Zhou Qufei, a geographer in the Southern Song Dynasty, described the singing custom of Zhuang nationality in A Wailing.
In counties of Guangxi, many people can have fun together, while in suburban villages, there is no need to enjoy sacrifices, weddings and funerals. Although they plow the fields, they will also enjoy themselves.
Because Zhuang Opera is composed of seven kinds of operas popular in Zhuang people's living areas, the singing of Zhuang Opera is also complex and changeable, and it is not a unified model.
The musical singing of Beilu Zhuang Opera belongs to the form of couplets. The main vocals are Zhengqiang, Pingqiang, Buqiang, Maocha, Curse Board, Hate Board, Crying Board and Mourning Board. Some characters have specific aria.
In addition to the orthodox tune, there are several different roles, such as the "martial arts tune" of the warrior, the "old man tune" of the old man and the "clown tune" of the clown.
Nanlu Zhuang drama includes Zhuang puppet show and Emma Zhuang drama, and its vocals are mainly flat, sighing, picking flowers, hi-hi, hi-hi, high-pitched, crying, cold and poetic.
When performing Nan Lu Zhuang Opera in the opera, the form of "one person sings the harmony of all people" is also adopted, with the actors singing on the stage and the band singing in the background. Bangqiang is often used as an interlude and procrastination at the beginning of the board and the end of the aria, and the last sentence is full of help. This technique has a strong artistic effect in creating a stage atmosphere, setting off the plot environment, revealing and rendering the inner feelings of characters.
The main singing style of Zhuang Opera is Zhengdiao. All the female characters sing the word "Come on", which means "Come on", and all the male characters sing the word "Nong Ali", which means "Where is my sister", which obviously has the flavor of Zhuang love songs.
The lyrics of the main vocals of Zhuang drama keep the unique rhythm structure of Zhuang traditional folk songs: the form of waist and foot rhyme. The so-called "waist rhyme" means that the last word of the previous sentence rhymes with the second or third word of the last fifteen sentences and the fifth word of the seventh sentence.
The rhyme of the lyrics of Zhuang drama makes people feel that there are many simple words, different similarities, ups and downs, endless and endless. This is unique in China traditional opera. Zhuang people are fascinated by Zhuang drama, because not only the plot is familiar to Zhuang people, but also the lyrics and Daobai are all Zhuang dialects, which sounds very cordial.
From the artistic point of view, the vocal cavity of Zhuang opera can be roughly divided into three categories: the first category of music is close to banqiang, and its performance level is close to that of Beijing opera, Guangdong opera, Yunnan opera and other major operas, represented by the three loud cavities of "Ai Yiya", "Aide" and "Lovely Hai Lie"; The second kind of music is couplets, which are similar to folk operas such as Guangxi Caidiao and Yunnan Lantern, and are represented by "Ai Yihai" tune. The third category is the variety that absorbs the new development of local folk songs and dances after liberation, represented by Snail Girl.
According to the different singing styles, Zhuang drama can be divided into four categories, such as "Aiyi Duck", "Ai Yi Yi", "Good Hi Lie" and "Yi Yi Hi". The so-called contrast is to add a few meaningless quotations or drop-downs at the beginning of each lyric or at the end of a lyric. "Ai Yiya", "Ai Yiya" and "Hao Hi" belong to the former, such as "Ai Yiya, my name is Nong Gaozhi", and this accent is called "Ai Yiya"; "e-e-e-e-e-e-e-e" belongs to the latter, for example, "If the rice is golden, it will be harvested, then Si-e-e-e-e-e-e-e-e-e-e. "Yi Yi Ya" is one of the main accents of Funing Zhuang Opera.
The tune changes of Zhuang opera are very distinct, because the main aria of Zhuang opera is the orthodox tune, and its tune is relatively free, which can be changed and played according to the emotional needs of the characters in the play. In addition, there are sad tunes and minor tunes.
The aria in Adagio of Zhuang Opera, the high-pitched tune, flower-picking tune and treble in the middle board, the high-pitched tune, fast-paced tune and flower-picking in Allegro, the crying cavity, cold cavity, poetic cavity and sweeping board in the scattered board all come from folk songs familiar to Zhuang people and are very popular.
The music tunes of Zhuang drama are full of the charm of Zhuang folk songs, and each tune is accompanied by a commercial combination.
Major is used to accompany Xiao Dan's singing. Melody is melodious. Most of them use sixteen tones, and the first sentence of the whole song is the main one. Anti-tune is used to accompany Wushu students in the war, with strong sense of rhythm, using octave and quarter notes, and sixteenth notes are rarely used.
Shade is the accompaniment of Xiao Sheng's appearance, with more octaves and half notes.
Shearing is Danny's accompaniment when he walks. Dandan danced when he walked, covered his face with a fan and squatted down half a step. This piece of music can also be said to be a dance accompaniment, gorgeous, beautiful and touching.
The emperor sometimes accompanied him with a tune when he appeared. Guanyin can only be used when the emperor appears, mostly octaves and sixteenth tones, which are euphemistic and soft.
The accompaniment instrument of Zhuang opera is mainly Ma Guhu, which is made of horse leg bone, with metal strings, thinner than Jinghu, and crisp and bright timbre. Musical instruments include, gourd beard, erhu, sanxian, flute or flute, and sometimes wood leaves are used as an aid. In addition, there are percussion instruments such as wooden fish, small drums, cymbals, star gongs and high-edged gongs. Among them, the bee drum of Shigong Opera is the most distinctive, with heavy timbre and loud sound.
The accompaniment music of Zhuang drama adopts the method of multi-voice, and various musical instruments have different tuning, forming a variety of harmonious relationships in melody, which is very interesting to play and is a treasure in the treasure house of multi-voice music of ethnic minorities in China.
Hokuriku Zhuang drama mainly uses Ma Guhu, Huluhu, Yueqin and other accompaniment instruments; South Road Zhuang drama is mainly composed of Qing Hu, Hou Hu and Xiao Sanxian. Zhuang teacher's drama is accompanied by bee drums, gongs, cymbals and no film flute; Funing Zhuang Opera is mainly accompanied by earthen gongs, earthen drums, cymbals, earthen erhu, earthen sanxian, flute and suona.
The accompaniment instruments of Guangnan Zhuang Opera are Huqin, Erhu, Sanxian and Yueqin. Percussion instruments include crisp drums, drums, cymbals, gongs, cymbals and tubas.
Zhuang opera performances in Nanbei Road have their own characteristics. In the performance of Hokuriku Zhuang Opera, students and Dan both hold fans, clowns and colorful dancers use round fans, and Hua Dan uses folding fans. There is also a division of roles in the performance of Nanlu Zhuang Opera. Painted faces are divided into big painted faces and small painted faces. The young students are Wensheng and Wusheng, and Dan's roles are, Wudan and.
There are 72 kinds of masks in the early stage of Shigong Opera, and each mask represents a kind of characters, each with its own typical characters. Later works such as Red Bronze Drum, Night Pearl, Rose, Bird's Clothing, Song of Water Turbine Pump, etc. , won the praise of the audience. At the beginning of Shi Zhuang's drama performance, he wore red clothes and a wooden mask, and later he changed into a costume.
The performance of Guangnan Zhuang Opera is characterized by strong dancing, with fans as the main props, round fans for students and folding fans for students. The main theme is female singing "Good Brother Lai" and male singing "Yi Ali".
Before the performance of Guangnan Zhuang Opera, the squad leader presided over the opening ceremony. There are incense tables, 3 sticks of incense and 3 glasses of wine in the background, which are dedicated to the drama god. The monitor muttered to himself, praying for the success of the performance and praying for the gods to bless the prosperity and harvest of the people's livestock in the village. After the performance, the stage will be closed in the same way.
Generally, the performance of Guangnan Zhuang Opera is to build a mud platform or a temporary stage with slate in the square, with a big tarpaulin on it and a horizontal screen in the middle, which is divided into two parts: the front stage and the background. The horizontal screen is painted with patterns such as Kirin, Dragon and Phoenix, and door curtains are hung on both sides, with patterns such as lotus, pomegranate and birthday girl painted on the curtains; In the background, there is a table with the tablet of the old wolf god on it. Suitcase, helmet, handle, etc. Is placed on both sides. There is a desk and two chairs at the front desk. On the left is the arts field and on the right is the martial arts field. The playwright sat behind the desk, prompting lines and directing the performance.
There is a traditional performance program in Guangnan Zhuang Opera, that is, "the style of writing can not be separated from the model, and the martial arts can not be separated from the operation, and the side appearance, Taichung appearance, singing first, worship the audience." The "attracting Taiwan" program of civil servants is close to the "excluding Korea" of Korean dramas; The "jumping off the platform" of the military commander's appearance is close to the "pushing the shirt" of the early Yunnan opera.
In the performance of Guangnan Zhuang Opera, the role played by artists is called:
The young lady is solemn, the scholar is elegant, and the king is careless ... Only the clown is bohemian, who can be rude before singing, and play at will without slapping.
Zhuang opera has a rich repertoire, and now there are more than 340 people who can name it. Among them, a kind of historical stories and fairy tales reflecting national struggles; One is the serial version of the adaptation of romance novels; The other is mainly folk singing; There are also life dramas, such as Liu Sanjie, Snail Girl, Liang Zhu and transplanting drama focus.
Most of the themes of Zhuang drama reflect the content of national life. Such as Bubo, Nong, Zhang Jie, Bao Hulu, Red Bronze Drum, Jinhua Yinhua, Ya Bu, Long Wen and Xiao Ni, Liu Erda, Wang Mo Yi, Hundred Birds Clothing, White Horse Girl, and
Zhuang opera music mainly comes from folk songs, folk rap and Dojo music. According to the division of traditional Chinese opera music, it can be divided into cavity, qupai, lyrics and musical instruments. There are also some traditional steps and arrangement rules in Zhuang drama performance, but they are not limited to too many procedures. Instead, according to the needs of religious songs, dances and repertoires of Zhuang nationality, it constantly absorbs various performing skills such as folk and Han opera to enrich them, forming a performance form of singing and dancing.
The makeup of Zhuang drama can be divided into handsome clothes and facial makeup. Handsome clothes are common clothes for students and dancers, with base oil, red background and eyebrows. The face is clean, and no other lines and patterns are drawn. Facebook has a certain format, and the characters are naturally distinct.
Different from other operas, the singing of Zhuang opera has various tones and rigid eyes, which can only be divided into crude, bold and clean singing methods. Dan Jiao's vocals are euphemistic, graceful and delicate, and there are many slips. Actors are more free to cooperate with music. As long as the music is played in the middle, actors can sing.
In the cooperation of percussion music in Zhuang drama, percussion music is played every two sentences, with clear singing and more lines. The actor's cooperation with music and percussion is the same as that with his feet, except that he doesn't need a gong, and he sings with a strong voice. Percussion is a combination of several musical instruments, which can only be accompanied by opposite tones in music.
The percussion music of Zhuang opera is also different from other operas, and there is only one kind of gongs and drums, which is closely combined with strings in usage. Singing and musical percussion are also closely combined. No matter what business, every time I sing two sentences, I always play percussion.
Zhuang people like martial arts best, especially boxing. The drama and dance of Zhuang nationality were discovered on this basis. The martial arts performance of Zhuang Opera has strong movements, strong sense of rhythm and small characters, but it has a strong national style. Although the performing arts look rough, they have a certain national unique style.
Zhuang opera originally had no costume props. During the Guangxu period of the Qing Dynasty, some people went to Guangxi to do business and only brought back a batch of costume props. Since then, Zhuang opera artists began to supplement and reform year by year according to different roles, and then they were enriched. But the clothes have national characteristics, and most of them are tan.
Dan Jiao wears the same clothes as ordinary Zhuang people, except that a towel is wrapped around her head, and then an iron ring is put on the towel. The costumes of traditional Zhuang opera are mostly self-made, mostly self-woven white cloth, and the cloth draws various patterns according to the costume style.
Most of the dramas of Zhuang nationality come from their own life practice, which reflects the life will and aesthetic habits of Zhuang nationality, eulogizes the truth, goodness and beauty, and lashes the false, ugly and evil, forming a distinctive national style and profound ideological characteristics.
Zhuang drama is produced and developed with the national performance activities. Generally speaking, it is performed at weddings and festivals, with strong folk characteristics.
Zhuang drama not only inherits local songs, local tunes, folk acrobatics and folk dances, but also absorbs folk songs, octaves, seasons and minor, and introduces music, qupai, performance forms and skills from brother dramas. Formed the multi-source characteristics of Zhuang drama's own art.
Zhuang drama performances are sung and recited in Zhuang language, and national proverbs, metaphors, slang and aphorisms are quoted. The language is vivid, the vocabulary is rich, and the antithesis rhymes neatly, attracting people's eyes and ears, forming a unique drama language feature.
As a comprehensive art form, the theme, content, singing and performance skills of Zhuang drama. Almost integrated with the original Zhuang culture, it is displayed through the stage artistic image and becomes a treasure house and an important carrier of Zhuang culture.
Zhuang drama is developed on the basis of Zhuang folk songs and dances and folk religious arts. It has gone through several stages of development: entertaining God, entertaining others, and entertaining others. Its singing method also ranges from folk songs and minor, sitting and singing to playing a role. At the same time, it absorbs the artistic nutrients of Han local operas, which is a vivid embodiment of national cultural exchanges and has empirical value for the study of the development history of minority dramas in China.