It represents the long history and unique customs of China. The vicissitudes of a hundred years have branded it, and the changes of a hundred years have added color to it. People find bright mirrors in it, find the system of ancient society in it, enjoy the influence of culture and wisdom, and immerse themselves in another world.
They condensed the sweat of ancient people in China. They are the crystallization of ancient people's wisdom. Therefore, we should prove to people all over the world that China is a civilized country. Thanks to the hard work of the ancient people in China, we can tell you that China culture cannot be ignored! We should all know that there is a country in the world called China, where there used to be many hardworking ancient China people who condensed the great and wonderful China opera-China traditional drama with their most sincere hearts and heroes or great or sad stories!
The demise of a nation begins with culture. If we have to abandon our roots, what's the difference with skeletons?
Pure culture cannot be doped with any impurities. If one day the drama disappears, it can only be said that it is a social failure! We can't measure culture by the laws of the market!
Don't lose roots, don't lose tradition. Traditional drama is a national art, the painstaking efforts of ancestors and the root of national culture. Every nation should have its own roots, big trees and small roots, and national development also has roots. We are proud that a nation without roots cannot develop for a long time. We have roots. Times are developing, but trees can't take root when they grow. They are not contradictory, so we don't need to develop new ones and get rid of tradition.
It represents the long history and unique customs of China. The vicissitudes of a hundred years have branded it, and the changes of a hundred years have added color to it. People find bright mirrors in it, find the system of ancient society in it, enjoy the influence of culture and wisdom, and immerse themselves in another world.
China traditional opera stayed! ! ! !
Qinghai local opera music is mainly composed of "Pingxian" music. Before the formation of local opera music in Qinghai, folk tunes, Qupai, Shehuo, Yangko and other music of Hehuang in Qinghai were widely absorbed, and other domestic operas were used for reference, so that it was continuously enriched and improved.
With the in-depth introduction of large and small plays, the music part of Qinghai Pingxian Opera lacks expressiveness and appeal in expressing the plot and cannot meet the actual needs of the plot and scene. Faced with this problem, the composer absorbed the successful experience of Hehuang folk minor, light shadow, shadow play, Hu Mei, Xiao Xian, Daoqing and other musicians. Combined with the unique materials of Qinghai local music, the stage practice and exploration were carried out, and the boards such as guide board (large and small) and loose board of flat string music were created and developed, forming their own unique board head and string. From the Pingxian operas in the 1960s, Civet Cat for Prince, Broken Bridge and Wang Zhaojun, to the singing of famous sections of local model operas in the mid-1970s, and then to Chunjiang Moon, False Husband Lapras, Six Jin County Orders, Sister Queen, Princess Sister, and Royal Family and Ethnic Relations in the 1980s. In particular, the Pingxian Zhezi Opera, which was performed in the training class of Shaanxi Art School from 65438 to 0989, and the Mid-Autumn Festival Full Moon and Qiao Xianguan, which were produced in the 1990s, have a clear breakthrough and a strong sense of the times.
It can be said that the Pingxian opera music in this period has gone through the painstaking efforts of several generations of musicians, completed the historical turning point of initial exploration and practice and consolidated stereotypes in the medium term, and gradually moved towards perfection and maturity, which has been affirmed by the national opera community and the vast audience.
With the deepening of reform and opening up and the gradual formation of market economy, Qinghai Pingxian Opera is also facing a severe wave of literary and artistic reform, with challenges and opportunities coexisting. Facing the reality, how to make Qinghai Pingxian Opera out of the predicament, cater to the market, and find a unique drama development road suitable for the needs of market economy is an important topic for people in the industry. Years of creation and performance practice have proved that the immaturity of operas and the nonstandard singing, reading, doing, playing and entertaining people have seriously hindered the development of local operas in Qinghai.
In view of the problems existing in local operas, the development ideas under the new situation, and the staged achievements made by music creators, the author thinks that Qinghai local opera music should first start from the aspects of title and positioning. What kind of title can truly represent the name of Qinghai local opera? What kind of opera music can represent the voice of the audience in Hehuang area and even in agricultural and pastoral areas? I think the local operas in Qinghai can be named Hehuang Opera in Qinghai or Qinghai Opera, and its main melody should be Yue Xian in Qinghai, also known as Hu Mei Melody in Qinghai. Practice has proved that Hu Mei's melodies are high-pitched and passionate, like flowing clouds, beautiful and easy to understand. It is well-known in Qinghai and even in the northwest, and the performance market base is also good. With the title and the main tone of music, there is a direction; Taking music as the main direction, I have a new creative idea. Qinghai local opera music should inherit and carry forward the research and creative experience of the older generation of musicians in music singing, and inject a lot of new music expression methods on the basis of "Qinghai Hu Mei tune"; Only by adding a new artistic expression mechanism to local opera music can we meet the needs of the literary and artistic system under the market economy and meet the cultural and spiritual needs of modern audiences.
First, we can't lose things, and we can't get out of trouble without things. Then, the audience will not recognize the inheritance and cultural quality of actors, the lack of life of employees or the low cultural quality. Then, the performance is civilian and cannot be provided as "museum art". It is necessary to inject new connotations into traditional things, so that ancient art has a new intersection with current life, and it can collide with the audience's perspective and find a blend with modern life.
The vitality of everything is innovating, and the vitality of opera is creating, and Beijing Opera is no exception. Of course, the most important thing in Beijing opera is script creation, especially the creation of plot, characters, lyrics and aria. The market is very inclusive. As long as we persist and work hard, we will not be eliminated by the market. Take cross talk as an example. With the popularity of television, through hard work, we re-entered the gardens, teahouses and other places, re-entered the people's side, and gained another revival.
I really can't think of a fourth one.