Jiaozhou Yangge
Jiaozhou Yangge is also known as "Diyangge" and "Running Yangge"; among the people, it is called "Twist off the Yao" and "Three Bends". It is the three major Yangge in Shandong Province. one. Jiaozhou Yangko has a history of more than 230 years. During the Qing Dynasty, two families named Zhao and Ma from Baoyantun Village in Jiaozhou fled to Guandong in 1764. They begged and sold songs along the way, and gradually formed a form of dancing and singing at the same time. After returning to his hometown, the dance was passed down from generation to generation and continuously improved. By 1863, it had basically taken shape, with certain formulas for dance, singing, and accompaniment. The 10 actors are divided into five roles: drums, sticks, green flowers, and fan girls. The performance programs include cross plum blossoms, large formations, digging out the heart, digging out the heart, and two doors. In addition to the suona, the accompaniment instruments are also There are big gongs, drums, cymbals, small cymbals, hand gongs, etc., and more than 30 singing tunes. After 1860, based on Jiaozhou Yangko, a Yangko opera was created, with 35 scripts. In 1957, Jiaozhou Yangko performed in Beijing and won praise. Later, 150 cultural groups from across the country came to Jiaozhou City to learn Jiaozhou Yangko, and the Beijing National Dance Academy also listed Jiaozhou Yangko as a required course. In the "China's First Yangko Competition" in 1991, Jiaozhou Yangko won the Excellence Award.
"Jiaozhou Yangko" is famous throughout the country for its brilliant artistic charm, and was successfully selected into the national intangible cultural heritage list in 2006. Jiaozhou Yangko is one of the three major yangko in Shandong. Its dance, music and melodrama are unique among Chinese yangko groups. However, there is still no conclusion as to when Jiaozhou Yangko originated.
"Qingdao Cultural Chronicles" said that the birthplace of Jiaozhou Yangge was Madiandong Xiaotun, which was a product of the Guandong invasion. The author told me that when compiling the "Jiaozhou Cultural Chronicles" and collecting information, he found that the twelve "Yang Lyrics" poems written by Song Guanwei, a Jinshi scholar from Jiaozhou in the ninth year of Xianfeng's reign (1859), were seven-character quatrains, and they were about the six professions (actors) of Jiaozhou Yangge. After providing a comprehensive description, "Jiaozhou Cultural Records" later revised the formation date of Jiaozhou Yangge to the third year of Xianfeng (1853), and its exact date should be between 1854 and 1858.
The author grew up in the hometown of Yangko by the Dagu River in Jiaozhou. My love for Yangko prompted me to conduct more detailed research and research on the origin, development, form and content of Jiaozhou Yangko in the past 20 years. The following suggestions are put forward for everyone’s discussion.
1. It is based solely on the dates when the twelve poems by Guanwei of the Song Dynasty were written, and there is no other evidence.
2. According to the Qianlong edition of "Jiaozhou Chronicles": "In the Shangyuan Dynasty, there were lanterns and dramas, and the night was noisy." The book was written in 1752. After checking various information, it was found that there was no Zaju in Jiaozhou before 1752. The "zaju" in the book should refer to Jiaozhou Yangge Opera.
3. "Jiaozhou City Cultural Chronicle" records that "Ma and Zhao, two surnames in Dongxiaotun, abandoned their homes and went to Guandong. On the way to escape from famine, they changed from begging and singing to dancing and singing, and gradually formed some Simple dance routines and minor tunes with local Jiaozhou colors were passed down from generation to generation after they returned to their hometown, refined and processed, and by the middle of the Qing Dynasty, they gradually became the final form of dance Yangko." This theory ignores the key issue of the word "Yangko" origin. Yangge, originated from agricultural labor, is a labor ditty sung by the working people in the south when planting rice. The reason why Jiaozhou has Southern Yangko is because Jiaozhou was the largest port in the north during the Tang and Song Dynasties. During the Northern Song Dynasty, it was the only wharf in the north with a shipping department and had close ties with the south of the Yangtze River. With the exchange of business and trade with the south, the culture and art of the south, such as Yangko and other labor songs, were also spread to the north. Jiaozhou Yangko should be a new art form that introduces local tunes from the south of the Yangtze River and absorbs the essence of northern dramas.
Jiaozhou Yangko is a kind of drama in terms of art form and category, not just dancing and singing. It has a script, props, music and actors, and it is a lively musical. Such a local opera with diverse forms and rich cultural connotations could not have been formed in a remote village with less than a hundred households, but should have emerged around Jiaozhou's maritime culture. From the analysis of its tunes, trades and other artistic factors, the formation of Jiaozhou Yangko has gone through a relatively long process. It is related to Zaju and Qupai singing since the Southern Song Dynasty. Based on the tunes, roles, performance forms and regional cultural characteristics of Jiaozhou Yangko, the author It is inferred from other factors that Jiaozhou Yangko is closely related to Yuan drama, and its origin should be at least in the late Song Dynasty and early Yuan Dynasty.
An important evidence that Jiaozhou Yangge opera is related to Zaju is the performance form of Jiaozhou Yangge opera. Jiaozhou Yangko is a continuous visible performance form in all directions of the square (street). The actors perform in front of an audience called Zhou. According to research, this form of performance comes from early drama. Gu Xuejie's "Yuan and Ming Dynasty Zaju": "In recent years, no less than a dozen stage ruins from the Song, Liao, Jin and Yuan dynasties have been discovered in the border areas of Shanxi, Shaanxi and Henan. The earliest of them is called 'Dancing Pavilion', which is built on a terrace. The pavilion can be watched by audiences from all sides. "This shows that the predecessor of Chinese drama developed from folk square performing arts. Jiaozhou Yangge Opera retained its square art (street) form until the beginning of liberation. Later, literary and artistic workers continued to learn from its performing art form, while deleting the drama part from the performance part with complete content. The most representative part It was forgotten by people, but the only glimpse of its ancient form is the dance part before the performance.
The second important evidence that Jiaozhou Yangko is related to Zaju is the character profession.
“The roles (professions) of actors in Yuan dramas can be divided into four major categories, namely Mo, Dan, Jing (including Chou), and Za, with Mo and Dan as the main categories. Each of them is divided into many details (Gu Xuejie's "Yuan and Ming Zaju") "The actors in Jiaozhou Yangge Opera also have roles (professions), and their roles are: Xiaoman (Hua Dan), Shan (Hua Dan and Qingyi), Cuihua (Qingyi). (Jianlao Dan), Bangchui (mo, which is now Xiaosheng and Wusheng), Guzi (Laosheng and Chou), Plasterer (Miscellaneous). The roles of the actors in the Yuan Zaju are strikingly similar to the actors in the Jiaozhou Dayang Opera, and they are also very consistent with the characteristics of that era. This is not a coincidence, but a direct message conveyed to us by that era. Wang Guowei gave a general explanation in "Yu Lun": "Chinese drama, since the Han and Wei dynasties, has been combined with Baixi opera. In the Tang Dynasty, it was divided into two types: song and dance drama and comedy drama. During the Song Dynasty, comedy drama was particularly popular, and gradually it became based on song and dance. The story was decorated with context, so the song and dance dramas were not based on songs and dances, but on stories. When the Yuan Dynasty Zaju came out, the style was fixed, and when the Southern Opera came out, there were more changes, so our country began to have pure opera. "Here is the basic point. The above clearly outlines the general context of Chinese opera. The composition of the performance form of Jiaozhou Yangge Opera is basically consistent with the above conclusion. The three major elements of singing, dancing, comedy, and story-telling are clearly featured in Yang opera performances such as Xiegouya and Nanzhuangcun, and the existence of these three major elements can be seen.
The third evidence that Jiaozhou Yangko is related to Yuan drama is the similarity between the tunes and the scripts.
After liberation, literary and artistic workers at all levels investigated and excavated Jiaozhou Yangko and found two main types of tunes: Suona tunes, which mainly include Deshengling, Dazao, Xiaolangyin, Little White Horse, Fighting Quail, and Eight Banners. , fanning dustpan, etc.
The singing tunes mainly include buckle tune, sawing cylinder, beating stove, stacked broken bridge, male Western tune, female tune, etc. There are 72 minor drama scripts (scripts) including Big Farewell, Little Farewell, Missing Mother, Wu Geng, etc., but only 35 scripts have been found.
According to the above analysis of the tunes and scripts compared with Yuan dramas, the suona tunes of Jiaozhou Yangge Opera, "Desheng Ling" and "Fighting Quails", were used in Yuan dramas "A Chinese Girl's Leaving Soul", "Zhao's Orphan", "Dou E" It has been used in scripts such as "Injustice", especially Wang Shifu's "The West Chamber". The "Fighting Quail" tune was used seven times and the "Desheng Ling" was used five times. However, in the Ming Dynasty Tang Xianzu's "The Peony Pavilion" and the early Qing Dynasty Neither of the two scripts of "The Palace of Eternal Life" written by Hong Sheng used the above two tunes. The fact that these two tunes are not used in these two classic scripts shows that they have been diluted in the Ming Dynasty and the early Qing Dynasty. Although the above two tunes are each used once in "The Peach Blossom Fan" written by Kong Shangren in the late Ming and early Qing dynasties. But Kong Shangren was from Qufu, Shandong. The reason why he continued to use the above two tunes of Yuan Zaju was probably related to his familiarity with the tunes of Yuan Zaju in the north and was influenced by the genetic characteristics of the traditional culture of his hometown. It can also be seen from this that the relationship between Jiaozhou Yangge Opera and Yuan Zaju is not indirect, but the unified product of the cultural phenomena of an era. This cultural phenomenon should be understood from the perspective of the development history of Chinese literature.
In the history of Chinese literature, there are Tang poems, Song lyrics, Yuan dramas, and Ming and Qing novels. It can be seen that the status of Yuan dramas is very high. Jiaozhou Yangge Opera has this characteristic, so its research is also of historical significance. "Yuan Zaju has a special form. Before that, the traditional literary genre was lyrical poetry and prose. Since then, new genres of literary works have included dramas and novels with plots, characters, and narratives. Therefore, Poetry and prose have lost their dominance of the literary world" (Wen Zhen's "Jian Shuo Yuan Zaju"), and Jiaozhou Yangge opera is an important part of this new genre. The test evidence is as follows:
1. Wang Shifu, the famous author of Yuan dramas, was from Dadu (now Beijing) of the Yuan Dynasty. His creative activities were mainly during the Dade period of Chengzong of the Yuan Dynasty (1298-1307). His "The Romance of the West Chamber" "Repeatedly uses the same tunes as Jiaozhou Yangge Opera, which conveys to us the information that Jiaozhou Yangge Opera and "The Romance of the West Chamber" are artistic performance forms that coexisted in the same period (Jiaozhou Yangge was already in its mature stage at that time).
2. In "An Examination of Song and Yuan Operas", Wang Guowei roughly divided the formation and development process of Chinese operas into the following four stages: "First, from ancient times to the Five Dynasties, it was the budding period of Chinese operas. Second, the Song and Jin dynasties were the formation period of Chinese drama. Third, the formation of Zaju in the Yuan Dynasty marked the formal maturity of Chinese drama. Fourth, the Southern Opera of the Yuan and Ming Dynasties changed more than the Zaju of the Yuan Dynasty, and Chinese opera evolved. New development."
In the second stage mentioned above, Wang Guowei made this discussion: The opera scripts of the Song and Jin dynasties were "not all pure dramas, but also included competitive games... ...The structure is very different from that of later dramas. "The fourth stage discusses: "In the Tang Dynasty, it was divided into two types: song and dance and comedy. In the Song Dynasty, comedy was particularly popular, and songs and dances were gradually used to describe the story. Therefore, singing and dancing were not the mainstay of the drama. "The main focus is on story." According to Wang Guowei's argument, the performance form of Jiaozhou Dayang Opera is all consistent with its discussion. In particular, the "drums, sticks" and "competitive games" in Jiaozhou Yangge Opera are the most distinctive performance forms of Yangge Opera. The "wrestling" and "embroidered ball rolling" are performed with difficult martial arts movements and various "sticks". Women's performances such as "breaking the waist" and "three bends" are very representative.
"It is not about singing and dancing, but about stories." The performance of Yangge opera is mainly based on this opera. The performance of Yangge opera has its own "performance tunes", "singing tunes", and its own "repertoire". It also has its own unique performance form. In different historical periods, the development of dramatic art should have different characteristics of the times. The art form of Jiaozhou Yangge Opera, its repertoire, costumes, props, tones, character dynamics, charm, etc., all reflect the aesthetic habits, aesthetic psychology, social customs and national spirit of the Song and Yuan Dynasties.
Most of the original form of Jiaozhou Yangko has disappeared. This is due to historical reasons. We can only verify and investigate from many aspects and strive to restore its original appearance.
During the Tang and Song Dynasties, Jiaozhou’s wharf economy reached its peak. This specific historical condition gave birth to Jiaozhou Yangge Opera. The trade between Jiaozhou and the north and south of the Yangtze River further enriched the performance form and content of Yangge Opera. The "Nanluo" in Jiangnan singing tunes all have southern regional characteristics. The costumes of the female performers of Jiaozhou Yangge Opera are in peach and grass green colors, the costumes of the "Drums" are brown, and the props used by "Cuihua" and "Fan Girl" are folding fans. From the above-mentioned color clothing and folding fan props, it can be seen that the influence of North Korea is greater. According to the records of Guo Ruoxu of the Song Dynasty in "Pictures and Knowledge", folding fans were introduced to my country from North Korea in the Song Dynasty. Jiaozhou was one of the largest docks for trade with North Korea at that time. It is logical that folding fans were introduced from North Korea to Jiaozhou. Foreign culture and The organic combination of Jiaozhou's human geography, customs, and cultural atmosphere has promoted the development of Jiaozhou Yangge Opera. Economic prosperity, cultural exchanges between the north and the south, and reference from foreign cultures are all indispensable for the formation and development of Jiaozhou Yangko.
Jiaozhou Yangge Opera formed the prototype art form of Chinese drama excerpts as early as the Song and Yuan Dynasties. Why didn't it change much even until the early days of liberation? There are three reasons for this: First, the groups who love the art form of Jiaozhou Yangko basically live stably in Jiaozhou, with no major dispersion or migration, allowing Jiaozhou Yangko to remain fixed in the land of Jiaozhou for a long time. Second, since the Ming Dynasty, Jiaozhou Port has gradually moved away from the urban area of ??Jiaozhou due to the retreat of the sea. The port trade has declined, and its functions of international exchanges and exchanges have disappeared. It has become a small regional port recycled in Jiaozhou Bay. The city's commercial status has declined, and citizen culture has lost its vitality and has become a folk port. Festival art. This closed form allows Jiaozhou Yangko to be rarely affected by the outside world and preserve its original flavor. Third, Jiaozhou Yangge has not undergone qualitative changes in the long history. Another reason is that although Jiaozhou is economically developed, it is not the center of politics, economy, and culture, nor is it a place where literati gather. Therefore, it is rarely popular. The participation and transformation of literati has preserved the traditional spirit that only this land contains. Therefore, in different historical periods, it has retained the style of "not a pure drama, but also a combination of competitive games" from Song to Jin Dynasty. "Ancient drama" in the evolution process of Yuan Dynasty (called Wang Guowei).
Another point that needs to be made clear is that "Jiaozhou Yangko" and "Jiaozhou Big Yangko" are not an art form. "Jiaozhou Yangko" is the four-step dance yangko we usually see, which is ordinary. Song and dance; and "Jiaozhou Yangge" is a Yangge Opera, also known as "Jiaozhou Yangge Opera", and its female dance steps are three-step dance. There are qualitative differences between these two Yangko dances. Because they do not understand the difference between the two performance forms, Jiaozhou Yangko and Jiaozhou Big Yangko are often confused by some people, causing Jiaozhou Yangko to lose its original historical appearance.
The existing four-way continuous performance form of Jiaozhou Yangge Opera's tunes, scripts and folk performances is a living specimen for studying the evolution of Chinese drama from the Song, Liao and Jin Dynasties to the Yuan Dynasty drama. These forms no longer exist in other parts of our country. . These precious art forms have surpassed the value of Jiaozhou Yangge Opera itself. The existence of Jiaozhou Yangge Opera should be one of the earliest prototype theatrical performance forms in the history of Chinese drama development.