Beijing opera

Peking Opera is the most popular and influential drama in China. It is formed by the convergence, integration and development of various local operas in Beijing. It has a history of about 140 years since it came into being.

Since Qianlong in Qing Dynasty, Kunqu Opera, Yiyang Opera and Qin Opera have successively entered Beijing. 1790, Gao Langting, a famous Anhui artist, led the famous Anhui opera Sanqingban to perform in Beijing, which was warmly welcomed by the audience. After that, Sixi, Chuntai and Hechun three Huizhou classes entered Beijing, and together with Sanqing class, they were called "Huizhou Four Classes", which was a great success. At this time, Kunqu Opera, Peking Opera (named after Yiyang Opera entered Beijing) and Shaanxi Opera gradually became cold. About 1830, Hubei Chu Opera (Han Opera) also entered Beijing. Han opera and Hui opera have the same origin, so they are often performed in the same class and combined with each other in tone cavity. Later, Huiban absorbed and integrated the essence of Kunqu Opera, Bangzi and Peking Opera, and made some reforms in repertoire, music, characters, costumes and makeup. Combining the local language and customs in Beijing, Peking Opera has gradually formed. At that time, it was called "Pihuang" and "Beijing dialect".

1850 or so, Peking Opera has made new development on the basis of Class Four of Huizhou School, and famous actors such as Cheng Changgeng, Yu Sansheng and Zhang Erkui have appeared, who are called "old students of Sanding Family". They have made outstanding contributions to the formation and development of Beijing Opera.

Compared with other operas, the art of Peking Opera highlights the characteristics of concentration, generalization and exaggeration of operas, forms a complete system and a unified style of singing, doing, reading and acting, and is full of distinctive dance and strong sense of rhythm in stage performances.

Over the past 100 years, many famous Peking Opera artists, especially many outstanding performing artists, have formed different schools, which have made great contributions to the development of Peking Opera art and become valuable assets of Peking Opera art.

After liberation, Peking Opera has made great achievements. A large number of excellent traditional plays and new historical plays have been adapted, adapted and created, and many modern plays have been successfully staged, which has opened the way for the development of Beijing opera. The Peking Opera delegation has also visited and performed abroad for many times, causing a sensation in the world art world.

Kunqu opera

Kunqu Opera is an ancient drama in China, which was formed in Kunshan, Jiangsu Province in the late Yuan Dynasty and early Ming Dynasty. Wei Liangfu, an outstanding opera musician in Jiajing period of Ming Dynasty, made a great reform on Kunshan Opera. He absorbed all kinds of vocals of Nanqu, melodic singing methods of Jin, Yuan and Northern Song Dynasties, and folk ditties of Jiangnan, and created a gentle and euphemistic "water mill tune". Liang Chenyu, a playwright who chose his surname at the same time, wrote a play "Huansha Ji" specially for Kunshan dialect, which caused a sensation in the south of the Yangtze River and quickly swept the country. At the end of Ming Dynasty and the beginning of Qing Dynasty, Kunqu Opera was once prosperous, more refined and perfect in art, and became a kind of drama with national influence. During the Qianlong period, the art of Kunqu Opera was plundered by the ruling class, and its content tended to court, so that it was divorced from the people and gradually declined. On the eve of liberation, it was on the verge of extinction. After liberation, some people wrote and sang Kunqu opera. Singing and other aspects of reform, and strive to be easy to understand. From 6: 438 to 9: 56, Zhejiang Troupe successfully performed "Fifteen Levels" in Beijing, which caused a sensation throughout the country. 1957 According to the instructions of Premier Zhou, the Northern Kunqu Opera Theatre was established. Kunqu Opera, an ancient drama, is full of artistic youth.

Kunqu opera has a history of more than 500 years, forming a complete performance system and a unique vocal cavity system. Its repertoire is rich, its script dictionary is elegant and gorgeous, and it is very literary. Pay attention to four tones in pronunciation and articulation, strictly abide by rules and regulations, and be rigid. The tune of Kunqu Opera is Qupai style, and each play consists of a complete set of Qupai. The song is mellow and melodious. Exquisite performance, close combination of body movements and singing, and strong sense of dance. The accompaniment instruments are mainly flutes, and sometimes sanxian, sheng and suona are also used.

In the mid-Ming Dynasty, Kunqu spread to the north, and through the efforts of many artists, Kunqu was combined with the language of the northern region to form "Northern Kunming"; Kunqu opera was first popular in Jiangsu and Zhejiang provinces and was called "Nankun". ; Bikun performed more martial arts, showing the unrestrained wind shed; Nankun, on the other hand, pays attention to pronunciation, exquisite workmanship, more graceful and restrained, and lingering. Kunqu Opera plays an important role in the history of China opera, which has a direct impact on the formation and development of Beijing Opera and local operas such as xiang opera and Sichuan Opera.

Ju Ping

Pingju is one of the most influential local operas in China, which was formed in the late Qing Dynasty and the early Republic of China and has a history of about 70 years. It originated from "Lotus Falls" in eastern Hebei, and later absorbed the tune of "Tiao" in the northeast, so it was called "Tiao" and "Tiao" in its early years. At first, it was a counterpart singing method, similar to the "two-person turn" in Northeast China. Later, it gradually absorbed the percussion music of Hebei Bangzi, the singing and performance of Luanzhou Cinema, Laoting Drum and Peking Opera, and formed "Tangshan", which became "Fengtian" and finally became the current Pingju. Cheng is a famous actor and playwright in early Pingju. He wrote many new operas and adapted more than 100 plays, which played an important role in the formation of Pingju.

The artistic characteristics of Pingju are: good at singing, clear articulation, easy-to-understand lyrics, plain singing, and strong life flavor and cordial folk flavor. Its form is lively and free, and it is best at expressing the life of contemporary people, so it has a large audience in both cities and villages. The aria of Pingju Opera is a banqiang, which consists of adagio, Erliu board, crib board and scattered board. After liberation, remarkable achievements have been made in the innovation of Pingju music, singing and performance, especially in changing the shortcomings of poor male voices, and male voices have made new creations.

Pingju was originally divided into East Road and West Road. Nowadays, East Road is popular in Hebei and Northeast provinces, and it also has a large audience in the south. West Road Pingju, also known as "Beijing Jump", was formed under the influence of East Road Pingju Bangzi and the old tune. High timbre, rich head shape and unique style. Xin performed in Beijing and Jingxi before and after the Revolution, which was well received by the audience and was on the verge of being lost in the future. 1958 was excavated and sorted by China Pingju Theatre before re-entering the stage. The preface to the collection of flower pavilions is a good play that has been sorted out and passed down by young actors.

Hebei opera

Hebei Bangzi, formerly known as "Zhili Bangzi", was renamed Hebei Province after Zhili Province. It originated from the Bangzi system of Shaanxi Qin Opera. After the mid-Qing Dynasty, it gradually evolved from Shaanxi Zhou Pu Bangzi, which flowed into Hebei. In the late Qing Dynasty, it was very popular in Beijing. Later, Bangzi and Pihuang performed on the same stage, and exchanged ideas and absorbed each other, which made Bangzi more and more complete in art. Beijing Zhili Bangzi absorbed the essence of Pihuang, also known as "Beijing Bangzi". After the Revolution of 1911, many excellent Bangzi actresses emerged constantly, which brought a new look to Bangzi opera and changed the singing of Bangzi greatly.

When Hebei Bangzi was popular, it was most popular in North China and Northeast China, especially in north-central Hebei and Beijing-Tianjin. Hebei Bangzi's vocals are high-pitched, vigorous and straight, including adagio, Erliu, running water, sharp board, crying board, anti-tune, and nearly 100 tunes used for stage accompaniment.

During War of Resistance against Japanese Aggression and the War of Liberation, Hebei Bangzi was widely developed in rural areas around Hebei. However, in big cities such as Beijing and Tianjin ruled by the Kuomintang, it is declining. After liberation, Hebei Bangzi was restored and developed, and the excessively noisy gongs and drums and Bangzi were innovated, creating a new aria, making it both soft and pleasant in generosity and grandeur.

A trite theme

The old tune, also known as the "old tune bangzi", is one of the local operas in Hebei Province. It came into being in the late Ming Dynasty. It has been circulated among the people for a long time and has a strong local flavor. The aria is simple, vigorous and vigorous, and there are many kinds of boards, including the head board, the second board, the installation board, the lifting board, the plucking board, the sending board, the retaining board and the crying board. The main accompaniment instruments are banhu, flute, sheng, erhu and sanxian. The epidemic area is centered in Baoding, Hebei Province, and is divided into East Road (Levin and Anxin), West Road (western Baoding) and South Road (Shijiazhuang). There is not much difference between different vocals, but the tune is different. The performance of the old tune is complete in form, complete in business and rich in traditional plays. The Lawsuit of Pan Yang is an influential drama, which has been made into a dramatic film.

Sixian opera

Sixian Opera is one of the ancient local operas in Hebei Province. It is a branch of "Chord Tone" in the Northern Song Dynasty, which was called "Chord Tone" in ancient times. There is no actress in Sixian Opera, and both male and female roles are played by male actors, which forms the characteristic of alternating use of true and false voices when singing. The accompaniment instruments of Sixian have long been two Qin Liu and two Sanxian. During the Xianfeng period of Qing Dynasty, because he often performed on the same stage with the old-fashioned Bangzi, the main accompaniment instrument was changed to the old tenor banhu, and other instruments also increased or decreased. In the process of development, it was influenced by Kunqu Opera, Hebei Bangzi and Beijing Opera to varying degrees. It is popular in the vast rural areas of central and southern Hebei Province and parts of Shanxi Province. The singing of Sixian has both high-pitched and wan-cavity, which is mainly plate cavity, divided into two systems: cross-tuning and tube-tuning, each with a variety of plate cavities. On the eve of liberation, there were only one or two professional classes in Sixian County. After liberation, Sixian developed greatly and actresses took part in the performance. Yin He, an outstanding traditional drama in Sixian County, was once put on the screen.

Indiscriminate transfer of resources through administrative orders

PingDiao is one of the local operas in Hebei Province, which originated from Wu 'an County in the south of Hebei Province, also known as "Wu 'an PingDiao". Popular in southern Hebei, northern Henan and southeastern Shanxi, it is deeply loved by local people. It is said that the emergence of Pingdiao began in the late Ming and early Qing Dynasties, and it was evolved from Wu 'an artists' learning from j[ Huaidiao] and combining Wu 'an folk music and dance.

Pingdiao belongs to "Bangzizha", which is full of business and good at performing historical dramas. Its aria belongs to banqiang, with relatively complete structure, beautiful melody and good lyricism. There are mainly adagio, Baer board, flowing board, scattered board, planted board, stacked board, sad board and so on. There are many kinds of suona qupai and Sixian qupai 100 with music accompaniment. Once upon a time, the accompaniment instruments were Erxian and Ji Qin. ; After liberation, sheng, flute and banhu were added. In performance, it has the characteristics of lively, rough, passionate and bold style. His masterpieces include San Zhang Jin, Ten Beauties of Qi Chen and Jin Zhong Ji.

Tangshan shadow play

Tangshan shadow play is also called "Laoting Shadow" and "Luanzhou Shadow" because of its musical characteristics in Laoting and Luanxian in Tangshan area. Popular in Tangshan, Chengde, Langfang and other cities and counties in Hebei Province, it is a comprehensive art with exquisite carving skills, dexterous manipulation skills and lyrical singing music. War of Resistance against Japanese Aggression used to gather people to perform during the slack season, and the towns and villages in the above areas have a deep mass base. Its vocal music is particularly popular with the masses.

The singing of Tangshan Shadow Play evolved from the pure rap form of "Dafu Shadow", which is divided into male voice and female voice. There are many accents (such as flat tone, flower fading, Yang Yunping tone, Hedong tone, Luanhe tone and intonation) and various plates (such as slow board, fast eyes, slow sex, tight sex, three sex and flowing water). It has a history of three or four hundred years. Due to the development and creation of early artists, different schools have been formed for a long time. Its main accompaniment instrument used to be a small three-stringed instrument, which was gradually replaced by a four-stringed instrument.

/question/253 18006.html You have already evaluated the answer! Good: 4 You have already evaluated it! Bad: 15 You have already evaluated it! Original: 1 You have already evaluated it! Non-original: 12 cat 2007-05-20 15:54 report satisfactory answer: 2 1% Peking Opera.

Peking Opera is the most popular and influential drama in China. It is formed by the convergence, integration and development of various local operas in Beijing. It has a history of about 140 years since it came into being.

Since Qianlong in Qing Dynasty, Kunqu Opera, Yiyang Opera and Qin Opera have successively entered Beijing. 1790, Gao Langting, a famous Anhui artist, led the famous Anhui opera Sanqingban to perform in Beijing, which was warmly welcomed by the audience. After that, Sixi, Chuntai and Hechun three Huizhou classes entered Beijing, and together with Sanqing class, they were called "Huizhou Four Classes", which was a great success. At this time, Kunqu Opera, Peking Opera (named after Yiyang Opera entered Beijing) and Shaanxi Opera gradually became cold. About 1830, Hubei Chu Opera (Han Opera) also entered Beijing. Han opera and Hui opera have the same origin, so they are often performed in the same class and combined with each other in tone cavity. Later, Huiban absorbed and integrated the essence of Kunqu Opera, Bangzi and Peking Opera, and made some reforms in repertoire, music, characters, costumes and makeup. Combining the local language and customs in Beijing, Peking Opera has gradually formed. At that time, it was called "Pihuang" and "Beijing dialect".

1850 or so, Peking Opera has made new development on the basis of Class Four of Huizhou School, and famous actors such as Cheng Changgeng, Yu Sansheng and Zhang Erkui have appeared, who are called "old students of Sanding Family". They have made outstanding contributions to the formation and development of Beijing Opera.

Compared with other operas, the art of Peking Opera highlights the characteristics of concentration, generalization and exaggeration of operas, forms a complete system and a unified style of singing, doing, reading and acting, and is full of distinctive dance and strong sense of rhythm in stage performances.

Over the past 100 years, many famous Peking Opera artists, especially many outstanding performing artists, have formed different schools, which have made great contributions to the development of Peking Opera art and become valuable assets of Peking Opera art.

After liberation, Peking Opera has made great achievements. A large number of excellent traditional plays and new historical plays have been adapted, adapted and created, and many modern plays have been successfully staged, which has opened the way for the development of Beijing opera. The Peking Opera delegation has also visited and performed abroad for many times, causing a sensation in the world art world.

Kunqu opera

Kunqu Opera is an ancient drama in China, which was formed in Kunshan, Jiangsu Province in the late Yuan Dynasty and early Ming Dynasty. Wei Liangfu, an outstanding opera musician in Jiajing period of Ming Dynasty, made a great reform on Kunshan Opera. He absorbed all kinds of vocals of Nanqu, melodic singing methods of Jin, Yuan and Northern Song Dynasties, and folk ditties of Jiangnan, and created a gentle and euphemistic "water mill tune". Liang Chenyu, a playwright who chose his surname at the same time, wrote a play "Huansha Ji" specially for Kunshan dialect, which caused a sensation in the south of the Yangtze River and quickly swept the country. At the end of Ming Dynasty and the beginning of Qing Dynasty, Kunqu Opera was once prosperous, more refined and perfect in art, and became a kind of drama with national influence. During the Qianlong period, the art of Kunqu Opera was plundered by the ruling class, and its content tended to court, so that it was divorced from the people and gradually declined. On the eve of liberation, it was on the verge of extinction. After liberation, some people wrote and sang Kunqu opera. Singing and other aspects of reform, and strive to be easy to understand. From 6: 438 to 9: 56, Zhejiang Troupe successfully performed "Fifteen Levels" in Beijing, which caused a sensation throughout the country. 1957 According to the instructions of Premier Zhou, the Northern Kunqu Opera Theatre was established. Kunqu Opera, an ancient drama, is full of artistic youth.

Kunqu opera has a history of more than 500 years, forming a complete performance system and a unique vocal cavity system. Its repertoire is rich, its script dictionary is elegant and gorgeous, and it is very literary. Pay attention to four tones in pronunciation and articulation, strictly abide by rules and regulations, and be rigid. The tune of Kunqu Opera is Qupai style, and each play consists of a complete set of Qupai. The song is mellow and melodious. Exquisite performance, close combination of body movements and singing, and strong sense of dance. The accompaniment instruments are mainly flutes, and sometimes sanxian, sheng and suona are also used.

In the mid-Ming Dynasty, Kunqu spread to the north, and through the efforts of many artists, Kunqu was combined with the language of the northern region to form "Northern Kunming"; Kunqu opera was first popular in Jiangsu and Zhejiang provinces and was called "Nankun". ; Bikun performed more martial arts, showing the unrestrained wind shed; Nankun, on the other hand, pays attention to pronunciation, exquisite workmanship, more graceful and restrained, and lingering. Kunqu Opera plays an important role in the history of China opera, which has a direct impact on the formation and development of Beijing Opera and local operas such as xiang opera and Sichuan Opera.

Ju Ping

Pingju is one of the most influential local operas in China, which was formed in the late Qing Dynasty and the early Republic of China and has a history of about 70 years. It originated from "Lotus Falls" in eastern Hebei, and later absorbed the tune of "Tiao" in the northeast, so it was called "Tiao" and "Tiao" in its early years. At first, it was a counterpart singing method, similar to the "two-person turn" in Northeast China. Later, it gradually absorbed the percussion music of Hebei Bangzi, the singing and performance of Luanzhou Cinema, Laoting Drum and Peking Opera, and formed "Tangshan", which became "Fengtian" and finally became the current Pingju. Cheng is a famous actor and playwright in early Pingju. He created many new plays and adapted more than 100 scripts, which played an important role in the formation of Pingju.

The artistic characteristics of Pingju are: good at singing, clear articulation, easy-to-understand lyrics, plain singing, and strong life flavor and cordial folk flavor. Its form is lively and free, and it is best at expressing the life of contemporary people, so it has a large audience in both cities and villages. The aria of Pingju Opera is a banqiang, which consists of adagio, Erliu board, crib board and scattered board. After liberation, remarkable achievements have been made in the innovation of Pingju music, singing and performance, especially in changing the shortcomings of poor male voices, and male voices have made new creations.

Pingju was originally divided into East Road and West Road. Nowadays, East Road is popular in Hebei and Northeast provinces, and it also has a large audience in the south. West Road Pingju, also known as "Beijing Jump", was formed under the influence of East Road Pingju Bangzi and the old tune. High timbre, rich head shape and unique style. Xin performed in Beijing and Jingxi before and after the Revolution, which was well received by the audience and was on the verge of being lost in the future. 1958 was excavated and sorted by China Pingju Theatre before re-entering the stage. The preface to the collection of flower pavilions is a good play that has been sorted out and passed down by young actors.

Hebei opera

Hebei Bangzi, formerly known as "Zhili Bangzi", was renamed Hebei Province after Zhili Province. It originated from the Bangzi system of Shaanxi Qin Opera. After the mid-Qing Dynasty, it gradually evolved from Shaanxi Zhou Pu Bangzi, which flowed into Hebei. In the late Qing Dynasty, it was very popular in Beijing. Later, Bangzi and Pihuang performed on the same stage, and exchanged ideas and absorbed each other, which made Bangzi more and more complete in art. Beijing Zhili Bangzi absorbed the essence of Pihuang, also known as "Beijing Bangzi". After the Revolution of 1911, many excellent Bangzi actresses emerged constantly, which brought a new look to Bangzi opera and changed the singing of Bangzi greatly.

When Hebei Bangzi was popular, it was most popular in North China and Northeast China, especially in north-central Hebei and Beijing-Tianjin. Hebei Bangzi's vocals are high-pitched, vigorous and straight, including adagio, Erliu, running water, sharp board, crying board, anti-tune, and nearly 100 tunes used for stage accompaniment.

During War of Resistance against Japanese Aggression and the War of Liberation, Hebei Bangzi was widely developed in rural areas around Hebei. However, in big cities such as Beijing and Tianjin ruled by the Kuomintang, it is declining. After liberation, Hebei Bangzi was restored and developed, and the excessively noisy gongs and drums and Bangzi were innovated, creating a new aria, making it both soft and pleasant in generosity and grandeur.

A trite theme

The old tune, also known as the "old tune bangzi", is one of the local operas in Hebei Province. It came into being in the late Ming Dynasty. It has been circulated among the people for a long time and has a strong local flavor. The aria is simple, vigorous and vigorous, and there are many kinds of boards, including the head board, the second board, the installation board, the lifting board, the plucking board, the sending board, the retaining board and the crying board. The main accompaniment instruments are banhu, flute, sheng, erhu and sanxian. The epidemic area is centered in Baoding, Hebei Province, and is divided into East Road (Levin and Anxin), West Road (western Baoding) and South Road (Shijiazhuang). There is not much difference between different vocals, but the tune is different. The performance of the old tune is complete in form, complete in business and rich in traditional plays. The Lawsuit of Pan Yang is an influential drama, which has been made into a dramatic film.

Sixian opera

Sixian Opera is one of the ancient local operas in Hebei Province. It is a branch of "Chord Tone" in the Northern Song Dynasty, which was called "Chord Tone" in ancient times. There is no actress in Sixian Opera, and both male and female roles are played by male actors, which forms the characteristic of alternating use of true and false voices when singing. The accompaniment instruments of Sixian have long been two Qin Liu and two Sanxian. During the Xianfeng period of Qing Dynasty, because he often performed on the same stage with the old-fashioned Bangzi, the main accompaniment instrument was changed to the old tenor banhu, and other instruments also increased or decreased. In the process of development, it was influenced by Kunqu Opera, Hebei Bangzi and Beijing Opera to varying degrees. It is popular in the vast rural areas of central and southern Hebei Province and parts of Shanxi Province. The singing of Sixian has both high-pitched and wan-cavity, which is mainly plate cavity, divided into two systems: cross-tuning and tube-tuning, each with a variety of plate cavities. On the eve of liberation, there were only one or two professional classes in Sixian County. After liberation, Sixian developed greatly and actresses took part in the performance. Yin He, an outstanding traditional drama in Sixian County, was once put on the screen.

Indiscriminate transfer of resources through administrative orders

PingDiao is one of the local operas in Hebei Province, which originated from Wu 'an County in the south of Hebei Province, also known as "Wu 'an PingDiao". Popular in southern Hebei, northern Henan and southeastern Shanxi, it is deeply loved by local people. It is said that the emergence of Pingdiao began in the late Ming and early Qing Dynasties, and it was evolved from Wu 'an artists' learning from j[ Huaidiao] and combining Wu 'an folk music and dance.

Pingdiao belongs to "Bangzizha", which is full of business and good at performing historical dramas. Its aria belongs to banqiang, with relatively complete structure, beautiful melody and good lyricism. There are mainly adagio, Baer board, flowing board, scattered board, planted board, stacked board, sad board and so on. There are many kinds of suona qupai and Sixian qupai 100 with music accompaniment. Once upon a time, the accompaniment instruments were Erxian and Ji Qin. ; After liberation, sheng, flute and banhu were added. In performance, it has the characteristics of lively, rough, passionate and bold style. His masterpieces include San Zhang Jin, Ten Beauties of Qi Chen and Jin Zhong Ji.

Tangshan shadow play

Tangshan shadow play is also called "Laoting Shadow" and "Luanzhou Shadow" because of its musical characteristics in Laoting and Luanxian in Tangshan area. Popular in Tangshan, Chengde, Langfang and other cities and counties in Hebei Province, it is a comprehensive art with exquisite carving skills, dexterous manipulation skills and lyrical singing music. War of Resistance against Japanese Aggression used to gather people to perform during the slack season, and the towns and villages in the above areas have a deep mass base. Its vocal music is particularly popular with the masses.

The singing of Tangshan Shadow Play evolved from the pure rap form of "Dafu Shadow", which is divided into male voice and female voice. There are many accents (such as flat tone, flower fading, Yang Yunping tone, Hedong tone, Luanhe tone and intonation) and various plates (such as slow board, fast eyes, slow sex, tight sex, three sex and flowing water). It has a history of three or four hundred years. Due to the development and creation of early artists, different schools have been formed for a long time. Its main accompaniment instrument used to be a small three-stringed instrument, which was gradually replaced by a four-stringed instrument.