The West Factory is another specialized organization besides Royal Guards, East Factory and Inner Factory in Ming Dynasty. It is a combination of prison and court, and directly belongs to the emperor. The duty is to investigate the words and deeds of civil servants, detain and punish suspects. Its influence is rampant, which leads to many unjust cases and some people are forced to flee their homes.
The second child Changsha Inn is from Yiyang, Jiangxi. At the beginning, because the old man inadvertently said something dissatisfied with the court, he was arrested by the West Factory and hid in Changsha with his only two grandchildren. At this time, hearing the news of the dissolution of the West Factory, the old man finally didn't have to be scared and could find a place to settle down.
The old man need not worry about eating. His pure Yiyang accent has been very famous since his hometown in Yiyang, and he is the most famous tenor king in the area. Moreover, in recent years, the elderly have been living on Yiyang dialect and grandchildren.
On the second day after learning the news, the grandparents and grandchildren came to the front of a troupe in Changsha and asked to join the troupe. The troupe owner gave three examination questions, and the grandparents and grandchildren were leisurely and leisurely, which made the troupe owner very satisfied.
Especially when the troupe owner heard the sonorous Yiyang accent of his three grandchildren, he immediately realized that as long as he left these three grandchildren behind, his troupe would be the most distinctive troupe in Changsha and would have money in the future. Results After three grandparents and grandchildren from Yiyang region settled in Changsha Opera Troupe, they also brought Yiyang Gaoqiang to Changsha.
Yiyang Gaoqiang is the first vocal cavity introduced into xiang opera. In the following period, Yiyang Gaoqiang was closely combined with local folk art and local language, forming a unique form of singing Changsha Opera with high notes and singing white with Zhongzhou rhyme.
Yiyang Opera, referred to as Yi Opera for short, was once as famous as Haiyan Opera, Kunshan Opera and Yu Yaoqiang Opera in the history of China opera, and was called the "four major vocal operas".
Yiyang tune is an ancient opera tune in China. It is one of the main tunes that are active among the people. It was introduced into Yiyang from Song and Yuan Dynasties through Xinzhou, combined with local Gan dialect and folk music, and evolved by absorbing the Northern Song Dynasty. Appeared in the late Yuan Dynasty, Ming and Qing Dynasties, Yiyang dialect spread and developed in the north and south.
Yiyang cavity is centered on Yiyang, and it mainly inherits and continues in Guixi, Wannian, Leping, Poyang, Fuliang and Shangrao in Jiangxi Province. In the early and middle Ming Dynasty, it was distributed in Anhui, Jiangsu, Zhejiang, Fujian, Guangdong, Hunan, Hubei, Yunnan, Guizhou, Beijing and other places. Xu Wei, a dramatist in Ming Dynasty, once recorded that Yiyang dialect was widely used in Beijing, Hunan, Fujian and Guangdong.
After Yiyang Opera was introduced into Changsha, many of the traditional repertoires performed by Changsha Opera Troupe came from Nan Opera and Yuan Zaju in the late Song Dynasty. Most of these plays are of the Qiang nationality in Yi Yang, such as Biography of Zhongjing.
Kunqu Opera was introduced into Changsha a little later. According to "Changsha Lao Lang Temple Ban Pai", in the Kangxi period of Qing Dynasty, there appeared Fuxiu Ban and Laoren Ban in Changsha, singing both high-pitched tunes and Kunqu opera.
Due to the introduction of Gao Qiang and Kunqu opera and the influence of local folk customs in Changsha, the development of Gao Qiang music and performing arts has been promoted and enriched, from a martial arts drama that emphasizes big gongs and drums to a literary drama that also sings small gongs and drums.
At that time, Lao Ren sang high-pitched operas with Ban, Bao and Du San, such as "Rushing Porridge" and "Hunting Back to the Book", and also absorbed many beautiful and delicate workmanship and dances in Kunqu Opera performances, which was once famous at that time.
As far as the historical development of Kunqu Opera is concerned, the 400 years before18th century was a period of gradual maturity and prosperity of Kunqu Opera. During this period, Kunqu opera has been showing people all kinds of customs in the world in a perfect way.
During the reign of Tongzhi and Guangxu in Qing Dynasty, local operas began to rise, and their appearance broke the long-standing performance pattern. The development of traditional Chinese opera also changed from aristocratic to popular, and Kunqu opera began to decline, so that many Kunqu artists switched to perform other popular operas. Ye Dehui, a native of Changsha in Guangxu period of Qing Dynasty, recorded in "Poems of Hemen Watching Drama": "Kunshan is near, and no one can meet it. How can we find the source of Baishi Weng?" This poem has actually explained the situation of Kunqu Opera in xiang opera at that time.
With the decline of Kunqu Opera, the Hui-Han tune was introduced to Changsha in the middle of Qing Dynasty, and xiang opera began to join it.
Opera cavity, also known as chaotic opera, generally refers to a new kind of local opera from the end of Kangxi to the end of Daoguang in Qing Dynasty 100. Divided into north and south roads, South Road refers to Huang Er and North Road refers to Xipi.
Luantan, as the name of China traditional opera tune, is basically the same as that of Bangzi tune, and it also refers to the main drama in Bangzi tune system. In addition, when Kunqu Opera, Luantan or Kunqu Opera, Gaoqiang and Luantan are combined together, Luantan can be interpreted as Kunqu Opera, and can also be used as a general term for all kinds of operas other than Kunqu Opera and Gaoqiang Opera.
With the development of Beijing Opera, some people call it "random play". For example, it used to be described that actors can perform both Kunqu Opera and Peking Opera.
With the development of local operas, some operas have diverse vocals and different origins, and their plays are also known as "Wenzhou random play" and "Hebei random play".
The origin of Luantan is still inconclusive, but xiang opera absorbed a series of plays such as Da Changsheng Le and Stealing Chicken from Huiban, and called its tune "Anqing Tune". The rest belong to Anqing in the flower department, such as the flooded seventh army, Lu Yao knowing horsepower, Wang Xiang mourning, Li Da fighting Geng and sleepy.
Huiban originated from Ruyi Hook-and-Lock Cloud Capsule in Shaanxi Opera, and later spread to xiang opera Ban. In addition, xiang opera also absorbed Yong Yang and other dramas from the Han opera, which shows that the early origin of xiang opera has a certain relationship with Hui opera and Han opera.
With the introduction of the North-South Road Tone, high-pitched and disorderly plays began to appear in xiang opera, such as "Pan Box" singing high-pitched tunes and "Kao Kou" singing disordered tunes.
High-pitched harmony and random play on the same channel can learn from each other and promote each other. The treble cavity absorbs the skills and martial arts of the director of random play; Influenced by high-pitched singing, random play has formed a long-term flowing stream, such as 48 songs No More in Chopping Li Guang and 24 songs Poor Master in Ji Cheng Driving, which made xiang opera's singing and performing arts take a step forward.
190 1 year, Peking Opera flows into Changsha. Four years later, another 18 Peking Opera artists participated in the xiang opera class and performed on the same stage in Changsha. Xiang opera artists also learned more difficult martial arts from Beijing Opera, and absorbed some coloratura of Beijing Opera in their singing.
During this period, xiang opera developed further, with the emergence of dramas from the north, such as One Knife Meeting, Killing Xionghu and Guiding the Way Home. There are early Yiyang tunes, such as Mulian Biography. There are Yiyang and Qingyang plays, such as pipa, white rabbit and golden seal. There are also a large number of North-South dramas such as Romance of the Three Kingdoms, Water Margin, Yang Jiajiang and Thirty-six Courtyards.
Looking at the evolution of xiang opera's four kinds of vocals, during the reign of Kangxi in Qing Dynasty, most of the performance clubs in xiang opera Middle School mainly sang high-pitched vocals, or sang both high-pitched vocals and Kunqu Opera, such as Fuxiu class and senior class.
During the Qianlong period of the Qing Dynasty, there were more and more class clubs in xiang opera, such as Dapuqing class, which mainly sang Kunqu opera, and there were also nine class clubs in Liuyang and Liling. At that time, the Lao Lang Temple had been built in Changsha and Xiangtan, and Jiulin Keban was established in the last years of Qianlong.
During the light years of the Qing dynasty, Renhe class was established, mainly with random bombs. During the reign of Tongzhi and Guangxu in Qing Dynasty, class associations flourished. At the beginning of Xuantong in Qing Dynasty, there were five classes in Changsha: Renhe, Tsinghua, Chuntai, Renshou and Tongchun. In Xiangtan, there are Yonghe and Qinghe classes; In Liuyang, there are birthday classes; In Ningxiang and Yiyang, there are Daguan class and Fulin class.
From the Daoguang period of Qing Dynasty to the eve of the founding of the People's Republic of China, there were as many as 28 gates and more than 60 gates in xiang opera, which were distributed in Changsha, Xiangtan, Liuyang, Liling and Chaling. Among them, Wuyun science class, which began in Daoguang period in the late Qing Dynasty, has the longest course, and has trained more than 400 artists after decades. Later, there were more influential classes such as Sanyuan and Huaxing. Kun classes such as Fulu, Jiuru and Fuxi, which were established after 1920, are organizations specialized in training female artists, and have a history of 10 years.
Because xiang opera has been performing in Changsha, the provincial capital for a long time, his vision is relatively broad, and there are more artistic exchanges than other brother operas in this province. Therefore, the innovation of performing arts is ahead of the trend, which is illustrated by the introduction and evolution of four kinds of voices. Therefore, Wang Xianqian, Wang Yanyun, Yang Enshou and other intellectuals paid great attention to xiang opera. And have a lot of comments on plays and performances.
Especially at the beginning of the 20th century, influenced by the new cultural trend of thought, xiang opera artists in Changsha were not so conservative in art, so a number of frequently staged Zhezi operas appeared in xiang opera, and their performance level improved rapidly, reaching the level of meticulous carving.