plate and structure, let me talk about the aesthetic principle of Beijing opera singing.
There is a predecessor in Beijing Opera named Yu Shuyan, an old singer and a disciple of Mr. Tan Xinpei. His singing is called standard or legal post by scholars after the old Peking Opera. He once said a famous saying: the highest realm of singing is reading. I certainly agree with him very much, because art is the way for actors to communicate with the audience. We usually communicate through language and gestures, so we sing and dance on the stage. The so-called lack of reading is also a dance of singing. So singing must be to strengthen the language. Every aria and every note should express the actor's inner monologue, which is the so-called musical image or artistic language. If we can't achieve this goal, no matter how beautiful the melody is, no matter how fancy the singing is, there is no vitality and it is impossible to impress the audience. Therefore, when we sing, don't forget Mr. Yu Shuyan's words: The highest realm of singing is reading.
Because the singing of Beijing opera emphasizes her expressive force and emotion more, it doesn't require mechanical standards in rhythm like western music and songs. The old-timer said, "Don't step on the board." . In other words, we actors can't sing and recite on the stage without music and rhythm, but we can't be bound by rhythm and "caught" by music. For example, in the shoemaking scene in Hua Tian Cuo, Jinghu's qupai was used to set off the atmosphere. When Mr. Xun Huisheng plays, every movement seems to coincide with the artistic conception of music, as if he is conducting a band, and the strength and speed of music seem to be closely related to his congenial feelings. So do we sing. We can't do it without blindness, and we can't let blindness bind our singing. Often in order to emphasize a tone stress, it is necessary to "withdraw" the rhythm and "push" it up to set off the atmosphere. Sometimes, before the original board is transferred to Allegro, in order to explain to the band and start the transition in the process of transferring the board, that is, slow down first and then fast, it is necessary to "withdraw" first and then "urge". We call this kind of singing "monkey rubber band" style. This kind of singing requires the actors to have the ability to control the band in an all-round way, and also requires the band to have strong improvisation and improvisation plasticity. Therefore, the band of Beijing opera can't watch the music when playing, but must watch the actors and make corresponding changes according to the mood and rhythm of the actors' live performance. Only in this way can we hear the strength, taste, breath, between the lines and full emotions of the song. For example, when I was singing "Matchmaker", I sang the rocker as soon as I came out: spring scenery is sultry, indulgent, and the boudoir is happy ... This is a very ordinary aria, which can be summed up as "water". I can sing every word when I pronounce words, especially the word "recreation". The voice is very small, but very low. As soon as the deep word "boudoir" came out, I came to an abrupt end, and then I sang the word "boudoir" quietly and slowly, and then it became stronger from weak. Although the word "Xi" is small, it is followed by the word "Dejiu", which is sung lightly and hardly accompanied by Beijing and Hu. Only Qin Yue is gently plucking the heartstrings of the matchmaker's joy, so that singing and emotion can be achieved in one go. This kind of singing, two simple rocker words are different, which is intriguing.
When Zhang Sheng took the initiative to tell the matchmaker that he was "unmarried", the matchmaker was frightened by his recklessness and rudeness, so he shouted "Go" and sang a paragraph of water:
You read poetry classics for nothing,
Don't you know you can't say evil things?
Cui Jiashi is an official,
This old lady is the most cautious in housework.
It doesn't matter, no relatives,
What can you say about marrying a wife?
Fortunately, in the face of matchmaker today,
Otherwise, your name will be hard to keep.
Although they are all quarter beats, because these eight-line singing methods contain different meanings such as criticism, reminding, reprimanding, intimidation and teasing, we should emphasize them twice and make three rhythmic changes according to the content. For example, the first two sentences have a general rhythm, so we should pay special attention when singing the two themes of Cui Jia and The Old Lady. The problem of tone stress is sung in chorus, so the rhythm must be "moved down"; The last two sentences are relatively stable, and the seventh sentence is weaker, which brings out the meaning of intimidation. The last sentence is slow and powerful, giving people a sense of ending. At the same time, it floated down with the action of teasing shoulders, leaving a lively and lovely image for the audience.
For example, in the aria of "Borrowing the East Wind", Mr. Ma also has many changes in rhythm, such as:
I'm looking at the chain platoon of warships in Wangjiangbei.
Sigh only sighs that the east wind rises and the ship is on fire.
Cao Cao's soldiers will have nowhere to hide. ...
As we all know, "Looking Around" has a horse-like singing, as if the rhythm were to be pulled down. In fact, he just made some adjustments in the momentum of singing, which seems to be slow, but it is not slow. However, in Looking North, in order to highlight the characters' triumphant mood and the military demeanor with victory in sight, he moved the rhythm down with the sliding sound of the word "North" and skillfully sang the characters' triumphant mood. Therefore, when Peking Opera actors cooperate with western bands, there is always this contradiction in the use of rhythm. I think this is the characteristic of Chinese opera and cannot be easily denied.
What we are going to talk about is another feature of Beijing opera singing: based on words. Of course, we can only talk about the next class. thank you
The fourth lecture is about Beijing Opera singing.
In this lesson, we are going to discuss the problem of using words to create cavities.
I have seen the scene of Mr. Xun Huisheng's innovative singing. He first repeated the lyrics, then paced back and forth in the room, flapping his eyes with his hands and humming a song in a low voice. Sometimes after singing, he said, "I fell on my eye and there was no board. No, come again. " Sometimes after singing a sentence, they say, "No, this high word is upside down. It's not good to only care about the cavity but not the word." This is what he said to himself and to me. I dare not disturb his thoughts, just sit quietly watching and listening. From then on, I remembered that the singing of Beijing opera must be "based on the words" and cannot be sung backwards. You can't ignore these words.
Of course, when creating an aria, we should not only sing the lyrics correctly, but also pay attention to the emotion and artistic conception of the lyrics, so that the meaning of the lyrics can be more fully expressed and embodied through the aria. At present, the vocals of some new dramas are full of feelings, and the actors are very devoted and intoxicated, but the audience just don't like it and don't know what he is singing. Therefore, this kind of singing is not as beautiful and widespread as the singing of various schools in the past, because there is no taste and no words. Most of these vocals are designed by specialized composers who have no practical experience in singing, and most of them only care about emotion, regardless of rhyme, or consider melody first and then write lyrics. This kind of singing, the actor sings awkwardly, and the audience feels awkward. That doesn't sound good. Some people may say that Kunqu opera and Qupai opera are also lyrics. Yes, but the lyrics of the epigraph are not filled in casually, but according to the strict rules of leveling, especially when some words are written incorrectly, so this qupai can't be sung. Some composers didn't study this problem and were very proud of their singing skills, but the actors said they couldn't sing, which led to many contradictions. Don't you know that the singing method of our Beijing opera should be dominated by five tones and four tones, with oblique pronunciation and flat rhythm? This is the precious artistic wealth and practical experience left by our predecessors. Some people think that these are the old frameworks that constrain our innovation, and I think this is a shortcut for our innovation and reform.
So how do you make a cavity with words? First of all, we need to know the application law of the four tones, namely:
The sound level road is not low, and the voice is powerful.
The sound of walking is clearly sad, and the sound of entering is short and urgent.
Of course, this rule is not a rigid dogma, and it should be applied flexibly. For example, "Tong Ren Tang" is a rising tone, so we can't all sing it as a rising tone. Sometimes we can sing the word "benevolence" as an upper voice, and sometimes we can sing the same word as an upper voice. It would be even worse if we all sang in a rising tone. This kind of Yin-Yang reform mode, which Mr. Yu Shuyan called "three talents rhyme" and Mr. Mei Lanfang called "small tone" or "inverted before being right, inverted before being right", is actually the four tones of Huguang tune at work. It is wrong to sing the word "Tang" as a rising tone, that is, to sing "colleagues lie down" Not only the word "Tang" has become a lying word, which is not pleasant to listen to, but also does not conform to the four-tone value of Huguang sound. Another example is "Malay!" In Beijing Opera. They all say "mom!" The voice became dull, and I was reading "lead the horse!" When, pronounced business voice. Because the word "Ma" in Beijing pronunciation is Shang Sheng, and the word "Ma" in Huguang pronunciation is Ping Sheng, but according to the rules of Huguang pronunciation, Shang Sheng can be pronounced as a sliding sound, so it can be pronounced as "Ma" or "Ma". This is what we mentioned before. The four tones we are talking about are not based on the Beijing tone, but on the Huguang tone. The reform of the four tones can not be separated from Hu Guangyin's reform
For example, according to the law of "loud and powerful voice", we sing many upper-sounding words into sliding tones. For example, in "Touching the Monument", we sang: "There is no food inside, no grass outside ... it is difficult for me to go back to the DPRK." Among them, cursive script and Yi script are both slippery characters, and the antonym of "turning kindness into enmity" in Matchmaking is also slippery characters. Because these words are phonetic characters, it can be said that "every slip will slip." When someone sang "Storm" in "Imperial Monument Pavilion", he also sang the word "Bo" as a sliding sound, which obviously belongs to inverted characters.
It is said that at the beginning of the rehearsal of Du Fu Mountain, the word "life" sung by Ke Xiang was high-pitched, but it turned out to be a flat tone and became "life and death". Later, an actor who played Zheng's creation suggested that the word was sung backwards and the meaning of the lyrics was affected. The aria designer changed to the current singing method.
In a word, the singing of Beijing opera pays attention to the pronunciation of words, which is based on the flat tone of words, completely like the cadence of poetry. Therefore, the pronunciation should be based on prefix, suffix and reverse tangent, but it should also be noted that not all words have prefixes, suffixes and suffixes. For example, the pronunciation of a fancy word has no vowels and no suffixes. Words such as Dong and Tong have stomachs and suffixes, but no prefixes. In addition, reverse cutting is necessary, but it cannot be overemphasized. For example, the word "home" in the old play "Loneliness" was particularly emphasized by some people, and the word "home" was sung as "Ji Yi Ah", and even the word "ah" could not be sung for a long time. For example, when Tsing Yi sings Wujiapo, she should say "Thank you" in the background. Some actors not only break the word "le" into three words "Le Yi ao", but also bite the prefix so hard that the sound of "ao" can't be pronounced, which makes people listen to "Le Yi Li … ao". Strictly speaking, this is not a tangent, but a decomposition.
Because we want to speak in words, emphasizing the anti-tangency between words and sounds, in Mr. Mei Lanfang's words, that is, we should speak with clear pronunciation and sound. Therefore, the voice of a traditional opera actor is always in front of the voice of an ordinary vocal singer, unlike the singer who pronounces from the back of his throat with some vibrato. In particular, it should be emphasized that the articulation should be strong and the mouth should be strong. When we emphasize the strength of singing, we always require both words and singing, which is what we usually call the five tones of lips, teeth, tongue, teeth and throat. If you can't speak these five sounds, you can pronounce them from the back of your throat like a singer. Naturally, if you can't tune in five tones, your Beijing opera will become a song.
The fifth lecture on Beijing opera singing
I think anyone who knows anything about Beijing opera knows that there is a saying called "vocal duet". Obviously, this is an exaggeration. The reason for saying this is nothing more than emphasizing the importance of speaking the vernacular.
There are Bai Jing, Bai Yun and Su Bai in Beijing Opera. My teacher Xun Huisheng also invented a kind of chanting between Bai Jing and Bai Yun, which is both elegant and beautiful. I named it Harmony White.
Bai Jing is the pronunciation of Beijing dialect and Beijing flavor according to Beijing dialect, which is mostly used for Hua Dan, shelf painted face and small painted face. Xiao Sheng sometimes interspersed a few words of Bai Jing in rhymes, such as Chang Baotong in "Playing Yansong", which was humorous. Some people say that Tsing Yi and old students don't study Bai Jing, but this is not the case. For example, the princess in Shiro Visiting Mother and Hu Ayun in Su Wu Shepherd are all plays in Tsing Yi, all of which are based on Bai Jing. Mr. Zhang Junqiu's Bai Jing is particularly pleasant to listen to, as intriguing as his singing. The old-school dramas are mainly Qing Palace dramas. For example, Hong Chengchou in "Hong Mu Scold the Domain" changed his flag suit and top belt after surrendering to the Qing court, and changed his mind at the same time, which was in contrast with the rhyme read by his mother, fully satirizing the traitor's face of forgetting his ancestors. The most typical Hua Dan drama is He Yufeng in Thirteen Sisters, which is said to be a classic drama of Mr. Wang Yaoqing, mainly because it is well read and original. Later, Hua Dan went to Beijing and was influenced by Mr. Wang. There are many plays in which flowers read Beijing and Bai, which sounds casual, but it also takes a lot of effort. For example, you should rhyme when counting boards, which is the same as singing. There is also a kind called "through the mouth", which seems to read a long paragraph in one breath. The more you read, the faster you fly. Finally, playing a long note, just like the Ga key of singing, can also get the cheers of the audience. Sweet words can't be read if they are not handled properly. Especially Wu Ugly plays, such as Zhu Guangzu in comics and Yang in kowloon cup, are very difficult. I listened to Ye and Zhang Chunhua chanting, just like frying beans, crisp, neat and refreshing.
Bai Yun sings the same way as Beijing Opera, using Huguang rhyme. In other words, they are all products of Huiban's coming to Beijing 200 years ago. When you listen to Wuhan people now, especially when you learn Beijing dialect, it's just like the rhyme on the stage of Beijing opera. In fact, it is the singing method of Beijing opera, with white rhyme and some flowers. Therefore, the white melody is a simplified Pi Huangqiang. Someone said, "I don't believe this. You can't sing Peking Opera without Huguangyun. " In fact, he didn't understand that the melody of Beijing opera evolved from the four tones of Huguang dialect. How to express the charm of Huguang dialect with the four tones of Beijing dialect? Some playwrights are not familiar with Huguangyun, and write the lines of Bai Jing and Bai Yun exactly the same. The actor said he couldn't understand it, but he was unconvinced. He forgot that different dialects have different grammars and different language structures. For example, Su San recited the poem "You, my father, my daughter, and the traveler" in Interpretation. If it is Bai Jing, it is not easy to read, and it can only be changed to: "Take your time." On the contrary, as Jin Yunu said to Bai Jing, "I said, hey, come back." At first glance, Beijing opera actors can't pronounce rhyme, so they must change it to: "Listen, come with me!" " "I say this seems very simple. In fact, apart from artistic image design and aesthetic factors, it also includes dialects and phonology, which is very complicated.
Homophonic white, between Beijing white and rhyme white, with a little timid taste, I understand, using Beijing white tone, rhyme white melody, but also mixed with a few Beijing words. At first, I was not sure about Mr. Xun's real intention of creating "harmonious white". After years of stage practice, I think the secret of this chanting is to inject life into the traditional rhyme, making it more appealing and closer to the audience. For example, the recitation of The Matchmaker is so moving, so beautiful and so angry, because it is more vivid than rhyme and white, and more cordial than Beijing and white.
According to the different occasions and functions, the recitation of Peking Opera can also be divided into the following aspects: scene setting, recitation introduction, dialogue, oral presentation, counting boards, moths throwing themselves into the fire, sitting in the right place, nodding, bowing in return, crying for love and so on.
Setting the scene: it means that the people in the play read the poem after playing the introduction or singing the qupai, and then introduce themselves, saying their surname, name, job and official position, and then introduce the background of the plot development by themselves. Let's just say that Zhuge Liang's decision in "Empty City Plan" is blank:
After the succession of the four generals, Zhuge Liang was promoted to a big account to deal with military affairs. After the fight, he looked at the introduction:
Feather fan nylon towel, four-wheeled vehicle, as fast as wind and cloud.
Yin and Yang turned against each other and decided to be a Gankun, a Han family and two generations of sages.
(Read a poem after returning to your seat:
Recalling the past, I was in the hands of Gan Kun in Wan Li, Wolong.
Sweep away the smoke and return it to the Han Dynasty.
(Registration:
Old man, my name is Zhuge Liang and my name is Wolong. The first emperor entrusted orphans, swept the Central Plains, and turned against Han. When Sima Yi heard that the ice had fallen into Qishan, he would seize the street pavilion. I think the street pavilion is the throat of Hanzhong, so we must send troops to defend it, so as to be safe. ...
This form of setting the scene is completely the actor's self-promotion to the audience. It seems to be divorced from the characters themselves and the plot, but it seems that it is not divorced. That's not how plays used to be handled. Especially in the former Soviet Union, stanislavski believed that actors should be integrated with their roles to achieve the state of no self. How can he jump out of the role and tell stories? However, Brecht in Germany found that the setting or self-presentation of Chinese Peking Opera is a unique and advanced free effect, which is exactly an art form he wants to pursue. There is no conflict or climax in this chanting, but it is related to the lifeblood of the whole drama. It is also difficult to attract the audience.
Read the right words: although the actor only read a couplet on the stage, it is only a cross of five words, but it can play a key role in introducing the plot, characters, artistic conception and so on. For example, there is a flag officer in "Empty City Plan" who sends a geographical map of Jieting to Xicheng. When he went on stage, he read: "A thousand miles, a horse goes to Chung Shan Man", which revealed Qian Shan's identity, role and the process of crossing thousands of waters. This is a typical technique for Beijing opera to freely change time and space. Another example is the couplet that Zhao read from Yuzhou's front line:
Rhododendron branches cry, blood and tears are dark and sad.
In just ten words, the characters' full of grief and indignation are vividly displayed in front of the audience. In particular, Mr. Mei Lanfang read here and melted Zhao's unbearable grief and suffocation after losing her husband into these ten words, which immediately made the audience shudder.
Counting board: mostly used for clowns. Such as the lamp officer of "Dragon Robe"; The janitor in Huang Jintai and so on. The lines of the board must be consistent at the frog's mouth, but the last word of each sentence is silent, even silent or flat, and always requires fluency. Similar to limerick, such as "Dragon Robe"