Gossip Qin Cavity
Text/Li Shi Epileptic
First, what is qin cavity
The dictionary explains: "Also called Shaanxi Zizi, Xi'an Zizi." A genre of opera that is popular in the Northwest Region. Before the middle of the Ming Dynasty, it was developed on the basis of folk songs in Shaanxi and Gansu after a long period of evolution. It is a drama with a relatively long history in the Zizi cavity system, and the tone is more intense and high-pitched." The northwest region is vast and vast, and even if the Shaanxi Guanzhong Eight Hundred Mile Qinchuan, the dialect and spoken language are very different. In fact, Qin cavity singing and Daobai it has long been stipulated: it is a vocal cavity dominated by the dialect of Xi'an and surrounding areas, although Gansu people, Qinghai people, Ningxia people love Qin cavity and also sing Qin cavity, but singing Qin cavity is still standardized by the Guanzhong dialect. It can also be said that the Qin cavity is based on the Guanzhong dialect as the sound cavity, which is popular in the local drama and Zizi opera in the northwest.
How early is the Qin Cavity? It is generally believed that enlightenment was in the Ming Dynasty, developed in the Qing Dynasty, and matured in the late Qing Dynasty to the Republic of China. This is the same as the dictionary explanation. Of course, there is little point in exploring this topic any longer.
Then, the Qin Cavity has a history of recording to learn, it is the steel ribbon of the Shanghai Baidai Company recording the famous Qin Cavity in the early 1930s, the time interval is not long, and there is a 78-turn bakelite record. From 1949 to 1965, the China Recording Publishing House produced a large number of Qin cavity records, and the Shaanxi People's Radio also recorded a wealth of Qin cavity materials.
Qin Cavity scripts should be earlier, very long ago, in the school, private schools, families, children's enlightenment textbooks in addition to the "Three Character Classic" and "Disciple Rules", more or less have drama books in between. The reasons are, one is that the lyrics and rhymes are catchy, the adults have the heart to teach, and the children are interesting to learn; the second is that the themes are mostly the pursuit of meritorious names, the glory of the ancestors, loyalty and righteousness, the suppression of evil and the promotion of good, which are in line with traditional Chinese cultural values. At the same time, the theme of the play covers all aspects of traditional Chinese culture, including the Yang family drama series of loyal martyrs and patriotic spirits, the Three Kingdoms drama series of Shi Zhi's dedication, the Spring and Autumn Drama series of ideologically agitated, and the Warring States Drama series. Therefore, the Qin Cavity script was also an auxiliary teaching material for enlightenment education at that time. There are many Qin Cavity scripts, and now we can see about 700 copies, reaching 26 million words. It can be said that it is another volume of Chinese cultural classics.
△ EMI Records
Second, the Qin cavity in the memory of teenagers
I am a native of Xi'an, born in 1962, and I have a memory when the Cultural Revolution began. Since 1965, traditional opera has been imprisoned, and the political view is that traditional opera is a big poisonous weed, it is the propaganda of talented people and emperors, there is no revolution, there is no heroism, Qin Lu can only transplant and perform 8 revolutionary model plays, and the lyrics and programs cannot be changed in any way. In this way, many Qin actors quit the stage to find other careers. The actors did not act, and the Qin audience suddenly reached a confused and wandering situation, and people thought that these old plays could never be seen or heard, that the spiritual world had been imprisoned, and that acting, watching, listening to, and tasting plays for leisure and pleasure could only be the topic of whispering.
My elders and relatives and friends love drama, but they have collected a lot of Qin cavity records from there, all of which are 78 bakelite records, of course, all Qin cavity classics. At that time, this act could not be honorable and upright, it could only be sneaky, but if the family obtained the most precious treasure, it was hidden deeply and was not known to outsiders. At that time to listen to the play is more troublesome, first of all, you need to borrow a phonograph, when operating, from time to time you need to tighten the clockwork, so that the record has the power to rotate, can not hear a few sides also have to change the needle, sometimes can borrow a record player, the record player is a gem needle, generally do not change, you can save worry and effort, but the need for amplification equipment, broadcasting is convenient and just right. In the 70s, who had a "red light" brand broadcast from Shanghai that was a high-end luxury, a "red light" brand radio at that time was more than 60 yuan, which was the total income of the higher family for a month at that time, and it was considered to have face to borrow. Listening to the drama can only be during the New Year's Festival or when adults have leisure, they can invite the most trusted relatives and friends to come, close the door and cover the window and start listening to the drama, just like doing thief. I am a broken baby, turning records, changing needles is naturally my business, listening to the adults talk about how Su Yumin is, how Meng Shuyun is, how Ren Zhezhong is...
The receptive ability of The Broken Baby is the most profound, so as long as I make a record of the Qin Cavity before 1965, as long as the record comes out, I can determine whether it is before the fifties, or the late fifties, or the early sixties, and at the same time, according to the style of the band's accompaniment, it can be immediately clear that it is from the Institute, or the Sanyi Society, or the Yi Folk Society, or the Shangyou Society. Later, in 1977, the traditional opera was opened, which allowed the Qin dialect to be heard from the radio. When I was a child, I helped my mother cook, I cooked pots, put a radio the size of a plug board on the bellows, and played the time of qin cavity on the radio, while listening to the drama and burning the fire, killing two birds with one stone.
3. The Evolution of the Qin Cavity in the Past Seventy Years
Qin Cavity has been less than a hundred years since the appearance of audio recording materials, and it has been less than 70 years since the appearance of video data, and it is not far away to say, nor can it be said. We may wish to subjectively divide it into the following four periods: before 1949 is the first period; 1950 to 1965 is the second period; from 1966 to 1977, the Cultural Revolution was turbulent, and traditional opera was imprisoned, and it is of little significance; the period from 1977 to 2000 can be counted as the third period; and the period after 2000 can be regarded as the fourth period. Why is it so divided, and why?
The sound cavity of the first period is monotonous and poor, the characteristics of the plate are not prominent, the musical accompaniment is relatively in the minor category, and the folk artists are some loose class performances, gathering and scattering, there is no systematic research and collation of conditions, there is no guidance, dominance of inheritance and development, artists go with the flow, running in all directions, hidden and sometimes obvious. However, the Qin Cavity at this time laid a deep foundation for the Hongda of the second period, and it can be said that without the Qin Cavity of this period, there would be no next brilliant Qin Cavity era. The Qin Cavity of the second period can be described as brilliant and colorful, with a hundred flowers blooming. After 1949, first of all, with the attention and support of the government, the displaced Qin artists had a home, had a considerable social status, no longer worried about their livelihood, and they had a passion for performing arts. Secondly, under the leadership of the government, the basic academies and troupes have purposefully made very successful inheritance, arrangement, and innovation in the Art of Qin Cavity, including plate style, singing style, accompaniment, script, etc. Again, the appearance of female Danjiao has enriched and perfected the art of Qin Cavity Vocal Cavity. What is even more gratifying is that this period is a period of famous artists, famous segments, and flourishing repertoire, and what is even more valuable is that famous artists lead the way, and the artistic style is different from the period that other times expect to be back. The third and fourth periods are not enough to argue in the following commentary.
△ Qin Cavity script
Fourth, the prejudice of Qin Cavity
Undoubtedly, Qin Lu Daobai uses Shaanxi Guanzhong dialect, which is the spoken dialect of Guanzhong in Xi'an and its surroundings. Judging from the practice of Qin Cavity in the past hundred years, in addition to the clown using a fashionable dialect spoken language, other trades in Daobai pursue elegant and calm ancient vernacular, and the sound cavity pays attention to rhyme. From the analysis of the recording data, the older generation of Qin Lu artists seem to have already done research and standardization on the Qin Cavity Daobai, especially the individual character sounds, and listening from the remaining classic plays, it seems that they did not emphasize the need to use Mandarin to "filter" the Guanzhong dialect. A concept should be clarified: the Qin Cavity is a local drama, the dialect should be highlighted, and even the character sounds that are considered to be individual "soil" should not be discarded or blindly corrected when they are recognized and loved by the Qin audience. For example, in the classic play "You Gui Shan", there is a "boat" character of "when do you two get on the boat and when do you get off the boat", Guanzhong dialect has three pronunciations, one is the "chuan" character filtered in Mandarin, reading two sounds; a "suan" word that is more earthy but very quaint, also read two sounds, and there is also a pronunciation that expresses inaccuracies in words and phonetic orders, this pronunciation is more vulgar, and several generations of famous artists of the Yi Folk Society have used a second pronunciation, this pronunciation is indeed quaint and pleasant, such as using the first pronunciation appears stiff and dry, Using the third pronunciation is obviously vulgar. For example, the same is true of the "water" in the classic play "Three Drops of Blood" that "take a basin of water and a needle". Just imagine, the Yi Folk Society in that period was not only a collection of famous actors, but also a drama society that Shaanxi cultural celebrities paid attention to, and it was impossible for them not to pay attention to these details, and their level of appreciation could not be lower than the so-called expert teachers now.
Peking Opera is divided into "yunbai" and "nianbai", "nianbai" is a crisp and neat Beijing dialect, and "yunbai" is actually a non-trivial tone. It should be known that during the Qing Dynasty, many of the people who came to Beijing to learn to sing opera were Hubei people and Anhui people, these people always learned Beijing dialect unsuccessfully, and after a long period of evolution, they gradually formed a kind of Taoist white tone that was not different, and this tone was found to be quaint and calm, and it was slowly accepted, inherited, and finally fixed.
The accent of the people of the five counties in northern Xianyang has a natural quaint and elegant rhyme. I think that if the word "sister-in-law" in Ren Zhe is sung and pronounced in the Guanzhong dialect "filtered" in Mandarin, it will never be a mellow and rich, refreshing vocal cavity, and Ren Zhezhong's fame cannot be so large.
Sadly, some expert teachers are still commenting on the student's Heavy Xifu accent... This ticket holder pronunciation is not accurate, Yun Yun. Ren Zhezhong's mouth full of Yongshou accent, can you say that his colloquialism is not correct, and the pronunciation is not accurate?
△ Stills of Qin Cavity's "Three Drops of Blood"
5. Comment on the accompaniment of Qin music
Qin Cavity is a Zi zi play, zi zi play is the most important is the plate chord rhythm, in the past people will be Qin Cavity music accompaniment commonly known as strings. The general audience watches the play or listens to the play, often only pays attention to how the singer is, but ignores the quality of the strings. True drama fans who love Qin Cavity are not like this. Listening to the elders, in the past, there were theater gardens, he was not interested in the performance of the singers on the stage, his ears were tuned to the orchestra or the direction of the orchestra, squinted his eyes with the priorities of the strings, closed the rhythm of the board, patted his thighs, hummed in his mouth, and shook his head, you can imagine that it is drunk.
The development of national Peking Opera to this day, except for a few occasions, its accompaniment is still based on the three major pieces of Jinghu, Yueqin and Pipa, supplemented by some other folk music strings pulling, blowing instrumental music, focusing on the original and childish rhyme beauty of the opera melody.
Listening carefully to the previous recording materials of The Qin Cavity, I think that the heyday of the Qin Cavity from 1949 to 1965 was not only a period when the Qin Cavity singers led the way, but also the most perfect period for the accompaniment of The Qin Cavity music, especially in the five years from 1960 to 1965, which has reached a beautiful situation. The development of the Qin cavity to the middle of the last century, Western musical instruments and other ethnic instrumental music are well accommodated into the Accompaniment of Qin music, so that the Qin music is thick and lingering, bright and pleasant, and beautiful. It should be admitted that this is nothing less than the reform and development of Qin music, but the gorgeous rise of Qin art.
Or from the research institute, Yi Folk Society, Shangyou Society, Sanyi Society, these four are the mainstream of the Xi'an Qin Cavity stage in this period, and also represent the highest level of Qin art in this period. During the 15 years of the heyday of the Qin Cavity, its musical accompaniment was in the development and change of "changing with each passing day", almost every 5 years. After 1960, all four families used Western musical instruments.
After the liberation of the government under the attention of the government, transferred to the Yan'an period of Qin Cavity performing arts talents and choreographers, selected and received folk celebrities, selected and sent cultural celebrities who are well versed in Qin Cavity art, and formed the Qin Cavity Academy Group directly under the Shaanxi Provincial Government, the Research Institute in this period is the Qin Cavity Research Institute in the true sense, he has made important contributions to the collection and sorting, standardization and fixation, inheritance and development of Qin Cavity art, other aspects aside, only music accompaniment is the most prominent, It reflects that western instruments are very well and successfully integrated into the Qin Cavity string law, so that they are blended with water and milk, the reason is that it follows and converts the Qin Cavity plate style and melody, so that the Qin Cavity music accompaniment has achieved qualitative improvement. If expressed in words: there is a long and feminine in the crisp and bright step, and there is a gentle and melodious in the high-pitched and majestic. What impressed me the most was that when I was a child, I heard a record by Fu Fengqin, "Spring Exam", the film was printed with "Shaanxi Province Qin Cavity Performance Troupe Band Accompaniment", the team should be the band of the Research Institute, it was a recording in 1965, the accompaniment could hardly hear the abrupt sound of the board, but it was full of Western instruments, but it was by no means the style of the current Qin Cavity music accompaniment, it wisely followed the Qin Cavity plate style and melody, making the effect more full and pleasant, if those people in the Institute can match that effect now, I bow and worship. We may wish to appreciate only from the musical accompaniment of Ren Zhezhong's "Repentance Road", "Return to the House", "Night Escape", "Zhao Orphan" and "Daughter of the Party" in this period. Please those Qin cavity professionals, with me to listen to the music instruments of the Qin cavity drama in the only 15 years from 1950 to 1965, that is a huge change in 5 years, with the representative figures of that period and we often listen to it now, only from the musical accompaniment to appreciate, the singing section of Li Zhengmin in the mid-fifties and the "Two Into the Palace" by Li Zhengmin, Tian Denian and Liu Yiping in the late fifties, the difference between the years before and after was significant, Liu Yiping's "The Cutting of the Gate" in the early sixties, At this time, Western musical instruments were already used, and in 1962, Ren Zhezhong's "Zhou Ren Huifu", Western instrument instrumentation has reached the level of proficiency and nature, and later "You West Lake", "Zhao Orphan", "Daughter of the Party" have been sublimated to the height of perfection and beauty.
Listening to the elders, the folk have a smooth mouth: "the swing of the three meanings, the singing of Shangyou, and the melodious strings of the Yi Folk Society", it is obvious that the musical accompaniment of the Yi Folk Society is above those two families. I thought that the strings of the Yi Folk Society were characterized by softness and delicacy, twists and turns, euphemisms, and cheerfulness. Qin cavity accompaniment generally uses F tone, while Yi Folk Society uses G tone, and Yi Folk Society's plays also use two or six plates, because of this difference, the strings of Yi Folk Society highlight the soft and melodious characteristics. The popular "Three Drops of Blood" and "Flame Foal" are not to be said, we may wish to recall the "You Gui Mountain" in the late 50s, the style based on the two or six plates can really be described as lingering, three days endless. In 1955, Liu Yuzhong's "Zhou Ren Huifu" and later Meng Shuyun and Jin Fuchang's "Qi Xie" recording, although the accompaniment instrumental music is lacking, but the gentle and bright childish strings make people enjoy the heavenly sound of the green, in the late 1950s, Zhang Yonghua's "Second Degree Plum - Heavy Tai Bei" folded, Chen Miaohua's "Bauhinia Guan" folded, the board, strings, singing, has been inseparable, is this not the inheritance and innovation of Qin Cavity?
Of course, the strings of the Sanyi Society are also very distinctive, listen to the elders, the hammer drum of the Sanyi Society is the best, we may wish to find out what the taste of the 1962 version of Zhou Fuguo's "Black Tiger Sitting Platform" is. The strings of the Shangyou Society are high and hard, and they are slightly inferior to the Yi Folk Society and the Sanyi Society.
The current Qin Cavity people, to be precise, are the cast members and choreographers of those professional academies and troupes, and they have forgotten what is Qin Cavity? Forget that Qin Cavity is an opera, a Zizi opera, and a local drama!
Now the Qin music accompaniment, it can be said that the Hula quilt is messed up with felt, singing does not stick to the strings, the strings are not next to the board, has reached the point of vulgarity, especially the research institute and the Yi Folk Society in the new drama choreographer, seems to be constantly seeking innovation and breakthroughs, resolutely and resolutely in the pursuit of so-called fashion, blindly in the race to run that even they are in a trance tall, band accompaniment is sometimes simple to dry board and solitary showmanship, and sometimes there is an amateur-level symphony orchestra, playing a few notes that want to set off an atmosphere, it is really disgusting, They can only be self-absorbed. Speaking of which, there are certainly people who speak of reform and development.
△ Stills of Qin Cavity's "Flame Foal"
Sixth, also talk about the inheritance and development of the Qin Cavity
In fact, the Qin cavity vocal cavity of the male Dan period, in addition to a few very accomplished people, is mostly a singing and three sighs, the timbre is monotonous and dull, or stuck to flattery, or pretending to be mournful, the listener is floating in the ear, its artistic appeal, character image shaping is difficult to make the audience unforgettable. After the liberation in 1949, the female Kunjiao appeared in ink, and under the influence and guidance of Wang Tianmin, Li Zhengmin, He Zhen, etc., women emerged in an endless stream, and they created a unique and charming style according to their own voice conditions. Earlier, there were Meng Shuyun, Su Rui'e, and Li Aiyun, and a little later there were Xiao Ruolan, Guo Mingxia, Xiao Yuling, Zhang Yonghua, Liu Dihua, Ma Youxian, and so on. Without Wang Tianmin's "Cabinet Edge", there would be no Xiao Ruolan and Quan Qiaomin's "Cabinet In the Edge"; Guo Mingxia's "Five Dianpo" is obviously rooted in Li Zhengmin's "Five Dianpo"; Xiao Ruolan's "River Bay Laundry" and "Bai Yudian" obviously inherit the artistic characteristics of Minlu; today we appreciate the "Second Degree Plum" of different periods and different people, which is obviously an inherited and innovative fact, that is, from Li Zhengmin to Su Rui'e, from Su Rui'e to Zhang Yonghua.
So, what is innovation and development today?
△ Wang Tianmin's "Cave Room" stills
7. The current situation of the Qin Cavity
Earlier, I subjectively divided the seventy years of Qin Cavity into four periods, no doubt, the second period is the highest peak of the development of Qin Cavity art, then, the last two periods should be nearly forty years from 1977 to the present, these two periods are also different. First of all, let's talk about the previous period. After the traditional drama was lifted in 1977, at that time, industry insiders and ticket fans and audiences all looked forward to the revitalization and development of qin cavity, and also established the revitalization of qin cavity association, but the thunder and rain were small, nothing was accomplished, and not much was done to the research, collation and induction of the early famous materials. In the first few years, although Ren Compromise, Yan Gengping, Wang Yuqin, Qiao Xinxian, Zhang Xinhua, etc. could still take the stage, after all, it was not a period of prosperity, although it was still Xiao Ruolan, Liu Dihua, Liu Ruhui, Xiao Yuling, Yu Qiaoyun, Li Aiqin, Liu Ruhui, Ma Youxian, etc. for a few more years. However, the Yi Folk Society, the Shangyou Society (later disbanded and lost), the Sanyi Society, and the Research Institute, their respective Qin music instrumental characteristics have not been well summarized and restored, and they are in a state of scattered displacement. Although the audio-visual materials were recorded rescuely for Meng Shuyun and Liu Yuzhong, they were old, and their strength and actions were greatly reduced compared with that year, but they were discounted to everyone's image. However, the Qin cavity in this period still inherited the traditional things, and the rookies in the singing voice also tried their best to imitate the early masters, and the musical accompaniment was still accompanied by the rules and regulations, which was highlighted in the three consecutive Xifeng Cup Qin Cavity Radio Grand Prix. The first session is the best, but one session is not as good as a session, and friends who are interested in the conditions can go to compare, and the advantages and disadvantages are naturally clear. The most remarkable figures in this period were Ding Liangsheng, Li Falao, Zhang Ning, and Li Xiaofeng. Zhang Ning and Li Xiaofeng's singing voices are still inheriting the category of imitation from a historical perspective, and there is no fundamental breakthrough; although Ding Liangsheng's poor and susheng plays are applauded, they are too "sweet and vulgar" to "standardize" and "stylize", compared with famous artists, from the perspective of appreciation, more people have a sense of aesthetic fatigue; Li Falao's red life drama is remarkable, and its vocal rhyme and nose are very exquisite, and it is a good red student on the Qin cavity stage in the past forty years.
Time into the twenty-first century, Qin Lu seems to be a patient who has undergone sex reassignment surgery and has not healed the wound. Listening to their insiders say that learning drama now, first of all, in the art school to learn "scientific vocalization", this "scientific vocalization" from their subjective will is to sing the vocal cavity more feminine, more tactful, with the singing vocalization instead of singing the full mouth of the Qin cavity, in fact, they have gone astray, they forgot that the Qin cavity is opera, is the local drama, they do not absorb the reference, this is the transfer of flowers and trees, how can not be blunt.
Looking back at the reason why the Qin Cavity in the past forty years is like this, first, in the more than 10 years of the Cultural Revolution, there is a natural fault in the articulation and cultivation of talents, the second is that the entertainment and pleasant way of people in this period is not only to watch the Qin Cavity drama, the Qin Cavity is relatively a small group, and the third is that the impetuous social background of the Chinese in this period also affects the artist's pragmatic and pragmatic practice.
The current Qin Cavity stage seems to have left only He Laoliu, Zhou Ren, and Dou E, and there are no other plays.
△ Yan Gengping's "Blood and Tears Vengeance" stills
Eighth, the famous passage of the famous artist who is haunted by dreams
As mentioned earlier, the glorious period of qin cavity was the 1950s and 1960s, and this period was a period of famous people and famous segments, and it was a period when people became popular and people were famous. I remember the years at the end of the seventies, every year Chinese New Year's Eve night, Shaanxi People's Radio will play a recorded Qin Cavity evening, generally starting from Li Zhengmin, first to the singers to make a brief introduction and then sing the singing segment, there are more than thirty people selected, generally one paragraph per person, at the end of the party to the time when the firecrackers sound in unison, when people were looking forward to this program. By the early 1980s, Shaanxi People's Radio edited and produced a record of "A Collection of Famous Passages of 100 Famous QinXiang Celebrities", which had commentary, and made a sincere and rational evaluation of each actor, with simple words, not overflowing, not melodious, not arbitrary, and today it seems that it is a Courseware like a Qin Cavity Teaching Book.
Although the famous artists sing well, and they will be comfortable with the plays they perform, but when it comes to the requirements of the famous masters, there are only a few paragraphs or a few folds. Listening to the elders, when ShangYoushe, Li Aiyun, and Wang Yuqin changed plays, that is, Li Aiyun sang "Three Niangs And Godsons", Wang Yuqin sang "Three Shangshang Caravans", you sang my masterpiece, I sang you to the masterpiece, just imagine that in that era, and in the same troupe is the same industry, this situation is rare. Explain what? It shows that the two of them have long been popular in their respective plays, not for the sake of competing for fame, for each other's respect and admiration, for the audience to appreciate the similarities and differences of the rare opportunity. Of course, "Three ShangShang" is still Li Aiyun's good, and "Three Niang Godsons" is still Wang Yuqin's good.
Before the mid-1950s, Mr. Liu Yuzhong's "Zhou Ren Huifu" was a play that Mr. Zhou Ren often sang, and later Ren Zhezhong sang "Zhou Ren Huifu", and Mr. Zhou Ren was eclipsed and stopped singing. Mr. 1955 indoctrinated "Repentance Road" A fold I heard when I was a child, of course, Ren Zhezhong's self-explanatory, today we only take "Zhou Ren Huifu" comparison, whether it is singing voice design or white mouth spit, Ren Zhezhong is above Mr. Ren, but Mr. Zhe's brilliance is not inferior.
When I was a child, I listened to adults arguing endlessly over listening to the play, arguing about whose "The Case of The Beauty Of The Beauty" was good and whose "Driving a Bird" was good. I thought that "The Case of Gongmei" was still good for Tian Denian, "Driving luan driving" was still good for Zhang Jianmin, and "Chopping a Single Child" was still good for Zhou Fuguo. It should be admitted that the snow of Mei Susun is three points white, and the snow has to make Mei incense for a while.
This is the famous section.
Li Zhengmin, in the past, people gave the highest evaluation, known as the authentic Qin Cavity, and the ancestor of Danjiao. What a dazzling crown to give Mr. today is not an exaggeration. It turns out that his vocal cavity has a comprehensive artistic quality that his contemporaries and predecessors did not have in Danjiao (male Dan), and has the greatest inspiration and influence on the later female Kunjiao's walking cavity, which is slightly inferior to others. It can be seen that the later masters, Li Aiyun, Xiao Ruolan, Guo Mingxia, Zhang Yonghua, etc., their cavity skills are all permeated with the artistic marrow of Mr. Li. It can be said that after Li Zhengmin's sound cavity art was unprecedented, he made significant contributions to the perfection and perfection, richness and colorfulness of qin cavity danjiao sound cavity art. His characteristics are that the foreture is gentle and swirling, and the back note is vigorous, which is wonderfully in the change of each word and each tone. In "Exploring the Kiln", the "Mother and Sitting Rong Eryu..." fold is a Qin Cavity signage play.
Liu Yuzhong is a Qin Cavity Su Sheng Taidou, I thought it was appropriate. Mr. voice cavity learns to sing a lot, there are many comments, I am not repeating, but most people ignore Mr. Confession, its style is quaint literary quality, there is rhyme in the word, the rhyme is pure and beautiful, this trait of Mr. Xu is not possessed by other Students. Listening to Mr. Bai's recitation, it seems that an old Confucian student on Guanzhong Road is lecturing on history, which is this feeling. My favorites are "Selling Paintings to Split the Door", "Branding Bowl Meter", "Returning to the Ship", "Road Encounter", and "Returning to Jingzhou".
Chen Miaohua is a rare young girl in the historical development of Qin Cavity, appreciating her singing voice, there is a sense of holiness and undejudgement, her breath transformation is seamless, and she is given by God like a ghost. "Selling Water", "Purple Crown", "Little Feast" is the best.
Guo Mingxia is a pure Qingyi Zhengdan and has a high evaluation. What are the characteristics of her vocal cavity? I said that she is "the flower cavity soprano of the Qin cavity", the voice is full of grace in Zhang Chi, in the tremor, her singing voice gives people a feeling of soaring and romantic reverie, listening to her bitter and sad play, although she experienced the sadness, but the sadness does not make people awkward, the bitter does not make people hopeless, her singing charm is here. "The Book of the Four Sages", "The Case of The Beauty of The Beauty", and "Catching the Slope" are the best.
Wang Yuqin is the eldest Qingyi of the Shangyou Society, born in the door, and later played Lao Dan at the same time, which had a deep influence on the audience. Qin cavity vocal cavity has the saying of "full mouth", "full mouth" should be the original source of the Qin cavity vocal cavity, giving people no "holding the cavity and pinching the tone" feeling, the sound cavity from the throat out of the throat is simple and natural. Wang Yuqin is exactly like this, her voice quality is hoarse and mellow. I think that Wang Yuqin's "Three Niang Godson" has been "vulgar" to the point where it can no longer be "vulgar", listening to her "Three Niang Godson", it is like on The Guanzhong Road, we are now seeing the neighbors teaching his son, we seem to be Xue Yige or have xue Yige's experience, maybe you and Wang Chun'e have the same sourness, the drama can infect people to such a place, it can be seen how powerful her artistic charm is. Now someone singing "Three Niang Godsons" seems to be seeking a breakthrough, but she is still "making a play", and it is blunt and awkward. In the early 1960s, Shangyoushe rehearsed "The Female General of Yangmen", and at the end of the 1970s, Wang Yuqin rehearsed "Shoutang" and "Lingtang" in two folds, and we felt she Taijun's majestic and majestic heroism. Now some people continue to sing "Yangmen Female General" and advertise it as the best She Taijun, I think there is no momentum, just blindly elevated, singing is dull and tasteless.
Liu Dihua is the Qingyi of the Yi Folk Society, and I have a preference for Liu Dihua's singing voice. Qin cavity cavity has "two tones" said, I am a layman, not very clear what the specific concept is, I think, it is the tone that falls when the tone is high and to be closed, the beauty of the sound cavity lies in the "two tones", the famous old artists in the past have paid attention to the "two tones", it is the richness of the sound cavity, is the embodiment of the sound quality transformation, Liu Dihua's "two tones" not only have tones and tones, plus her high and not fried voice, its line cavity is like a water sound, but unfortunately the current actors do not pay attention to this, just blindly elevated, Sounds dry and stiff. Controversial people can listen to her "Chopping Qin Ying" and "Ertang Offering Cup". When the word "love" of "male and female love each other in the tribulation" in "Ertang Dedication Cup" is about to be pronounced, Mrs. Tian can't help but smile involuntarily, and Liu Dihua's performance is so natural and appropriate, which not only shows Mrs. Tian's heartfelt joy, but also properly reflects Mrs. Tian's noble and graceful identity. Unfortunately, the current actors can't understand it, let alone act. Art is rigorous, and in rigor you see charm. Of course, Liu Dihua and Meng Shuyun have a mentorship relationship, and here, there is no need to repeat Mr. Meng's artistic style.
Ma Youxian has made significant contributions to the richness and perfection of the art of the Qin Cavity Danjiao Sound Cavity, and should give him a milestone position in the historical development of the Qin Cavity. Its cavity is like a flowing stream, with ups and downs, high-pitched and magnificent, and gentle and poignant. "The landscape of the West Lake is still the same..." is eternal.
△ 100 Qin actors singing cavity highlights tape
A collection of 100 Qin actors singing
Flower Face Album (with 1~100 actor summary)
△ Click the link above to enjoy
There are words after writing
There are three realms for drama fans, one is that people are cloudy and swallow dates; the other is that they can distinguish between the good and the bad, and they know that they do not know why; and the third is that they take ordinary people as their own and can use ordinary people to eliminate themselves. I am not a fan, I am not a professional or former professional actor, and I have never wandered in the theater circle. Gossip Qin Lu is just a remembrance of childhood, chewing and freezing part of the past in life, in fact, it does not understand drama, just intentional small talk.