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A Brief Introduction to the Play Next Door
Tracing back to the two performance techniques of the neighboring drama can be pushed to the Song Dynasty. According to Song Gaocheng's "History of Yuan Yin", "Everything sold in the capital must have rhyme, and its intonation is different, so the city people take its sound and think it's fun."

In Hangzhou in the Southern Song Dynasty, this method of "crying" was very popular.

According to "Dream of Liang Lu's Prostitute Music", "Today's markets and houses often sell things with the voice of the capital and the songs of the market, which is in line with the words of palace merchants." The performance was also quite loud: "The staff of the Conservatory of Music is equivalent to learning hundreds of birds' songs, and they are in awe inside and outside, only listening to the voice in the air, and the husband and wife are together. "

At that time, the chanting artists in Hangzhou also had their own guild organizations such as "Fa Hui" (see "Wulin Meeting").

In addition, there is a popular skill of "learning to talk about the countryside" with Fang Zhailang as a professional artist in the Washe Goulan in Hangzhou.

Taking "shouting" and "learning to talk about the countryside" as the main means of expression, hiding behind the scenes, Hangzhou people call it "next-door drama" and the jargon of artists calls it "dark spring"

The so-called "dark spring" means only hearing its voice and not seeing its achievements. The performance that people can see is called Next Spring. There are many dark spring programs and several bright performances next door. Artists also refer to these two forms of performance as "Spring Drama", so the drama next door was once called Spring Drama.

The next-door drama in the Qing Dynasty was mainly sung in the hall, with many artists performing small magic tricks (called antique) and only one performer. Artists who can't do magic sometimes take turns performing with jugglers. During the performance, the host's square table was used as the stage, and the four characters "Happy Ever After" were written on the horizontal plaque. The artist carries a cloth bag with money board, abacus, bells, cymbals, wood awakening, folding fan, bamboo tube and other guides. In order to please the host and relieve the mood of the audience, the artist first stood outside the curtain and said a few auspicious words, and then performed a "fan play". The so-called "fan play" means that the artist first pulls out a puppet from the fan, and then the puppet jumps with the fan, just like dancing. Accompanied by puppets, some artists sang many popular ditties, such as "Wandering Soul", "Railing", "Literature", "Lotus Fall" and "Spring Melody", and performed simple characters' stories.

The programs include Monks Picking Flowers, Ten Fans, five blessings, Flowing Water in Jinshan, Meng Jiangnv and so on. More programs include artists holding a piece of red cloth, performing small ancient color tricks such as "longan turns into egg", "egg turns into copper twins" and "fairy picks beans", as well as large ancient color tricks such as "changing people" and "changing water" (the so-called "drinking water in Kowloon").

Because the trick moves quickly, people can't see the flaw, and the trick is usually carried out under the cover of cloth, blankets and other things, so artists call this ancient colorful trick "Li Zichun".

Of course, there are also things that are not used for juggling, which artists call "empty hands". Artists such as Pan Zubin, Zhang Monk and Tian Xinong. , are "empty-handed" star. Because the purpose of performing fan play and antique tricks is to arouse the appetite (interest) of the audience, artists call this opening performance "hanging shed".

At a church meeting, there were only a few hanging tent programs, which were decorative and mainly performed the next-door play. Performers enter the curtain, and some programs use the illusion of dialect homophonic words to achieve the effect of ridicule and satire.

Imitating local dialects to portray characters' personalities is one of the main features of the drama next door. Such as "roll call" and "Zhuangyuan cake" are also such programs.

Another feature of the drama next door is to simulate various sounds or effects to learn the sounds of birds and animals. For example, birds pay attention to the phoenix, sell cakes, make trouble, burn tofu shops and so on.

During the performance, artists imitate all kinds of ups and downs such as snoring, walking, opening doors, going up and down stairs, children crying, howling, burning, moving furniture, raining, windy, spraying water, crowing chickens and barking dogs. , or follow the wind phonetic symbols, imitate hawkers selling and singing, and also sing and rap with various minor tunes and local operas and quyi.

Of course, imitating all kinds of sounds requires not only oral skills, but also various props. If it rains, the artist will rub his hand on the abacus or sweep it on the table with a broom. With the different speed and severity, the audience can tell whether it is heavy rain or light rain. If you want to express all kinds of rumors, artists rub cymbals with different weights and speeds. Another example is to show the sound of going up and down stairs. The artist walks back and forth on the table or taps the table with a bamboo tube.

There are several programs in the drama next door that rap in the light, among which "Hang Cheng Robbed" has the greatest influence.

At the beginning of the program, a section of the gate of Hangzhou 10 was sung in Wulin tune: "Outside the Qingshan Building outside the mountain, the scenery of the West Lake is in Hangzhou. Zhengyang closes the white eight-character gate, and the snail follows the Caoqiao gate. The tidal sound can be heard, and the money pool can keep peace. ..... The "Zhengyang" in the lyrics is Fengshan Gate, and Guanbai is also called Beiguan Gate, namely Wulin Gate, Bazi Gate is Genshan Gate, Snail Gate is Qingtai Gate, Caoqiao Gate is Wangjiangmen Gate, Emergency Gate is Chun Qing Gate, and the rest are Houchao Gate, Qingbo Gate, Yongjinmen Gate and Qiantang Gate. The names of the bridges represented by the characters are as follows: Meidenggao Bridge, Qingyun Bridge, West Bridge, Bridge, Xianlin Temple Bridge, Salt Bridge, Oil (Wax) Bureau Bridge, Fengle Bridge, New Bridge, Recommended Bridge, Chaiduo Bridge, Fuqiao Bridge, Tiefo Temple Bridge, Sansheng Bridge, Xingong Bridge, Bridge, Tongjiang Bridge, Heiqiaotou Bridge and so on.

The last Datong River has two meanings, one is Datong Bridge, and the other is Qiantang River. Another meaning is the small water in the river, and finally the Qiantang River in Datong.

Hang Cheng Robbed also weaves the streets of Hangzhou into lyrics and rap. This program is very popular with the audience because of its humorous and interesting content. The program has also been absorbed by folk artists such as Hangzhou Xiaorezui, Wulin Class and Hangtan, and has become their regular repertoire.

In order to enrich their performances, the performers next door also absorbed from other Hangzhou-style operas, such as Noisy Night (that is, Hua Zi Guan Jing), Son, Romon, etc., all of which are from Shanghai Beach, Hangzhou. Of course, these tracks were developed after being absorbed by the drama next door.

During Tongzhi period in Qing Dynasty, the next-door drama was very popular in Hangzhou. At the end of the Qing Dynasty and the beginning of the Republic of China, in addition to singing in the hall, the next-door drama also began to be performed in the streets or squares.

At that time, there were more than 40 famous artists, including Zhang Zhisheng (A Si, tailor), A Chun, Shao (sparrow), He Pinsan, Pan Meichun, Zhang Lanfang, Pan Zubin, Zhang Fukun (monk) and Archie.

According to the records in Qing Chao, Fang Shoushan, a Chinese opera artist next door to Hangzhou, also brought this art to Shanghai to perform in191year. The drama next door is also very popular in Shaoxing.

According to Lu Xun's diary, 19 16 June, Lu Xun's mother celebrated her 60th birthday. Lu Xun specially rushed back to Shaoxing from Beijing, and invited artists from Huadiao, the next-door opera and Pinghu to sing at Laotaimen's house to celebrate his mother's birthday.

In his diaries of 19 16, 12 and 13, he wrote: "In the afternoon of 12, he sang a cadenza, sang a play next door and did a little magic at night. 13, sing Pinghu tune in the evening, and give mom her 60th birthday. "