Chaozhou opera, also known as Chaozhou opera, Chaoyin opera, Chaozhou white character opera, is sung in the Chaoshan dialect, in the ugly (role) has a prominent performance of the local opera, after the Ming Dynasty began to form, popular in Guangdong Chaoshan, Minnan and other places, and with the Chaoshan people spread to Hong Kong, Macao, Taiwan, Shanghai, as well as overseas Thailand, Singapore, Malaysia, Indonesia, Cambodia, Vietnam and other Southeast Asian and European and American regions, is one of the most influential local dramas in China.
Chao opera has a long history and is also one of the oldest local dramas in China, which belongs to a branch of Yuanming Southern Opera, which was sometimes called Chao Cavity, Tide Tone, And Quan Chao Elegant Tone, and was one of the five loud cavities of Ming Dynasty Southern Opera. The Ming Dynasty Jiajing BingyinNian (1566) published the "Lijing Record", which is the earliest performance script that can be seen so far using the "Spring Tide Cavity". It was included in the first batch of national intangible cultural heritage protection lists in 2006.
Tang dynasty
Chen Zheng and Chen Yuanguang's father and son troops introduced Central Plains music and hundreds of operas to Quanzhou, Chaozhou, and Zhangzhou. We can see the policy of "Lewu Zhihua" implemented by Chen Yuanguang, the Holy King of Kaizhang, during this period of governance, as the main evidence that Tang Dynasty songs and dances and Tang Daqu entered this area.
Song dynasty
Chen Yinke said: The culture of the Chinese nation, which has evolved over thousands of years, was created in the world of Zhao and Song Dynasties. Chaozhou had already developed into a large county in Lingnan as early as the Tang Dynasty, and the Song Dynasty had frequent foreign contacts and economic prosperity, "The shore sea jiemin, the Portong Ou Wu and the Zhufan kingdom, the characters radiated, and the land was flat and fertile, rao fish salt, so Yin gave to the neighboring county". In terms of education, "one state and two colleges, he county has none." Musical culture flourished, "the tide of the great music ... He has nothing in the county. And the spontaneous cultural activities of the people are also very active, but the imperial court officials have often interfered with them in various names, and even explicitly prohibited it. However, we can see from another aspect the development of opera in Chaozhou at that time.
In the Song Dynasty, when Zhu Xi was serving in Zhangzhou, which is the same as that of Chaozhou, he once demanded in the "Persuasion list" that urban and rural areas should not be allowed to plunder money and goods and pretend to be puppets in the name of praying for blessings from disasters." His disciple Chen Chun (1153-1217), a native of Zhangzhou, mentioned in his "Shangfu Temple's Treatise on Adulterous Drama": "The excellent people gathered with each other to protect each other's villages to make obscene plays, called 'begging winter'. The group did not succeed in the youth, so they gathered dozens of generations of floating waves of rogues, sang together, and called the 'drama head'. Gathering money and goods from house to house, playing tricks on the good people, or making puppets, and building tents in places where the inhabitants are crowded, in all directions, in order to gather the spectators." It can be seen that at that time, in the Chaozhang area, acting became popular, and southern opera has also spread to Quanzhou.
Ming dynasty
Chao opera began to take shape before Jiajing in the Ming Dynasty. The Guangdong Tongzhi of the Fourteenth Year of Jiajing (1535) states: "Chaozhi mostly moves the drama in the rural dialect", and the play book "Lijing Ji" written in the Chaoshan dialect in the Jiajing Bingyinnian (1566) can show that the plays performed in the Chaoshan dialect have occupied a major position. In the Ming Dynasty, Chao opera was called Chao Cavity, Tide Tone, Quan Chao Cavity, Quan Chao Elegant Tune, a Chao Yin Drama, also known as Bai Zi Opera.
Baizi is relative to the orthography, the proverb has: "orthographic letter born white character zai", refers to the local drama sung in Chaoshan dialect, is from the Zhongzhou shengyun (official dialect) singing orthography (ie, orthographic drama) to absorb the Yiyang cavity, local folk drama and minor tunes evolved, is a local opera that belongs to the gradual evolution of southern opera in the Chaoshan dialect area. The Xuande Seventh Year (1432) Southern Opera manuscript "Liu Xibi Jinchao" excavated in Fengtang, Chao'an County, is an orthographic book mixed with some Chaoshan dialects.
Qing Dynasty
From the notes and writings of the Qing dynasty, we can see the prevalence of Chao opera in the Qing Dynasty. During the Kangxi Dynasty, Chaozhou "welcomed the gods and raced, and it was half of the year. Pear garden mother-in-law, no day and no day". "The hipsters sing the northern and southern songs in the tone of the earth, known as the Chaozhou opera." Around the Tongzhi period, "the legend played by chao opera, more learning of southern tones and practicing local style, famous local class." The viewer is tired day and night. If you sing in a kunlu, and everyone gets tired of hearing it, it will disperse." It can be seen that the locals in Chaozhou at that time had the hobby and grandeur of watching the opera. In the last year of Guangxu, due to the fact that the relatives of Fang Yao, a local powerful figure who was the chief soldier of Chaozhou at the time, were happy with chao opera, under their influence, the prosperity of chao opera reached its peak, and there were more than 200 chaozhou opera classes at that time.
During the War of Resistance Against Japan
Chao opera is in a stage of decline, and there were originally many classes, but at this time there were very few.
After the founding of the People's Republic of China
Literature and art were valued, and Chao opera was revived. In the past, Chao opera has always implemented the child-friendly system, and Xiaosheng, Qingyi and Hua Dan are all served by children's artists, who grow up and change their voices, that is, they are eliminated, which seriously hinders the development of Chao opera art. After the founding of New China, the Tong Ling system was abolished, and reform was carried out in all aspects, and a large number of outstanding actors were trained, so that the ancient art of Chao opera shone with new brilliance. In the golden age of the 1950s and 1960s, the number of professional and amateur Chao opera troupes in various places developed to nearly 200, and the acclaimed first generation of "Five Golden Flowers" appeared, and they performed in Beijing twice, which was well received by all parties.
During the Cultural Revolution, these troupes were all disbanded and were not revived until the Jiang Qing counterrevolutionary clique was crushed.
Since the reform and opening up, under the impact of various new entertainment methods and market economy, Chao opera, like other traditional Chinese operas, has advanced in difficulties and constantly explored new development paths.
Note: The above pictures and texts come from the Internet, and the copyright belongs to the original author!