Yangzhou Tanci, formerly known as Yangzhou Xianci, is a folk art form of Yangzhou dialect rap, which is popular in Yangzhou, Zhenjiang, Nanjing, He Lixia and other places. Yangzhou Tanci, Yangzhou Pinghua first-class. Tanci began in the late Ming and early Qing dynasties. In the early days, one person rapped and accompanied by three strings, hence the name Xianci. In the early Qing Dynasty, storytellers often had the same skills and strings, and then gradually separated. During its popularity in the mid-Qing Dynasty, it developed into a double-stage performance, called "White Fairy Poems", accompanied by pipa, which was characterized by speaking more and singing less, and the lyrics were only narrative. There are eight books in the traditional bibliography of Tantong in Yangzhou, such as Pearl Tower, Double Goldilocks, Wopao Collection, Jade Dragonfly, Golden Fan and Legend of the White Snake.
Yangzhou Tanci, formerly known as Xianci, is popular in Yangzhou, Zhenjiang, Nanjing and He Lixia in northern Jiangsu. This is a kind of quyi, also known as Suzhou Tanci. There are two kinds of performances: single row and double row. A rap with three strings. Two-file duet with three strings and pipa.
Yangzhou Tanci performance is mainly based on saying the table, supplemented by playing and singing, paying attention to clear pronunciation and mellow voice, accurate pronunciation and verve. Yangzhou dialect is often used in his speeches, and "Wharf Dialect" is also used in his roles to distinguish and depict characters. In a two-stage performance, two people cooperate with each other and speak in different roles, one focusing on narration and the other on singing.
The lyrics of Yangzhou Tanci are mainly double seven sentences, and the superimposed single sentence is called "Feng Nod". Music tunes come from three aspects: ① evolved from folk songs in the Ming Dynasty; (2) Absorbing some tunes of North-South Opera and Local Opera to transform; 3 artist's creation. Qupai includes Suo Nan Zhi, Children's Play, Sanqi Pear Flower, Diving, Haiqu, Flower Arrangement and Nandiao. The lyrics also added an "opening" before the main book. Most of the contents are works that recite characters' narratives and write scenery and express feelings. To put it bluntly, besides mastering the general rhythm, there are also fast work (also called "pushing pagodas"), slow work and detours, among which fast work is the most commonly used and the most difficult to say. To put it bluntly, when you need to catch your breath, you don't feel pause. You must be "non-stop, non-stop", "fast without chaos, slow without stop".
Among the early storytelling artists in Yangzhou, many also performed storytelling and string songs, such as Hins Cheung and Zhang Jiesan. They had high attainments in these two art forms, so the two arts absorbed each other, influenced each other and improved together. There are three main schools of modern Yangzhou Tanci. Among them, the most influential is Zhang Tanci, which is gradually formed by descendants, Zhang, his sons and nephews Zhang and Zhang Huinong. His well-played books include The Pearl Tower, The Collection of Sleeping Robes, The Double Goldilocks, and The Falling Gold Fan, and he is known as "Zhang Jia Four Treasures of the Study". The other two factions are represented by Zhou Tingdong and Kong Qingyuan respectively. There are more than 65,438+00 traditional bibliographies of Yangzhou Tanci, among which Jade Dragonfly, Legend of White Snake, Double Pearl Phoenix, Double Hair, Dahongpao, Golden Seal and White Crane Map have great influence.
Yangzhou Tanci performance is mainly based on saying tables, supplemented by playing and singing. Its performance and explanation are roughly the same, but the difference is that it pays more attention to the clear pronunciation and mellow voice, accurate pronunciation and lasting appeal; Second, the range of demonstration movements is smaller, and even the movements of hands are rarely done, mainly facial expressions. Yangzhou dialect is mostly used in his vocabulary, and "Wharf Dialect" is also used to distinguish his roles and draw characters. Two performances, two people together, talking in different roles' tones and tones. Beginners give priority to narration, and most songs are performed by beginners.
Handwriting arrangement of Yangzhou tanci lyrics Commonly used Qupai include [Sanqi Pear Flower], [Qunan Branch], [Submerged Water], [Haiqu] and [Daoqing]. Most of them are feather tones and business tones. The tune is simple and elegant, antique, and has rarely changed over the years. Lyrics include the first-person narrator and narrative style, usually three or seven sentences, and words can be added or subtracted appropriately, which rhymes with even sentences. Accompaniment "on, start" harmonious tacit understanding, three or seven sentences, can be appropriately increased or decreased, most of them rhyme. The accompaniment is harmonious and tacit, and the three-stringed instrument plays a skeletal sound, which is elegant and simple, while the pipa is moist and changeable, which is called "three-stringed bone pipa meat"
Yangzhou Tanci is a kind of rap art with the most artistic characteristics, which is characterized by "combination of rap, singing, singing and both". Yangzhou Tanci was quite prosperous in Qing Dynasty. Li Dou's representative work "Yangzhou Painting Boat Record" once recorded several famous "Gong Ci" artists such as Wang Bingwen, Gu, etc. By the end of the Qing Dynasty and the beginning of the Republic of China, there were three kinds of Yangzhou Tanci: Zhang (), Zhou (Tingdong) and Kong (the number one scholar), each of which became a school and flourished in tea houses. Later, the two schools were lost one after another, but Zhang Tanci was circulated and studied. In 1960s, Zhang Huinong, the third generation successor of Zhang Tanci, taught in Jiangsu Quyi Troupe and Yangzhou Quyi Troupe respectively, and became the backbone team of Yangzhou Tanci. Among them, Li, Shen Zhifeng, Xu Guiqing, Gu Qun and Li Laimiao are known as the "five golden flowers" of Yangzhou Tanci, and they are active in teahouses and bookstores in the north and south of the Yangtze River, and their popularity is extremely high.
The artistic expression of Yangzhou Tanci is relatively simple, but the expression techniques are rich and varied. Technically, it emphasizes "speaking, expressing, playing and singing", and the performance pays attention to the integration of speaking and doing. In particular, the long bibliography describes the big scenes and psychological expressions of characters, from nomadic tribes to every grass and tree. All kinds of people are represented by one person, not only jumping around in many roles, but also freely changing in the actor's "table" and the role's "saying", with both the performer's objective comments and the role's subjective feelings.
However, the influence of Yangzhou Tanci is far less than that of Qingqu. To find out, apart from the external environment differences, as far as art itself is concerned, "playing" is not as good as people, which is probably the main reason. The so-called "playing" refers to the musical part of the word: singing and accompaniment. The main aria tunes of Yangzhou Tanci are "Sanqi Pear Flower", "Sinking Water", "Sonam Branch", "Haiqu" and "Daoqing", among which "Sanqi Pear Flower" is the most important and basic tune. It should be said that it is a top-grade qupai with beautiful melody, diverse forms, wide range of expression and large emotional capacity, which is quite popular with the audience. In that case, why do you say "not as good as people"?
Perhaps "It's not easy to sing" is an important factor that hinders its spread, making it far less popular than others. For example, for the audience of Suzhou Pingtan, it may be a piece of cake to hum a few words of Pingtan singing casually, and there are even many people holding the first paragraph of the three-string "ticket" of the pipa. However, for the audience of Yangzhou Tanci, I am afraid that no one can sing "Sanqi Pear Flower", because for outsiders, it is really "pear flower everywhere", and it is naturally difficult for ordinary people to "resonate" without humming. Moreover, the melody of its business model is euphemistic and lingering, clear and rigid, which also limits the field of its emotional expression. The weaker link is the real "drama", that is, accompaniment. Yangzhou Tanci, Suzhou Pingtan, with a lute and three strings, played by the singer himself. In the long-term practice, Suzhou Pingtan has gradually formed an accompaniment system of "singing and bouncing", not all of which simply follow the cavity. Sometimes similar to the decomposition of modern music, 1, like "jumping beans" interspersed in the aria, ups and downs, lively, full of vitality, very distinctive. However, Yangzhou Tanci is mostly accompanied by cavity. Because singing is difficult, accompaniment is naturally not easy, so it is often unsatisfactory. Coupled with the reasons caused by singing, the tuning of pipa is a sophomore lower than normal, which also causes the accompaniment color to be low and dim.
If Yangzhou Qingqu is the art of sitting and playing, Yangzhou Pinghua is the art of speaking, and Yangzhou Tanci is a comprehensive art, which emphasizes expression, playing, speaking, singing and acting, and requires a large number of tanci artists. On the other hand, Li thinks that the performance of Tanci is not very attractive, mainly because of the music. The traditional qupai and music of Tanci are monotonous and obsolete. For example, "Pear Blossom on the March 7th" is a commonly used qupai for tanci, and the joys and sorrows of characters are often expressed by this song, so it loses its value when sung and cannot impress the audience. Therefore, Li began the road of innovation in tanci. She successfully applied Gongdiao to the performance of Yangzhou Tanci, and created a new style of Tanci with the characteristics of the rich list, which became her own school. At the same time, Li used to play the pipa only with the upper, middle and lower hands, so the melody changed greatly, and the pitch was high and low. From 65438 to 0985, Li went to Shanghai to perform alone for two months. The venue was full and the social response was strong. She immediately became famous in Shanghai. Chen Ruheng, a professor at Shanghai Theatre Academy, once praised Li in public: "Yangzhou's playing and singing is the most refined and true, but now its skills are outdated, and Li's tunes are multifaceted and serve as a link between the past and the future." Shanghai Radio also specially recorded Li's Yangzhou Tanci Album for her.
After several generations of unremitting efforts, Yangzhou Tanci gradually stepped onto the elegant stage. 1986 invited the municipal folk art troupe to perform in Beijing; 1992, Li Sui Art Troupe went to North Korea to perform, and Yangzhou went abroad to play the lyrics. From 2002 to 2003, Yangzhou Tanci programs such as "Double Pearl Phoenix", "The West Chamber" and "You Can Walk in the Sky" were continuously broadcast on CCTV, further expanding the influence of Yangzhou Tanci in the whole country.