1, accompaniment instrument
Beijing opera accompaniment instruments are divided into percussion instruments and orchestral instruments.
Percussion instruments include banban, Dan Pigu, gong, cymbals and cymbals, which are called "Martial Arts Hall".
Orchestral instruments include Jinghu, Jinghu Erhu, Yueqin and Sanxian, which are called "Wenchang".
2. Stage props
Bricklaying is the floorboard of props and some simple devices, and it is a special product of China traditional opera to solve the contradiction between performance and object. The word "build by laying bricks or stones" existed in the Jin and Yuan Dynasties. Bricks on the stage of traditional Chinese opera include household appliances (such as candlesticks, lanterns, fans, handkerchiefs, Four Treasures of the Study, tea sets and wine utensils) and transportation appliances (such as sedan chairs, car flags, paddles and whips).
Weapons are also called knife grips (such as knives, guns, swords, axes, hammers, whips, sticks, clubs, etc.). ), as well as various objects that show the environment and touch the atmosphere (such as cloth city, big tent, small tent, door flag, flag, water flag, wind flag, fire flag, instrument war, chair cover around the table). In addition to the commonly used masonry, it can also be temporarily increased according to the needs of the performance.
Extended data
The formative period of Peking Opera
From the 20th year of Daoguang to the 10th year of Xianfeng (1840- 1860), Peking Opera was formed by the confluence of Hui Opera, Qin Opera and Han Opera, absorbing the strengths of Kunqu Opera and Peking Opera. One of its signs: the tune is complete and rich, surpassing any of the three major operas of Hui, Qin and Han. Singing is a mixture of banqiang and Qupai styles.
The vocal cavity is mainly Huang Er and Xipi; Second, the business is generally complete; Third, a number of Peking Opera plays have been formed. Fourthly, Cheng Changgeng, Yu Sansheng and Zhang Erkui are the representative figures in the early stage of Peking Opera, and they are called "old pedant, three outstanding figures" and "three Ding Jia", namely Zhang Erkui, Cheng Changgeng and Yu Sansheng.
They have their own characteristics in singing and performing styles, and have made outstanding contributions to the main melody, Xipi, Ersong and the form of Peking Opera, as well as the creation of spoken language and pronunciation with Beijing language characteristics.
Among the first generation of Peking Opera actors, there are still old students, such as Lu Shengkui, Xue, Zhang Rulin and. Xiao Shenglong Deyun and Xu Xiaoxiang; Hu Dan Xilu, Rojov, Mei Qiaoling; Ugly Yang Mingyu, Liu Gansan; Lao Dan, Hao Lantian and Tan Zhidao.
Jing Zhu, Ma Zi, Ren Hua face, etc. , all have unique creations to enrich the vocal cavity and performing arts in all walks of life. Mei Qiaoling, the monitor of Sixi Class, bravely broke through the old rules of strict division of labor between Tsing Yi and Hua Dan, and opened up a new way for Dan Jiao's singing art.
Thirteen Musts of Tongguang is a portrait of a famous figure in the history of Peking Opera, painted by Shen Rongpu, a folk painter in the late Qing Dynasty. He refers to the figure painting form of the Beijing Opera Thirteen Chains painted by the painter He Shikui in the middle of Qing Dynasty.
Thirteen famous actors (Cheng Changgeng, Lu Shengkui, Zhang Shengkui, Yang Yuelou, Tan Xinpei, Xu Xiaoxiang, Mei Qiaoling, Shi, Yu Ziyun, Zhu Lianfen, Hao Lantian, Liu Gansan and Yang Mingyu) on the stage of Peking Opera during Tongzhi and Guangxu periods (1860 to 1890) were selected and performed with meticulous brushwork.
This painting was acquired by Zhu Fuchang, an evolutionary society, in 32 years of the Republic of China (1943). Restore and photocopy it, and attach a volume of Thirteen Biographies of Celebrities in Tongguang.
Baidu Encyclopedia-Peking Opera