Gaisu Wen's performance skills of "playing teeth" in Qin Opera's "Silt River"
"Silt River" is a traditional excerpt of Qin Opera. Gai Suwen, Mao Jingyinggong, pays attention to the "three tricks" in this play, namely "playing with the collar", "playing with the eyes", and "playing with the teeth". The particularly unique "teeth-playing" performance adds a ferocious expression to the characters' faces, and has a strong artistic effect. Gaisu Wen wears a purple gold crown with double feathers, a fox tail, pinned hair on the temples, a red Zhang (under the chin), a red waistband, red trousers, red tiger-head boots, and a three-pronged fork.
Li Shimin was trapped in a muddy river with his horse and man. After a series of performances in which he struggled to break out of the muddy river, Gesuwen jumped from the horse gate to the front of the stage to the beat of "Thunder Hammer" and stood on his left foot. Stand still, raise your right foot, grab the collar with your left hand, raise the fork with your right hand, and raise your mouth until the "eight" teeth appear. Then turn to the right (with your teeth closed), stop at the upper horse gate, lead out the four jiaozi, go to the right corner of the stage, turn around to the center of the stage, lift your right foot, wrap your foot, hold the fork in your left hand and pierce the ground, grab the collar with your right hand, and spit out the upper middle double Hook Ya appears. When Gai Suwen walked into Taichung, Sijiaozi ran around Gai. Gai closed his posture and reached the right corner of the platform. Although Sijiaozi reached the right corner of the platform and stood in a straight line, Gai ended up kicking his left leg and then stepped forward. Cross your right leg, turn left, and swing your left leg to the left side of the stage. Then stretch your arms and laugh three times for four jiao. The end of the sound goes around the entrance of the stage and exits. At the same time, you walk to the right end of the stage, follow the four jiao, and run to the dismounting gate. , pierce the left bow and arrow pose, and to the accompaniment of the gongs and drums of swinging knives and spikes, grab the collar with your left hand, grab the handle of the fork with your right hand and swing it several times, then go around the collar and sweep it towards the audience, and point the fork head towards the right corner of the stage. Hold the rein in your left hand, tilt your body and head to the right, in time with the sound of gongs and drums at three o'clock: "Cang, Cang, Cang", cross your hands and feet and jump three times (to express happiness), then make an arrow bow with your right hand, in the rhythm of the gongs and drums In the middle, the fork is drawn with two upper and lower teeth (one tooth is thrust upward, the other is downward, and the tips of the teeth are hooked outward). The head is swinging to express pride. Then, to the rhythm of the gongs and drums of "Cang Cang" and "Cang Cang", both hands are crossed, and the right hand passes the handle of the fork to the left hand, holding the reins, standing in a left "T" step, spitting out the middle and upper hooks (one tooth is straight down in the middle) , one tooth rushes forward and hooks outward) appears. For a moment, his eyes swung his head left and right twice to follow the rhythm of gongs and drums, turned around and took three steps ahead, changing from slow to fast and exiting from the dismounting gate.
Corpse Hanging
Also known as "Big Hanging" [Liu Quan Jin Gua], it includes Qin Opera, Tongzhou Bangzi, Xifu Qin Opera, Han Diao Huanhuan, Han Diao Erhuang, Meihu and other operas All have this skill. Before the performance, a long hanging rod is tied flatly to the pillar at the entrance. One end of the rod is at the entrance of the stage and the other end is hidden inside the stage. When a person hangs himself in the play, he stands on a chair, ties a white silk hanging ring to the head of the pole, then puts the hanging ring around his neck and knocks down the chair. At this time, one end of the boom is about to be depressed in the platform and moved to the right, so that the head of the boom is raised and extends out of the platform opening, so that the person hanging is suspended high in front of the platform. When the actor is putting on makeup, he wears an oval-shaped iron wrap around his waist, with two iron hooks at the top that go from the chest to the neck. When hanging, the hoop put around the neck must be put on the iron hook, and then one water sleeve is wrapped around the neck and shoulders to cover up, and the other water sleeve droops, showing the scene of a living person being hanged. This technique is no longer used.
The singing tune of Qinqiang
Xianyang Qinqiang singing tune is divided into two parts: Banqiang and Caiqiang. Each part consists of two parts: "Bitter Sound" and "Huanyin" (also known as Huayin). It consists of a vocal cavity system. Kuyin tune is the most distinctive singing tune of Qin Opera that is different from other types of opera. It is passionate, tragic, deep and high-pitched when singing, expressing feelings of grief, hatred, nostalgia and desolation. The Huanyin tune is cheerful, clear, and vigorous, and is good at expressing joyful and pleasant emotions. There are four types of Qinqiang ban styles: one ban with three eyes, one ban with one eye, one ban without eyes and no ban without eyes. The names of the board cavity include adagio, headboard, one-hammer board, negative board, two-six board, pull-hammer two-six board, belt board, pointed board, roller board, two-guide plate, double-hammer board, etc. Generally speaking, they are the six major boards, the adagio, the belt board, the backing board, the second guide board and the roller board. The Qinqiang tunes are divided into 6 types: string type, percussion type, suona type, shengguan type, sea flute type, and set type. In the early days, the band consisted of six members, namely Wen and Wu.
The self-music class of Qin Opera
The self-music class is a group of amateurs in the usual sense. A few people can perform without stage lights and a few simple instruments accompanied by sonorous gongs and drums. The joys and sorrows of the world can be seen everywhere when walking along the base of the city wall in Xi'an. As a common folk entertainment organization in rural areas of Guanzhong, self-music classes mainly sing Qin opera. Listen to a self-music class under the city wall, with the sky as the curtain and the earth as the stage, free and unrestrained. The people who sing and listen to the opera are also invested. Most of the singers are men from Guanzhong, with wide mouths and a very powerful appearance. He lifted his robe, shook his sleeves, and shouted and sang. A voice flew through the air and hit the city wall. When it came back, the sound was still deafening.
In the Qin Opera self-music class, the actors are the audience, and the audience is the actors. The people of Xi'an who came from the Zhou, Qin, Han and Tang dynasties are obsessed with Qin Opera not only because of its local origins and ancient sounds and meanings, but because the earth-shattering tearing roar of Qin Opera can best express the longing and trembling of their souls. In this city, there are imperial mausoleums buried underground and temples built above the ground. The yin energy is heavier than the yang energy. People use the masculine energy of Qin opera to make people cry out to the ghosts and gods to balance the yin energy that has accumulated for thousands of years. It is said that it can achieve the balance of yin and yang and virility. Soft and helpful.
Good times.
In the eyes of Qin people, Qin opera is a great opera. When the banhu is played and the gongs and drums are sounded, the high-pitched singing is loud and the clouds are moving. That kind of momentum and heroic spirit is definitely a world apart from the soft-spoken opera.
Common repertoire of Qin Opera
The repertoire performed by Qin Opera includes myths, folk tales and various public case dramas. It has a rich traditional repertoire, with 2,748 copies preserved.
Repertoires that are loved by the audience include "Spring and Autumn Brush", "Eight Meanings Pictures", "Purple Cloud Palace", "He's Bi", "Hui Feng Fan", "Jade Tiger Pendant", " "Lin Bone Bed", "Mandarin Duck Quilt", "Shooting the Nine Suns", "Crying the Great Wall", "Fighting Dong Zhuo", "The Legend of the White Snake", "Brahma Palace", "Famen Temple", "Iron Rooster", etc. After the founding of New China, he also created popular masterpieces such as "Huanghuagang", "Han Palace Case" and "Qu Yuan".
Popular repertoire includes "Three Drops of Blood", "Zhou Ren Returns to the House", "Fifteen Strings", "Flame Horse", "Dad to the Palace", etc.