Little Brother Ban 19 10 went to Hangzhou, 19 17 went to Shanghai. Since 1920, the performance has been accompanied by stringed instruments, which is called "Gong Zheng tune" because of the tune of Banhu. In the early 1920s, traditional Chinese opera was called "Shaoxing Literary Opera". 1In July, 923, the first female class was opened in Shijiaao, Sheng County. 1925 History collaborated with pianist Wang Chunrong to produce 6
The [four tones] with a fixed tone became the main tone in Shaoxing's literary and opera period. In the early 1930s, a large number of female classes appeared. During this period, in addition to classes for men and women, there were mixed performances for men and women. 1938, the famous actress Yao Shuijuan absorbed intellectuals to participate in the reform of Yue Opera, which was called "improved literary drama". The most famous actor in this period is "Three Flowers and One Volume", which is called the four famous actors of Yue Opera, namely Shi, Zhao Ruihua and He. The younger ones are Zhu Su 'e, Tu Xinghua and He. Young actors like Xiao Dangui, Ma Zhanghua, Yuan Xuefen, Yin Guifang, Xu Yulan, Fan Ruijuan and Fu Quanxiang have emerged. The main screenwriters are Li Fen, Wen Zhong, Hu Zhifei, Tao Xian and Tamia Liu.
From 1942 to 10, Yuan Xuefen absorbed new writers and artists and carried out a comprehensive reform of Yue Opera, which was called "New Yue Opera". Directors are Yu Yin, Han Yi, Liu Lan, Bai Tao, Xiao Zhang, Lu Zhong, Nan Wei and Xu Jin. Since September 1944, Yin Guifang and Zhu Shuizhao have also renovated the Longmen Grand Theatre. Since then, the major Yue Opera troupes in Shanghai have embarked on the road of reform.
An important symbol of "New Yue Opera" is to compile a new drama, use the whole script and abolish the curtain system. Most of the content is anti-feudalism, exposing social darkness and propagating patriotic thoughts. 1946 in may, the student troupe adapted Lu Xun's novel "blessing" for the first time and put it on the opera stage, marking a new stage in the reform of Yue Opera. 1September, 946, Vice President Zhou Enlai went to Shanghai, watched the performance of Snow Sound Troupe, and instructed the underground party to do a good job in the field of Chinese opera. Since then, the underground party has sent party member Qian, Liu Housheng, and members of the party's peripheral organizations to act as directors in Yue Opera. 1946 Yuan Xuefen was dumped by hooligans, and 1947 "Ten Sisters" of Shaoxing Opera jointly performed "Love between Mountains and Rivers", which supported Xiao Dangui's struggle to rehabilitate, progressive literary and art circles and the press.
In singing, there has been a major breakthrough in the reform of Yue Opera. "New Yue Opera" has expanded its performance in practice, and the original lively and jumping main cavity (four-work cavity) can no longer adapt. June 1943, 165438+ 10, when Yuan Xuefen played "The Fragrant Princess", and June 1945, 65438+ 10, when Fan Ruijuan played "The Funeral History of Liang Zhu". Later, these two tunes became the main theme of Yue Opera, and on this basis, they gradually formed their own genre vocals.
In terms of performance, first, draw lessons from the performance methods of drama and film to truly and meticulously depict the characters' personality and psychological activities; The second is to learn the beautiful dances and routines of Kunqu Opera and Peking Opera. Based on the creation of new roles, the actors have gradually formed a unique style of combining freehand brushwork with realism. In stage art, three-dimensional scenery, colorful lights, acoustics and oil painting pigments are used for makeup, and clothing styles are specially designed in combination with the plot. The soft and elegant colors and materials have become an organic part of the artistic style of the play. /kloc-The reform of Yue Opera in the 1940s established a formal artistic mechanism with a high degree of integration of choreography, performance, sound and beauty. The composition of the audience of Yue Opera has also changed. In addition to the original housewives, it also attracted a large number of factory women and middle school girls. On the eve of the liberation of Shanghai, several major troupes engaged in "New Yue Opera", such as Xuesheng, Dongshan, Magnolia, Yunhua and Shao Zhuang, were directly or indirectly influenced by the production party of China, which had a large audience.
1949 Shanghai was liberated, and the first local drama research class was held in July, which was mainly composed of people from the Yue Opera circle. 1950 12 in April, the first state-run troupe, East China Yue Opera Experimental Troupe, was established. 195 1 year, the state-owned Zhejiang Yue Opera Experimental Troupe was established. On March 24th, 1955, Shanghai Yue Theatre was established.
The Party and the government attach great importance to national opera, especially Premier Zhou Enlai, and take great care of the art of Yue Opera. In the early days of the People's Republic of China, in order to expand the performance means of Yue Opera and meet the needs of the times. The East China Yueju Opera Experimental Group and Zhejiang Yueju Opera Troupe conducted co-performance experiments for men and women, and created and performed plays such as Ferry in the Snow, fiancee, poem pavilion, the story of fighting for children, Mountain Flowers, Eleven Lang and so on. From the 1950s to the early 1960s, he created a number of artistic masterpieces with great influence at home and abroad, such as Butterfly Lovers, Sister Xianglin, The Romance of the West Chamber and A Dream of Red Mansions. In addition, there are a large number of national famous outstanding plays. Among them are butterfly lovers, Detective, Fish Chaser, Hosta, Dream of Red Mansions, etc. Has been put on the screen. Since the early 1950s, a number of Yue Opera Troupes have moved from Zhejiang and Shanghai to other places. By the early 1960s, Yue Opera had spread all over more than 20 provinces and cities in China. 1954, Shanghai Opera School has set up Yue Opera classes and Yue Opera music classes. Starting from 1958, Zhejiang Art School has also started several Yue Opera classes. 1960 Shanghai Yue Theatre opened a learning hall and a stage art class. Shanghai Hongkou, Heather, Jing 'an and other districts have also established study halls or drama schools. A large number of Shaoxing opera professionals have been trained in a planned way.
1977 since June 1, a large number of outstanding traditional plays have been staged one after another. Shanghai Yue Theatre has also successively created and performed new repertoires such as Song of Faithful Soul, Spring Tide in March, and Guangzhou Lu Xun, which has shaped the image of a great man in modern history. Zhejiang Yue Opera Troupe has created and performed a large number of outstanding repertoires, such as Five Women Offering Birthdays, Anger at the Han Palace, Rouge Kou, Moonlit Night on the Spring River, Rain on the Tongjiang River, Candle Tears and so on. The Nanjing Yue Opera Troupe also composed and performed Mo Chounv and Song of the Newsboy. 1978 "Sister Xianglin" co-starred by men and women was made into a color widescreen movie. Birthdays of Five Girls, Mo Chounv, Moonlit Night on the Spring River, Flowers and Rain on the Tongjiang River, Candles and Tears, etc. Have been put on the screen.
Some famous actors in 1950s and 1960s, such as Wang, Wang, Wang, Wang, Wang, Bi Chunfang, etc. Continue to improve their art and become more distinctive in style. After Yuan Xuefen, Yin Guifang, Fan Ruijuan, Fu Quanxiang, Xu Yulan and Qi Yixian, they formed a new singing form. Since the mid-1980s, the system reform of Yue Opera has been tried out one after another. Shanghai, Zhejiang and Jiangsu vigorously cultivate a new generation of young actors. Qian Huili, Chen Ying, Han Tingting, Danyang Ping,, Mao, Caifei He, Fang Wenxue, Tao Qi and many other rising stars are well-known at home and abroad.
The emergence of this new kind of drama has at least the following three meanings to the development of China opera.
First of all, it is a successful and conscious application of modern conditions. Although reformers didn't see a clear blueprint at the beginning, they were more conscious in using the conditions of modernization. The modern conditions are: 1, the reference of foreign drama culture (including form, concept and skill); 2. Materials and technical equipment for the new theater; 3. All kinds of professionals with new cultural literacy and professional knowledge. Among the three, talent is the most important; Without the conscious use of natural conditions, the first two conditions can't be grasped, although there are or not. At that time, Yuan Xuefen was willing to hire a group of "amateurs" with nine tenths of his "wallet", most of whom were young drama, film workers or amateurs. The change of knowledge structure brought by this combination determines the basic trend of the new Yue Opera. Because both sides were young at that time, they did not become "everyone", had no burden, were courageous and had few contradictions. They can respect each other, learn from each other, complement each other and depend on each other. Together, they explored a new road, transformed the old Yue Opera and created the new Yue Opera.
Secondly, it is an enlightening example of the transition of China traditional opera from classical form to free and diverse modern form. Some leaders in our traditional opera reform movement had hoped to "rebuild" a "great national musical" 021. This new musical is "a combination of the advantages of local operas such as Pingju and even the advantages of national operas." So, what is the form of this new musical? Is it to replace the old classic simplification with new simplification, or to move from simplification to diversification? Can the world create a great drama that combines all the advantages of drama? I'm not sure. Since the beginning of this century, there have been various arguments about China's traditional operas, and now it is almost the end of the century. Some pioneers have come to the conclusion that mortal things are not dead, and some idealists have called on them to create things that have not been realized. The actual situation is diverse, and it will be more diverse. The charm of old things is far longer than some predictions, and will continue; The creation of new things must not contain all the advantages, so all kinds of new things are needed. Any combination has its limits, and any advantage is relative. Yue Opera is such an example. It is just a form and a style in the diversified pattern today and in the future. It is indeed the product of the exchange and integration of local drama and drama, which has its relative advantages, but not all the advantages are concentrated. For example, in performance, he has made great achievements in singing and has his own characteristics, but he has played down (that is, abandoned) some difficult technical requirements in doing and playing. It is not comprehensive enough to measure the performance of Yue Opera with all-round requirements of singing, reading, doing and playing of Kunqu Opera, Beijing Opera and Bangzi. So its business is not comprehensive enough. But this does not damage its existence. Lightening some technical burdens and diluting some program norms can enhance their freedom in expressing life and writing strength, and it is more convenient and natural to "marry" with modern new art forms and new means of communication, such as movies and television. The example of Yue Opera can give us a kind of enlightenment: loosen and dilute the seemingly rigid characteristics of opera, maintain the initiative of choice, thus accepting some non-opera factors and forming a new drama style. In fact, the artistic features of China's traditional operas are a multi-level dynamic structure, which is not static; What hardens is only some appreciation psychology and theoretical propositions. Fortunately, in the era of Yue Opera reform, the main resistance is that the audience who are used to watching "big dramas" will always look down on them for a while, and when they really change their faces, they will gradually admit that "Yue Opera does have new forms and contents, not just superficial reforms." ○23 Future opera creation should be more diverse and free. Through loosening and diluting, absorbing and discarding, selective reconstruction will be the only way to realize diversification.
Third, it can also provide a unique beauty. If you can't do this, then the above two points will be unconvincing. Summarizing the past experience of Yue Opera, there are two sentences: starting with reform and winning comprehensively. Of course, this is right. The comprehensive integration of editing, directing, acting, sound and beauty is indeed the artistic advantage of Yue Opera, but I think it can be further explored. Nowadays, comprehensive operas are not uncommon. How to distinguish Yue Opera from other operas with such comprehensive advantages? In my opinion, there is another advantage of Yue Opera that was rarely mentioned in the past, that is, the combination of folk, classicality and modernity. This is a deeper and more meaningful synthesis than the synthesis of various factors in stage performance. Speaking of this, I think of a discussion in the early days of the founding of the People's Republic of China:1In the winter of 952, Xie Obraz Zhuofu, a master of puppet art in the former Soviet Union, traveled all over the north and south of China, and after observing and inspecting various operas, he held a symposium in Beihai Park Tuancheng. Present at the meeting were Ou Yangyuqian, Mei Lanfang and Tian Han, as well as experts engaged in various drama majors and leaders of several drama institutions. One of the questions discussed at the meeting was which operas were suitable for classicism with "glorious adjectives". Everyone agreed that Beijing opera was "classical", and then talked about Yue Opera:
"So, is Yue Opera also classical?" Some people say "yes" and others say "no". There was a little argument, and finally everyone agreed that Yue opera should also be regarded as a classical drama. ○24
How interesting! At that time, the formation of New Yue Opera was only 10 years. She is the "little sister" in front of the "big brother" in Beijing opera, but she also gets the "classical" and this "glorious adjective". Why is there a little debate? Because after all, Yue Opera is different from Kunqu Opera (there was no "revival" at that time) and Beijing Opera, and it is a real classical art.. The adjective "classical" can't sum up the essence of Yue Opera. It should be said that it is the unity of classicality, modernity and folklore, which permeates all components of Yue Opera. Because there are "two wet nurses" in the performance of Yue Opera, it can be said that it is a modern performance with classical colors. The vocal music of Yue Opera has the simplicity and significance of folk tunes, while the accompaniment music "can be compared with the dominant melody in western European operas, and even has the flavor of symphony in some music words". Not modern enough? The costume characters of Yue Opera are full of modern classical beauty. The scenery lighting of Yue Opera is a modern means, and its color concept and decorative interest are classical and folk. The literary language of Yue Opera, especially the lyrics of some excellent works, has the double beauty of folk songs and classical poems, and so on. There are really not many operas with "three natures" like this. On a deeper level, Yue Opera is a kind of feminine drama. In the past, Yue Opera was co-performed by men and women, but now it is being co-performed by men and women on a trial basis. But as far as its main body is concerned, it is a female opera played by women, which is good at expressing the fate of women and is most popular with female audiences. The key to the establishment of female drama is the emergence of "female niche". The training difficulty of female students is higher than that in Hua Dan, and it is also the most concerned by female audiences. Beauty can pretend not to be a minority. The requirements for female minorities are handsome, elegant, elegant and bookish. Don't show off your femininity, just try to flatter. Because Xiao Sheng is played by a woman, it is decided that the theme of this play is The Legend of the Holy Dan, and the style tone is soft. In a word, Yue Opera is a comprehensive "three-sex" female drama. As long as it can be perfectly combined with the performance content with certain social significance (reflected in the script creation), the beauty it releases is very unique and irreplaceable. Therefore, this charming "little sister" is quite prominent in the family of Chinese opera and is also loved by people. There are also some members in the big family who lack personality and vitality, but it is impossible to be without the "little sister" of Shaoxing opera.
five
Finally, talk about thinking about the present situation of Yue Opera.
1986 In Beijing, I watched a Dream of Red Mansions performed by Shanghai Yue Theatre, and this time I came to Shanghai to watch The West Chamber. I have this feeling: after ten years of catastrophe, Shanghai Yue Opera has made great achievements in training young actors, but its artistic style has not changed much, which is a bit like "living on one's laurels". This may be wrong, but I do think so. The new Yue Opera was born in Shanghai, and we also have reason to ask Shanghai to take the lead in deepening artistic reform.
Why did the Shaoxing Opera in the 1950s develop greatly? In addition to the profound changes in social conditions, the creative mentality of the Yue Opera circle is also relatively good. At that time, people were fiercely critical of the old society and were not complacent about the reform achievements in the 1940s. Therefore, they can make full use of the superior conditions that the party and the state attach importance to, and constantly integrate and improve the Yue Opera, thus creating a brilliant new stage in the history of Yue Opera. It is not easy to keep forging ahead after the "Four Great Classical Novels" created since the 1950s. First, the starting point is high, and it is naturally more difficult to reach a new level; Second, there were almost no copies in the 1940s, all of which were exploration and creation. Now there are a number of fine products and school founders as copies. In order not to lose the artistic achievements that have been made, it is necessary for young actors to "inherit as they are", but if they persist in this for a long time, their creative ability will also be weakened. Third, the fine works of the past seem to have become a solidified model, and the artistic reform seems to be unable to deepen. This is my analysis of the phenomenon of "living on one's laurels", and of course there are other complicated reasons.
However, another reform voice has been relatively high, that is, performing for men and women. As early as 1947, Tian Han, who was very concerned about the reform of Yue Opera, said: "Advocating co-production between men and women is also an anti-feudal movement. This depends on the resolute courage of the Yue Opera workers. " ○26 After the founding of the People's Republic of China, this advocacy was more authoritative and achieved some results in the experiment. Therefore, when we study the artistic personality of Yue Opera in theory, we can only talk about synthesis and so on, which is a historic glory; This element of female drama has become the object that needs to be abolished. For example, an article entitled "Questions and Answers of Yue Opera" said that a Yue Opera Troupe "has returned to the normal form of men's and women's costumes, and the Shanghai Yue Opera Troupe is also in training. It is expected that it will be changed to men's and women's costumes in the near future." ○27 The implication is that all Shaoxing operas are performed by women and are "deformed forms" that cannot be changed.
When it comes to the sensitive topic of Yue Opera, I agree with Mr. Ma's attitude. In a letter to Comrade Yuan Xuefen in the early 1980s, he said that women's Yue Opera and co-staged Yue Opera are "two artistic forms that can coexist and compete artistically". Comrade Xue Fen agreed with this opinion in his reply. This attitude is more open-minded, at least it doesn't regard women's Yue Opera as a "deformed form". What I want to add is that since the co-performed Yue Opera is regarded as another "art form" of Yue Opera, it should be more fully allowed, supported and encouraged to make some important changes to the artistic style of women's Yue Opera, just as the women's class has made many changes to the men's class. If we just let male students sing like female students, such a "cooperative performance" will be meaningless. If we want to fight against the women of Yue Opera, we must keep a proper distance from it to show the necessity of our existence. It is difficult to approach and compete. We welcome the continuation of this experiment.
For women's Shaoxing opera, it is completely possible to unload the burden of "abnormal form". The essence of drama art is to create an action image with aesthetic significance by pretending. Whether disguised as a man or a woman, or disguised as a woman or a man, all are posturing, which conforms to the essence of drama art, and its artistic value lies in the aesthetic significance of the image created, not in whether the gender of the actor is consistent with the role. China traditional opera is a highly hypothetical performance style, so the pretender has sufficient creative space. It should also be admitted that in a specific style or theme, the role of changing gender can often show the artist's extraordinary skill, so Mei Lanfang has become an internationally recognized master of art. As a female drama, does Yue Opera contain some limitations? Of course, it is included, but the audience's aesthetic mentality can be adjusted. They can not only admit your limitations, but also appreciate the unique beauty you provide. For this kind of aesthetic mentality, the ancients have long talked about it. Zhang Dai, an essayist and opera connoisseur in the Ming Dynasty, said in the article "Liu Hui Ji Nv Xi": "Nv Xi is forgiven by demonization, with one breath and one attitude, so all female performances are forgiven." The meaning of this passage is: female drama has many limitations, but its enchanting dress, soothing mood and charming posture make people forgive its shortcomings and like to watch it. Zhang Dai didn't watch Yue Opera, and his interest in appreciation was different from ours. But his aesthetic mentality is quite similar from ancient times to the present. You should also have a word "forgiveness" when watching Yue Opera. If you can't "forgive" and are not good at adjusting your appreciation angle, please ask Yue Opera to perform martial arts in addition to literary dramas. Besides singing well and doing well, there are many difficult skills such as doing well and playing well. Besides good young students, Hua Dan, old students and Lao Dan, there are also good clowns and big faces. Then I advise you not to go to see Shaoxing opera, but to see Shaoxing taipan or Beijing opera. But in Shao Opera and Beijing Opera, you can't feel the beauty of Yue Opera. Your "all-round" "love" for Yue Opera will eventually destroy it. The perfection of style can only lead to the destruction of style, and the audience who is not good at adjusting the appreciation angle will inevitably narrow the aesthetic taste. In fact, the limitations of Yue Opera stop there. The reason why literature and art should blossom is not because any artistic variety has its own limitations, so it needs different relative aesthetic advantages of other varieties to complement each other?
There are more than 300 kinds of traditional operas co-performed by men and women in China, and only Yue Opera is played by women. Maintaining this particularity is conducive to its survival and development. Since the 1920s, women's Yue Opera has little to do with feudalism, but with commercialism. Therefore, there are many vulgar habits in Yue Opera that cater to the tastes of ordinary citizens. Since the 1940s, Yue Opera has gradually gained modern character and comprehensive advantages, and made new development in the 1950s and 1960s, but these are historical and concrete, and need to be promoted wave by wave. In other words, Yue Opera also has the task of further modernization by deepening artistic reform. Cultural market, like other markets, is always welcomed by products with "name, specialty and excellent quality", with "specialty" as the foundation and "specialty" and "excellent quality" as the "name". As a female drama, Yue Opera is obvious and should be protected. What is important now is further optimization. At that time, Tian Veteran's Yue Opera was regarded as a new kind of drama with broad prospects, which could be "divided into three" with Peking Opera and drama. The Yue Opera circle should be ambitious, continue to optimize the artistic personality of the operas, and strive for "the world".
The artistic personality of a drama is reflected in the audience's feelings, which is the particularity of appreciation, or an aesthetic advantage that can attract and conquer the audience. The unique beauty provided by the above-mentioned Yue Opera is its artistic personality. I'm talking about integration, "three natures" and female drama, both of which are indispensable. The organic combination of the three is the new Yue Opera created since 1942. Then, the so-called optimizer is to further strengthen the organic relationship between the three. Strengthening the first two points can improve the aesthetic taste of female drama. However, the first two points can be generalized, and it is not monopolized by the Yue Opera family, so the female drama is also very important, even fundamental. Based on this, the concrete manifestations of the first two points are not generalized, and Yue Opera has its own distinctive characteristics.
So, how to strengthen this point of female drama? Answer: Being young means exerting the youthful charm of an actress. A critic in Hong Kong said that in the autumn of 1983, Zhejiang Hua Xiaobai Yue Opera Troupe went to Hong Kong to perform for the first time. "Five women celebrated their birthdays ... overnight suppressed the' reputation' of Shanghai Yue Opera Theatre, which is known as the' overlord of Yue Opera' in the eyes of Hong Kong opera fans!" ○3 1 This emotional reaction is not unreasonable. Isn't this the special effect of combining the advantages of youth and art? The performance of Little Hundred Flowers in Japan was called "China Edition Treasure Tomb" by Japanese audience. This also inspired me: Can the Yue Opera Troupe be more girly, make it full of youthful vitality and become a youth drama in China? Yue Opera is the most qualified to do this, because it focuses on literary dramas, pays attention to singers and sings with its own voice, which determines that its talent training cycle is short and Jiangnan is rich in beautiful women, which is an inexhaustible "resource" for Yue Opera. It is not difficult to run more girls' Yue Opera Troupe, but it is difficult to gain new artistic advantages continuously.
In the final analysis, the artistic advantages of Yue Opera should continue to make a fuss about comprehensive integration and "three natures" and reach a new level. As mentioned above, the formation of these two characteristics is the product of local drama and drama-in other words, the product of the exchange and integration of Chinese and western drama cultures. This kind of communication and synthesis is constantly deepening with the expansion of our artistic vision and the improvement of our understanding level, which is endless. Take the use of stage equipment as an example. When the installation of drama was introduced into the New Yue Opera in the1940s, the aesthetic features of drama, such as "lively venue" and flexible time and space, were basically ignored or even abandoned as outdated and backward things. Tian Lao once criticized this. In 1950s, it took another step forward and actively tried to adapt the stage installation to this feature of China traditional opera. Thus, for example, the "Eighteen Gifts" in butterfly lovers appeared, which enlivened time and space by changing the background, but the combination of scenery and performance was still not appropriate. Recently, I watched The West Chamber from Little Hundred Flowers, and the use of stage devices has taken a step forward. How well this turntable is used! It can be said that it is closely combined with action and plays. There are techniques and principles of western neo-constructivism, but the image is China's, which conforms to the specific situation of the drama and integrates with the aesthetic principle of the drama's flowing space, adding modernity to the performance of this famous classical drama. From the evolution of the stage installation of Yue Opera, we can realize that the combination point of cross-cultural communication of drama is moving, which is a deepening process from copying to selection, splicing to casting, adding to internalization. The essence of communication and synthesis is reconstruction, innovation and successful creation, which can not only make foreign techniques have China characteristics, but also make traditional aesthetic principles gain new artistic life. The performance of Yue Opera should also continue to deepen the principle of "neutralization" put forward by Yuan Xuefen. The "psychological realism" technique of drama is not so easy to master; The "body beautification" of Kunqu Opera is not just a few moments. The performance style of Yue Opera does exist, but there are not many examples with profound expressive force. Nowadays, young actors need to re-examine the goals put forward by their predecessors and strive to go deep into practice, otherwise it is not impossible to become a superficial new formalism. Recently, I watched Mao Yan and Lu You, and I think this is a breakthrough in the performance of female students, which is worthy of rejoicing. In addition, I also hope that Yue Opera will continue to enrich its singing, improve its singing skills and make the musical atmosphere of instrumental music more intense. It is hoped that Yue Opera musicians will continue to follow the path initiated by Mr. Ruzeng Liu, "seriously consider the characteristics of opera music, and strive to enhance its musical character in an international perspective, so that it can maintain its profound original flavor and be more widely appreciated." I have a dream that the further development of Yue Opera in music will most likely become a China musical that is deeply loved by audiences at home and abroad.
There is no contradiction between the rejuvenation of actors and the deepening of artistic reform. Yuan Xuefen was only 20 years old when he raised the banner of the new Yue Opera! Yin Guifang saw that the Dalai Theatre was "trying a new kind of Yue Opera", so he felt that "I should also undertake this mission" and become an innovator. He is only 25 years old. Some innovators in the "Ten Sisters" are also very young. They are full of youthful charm on the stage, and they can win a surprising victory in art because they have the spirit of "bravely and violently accepting new elements without reservation", so they can consciously unite and cooperate with people from all walks of life in the new literary and art circles. Today, they also need this spirit and cooperation. The best combination of younger actors and artistic creation teams (editing, directing and sound beauty) will lead to "fame, independence and Excellence" and will not be competitive in the cultural market. Actors must understand in their hearts that it is absolutely impossible to recreate a brilliant stage by relying on their own skills and not cooperating with "amateurs" Of course, today's young actors can't afford to hire a "teacher Bao", but they can rely on the cultural authorities or the society to solve the problem of creative funds, such as setting up a foundation and running a literary and art enterprise consortium. As long as they can come up with "fame, uniqueness and Excellence", there is always a way. Traditional Chinese opera reform needs the combination of amateurs and amateurs. Tian Lao put it well: "When amateurs become amateurs (master all their skills) and amateurs become amateurs (learn about things other than drama and gain new views on the world and art), this difficult reform movement should achieve initial results." ○36 The modernization of Yue Opera is like this, so is the further modernization of Yue Opera. We expect Yue Opera to set off a new wave of deepening artistic reform. Who will take the lead? It is not clear whether Shanghai is the most qualified and should take the lead. However, Shanghai also has its difficulties: there are many institutions, high requirements and great pressure, and the courage to explore may be small, and the stalls are also large and scattered. Maybe we will rush out from other places to become an innovative power. No matter which way we take, as long as we have made achievements, we should warmly welcome them with open arms!
The basic tunes of Yue Opera that we hear now are all created by the female class. Early female classes created their own "four gongs tune" to replace the "four gongs tune" handed down from male classes, which was not suitable for female students. Sigong tune is fresh and smooth, full of jumping feeling and good at expressing joy, but as the main theme, it is monotonous. The theme of Yue Opera, especially the tragic fate of women, shows the limitations of this theme. The new Yue Opera has made up for this defect, that is, 1943, 1945 [tonal scales] and [tonal chords] have appeared one after another. "Chord Down" is the antonym of "Ruler Tone". As a new theme, Chidiao is "a great revolution of Yue Opera music" ○ 1 1. The similarities between these two new songs are beautiful lyricism, euphemism and delicacy, and they are especially good at expressing sad and lingering feelings, which can make up for the shortcomings of Sigong Tune and form a contrast with it. Yue Opera has four tones, a ruler tone and a lower chord tone, just like Xipi, Huang Er and anti-Huang Er in Beijing Opera. By changing the plates and enriching the melody, it forms an expressive vocal ensemble, which can better shape the musical images of the characters in the opera. Because these basic tunes have great plasticity, actors can play creatively according to their own conditions, thus forming a variety of schools with high singing skills, which fascinates countless audiences.
The reform of band accompaniment is tortuous. After I canceled percussion earlier, I dubbed it like a movie with Cantonese music or pop tunes, or played records, or played the piano and violin. This is a "rich" paste, obviously fresh, but lacking in organic ingredients.
For example, it is obviously inappropriate to play Sister Xianglin and dub Tao Xingzhi's "Hoe Dance" through the loudspeaker. Yue Opera used to be accompanied by China musicians and assisted by western musicians, but there was no good artistic integration 12. If the appearance of 1943' s "Chi Yu Diao" is a major turning point in the vocal music of Yue Opera, then the accompaniment of 1948' s "Coral Introduction" is a major turning point in the instrumental music of Yue Opera. The play is accompanied by national musical instruments and composed by Ruzeng Liu, who has received higher education in western music. Zhou Baocai, a musician, recalled: "Four pipas, three strings, a phoenix flute and a flute were used for accompaniment. The band was so happy that they didn't talk about it. They rehearsed all night ... Ruzeng Liu taught you notation, and notation was written on it and notation was written below, which was unprecedented in the past. " This performance caused a sensation in Shanghai, and other Yue Opera Troupes, Qu Shen Troupe and Jianghuai Troupe all came to see it. ○ 13 Zhou Baocai is a performer of the main instruments of Yue Opera, and he has contributed to the creation of [ruler tone] [chord tone]. "I'm too happy to talk about it" is an expression that musicians are excited about joining a new band. This experiment laid the foundation for the establishment of Yue Opera band and the development of accompaniment music. Musical instruments are national and rich in Jiangnan silk and bamboo characteristics. The methods and techniques of composing and orchestration refer to western operas or symphonies.