【Keywords】Gansu Qin Cavity; Historical Inheritance; Artistic Expression
【Medium figure classification number】G137【Document identification code】A
One. The historical development of the Qin Cavity in Gansu
In 1958, archaeologists excavated two more Northern Song Dynasty tomb brick carvings in Liujiagou Village, Hongbaozi Township, Qingshui County, Gansu Province. A carved girl with her head in a double bun, wearing a long shirt with a skirt tied around her waist and a bow at the waist; a long circular belt hanging from the left and right shoulders hanging from the chest; both arms bent left and right to the top of the head, and her hands are pressing the bun; the lower body is covered by the luo skirt, and the skirt is divided into two pieces; the legs are split in a figure-of-eight shape, making a dance. Another sculpture of a middle-aged woman with a double bun on her head; a hairpin inserted horizontally in the bun, a thick hairpin handle exposing the right bun; a long shirt on the inside, a cardigan with a cardigan, no clothes belt; a wooden stick in the right hand, a bulging cloth bag in the left hand, bent over and hunched over, and walked alone to the right front side. Judging from her attire, expression, and movements, she was a middle-aged poor woman and performed a begging performance. The two tomb bricks are engraved with curtains, the curtains are hung in half on the left and right, the wrinkles are clearly recognizable, and there is a streamer hanging down on the left and right, showing the performance of the opera characters on stage. Although we have no way of knowing the repertoire and types of plays it performs, it is not difficult to discern from its performance form, and it is not at all pleasant with the folk songs and small plays and Qin Cavity stage plays that have been circulating in Tianshui, Pingliang, and Longxi so far. Two brick carvings have been identified by experts as objects from the Song Dynasty (1068-1077) during the Reign of Emperor Shenzong of the Song Dynasty, and are now preserved at the Qingshui County Cultural Center in Gansu Province. That is to say, when the miscellaneous opera appeared before the Song, Jin and Yuan dynasties, the opera performance activities in the southeastern region of Gansu Province had already taken the stage first. These two brick carvings and paintings undoubtedly provide a reliable physical basis for studying the formation and flow of gansu stage opera.
During the Ming Yongle period (1403-1424), there were written records of two groups of actors, "Drama" and "Youyou", selling skills and begging for food in the noisy streets of Liangzhou. Moreover, the natural city of Gaotai County (present-day Tiancheng Village, Luocheng Township, Gaotai County), a hundred miles away from Liangzhou, also performed it in worship to please the gods. However, at that time, it was not called "Qin Cavity", but "Qin Sheng" or "Big Drama". Therefore, the "Chronicle of Liangzhou" written by Qianlong in the Qing Dynasty said that "the people of ancient Liangzhou have been practicing Qin for a long time, and the same is true of Ganzhou." In the forty-fourth year of Qianlong (1779), Wang Zengyi's "Ganzhou Fuzhi" volume IV "Customs" said: "Happy to practice the earth style ... Ben Qinsheng also. The west is the most virtuous. ”
In the Qing Kangqian period, the relevant records of fangzhi in the province were more frequent, such as the "Gansu Tongzhi" written by Qing Kangxi: "Jingyuan Hassburg Hostel is lined up, thousands of merchants are gathered, and there are two big plays inside and outside the castle to relieve the loneliness of tourists and the trade of living markets." Folk have the saying of 'Nijin Doujin'. At the same time, the Gansu Qin Cavity also flowed out of the province, which had a profound impact on the progress and development of local folk opera. The Qing Dynasty Xu Ke's "Qing Barnyard Class Copy" clearly states that the Gansu Qin Cavity (at that time the Central Plains people called it [Gansu Zi Zi Cavity] or [Longxi Zi Zi Cavity]) was introduced to Kaifeng, Henan Province, and combined with the local soil cavity, which led to the advent of the province's folk dramas "Gong Scroll" and "BieLiang Cavity Drama": "The Northern Sect has the Bian Liang Cavity Drama, which is adapted from the Gansu Zi Zi Cavity, and is derived from the soil cavity, not the old cavity of the former Liangliang. [1] [Gong Scroll] and [Bieliang Cavity Drama] are the ancient names of Henan Zizi, which is now Yu opera. The name [Longxi Zizi Cavity] was first seen in Qing Kangqian Li Luyuan's novel "Misguided Street Lamp" (1), and the seventh time in the book is "That fast head is a timely servant, and it also attracts two classes of plays, one class of Shandong string plays, and one class of Longxi Zi zi plays." The ninety-fifth time there is another "... And count the Longxi Zizi Cavity, Shandong came over the string play" and other words. In this regard, luan Xing, the proofreader of the novel, noted yun on page 757 of the seventh and eighth times: "Gong Scroll, the name of the local opera in Henan, is the predecessor of henan zizi (Yu opera) that is now popular in several provinces in north China. It is a new type of drama produced by the confluence of Gong Opera and Scroll Opera (first performed on the same stage and then integrated) with the native drama of Henan after it flowed into Henan in the early Qing Dynasty. Xu Kezhi's "Qing Barnyard Inner Banknote" also refers to the Gansu Qin Cavity as the Qin Cavity of the Northern Sect: "The Qin Cavity of the Northern Sect originated in Gansu, and the so-called Zizi refers to this." ...... At the end of qianlong, Wei Changsheng of the Sichuan Jintang Entered the capital, and after that, Hui Ling learned of it. ”
Gansu Qin cavity spread far and wide, especially it has a sharp needle, dare to be reckless, and good at showing the true nature of male and female love, and was once banned by the Imperial Palace. In the thirty-second year of the Qianlong Dynasty (1767), Zhou Milling edited and revised the eleventh volume of the "Chronicle of Fuqiang County" (present-day Gangu) "Folk Sacrifices" section that reads: "Every March 28, the Tianmen Mountain in the south of the city is held in the autumn of the newspaper competition, singing operas to worship the gods, gathering hundreds of thousands of people in a vast land, men and women mixed, and singing insufficiently every day, followed by a full night, and the state government explicitly prohibits the bad habit of singing at night." "Qinzhou Zhi (Today's Water) Volume IV also has a general rule of "folk worship of gods, forbidden to act". Another example is Daoguang Eighth Year (1828) Zhang Jiliang's "Records of The Residual Tears of Jintai": "Yanlan Xiao Spectral Records Gansu Tune is the Qin Cavity, also known as the Western Qin Cavity... At that time, at the end of Qianlong, the first Shu Ling, the later Hui Ling, did their best. Daoguang three years of imperial history ban. (2) However, the Qin cavity was not extinguished by the prohibition of the government.
During the Reign of the Qing Dynasty, Gansu Qin cavity not only used its unique repertoire, unique performances, unique singing, walking style, makeup and shaanxi Qin cavity to contrast, but also relied on the two major advantages of local actors as the main body and local class society as the main body, and began to enter Lanzhou, Wuwei, Tianshui, Pingliang, Qingyang and other large and medium-sized cities to set up "point" ticket sales performances. In order to adapt to the theater environment and the appreciation psychology of the city audience, the repertoire has also gradually transformed from the horror and murder of the gods and ghosts performed at the temple fair in the past to the rough and fierce pure action dramas, the formation of representative actors in various places, and the strong sense of competition between the class and the actors have become increasingly strong, which has contributed to the situation in which the actors pay attention to personal vocal cavity technology. Thus, the Middle Road Singing School with Lanzhou as the center of the performance, Wuwei and Jiuquan as the center of the Performance Center of the West Road Singing School, Qingyang and Pingliang as the center of the Performance Land East Road Singing School and Tianshui and Longnan as the center of the Performance Land South Road Singing School, the Four Road Singing School is also called the Four Major Schools, each with a group of actors with extraordinary skills and an audience group, in Gansu to form a full momentum, these four major schools, not only on the basis of the previous teacher inheritance, but also on the basis of the inheritance of the later widely disseminated, thus marking the Gansu Qin Cavity reached the pure fire and mature, It also pushed the Gansu Qin Cavity to the peak of its heyday and spread it on a large scale, and finally contributed to a powerful cultural force that could affect the social style and unite the people's spirit.
As far as the Middle Road genre with Lanzhou as the center of the performance is concerned, by the middle of the nineteenth century, a generation of famous Su Sanyuan officials and their disciples Zhang Fuqing, Chen Desheng, Zhang Shourong, Chen Mingde, Tang Hua, as well as Xusheng Wu Zhan'ao, Shi Wazi, Zhao Er, Mingdan Sang Dazui (Big Mouth Baby), Ming ugly Han Duck, etc., were unique in the Lanzhou stage with their performances of pure fireworks. Most of these plays are based on Shinto characters with secret treasures and chivalrous warriors who are blessed with secret weapons, thus creating a unique and complete set of kung fu shapes and stunt performances. The folk song "I'd rather look at Fu Qingzi's three whips than at a group of stone dolls" is a true portrayal of the audience's praise of this kind of meritorious performance, and has had an extremely far-reaching impact on the development of the Gansu Qin Cavity, and has also made the Lanzhou Qin Cavity an important branch in the regional genre and carried forward.
At the end of the Qing Dynasty and the beginning of the People's Republic, a number of Shaanxi artists such as Li Fugui, Yue Desheng, Li Duoshan, Li Bingnan, Xi Deyu and other Shaanxi artists came to Gansu to take classes, foremen, organize classes and settle down, they were fascinated by the unique performance of Lanzhou Qin cavity, they all sought art from teachers, studied carefully, and after several years of deep self-hardening, they also integrated themselves into the ranks of the Lanzhou Qin cavity school. At that time, Gansu and Shaanxi actors performed on the same stage in Lanzhou for many years, forming a strong cultural force, so they called it the Lanzhou School or Lanzhou Qin Cavity.
In 1928, Wei Hongfa (3), who was then an observer envoy in Ansu District, Gansu Province, followed the example of the Shaanxi Yi Folk Society's method of training students, and initiated the establishment of the Gansu Juemin Society (later renamed the Qin Opera Training Class), which was supported by Shui Zi (4), then director of the Gansu Provincial Department of Education, and incorporated it into the standardized teaching management system of the Provincial Department of Education. Because of the official nature of the Qin opera training class and its political backing and economic strength, at the beginning of its establishment, it did not hesitate to hire the famous Qin actors Xi Dede (Ma Zihong, Mingsu Sheng) (5), Zhu Yitang (Ziwa, Ming Zhengdan), Gan Zhimin (Ming Wudan), Zhang Chaojian (Ming Xiaosheng), Li Shengcai (famous drum master) and other famous Qin actors as coaches, and also hired Peking Opera actors Wei Shengkui (famous coach), Chang Shuangkui (famous Wusheng), Di Ruilin (mingushi), Chen Fulu (mingwusheng) and so on to teach students "martial arts". It aims to "bridge the gap between Beijing and Qin, communicate with each other, and give play to individuality". In particular, during the teaching period of Xi Deyu, he trained a number of famous masters and talents such as Liang Peihua, Huang Zhizhong, Li Yihua, Li Zhizhong, Gao Shouzhong, Zhou Zhengfeng, Kong Xinsheng, etc. for Gansu, and these Xi sect disciples not only became the mainstay of the Qintan in Gansu in the 1930s and 1940s, but also made the extraordinary Lanzhou Qinlu school carry forward and promote it to the peak of history. Zhou Zhengguo, who was praised by Lanzhou audiences as "Brother Zhou" and "Zhou Family", was one of the best of his many protégés.
Zhou Zhengfeng (1919-1989) A native of Yuzhong County, Gansu Province. At the age of twelve, he entered the Lanzhou Hua folk society to learn art, first worshiped the flower face Tang Yulin, and then transferred to Xi Dede, and was a proud protégé of Xi Zhi. After completing his studies, he joined the Lanzhou Cultural Society, often playing for Xi Dede, the teacher, and Geng Zhongyi, Wen Hanchen, and Yue Zhonghua. The performance style is rigorous, and the work is done with a Xi style. Representative repertoire includes "Lu'an Prefecture", "Wu Ren Escape", "Branding Bowl Meter", "Cannon Burning Pillar", "Eight Pieces of Clothing" and so on.
From this point of view, the Lanzhou Qin cavity school is not the original creation of Xi Dede, which not only has the painstaking heart and loneliness of the Peking Opera coach, but also the sanyuan official, Yue Desheng, Li Fugui and even Li Yunting, Li Zhuoshan and other Gansu and Shaanxi art masters, Xi Dede is to integrate it into one, integrate it, develop in the inheritance, and systematize and stereotype it from many aspects such as performance, recitation, costumes, and singing. Although Zhou Zhengwu was marked by later generations as the successor of the Lanzhou school, he only had three points of the essence of the master and seven points of deviation, the reason was that he was not limited to the master, especially singing and singing, according to his own voice and vocal conditions, there were many unique creations with different ideas, but the performance was completely respectful of the style of the master's teachings. This is the main reason why Zhou Zheng's singing voice is different from that of other Xi sects, but the gongjia is the same.
2. The performing arts of the Qin Cavity in Gansu
In the late 1970s and early 1980s, the Cultural Relics of Lanzhou Qin Cavity can also be seen on the Lanzhou stage and folk "Good Home". However, now, with the law of "people in the play" and "people dying in the play", the characteristics of the Gansu Qin Cavity itself are gradually disappearing. At that time, due to work relations, the author interviewed Zhou Zhengfeng, Li Yihua, Kong Xinsheng, Yue Changzhong many times, and also excavated and rescued some precious Lanzhou Qin style singing voices from the folk "good family", and invited them to the Gansu People's Radio Station to record them in time for storage and preservation. In addition, through years of research on Gansu Qin Cavity and Shaanxi Qin Cavity, combined with the author's memories of interviews with Zhou Zhengfeng and others in that year, the comparative analysis of Gansu Qin Cavity and Shaanxi Qin Cavity was roughly examined through performance, recitation, costumes, singing voice, and face.
(1) Performance
Lanzhou audience to have the traditional aesthetic customs of "watching the frame", that is because in the Lanzhou Qin Cavity performance program, there are indeed many "Gan all but Shaanxi do not have" unique tricks, these stunts, condensed the painstaking creation of the previous Long shang Qin Ling, the most prominent features are that the program intention is clear, the performance is accurate in place, the style is clean and beautiful, and the merit is both the form and the god. Each of these movements runs through ancient Chinese philosophical speculations in which yin and yang are opposite. For example, a "standing" is very much concerned about "meridian yin and yang", and the head and body shape cannot be on the same side; a "two-handed flower" is always running in the opposite line of "wanting to be left first right, wanting right first left, wanting to go up first, wanting to go down first"; a "turning" is also forming a "dynamic and static" interlacing between the seconds of "head over and body staying, body over and over", reflecting the Confucian philosophical concept of yin and yang opposition and neutralization. In particular, the foil pad of the martial arts percussion is integrated with the stage body frame, even if a look, a hand style, and even a "breath outlet" are tightly knotted and seamless, and the large body performance of many program combinations will give people a hot, clean, neat, full, and refined sensory satisfaction. All this is reflected in zhou zhengfeng, Kong Xinsheng and other artists to varying degrees. This is also the main reason why a large number of lanzhou audiences of the older generation are still fascinated by it. Several stunt performances are now selected to introduce french styles.
1． "Bright boot sole": it is a unique acting skill that wears Gansu special high boots and makes a tie appearance, which is often used for raw horns and net corners. The acting method is to tie the soles of the boots, go to the stage, lift the legs on the edge of the stage, and "brighten" the soles of the boots to the audience, interspersed with the extremely beautiful and complicated body "frame" tie style. It is worth mentioning in particular that "leg lifting", although it is an action program shared by Shaanxi and Gansu, the respective action processes and performance methods are not the same. Gansu is mostly "lifting the legs and hooking the feet forward", Shaanxi is "lifting the legs and jumping down"; there are also "taiwan steps", Gansu is mostly "lifting the feet to draw the inner circle slowly moving forward", Shaanxi is not, and the steps of lifting the feet are mostly straight up and down. All the details of this hook and jump, inside and outside, garden and straight, are all the concrete embodiments of "bright boot soles" and "unlit boot soles".
2. "Pedaling to the sky": It is the acting skill of winning people with leg skills. The French performance is: the left leg is "golden rooster independence", the right leg is high over the head, the left and right legs are erected in a straight line with the entire body, and are supplemented by gestures and face changes, so as to form a "debut" shape with great sculptural beauty. If it is used to show the general's dismounting posture, it is particularly majestic; it is used to show that the horse is holding a gun to explore the "trapped horse pit", and it can also give people a sense of one-foot pedaling and cautious throwing and asking for directions. This is an artistic exaggeration that conforms to the reality of life, so it has a clear intention and a relatively independent viewing value. At that time, Xi Dede was the best at performing this skill, and in his later years, due to his weak health, he could only perform it with "leg lifting" and "golden rooster independence", but the posture was still quite beautiful.
3. "Harrier turning over": In fact, it is a three-hundred-and-sixty-degree turn "appearance" trend, which is mostly used in tragic and tense dramatic scenes. For example, in "Lu'an Zhou" Jin Wushu broke into the city, Lu Deng was determined to save the national integrity by self-destruction, and before he died, he picked up his young son Lu Wenlong, and after saying "Lu Wenlong, the son of his father, grow up quickly, kill the thief and avenge his father", he used the "three hammers" percussion to cooperate, the sole of the boot swab the sword blade three times, raised the sword to wipe the neck, and then changed his face, trembled, swung his whiskers, and turned his feet three hundred and sixty degrees without turning, forming a "harrier turning over" posture, and then a "hard back" fell to the ground and died.
4. "Three Poles": This is a performance stunt composed of a combination of body and target skills. Although its use is many (such as the confrontation of Zhang Kui in "Wuyue Tu", the fierce battle of Song Jiang in "Annihilation of Fangla", etc.), it is the most typical performance of landing a gun to fight fires in "Lu'an Zhou". Jin Wushu attacked the city of Lu'an Prefecture, cremated the warehouse, the guard general Lu Deng first "brightened" half of his body to the audience, and the overheard that the family would urgently report that the grain and grass in the school yard had caught fire, and Lu Deng hurriedly turned the horse's head and went straight to the school yard, that is, interspersed with the "three poles" performance: first use the "bayonet" to shoot in the middle to show that the fire blocking the road was picked, and then "pan the gun" to the left and right, respectively, to show that the fiercely burning horse grass, this "one stab and two pulls", that is, "three poles". In the meantime, it is closely coordinated with beautiful target skills such as splitting, stabbing, discping, picking, poking, and stabbing, and performing with bows, squatting, pitching, lying down, turning over, etc., and at the same time, accompanied by the unique Gansu Qin Cavity's shuangyi [hook cavity] brand song, which adds to the tragic and exciting fighting atmosphere.
5. "Three Whips": A performance stunt that demonstrates the use of a horse. It is mostly used in the drama scenes where the war is tight and the horses take off. Qin Cavity "Flame Foal" Ai Qian's letter is useful: a horse hiss, the strings are played [big pointed board], Ai Qian sings inside the curtain, step on the "three hammers", close the momentum and sing the random bullet, and then [pour four hammers] to the right platform mouth, swing the whip towards the horse's ass three times, and at the same time the left foot three times in a row, the inspection field with the above actions in a row to put three fires: up the left foot, put a fire under the leg, turn low, put a fire on the top of the head, and then turn around, a "money hanging gourd" fire takes off in the air, the fire follows the whip, the horse goes with the fire, which shows Ai Qian's fiery mood, which shows Ai Qian's fiery mood. It also reflects the speed of the flame colt traveling thousands of miles a day, and also dyes a strong layer of legend for the entire plot.
At the same time as the "three poles" and "three whips" performances, the depiction of fire elephants and the percussion are foiled. Fire depiction is the use of a set of fires in the front court to depict the scene of fire on the stage. For example, the fire attack in the war such as "Burning Huluyu" and "Burning Seven Hundred Miles" in Gansu Qin Cavity, the fire in "Breaking into the Palace and Holding The Fight", the fire in "Zhang Wenxiang's Thorn Horse", and the fire in the poisonous wine in "Guan Gong Picking Robes", etc., are all presented on the stage in the seamless integration of the three unique skills of stunts, fire and percussion. In particular, after several generations of famous artists such as Sanyuanguan, Zhang Fuqing, Chen Mingde, Tang Hua, Geng Zhongyi, Zhao Fuhai and other generations of famous artists repeatedly carved the "Flame Foal Transmission", only Ai Qianyi appeared in the "Tight Shaking Horse" performance for less than three minutes. It is the use of a set of fires and special gongs and drums to form a unique stage performance program of the Qin Cavity in Gansu, and the key tendons are exactly the "three whips" praised by people: in the percussion "three hammers", the actor beats the horse three whips backwards, and puts three "downwind fires" in the front field; raises the legs and puts a "smooth slip" under the crotch; the actor turns around and puts a "money hanging gourd" over the actor's head from the back to the front. These three bursts of fire show the thousand-mile horse flying in the air, but also set off the eager mood of the characters, and push the stage atmosphere to a climax. The reason why the "Ai Qian Chuanxin" in the Gansu Qin Cavity "Flame Colt" is good and difficult to learn, the key lies in the fact that the performance, fire, and scene each form a complete program routine that has entered the realm, and at the same time, the three program routines are melted into an inseparable whole, and the achievements are not good, or the actor (performer), the front field (fireworks player), the scene (martial field percussionist) Any party's grasp of the rhythm of the drama Even if it is slow in seconds, the audience cannot agree that it is the Gansu Qin Cavity acting method and is rejected. As a regional genre in Gansu that specializes in pure fireworks plays, the casting skills of fire are more demanding.
The items used to set off the fire are called fire color paper mediums. The print media is made by the front yard (inspection yard). There are two kinds of dry paper medium and oil paper medium, so the fire is divided into two categories: "dry fire" and "oil fire". "Dry fire" is to fold the fire paper into a fan, when lit and then blown out to make a dark fire, the fire giver will be the paper medium between the index finger and the middle finger, the head of the fire hidden in the palm. When setting the fire, use your thumb to flick off the fan-shaped paper medium and wave a few times to make it an open flame. The other hand places the powder of rosin in the palm of the hand holding the fire paper. As the gong and drum click on the shape of the fire to ask for the arm to be waved, the rosin powder burst out of the fire, and the fire soared to present a specific fire. "Oil fire" is to stop the fire paper as a paper stick, soaked in clear oil, when lit, but also sandwiched between the middle finger of the index finger. Cast the procedure, the same as the "dry fire". This is the "fire".
In addition to "fire color", Gansu Qin Cavity also has "blood color", "sound color" and "play paper flag", "rolling nail board", "yin and yang face", "playing five thunder bowls" and other similar stunts, and not only is it difficult, the skill is high, the artistic appeal is very strong, and at the same time, it is inherited by the former teacher, inherited after, developed in the inheritance, continuously enriched in the development, and become a fine art. However, these personalized artistic achievements have disappeared on the stage of Gansu today, so it has become a major aesthetic regret for the old audience in Lanzhou to complain that the current Qin cavity is not enough to taste.
(2) Recitation
If you look at the Gansu Qin dialect pronunciation from the Guanzhong character tone standard that is common to the Qin Cavity, there is no doubt that there is a lack of norms. Obviously, this is due to the influence of the intonation of gansu township tone. Because most of the famous masters in the history of the Qin cavity in Gansu are native to Gansu, the rural pronunciation they usually practice is stained with a thick layer of "Gansu flavor", and at the same time, they try their best to move closer to the Tone of Guanzhong characters. As a result, a special "cavity" of the northwestern pronunciation of Gansu unwilling, Shaanxi not Shaanxi, Qin buqin, and Long bulong was formed. Although the pronunciation of Zhou Zhengguo, a representative artist of the Lanzhou Qin Cavity School, has the typical nature of Gansu Qin cavity recitation, it is completely different from what some people say, "taking Lanzhou pronunciation as the norm". In fact, his recitation (including xingluo) is still a complex mixture of the two language families of Gansu and Shaanxi. In his recitation and singing, the human rut and the Middle Eastern rut, the gray pile rut and the Huailai rut are not very clear. It is often used in two rhymes to confuse. Words such as "jun" and "jiong", "subject" and "city", "ying" and "cause", "xiong" and "patrol", "beauty" and "sale", "shame" and "block", "wei" and "crooked" and so on are often read interchangeably in the recitation. However, for the transliteration characters in the Lanzhou township sound, such as "white" pronounced "lame", "guo" pronounced "good", "book" pronounced "fu", etc., it is still pronounced according to the Guanzhong language. In particular, he also corrected the words in Lanzhou dialect that were the same as those in Mandarin according to the sound of GuanZhong characters. For example, change "full" to "cuan" and so on.
Nianbai also carries some rural tones, such as Zhou Zhengzong's white mouth "Brothers, hang up" in "Lu'an Zhou", in which "brothers" slide the first "brother" word down according to the Lanzhou character tune (Guanzhong should be high and flat), "hanging up" is turned back to Guanzhong processing, and according to the Lanzhou dialect, "brother" is pronounced almost "guo", similar examples are more common. Sometimes he abides by the normative standards of the Shaanxi Guanzhong language family. For example, "Junchen", when pronounced in Lanzhou dialect, "Jun" is a low-key, "Subject" is a high-down key, and Zhou is still changed to Guanzhong "Jun" to pronounce a low-key flat tone, and "Subject" reads the upper tone of the word to run the law.
The other two characteristics of Gansu Qin Cavity Nianbai are short syllables and heavy pronunciation. There are two reasons for the formation: first, the voice of Lanzhou dialect itself is relatively hard, and the syllables of the spit characters are naturally short; the second is that the Gansu Qin actors read and sing more attention to the use of nasal sounds, but due to excessive use, they lead to the confusion of the character sounds. In addition, the Gansu Nianbai phrase is divided into sections, and although the rhythm layout is roughly the same as that of Shaanxi Nianbai, it is completely not as crisp as Shaanxi Nianbai. The speed of thought is generally slower. As Zhou Zheng customarily played Lu Deng' recitation: "Oh my God! Oops! Careless and unprepared, Jin Wushu conquered the city and lost the country's important land, but this, this... Got it!". If you let the Shaanxi Qin actor read it, you will use "through the mouth", which is as fast as "pouring beans in a bamboo bucket", all in one go, and even there is no punctuation mark. Zhou, on the other hand, is single-handed, word by word, and the ups and downs of each word are not very angular, lacking ups and downs and jumps. However, it is also a descendant of the Xi sect, kong Xinsheng's recitation of the white is different from Zhou Da, especially the three major white mouths of the "Cannon Pillar" "Breaking into the Palace" Mei Bo "Three Books to See the King", which uses the "Guankou" performance to push the atmosphere of the theater to the peak. It seems that this is not only the difference between the Lanzhou Singing School and other singing schools in the recitation of white, but also the inadequacy of Zhou Zheng's customs compared to other teachers and brothers in reading white.
(3) Clothing
The costumes of the Gansu Qin Cavity and the Shaanxi Qin Cavity are basically the same, and the boots worn by Weisheng and Jing are slightly different. Shaanxi boots are very similar to Peking Opera boots, although the height of the bottom is not equal, but the middle of the ankle and the sole are slightly wider, so most of them are in the shape of a high sole. Gansu boots are not the case, first of all, the bottom top is higher than the Shaanxi boots, and then the boot wrist is very narrow, the middle of the sole is not more than a thumb, just like a gourd, and the height of the front and back is different, the boot shape is particularly delicate, and the high wrist is narrow, the front is high and the back is low. This special high boot, from Lintao, Gansu, has been worn on the Gansu stage before the Qing Tongguang Sanyuan official. It is said that its advantages are standing hard, walking steadily, playing tricks, and the "bright sole" is also very beautiful. But you must have excellent leg skills, otherwise you will not be able to wear it.
Although the regulations for wearing Qin costumes in Gansu are the same as those in Shaanxi, there are also certain special cases. For example, Cao Cao in "White Forced Palace", Shaanxi wears a red python, and Gansu wears red official clothes; Lü Bu in "Shooting at the Gate", Shaanxi Bai relies on covering up white pythons or powder by covering powder pythons, Gansu relies on Yellow Leaning; Mei Bo in "Breaking into the Palace and Holding a Fight" should wear black official clothes, and Gansu opera classes wear black pythons, and so on. In addition, gansu Qin cavity also pays great attention to the neatness and generosity of clothing. For example, the "three whites" of Zhou Zheng, an old artist who is highly respected by Lanzhou audiences: that is, the collar is white, the sole of the boots is white, and the sleeves are white, which is still people's beautiful talk, so it can give the audience a clean and flowing, free and neat feeling.
(4) Singing voice
The singing voice of the Gansu Qin Cavity and the singing cavity of the Shaanxi Qin Cavity are similar but not exactly the same. The similarity lies in the rhythm of the plate eye and the structure of the plate, and the difference lies in the melody and rotation method of the respective. The differences in melody and rotation are mainly concentrated on the plates of many singing tones, most obviously on the heads of the [pointed plates] and [with plates]. This subtle difference is revealed to varying degrees in the vocal cavities of the birth, dan, net, and ugly trades.
Some people believe that the main feature of the Gansu Qin cavity singing voice is straight and straight, although this theory has a certain degree of truth, but it is not completely specific enough. Because, in terms of the fluency of the melody alone, the singing voice of the Gansu Qin Cavity is also euphemistic and slippery. Why, then, can we give such an impression? There are probably four reasons: first, the selection of the main tone "5" for each cavity of the singing tone is too complicated; second, the melody dominant sound pattern appears too much; third, the melody jumps in four 2-5 degrees upwards and five degrees of falling pitches 2-5 downwards too often; fourth, the entire singing cavity range is not as wide as the Qin cavity on Shaanxi Middle Road. This gives people the impression of "straight tone". It may be useful to take the [pointed plate head] of the "See Lady" of the XuSheng Cavity "Yuanmen Chopper" as an example to illustrate:
First look at the Shaanxi Qin Cavity [Sharp Plate] (Liu Yiping sings):
Look at the Gansu Qin Cavity [Sharp Plate] (sung by Wang Yunxiang):
With a little appreciation, it can be seen that the similarities between the two tones are: (1) the melodic skeleton is generally the same; (2) the three-sectional cavity method in which the subsections of the song are all three-three-four-word grids; (3) the flow and ups and downs of the melodic lines coincide with each other; (4) the word arrangement is also exactly the same, which shows that the two chambers are the same source.
The differences are: (1) the Shaanxi cavity has a wide range of (c), a lower limit of 5 is 2 (g), and the range is as wide as twelve degrees; the gan cavity range is narrower, with an upper limit of 3 (a), a lower limit of 5 (c), and a range of only six degrees. (2) The cavity amplitude of the Shaanxi cavity dragging cavity is long (see the Shaanxi cavity spectrogram "Niang" and "Ground" dragging cavity), and it is more tortuous and euphemistic, and the development of musical sentences is embedded, and the downward line reaches the limit of the bass area:
The cavity amplitude of the gan cavity is short (see the gan cavity spectrogram "niang" and "ground" dragging cavity), and it is more flat and straight, and there is no development of musical sentences. (3) The knotted tones in each cavity of the Shaanxi cavity are rich in variations, and there are ¡4, 2, 2 gan cavity, and more key tone 5. (4) The ending sound of the upper sentence of the Shaanxi cavity is relatively smooth and soft (2-); while the gan cavity is mostly in the place where the cavity sentence is contained, with a "sound" that focuses on the leaning tone, showing
There was a sharp and exposed setback. It is precisely because there are such differences within their melodies that they leave people with the impression that the Shaanxi cavity is gentle and the sweet cavity is straight.
Sometimes, in order to express a specific emotion, the melody of the Gansu Qin Cavity is much more euphemistic and tortuous than the Shaanxi Qin Cavity melody. From the comparison of "Eight Pieces of Clothing" sung by Yang Lian [with a board] (zhou zheng custom singing) and the Shaanxi Qin cavity singing method (Wen Policexue singing), it is learned that the Gansu singing voice makes the melody appear tortuous and euphemistic through the heavy use of leaning tones and the comfort of dragging the cavity, thus showing the sincere and earnest tone of the character when apologizing to the aggrieved person. This is undoubtedly extremely appropriate for the people in the play who misjudge the lawsuit and mistakenly injured people's lives and feel guilty. The Shaanxi singing cavity, because of the lack of melody ups and downs, the rhythm is too short, resulting in the character tone is more important than the cavity, which can not but give people the illusion of throwing their sleeves and drinking, thus affecting the accurate expression of the character's feelings.
The fine distinction between the Qin cavity singing voices in Gansu and Shaanxi provinces is more reflected in the cavity according to the character line. The singing voice of Gansu Qin actors also follows the basic principle of Gansu character tone and Guanzhong character tone. However, the local township tone will inevitably affect their row cavity, which will also have a certain impact on the melody of the singing cavity. For example, Zhou Zhengfeng sang in "The Bowl Count" [Bitter Sound Blocking Head] and Liu Yuzhong in Shaanxi Province sang differently.
It can be said that the different square character rhymes of Shaanxi and Gansu provinces also have a significant impact on the overall plate composition of their respective singing Qin cavity, and the difference between the two is more obvious. In July 1987, when the author interviewed Li Yingdong, the third class leader of the Tianshui Hongsheng Society (founded in the twenty-third year of the Qing Dynasty, that is, in 1898), he imitated and hummed a piece of Gansu Qin Cavity [Erliuban] sung by The Tianshui Qin Cavity Xusheng in the late Qing Dynasty, and the straightforward melodic operation in its score example and the monotonous middle tone of the upper cavity sentence made the entire tune transparent and emitted an ancient and quiet artistic style, and it can be preliminarily determined that it at least maintained the basic form of early Gansu Qin cavity singing music. Because, from this, we can realize two intriguing artistic phenomena:
The first is the extensive use of the lining words in the song, which conceals the original traces of the transformation of the Qin cavity from folk songs. In its upper and lower cavity sentences, the embedded lining words and sentences, although very different in the form of expression, are extremely regular, and are very rich in folk songs and stylization, so that the Gansu Qin cavity singing cavity more or less reveals the original legacy derived from folk songs. Of course, in the early twentieth century, in the Shaanxi Qin cavity singing tone, there were also cumbersome and lengthy lining words embedded, but they mostly appeared in the Danjiao singing cavity, and in the specific application, although it also added cumbersome lining words, it not only has a lot of arbitrariness, but also has been completely operad, during which there is no sign of folk songs. It can be seen that the Gansu Qin cavity is more primitive and simple than the Shaanxi Qin cavity, and at the same time, it also shows that the Qin cavity plate tune may have been derived from the northwest folk song at the beginning.
Second, when the Lanzhou Qin cavity sings express sad feelings, they often incorporate a very unique tone of "Tuhan Erhuang", such as Zhou Zhengfeng's singing of "I Liu Men" in "Burning Bowl Count" "Snow Seeking Nephew":
In the dragging cavity after the above example "Liu Men", it is rubbed into the "Tuhan Erhuang" singing tune.
The magic and artistic value of the singing voice here lies in the use of a unique transposition technique. So that this section of the singing cavity, which belongs to the basic palace tone system F tone, to the place where "walking steps I come under the courtyard", the transposition method of "clear angle is the palace" is transferred to the g-commercial tone of F (the upper fourth degree palace tone system is bB tone), and then in the dragging cavity after the "door" word of "I Liu Men" (that is, rubbing into the tone of "Tuhan Erhuang"), the transposition method of "changing the palace into an angle" is transferred from the g palace of the F tone to the upper fifth degree palace tone system, that is, the C key, which results in a major change in the tonal color. These two transposition methods are illustrated as follows:
In the Qin cavity singing cavity, the more common is the transposition method of "clear angle for the palace" (that is, the basic palace tone system moves up by four degrees), while the transposition of "changing the official as the angle" (that is, the basic palace tone system moves up by five degrees or moves down by four degrees), although it is occasionally used in the happy tone, it is extremely rare in the bitter tone. However, the Gansu genre singing voice sung by Zhou Zhengfeng skillfully kneaded the "Tuhan Erhuang" and the Qin cavity bitter sound [drinking field] and formed a special tonal color, so that the melody's sadness and sadness were further strengthened, thus profoundly revealing the white-haired, silver-bearded rural old man, the huge psychological trauma suffered when he was looking for a nephew in the snow, and the loneliness and bitterness of the wind candle for a long time to be deeply excavated and expressed, which is indeed a rare move in the Qin cavity. The Shaanxi Qin Cavity did not. As Liu Yu sang:
Compared with the two compartments, the difference is obvious.
(5) Facebook
A "facebook" is a map that is sketched on a face. There are two types of characters whose faces are traditionally depicted in the Qin Cavity: one is the character of the net line, and the other is the ugly character. Therefore, people call the jingxing characters the big flower face and the second flower face, and the ugly characters are called the three flower faces. The faces of these two types of characters, according to their personalities, good and evil, have a more standardized spectrum in lines, color blocks, parts, composition, etc., and gradually form a spectrum and become a model for actors to refer to and sketch, so it is called "face". As one of the performance programs of opera, Facebook is also a dilution of the function of authenticity imitation and the enhancement of the function of virtual sex, which greatly increases the formal beauty and freehand beauty of opera. After the spiritual refinement of objective objects, objective objects have reached a certain degree of abstraction, and provide possibilities for the construction of decorative beauty.
The formation and development of Shaanxi Qin Cavity Face Mask or the entire Qin Cavity Face Mask has no signs in the literature, but it is certain that the Qin Cavity Face has undergone a process of change and development from simple to complex. After the Xianfeng and Tongzhi years, the Gansu Qin Opera Class was good at winning the field with "fireworks drama (that is, god and ghost drama) and shengjing drama, creating a large number of flower-faced elites.
In the late Qing Dynasty, the artistic accomplishment and industry awareness of Qin artists were improved, and jingxing actors began to distinguish their facial forms into several types, and then specifically to eyebrows, eyes, noses, and mouths. Temple statues, descriptions in popular literature, exaggerations, metaphors and even image descriptions in the jianghu mouth are all used as cultural elements of face writing, selectively used and integrated into the composition of the face mask. The temples and ancestral halls that can be seen everywhere in the folk have also become the database of opera artists, which has greatly promoted the process of stylization, visualization and symbolization of faces. After the Republic of China, the Face genre competed for fangs and competed for beauty, and was also painted on paper by the majority of opera lovers, becoming an artistic discipline that independently appreciated the meaning and artistic personality and was widely spread to the world. Since then, xiqu facebook has not only existed on the stage as a plastic art of opera characters, but also as a kind of art work displayed in society. On today's Qin Cavity stage, the face mask has reached the grand situation of "pink and red, vertical and horizontal on the face", and the number of spectral styles is more than 500.
There are genres of Qin Cavity Face. Not only did Shaanxi and Gansu form their own factions, but the Qin dialects of the two provinces were also sent to the Middle School. As far as the Gansu Qin Cavity Face Is Concerned, at the end of the Qing Dynasty and the beginning of the People's Republic, three major factions were formed: "Lanzhou Qin Cavity Face", "Dong Zhiyuan Qin Cavity Face" and "Longnan Qin Cavity Face".
Lanzhou Face, also known as "Geng Family Face", is a kind of face sheet created by Geng Zhongyi, a name in Lanzhou, Republic of China. Gengjia's face is like flying, angry, also known as a thin face, the face is long, forming the most prominent feature of the face, that is, "thin and long". When writing face coloring, it is deliberate to leave an inch of blank space on the edge of the left and right ear, without makeup or coloring, which is called "exposed flesh" in the line. It is these two fingers wide "exposed flesh" that promotes the composition of the face to be thinner and more concentrated.
The face reflects the personality of the character, and according to the development of the plot and their own artistic understanding, different changes are made in the face shape. For example, Cao Cao's face, Cao Cao of the "Blood Commandment Belt", the face at the beginning is: big white face, black circles, light sweeping eyebrows, giving people a sense of severity and righteousness; once the play enters the "White Forced Palace", the face mask is immediately changed from black circles, light sweep eyebrows to long front triangle eyes, that is, the left eye angle is finely hooked upwards, and the right corner of the eye is decorated downwards, and the triangle eye shape is supported by one up. The treacherous arrogance of the Heavenly Son who ordered the princes and the sword to force the palace to kill the driver was raised to the top of his eyebrows.
"White Forced Palace" Cao Cao's face
The second feature of the Geng family's face is that it is very decorative. Flower tips, fine pieces, and consciously enlarged according to the personality, beauty and ugliness of the characters. The Geng family face in the forehead width of the painting area sometimes draws the pillar of heaven along the nose to the top of the forehead, either painting various figures or painting a ruyi, which is a significant feature of the Geng family face.
The Geng family's face tree has a very clear lineage in the relationship between the master and apprentice of the Qin dynasty flower face: SanyuanGuan (the first generation) - Fu Qingzi (the second generation) - Chen Mingde (the third generation) - Tang Hua (Tang Zhizhao, both the teachings of Fu Qingzi and the secret biography of Chen Mingde) - Huang Maozi (Geng Zhongyi's father's nickname) - Geng Zhongyi. Geng Zhongyi summarized the face shape of several generations ago, and according to his own face shape conditions and artistic understanding, he gave and developed and standardized it to form what we call the Geng family face today. This is also one of the important achievements of spiritual civilization formed on the stage of Lanzhou in the past hundred years.
Dong Zhiyuan Face Mask, that is, the face genre formed in Qingyang City and Pingliang City, Gansu Province, is called "Gongshang Road" by local audiences, and its creator is Changjinshan. Chang Jinshan changed from singing Han opera and Han tune Erhuang to singing Qin Cavity, so his singing voice showed a crisp, delicate, and gentle Erhuang style, and the performance also drew on the long martial arts of Han Erhuang, with a slender frame and a majestic momentum.
Dong Zhiyuan Face Genre Zhang Fei
The face created by Chang Jinshan is also the Face of Dong Zhiyuan Qin Cavity. The most prominent feature of Dong Zhiyuan's Qin cavity face is that the starting point is high, that is, the positioning of the frontal face is relatively high. In this way, the frontal painting area was enlarged by nearly one-third, and when writing the face, it was consciously improved the position of the "nest" (two eye sockets), and the eyebrows were also erected as if they were erect, giving people the feeling of standing eyebrows and standing eyes and mighty; second, the face shape was a large face plate, forming the second feature of Dong Zhiyuan's face, that is, "big and long". The third is that the brush and freehand complement each other, and the fine drawing and the color block are in contrast. The fine brush strokes of the eyebrows, ornaments, and figures are delicately depicted, meticulously, showing clear lines and angular bones. On the other hand, the two pangs are smeared with a large pen, waving like a stream, showing a rough, brave, thick and simple atmosphere.
Chang Jinshan enjoyed a high reputation in Dong Zhiyuan, and Yang Gaimin, Chang Junde, Ren Guodong, and Bai Shulai, four famous Qin masters who were also known as the four class leaders of Dong Zhiyuan, were all disciples of Chang Jinshan. Dong Zhiyuan's face lineage can be inferred as Xinmi, Yang Gaimin, Luo Guizi, Lü Dingguo, etc. as the first generation, Chang Mingsheng, Zhang Zhanshan, Wei Shijie, Yang Deshan, Jia Kejian, etc. as the second generation, and Lu Fumin, Fu Shuxue, Zuo Jianrui, Zhang Qinjiang, etc. as the third generation. The characteristics of Dong Zhiyuan's genre face are still fresh in the minds of the older generation of audiences in Longdong, and they are endlessly praised.
Longnan Face, the formation of the Longnan Face School, is mainly in Tianshui City, Longnan City, Xihe County and HuiXian County. In the early years of the Qing Dynasty, the sansheng class and the Fude class in Xihe County were gathered in a net manner, and the one who suppressed the group of masters was Tyre Shude. In the last year of qing guangxu, there was also the Tianshui West Qin Hongsheng Society, the first class leader Li Bingnan and the third class leader Li Yingdong, all of which were the names of the generation of the main worker Hua Face. In addition, there are Feng Dapeng of the Huixian Jinshen Opera Class, Qin An Mingjing Zhang Shourong, Wushan Mingjing Fu Bang and other famous masters, all of whom are typical of the net elite who are extremely popular. Luo Shude, Zhang Shourong, and Fu Bangzu were all in the counties under the jurisdiction of Tianshui, And Li Bingnan, Li Yingdong, and Feng Dapeng were all in Xifu, Shaanxi, and all of them specialized in flower faces, and Shaanxi and Gan Jingxing joined hands with each other to influence each other and founded the Longnan Face School. Therefore, the Longnan Qin cavity face mask is in the fusion of the Face of Gansu South Road and the Face of Xifu of Shaanxi Province, and forms its own style personality and leads the way, the face mask is not only numerous, but also very exquisite.
Longnan county troupes still maintain the performing arts tradition with fengshen drama as the main body, and there are many Shinto and flower face characters in the play, and the faces are not only rich but also unique, which is very different from other genres of faces. As for the faces of Shinto figures (known in the Qin dialect as "ghost faces" or "cut-out faces"), they are rarely seen at present, or even almost lost, but they still exist in Longnan's faces. In 2007 and 2008, I went to Xihe County twice to shoot dramas, and found that the Xihe County Qin Opera Troupe was very well preserved for ghost faces. For example, lu press in the "Book of Seven Arrows" is a god-sealing figure, known as the "South China Sea Scattered Immortal Wild Road", the face is based on green, black bubble eye sockets, white outline forehead lines and bone skull face, although hanging red stubble, but white teeth are exposed, teeth are cracked, the face is vicious and terrible; there are nine heads of Hu Lei, green face, white head, fangs, forehead to two sideburns painted with nine human skulls. Other characters, such as the green leopard, green lion, yellow tiger, white elephant in "Biyou Palace", horse ape in "Horse Ape Descending", black bear essence in "Seven Bears and Peach", dragon king in "Crystal Palace", etc., the pictographic faces painted have extremely precious cultural value.
Green-faced "Book of Seven Arrows" in the land pressure face
Gansu Qin cavity face mask is not only a faction, even if it is different from the Shaanxi Qin cavity face and even compared with the Peking Opera face. Take Zhang Fei's face as an example to add explanations. In the early days of Gansu, Zhang Fei's face was garden eyebrows, and the forehead and chest coloring pens had many circles and patterns, and did not open the heavenly pillar, but painted two plum blossoms between the left and right sideburns to highlight Zhang Fei's spicy image. Gansu audiences therefore call Zhang Fei's face "plum blossom face".
Gansu Qin Cavity Zhang Fei face
Zhang Fei of the Qin Cavity of Shaanxi Province, first drew a pillar of heaven along the bridge of the nose, and from the tip of the nose straight to the top of the forehead, the face was naturally divided into left and right halves, and the eye lines of the left and right eye sockets were almost connected into a horizontal line, which was a cross and a vertical, so it was called "cross door face". Mr. Wang Baoyi's "Lu Hua Dang" Zhang Fei, hooked this kind of face.
Zhang Fei's face in the Qin cavity of Shaanxi
Although Zhang Fei of the Peking Opera "Lu Hua Dang" also ticks the "Cross Gate", its composition is very different from the "Cross Gate" of the Qin Cavity in Shaanxi. The main difference is in the two painted flowers with two sideburns removed, the eyes hanging low, the corners of the mouth upturned, and the butterfly wings as the eyebrows, the black nose socket is semi-circular and upturned, the eyebrows are wrinkled, and the butterflies spread their wings and fly high; not only allude to their names, but also show the "butterfly face" characterized by "smiling eyes and smiling eyebrows"; the face is stretched, the nasal socket is flattened, and the alias of "black cross gate" is obtained.
Zhang Fei's face in Peking Opera
The appearance of opera faces on the stage is not only for good looks, but to directly express the inner world of a character and a character. This is a very wonderful act of artistic creation, which is used to the extreme by Chinese opera. However, the different types of dramas and different popular regions have different face shapes, and the meanings implied by color blocks, ornaments, and compositions have their own differences, which in turn creates conditions for the formation of face genres.
Three. epilogue
The Qin Dynasty in Gansu flourished during the Xianfeng Tongzhi period of the Qing Dynasty. At the end of the Qing Dynasty and the beginning of the People's Republic, there were Shaanxi artists who entered Longshang in the west and began to enter the "local class" in Gansu to sing and settle down in groups. For example, Li Duoshan of the "Fuqing Class" in Lanzhou, Yue Desheng of the "Dongsheng Class", the Wuwei "Yonghe Society" founded by Li Fugui, and the "Western Qin Hongsheng Society" formed by Li Bingnan are all. After the Xinhai Revolution, local actors in Gansu flourished as the main body of the Gansu Qin cavity stage, and around 1920, the Number of Shaanxi Qin actors and the Shaanxi "guest class" increased day by day in Gansu, invisibly causing a great impact on the Gansu Qin cavity. During this period, not only Wang Chengxi, Yang Gaimin, Wang Qi, Luo Shude, Chen Mingde, Geng Zhongyi, Zhao Fuhai, and a number of Gansu actors were active in various parts of the province, but also a number of Shaanxi actors such as Cao Hongyou, Shi Yueqing, Wen Hanchen, Yue Zhonghua, Ge Zhengxing, Zhu Yitang, Xi Dede, and Li Duoshan took root in Gansu to sing opera. The performance of Gansu and Shaanxi artists on the same stage not only shows the different styles and genres of the Qin dialects of the two provinces, but also promotes the mutual influence and exchange and integration of the Qin dialects of the two provinces.
Since 1928, whether it is the Qin opera training class founded by Wei Hongfa, the Lanzhou Cultural Society founded by Chen Jingmin, the Pingliang Pingle Society founded by Gao Xizhong, and other 30 or 40 Gansu society, almost all of them have hired Shaanxi actors as coaches and used Shaanxi improved singing voice as teaching materials. In addition, Liu Yuzhong, Liu Yiping, Tian Denian, Zhu Xunfeng, Wang Chaojian, He Zhenzhong, Yue Zhonghua, Shen Hezhong, Jing Zhenggong, Chen Jingmin, Liu Jinrong, Liu Quanlu and a large number of other famous shaanxi characters have successively settled in Gansu, which has greatly strengthened the teaching, popularization, promotion and circulation of Shaanxi Qin Cavity in Gansu. In the 1930s and 1940s, a number of Shaanxi Qinxiang masters such as Wang Zhengduan, Zhang Wenpin, Xiao Zhenghui, Mi Qinghua, Fu Rongqi and other Shaanxi Qinxiang celebrities emerged, and a number of Gansu rising stars such as He Caifeng, Zhou Zhengfeng, Kong Xinsheng, Li Yihua, Yuan Tianlin, Tan Weixin, Wei Qiyuan, and Huang Zhizhong emerged, and in the 1940s and 1950s, Shen Ailian, Wang Xiaoling, Wang Xinmin, Jing Lemin, Xue Zaiping, Wu Junqing, Jing Lemin, Wen Jianxue, Zhang Fangping, and a number of Gansu rising stars rose rapidly. Together, they formed the main body of the Qin Cavity Stage in Gansu in the middle of the 20th century. Since then, the Gansu Qin school has continued intermittently until the 1980s, but it has declined with the successive deaths of the genre. In the past 40 years, the Gansu and Shaanxi-Qin dialects have been integrated into one.
Gansu Qin Cavity absorbed the advantages of Shaanxi's improved singing voice, and discarded the shortcomings of the rugged ancient humble voice cavity that had been inherited for a long time, but in the process of changing the old and replacing the new, it did not abandon its own difficult body performance characteristics that were known for its skill and skill, and it still appeared on the stage intermittently, and the advantages of Gansu Qin Cavity in terms of workmanship frame also had a profound impact on the performance of Shaanxi Qin Cavity.
Source: Journal of Lanzhou University of Arts and Sciences (Social Sciences Edition)
Column on "Intangible Cultural Heritage Research" no. 5, 2021
【About the Author】Wang Zhengqiang, a native of Gangu, Gansu, senior editor. He graduated from the Art Department of Northwest Normal University in 1966, majoring in theoretical composition. He has been engaged in radio literary and artistic editing for a long time. He once served as the deputy director of the Literature and Art Department of Gansu People's Radio, the chairman of the Gansu Dramatists Association, and a member of the Gansu Provincial Intangible Cultural Heritage Expert Committee. He has published more than 50 academic monographs, the main works are "Lanzhou Drum Research", "HelongQuzi Research", "Introduction to Qin Cavity Music", "Long Opera Music Research", "Gansu Qin Cavity Singing Theory", "Qin Cavity Singing School Research", "Qin Cavity Dictionary", "Encyclopedia of Chinese Qin Cavity Art", "Qin Cavity Examination Source", "Gansu Drama History", "Chinese Opera Music History", "Wang Zhengqiang's Selected Texts", etc.; Editor-in-chief of "Chinese Opera Music Integration, Gansu Volume", etc.; In addition, he published documentary literature such as "Returning to the Boat through Wind and Rain" and "Capturing Memories"; Excavated, recorded, edited and published more than 1,000 discs of Qin Cavity, Long Opera, Flower Records, Cassette Tapes, VCDs and DVDs.
Editor-in-Charge: He Han
Submission email: [email protected]
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