When Han became emperor, Zhao, the queen who could sing and dance, was favored to enter the palace and sang and danced at Yang Afei's house. During the Three Kingdoms period, Wang Wei Cao Zhi also had a phrase "Yang A played a strange dance" in "Yali". Yangda is under the jurisdiction of Jincheng City today.

Zezhou Kong Sanchuan is the first master of vocal cavity, and his influence in the field of traditional Chinese opera and Quyi is well known. During the Lang and Jin Dynasties, there were many traditional operas and historical sites in Jincheng. The person who chose it is:

Four stages, two dance pavilions (courtyards) and one stage relic: There is a stage built by Jin Dading in the 23rd year (1 183) in Erlang Temple, Wangbao Village, Sizhuang Town, Gaoping City. The stage, platform and four small octagonal pillars of Dongyue Temple in Tuncheng Village, Yangcheng County are the relics of a generation. The stage of Cuifujun Temple in Guo Nan Village, Qinshui County, except that the four pillars are based on the things that opened in the next year (in the seventh year of the apocalypse, the temple moved from the west bank of the Qinhe River to Gou Wei), completely retaining the rough and simple architectural style of the Song and Jin Dynasties. Tianqi Temple Stage in Yedi Village, Zezhou County is located in the southeast of the upper part of the northeast stone pillar, and the word "Zhengkou II" can be vaguely distinguished. The pillar foundation is undoubtedly a relic of the Jin and Yuan Dynasties. Bailong Temple in Gushan, Yangcheng County, the second year of Taihe in Jin Zhangzong (1202) includes the third year of Mingchang (1 192). There is a dance pavilion here. According to the inscription in Yangcheng County, Doucun County has been "rebuilding the inscription on the dance court" for eight years (1208). There is a Yuan Dynasty stage in Hailongchi Wangmiao near Yaojiahe Village, long gang zhen, Qinshui County. There are 6 existing stone pillars, and the lettering proves that it belongs to Zheng Zhi, Yuan Shundi for four years (1344).

Erxian Temple in West Li Men Village, Hexi Town, Gaoping City was built in the Tang Dynasty, and was rebuilt in the second year of King Zheng Ling of Jinhailing to the third year of Dading in Jin Shizong (1157-165438). On the east side of the terrace in front of the main hall, there is a picture of the Song and Jin Teams. On the south side of the terrace, there is a linear bamboo pole inlaid with stones, which is obviously the guide of the performance at that time. The second and third performers, wearing hairpin flowers on their heads, raised their forearms and hid their hands in twisted sleeves; The last seven people are accompanists, male and female, and the instruments used are drums, flutes, lusheng, clappers and so on. The latter has six big characters: one on the right is watching with a bowl in his right hand; The left two and the left are accompanists; These two stone sculptures by three other dancers show the coexistence of China culture and minority culture in Jincheng area at that time.

Changzhi

1960, 10 chimes were found in the tomb of the Warring States period in Changzhi watershed. 1972, a bronze tripod, a stone chime and two bronze figurines were found in the ancient tomb of the Warring States in the same place. This bronze figurine is 12 cm high, and its image is dwarf, short-sleeved shirt, tight rectangular collar covering waist and knees, and its performance form. 1983, musical instruments such as chimes, chimes and servant bells were found in the tomb of the Warring States Period in Luhe Village, Liuxi Township, Lucheng County. All these prove that as early as the Warring States period, song and dance were very popular in Shangdang area.

1959, more than 0/00 statues of Buddhist activities from the Northern Wei Dynasty to the Song Dynasty were unearthed in Nannieshui Village, Qin County. Among them, a six-Wei Buddha statue with a height of 82 cm and a width of 20-60 cm is surrounded by hundreds of reliefs. Although it has been weathered for a long time and is blurred, 12 people can still vaguely distinguish it: one group is climbing the pole, the other is climbing the pole, the other is hanging upside down, and the posture is different; There is a group of people who stand upside down with their arms, play with their feet, lean back and soften their waist, and practice qigong. One group plays flute and gong; There are also jugglers and artists performing stilts. Seven reliefs of music and dance words of late Zhou stupa in Dayun Temple, Pingshun County. Musical instruments include flute, beat, reed flute, pipa, sheng, Qing and so on. The five generations of music and dance murals in this temple are lifelike. All these let people see the performances of hundreds of operas and dances in Shangdang area during that period.

In the ninth year of Xingguo (984), Lingquan Temple in Qin County, Song Taiping and the seventh year of Dazhong Xiangfu (10/4), Song Zhenzong had 1 1 musical instruments. From the sixth year of Xining in Song Shenzong to the third year of Zongshaosheng in Song Zhe (1073- 1096), the murals of Kaihua Temple in Gaoping City are two branches of dance, accompanied by 12 female musicians. There are also two Song steles, which record that when Shangdang area used the Wasi Goulan in Bianjing City as a place for folk artists to perform their skills to the public, there was already a brick-and-wood dance building. One is the Hou Xin Temple Monument in the official hall of Wei Shengjun in the third year of Yuanfeng in Song Shenzong (1080) (Wei Shengjun was called in Qin County at that time), which was originally built at the Yamenkou of Qin County and now moved into the Qin County Literature and History Museum. There is a record of "three halls, three halls and one dance building" on the monument. One is a nine-day statue of the Virgin in Donghe Village, Pingshun County, which was rebuilt by Jianzhong in Jing (11). The inscription reads, "During the reign of Yuanfeng (1 100), good workers were ordered to rebuild the North Temple and build a dance building". These two dance buildings are places to perform for the gods. In fact, at that time, as later, it was both entertaining god and entertaining people. At that time, even if there was no complete opera, there would be a prototype or just singing and dancing, which would have an impact on future operas. Shangdang area has a long history and rich folk art activities. Until now, we can see that they have a very close relationship with Shangdang Bangzi.

Folk music organizations are very common in Shangdang area. As long as there are more than a dozen villages, there will be eight music evenings at the reception; There will be two or three big villages. It is impossible to know how long its history is. However, it is said that Chengcun in the southwest of Zhangzi County has been making bronze musical instruments for more than 600 years. Every eight concerts have a name, but people are used to calling it their village or block. Its main activity is to attend meetings with gods. Members are dressed in robes (long coats in summer and autumn), and a red pennant more than a foot long is obliquely inserted in the neckline. Some flags are embroidered with dragons, while others are embroidered with the word "Ling". There is a white cloth with the name of the village written on it in front of the cloth tube where the flagpole is inserted. Walk and play. If you go on a pilgrimage to the mountains, it is common to walk dozens of miles. Some people even walked a mile or two. This is actually a folk music performance competition. The referee is of course a music lover in Qian Qian. It's an honor to be praised. They always hope to keep this honor year after year. However, regardless of whether the neglected music clubs will give up or not, they always try to prepare for the next time. This game will never end.

The musical instruments used in the Eighth Music Festival are exactly the same as those used in Shangdang Bangzi, and so are many qupai and gongs and drums classics, such as Fan Er, Playing Peony, A String of Bells, Grape Rack, Backing the Mountain Red and Three Arrows on a Horse. Another activity of the Eight Music Festival is that some people in the village get married, separate and celebrate their birthdays, which are called "noisy rooms", "warm rooms" and "noisy birthdays". In some places, the dead also invited music clubs to "hold funerals". On these occasions, we will sing a few "drum plays"-everyone will play around the old drum and sing the lines of the characters in the play (some masters can play two or three roles themselves). Many amateur self-help classes in Shangdang Bangzi started with singing "Drumming" in eight sections. There are also some vocational classes that take the party bangzi, which are developed from self-help classes. From the development of this "eight music clubs-self-music classes-professional class clubs", we can see some clues about the formation of Shangdang Bangzi. Jincheng

There are many folk activities in Jincheng to drive away the plague and welcome the blessing, such as "driving away the plague" in Jincheng, Yangcheng and Qinshui, pretending to be Zhong Kui, imp and tiger, and setting off firecrackers at people's homes under the guidance of drum music. "Farewell" in Dongxiang, Yangcheng (under the guidance of drum music, Gao and his wife sent colored mud children to the newlyweds). The "Five Ghost Forks" in rural Lingchuan (five imps were ordered to mention unfilial wives, rolling and chasing them, and finally being tied up. -It may be that Manglietia Manglietia detained the ghost in Qing Liu's story);

Changzhi

Changzhi folk have a lot of activities to drive away epidemics and welcome blessings, such as "whipping the ghost" around the eldest son (during the temple fair, Zhong Kui chased the dressed "ghost" in the street and hanged himself on the stage); At the funeral, people dressed as apes lay on the red carpet to sift the chaff. After the ape jumps, the carpet remains monkey-shaped. The eldest son, Tunliu's "Cutting Time" (a form of praying for rain in the drought, in which two warriors dressed as men chased the show to the stage with a knife and smashed the yellow pumpkin on the top of the show into "the show" and "the brains burst"); These activities all have character activities, and the general plot is simple.

During the Lantern Festival, some places in Shangdang will also broadcast the next story with simple plots, such as "Blind Mother Sending Daughter" (the daughter is in labor, and the mother sends it to her husband's house, and the result is on the way). In short, these folk music, folk art and street performances will nurture the Shangdang Bangzi from scratch, from small to large, from simple to complex, and thrive. The earliest records of musicians can be found in Shu Wei's penal records. Du Fu was an official of Xiafu and a native of Huguan during Hongwu period of Ming Dynasty. When he retired and returned to his hometown, the emperor gave him a happy family named Liu. Liu Zhangqiu of Maxiang Village is a descendant of this musician Liu. In the fifth year of the Republic of China (19 16), another class was held to teach musicians playing skills.

Shangdang musicians should present a performance group (also known as zaju), a piano piece and a copy of the school when welcoming the God's match. Jiajingben (Qinshui County Chronicle) in the Ming Dynasty recorded that "the scholar-officials were the gods of the ancestral temples of the Shang Dynasty, offering sacrifices at four seasons, offering sacrifices to tombs at one time, and advocating or performing zaju". There is a saying in the five-year tablet of Kangxi in Mishang Village of Yangcheng that "only zaju is an old thing".

Team play: There is a record in Yuan history of "A girl dressed as a team play with palm branches in Xinghe Department 150 people" (it is also recorded in New Yuan history). It is recorded in Chen Jiru's "Taiping Flower Green" in the Ming Dynasty: "Qiantang is the capital of the Song Dynasty ... filial piety celebrates the birthday of the emperor's father, and at one time he ordered to be more women ... Li Duanniang was played in the team ...". It is not known when Shangdang team drama originated and whether it is the same as the court team drama. According to the figures of Lu (1912-1991), Zhu Quncai (19 15- 1994), Pingshun Yuelao (/kloc) These plays have no string accompaniment, no singing, only chanting (chanting rhymes with the next sentence, seven sentences with 223 and 322 sentences), and most of the lines are simple and elegant. The gongs and drums of the team play are called "gongs and drums". Just sing a sentence or two and knock a few times. The costume figures are the same as those of Shangdang Bangzi. The military commanders wore "dragon coat" with short front and long back, and "Geta belt" at the waist.

Academy is a writing used for performance in Yuan and Jin Dynasties. At the end of Yuan Dynasty and the beginning of Ming Dynasty, Tao recorded the names of more than 700 colleges and universities, but all of them have been lost. People can only occasionally see fragments of income in other works. When Shangdang musicians greeted Shensaishe, the old musicians only knew three books: Noisy Five Tables, Ditang (all with manuscripts) and The Lost Three. Except for a folk song sung five times in "Five Noisy Watches", all three books are just plain and have no singing. This joke makes people laugh.

Musicians performed the Shaanxi Opera, such as The Little Pony Without a Name, Sending a Belt, Farewell, Jigong Sweeping Thailand, Playing Peony, etc. This is a little drama of Shangdang Bangzi accompanied by sheng (or flute).

When a musician meets a god, he should pretend to walk with a bamboo pole cut into bamboo strips (read Hangzhou). He will recite some compliments when he enters the magic lamp. The Chinese Dictionary published in Taiwan Province Province explains: "Go ahead, dancers are listed as pioneers." Wang's wife's business metaphor Song: "Look ahead and look back, use iron crotch. Look at the front and look at the back. There are iron buttons. "(For Wei Jingyu's wife, see" Nan Shi Xiao Yi ") Wang Fuyun began to play this role before liberation.

The repertoire performed by musicians has nothing to do with Shangdang Bangzi, oral circulation and written records; But in fact, there are obvious similarities and traces between giving and receiving:

1) ancestor worship: Shangdang musicians worship their ancestors as throat gods, and their birthdays are on the eighth day of the twelfth lunar month. Apart from clay sculptures in their own homes, the throat temples in Zhanggou Village, Chen Dong City, lingchuan county, Gaoping City and Haozhuang are all places of worship. Shangdang Bangzi offers sacrifices to God twice a year: once on April 24th, Tang, the ancestor of Liyuan, Liyuan Guild Hall in Changzhi North Street, Fifth Bureau Hall in Zhouyuancang, Jincheng (also known as Guild Hall), Wangchengtou Village in Zezhou County and Kaiyuan Palace all have statues of Tang, and all existing clubs also have lords, so they offer sacrifices on time; It's the eighth day of the twelfth lunar month. In addition to offering sacrifices in the class club, Gaoping's class club also went to the throat temple in the city to offer sacrifices to the throat god, which was performed by famous classes. Zezhou County's Wuju Hall, Kaiyuan Palace, Fucheng Temple, Huang Yu Temple and Shennan Temple, and Yangcheng County's Mishang Village West Temple all have throat temples. Besides musicians and opera artists, ordinary people also come here to worship God. In this case, we can only understand that Shangdang Bangzi has accepted the custom of team play (because the performance activities of musicians are definitely much older than Shangdang Bangzi).

(2) Performances: Zaju recorded by 290 team plays dictated by musicians, Harmony, the ceremony of welcoming the gods and competing for the deer in the Forty Gongdiao, and Tang Le's map. Most of them are based on the stories of Fengshen, Chu and Han Dynasties, Three Kingdoms, Tang and Five Dynasties, Yang Jiajiang, Yue Jiajun and other dynasties. Most of the more than 700 plays of Shangdang Bangzi are plays of dynasties, but besides the above sources, there are also some plays of Yuan and Ming Dynasties. Tianmen Array, Zhan Youzhou, Changbanpo, Eight Immortals' Birthday, Polishing, One Knife Meeting, Two Wolf Mountains, Seven Xia Sheng, Going to Fancheng, Locking Five Dragons, Private Three Passes, Meng Liang Stealing Bones, and Second Palace. What is particularly interesting is that there is a book "Unknown Pony" in the piano music performed by musicians. According to records, after Yang Jisheng was killed by Yan Song in the Ming Dynasty, his daughter and old servant Yang En went to Fujian to transfer soldiers and spent the night in the mountain temple. Xiong Fei, a monk in the temple, loves his precious pony and wants to kill it. Later, I learned that it was the daughter of the benefactor. After apologizing, I was sent on my way. On the wall of Jukui Old Class of Shangdang Bangzi Class Club, there has been a nameless pony on the stage of Wuwendong in Mishan Town, Gaoping for seven years, and there is another name for the nameless pony on the wall of Jukui Old Class of Daoguang for ten years. There is a Yushun class on the wall of the old stage of Duandu Village (in the first year of Xianfeng). However, in the Republic of China, there were no plays of "Unknown Pony" or "Killing Temple" on the stage wall of Shangdang area. 1963, when the XiDiao Troupe of Yongshang County, Hebei Province came to Shangdang area for a "performance of visiting relatives", it exhibited and copied the mimeographed "Dangfeixiong Killing the Temple". According to the old artists, this is the Shangdang Bangzi repertoire left by Shangdang Bangzi artists when they set up accounts and accepted apprentices in Hebei in the early years of Guangxu. Proofreading this book with the old musician Zhu Quncai, he said there were only a few differences. It can be seen that this is a book performed by Shangdang Bangzi and Xiqin, which was brought to Hebei by artists and preserved, but Shangdang area was lost and sent back by moving westward. I walked in a big circle for more than 80 years.

(3) Style: Musicians' plays are all about feelings, stories, ups and downs, less beating around the bush and less dancing. In the existing scripts, angle sheets and artists' dictation, apart from the female characters in the Qin opera, dozens of military dramas and courtyard books, only Mrs. Mi of Changbanpo has more than 20 lyrics, which were probably added later. Shangdang Bangzi is called rough and heroic, fiery and fierce, simple and unrestrained (people who belittle it say it is primitive and barbaric, either killing people or fighting). Writer Zhao Shuli once pointed out: The Romance of the West Chamber is a famous drama, and there are many kinds of performances all over the country, but Shangdang Bangzi does not have this kind of drama (in the ancient name of Shangdang Bangzi, Youdian, Jumping over the Wall and Ritual are Shangdang Kunqu Opera). Although the "three handfuls" of Shangdang Bangzi are more artistic than the "strong men" with clear love and hate, they also give people a rigid feeling. Judging from the list of characters in Forty Gongdiao, some plays need dozens of actors, and at most, they reach 100. It is really vast and dazzling. On the other hand, Shangdang Bangzi is common when emperors go to the temple and princes go out to war. Its five colors, red, yellow, blue, white and black, are bright and magnificent. In the performance of Eight Immortals, a troupe of dozens of people, except those who accompany, cook, catch up with the drama and make tea, are all on the stage, full of colorful flowers. Therefore, the performance of this play is called "Heaping Immortals". 19 16 1 month 17 to 19, Beijing World Journal serialized the article "Jin Opera", praising the performance style of Le Yi Class (100,000 classes) of Shangdang Bangzi Huguan. I'm afraid the formation of this style is not only influenced by team workers.

What deserves special attention is the problem of Shaanxi opera. Although there is no record of Qin Opera in the manuscript of Forty Gong Songs for Meeting the Spirit Tour in Ming Dynasty, there is the word "please play" in the manuscript of Meeting the Spirit Tour in the Republic of China, which is not the text and has different ink marks, but it was copied from the team play of Brother Wang Shuangyun in eight years, and the script contains the full text of Qin Opera "Collecting firewood" and "Sending cold clothes". The introduction of old musicians has never been learned from Shangdang Bangzi. In addition, in the Gongzhantuan drama contained in Forty Gongqu Rites of Meeting the Gods, the word "drama" is found in such plays as visiting friends by a mountain man, humiliating relatives by the Zhou family, delivering meals, giving good news for three yuan, and throwing a pen by Ban Chao. Does this mean that it is a "piano play"? It seems that this is also possible. Moreover, according to the investigation notes of the late drama director 1962 of Shangdang Bangzi, the old man Bai of Guanmingfeng Village in Yangcheng County said that Shangdang Bangzi was formed by a person who came back from the west and sang in Mingfeng Village. He said, is this piano cavity a musician's musical performance? If, under certain circumstances, a tune comes from abroad, musicians accompany it with a flute, and folk artists continue to use its main instrument as a giant piano, it seems logical to gradually form the Shangdang Bangzi. This needs to be checked later. An old man in Shangdang Bangzi said, "Our play comes from the palace." ("Opera" is the name of Shangdang Bangzi used by local audiences before the 1930s, as opposed to small operas such as Yangko. ) As to which emperor's palace it was, there are different opinions, including the Tang Dynasty, the Tang Dynasty, the Tang Dynasty and the Tang Dynasty. Tang worked as a driver in Luzhou (now Changzhi) for two years. Song Taizu did go to Zezhou (now Jincheng) in the Zhou Dynasty to crusade against Li Jun, but strictly speaking, the local opera has not yet taken shape, not to mention the fact that the emperor of the Tang Dynasty was in power when he was in Lushi, and the dynasty was unclear. He must first consider the major events in the dynasty; When Song Taizu arrived in Zezhou, the number of people who acceded to the throne was small, and the army was in a hurry, so there would be no such leisure. Xiao Taihou refers to the mother of Emperor Sheng Zong of Liao Dynasty, and she will never go to the Party again. This can only be considered from Wang Shen in the Ming Dynasty.

In the 25th year of Kangxi, the first sentence of the fifth poem of Qinshui poet Fan was "Sunset Singing on Yiyang Stage" (see Jiaqing Edition of Qinshui County Records and Yongzheng Edition of Zezhou County Records). This shows that Yiyang sang in Shangdang area during Kangxi period. Shangdang Bangzi divides the trades into nine categories: bearded students, old students, young students, Zheng Dan, Lao Dan, Xiao Dan, Dahualian, Erhualian and Sanhualian, just like Yiyang dialect. It must be influenced by Yiyang dialect. Shangdang Bangzi is more influenced by Kunqu opera and leather spring.

In the thirty-fifth year of Qing Qianlong (1770), Volume 8 of Lu 'an Fu Zhi recorded that Wang Juyuan, a magistrate of a county in Zhangzi County, once banned "funeral performances", saying that "the old pear garden was used for the funeral of rich families, but now it has been banned, and the number of users is decreasing". This shows that drama performances in Shangdang area have been quite frequent in18th century.

In addition, during the Qianlong period, there was a Luoxi Opera Troupe in Zezhou, Shaanxi Province, a Opera Troupe in the north of the Yellow River, and a three-in-one class composed of Bangluo Opera and Opera in Kaifeng Prefecture (see Deng in the Qing Dynasty). It is this "three-in-one class" that has evolved into various vocal operas.