Nuo opera, also known as Nuo Tang opera and Duangong opera, is a form of opera formed by absorbing folk operas on the basis of folk sacrificial rituals. It is widely popular in Anhui, Jiangxi, Hubei, Hunan, and Sichuan , Guizhou, Shaanxi, Hebei and other provinces. The repertoire includes "Meng Jiangnu", "Pang's Daughter", "Dragon King's Daughter", "The God of Taoyuan Cave", "The Land of Liangshan", etc. In addition, there are also some based on "Mulian Biography", "The Romance of the Three Kingdoms", "Journey to the West" ” repertoire of stories. Nuo opera, also known as Nuo Tang opera and Duangong opera, is a form of opera formed by absorbing folk operas on the basis of folk sacrificial rituals. It is widely popular in Anhui, Jiangxi, Hubei, Hunan, Sichuan, Guizhou, Shaanxi, Hebei and other provinces. . Nuo opera originated from ancient times. As early as the pre-Qin period, there were witch songs and Nuo dances that entertained both gods and people. At the end of the Ming Dynasty and the beginning of the Qing Dynasty, various local operas flourished. Nuo dance absorbed the forms of opera and developed into Nuotang opera and Duangong opera. After Nuo opera was formed in western Hunan during the Kangxi period, it entered the Yangtze River from the Yuanshui River and rapidly developed to various places, forming different schools and artistic styles. Nuo Tang Opera in Hunan and Hubei absorbed the performing arts of Flower Drum Opera, Nuo Opera in Sichuan and Guizhou absorbed the artistic elements of lanterns, and Nuo Opera in Jiangxi and Anhui absorbed the nutrients of Hui Opera and Mulian Opera. The repertoire of Nuo opera includes "Meng Jiangnu", "Pang's Daughter", "Dragon King's Daughter", "Taoyuan Cave God", "Liangshan Land", etc. In addition, there are some materials based on "Mulian Biography", "Romance of the Three Kingdoms", A repertoire of the story "Journey to the West". The script has more singing and less white, and is good at explaining events, unfolding conflicts and shaping images through long narrative lyrics. The singing is in the local dialect, and except for the first type of repertoire, which uses Duangong tune, the rest are all sung with opera tunes familiar to the local people. Except for a few areas such as Yuanling in Hunan, where suona is used to accompany the end of sentences, most Nuo operas only use percussion instruments such as gongs, drums, and cymbals. The roles in Nuo opera are divided into Sheng, Dan, Jing and Chou, and most of them wear masks to perform. The masks are carved and painted from camphor, lilac, poplar and other wood that is not easy to crack. According to the shape, they can be divided into two types: full face and half face. The whole face is carved with the hat and the whole face worn by the character, and the half face is Then it is only carved above the nose, without the mouth and chin. The character is treated according to the body. A certain muscle ⑽ Huan? ⒗ holding the otter ⑸ figurines are done ⑸ 裣 foolishly take 1 猌莸 curtain? quiescent pepper ㄊ quietly pay a kiss? Jian Shi cover the sword? kiss Dong lin Jian ⒃ leave Jian Ｓ掎谫 Due to different historical backgrounds and artistic influences, Nuo opera is divided into three types: Nuo Tang opera, Di opera and Yang opera. . Di Opera is a Nuo opera performed by people in Tunpu, the descendants of the border guards who stayed in Yunnan and Guizhou in the early Ming Dynasty to worship their ancestors. There are no folk life dramas or dramas about talents and beauties. All performances reflect history. The martial arts drama of the story. Yang Opera, on the other hand, is just the opposite. It was performed by Master Duangong for living people after he finished his ritual. Therefore, it mainly performs small operas that reflect folk life. The tunes sung are also mostly borrowed from folk operas such as flower drums and lanterns. Nuo opera is a synthesis of history, folk customs, folk religion and primitive drama. It contains rich cultural genes and has important research value. Nuo operas in various places are mainly spread in the countryside. With the development of society, entertainment activities continue to be enriched, and the number of people willing to watch Nuo opera performances is decreasing. It is difficult to inherit Nuo operas. Nuo opera (Pinyin: nuóxì) originated from ancient times. As early as the pre-Qin period, there were witch songs and Nuo dances that entertained both gods and people. At the end of the Ming Dynasty and the beginning of the Qing Dynasty, various local operas flourished. Nuo dance absorbed the forms of opera and developed into Nuotang opera and Duangong opera. After Nuo opera was formed in western Hunan during the Kangxi period, it entered the Yangtze River from the Yuanshui River and rapidly developed to various places, forming different schools and artistic styles. Nuo Tang Opera in Hunan and Hubei absorbed the performing arts of Flower Drum Opera, Nuo Opera in Sichuan and Guizhou absorbed the artistic elements of lanterns, and Nuo Opera in Jiangxi and Anhui absorbed the nutrients of Hui Opera and Mulian Opera. Nuo opera, also known as Nuo dance, is one of the local opera types in China. It was developed from the ancient Nuo ritual around the Yuan and Ming dynasties. At first, stories were performed with songs and dances. When the image of Zhong Kui appeared in Nuo rituals, Nuo opera came into being. The story of Zhong Kui fighting ghosts first appeared in the Tang Dynasty's legendary fantasy novel "Yi Shi". The image of Zhong Kui in the opera was transplanted from the novel. Zhong Kui went to Beijing to take the exam three times, but because of the obstruction of the powerful Prime Minister Yang Guozhong, he failed and died in anger. The Jade Emperor felt sorry for his uprightness and appointed him a judge to rule over the world's ghosts. The five ghosts, blue, yellow, red, white and black, refused to obey and made a big fuss, but were surrendered by Zhong Kui. Nuo opera is popular in Sichuan, Guizhou, Anhui, Guichi, Qingyang and the mountainous areas of western Hubei.
Actors wearing willow masks play the role of Nuo God, the legendary god who exorcises plague. They perform with repetitive and large-scale procedural dance movements. They are mostly performed on fixed festivals. Very original dance style. [1] Nuo opera, also known as Nuo Tang opera and Duangong opera, is a form of opera formed by absorbing folk operas on the basis of folk sacrificial rituals. It is widely popular in Anhui, Jiangxi, Hubei, Hunan, Sichuan, Guizhou, Shaanxi, Hebei and other provinces. Nuo opera originated from ancient times. As early as the pre-Qin period, there were witch songs and Nuo dances that entertained both gods and people. At the end of the Ming Dynasty and the beginning of the Qing Dynasty, various local operas flourished. Nuo dance absorbed the forms of opera and developed into Nuotang opera and Duangong opera. After Nuo opera was formed in western Hunan during the Kangxi period, it entered the Yangtze River from the Yuanshui River and rapidly developed to various places, forming different schools and artistic styles. Nuo Tang Opera in Hunan and Hubei absorbed the performing arts of Flower Drum Opera, Nuo Opera in Sichuan and Guizhou absorbed the artistic elements of lanterns, and Nuo Opera in Jiangxi and Anhui absorbed the nutrients of Hui Opera and Mulian Opera. Nuo opera in China has a long history. It originated from the Nuo sacrifices of totem worship in primitive society. By the Shang Dynasty (1600 BC - 1046 BC), a fixed sacrificial ritual was formed to drive away ghosts and diseases. This is Nuo dance. The development of Nuo dance has had an impact on local operas in China. The singing is performed in the local dialect, and except for the Duangong tune used in the first type of repertoire, the rest are all sung with opera tunes familiar to the local people. Except for a few areas such as Yuanling in Hunan, where suona is used to accompany the end of sentences, most Nuo operas only use percussion instruments such as gongs, drums, and cymbals. The roles in Nuo opera are divided into Sheng, Dan, Jing and Chou, and most of them wear masks to perform. The masks are carved and painted from camphor, lilac, poplar and other wood that is not easy to crack. According to the shape, they can be divided into two types: full face and half face. The whole face is carved with the hat and the whole face worn by the character, and the half face is Then it is only carved above the nose, without the mouth and chin. Due to different historical backgrounds and artistic influences, Nuo opera is divided into three types: Nuo Tang opera, Di opera and Yang opera. Di Opera is a Nuo opera performed by people in Tunpu, the descendants of the border guards who stayed in Yunnan and Guizhou in the early Ming Dynasty to worship their ancestors. There are no folk life dramas or dramas about talents and beauties. All performances reflect history. The martial arts drama of the story. Yang Opera, on the other hand, is just the opposite. It was performed by Master Duangong for living people after he finished his ritual. Therefore, it mainly performs small operas that reflect folk life. The tunes sung are also mostly borrowed from folk operas such as flower drums and lanterns. Nuo opera is a synthesis of history, folk customs, folk religion and primitive drama. It contains rich cultural genes and has important research value. Nuo operas in various places are mainly spread in the countryside. With the development of society, entertainment activities continue to be enriched, and the number of people willing to watch Nuo opera performances is decreasing. It is difficult to inherit Nuo operas. Nuo Opera·Wu'an Nuo Opera Wu'an City is located in the south of Hebei Province, 30 miles east of Handan City. Wu'an Nuo opera has a long history. Judging from the scale, lineup and roles of Wu'an Nuo opera, there is a legacy of the Song Dynasty court Nuo opera. Wu'an Nuo opera is rich in content and has various programs to entertain gods and people, including team opera, competition opera, bamboo horse, etc. The characters of Nuo opera masks are primitive and simple. Nuo opera in Guyi Village is a complex of traditional folk culture that integrates sacrifices, team operas, competition operas and various folk art forms. Performances not only educate people on ethics and morals such as filial piety, but also express the good wishes of people in farming societies for good weather, abundant harvests and social peace. The existence of Wu'an Nuo opera provides empirical data for studying the occurrence and development of Chinese ritual drama, which has important research value. The special role in Wu'an Nuo opera performance - Zhangzhu, is the current remnant of "Zhuganzi", the opera leader of Song and Jin Dynasties in my country. Wu'an Nuo opera completely reproduces the four forms in the development and evolution of Chinese ritual drama. Nuo Opera·Chizhou Nuo Opera Chizhou Nuo Opera originates from the consciousness of totem worship and is mainly spread in Guichi, Shitai and Qingyang counties (districts) with a radius of 100 kilometers around the foothills of Jiuhua Mountain, the holy land of Buddhism in China. It is especially concentrated in Guizhou City, Chizhou City. There are dozens of families with big surnames in Liujie, Meijie, Maotan and other towns in Chi District. According to historical records, "a village cannot be formed without Nuo". It has no professional troupes and professional artists. It still uses the clan as the performance unit, with the purpose of worshiping ancestors, exorcising evil spirits and bringing good fortune, entertaining gods and ancestors, and wearing masks as a performance feature. Chizhou Nuo opera includes "Nuo ritual", "Nuo dance" and "Nuo opera". The entire "main opera" performs the "original opera" which has dramatic plots, performance procedures, roles, roles, stage decoration and other opera characteristics. It relies on the method of "oral transmission and heart teaching", which is passed down from generation to generation. The "Spring Festival" and "Autumn Festival" are performed every year. The "Spring Festival" is held from the seventh to the fifteenth day of the first month of the lunar calendar every year. The "Autumn Festival" is held on the 15th day of the eighth lunar month and is not usually performed.
Chizhou Nuo opera has accumulated and precipitated a lot of cultural information in various historical periods from ancient times to modern times, involving a variety of disciplines and fields, with very rich connotations, hiding broad and profound cultural connotations and extremely high cultural anthropology, drama, and religious studies. , fine arts, history, archeology and folklore and other academic research values, it still maintains the simple and rugged original style. It is the oldest and most important folk ritual in China, the cultural symbol with the most national characteristics in China, and the oldest and most important cultural symbol in my country. One of the "oldest and most complete" ancient operas. Nuo Opera·The Dong Nuo Opera "Dong Dong Tui" is popular in Tianjing Village, Silu Village, Gongxi Township, Xinhuang Dong Autonomous County, Hunan Province. The dance is performed amidst the sound of gongs and drums (small gongs), hence the name "Dong Dong Tui". The origin of "Dongdongtui" is difficult to ascertain. The earliest residents of Tianjing Village were Dong people with the surname Long, who moved from Jingzhou of this province in the 17th year of Yongle in the Ming Dynasty (1419). A person named Long said: "The head of 'Dong Dong Tui' is in Jingzhou and the tail is in the courtyard." Based on this inference, this kind of Nuo opera was probably introduced from Jingzhou in the Ming Dynasty. In the old days, there was a Pangu Temple and a Feishan Temple in Tianjingzhai. During the Spring Festival, each temple took turns offering sacrifices every year. During the sacrifices, "dong dong push" must be performed. Whenever there is a natural disaster or plague, "Dong Dong Tui" is also sung. "Dongdongtui" is a dance with a simple plot, and part of it is a Nuo opera with the prototype of a drama. All performances are performed in Dong language. Its repertoire includes "Jumping on the Land", "The Leper Stealing the Cow", "Old Man Pushing Cart", etc., which reflect the life of the local people; there are also Three Kingdoms dramas with Guan Gong as the protagonist, such as "Guan Gong Catches Diao Chan" and "The Ancient City Meeting". The music of "Dongdongtui" is mostly developed from local folk songs and folk songs. Commonly used tunes include Liuliu tune, Shiyin tune, chanting tune, and Lei songs, etc. All characters wear masks during the performance of "Dong Dong Tui". The commonly used masks are called "Jiaomu", and there are 36 of them. The "dong dong push" performance is performed in a dance. The actors' feet are always in sync with the "gong and drum beats", stepping on the triangle, and beating constantly. According to veteran artists, this triangle-stepping dance is based on the body of a cow. The cow's head and two front feet form a triangle, and the cow's tail and two hind feet form another triangle. It is the farming culture of the Dong people that gave birth to "Dong Dong Tui". In 1949, all the masks of "Dong Dong Tui" were lost. After that, temporary paper masks or facial makeup were used instead when singing. In 1992, local people redone the masks and restored the original appearance of "Dong Dong Tui". In recent years, "Dongdongtui" has attracted widespread attention at home and abroad. Experts from Japan, South Korea and other countries have conducted many inspections on it and have all spoken highly of it. Nuo Opera·Yuanling Chenzhou Nuo Opera Nuo culture occupies an important position in Wuxi culture. Wang Yi said in "Preface to Nine Songs in Chapters and Verses of Chu Ci": "In the past, in the city of Nanying in the Chu Kingdom, between Yuan and Xiang, the customs believed in ghosts and liked to worship. During their sacrifices, they would perform songs and dances to entertain the gods." Five This ancient custom in the Xi culture still exists in Yuanling, especially in Qijiaping Township. Yuanling's "Chenzhou Nuo" (also known as Tujia Nuo) has been recorded in many historical records: "Yuanling County Chronicle" in the 44th year of Emperor Kangxi's reign in the Qing Dynasty (1705) recorded: "Chen custom witches performed magical plays and reenacted the story of Meng Jiangnu." The reward is divided into half and half, and the whole performance lasts for several days. It is absurd and commonplace. "The "Yongshun County Chronicle" of the 10th year of Qianlong's reign in the Qing Dynasty (1745) also records the influence of Chenzhou Nuo opera: "Yongshun County Chronicles". To reward the gods, the Shamans of Yanchen County will sing and perform Nuo opera. At night, they will play the gongs and drums, and each person will have a paper: the one who is dressed as a woman is called Meng Jiangnu; the one who is dressed as a man is called Fan Qilang. "There are only 17 main descendants of Chenzhou Nuo in Qijiaping Town, Yuanling County. Chenzhou Nuo originated in Jingchu, radiated to Bashu, Wu, Yue, Qin and other places, and once affected the Central Plains. According to its content and form, Nuo opera can be divided into Nuo hall main opera, small opera and big opera. The main opera is evolved from the master's invitation to the gods. The performance plot is simple, the small opera has the characteristics of small opera, and the big opera has a higher degree of opera. The repertoire includes: "Meng Jiangnu", "Dragon Queen", "Seven Fairies", "Bao Sanniang", etc. Nuo skills are unique acrobatic performances, including climbing knife ladders, crossing fire troughs, stepping on plowshares, etc. Chenzhou Nuo is not only a living fossil of drama, but more importantly, it covers politics, history, ethnicity, religion, archaeology, literature, art, etc. It is a rare research text for academic research in these aspects. Dejiang County is located in the northeastern part of Guizhou. It was a land of southern barbarians in ancient times. It belonged to Ba and Chu during the Warring States Period. After the Yuan Dynasty, Shuitejiang Changguansi and Shuidejiang Changguansi were established. In the 33rd year of Wanli in the Ming Dynasty (1605), it was renamed Anhua County. , belongs to Sinan Prefecture and is affiliated with Guo. In the eighth year of the reign of Emperor Guangxu of the Qing Dynasty (1882), the Anhua County seat was moved to Dabao, which is now Dejiang County.
In the second year of the Republic of China (1913), Anhua County was renamed Dejiang County. Dejiang has been a place where Tujia and other ethnic minorities have gathered since ancient times. Its special geographical location and historical evolution have made Dejiang Nuotang Opera not only have a long history, but also be very original and complete. It is praised by experts and scholars as the "living fossil of Chinese drama". Dejiang Nuo Tang Opera is also called Nuo Opera and Nuo Tan Opera, and the Tujia people call it "Gang Shen". It is a religious sacrificial drama performed with masks, and it is also an ancient folk custom and cultural activity. It originated from the ancient Nuo ritual and is a kind of ancient Nuo. After the Han Dynasty, it gradually developed into a ritual ceremony with a strong entertainment color. Nuo opera is the main part of Nuo opera, which can be divided into main opera and interlude opera. There are more than 80 operas, including 16 main operas. In addition to Nuo opera, performances of Nuo skills (called unique skills by the Tujia people) are usually performed, and the items are agreed upon by the host and the altar team. Before holding Nuo events, Tujia teachers must carefully decorate a Nuo altar (Nuo hall), so Nuo hall opera is also called Nuo altar opera. The Nuo altar is exquisitely decorated and integrates arts such as weaving, paper-cutting, dyeing and printing, painting, calligraphy, and architecture. Dejiang Nuotang opera has multi-disciplinary academic research value in history, folklore, religion, drama and other disciplines; it is of great significance to the enrichment and perfection of Chinese culture and world culture.