Fujian Opera, also known as Fuzhou Opera, is the only existing opera that is sung and recited in Fuzhou dialect. Popular in central Fujian, eastern Fujian and northern Fujian, and spread to Taiwan Province Province and Southeast Asia. Yiyang dialect was introduced into central Fujian in the late Ming Dynasty, and gradually merged with local dialects and minor tunes to form Jianghu tune. Then Jianghu class sang Jianghu tune, and Pingjiang class sang Jianghu harmony songs. At the end of the Qing Dynasty, the Pinghua class merged with the old class that sang Kunqu Opera, Huizhou Opera and other foreign accents, as well as the Confucian class that sang Confucianism in Fuzhou, and finally formed Fujian Opera. After the Revolution of 1911, Fujian Opera entered a prosperous period, with many classes and clubs, and "four famous dances" such as Zheng, Zeng, Xue and Ma Difan emerged, which was known as "Mei Lanfang of Fujian Opera".
Second, history.
In the thirty-seventh year of Wanli in the Ming Dynasty (1609), Cao Xue, a foreign politician for many years, was dismissed and sent back to China because he refused to use the state treasury to build a private house. When he lived in Tang Hong Township, the western suburb of Fuzhou, he once organized servants in the government to set up Cao Shi's home school and invited Confucian scholars to watch entertainment. Later, it was called "Confucian class", which was the earliest predecessor of Fujian opera.
Cao Xue is proficient in temperament and good at measuring music, creating a new cavity suitable for Fuzhou dialect singing. At that time, the literati's comments on this new song were: "The song is in the flowers", "Managing the Phoenix tune" and "The throat of the new Yuefu", which shows the beauty of the tune. Later, Fujian opera artists called it "teasing".
After the Qing soldiers entered the customs, Cao Xue hanged himself as a martyr. In the past, Cao Fu sang, geisha sang and celebrities gathered every night, and the Confucian class was silent for a long time.
At the same time, Yiyang dialect in Jiangxi is also widely circulated among Fujian people. Because the troupe has been touring from village to village for many years, it is called "Jianghu Opera". All the songs are sung in "Tuguan dialect" and the music tunes are collectively called "Jianghu Tune". It is "no nonsense" and good at "misusing rural dialects". It has a large number of plays with historical stories and family and marriage as the themes. Traditional repertoires, commonly known as "Thirty-six Jianghu Songs" and "Seven to Eight Rites and Twenty-one Miscellanies", mainly include "Double Nail Judgment", "Double Seal", "Double Rescue Frame", "Double Crown" and "Gift Pagoda". In particular, the high-stage performing arts and techniques of Jianghu dramas, as well as the dry singing at the front desk, the backing in the background, the accompaniment of gongs and drums, and the loud and stirring noisy scenes, are particularly suitable for the viewing habits of township farmers and craftsmen, so they are gradually deeply rooted in the hearts of the people. Jianghu dramas and Confucian dramas, which are favored by doctors everywhere, have become a sharp contrast between refined tastes and popular tastes.
Because Jianghu dramas are all sung in vernacular Chinese, their circulation in Fuzhou dialect area is limited to some extent, so they can't develop. Thus, a "Pingjiang Opera" sung in Fuzhou dialect came into being.
The rise of Pingjiang Opera promoted the revival of Confucian Opera. The old people, the original birthplace of Confucian drama, remembered the grand occasion of the Confucian class singing in their hometown of Shicang Garden, so they took Purdue as an opportunity to choose the children of farmers in the real-life temple near the former site of Shicang Garden with rural drama lovers, and inherited the tradition of Cao Shi. Xianfeng period of Qing dynasty (185 18 1). At first, the troupe performed exclusively for Purdue University, premiering the program "Shui Jin Man Shan". The stage is set in Jinshan Temple on the bank of Minjiang River, which naturally combines the plot content with the performance environment and produces an artistic effect of blending scenes. The result was an instant hit, so neighboring villages came to invite them one after another, which made the early Cao Shi political class move from the deep house compound to the folk, which was a major breakthrough in Confucian drama. During the period of "Tang Hong Literati Drama", the repertoires performed were "Top Scholar Worship the Pagoda", "Girl with Bone", "Long Pavilion", "Liu Yin's Story" and "Yutangchun", all of which became the reserved repertoires of later Fujian Opera.
One advantage of Confucius Opera is that it attracts the attention of a large number of scholars. Therefore, when the Confucian drama was revived, Guo Baiyin and others, who retired after their success, compiled the Confucian drama Yu Zi Chai according to the biography of Huo Xiaoyu in the Tang Dynasty. Since then, as an independent vocal opera, Confucius Opera has entered a period of development and maturity. During the Tongzhi period (1862- 1874), there were more than ten amateurs in the suburbs of Fuzhou, such as Chen CuO Confucianism Class, Tangbian Confucianism Class, Zhuhu Confucianism Class, Pandun Confucianism Class and Xu Yiru Confucianism Class.
In the first year of Guangxu (1875), the Confucian class began to develop from rural areas to cities and towns, so professional troupes appeared. The "Drunk Spring Garden" class run by Lu took the lead in carrying out the banner of reform, adopted the method of funding, openly enrolled students to the society, and extended the teaching of "farce". At one time, all the cities and villages in Sifang hired this class to perform when they wanted to thank God and pray for the blessings of disasters and seasonal festivals. At this time, the actors of Confucian drama also developed from seven (commonly known as "seven-class") to twenty. In addition to the past "Purple Hairpin" and "Pagoda Worship", the number of performances has also increased, such as selling paintings, handing over Cambodia and Taohua Village.
After Lu died of illness, the Confucian class of Drunk Spring Garden stopped performing. Gao Xifu, the original screenwriter and director of the class, decided to reorganize the gongs and drums and start a new stove. On the one hand, he recruited some artists who had broken up, on the other hand, he personally searched for the main actors, such as Hua Dan Sheng Yuhuan, Xiao Sheng Cui, clown Wu Youliang, etc., and formed a new class with many deputy actors, named "Driving Heaven". The class premiered in Fuzhou Gulou Chenghuang Temple, starring Sheng Yuhuan, and was a great success. The reputation of "Driving the Cloud" has soared, and the number of people ordering the play has been rising, which has aroused the admiration of peers. Therefore, there are three Confucian classes in Fuzhou: Dayun, Saiyue Palace and Leisure Garden. In less than three years, courses such as Fenglin Chess, Spectrum of Xiao Yun, Imitation of Taoyuan, Qingyuntian, Enjoying Heaven, Imitation of Nishang, and Let Nature Take its Course have been opened successively, which together with the previous four courses are called "Thirteen Confucian Classrooms", making Confucian drama reach the peak in history.
During this period, Confucian dramas spread from Fuzhou to Changle, Fuqing, Yongtai, Gutian and Minqing counties. Besides Class 13 of the Scholars, Fuzhou has also added courses such as Walking in the Clouds, Haiyan Pavilion, Taiwanese Opera, Da Chun TV and New Nature. In Fuzhou dialect area, Confucius Opera jumped to the top of the theater, making its "funny" the main music of Fujian Opera.
From the last years of Guangxu to Xuan Tong (1908-1911), Confucian dramas, Jianghu dramas and Pingjiang dramas merged into one, commonly known as "three-in-one dramas", which began to form the embryonic form of today's Fujian dramas.
In the 1920s, Fujian Opera entered the mature stage of multi-voice operas, and the "Zheng School Art" represented by Zheng was the first peak of the art of Fujian Opera. In a few short years, Zheng successfully created the new camellia in New Camellia, Zhang in Orphan's Blood, Lin Ying in Hundred Butterflies Wooden Fan, Lin Daiyu in Daiyu Buried Flowers, Qin Xianglian in Purple Jade Chai, Qin Xianglian and Du Shiniang in Qin Xianglian. And hundreds of tragic images of women in different times, ages, identities, personalities and experiences, such as butterfly lovers, Wan Hualien Boat, Qiu, Songfan, Cai Songpo, saving the country and the people, the prodigal son's soul, and the box case. The Fujian opera Funny, which he sang, has a long lasting appeal and is full of sadness. In the 1920s and 1930s, it was recorded by several famous domestic record companies such as EMI and Liansheng, and spread all over the world. Known as "Master of Fujian Opera" and "Mei Lanfang is in Fujian".
In 1950s and 1960s, Fujian Opera entered the second peak in history, and a number of outstanding plays were created and adapted, and a number of outstanding young actors emerged. From 65438 to 0952, the Fujian Opera Troupe organized by the Provincial Federation of Literary and Art Circles went to Beijing for the first time to participate in the first national opera observation and performance conference, and performed the traditional drama "Chaitoufeng", which won the second prize for performance, and Guo won the first and second prizes for actors respectively. 1In September, 954, Fujian Opera Troupe went to Shanghai to attend the East China Drama Observation and Performance Conference, and performed such plays as Lian Yin, Litchi for Hearts, Fishing Boat and Candle, among which Lian Yin won the first prize for outstanding performance, Lin Ganshan, Lin Wuxia, Guo and others won the first prize for actors, and a large number of young and middle-aged actors won the second prize.
Since the 1980s, the newly-created dramas of Fujian Opera have been constantly emerging, and a number of masterpieces with new themes, high themes, profound thoughts, ingenious structures and wonderful plots have emerged, such as Hongwu Whip Hou, Broken Soul Yanshan, Qu Chuanji, Lin Zexu Chong Jun, Swan Banquet and Danqing Soul. Among them, Swan Banquet and Soul of Danqing won the highest award of China's script creation-the "Wenhua Award" issued by the Ministry of Culture.
May 23rd-June 3rd 1993 The 3rd China Drama Festival and the 10th National Plum Blossom Award were held in Fuzhou. The two major operas of Fujian Opera "Worship the Stone" and "Go to the Doctor" are impressive. Chen Naichun of Fuzhou Fujian Theatre won plum blossom award (actor). In July, the first Fujian Opera Art Festival was held in Changle County, the hometown of Fujian Opera. Fujian Opera Troupes from East Fujian, North Fujian, Middle Fujian 17 cities and counties gathered in Changle for more than a month, which was also an unprecedented event of Fujian Opera.
Third, artistic features.
The musical aria of Fujian Opera consists of four categories: foreign accent, Jianghu accent, funny accent and minor: rough and violent "Jianghu accent", popular and fluent foreign accent, elegant and graceful "funny accent" and fresh and lively minor, among which the first three categories are influenced by Yiyang accent, Kunqu opera and Huizhou accent to varying degrees, and the form of high-pitched chimes is retained, which is called backstage chimes. There are also some vocals and qupai absorbed from Lao Lao. When singing, both men and women use their own voices, which are characterized by high-pitched agitation, simplicity and roughness, but also delicate and gentle singing.
The commonly used tunes in Jianghu tunes mainly include "Jianghu Overlap", "Chai Pai Tune" and "Yin Tune", which have the characteristics of high pitch, many words and few tunes, and can be exhausted in one breath.
The main tunes of "foreign songs" can be divided into "big names", such as [Taiwan], [Aotou], [Feng] and [Yin Shi Dai]. "Intermediary big names" such as "in Yun Fei", "out of the team" and "Langtaosha". "Golden Box", "Double Butterfly", "Flower Appreciation" and other "big and medium answers". One solo is called "Big Card", and two or three duets are called "Plate Answer". The difference between "big intermediary", "intermediary" and "small intermediary" lies in the difference in the introduction (the beginning of drums and gongs).
There are 65,438+05 kinds of bandiao in Douqiang, which is characterized by the air-conditioning of "sadness" and "yi" at the end of Qupai. The main tunes are Zitaoling, Guangban and Jiban.
Minor is a kind of local and foreign folk songs, which are very rich, mainly including "West Lake Pavilion", "Pipa Complain" and "New Camellia". In addition, from Anhui opera and Beijing opera, such as "Dabugang" and "Seven and a Half Sentences" have been absorbed.
After the Revolution of 1911, many Peking Opera artists moved to Fujian to teach, so the music of Fujian Opera also absorbed Pi Huang Tiao.
The qupai of Fujian Opera is mostly evolved from Yiyang Opera, Siping Opera, Huizhou Opera and Kunqu Opera, and many vocals still retain the characteristics of Yiyang Opera, namely "chorus" and "double volume".
The introduction of Fujian Opera (percussion music into the door) was developed by combining the introduction of Jianghu gongs and drums, storytelling, horn cavity, grandma and local folk music "Fan Shi". All joints have local colors, and the martial arts field absorbs more Beijing opera gongs and drums, but the style of play is not the same.
The main accompaniment instruments are flute, suona, head pipe, erhu, coconut tree and so on. Percussion instruments include blue drum, war drum, gong, cymbal and cymbal.
In the past, there were only seven people in the scene, commonly known as "seven chairs"
The narration of all walks of life in Fujian opera absorbs a large number of Fujian folk children's songs, slang, proverbs, two-part allegorical sayings and so on. , and has a strong local flavor.
Fourth, the role of business.
The role branches of early Fujian opera were relatively simple. Confucian class and Heping class are composed of three roles, namely, life, Dan and ugliness. Later, it absorbed the branches of Huiban and Peking Opera, and its roles gradually became complete, increasing to seven, called "seven sub-classes", and then to nine, called "Nine Gate Numbers". With the meticulous business, it has gradually developed into "twelve roles", including Xiao Sheng, Laosheng, Wusheng, Tsing Yi, Hua Dan, Lao Dan, Dahua, Erhua, Sanhua, stickers, powder and miscellaneous, which are quite complete.
Life is divided into old students and primary school students; Dan line is divided into Hua Dan, Cai Dan, Zheng Dan, Qingyi, Ugly Dan, Broken Dan, Lao Dan and wudan. The network line is divided into big flowers and two flowers, and the ugly line is divided into Wen Chou, Wu Ugly and Short Clothes Ugly.
Since the 1980s, the newly-created dramas of Fujian Opera have been constantly emerging, and a number of masterpieces with new themes, high themes, profound thoughts, ingenious structures and wonderful plots have emerged, such as Hongwu Whip Hou, Broken Soul Yanshan, Qu Chuanji, Lin Zexu Chong Jun, Swan Banquet and Danqing Soul. Among them, Swan Banquet and Soul of Danqing won the highest award of China's script creation-the "Wenhua Award" issued by the Ministry of Culture.
May 23rd-June 3rd 1993 The 3rd China Drama Festival and the 10th National Plum Blossom Award were held in Fuzhou. The two major operas of Fujian Opera "Worship the Stone" and "Go to the Doctor" are impressive. Chen Naichun of Fuzhou Fujian Theatre won plum blossom award (actor). In July, the first Fujian Opera Art Festival was held in Changle County, the hometown of Fujian Opera. Fujian Opera Troupes from East Fujian, North Fujian, Middle Fujian 17 cities and counties gathered in Changle for more than a month, which was also an unprecedented event of Fujian Opera.
Third, artistic features.
The musical aria of Fujian Opera consists of four categories: foreign accent, Jianghu accent, funny accent and minor: rough and violent "Jianghu accent", popular and fluent foreign accent, elegant and graceful "funny accent" and fresh and lively minor, among which the first three categories are influenced by Yiyang accent, Kunqu opera and Huizhou accent to varying degrees, and the form of high-pitched chimes is retained, which is called backstage chimes. There are also some vocals and qupai absorbed from Lao Lao. When singing, both men and women use their own voices, which are characterized by high-pitched agitation, simplicity and roughness, but also delicate and gentle singing.
The commonly used tunes in Jianghu tunes mainly include "Jianghu Overlap", "Chai Pai Tune" and "Yin Tune", which have the characteristics of high pitch, many words and few tunes, and can be exhausted in one breath.
The main tunes of "foreign songs" can be divided into "big names", such as [Taiwan], [Aotou], [Feng] and [Yin Shi Dai]. "Intermediary big names" such as "in Yun Fei", "out of the team" and "Langtaosha". "Golden Box", "Double Butterfly", "Flower Appreciation" and other "big and medium answers". One solo is called "Big Card" and two or three duets are called "Plate Answer". The difference between "big intermediary", "intermediary" and "small intermediary" lies in the difference in the introduction (the beginning of drums and gongs).
There are 65,438+05 kinds of bandiao in Douqiang, which is characterized by the air-conditioning of "sadness" and "yi" at the end of Qupai. The main tunes are Zitaoling, Guangban and Jiban.
Minor is a kind of local and foreign folk songs, which are very rich, mainly including "West Lake Pavilion", "Pipa Complain" and "New Camellia". In addition, from Anhui opera and Beijing opera, such as "Dabugang" and "Seven and a Half Sentences" have been absorbed.
After the Revolution of 1911, many Peking Opera artists moved to Fujian to teach, so the music of Fujian Opera also absorbed Pi Huang Tiao.
The qupai of Fujian Opera is mostly evolved from Yiyang Opera, Siping Opera, Huizhou Opera and Kunqu Opera, and many vocals still retain the characteristics of Yiyang Opera, namely "chorus" and "double volume".
The introduction of Fujian Opera (percussion music into the door) was developed by combining the introduction of Jianghu gongs and drums, storytelling, horn cavity, grandma and local folk music "Fan Shi". All joints have local colors, and the martial arts field absorbs more Beijing opera gongs and drums, but the style of play is not the same.
The main accompaniment instruments are flute, suona, head pipe, erhu, coconut tree and so on. Percussion instruments include blue drum, war drum, gong, cymbal and cymbal.
In the past, there were only seven people in the scene, commonly known as "seven chairs"
The narration of all walks of life in Fujian opera absorbs a large number of Fujian folk children's songs, slang, proverbs, two-part allegorical sayings and so on. , and has a strong local flavor.
Fourth, the role of business.
The role branches of early Fujian opera were relatively simple. Confucian class and Heping class are composed of three roles, namely, life, Dan and ugliness. Later, it absorbed the branches of Huiban and Peking Opera, and its roles gradually became complete, increasing to seven, called "seven sub-classes", and then to nine, called "Nine Gate Numbers". With the meticulous business, it has gradually developed into "twelve roles", including Xiao Sheng, Laosheng, Wusheng, Tsing Yi, Hua Dan, Lao Dan, Dahua, Erhua, Sanhua, stickers, powder and miscellaneous, which are quite complete.
Life is divided into old students and primary school students; Dan line is divided into Hua Dan, Cai Dan, Zheng Dan, Qingyi, Ugly Dan, Broken Dan, Lao Dan and wudan. The network line is divided into big flowers and two flowers, and the ugly line is divided into Wen Chou, Wu Ugly and Short Clothes Ugly.