Some of the music of zaju is taken directly from Song Daqu and some from folk ditty. Song Daqu generally only takes a part of Tang Daqu, which is called picking it all over; The structure of Song Daqu is simple in Bitang Daqu.
Zaju matured in northern China in the Jin and Yuan Dynasties, and became the first-person narrator's drama with four sets of dramas in the north. Yuan Zaju and Yuan Sanqu, the so-called Yuan Qu, are generally regarded as one of the most distinctive literary styles in the Yuan Dynasty. Representative writers are: Guan Hanqing, Ma Zhiyuan, Zheng Guangzu, Bai Pu (collectively known as the four masters of Yuan Qu) and Wang Shifu.
Zaju continued to develop in the Ming Dynasty, and Beiqu Zaju was the mainstream of court drama and a model of drama creation in the Ming Dynasty. However, the overall development of Zaju is not as good as that of Yuan Zaju. After the middle of Ming Dynasty, the northern opera was more and more influenced by the southern opera, and the "Southern Opera" with the length of 10% or1%was developed. In the Qing dynasty, zaju was even worse, and it almost became the desk creation of literati, which was far from the actual performance on the field. Beijing-Beijing Opera, Kunqu Opera and Beijing Opera
Tianjin-Peking Opera and Pingju
Keywords Hebei Pingju, Hebei Bangzi, Sixian, old-fashioned Ha-ha-qiang, random play, little chef of Pingdiao Hippo,
Errentai, Tang Opera, Wu 'an Nuo Opera, Longyao Yangko, Dingzhou Yangko
Shadow play in Tangshan and shadow play in southern Hebei
Shanxi-Shanxi Opera, Hokuriku Bangzi, Pu Opera, playing with children, Shangdang Bangzi, duet, gongs and drums.
Wan Wan Qiang, Shuozhou Yangko, Fan Shi Yangko, Xiaoyi Shadow Play, Jinbei Daoqing Play,
Linxian Taoist drama, Luo
Inner Mongolia Errentai and Manchu-Han Banquet
Liaoning-Peking Opera, Pingju Opera, Jiaoju Opera and Southern Liaoning Opera.
Fuzhou Shadow Play and Lingyuan Shadow Play
Western Liaoning puppet show
Ji Opera, Xincheng Opera, Huanglong Opera
Heilongjiang-Longjiang Opera
Shaanxi, Wan Wan, Hu Mei and Han dialects.
Diao Han Huang Er, Shangluo flower drum, chord board cavity
Huaxian shadow play, Huayin old tune, Agong tune
Heyang puppet show
Gansu-Dragon Opera, Dunhuang Quzi Opera, Huating Quzi Opera
Huanxian Daoqing Shadow Play
Ningxia Hua 'er Opera
Qinghai Pingxian Opera and Huangnan Tibetan Opera
Xinjiang quzi opera
Beijing Opera, Shandong Opera, Qiang Mao Opera, Wuyin Opera,
Liuqin Opera, Languan Opera and Yigougou
Shandong Bangzi, Laiwu Bangzi and Liu Zi Opera
Henan Henan Opera, Yuediao Opera, Henan Quju Opera and Wanbang Opera
Dapingdiao, Taikang Daoqing and Daxian Opera
Huai Bang, Siping Tune and Nanle Mulian Opera.
Jiangsu-Kunqu Opera, Huai Opera, Yang Opera, Opera, Su Ju.
Anhui-Huangmei Opera, Anhui Opera, Lu Opera and Sizhou Opera
Qingyang Opera, Chizhou Nuo Opera and Fengyang Ancient Painting Opera
Western Guangdong Gaoqiang Opera, Huizhou Mulian Opera and Pendant Opera
Shanghai-Yue Opera, Peking Opera, Kunqu Opera and Shanghai Opera,
farce
Zhejiang-Yue Opera, Wu Opera, Kunqu Opera, Shao Opera and Yong Opera
Xi An Gao Qiang, Songyang Gao Qiang, Ou Opera,
Xinchang Tone, Ninghai Flat Tone, Random Play
Haining shadow play, Taishun medicine puppet show
Jiangxi Gan Opera, Nanchang Tea-picking Opera and Gannan Tea-picking Opera
Yiyang Opera, Qingyang Opera, Pingxiang Tea Picking Opera,
Anhui Opera, Ji 'an Tea Picking Opera, Guangchang Mongolian Opera
Yihuang opera
Fujian-Puxian Opera, Liyuan Opera, Gaojia Opera, xiang opera
Fujian Opera, Daqiang Opera and Siping Opera
Meilin Opera, Minxi Han Opera, Hokuriku Opera
Quanzhou Puppet Show and Jinjiang Bag Puppet Show.
Zhangzhou cloth bag puppet show
Guangdong-Cantonese Opera, Chaozhou Opera, Zhengzi Opera, Guangdong Han Opera.
Xiqin Opera, Meishan Opera, Bai Zixi.
Hua Chaoxi and Lufeng Shadow Play
Gaozhou puppet show, Chaozhou Tiezhi puppet show
Taiwan Province Province-Gezai Opera
Hainan Qiongju Opera and Lingao Puppet Show
Guangxi-Guangxi opera, color tune, Zhuang opera and tea-picking opera in southern Guangxi.
Hunan-Kunqu Opera, xiang opera, Qi Opera, Chenhe Gaoqiang,
Baling Opera, Hunan Ancient Painting Opera, Shaoyang Puppet Opera
Changde Gao Qiang, Chenhe Mulian Opera, Jing Hexi.
Dong Nuo Opera and Yuanzhi Chenzhou Nuo Opera
Hubei-Han Opera, Chu Opera, Huangmei Opera,
Jingzhou Ancient Painting Opera and Jianghan Plain Shadow Play
Sichuan Opera, North Sichuan Lantern Opera, North Sichuan Puppet Show
Chongqing-Sichuan Opera and Liangshan Lantern Opera
Yunnan-Yunnan Lantern Festival (Yuxi Lantern Festival)
Dian Opera, Bai Opera, Dai Opera and Yi Opera
Guizhou Guangxi Opera, Sinan Lantern Opera, Dejiang Tang Nuo Opera.
Buyi Opera, Yi Cuoji Opera and Dong Opera
Anshun Local Opera and Shiqian Puppet Show
Tibetan opera in Tibet, Shannan Menba opera
China's plays mainly include drama and drama: drama is an inherent traditional drama in China, while drama is a form of western drama introduced into the 20th century.
China's classical opera is an important part of China's national culture. It is loved by people of all ages because of its artistic charm. Moreover, it also occupies a unique position in the world drama circle, and is called the three ancient dramas in the world together with the tragicomedy of ancient Greece and Brahma drama of India.
The formation of China's traditional drama can be traced back to the Qin and Han Dynasties. However, the formation process was quite long, and it was not formed until the Song and Yuan Dynasties. Mature operas should start from Yuan Zaju, develop and mature in Ming and Qing Dynasties, and enter modern times. They have flourished for more than 800 years, and now there are more than 360 operas. During its long development, China's classical operas have successively appeared in four basic forms: Southern Opera in Song and Yuan Dynasties, Zaju in Yuan Dynasty, Legends in Ming and Qing Dynasties, Local Opera in Qing Dynasty and Modern Opera.
Southern Opera in Song and Yuan Dynasties came into being at the end of Northern Song Dynasty and the beginning of Southern Song Dynasty. Wenzhou, Zhejiang, Quanzhou, Fujian and Fuzhou are the formative periods of Peking Opera.
Yuan Zaju is also called Beiqu Zaju. Yuan Zaju first appeared in Hebei Pingzhen and Shanxi Pingyang at the end of Jin Dynasty. Yuan Zaju was popular in the Yuan Dynasty, which was the first golden age of China opera. It has reached a very high literary level, so that in terms of poetic style alone, the ancients have long called Tang poetry, Song ci and Yuan qu together.
Legends in Ming and Qing Dynasties are a form of drama developed from Southern Opera in Song and Yuan Dynasties. It originated in the late Yuan Dynasty, spread in the early Ming Dynasty, flourished in the Jiajing period of the Ming Dynasty, reached its peak in Wanli, and lasted until the end of the Ming Dynasty and the beginning of the Qing Dynasty. Many works are called "Ci Qu Shan Hai".
The local opera in Qing Dynasty is the third stage of classical opera. It has the same artistic form as modern and modern opera. At the end of Kangxi in the Qing Dynasty, local operas flourished around the country, called the Flower Department. When they entered the Qianlong period, they began to compete with the Kunqu Opera "Ya Bu". By the end of the leaf, the flower department overwhelmed the elegant department and occupied the leading position on the stage until the end of Daoguang. This 150 year is the era of local operas in the Qing Dynasty. The operas of 1840 19 19 are called modern operas, including Peking Opera formed in Tongzhi and Guangxu years and a drama reform movement that appeared in the early 20th century.
During the May 4th New Culture Movement, traditional operas were severely criticized, and since then, operas have entered the era of modern operas. The formation of Beijing Opera is the result of the development of local operas in Qing Dynasty. After Beijing Opera became a national representative opera, it did not suppress the development of local operas at all. From local operas in Qing Dynasty to Peking Opera, China opera is very prosperous.
China's plays are only a hundred years old. Introduced to China from the west, it was called "New Civilization Drama" before the May 4th Movement in the early 20th century. This early drama still has some features of China traditional drama. After the May 4th Movement, western drama was introduced as it is and appeared in the form of realistic drama, which is called "new drama". It was called "Drama" from 1928, and it has been used ever since. Drama is a comprehensive art, which is recognized by most people, and it is also in line with the basic characteristics of drama art. The performance of a drama is always the result of collective labor: the playwright provides the performance script, that is, the drama literature text; Artists, makeup artists and lighting engineers jointly complete the design of stage scenery and character modeling; Musicians (musicians) complete the creation of drama music and aria; The actors show the whole story through their own physical performances. Here, literature, art, music, dance, performance and other artistic types are integrated with each other, which not only cancels their independence, but also integrates into an independent artistic style through its unique and irreplaceable functions.
The synthesis of drama art takes place at two levels: external synthesis and internal synthesis. No matter from the external synthesis or from the internal synthesis, what a drama cannot lack is actors and audiences, and a space for actors to perform, that is, the stage. Drama is an event that takes place between actors and audiences through stage space. Its core factor is the performance of actors in the stage space.
Drama, as an event between actors and audiences through stage space, is bound to be strictly limited by time and space. It must complete a dramatic event composed of continuous actions in a certain period of time, that is, the plot, and at the same time it must complete the display of the plot in a limited space, that is, on the stage. Judging from the actual form of the specific text, a novel and a song also have a certain length, so it also contains a relatively clear time period. But in theory, there is no time limit for novels and poems, and if possible, the length can even be extended indefinitely. However, it is impossible for a play to go on endlessly without time limit. It must take into account the patience of the audience and the endurance of the actors, so it must be limited to an artificial and strictly defined length of time from beginning to end. At the same time, although the plot shown in the play has the same nature as the story described in the novel, that is, it is the artistic expression of some social life events that have been selected, refined and processed, the openness of the artistic space of the novel is generally consistent with the openness of the real life space because it is not limited by time and space. However, drama must always face the contradiction between the infinite opening of living space and the limited closing of performance space. This means that drama can only show what is suitable for intuitive display.
Correspondingly, the dramatic value of dramatic literary texts is also reflected in effectively highlighting the performance of drama and dealing with the relationship between time and space.