Yangko opera is flexible and free, and is good at expressing real life. Although it is a Shan Ye village opera, it is not inferior in terms of roles, action performances, plot structure, characters and language features. The role of Yangko Opera is similar to that of Peking Opera, which is divided into students, poets, pure, ugly, old students, young students and martial arts students. Under Dan, it is divided into Lao Dan, Xiao Dan and wudan. , comprehensive business. The costumes, costumes and facial makeup of the characters are similar to those of Peking Opera, while the facial makeup of some characters such as Xu and Bao Zheng is slightly different in details.
After yangko became a drama, it inherited the tradition of being small and short. Small means small roles and few actors. Xiao Sheng and Xiao Dan can have a fight with a clown at most, so they are often called "three skits". Later, on this basis, whiskers, painted faces and Tsing Yi "three doors" were added. Short is short. Yangko opera is not a huge "drama", but mostly a "small drama" reflecting daily life and parents' short life. Its musical singing has absorbed the characteristics of Bangzi cavity, and formed a system in which Qupai style is compatible with banqiang cavity, and its performance has been greatly enriched and improved.
Yangko opera also has its own characteristics, such as "modern drama" at that time, simple costume props, flexible singing, local dialect, humorous language and close to life. Yangko opera has a long history and its singing is rich and heavy. The combination of local dialect slang and life customs makes it have distinct local characteristics, and it is the representative of folk songs and local minor in Ming and Qing Dynasties and integration of language style. Yangko Opera is a kind of vocal opera, and its singing style is called "Nine Tones and Eighteen Tones", which is not exact, and there are many words, mainly including: Water Margin, Doll, Shouxing Board, Hanging Millet, Revival Film, Yoko Daqingyang, Yoko Qing Er, Playing Cannon, Bald Claw Dragon, Cinnamomum cassia, Shanpo Sheep, Lotus Fall, Baner Seven, etc.
The two most popular tunes in Yangko Opera are "Water Margin" and "Doll" tune, which can be divided into male water margin, female water margin, male doll and female doll. There are headboards, crying millet, resurrection films, and male and female accents. The rhythm of each sex is different. Some modes, such as Yoko Daqingyang, Yoko Qing Er, Paopao, Bald Claw Dragon, Cinnamon and Alpine Goat, are gradually forgotten because they are usually sung by men. Usually for women, there are lotus drops and two guns. The characteristics and functions of these models are different. For example, Baner has only one sentence, which is used at the beginning of a lyric to play the role of introduction and transition. When the melody of crying Xiaomi is mostly used to sing sad tunes, the revived movies are mostly used for the monologues of the characters before they die.
Yangko operas all over the country are mostly named after emerging or popular areas. Some of these yangko mainly sing folk songs, such as Qitai yangko, Hancheng yangko and northern Shaanxi yangko. Some folk song combinations are combined with plate changes, such as Shuoxian Yangko, Fan Shi Yangko and Yuxian Yangko. Most of the main vocals and turntables come from Bangzi, and turntables have the characteristics of head (adagio), duality, trisexuality, middle board, scattered board and white rolling. Among them, folk songs are collectively called "aria", including "Band 4 aria" and "loved one aria", some of which belong to plate-type changes, such as Dingxian Yangko and Longyao Yangko. The turntable is divided into adagio, Erliu, Allegro, Sanban and Guide. When singing, banjo or bangzi is used, accompanied by gongs and drums, so it is also called "dry yangko".
After Yangko became a drama, the singing gradually developed in the direction of "drama". In the1980s, there were four ways to sing yangko opera.
One is to keep the minor form of early yangko. Singing is mainly based on folk songs and minor, and the title of a play is the title of the song. Although this kind of yangko opera retains the form of folk songs, it has absorbed more "tunes" (mainly "Ming and Qing folk songs") and popular vocals in other regions in the process of development, and the tunes are gradually enriched. This kind of yangko opera is represented by Jinzhong yangko.
The second is to simplify the traditional yangko minor and become an aria with infinite repetition from top to bottom. There is only one or two or three kinds of aria, and the number of words in the lyrics is the basic structure and intonation of the aria. This kind of yangko includes Zezhou yangko, Pingqiang yangko and Xiaofen yangko.
Thirdly, take one or several traditional yangko minor as the basic tune, and discompose the singing tunes. Although the aria is called "ban", it still retains the singing genes of "Four Yangko". This kind of yangko is represented by Wu Xiang yangko in southeast Shanxi.
Fourthly, although it still retains the traditional qupai of one drama and one song, in the development, it not only makes its own singing style rigid, but also absorbs various rigidities in Bangzi opera and uses it in the same drama as the original song. This kind of yangko is represented by northern Shaanxi yangko (including Shuozhou yangko, Fan Shi yangko and Guangling yangko).
In the early days, the band of Yangko Opera was mainly percussion instruments. With the continuous development, yangko has gradually been accompanied by orchestral music, and most of the instruments used are instruments commonly used by local bangzi, other operas or folk bands.
The performance forms of early Yangko were "singing", "pretending" and "acting". It is precisely because of the diverse performance forms that Yangko has become a Han folk art form such as "song", "dance" and "drama". Longyao Yangko is developed and changed from the rice songs of ancient local working people during transplanting, harvesting and working. Longyao Yangko was born in the late Ming and early Qing Dynasties, and toured on stage during Jiaqing years. With a history of more than 400 years, it is one of the ancient local operas in Hebei Province.
According to the different performance characteristics and regions, Longyao Yangko is divided into three roads: North and South. The main features of Longyao Yangko are: first, stage performance, complete trades, perfect singing, reading, doing and playing, which is different from Quyi and dancing. Second, the region is local, and the performance style is full of local flavor. Third, the repertoire is rich, according to statistics, there are more than 200. Fourth, the language is popular, the lyrics are simple and vivid, the spoken language is strong, and the singing is simple and lively. Fifth, the accompaniment is simple and the songs are dry. In the early stage, there were only martial arts schools, mainly gongs and drums, and there was no museum. Later, stringed instruments, flutes and other instruments were added.
Longyao Yangko sings in a simple way, and there is nothing like bamboo. Studying and excavating Longyao Yangko is of great value to the study of Hebei and even China opera history.
Longyao Yangko, a rice song bred from farm work, is not a compilation, family or genus of any other drama, and has its own unique position in the history of China opera.
In the long-term development process, Longyao Yangko has accumulated a very rich traditional repertoire. These projects include not only the repertoire of Longyao Yangko, but also other repertoires. The old artists of Longyao Yangko are uneducated, so most of its plays have no scripts and are handed down from generation to generation by the master. There are more than 200 known traditional plays and modern plays created after the founding of the People's Republic of China. In the heyday of Longyao Yangko, there were more than 200 troupes and more than 3,000 employees, but with the death of some old artists, or some old artists were too old to perform on stage. Young actors seek other jobs because of the depression of Chinese opera, and only a few old artists occasionally organize classes to perform some small plays or discounted plays. Longyao Yangko performers are aging, the audience is very narrow, and their development is in a trough, which is in urgent need of rescue and protection. Dingzhou Yangko, also known as Dingxian Yangko, is an ancient opera popular in the central and western parts of North China Plain, named after its birthplace in Dingzhou. It is said that its source is a folk song written by Su Shichuan, a writer in the Song Dynasty.
Dingzhou Yangko has its own unique characteristics in language, singing, mode and repertoire. The opera is simple and easy to understand, with a lot of dialect slang and a strong flavor of life; Male and female singing methods are mainly in gong mode, and singing method is a kind of singing method called out with their own voice and real voice. The traditional singing method has no music accompaniment and no fixed tone. Actors can start the tone at will and accompany it with orchestral accompaniment. The tone is D, and a large number of function words are used in the singing method. There are many melodies below the melody, but there is no lack of humor in singing; The rhythm is mainly one-to-one, with 28 kinds of traditional boards, and the full percussion accompaniment form (that is, the big gong cavity) is still retained; Dingzhou Yangko has a rich repertoire, covering a wide range of fields, including love, filial piety, case-solving, comedy and so on.
Dingzhou Yangko has a unique singing style, and the traditional repertoire has retained a great deal of folk customs and humanistic information, which has become the first-hand information for studying China folk customs and traditional culture.
Dingzhou Yangko was first sung in the field, and then it was sung in the field. At first it was just a ditty, and later it was compiled into a yangko opera.
The compilation of Dingzhou Yangko began in the middle of Qing Dynasty. At that time, influenced by other operas, some folk artists began to play roles in simple clothes. After 1926, a large number of yangko artists rose, and Dingzhou yangko became all the rage. 1952 dingxian yangko troupe was established, 1959 the troupe reached its peak.
After several booms, Dingzhou Yangko gradually went down. 1988, Dingzhou Yangko Troupe was cancelled, and the actors began to turn to folk activities and performed in groups of three or five. Although there are still a number of old and new opera fans in rural areas, due to the serious shortage of manpower, material resources and financial resources, the scale, quantity and quality of its performances are far behind the previous ones. Some old artists died one after another, and many plays were lost.
In order to save this ancient drama, Dingzhou City set up a leading group for the protection of Dingzhou Yangko, formulated a protection plan, and successfully declared the first batch of national intangible cultural heritage masterpieces, which is a good opportunity for the rescue and protection of Dingzhou Yangko. Shuozhou Yangko is a comprehensive folk art form integrating martial arts, dance and opera. It is popular in Shuozhou city in southern Inner Mongolia and the surrounding areas of Jining, Hohhot, Baotou and Hetao, and also exists in cities and counties near Zhangjiakou, Hebei and Shanxi, Shaanxi. Shuozhou Yangko, which was performed for the Yangko team in the square and street in the early days, has a long history. Martial arts elements were added in the Song Dynasty, and story contents were added in the late Qing Dynasty. Later, folk performances were performed in two artistic forms: dance and opera.
Dance-based yangko is called "Kicking Drum Yangko", which is mainly performed on occasions such as festivals, birthday celebrations, son-in-law worshipping God, and making wishes when invited. Yangko, which focuses on performance, is called "Yangko". The singing of Yangko is mainly local popular folk songs and tunes, and draws lessons from the singing structure and tunes of other operas, forming a unique "synthesis" of banqiang and Qupai. The repertoire is dominated by Taoist stories and folk stories.
Shuozhou Yangko has been circulating in the local area for a long time, and has evolved into different art forms, providing fresh materials for studying the development, dissemination and evolution of China folk art.
In 1930s and 1940s, Shuozhou Yangko was severely damaged. After liberation, scattered artists voluntarily combined and gathered in towns and villages to perform, and Shuozhou Yangko entered a prosperous period. In addition to performing traditional plays and conference plays, the repertoire also performs transplanted plays. From 65438 to 0953, the state appointed relevant personnel to help select highly skilled artists, and organized Xinle Troupe in Shuoxian County, becoming the first organized performance group in Yangko. 1956, the troupe officially changed its name to Shuoxian Yangko Troupe, and recruited the first batch of actresses, and its business expanded again. 1966, the troupe was forced to stop performing, dissolved the following year, and the artists returned to China. Until 1970, the troupe resumed, artists returned to the troupe again, and recruited the third batch of students, and established 2 1 amateur yangko teams in the county. After the "Cultural Revolution", the national drama was reborn, and the historical drama returned to the stage on 1977. 1979 The Art Research Institute of the Ministry of Culture filmed the traditional drama Clay Kiln of Shuozhou Yangko. In 1980s, Shuozhou Yangko was once again full of vitality, but in 1990s, Shuozhou Yangko was challenged in many ways and faced with severe survival problems.
Due to the lack of creative staff, the loss of excellent actors, the lack of fixed rehearsal venues and the serious shortage of funds, the Yangko Dance Team can only participate in some public welfare performances or social activities, and is facing an embarrassing situation of struggling. Fan Shi Yangko Opera is popular in Fan Shi and its surrounding areas.
The tune of "Yangko" was introduced into Fendi and Baima City (now Yingxian County) in Fan Shi during the Wanli period of the Ming Dynasty. At that time, it was just a square art of running and singing in the streets. The masses called it "something" and named it "Fendi Yangko" according to the place. During the Daoguang period of Qing Dynasty, folk artists Zhang Xin and Zhang Dai collected and improved the popular yangko tunes and instrumental music, absorbed the vocals of other operas into "yangko" and transplanted the repertoires of other operas to the stage for performance.
There are 86 repertoires in Fan Shi Yangko Opera, and more than 70 repertoires are often performed, including early folk repertoires and gradually developed series. The vocal structure of Fan Shi Yangko is composed of mixed banqiang and Qupai style, in which banqiang has 18 basic boards, Qupai style has 17 "training tunes", and there are also some minor tunes and 75 instrumental music.
Fan Shi Yangko has evolved from folk dance to traditional opera, and its singing has integrated various forms of traditional opera singing, which is of great value for studying the history of China's drama development.
From 65438 to 0956, the Fan Shi government organized diaspora artists and formally established the Fan Shi Yangko Team. After the establishment of the troupe, a large number of outstanding actors emerged one after another and formed their own artistic characteristics and styles.
In 2006, Fan Shi Yangko was listed as the first batch of national intangible cultural heritage by the State Council. Since then, professional and amateur classes of Fan Shi Yangko have gradually revived, and traditional plays have also appeared on the stage. Huazhou Yangko is called Huazhou Yangko Opera, also called Buyi Opera. It is the most famous yangko in Jiangjia Village, Guocun Village, Huitoufang Village, Jiangcun Village and Gaotang Town, Chishui Town, Hua County.
Huazhou Yangko has a long history. Relevant information records: "Nuo Dance" originated in Han Dynasty, evolved from "Village Dengaku" in Song Dynasty, and flourished in Qing Daoguang and Guangxu years. 1957 was named "Hua Wei Yangko", and it was called "Huazhou Yangko" in Huaxian Annals.
In 1930s-1950s and 1960s, Huazhou Yangko was popular for a while, and participated in many provincial and municipal cultural performances, which won wide acclaim. After a short pause during the Cultural Revolution, Huazhou Yangko was full of vitality in the 1970s, and participated in amateur music and dance performances in the province from 65438 to 0975. During the period of 1982, at the report meeting of Weinan folk literature investigation, selling groceries, as a new year's commodity, lit a fire with a pomegranate doll and took Xiao Xi to meet his sister, which was well received. However, in the late 1980s, with the progress of the times, the development of economy and culture, and the diversification of culture and art, Huazhou Yangko gradually lost its former prosperity and vitality. The market of repertoire creation and performance is declining year by year, the shortage of actors and the stagnation of script innovation make Huazhou Yangko opera on the verge of extinction.
After 2004, the government of hua county conducted a general survey, investigation, excavation and collation of the data of Huazhou Yangko, supported the folk artists and playwrights in the province to collect, excavate and collate the small dramas of Huazhou Yangko, and printed and published a book "Hua Wei Yangko". Hua county Municipal Bureau of Culture and Sports hired experts to investigate and demonstrate Huazhou Yangko Opera, explore its value, and rescue more than 30 classic repertoires of Huazhou Yangko Opera. From 2006 to 2007, organize special personnel to survey, collect and sort out Huazhou Yangko Opera again, and form written and audio-visual materials; The artists were recorded and videotaped, and the art archives of Huazhou Yangko were established. And declare Huazhou Yangko as a provincial and national intangible cultural heritage protection list. While inheriting the mentoring, Huazhou Yangko has gradually embarked on a professional group performance program. In many villages in the western mountainous area of Pingshan county, the folk custom of singing yangko opera has been circulating during the slack season, which originated from agricultural production and labor, and the yangko opera in Pingshan county has its own unique style, so it is called Pingshan Xidiao yangko opera.
According to Records of Pingshan County, Yangko was popular in the village in 1853 (the third year of Xianfeng), which often delayed farming. Therefore, the official issued a ban. East of Shijiazhuang is East Road Yangko, and west of Shijiazhuang is West Yangko. Because of different regional dialects, Yangko is sung with different accents, so there are differences between the East and the West.
Pingshan is a western-style yangko, also called yangko, which is a native local opera with only weapons, drums, gongs, twisters and cymbals. Take the form of "singing seven times, playing eight times, playing nine times, wearing a small coat and a big shirt, adding a vest, singing from door to door, singing and playing stalls, and making their own costumes, which is called the burden class".
Every New Year, temple fairs have spontaneous collective performances by the masses, and almost no literati participate, so they are all passed down from generation to generation by word of mouth. Compared with Beijing Opera, the five major lines are ugly, but they have no end.
The plays are all folk trifles, legends and stories, and anecdotes about parents beating their wives and training their children.
The singing of Pingshan yangko is euphemistic and pleasant. The changeable intonation and the long and short percussion accompaniment form of the above sentences have formed the artistic characteristics of being easy to understand, concise, easy to understand and humorous.
At the end of the Qing Dynasty, under the word of mouth of Cui Tianbao, a descendant of Yangko, Li Tongxiang (stage name "grasping the heart") and others appeared, and several schools were formed. Among them, "Tongxiang School" has the greatest influence. During the period of 1926 (Republic of China 15), western-style yangko was quite common in Pingshan county, and almost every village had yangko operas. After liberation, the western yangko was innovated and developed, some dramas of dynasties were adapted and processed, and musical reforms were carried out, trying to change the tradition of yangko without strings and opening a precedent for yangko with hexagrams and strings. Later, in Liujiagou Village and Bailongchi Village, Gu Yue Town, Pingshan County, more than 30 scripts of western yangko were circulated by hand and performed in both villages. But in general, it is in a state of less inheritance, difficult development and urgent need of protection. Weizishui Yangko is an ancient folk opera in Mentougou District, which is formed by combining Yangko with other art forms such as singing, dancing and opera. Yangko opera originated in Jiaqing period of Ming Dynasty.
The accompaniment of Weizishui Yangko is mainly percussion instruments, mainly composed of Dan Pigu and sandalwood. The whole play only uses gongs and drums, not silk and bamboo. Play a "guy" and sing a play during the performance; The accompaniment is forceful, the rhythm is clear, the singing is vigorous and bold, and the high notes are passionate. According to textual research, Yangko Opera is very similar to the high-pitched opera prevailing in Ming and Qing Dynasties (one solo, many people supporting each other, only accompanied by percussion, high-pitched and rich in recitation), while the singing and accompaniment of Yangko Opera in Weizishui Village have the characteristics of high-pitched opera in Ming Dynasty, and the main singing styles are "swinging gongs" and "yangko tune". Some of them are similar to Hua Gutiao in Hunan. Plays include "Zhao Yun intercepts the river" and "Zhang Fei catches the ship".
The Yangko in Weizishui Village has strong local folk opera characteristics, and the content of the repertoire is intact, with a long history and simple style, which is of certain historical value to the study of folk opera in western Beijing. At the same time, it also provides historical materials for studying the cultural exchanges and business exchanges between Beijing and the outside world in history. In addition, Weizishui's Yangko Opera enriches the amateur life of local people and becomes a unique local opera.
Although props, costumes, musical instruments, etc. With the help of the state and the government, the performance team of Weizishui Yangko has been updated, but due to the older artists, the performance team is also facing the dilemma of lack of successors, and it is urgent to cultivate new inheritors. Qitai Yangko is a folk opera originated from Taigu, Shanxi, also known as Taigu Yangko and Jinzhong Yangko. Originally originated from agricultural labor, it is a folk tune sung by rural farmers with agricultural activities, and its origin can be traced back to the Tang and Song Dynasties. With the development of society and economy, this folk tune gradually integrates action, dance, martial arts and skills into it. Develop into "land yangko" and "crossing the street yangko" that can be performed and appreciated; Later, it borrowed the essence of foreign folk art and gradually developed from street singing into a local opera with 388 repertoires.
Qitai Yangko is a comprehensive art that integrates music, dance, singing, reading (Daobai), doing (performing) and playing (martial arts Yangko), and mainly focuses on singing. Or a play, or many plays, with beautiful tunes and lively language. The content mainly reflects the rural life of farmers in Qixian, Taigu and Jinzhong. The plot is simple, mostly in the form of compound sentence, and the dance movements are lively and diverse. The performance is simple, simple, rough, full of life and local characteristics.
In the early days of the founding of New China, there were 7 1 amateur yangko teams with more than 2,000 artists in Qixian County. Yangko left over from the old society has both essence and dross. In the performance, there are both the artistic essence extracted from life and the ugly and obscene scum in life.
In June 195 1 1, sponsored by Qixian Cultural Center, Qitai Yangko Research and Reform Society was established, and a lot of work was done in performance reform. As a result, unhealthy things were eliminated, a number of traditional yangko operas were arranged and adapted, and modern dramas such as Pick a Son-in-law and Send a Dowry were transplanted and staged. In terms of tone and music, it strengthened the rhythm and enriched the gongs and drums. Some plays are accompanied by strings. Since then, Qitai Yangko has gradually moved towards a healthy development path.
Due to the influence of multicultural entertainment and other reasons, the inheritance and development of Qitai Yangko are restricted to a certain extent, and its survival and development are facing an endangered situation. In order to better protect, inherit and develop Qitai Yangko, in 2006, according to the recommendation of relevant departments, Qitai Yangko has been officially approved to be included in the provincial intangible cultural heritage protection list. Wu Xiang Yangko is a form of traditional Chinese opera, which spreads in xiang yuan and Wuxiang, and in Yushe, Zuo Quan and Heshun, Jinzhong. It began with folk tunes in Xiangyuan and Wuxiang, and then merged with Xihuo Yangko, and gradually evolved under the influence of local languages. It is a local opera in Shangdang area, second only to Shangdang Bangzi and Shangdang Gongzi.
Wu Xiang yangko began to sing for dry board, which was called "dry board yangko" and "Gequan yangko" by the masses. During the reign of Qianlong and Jiaqing, there were semi-professional class clubs. After Xuantong Yuannian (1909), Wu Xiang Yangko borrowed from Shangdang Bangzi in repertoire, performance programs, accompaniment instruments, music qupai, costumes and stage installations, and even appeared in the form of singing with Dang Bangzi, that is, people who played officials sang Bangzi, people who played ordinary people sang Yangko, or people with dirty faces sang Yangko.
Wu Xiang Yangko is the collective name of Xiangyuan Yangko and Wuxiang Yangko. According to the classification method of traditional opera music cavity, Xiangyuan Yangko belongs to folk singing and dancing cavity. The structure of aria is plate cavity. Singing takes the upper and lower sentences as the basic unit, changing regularly and repeating constantly. Traditional singing can be divided into two categories: flowing water and couplets. Xiangyuan Yangko and Wuxiang Yangko have different styles. The former is mainly in the alto, characterized by low and smooth echo, beautiful and delicate, while the latter is mainly in the treble, characterized by high-pitched, strong, clear and bright. According to textual research, there are 239 traditional dramas and 57 modern dramas of Xiangyuan Yangko. In traditional drama, the three factions (Xiao Sheng, Xiao Dan, Clown) are the archetypes, with easy-to-understand language, strong local flavor and humorous images. Representative repertoires include Lan Ying Entering Beijing and Yu Fengpei. The modern representative plays of Xiangyuan Yangko include Li Youcai Banhua, The Wedding of Xiao erhei, Old Balu and so on.
Xiangyuan People's Troupe is a professional troupe of Wu Xiang Yangko. The local government attaches great importance to it and gives certain financial subsidies every year. This troupe mainly performs yangko, and sometimes it also performs bangzi and song and dance. Compared with other county-level theatrical troupes in Shanxi Province, their living conditions are better. Yuxian Yangko, also known as Yuzhou Bangzi, originated in Yuxian County, Hebei Province and is popular in Zhangjiakou, Hebei Province, Yanbei, Shanxi Province and some counties in Inner Mongolia. It originated from the folk, developed from field tunes and folk songs, and absorbed a large number of ancient opera tunes spread in the northern region in the early days, forming a relatively complete Bangzi opera. Yuxian Yangko highlights its own characteristics in the form of "dialect and vernacular" and the ingenious combination of banqiang and "practicing tune" songs.
Yuxian Yangko was produced in the late Ming and early Qing Dynasties, and in the Kangxi period, Bangzi opera with its own repertoire, music, performance, singing and other contents was formed. By the time it reached its peak in Qing Dynasty, there were more than 265,438+00 folk clubs. The performance market is far away in Ulaanbaatar, Mongolia. After liberation, a professional Yuxian Yangko Team was established. In the late period of the Cultural Revolution, it was reorganized into an art troupe and later changed to Yuxian Jin Opera Troupe. In 2005, the troupe resumed the excavation, inheritance and innovative performance of Yuxian Yangko Opera. Hancheng Yangko is a folk art that integrates singing, dancing, speaking and expression, and it has the embryonic form of musical with elements of China traditional opera.
There are 60 Qupai in Hancheng Yangko. Except the head, tail, number plate and some Qupai variants, there are actually about 40 Qupai. These qupai have different emotional styles and different rhythms. Lyrics are strictly limited to qupai, which can be improvised, random, long or short, humorous and interesting. Hancheng yangko is called "singing yangko" or "yangko drama", not "twisting yangko" or "dancing yangko" because it always focuses on singing, mainly folk songs.
Hancheng Yangko is usually performed by 2-4 people. The program is short and pithy, lively and simple, with beautiful melody and cheerful and vigorous dance. With the development of the rhythm of the plot, dance movements take posture as "starting", flash as "bearing", twist as "turning" and jump as "closing"; Sometimes "big, medium and small", that is, big movements include small movements, such as swinging your body and shaking your head; Big arms and small hands; Leg push, wrist turn, etc. In short, the dance movements of Hancheng Yangko can be summarized as: flash, twist, turn, run, shake, swing and jump; Slow release and tight collection, large, medium and small sets, clever beginning and just back, shock and winding, in a hurry, in a state of singing.
The Ming and Qing Dynasties were the formative period of Hancheng Yangko. In the mid-Ming Dynasty, some literati in Hancheng served as officials in Zhejiang, Sichuan, Yunnan and Guizhou. After their servants returned to their hometowns, they brought back the southern Yangko tunes to Hancheng, and absorbed a lot of nutrients from operas such as Shaanxi Opera, Puju Opera and Hu Mei Opera, making Hancheng Yangko unique.
During Guangxu period of Qing Dynasty, Hancheng Yangko entered its heyday. In the second year of Guangxu (AD 1876), Han Minqing, a yangko artist from Hancheng, led a yangko team to Beijing and was recruited by Empress Dowager Cixi to perform in the palace. A "yangko coach" was also set up in the palace to teach yangko. In the 25th year of Guangxu, the magistrate of Hancheng held a performance of Hancheng Yangko in order to receive an imperial envoy from the Qing court, which showed the charming charm and exquisite art of Hancheng Yangko.
1926 During the Spring Festival, Xue Fengchuan's red artists Jiande and Tianbao each led the village yangko class and set up a stage to sing yangko. For a while, it was a close call. In the 1940s, with Hu Mei, Pu Opera and Qin Opera occupying the urban and rural stage in Hancheng, Hancheng Yangko gradually declined. By the fifties and sixties, there were few yangko performances in Hancheng.
After the founding of New China, Hancheng Yangko was excavated and injected with new vitality by provincial, local and municipal literary and art workers, creating a number of new forms and new contents of Hancheng Yangko repertoire, which made Hancheng Yangko a smash hit. In particular, in 1963, a special performance of yangko opera such as Mayday, Brother of the Pole and Female Member was performed in Tiananmen Square in Beijing, and then it was performed in Zhongnanhai, which was a great success and was recorded.
After more than ten years of silence during the "Cultural Revolution", the reform and opening-up has revived the vitality of Hancheng Yangko. 65438-0985, "Hancheng Yangko Club" was established. Subsequently, a series of books "Selected Songs of Hancheng Yangko" and "Selected Songs of Hancheng Yangko" were published, and the repertoire and music of Hancheng Yangko were widely collected and arranged.
In June 2008, Hancheng Yangko was included in the second batch of national intangible cultural heritage protection list. Northern Shaanxi Yangko is mainly distributed in Yulin, Yan 'an Suide, Mizhi, Jiaxian, Wubao, Zizhou, Qingjian, Yanchuan, Ansai and Zhidan, with the northern Shaanxi Yangko in Suide County being the most complete, systematic and representative. The northern Shaanxi Yangko in Suide County can be divided into northern Yangko and southern Yangko in terms of artistic style, among which the representative folk artists of northern Yangko are Wu and Li Zengheng, and the representative folk artists of southern Yangko are Su, Su Guitang and He Junyi.
In 2006, the northern Shaanxi Yangko was named as a national intangible cultural heritage protection project by the Ministry of Culture. Jiaozhou Yangko is the representative of Jiaodong Yangko, which is mainly spread in Jimo, Huangdao, Jiaonan, Gaomi and other areas in Shandong. Fiona Fang, five miles from Jiaoxian County, is the most popular place, especially in Dagu River area.
Jiaozhou Yangko used to be called "Diyangko", "Running Yangko", "Three Bends" and "Twisting Waist". After the founding of the People's Republic of China, it was called "Jiaozhou Yangko" because it was mainly active in the suburbs of Jiaozhou. The actors of Jiaozhou Yangko are basically 24 people. If the number of people increases, it must be an even number. The yangko team needs one or two organization leaders to be responsible for the affairs of the team, commonly known as the "yangko master". There is also a coach or an old actor of the Yangko team, called "Umbrella Head". The umbrella head must be sharp-eyed, flexible and articulate. Read some jingles or say some auspicious words before the performance, and the language must be humorous. In addition, the yangko team should have 3-5 coaches who specialize in training and performing actors. The roles of yangko can be divided into five types: Cui Hua, Fan Girl, Xiao Yan, Drum and Sticks. Generally, there are two or four people in each role, not singular. Cui Hua, a young woman and girl, is generous and stretched during the performance, showing the vigorous, cheerful, generous, gentle and demure character of women. Mandy is a young girl, and her acting skills are naive, lively and beautiful. Drums and sticks are middle-aged and young men. Drums are smart and humorous, and sticks are heroic and vigorous.
The music accompaniment of Jiaozhou Yangko is generally feather folk percussion, with beautiful melody, changeable tone, lively rhythm and strong local flavor. The music of yangko closely cooperates with the dance movements. The octave used to express the dynamic characteristics of Yangko is appropriate and typical. The music is used flexibly according to the dance mood, and the strength and speed are highly harmonious and unified.