<h1 class="pgc-h-arrow-right" > talk about the pronunciation of "Qingyi" in Jin opera</h1>
<h1 class="pgc-h-arrow-right" > Wang Ai'ai, an actor at the Jin Theater in Shanxi Province</h1>
Teachers and comrades asked me to talk about my experience in singing, but I actually had no experience to talk about. Although I have been engaged in drama work for more than twenty years, I am far worse than Teachers such as Niu Guiying and Cheng Yuying. Besides, I usually don't study enough, and it is impossible to talk about it. So today I will casually talk about my personal views on singing for the reference of teachers and students.
I learned to play earlier. At the age of seven, he became an actor, at the age of eight he performed "The Ring of Gifts" on the stage, and at the age of nine he could act in "Sacrifice of the River" and "Heavy Stage", although the performance was not systematic, but these three plays were singing dramas, and since they were out of the front desk, they had to sing to come back. When I was most successful in singing, I performed "Fan Lihua", when I was sixteen or seventeen years old, this play sang a lot, long time, two performances a day is more than seven hours. After the age of sixteen or seventeen, people are in a period of development, and it is also the best period for accepting things. This gave me a good opportunity to practice on stage. If I have a good voice, I have also been trained through practice. Can't be said to be born. Of course, there is a difference between the quality of the vocal cords. Because vocal cords are the minimum conditions for being a literary actor, not everyone can be an actor. If you want to be a good actor, you can't be afraid of the strict requirements of the teacher, you have to study and practice hard. My grandmother was very strict with me. When I was a child, I got up at five o'clock every day to shout my voice, and my grandmother stood in a place I couldn't see and listened. If I don't pronounce it correctly or shout well, she won't follow it, scolding lightly, beating heavily, and in short, she has suffered a lot of scolding. I remember once because the word "sister" was not clear, my grandmother broke my mouth. We Yuci people call "sister" so that people can not hear clearly, "sister" is originally two words, but it occupies a word of time, and, there is a bit of tongue-twisting, because it is not easy to change it from childhood. But it was good, and after my grandmother hit it, it was changed. "Hitting" is indeed not a good idea, and it must be replaced by inspiring "self-awareness". If the student is always unconscious, the teacher will not have the confidence to teach over time. In this way, it is inevitable to waste the good opportunity to study, and it will not be possible to learn the skill of serving the four modernizations.
I have been acting on the stage for more than twenty years, but my understanding of its characteristics is really superficial. In the past, leaders and seniors also talked very little, and I always felt that I should have some understanding of the characteristics of the kinds of dramas I was engaged in, even if it was conceptual. In our country, there are many kinds of dramas, take our Shanxi, there are North Road Zizi, Middle Road Zizi, Puzhou Zizi, Shangdang Zizi, which are all influential dramas in the country. There are two obvious characteristics that distinguish us from other dramas:
(1) Musical instruments. The unique musical instruments of Jin opera are Hu Hu, four strings, horse gongs, cymbals, and other kinds of instruments that are similar to other kinds of dramas are drum boards, zizi, small gongs, second strings, three strings, etc. Through the performance of these instruments, the sound emitted by these instruments has formed a unique personality, which is the personality of our Jin opera.
(2) Singing voice. The singing cavity of Jin opera has plates, splints, two sexes, large flowing water, second flowing water, small flowing water, intermediate plate, rolling white, two tones, Kunqu opera, flower cavity, flower cavity and is divided into three flower cavity, five flower cavity, inverted plate cavity, three inverted cavity, Luo Luo cavity, doll cavity, horse cavity and other plate and cavity rhyme, all kinds of plate and cavity rhyme Any kind of singing method is with the personality of Jin opera, whether it is the old predecessors in the past or the current famous old artists, the singing methods of these plates and cavities are different from each other, and a variety of genres have also been formed. But it is always inseparable from the personality of Jinju. That is to say, no matter how passionate you sing and how rigid and gentle your performance is, the taste of Jin opera is unchanged. As a Jin opera actor, we should have a rational understanding of the characteristics of this kind of drama, which is very helpful for us to sing a good play.
As an actor, you should work the four skills and five laws. The "four skills" are singing, reading, doing, and playing, and the "five laws" are hands, eyes, body, law, and steps. I'm going to focus on singing today. In the past, old artists often said that singing, reading, doing, playing, and singing were in the first place, so it can be seen that the importance of singing cannot be ignored. The same kind of drama "singing" is classified by line, for example, our Jin opera is dividend, black, raw, dan, ugly, each has its own singing methods and requirements. From the perspective of "Dan" angle, it is divided into Qingyi, Huadan, Boumen Dan, Caidan, Daomadan, LaoDan and so on. I sing Tsing Yi, and I can only talk about my personal experience.
<h1 class="pgc-h-arrow-right" > sound</h1>
Today I will mainly talk about the voice. Vocalization is originally an abstract term, such as when we shout a voice, when you shout an "ah" word, so that others can hear it. This is mainly the result of the work of the vocal cords. But the vocal cords themselves do not work, and must be pushed by gas to work effectively. In this way, "qi" has become an indispensable factor in sound, just like the car must use gasoline to move it, if there is no gasoline, the car will lose its ability to work, we sing on the stage, the required sound is not to make a sound, but to sound to tone, from tone to tone, from tune to cavity, step by step Evolution to form a beautiful and beautiful rhyme and express content through language. In other words, voicing is for content. But vocalization can directly form a rhyme. For example, the sounds of the seven words 1, 2, 3, 4, 5, 6, and 7 can be pronounced only with vocal cords and qi, but they cannot form content. The singing we are asking for should be the product of a combination of clear language and beautiful rhymes. According to this requirement, we should understand some five-tone, four-breath, breathing, voicing, rhythm and other aspects of the problem.
< h1 class= "pgc-h-arrow-right" > pentatonic</h1>
I will first talk about the "five tones", usually some people call the actor who does not sing very well as "five tones" incomplete, I think this statement is not perfect, I think an actor's throat, lips, teeth, teeth, tongue must be complete, and also has its labor function. Because the larynx, lips, teeth, teeth, and tongue are the five parts that emit words and sounds, for example, when we sing a "larynx" word, it is emitted through the labor of the larynx. The same is true of the lips, teeth, teeth, and tongue, all of which emit their own words and sounds through their own labor. The quality of the sound depends on the difference in the strength of the vocal cords, and the difference in timbre is determined by the shape of the vocal cords. Take our actors, you and his timbre are different, some are rigid, some are soft, it should be said that each has its own strengths. Some actors have a very low voice but sing very well, some actors have a high voice, but they don't sing well, and even the same actor sometimes sings well, sometimes sings badly, you can say that he sometimes "five tones" all! Sometimes the "five tones" are incomplete?. Therefore, as an actor, as long as you have a voice, you can sing well.
What is having a voice? Some people usually speak hoarsely and hard, of course, this can not be counted, we mean that there is a voice refers to being able to sing to a certain height and a certain low. For example, if our actress can sing high in G-tone, even if she has a voice. I found that there are not many actresses who can sing to the top 2, but not many can sing well, and one of the main reasons is the improper use of pentatonics. The "five tones" as we know it are not exactly pronunciation, but mainly pronunciation. But the words themselves cannot be heard, and can only be heard when they are heard together with the sound. As I said earlier, the "five tones" are the five parts of the word, which can not only emit their own sounds and words, but also through their cooperation with each other, they can produce thousands of words and all kinds of rhymes. However, in order to produce a perfect and accurate sound, we still need to work biting words. Most of the word sounds in the singing words or confessions we use on the stage need to use the standard requirements of the three contents of the word head, the word belly, and the end of the word, that is, through this requirement, the word sound is artistic.
For example, the four lyrics in "Counting Grain":
Although my husband and wife share in poverty and bitterness,
Though my husband and wife are poor and suffering,
The child is frozen in the cold kiln,
Half a liter of grain from the Xiangfu was not asked.
Let's take the last word of each sentence as an example, the pinyin of the word "enjoy" is "xiang", the first call of the three pinyin letters is the mother, the second is called the mother of the rhyme, the third is called the mother of rhyme, the prefix of the word "enjoy" is the "x" spelling out of the word sound is "Xi", the word itself is the belly of the word, and the word "Ang" is the end of the word. For example, the pinyin of "grain" is "1iang", "1i" spelled out is "force", force is the prefix of the word "grain", "grain" is the abdomen, and "ang" is the end of the word. When we sing the word "enjoy", we must start by singing the sound of the word "Xi", and then "enjoy" and then retract the tail sound "Ang". The word "grain" is the same, starting with the sound of the word "force" and then producing "grain", and then retracting the ang tone. "Enjoy" is all Jiang Yangru, so its tail note is Ang. If we cite the two sounds of "grain", it is not difficult to understand that other words are the same. For example, dang "when". Nei "gluttony". The vowel's sound is the beginning of the word, and the vowel's sound is the end of the word.
I give these two examples not to understand what is called the beginning, the abdomen, and the end of the word, but to require us to bite and sing every word and sound correctly, which is closely related to the "word circle" that the teachers ask us to sing.
Some of our actors are very unobtrusive in this regard, and may not understand, especially the use of five tones is very inaccurate, so it is not accurate to sing the words, and how can the words be good when they are not accurate? There are two sentences in "Counting Grain": "The second father and mother should not quarrel and shout", and the other sentence is: "The child also has a bad language to tell the details", the first word of these two words, one is "two", one is "child" are all tongue-curling sounds. But "two" is to go to the sound, "child" is a yangping sound, singing these two words alone is mainly by the cooperation of the tongue and the throat, to sing these two words accurately, the amount of labor of the "throat" is different, singing the "two" word is greater than the amount of labor of singing the word "child", we often in such a small difference between the sounds, words between the most likely to ignore the "five tones" of the mutual cooperation.
In order to make everyone pay attention to the mutual cooperation and accurate use of the "five tones" in the future, I will sing to you a passage of tight duality in "Three Niangs And Godsons":
This singing requires fifteen seconds to sing, this requirement is not high, as long as it is a singing actor can sing it down, but the pitch of singing is not easy, especially the actors who are usually used to spitting out words are not true, and it is not easy to sing well. According to the requirements of the plot, this singing voice is also excited in the speed, full of feelings, accurate in the rhythm of ventilation with air, and the sound and words are sung accurately, so that the audience can hear clearly. If you want to meet this requirement, you must study and practice diligently, practice the "five tones" more, so that your throat, lips, teeth, teeth, and tongue work is crisp and neat, and the coordination is ingenious and appropriate, so as to strengthen the artistic color of the "five tones", and the sounds and words sung will be sound and colorful. Of course, singing each paragraph well is first of all the sense of character, today I focus on vocal skills, character feelings have the opportunity to talk about again.
In addition, I will talk about nasal and oral sounds: nasal and oral sounds are called sounds, so why not list them as one with the five tones? That is to say, why not increase the five tones to six tones, and the seven tones? As already said, the pentatonic tone is not only pronunciation, but more importantly, pronunciation. The nasal cavity and mouth can only pronounce words, not pronounce words. They work for the artistic decoration of "words". Try to separate them
(1) Nasal sound: Nasal sound is indispensable in our drama singing cavity, unique sound, some young actors in order to fear that others say that the nasal sound is heavy and dare not use nasal sound, this is a wrong understanding, we can find the basis from the northern rhyme "thirteen" ruts, thirteen ruts are before the words, the Middle East, Renchen, Jiangyang, Youqiu, Gusu, Fahua, Qiu, Aim, Subo, Ash Pile, Huailai, Yiqi.
In the Middle East and the two categories of renchen, the end of all words is en( en), "en" is the most obvious character that embodies the nasal sound, and the ending of words such as Zhong, Dong, Jun, Yun, Ren, Chen, Sen, and Le must be received with "en" (eh). According to the law of pinyin, (en) is the mother of rhyme, and when we sing, we must not only sing the words, but also sing the rhymes. Like what
The rhyme after the word "we" must be completed with "grace", that is to say, it must be completed with a nasal sound, and there are many words like this. Let's find another word out of the rut. Like what
"Tian" is "before the words" rut, "Tian" after the word rhyme is completed with "An", although "An" is based on the oral sound, but there must be a nasal component, only with the resonance of the mouth and nasal cavity can this rhyme cavity be sung round. If you use the oral voice alone, it is bound to evolve into ah (a) or (ei), which is the phenomenon of rhyme not following words, which is quite a phenomenon among young actors. The main reason for this is that the dominant idea is not right---- the result of trying to avoid nasal sounds.
(2) Oral sounds: The oral cavity is the range of pentatonic work. When the five tones out of the "word", the word sound should be swirled in the mouth, through the roundabout to strengthen the bright color of the word sound, promote the word rhyme round, moist, rigid, soft, changeable pronunciation function, but also can keep the end of the word unchanged to send the export. Like what:
These six words are five rhymes, and the visible changes are complex. Only by using the whirling force of the oral cavity can the rhyme of each word be kept in a satisfactory transition to other words.
<h1 class="pgc-h-arrow-right" > four calls</h1>
The four breaths refer to the shape of the mouth, which works with the five tones. The working method of the four calls is to open, align, lift, and close. It has no working effect alone, because it has neither sound nor word, and is a formal thing, but it is indispensable in the singing cavity, and it plays a major role in controlling the volume of gas. What exactly are the requirements for the mouth shape of our Jin opera actors, especially the mouth shape of the actress? My experience is that the mouth shape can't be too big. Our traditional drama is a product of history, and in ancient times, women were strictly ruled, and in terms of the aspect related to the shape of the mouth, we paid attention to singing without spitting out our tongues, laughing without showing our teeth. Although this is a requirement for image, since the beginning of opera, this demand has formed an inviolable customary force for our Danjiao. Our opera is different from opera because opera is a product of modernity. In short: I have sung for more than twenty years without using a large mouth to sing Jin opera, nor have I found that other teachers use large mouth shapes, so I think it is inappropriate to sing Jin opera with a large mouth. For example, if we sing a "big" word, according to its requirements, we should open our mouths larger than other words. The first content of the four breaths is "open", which requires the mouth shape to be opened, we can try it, the mouth shape of the "big" word is open to the mouth shape of the "open" word, and it can accurately emit its sound and word. I have found that some young actors have a very large mouth when singing, and even for most of the time in a singing voice, the shape of the mouth is unchanged, which makes it impossible to sing well, because it is impossible to use words such as "big, we, ah, ah" and so on in any part of the voice. For example, when she sings a "middle" word, she must also open her mouth widely, and "middle" should be the third content according to the requirements of the four calls, that is, the mouth shape of "pinch", but he sings "middle" out and immediately becomes the mouth shape of ah, as if it is not so, it is very breathless, which is also related to improper use of gas. In short, the mouth shape works in conjunction with the "five tones". If the lip shape is not applied properly, the "five tones" cannot play its due effect.
< h1 class= "pgc-h-arrow-right" > ventilation</h1>
Qi is indispensable in human life. No matter when, where, no matter what kind of work, it is inseparable. Especially for our singing. Qi is in our human body, and its movement law is breathing. Breathe to drive movement of the lungs, heart, and blood. I am talking about how qi skillfully promotes the movement of the vocal cords through breathing, and how to make us sing beautifully through this movement, and the performance of qi in our ordinary life is breathing freely, but when singing, especially when singing a large undulating singing cavity, the performance of qi is very different. Because in singing, not only the pronunciation of words, but also the difference between light, heavy, slow, urgent, high, low, flat, and sharp. Qi pays different amounts of gas according to the requirements of various different individual items, which is the relationship between qi and sound.
Among some of our young actors, many of us will not be lucky, change their breath, almost open their mouths to sing, the result is that the singing is not loud, the sound is not accurate, the words are not clear, and they are tired and sweaty. In addition to less practice, most of these cases are improper gas use.
There are three reasons for this
(1) Insufficient inhalation. We must inhale the air enough when singing slowly, especially when we fling the cavity, to suck deeply, to suck full, to suck until the two ribs are supported, the chest is straight, and the dantian is full of breath, so that there is strength in singing. Now I sing a line from "See the Imperial Aunt"
Before singing, be sure to inhale the breath and sing it until the word "speak" is sung before changing the breath. It is twelve seconds between this breathing, and six words must be sung in twelve seconds in one breath, and if the first breath is not enough, it is difficult to sing. For example, if we also have a small breath in front of the word "and", it is better to sing it in one breath. We require the breath to be inhaled enough to sing the rhyme of the word full and powerful, if only sing the three words "Bao Xiangye" to breathe, obviously the first breath is not used up, but before the breath must be exhaled, such a breathing method "qi" becomes a burden. The breath to be changed before the word "all over" is more important, and it is also necessary to inhale the breath enough, otherwise it is easy to sing so that the audience cannot hear it, and even they cannot hear it clearly.
(2) Exhale endlessly. We asked the actor to drain all the breath in his stomach before each inhalation of the song, and there was no half a point left. If you sing that you need to inhale, and the breath has not been used up, you must push it out forcefully, because the breath you inhale can only be used once each time, and the exhaust gas cannot come out, and the new gas cannot enter, so how can you sing when it is difficult to breathe? This phenomenon exists in some actors, but to varying degrees. However, the "exhaust exhaust" we require mainly refers to the slow plate, that is, the attention that must be paid before the big ventilation, because the exhaust is not complete and will inevitably cause insufficient suction. However, in the faster-paced singing cavity, it is too late to breathe, but only in the middle of the ventilation, small ventilation, but in the small and medium ventilation is not equal to breathing freely, but on the contrary, it is urgent to breathe, and the ventilation speed should be fast. For example, there are two lines in "Counting Grain",
These two sentences take six seconds to sing. There are two ventilation ports, if the air is inhaled enough before the opening, the first ventilation can not be changed, in the second place of gas must be inhaled fiercely, in order to inhale violently must be the front of the air exhaust, although can not be discharged to the extent of the large ventilation, but also to the abdomen inside and outside the air pressure to maintain balance, that is to say, the remaining gas volume of dantian should be consistent with the air pressure in the outer atmosphere. This is also necessary for small ventilation.
Ventilation is easier to understand, but it is not easy to do, which requires more practice. First of all, you must practice slow ventilation, when you slowly inhale enough to follow the exhalation, you can count one three four five six seven eight nine in your mind... Use this method to exercise the function of Dantian to control qi volume. The elders often said: Inhale to use the power of sniffing flowers, exhale to use the breath of blowing ash, this truth I think is both the guiding ideology of our practice of ventilation and the secret trick. We can experience these experiences of our predecessors through practice.
(2) Not living with gas. This is about the inflexibility of the use of gas control. Some people have a very high voice and sing very loudly, which makes people listen to boring and boring, and the result is that the singing voice is not round. It can be seen that the influence of controlling the amount of qi on singing is very large.
For example, the singing of the two words "Nine Dragon Water" in "Ode to the Dragon River"
This sentence singing voice from the beginning of the change of breath to the end of the end, should be sung for forty seconds, a total of five breaths, we will sing this sentence according to the angle of singing, must be sung round singing accurately. If we want to change more or less in this singing voice, it is not okay, at least it is not good to sing. These five breaths are all big breaths, and they can't be replaced by small ones. In particular, it is more difficult to ask for a big change in the last breath, because the time is too short, which requires us to suck fast. It takes us eight seconds for this sentence alone, and although the beat uses nine letters, the speed has slowed down. In addition, we conceptually consider the two letters before the ventilation mark to be one beat, and the last seven letters are considered to be another beat, so that this ventilation can be changed well, inhale full, and this breath is good is the guarantee of this sentence ending sound.
In this sentence, if the gas volume is not well controlled, it is easy to appear two deficiencies:
(1) The amount of gas has changed, the stomach is annoyed, and I want to rush to drain it, resulting in the phenomenon of weakness of the tail note.
(2) For the sake of the power of the tail note singing, the front gas volume control is very strict, can not meet the needs of the letter, the result is caused by the cavity rhyme is not round, seven tones and eight tones, it can be seen that the quality of the gas volume control is very important in singing.
The above is the importance of controlling the amount of gas, and I will talk about how to control the amount of gas. To know this, we must first know the part that controls the amount of qi, which is mainly controlled by the contraction strength of the dantian (dantian is located in the abdomen, about the three horizontal fingers under the umbilicus) and the elasticity of the muscles (the muscles of the neck). When we suck the "qi" into the dantian, it contracts from the bottom up according to your light, heavy, slow, and urgent needs, and the qi is discharged through this movement. The emphasis here is on light, heavy, slow, and urgent, because I want to talk about how to control the amount of qi, and as for the part that controls the amount of gas, just know it. For example, in "Counting Grain", Wang Baojun sang two sentences of two sexes:
The characteristics of these two sentences are first tight and then slow. The first breath sings eight and a half bars in five seconds, and the third breath sings five and a half bars in eight seconds. When singing the first eight bars, it is necessary to use eighty percent of the qi volume, using the contraction force of the dantian to gradually push the qi out, and at the last half of the bar, twenty percent of the qi volume can be pushed out violently. This not only highlights the word "persuasion", but also makes the tail note thick and powerful, and creates a powerful opportunity for the second ventilation.
When singing the last five and a half bars, use one breath evenly. That is to say, through the contraction of the dantian, the qi is evenly discharged, and it is discharged to the point where the dantian is almost impossible to shrink, and the requirements of the singing cavity can be satisfactorily met, so that you will also feel that your qi volume is strong and sufficient. Let me talk about the coordination of muscles. The muscles mentioned here mainly refer to the muscles around the vocal cords, that is, the muscles in front of the neck, which are the outlets that cooperate with the Dantian control qi. The coordination of the muscles is directly related to the level and sharpness of the sound,
For example, "Ode to the Dragon River", two singing voices with heads raised
The characteristics of these two singing voices are dominated by high notes, especially from the beginning of the fifth bar to the end of the singing, the muscles can hardly be loosened, which makes the muscles drive the vocal cords to narrow the air port and produce a high note. Another example is the half-sentence singing in "Counting Grain"
The sound behind the word "have" belongs to the bass, in this sound area, the muscles have been relaxed, with the relaxation of the muscles, the vocal cords will naturally relax, and then through the contraction of the dantian to issue sufficient air volume to push the vocal cords, you can make the vocal cords emit a thick bass. Special attention should be paid to sufficient gas volume here, if you use the amount of gas to sing the high note, you can not sing a thick bass, but it does not mean that the high note does not need the atmosphere, but the rap bass is not as long as the control of the amount of air in the high note. For example, the same amount of air can last ten seconds to sing a high note, while singing a bass can only last five seconds. These are all my own experiences, and the main reason to sing well is to practice more, because practice is the standard for testing truth. However, we should refine useful experience from practice, turn it into theoretical knowledge, and then serve practice. I sang "Counting Grain" more times. The large section of "Counting Grain" has a rich tone of the plate cavity, and the rhythm changes in many ways, light, heavy, slow, urgent, high, low, flat, sharp and so on.