Author: Ling Xiao Han Ge
Tan Xinpei's singing skills, critics are not the same, and the enthusiasts live in the majority, in the past also "there are plaques are books, no cavity does not learn Tan" and "the rise and fall of the country who manages, the city argues that it is called Tian'er" era, it is inherently dominating the song field, swept the drama world, that is, now there are years, and "Tan Pai Zhenzong", "Tan Opera True Legend" and other emblems are borrowed from one after another, which shows that the aftersound is lingering, and the potential still exists. Its people are sufficient to represent an important stage, and there is no doubt about righteousness.
However, his success did not break away from the old way of "not knowing" and "natural evolution". His singing method is only considerate of drama, taking the strengths of others, accommodating his own voice strength, always working hard, and everywhere to become a personal art. Not only is the "literary word" not well understood, that is, the "rhythm" is not fundamentally studied. Only the song art is best -- (oral) is the best, and that is only part of the song element.
He only sings smoothly in the text, regardless of whether it "remembers the former Kou" or "ice disintegrates". He is in tune with the rhythm, and as long as he harmonizes with his singers, he can also match the tune of the spinning palace and carve the feathers to attract business. He asked Chen Yanheng to play the piano and praised Yanheng's skill, but when Mei Dazuo was resting from work and was not finished, he asked for his temporary cooperation on the field for the sake of support. If this is not the case, even if Chen Yanheng's musical rhythm is anywhere deeper, he may not pay attention to it and have nothing to do with him.
Chen Yanheng
However, we cannot but admit that Chen Yanheng and Tan Xinpei have established considerable cooperation, and in terms of the stage of Pi Huang, it can be regarded as unprecedented cooperation. There are two reasons for this:
(1) Yan Heng is a literati, good at words, and a musical experimenter, although he has appeared on the piano, but he made occasional cameos, unlike Mei Dazuo, Sun Zuochen and other practitioners who specialize in piano teachers and musicians. His own position can only be counted as "on the desk".
(2) The manifestation of his cooperation with Tan Xinpei is that he does not play the piano cavity on the stage, but cares about the tan cavity he loves on weekdays as a dedicated study. To be able to say "three seven and one mind", not only the people who learn Tan are not as clear as he is, but even Old Tan himself may not have such and such "self-knowledge". As for taking the score of the entire large section of Tan's good drama as a ruler, explaining it, printing it in the world and spreading it widely, making the skills of the people immortal, and actually writing in the forest, that is even more impossible for ordinary musicians to do. Then, with the status of "desk man", he helps the work of "people on the field", and in the random playing of dramas, of course, he can be regarded as the person who has set a new record.
At the same time, it cannot be acknowledged that the cooperation between Chen and Tan has been very successful. Because they have many shortcomings:
(1) Although Chen Shi stood in the position of "literary words", he did not contribute to Tan's singing words. Not only did he not compile a new version like Liang Bolong, but he also did not participate in the revision of Tan's script and lyrics. Therefore, in Tan's mind, he only regarded it as a kind of music worker such as Mei Dazhuo, while Chen had given up his own position and become a personal preacher of Tan.
(2) The Tan score formulated by chen, in addition to the fine scale and the detailed annotation of the plate eye symbols, it is also sung and explained everywhere, and the work is really not small. Unfortunately, there is no praise or criticism, no critic's attitude, and the right and wrong of tan words are therefore unclear.
Chen Yanheng's status is higher than that of Mei Dazuo, because no matter how good Mei Dazhuo's Huqin is, but he shows his skills on the field, he cannot write, he cannot write, he cannot write. Chen Yanheng is not a pure author, because he has no criticism of Tan. So he had to talk about his achievements in terms of the efforts he had already made.
Yu Shuyan and Chen Yanheng
In the seventh year of the Republic of China, in Beijing, he wrote a book of "Speaking of Tan", in the nineteenth year of the People's Republic of China, he wrote a copy of "Yantai Juju", and the first series of the entire "Order to Visit the Mother" - hereinafter referred to as "Visiting the Mother" - all of which were based on Tan Xinpei's singing skills, but were not dedicated to Tan Alone. The first half of "Talking About Tan"—"General Theory"—is an overview of Pi Huang's source stream, singing, reading, expression, etc. Below are the genealogies and descriptions of "Wu Jia Po". "Visiting Mother" even explains the princess, the empress, the taijun, the rokuro, the Zongbao, and the roles of the whole play, and not only Shiro. These are all worth noting. "Talking About Tan" is the "corner book" style, and "Visiting the Mother" is the "string" style.
"Speaking of Tan" was written in the winter of Ding Wei, which was the year of the death of King Tan, and was in the same sorrow in the thin sea, when Tan fans almost had to "climb the dragon's hair and rise", most of them wanted to look forward to the sound of the deceased, so Chen Jun's book can also be said to be written in honor of Tan.
In his preface, he said: "Tan Xinpei is a titan in the theater world, and the wenwu kunchao is all perfect, and the singing work is excellent, and the rest of the things are heard." Every time scholars are drunk and imitate their tone groups, it is a fashion for a while, and the way of sound is deeply rooted in people. However, they all attack their fur and do not know the true meaning. Even the increase and decrease of the intention is farther and farther away. Occasionally boasting of oneself, what a fool to dream. Yu lived in the capital with laziness and idleness, and every time Tan appeared, he listened to it, for a long time, he felt that every word contained a wonderful idea, and then sighed that what he had learned had a source, and the depth of his dedication was beyond the knowledge of those who were close to it. Nowadays, Tan's relics have been "Guangling San" in the human world, and every time I recall the opera performed, according to its tone, the score is based on the ruler, the affixed with arguments, and the similarities and differences are distinguished, and the name is "Saying Tan". ”
It can be seen that it means to leave "Guangling San" in the human world, but my meaning is that the sound must be transmitted according to the substance. The authority of science can overcome all difficulties, and Tan Xinpei's few phonograms can indeed keep his song skills, the true essence, in the ears of the world forever. As for the symbols recorded in the ruler' notation, the instruction manual is only a substantive reference, which cannot be faxed. The efficiency of all musical scores and musical scores cannot be separated from the sound of flesh and bamboo. Moreover, Tan Cavity, which is only his personal singing method, and the origin of the Kun Cavity, the North and South Songs, takes the public palace tune card score as the standard, and the personalities of few people are different, so Chen Jun is good-hearted and diligent for Tan Cavity, but it cannot receive the effect of popularization.
The "general theory" seems to be in terms of the general principles of Pi Huang: (i) sect, (ii) four voices, (iii) sharp groups, (four) tones, (v) plate eyes, (vi) white words, (vii) body and demeanor, (viii) huqin, (nine) xusheng categories, a total of nine paragraphs. In terms of style, that's good. If he defines several principles as a public Libra ruler to measure Tan's family, then Tan's personal strengths and weaknesses may be able to fax the record, and the public law of drama and the specialty of the craftsman can also be parallel and not contradictory. Unfortunately, almost every one of his principles concludes with "Tan is good at". Therefore, a good "law enforcement balance person" has the meaning of "legislating for people". What a shame.
Under the "Sects", it is said that "since Cheng Changgeng and Yu Sansheng were named after Cheng Changgeng and Yu Sansheng, cheng Huiren, Yu and Wang Churen were all able to expound their own subtle sects according to what they had learned, and few scholars after them could go beyond their scope." The emblem is high-pitched, passionate and generous, the qi rhymes Shen Xiong, the sound of the Cheng clan, and Wang Guifen is almost enough to sound. Chu tune is clear and round, the twists and turns are melodious, the voice is long, Yu, Wang Zhishengye, Tan Xinpei is good at it. Here, "zigzag and melodious, the voice is melodious" eight characters are to cover up Lao Tan's "shirt tone". Youyun: "Cheng, Yu, and Wang are all three people, such as Lu Taizi, Zhang Shengkui, Sun Chunheng, Zhou Changshan, and so on, all of whom have expertise, so the vastness and depth of what they have created are not beautiful." This passage says that tanshi is almost a collection of the majority of the various factions. In fact, Tan's ability to take advantage of the strengths of the people to become a unique beauty is not too prestigious, but it must be born in the Wang Hat faction, not its strengths, can not but be said to be a fundamental regret, so I always think that "personal beauty" and "sectarian typical", can not be discussed together. Youyun: "Speaking white singer, Si Ben Chuyin to train the outstanding master." Just as the Kunqu opera must use the Su character, and the Zizi must use the Qin dialect, which is pure and heavenly, and cannot be pretentious, and the southerners will sing the big drum, and the northerners will laugh. The people in the north will sing the beach yellow, and the people in the south will cover their ears. "Cheng Yu people, middle-aged Beijing can not speak northern language, pear garden old man can still say it." Tan's rightful place is being able to speak the vernacular ear. "This statement is the most contrary to contempt. The right tone of all songs is based on the standard of Zhongzhou rhyme. The reason why Kun Huang enters the ya, that is, in the local color and follows the right track of sound law, the reason why zizi is outdated is because it wants to protect the sour taste of the villagers and cannot be coordinated with the public ear sounds. The reason why the Han class and the local opera class in Hubei cannot compete with the Beijing yellow class is because of its coarse pronunciation and is not free from harshness. Therefore, the dialect of the local language is only suitable for the small songs and miscellaneous plays in various cities, and the so-called "not to ascend the elegant hall" is also appropriate. If pi huang is recognized as a drama with status, it cannot be based on the vernacular language. The Kun Cavity's Su Di Tu Tone is only a disease, not a regular rule. Xu Dachun- a native of Wujiang, Suzhou, has been elaborated in the "Voice of Lefu". If the singing of the Tan clan of the Fu Tan clan makes many use of the E-sound, but it is only a part of the yin-yang-ping, as for the difference between the sharp groups and the tips for receiving and distributing, there is no slightest accommodation to the E-sound, and the Tan clan will never be as Yu Hongyuan's thoughts "Shangchao" is "Funeral Cao", "Crossing the River" is "Teasing the River".
The "four voices" item is clouded: "Learning Tan should first distinguish the sound, and the pronunciation should be literate first, and the word has four sounds." Flat up into the Yan Chu is different, flat has yin and yang. The Yangping of Beijing is the Yinping of Hubei. The Yangping of Hubei is the sound of Beijing. The sound of Beijing, that is, the sound of Hubei. The sound is not available in Beijing. The tone of the characters is changed in a special tone, with the northern tone of the song Tan tone, the south of Judah and the north of the opposite, the square and round chisel. Yes, Chen Jun also knows the difference between Hubei and Beijing, but in yin and yang, the difference between yin and yang is especially important in Pingsheng. The yang of Hubei is low and turbid, and it does have the effect of offsetting the sound in the skin yellow. Tan's greetings to Yousan here, so Chen Jun's words are sincere and conclusive if they are specifically for Tan's. However, Beijing is mischievous and yellow, which is a characteristic of being half-Beijing by the air of Beijing. If the Beijing tone is used in a proper way, it is also enough to convey the spirit or facilitate the pronunciation. For example, Gong Yunfu's "Fishing for Golden Turtles" "My son! The word "child" is not the Yang Ping of the E-sound. That is, the "human" character of Tan's "Selling Horses" "BingbuTang, Lord Wang" and the "God" of "Catching and Putting The Shop" are not read according to Hubei Yangping, and at first there is no obstacle to singing or sound, and it should be used in the ears of universal use. Tan's Hubei Yangping is indeed more than the Wang and Sun factions, but it can only recognize the special convenience of the Tan dialect, and in the end it cannot be used as a canon, such as the Kui sect's many use of official sounds, the words are round, and the boldness is thick, and it seems that it cannot be destroyed by the Tan Fa.
"Sharp group" item under the cloud: "The tip of the tongue against the teeth, the two words are pronounced urgently for one tone, such as 'first' to know 'si yan', autumn to know 'this reason' and so on." Or it is said that the southern character is more pointed and the northern character is more clustered, but the Henan native language is sharp and clear. The difference between the sharp groups is very strict, the practice is not habitual, and it is often mistaken, laughing at the Fang family. Xin Pei has the deepest workmanship in this place, and its use is wonderful, inconceivable, divine and clear, and exists in its people. "The words at the tip of The case xinpei are extremely clear, and what Yan Heng said is not false. But the division of the sharp group has its own law. Those who can distinguish between those who can be skilled will not be mistaken, and those who exist today, such as Yang Xiaolou, Cheng Jixian, Hou Xirui, and those who have been examined by the science class, can read it correctly. Just by having a clear tongue and a strong tongue and a powerful word without the traces of trivial carvings, it is impossible to do everything, and it seems that it is inconceivable. It is better to transfer the number of words as "the magic of use, the wisdom of god", it is better to move back to the "four voices" item, cover yin and yang flat in the tone of the depression and frustration, there is a close relationship, Tan's cavity of the clear and beautiful, somber and quiet, thanks to the good use of yin and yang ping.
The "tone" item is clouded: "The tone of the voice is the ruler, and then the tone can be spoken." Xin Pei can induce the palace to carve feathers when the tone is extremely complicated, and he is not happy, but the standard of the special tone of the ruler, and the tone is tired in the middle of the inability to do so. Fu Qi, the handsome of the sound also. Qi □ is floating, weak qi is thin, qi is dull, qi is stagnant, qi is exhausted, Xin Pei god is in the skill of nourishing qi, so it undertakes to receive and let go of frustration and turn around freely, out of the mind. "The relationship between the tone and the qi in this paragraph of the case is whipped into the inside, the language is pertinent, and the tone of Tan is pure with the qi, so it can flow in a muddy way and fall generously, which is very different from the sons of the present Tan. The husband of the Tan is not inferior to the length of the ruler's voice. However, those who are tasteless, for example, the hook imitates the inscription of the famous artist, and the longitudinal thread is buckled, but if the child's depiction is red, the strength is not added.
"Plate eye" item under the cloud: "The board eye has several difficulties, the large (slow) board is difficult to tighten, the fast board is difficult to stabilize, the loose board is difficult to be accurate, and it is impossible to avoid this drawback of Tan's outside, and there is no one." The change from the heart according to the rules of natural coincidence, then Xin Pei's stunt. The Xipi Allegro is like a horse going downhill, the sails are breaking the waves, and they are full of vigor and sharpness. In the meantime, the clouds are unpredictable, and the weather is varied. Fine press but meticulous, with ease. "The secret of this case is the only secret of the True Tan Clan, which can be called unprecedented, and the non-Tan Clan cannot have it, and the non-Chen Clan cannot speak." This passage is written in detail, and the syllables of Tan's sense of reading are still melodious to the ears. The needs of the "person on the field" and the pen and ink of the "desk man" are immortal, and it is not only important. "Slow board is difficult to tighten, allegro is difficult to stabilize, loose board is difficult to accurate", Yu Tan's song is long, outline collar, sweep everything, and comeback with rhyme, forever leaving impression and Tan Cavity immortal.
"Speaking white" item under the cloud: "Speaking white and singing are equally important and especially difficult to work, so the language of Pear Garden's behavior is known: a thousand pounds of words white four two singing, extremely difficult to say." To say that the key to white is to wake up, Xin Peijia is able to show his identity, in line with the plot of the time, such as with the language of the people, kind and clear to make people tired. "The white mouth of The Case Xinpei uses more serifs—d,wah, wow, wah, ah,ah—and natural words, that is, the common Chinese language, such as "Pull down without recognition" in "Tianlei Bao" and "absurdity" in "Visiting Mother", all of which are from the mouth. Used for family chores, especially between husband and wife, father and son, it is naturally cordial and tasteful. However, it can only be called the "Lou Jiao School", which is a category of white mouths. As for the "Tangtang Sect" being noble and thick, and the "Kangan Sect" being noble and fierce, such as "Scolding Yang Guang", "Shu Chi Hui", "Trial Head", "Serial Set" (TanShan), and other dramas, the white mouth of such dramas is not what Tan Shi can be good at, just as he is a weak faction and relies on the handle as a master and is unique to the king hat, some are strong and some are short, and there is no need to hide his ears.
"Body look" item under the cloud: "In the body and look, the ancients let go of the middle rule, twist and turn, the best of the body, and the god of Yuanmu is in it, Xin Pei copied the drama, but the wonderful Xiao, not that is, not far away, just as the first writing of Huang Ting is just right, solid by its rich thoughts can figure out the psychology of the social crowd, and between the tendencies and behaviors, a graceful and noble atmosphere, especially moving to watch." This paragraph of the case can be divided into three layers: (1) The "drama organization" in the "rules and regulations" is based on the program. The cube of the stage, the upper and lower scenes, the big and small edges, the posture of the martial arts, the movements of the literary drama, the principle of invincibility and not the metaphysics, geometrical, this is the general law, can be coached and able. (2) Drama and the psychology of the social crowd, which cares about the genius and the speculation of each person's performance, although the famous teachers and experts can only point out the opportunity and cannot be forced. (3) Manners and weather. This is purely influenced by the noble air of the Beijing Dynasty, which is natural and does not belong to drama, and personal endowments are also related, such as Yang Xiaolou and Tan Xinpei are both court-style nobles, but Yang's meteorological grandeur, Tan's meteorological qingchao, this is not only can not be coached, but also can not be pointed out. Try to see how the Haipai Tupai has no Wenwu Kunchao singing and chanting, and the elegance of the style can not finally reach the Beijing Dynasty school, just like the tribute style of architectural books, which is beyond the reach of sea goods and native goods. However, it should be noted that these advantages of the Jing Dynasty school are only in line with the subjectivity of some Jing Dynasty audiences, and the people in the drama cannot all be limited to the general Xiang Gonghou and the literati yashi, who are also poor and poor, so Yang Xiaolou plays the evil thief Hua Yunlong, and Tan Xinpei plays the stupid husband Zhang Yuanxiu, and finally does not fit the identity.
Yan Heng recounted Xin Pei's language cloud: "Crying and laughing in the play is the most difficult, because it is difficult to be realistic, but what is the fun of the true one?" Yan Heng is only called an abstract praise for "ZhiZha Si Yan" and "Half Thought Of Si Zhi". The principle of contemptuous Chinese opera performance is that the drama does not leave the technique, and the technique does not leave the play. Everything is not taken from the form of xiaozhen, and everything is precious to the divine fax. It's not just crying and laughing. The reason why crying and laughing is more difficult is that it can be covered up by techniques such as non-singing workers with cavity plates, and it is not like the paragraph plates of the white words are interconnected, so the isolated crying and laughing are more difficult than the crying laughter of "three laughs" and "crying heads", so Tan's wild laughter in "Cinnabar Mole" can only not laugh. Tan's tragedy is good at it, but it is not good at laughing. This, in turn, is close to the individual, and cannot be generalized.
The sub-categories are divided into three types: security workers, relying on the handle, and decaying factions, and the pear garden has this saying and its classification is not very detailed. This section is a long story and does not argue. Yan Heng thought that only Xin Pei could combine the strengths of the three, and there was no disadvantage of being rigid and rough, and he knew that melting and penetrating was eclectic. Then only this one can be said. Tan's drama road is known for its sensitivity and is good at coping. It is also possible to say that it can be combined with the strengths of all, and it is also impossible to say that there is no specialty. However, he said, "It is advisable to learn drama by settling down to gradually decline." The work of bandits day and night, "Lost Street Pavilion", "Touching Monuments" and other plays, especially expensive and old, can not work outside of middle age. Nowadays, young people as WuHou and Ling Gong are not like each other, how can they move, that is, like the heart of the elderly in the "Tianlei Bao", unless they come over do not know, the teenagers will not be able to be considerate without this situation", then as Yan Heng praised as "the theory of not publishing", it can be seen that all kinds of technology are always nothing more than drama. Mind control technology is an important principle of acting, and those who learn tan should also seek their similarity.
Yan Heng's whole concept of Tan's family, and his previous study of Tan's mood of praising Tan's family, are slightly more than enough. I sigh at the fruits of his heart and energy, and I cannot ignore his knowledge. As Gai Qi said, Tan's fruit has become omnipotent and beautiful, no one can match it and it is only a "rare thing", and the beauty of Tan's family cannot be restored for the trainer. However, in the text, the deduction and elaboration of the song art is extremely dedicated, not a general praise ratio, that the conclusion is not ok, that the reference is more than enough, and in the general Chinese opera works, it is a valuable book.
(Drama Monthly, Vol. 3, No. 3)