Yue Opera, a traditional drama in China. Because it originated in Shengxian County, Shaoxing, Zhejiang Province, where the ancient Yue State was located, it was named Yue Opera. It was developed from the rap art of "singing the earth script" during the Spring Festival in the thirty-second year of Guangxu in Qing Dynasty (1906). It was first edited and performed by six rural rappers in Shengxian County, and performed ten songs such as "Head", "Marriage Story" and "Ni Feng Fan Tea". However, their singing is mainly based on "singing the earth book" (that is, "singing the tune"), and only drums and sandalwood are used to play the festival. Later, it became popular in Tonglu, Fuyang, Haining, Hangzhou and other places. The drama mostly reflects rural life, mainly including selling women, selling green charcoal, hoop barrels, and adopting a daughter-in-law to return to her mother's house. With the spread of Xiaoqu classes in the south city of East Zhejiang, the repertoires were gradually changed into folk songs or transplanted into random repertoires, such as Pearl Tower and Double Pearl Phoenix. The tune has also developed from the "yin-oh tune" sung by cavity to the accompaniment of the band. After 19 16, Xiaogeban entered Shanghai several times, and on 192 1 it was different from "Shaoxing Daban" and performed on the Shengping Song stage in the name of "Shaoxing Literary Opera". Artist Wei and others used banhu (later changed to Pinghu) and bucket accompaniment (fixed string do and sol, called "orthodox tune") to absorb the musical elements of Shao Opera, Yuyao Qingqiang and Wulin tune in singing, enriched the style of banqu, and created inverted board, allegro, clear board and tune. In the performance, we also borrowed the artistic expertise of Shao Opera and Peking Opera. Since then, the male class has entered a golden age. 1923, under the influence of Peking Opera, the first women's class was founded in Shijiaao, Sheng County. After short-term training, she entered Shanghai to perform in the name of Shaoxing Art Troupe and Wu Wen Women's Class, and soon returned to the countryside. After 1928, a large number of female literature and dramas emerged. Because there is a difference of four or five degrees between female voice and male voice, I created a "four tones" by drawing lessons from Xipi La and Mi of Beijing Opera and competed with the male voice class for some time. After 1936, female classes eventually replaced male classes because of their exquisite costumes and smooth tunes, and prevailed in Zhejiang, Shanghai and other places. After the outbreak of War of Resistance against Japanese Aggression, Shanghai became an isolated island, with gentry businessmen in Jiangsu and Zhejiang concentrated, and the market was abnormal and prosperous. At one time, more than 30 female classes flooded into Shanghai, which was called "female literary drama". Famous actors include Shi, Zhao Ruihua, Tu Xinghua, Xiao Dangui,. The repertoires that are often performed are mainly gifted scholars and beautiful women, such as butterfly lovers (also known as Two Butterflies), Dragon and Phoenix Lock, Jade Hairpin, Three Gu Yu Mei, etc.

/kloc-in the autumn of 0/938, "Yue Opera" was used instead of "Nvwen Opera". 1942, Yuan Xuefen initiated the reform in the Dalai Theater, and hired Lv Zhong, Han Yi and Zheng Chuanjian as directors. Replace screen system with script system; Establish a director system; Reform clothing; Make up with oil paints; Improve stage scenery and lighting; Enriching the band and cooperating with the pianist to create the scale tunes of sol and re became the keynote of the new Yue Opera. Actors also absorbed the advantages of Kunqu opera and traditional Chinese opera in their performances, enriching and developing Yue Opera. From 65438 to 0945, the student league was formed and a more formal drama department was established. With the joint efforts of actors, screenwriters, directors, musicians and dancers, the art of Yue Opera has been further developed in terms of comprehensive artistic means and rich expressive force. At this time, when Fan Ruijuan was playing "Liang Zhu's Funeral History", he and pianist Zhou Baocai jointly created the tune of "Du and Sol", which enriched the tune of Yue Opera. 1946 in may, the student group adapted Lu Xun's "blessing" into "Xianglinsao", which caused great repercussions in the literary and art circles and won the concern and support of the producers in China. /kloc-in the summer of 0/947, ten sisters (Yin Guifang, Yuan Xuefen, Xiao Dangui, Fan Ruijuan, Fu Quanxiang, Xu Yulan, Zhu Shuizhao,,, Wu) performed their love on a mountain and launched a struggle against the Kuomintang reactionaries who undermined the reform of Yue Opera. During this period, some good plays appeared in the repertoire, such as "Pink and Jin Ge", "Lonely Liaogong Moon" and "Wan Li Great Wall" by the student group. Yin Guifang and Zhu Shuizhao's Shi Dakai, Ge Ni Niang and The Return of the Prodigal Son; Fan Ruijuan Dongshan Yueyi Society and Fu Quanxiang's Tianya Dream, Changling Complain and Peacock Flying Southeast; "A leopard cannot change his spots" and "The Red Lady" were written by Xu Yulan and Wang of Yulan Theatre Company. In the art of actors' singing, they gradually formed their own schools, among which Yuan School, Yin School, Fan School, Fu School, Xu School and later Qi Yaxian School have great influence. The composition of the troupe changes from time to time. By 1949, there were nearly 30 troupes in Shanghai, including students, Dongshan, Yulan, Yunhua (Zhu Shuizhao, Qi Yaxian) and Lu Jinhua. ) is known as the "five major troupes". In the same period, the Simingshan area in eastern Zhejiang led by China's * * * production party also reformed Yue Opera, set up social education teams, compiled and performed new dramas, and performed them in the army and rural areas. When the New Fourth Army in the south of the Yangtze River withdrew from the north, Yue Opera also went to Shandong with the troops. The social education team took the form of co-production between men and women and performed many plays reflecting the real struggle.