hair accessories
Cantonese opera hair accessories are mainly characterized by films, headgear, bun and ornaments, and there are systematic films, headgear and plug ornaments. Different kinds of headgear, bun, braid and contract also have their own characteristics, usage, manufacturing methods, wearing and maintenance equipment.
Clothing
Traditional Cantonese opera clothing can be divided into: python, reclining, pleating, opening, official clothing, official clothing and clothing. Materials are mainly made of cloth, and embroidered costumes are the mainstream in the drama.
aria
The aria music of Cantonese opera is mainly divided into three categories: banqiang, Qupai and poetry praise.
musical instruments
There are more than forty musical instruments used in Cantonese opera, which can be roughly divided into four categories: wind instruments, plucked instruments, stringed instruments and percussion instruments. Among them, plucked instruments include guzheng, pipa and butterfly piano; The gongs and drums include fish board, sand drum, double-skin drum/bang drum, cymbals, jingluo, hook gong, war drum, big wooden fish, small wooden fish, big gongs and cymbals, and big drums. After the reform of Cantonese Opera, many western musical instruments, such as saxophone and violin, were adopted, which made the music effect more perfect.
question 2: the characteristics of cantonese opera the artistic characteristics of cantonese opera are: the lyrics of cantonese opera are easy to understand, folk songs are interspersed in the "banghuang" aria in music, and the singing method is changed from "falsetto" to "flat throat" (true voice), and after repeated practice, all of them are sung in Guangzhou dialect.
the "mountain-crossing class" in rural activities retains the characteristics of rough and simple in the early days, and many famous actors have unique skills in one leg, somersault, hair toss and mouth curl. Martial arts are based on "southern martial arts", including rigid and powerful targets, hand boxing, Shaolin boxing, difficult chair skills and high platform skills. After the role appeared, it is also quite rare for men to "jump" and women to "bend their backs".
The style of stage art is almost freehand. The scenery is simple, and the scenes specified in the play are mainly displayed by virtual performance programs. When the programs can't show it, the words "riverside" and "mountain" are written on the signs.
The "Provincial and Hong Kong Large Class" performing in cities has absorbed some artistic nutrition from dramas, operas and movies, and has made considerable improvements in reflecting contemporary life and making performances more lively. Most of the repertoires are Shengdan dramas, which emphasize singing over doing, while literary dramas are more than martial arts dramas. However, some new performance programs have been refined and created from life, and performance skills have been learned and absorbed from movies and dramas, forming a free, flexible, popular and delicate performance style with emphasis on realism.
The stage art emphasizes realism, and the scenery uses soft scenes dominated by frames, as well as real scenes with lights and hard films. The costumes and makeup are gorgeous and ingenious. Later, it was developed to install electric lights with institutional scenery, film clothing, helmets and props.
Voice characteristics: The male sings steadily and deeply, sometimes slightly hoarse; The girl sings very delicately and roundly.
question 3: cantonese opera is one of the local operas in Guangdong province, and it is also a very influential opera in southern China. Because it was produced in Guangdong, it is called Cantonese Opera. It originated in Guangzhou and Foshan, and now it is mainly popular in Guangdong, Guangxi, Taiwan Province, Hong Kong and Macao. As many overseas Chinese are descendants of Cantonese, Cantonese operas are often performed in areas where overseas Chinese live in concentrated communities. Cantonese opera mainly sings Bangzi and Erhuang, while retaining Kunshan, Ge Yang and Guangqiang dialects, and absorbing the folk music and the tune of the Pearl River Delta. It is sung in Guangzhou dialect, so it is also called "Guangdong Banghuang", "Guangdong Drama" and "Guangfu Drama".
Historical evolution
Yiyang tune, Kunshan tune, Bangzi tune, Huizhou tune and Han tune were introduced to Guangdong in the late Ming and early Qing dynasties. The tunes performed by local operas in Guangdong were greatly influenced by these foreign tunes, and the tunes they sang were called "wide tunes". From the music of Cantonese opera, we can also see the traces of Yiyang tune and Kunqu tune. During Daoguang period of Qing Dynasty, Guangzhou's theatrical troupes were divided into local troupes and Waijiang troupes. Most classes in Waijiang perform Huizhou opera, while most local classes perform Bangzi opera. The early activity center of the local class was in Foshan. During the reign of Emperor Qianlong in Qing Dynasty, many theatrical troupes from other provinces came to Guangdong, and local troupes drew rich nutrients from Waijiang troupes, and their art became more and more mature and gradually formed their own characteristics. During the Jiaqing and Daoguang years of Qing Dynasty, the high-pitched and Kunshan tunes gradually declined, so the local class took the clapper as its main singing voice. The influence of the post-Hui class is expanding day by day, and the "bang spring" (that is, Xipi and Erhuang) is the basic singing tone. At the same time, some Kunshan, Yiyang and Cantonese operas were retained, and Guangdong folk music and current tunes were absorbed. At this time, the local class has been "completely different" from the Waijiang class, and then gradually formed Cantonese opera.
In the fourth year of Xianfeng in Qing Dynasty (1854), Li Wenmao, a Cantonese opera artist, led the children of Liyuan and Chen Kai, a member of the Heaven and Earth Society, to respond to the Taiping Rebellion, claiming to be king. Therefore, Qing * * * ordered the local opera to be banned. After the ban, the local class was silent for 15 years. During this period, Cantonese opera artists can only join the troupe of Han Opera and Hui Opera, or perform under the name of Peking Opera and other operas. In this way, the bangzi cavity and the spring cavity in Cantonese opera began to merge. Later, the composition of erhuang in Cantonese opera even surpassed that of Bangzi. In the 11th year of Xianfeng in Qing Dynasty (1861), the ban was slightly relaxed, and local classes rose again. During the Tongzhi period (1862-1874), Cantonese opera artists organized public performances, and their class clubs have performed in Henan, Zhejiang, Guangxi, Yunnan, Hunan, Anhui, Hong Kong and Macao.
After the resumption of performance, great changes have taken place in the repertoire content and performing arts. During the Revolution of 1911, influenced by the new drama (civilized drama, that is, early drama) of Chunliushe, Cantonese opera artists organized "Zhi Shi Ban" to publicize revolutionary democratic ideas. Under the wave of this new idea, Cantonese opera began to improve, and its content and form have undergone great changes. Around 192, Cantonese opera was completely localized in language, changed from "Opera Studio Mandarin" to Cantonese, and the singing method was also changed to native voice, giving up the singing method of Bangzi opera with false voice. Both Bangzi and Erchun sing an octave lower, which unifies the style and singing method of Bangzi and Leather Spring.
Around 192, with the increasingly developed capitalist business in Guangzhou, Hong Kong and Macao, some Cantonese opera clubs also took Guangzhou and big cities such as Hong Kong and Macao as their activity bases, which were customarily called "provincial-port classes". The "Provincial and Hong Kong Class" performed in the theaters of Guangzhou, Hong Kong, Macao and other metropolises, and absorbed a large number of techniques of civilized dramas, dramas and movies, and great changes have taken place in music singing, role, performance program, stage arrangement and performance repertoire. Its basic vocal cavity is dominated by the clapper and two springs, but it also retains other folk rap tunes and introduces pop songs and jazz music. Western instruments such as violin, saxophone, electric guitar and jazz drum are also used as accompaniment instruments. The performance program is greatly simplified. The role trades have changed from the original top ten trades to the "six-pillar system", namely, Wen Wusheng, Xiao Sheng, Zhengyin Hua Dan, Er Gang Hua Dan, Ugly Sheng and Wu Sheng. The arrangement of the play should take into account the drama points of the six pillars. There are a lot of new plays on the repertoire, and traditional plays are rarely performed. A large number of new plays have been adapted from movies, foreign novels, popular scripts, plays and some fabricated plays.
The 193s was an era of great changes in Cantonese opera, and it was also known as the era of "competing with horses". Xue Juexian, a writer of martial arts, and Ma Shiceng, an ugly student, have made great contributions to the innovation of Cantonese opera. Xue Juexian is close to the style of Peking Opera, with comprehensive performance skills. He is known as the "all-powerful old man", but he is outstanding as a young man. His representative plays include Hu Bugui and other four tragedies. The jockey won with a clown. He exposed the ugly behavior of feudal rich capitalists in a group drama featuring "lonely and cold species" (miser), including ... > >
Question 4: What are the characteristics of Cantonese opera? Cantonese opera belongs to the traditional folk programs in the south. It is highly recognized in South Guangdong. The characteristics are summarized as follows:
The main aria is the banqiang of Bangzi and Erhuang, supplemented by Qupai style. At the same time, the Cantonese folk accents such as Nanyin, Cantonese, Muyu, Dragon Boat and Banyan were retained.
The stage art style of Cantonese opera is almost freehand. The scenery is simple, and the situation is specified in the play, which is mainly displayed by virtual performance programs.
The repertoire of Cantonese Opera is mostly Shengdan Opera, with emphasis on singing but neglecting doing. Literary Opera is more than martial arts. Martial arts are based on "Southern School Martial Arts", including vigorous and powerful targets, hand bridges, Shaolin Boxing, difficult chair skills and high platform skills.
Question 5: The characteristics of Cantonese Opera are born out of Cantonese Opera, which has long absorbed, melted and interacted with Cantonese Opera in singing music. The singing methods are diverse, and the teacher's mother period is divided into ten businesses, including Xiaosheng, Hua Dan and Wusheng. There are three types of actresses: big throat, flat throat and sub-throat. Cantonese opera keeps pace with the times. It is good at absorbing, blending, constantly enriching and innovating, which broadens the vocal music. For example, Cantonese opera's "bang and spring", Guangdong folk art dragon boat, Nanyin, Cantonese song, Muyu song, and even Guangdong music (including miscellaneous tunes or instrumental music) are all used for lyrics singing. Besides gaohu and dulcimer, the accompaniment also includes saxophone, violin, electronic organ and so on. There are two kinds of Guangdong Quyi in broad sense and narrow sense. In broad sense, Guangdong Quyi refers to all kinds of Quyi in Guangdong Province, such as Cantonese Opera, Muyu Song, Dragon Boat Song, Nanyin, Chaozhou Song, Hakka bamboo song, Xianshui Song, etc. Actually, it refers to rap literature in Guangzhou and Lingnan areas. In a narrow sense, Cantonese Quyi only refers to Cantonese opera singing. Cantonese opera singing: Cantonese opera is a branch of Cantonese opera, which is the most popular Daqu in Guangzhou dialect area and is sung in Guangzhou dialect. Cantonese opera is popular in Guangzhou, Hong Kong, Macao and other places, and spread to Southeast Asia and places where Chinese people live in America. Cantonese opera was originally the tune of Cantonese opera, and then formed an independent drama. It has strong musicality, beautiful tunes, pays attention to the art of vocal cavity, and has unique style and local characteristics. Its vocals belong to the board cavity of the Pihuang system, with bangzi, Erhuang, Paiziqu, Xiaoqu and ballad as a whole, and at the same time, it also absorbs Han folk rap arts such as dragon boat, Nanyin, Muyu, Yueqi and Banyan. Cantonese opera's vocals are also divided into three main vocal cavities: big throat (high-pitched male voice), flat throat (flat-pitched male voice) and sub-throat (special cavity for female voice), from the ten traditional operas: Xiaosheng, Wusheng, Xiaowu, Hua Dan, Gongjiao, Huahua, Zhengdan, Zhengsheng, Laodan and Ugly.
question 6: characteristics of cantonese opera culture cantonese opera, originally called "Guangdong banghuang", also known as "Guangdong bangzi" and "Guangfu opera", is one of the local operas in Guangdong province. It is popular in Guangdong, Guangxi, Taiwan Province, Hong Kong and Macao, and there are performances of cantonese opera in overseas areas where overseas Chinese live in concentrated communities, which has a great influence on southern China.
Cantonese opera originated in Guangdong, and its origin can be traced back to the middle of Ming Dynasty more than 4 years ago. At this time, Haiyan Opera has been introduced to Guangdong, and troupes from Jiangsu and Zhejiang provinces have come to perform here. During the Ming and Qing Dynasties, many foreign clubs came to Guangdong, including Haiyan, Yiyang, Kunqu, Bangzi, Huizhou and Handiao. Influenced by these foreign accents, there are obvious elements of Yiyang and Kunqu in Cantonese opera.
During the light years of the Qing Dynasty, Guangzhou's theatrical troupes were divided into "local troupe" and "Waijiang troupe". The local troupe mostly performed bangzi opera, while the "Waijiang troupe" performed Huizhou opera. In the Xianfeng period of Qing Dynasty, Cantonese opera artist Li Wenmao responded to the Taiping Heavenly Kingdom's self-proclaimed king, so the Qing Dynasty banned Cantonese opera for 15 years. In these 15 years, Cantonese opera artists had to join the troupe of Han Opera and Hui Opera, and some of them performed under the name of Peking Opera and other operas. As a result, the bangzi cavity and the erhuang cavity in Cantonese opera began to merge, and even the composition of the erhuang cavity exceeded that of the bangzi.
Qupai can be divided into two categories: brand and ditty. Most of the brands are absorbed from Kunqu Opera and Yiyang, as well as Guangdong folk etiquette brand music; The ditty includes the cut-out music of traditional Chinese opera, the music of bamboo in the south of the Yangtze River and Cantonese music, and its music includes: Liu Qingniang, dressing table, selling groceries, drought and thunder, proud as a peacock, Hong Xiuxie, Baihua Pavilion, Meng Jiangnv, jade beauty, a lover, etc., as well as newly-created songs: hate filling the chest, seeking needles, urging people to return, playing da ji, etc. Most of the traditional songs of brands and ditties are instrumental music, which has a relatively fixed melody.
Cantonese opera's lyrics are easy to understand. Musically, folk songs are interspersed in the "Banghuang" aria, and the singing method is changed from "falsetto" to "flat throat" (true voice). After repeated practice, all of them are sung in Guangzhou dialect. The "mountain-crossing class" in rural activities retains the characteristics of rough and simple in the early days, and many famous actors have unique skills in one foot, somersault, hair toss and mouth curl. Martial arts are based on "southern martial arts", including rigid and powerful targets, hand boxing, Shaolin boxing, difficult chair skills and high platform skills. After the role appeared, it is also quite rare for men to "jump" and women to "bend their backs". The style of stage art is almost freehand brushwork. The scenery is simple, and the scenes specified in the play are mainly displayed by virtual performance programs. When the programs can't show it, the words "riverside" and "mountain" are written on the signs. The "Provincial and Hong Kong Large Class" performing in the city has absorbed some artistic nutrition of drama, opera and film, and has made considerable improvements in reflecting contemporary life and making the performance more lively. Most of the repertoires are Shengdan dramas, which emphasize singing over doing, while literary dramas are more than martial arts dramas. However, some new performance programs have been refined and created from life, and performance skills have been learned and absorbed from movies and dramas, forming a free, flexible, popular and delicate performance style with emphasis on realism.
Question 7: The aria music of Cantonese opera is mainly divided into three categories: banqiang, Qupai and poetry praise. In fact, this is all related to the development of traditional Chinese opera and Cantonese opera. Poetry praise is also called rap. Guangdong's local opera music should be mainly composed of rap-like Nanyin, Muyu, Dragon Boat, Banyan and Cantonese, because it is composed according to the language characteristics of Cantonese. On the basis of flat words and up-and-down sentences, Guangdong's rap-like aria and lyrics must be divided into two groups of up-and-down sentences, because Cantonese is divided into yin and yang, which is different from that of northern languages, and there is a great difference in pronunciation. The basic characteristics of Cantonese opera singing music are banqiang, namely, Bangzi and Erhuang, commonly known as "Banghuang", which is similar to the "Pihuang" of Beijing opera. Therefore, Cantonese opera also belongs to the operas in the north and south roads, namely, there are "Erhuang" singing in the south road and "Bangzi" singing in the north road. The most fundamental difference between banqiang opera singing, hymn opera singing and Qupai opera singing is that banqiang opera singing and hymn opera singing have no fixed melody, and the melody is determined by the pronunciation of the lyrics, so even if they are both "adagio" or "medium board", they can have different musical melodies because of different lyrics. However, the aria of Qupai-style opera is based on the melody of music first, and then the lyrics are filled in, among which the backbone tone cannot be modified. Therefore, no matter thousands of songs with the same Qupai, even if the lyrics are different, the tone of their distribution must be the same, otherwise a ditty will be filled differently. Although there are different forms and modes of Cantonese opera "Bang Huang", there are mainly two forms (of course, some newly created forms such as orderly middle board, Xipi and Love Tan of Cantonese opera are special cases), that is, the old form and the new form. The old musical form refers to the different plates that developed from seven-sentence to cross-sentence, which is characterized by being divided into upper and lower sentence patterns according to the flat and flat meter of modern poetry. At first, it was sung by Qi Yan Qi Zi.