Status
Performance term. A general term for various dance-like physical movements performed by opera actors on the stage. Including actors’ every move, getting on and off, sitting and lying on, stroking their beards and swaying, tying their sleeves, and tying their erectile sports. The opera body is a program movement gradually extracted from the basis of ancient social life and through artistic processing.
Doing a Hand
Team Terminology. It generally refers to the actor combining singing and lying on the stage, performing with hand-programmed actions, imitating or simulating the objective things or environment he wants to express, so that the audience can clearly understand the intentions and information the character wants to convey. It can be roughly divided into two types. One is to use the specific requirements of the script for the characters, and the actors interpret the content of the lyrics and stage prompts through the performance of the program. For example, the actor said “I wish I could have wings on my body”, and then stretched out his hands to make the birds swaying in the shape of a bird, which is a pictographic imitation; or, when he saw the river surging in front, the actor pointed his hand and trembled slightly with his hands up and down, which is a simulation of the environment. Such a manipulation is a test of the actor’s performance ability on the stage. There is another kind of hand-making that the actor does not sing or chant, but only uses a mute expression method similar to mute words. With the cooperation of gongs and drums, hesitation and extreme contradictions are used to express the character’s inner emotions. The most typical and ordinary one is like the “Water Wave” performance. In the performance of “Water Wave”, the actor uses uninterrupted hand-making to express the character’s mentality process of dilemma, hesitation, extreme contradictions, and finally making up his mind. There is no strict and fixed standardized performance procedures when performing handwritten performances. Based on the actors’ understanding of things and events, combined with the actors’ stage experience and performance abilities, different actors’ performances often present different forms on the stage, and judge the level of artistic expression abilities based on the audience’s feelings and reactions. Because it was an action performed by an actor on the stage (performed) by his hands, in the past, the artists of the opera troupe were used to inverting words, either implicitly or appearing; therefore, the action performed by his hands was called a hand-making action.
Guanmu
Performance term. The original meaning refers to the structure of traditional opera scripts, the arrangement and conception of key plots. On the cover of the new script of Yuan Zaju, the words “New Editing Guanmu” are often written. However, the Cantonese opera troupe has always had different interpretations of the word “guanmu”. Artists understand the word “guanmu” one-sidedly as gaze according to their literal word “guanmu”, interpreting “guanmu” as the transmission of the actor’s eyes in stage performances, and expressing the emotions and emotions of the people in the play through their eyes. Cantonese opera troupes are used to calling this kind of eye-performing performance method, and have been used to this day. This phenomenon is not uncommon in Cantonese opera troupes. For example, the Cantonese opera troupe commonly known as “singmu”, means to see.
Kefan
Performance term. There are also those who write “Science Model” and “Science Season”, and many Cantonese operas are written as “Introduction”, also known as “Jiangkou”. The original meaning is the stage prompts related to movements, expressions, stage scheduling or other related stage in traditional scripts. For example: “××天天天”, “天天天”, “天天天”, “天天天”, “天天天”, and “天天天天”, and a single “天天天” in the script indicates that the screenwriter reserves space for the actors and allows the performers to use their artistic imagination and creative talents to play their performances with personal artistic characteristics. This is a major feature of traditional opera art creation. Cantonese opera scripts sometimes pause in the middle of the singing, and are also expressed by Cinema 1950 witch cloth draw “超”.
Loss of the scene
Team term. It refers to the actor’s delay in appearance due to various reasons when the role is stipulated to appear. Peking Opera and other local operas are called misplaced, and Cantonese opera is called loss. This leads to other participants (such as band accompanists, stage staff, etc.) who are late or absent from the performance. The Cantonese opera troupe collectively calls this phenomenon a loss. Some senior artists often remind newcomers to remember the traditional Cantonese opera troupe opera proverb: “It is better to violate the laws of heaven than to hate the public.” Don’t affect the whole troupe’s food (performance) because of a person’s loss of the game. Losing the game is to violate the act of hating the public. In the past, the troupe leader would hang a black boot (shoes) in the makeup position of the actor who lost the scene, with a horse whip inserted into it, implying that the actor hoped that he would use the horse whip to urge himself to wear the boot (shoes) and walk faster, so that he would not lose the scene again in the future. In addition to kindly reminding the actors who lost their scenes, this also serves as a warning to others. Dark scene Team term. It refers to some plot content in the play, which did not perform explicitly on the stage to the audience, but was only explained by the characters in the lines; for example, in the third scene of the Cantonese opera “Liu Yi’s Letter”, Qian Tangjun heard that his niece Longnu Sanniang was abused by his husband Longzi of Jinghe, so he immediately lit shrimp soldiers and crab generals and rushed to Jinghe, killed Longnu Sanniang, and rescued Longnu Sanniang from Qian Tangjun to Jinghe to bring the rescued Longnu Sanniang back on the stage. In the middle, this scene never appeared on the stage, but Qian Tangjun said something: “This kid refused to repent, and he has been swallowed alive by me.” Then he explained it, this is the handling of the dark scene.
Cross-dressing
Asian terms. Dividing the dramatic characters on the opera stage into professions by type is an artistic feature of opera stage performance. “Cross-dressing” means that an actor leaves his or her own business and “reversely” “plays” the roles in other industries, which is called “cross-dressing”. For example, actors in the Xiaosheng industry play Huadan, or Xusheng plays Caidan, etc. The red line girl is a flower actress. In a performance commemorating Ma Shizeng, she played the role of Xie Bao in the Cantonese opera “Sou Shuyuan”; this kind of “cross-dressing” is only occasionally, and the purpose is to give the audience aA sense of novelty. In feudal society, due to feudal etiquette, early Cantonese opera was performed in the “all-male class”. The troupe is full of male actors, and all the characters in the play are played by male actors. As of the 1920s, the “all-female class” appeared in Cantonese opera, with all actresses acting in the lead role. Cantonese opera plays this kind of male actor as a female role, and Komiks 1960 witch cloth draw actress plays a male role, also collectively known as “cross-dressing”. Later, male and female actors performed on the same stage, and Cantonese opera gradually weakened their sense of career. The troupe’s literary and military students and regular film actors can play the roles in the industry at will according to the number of characters in the specific performance and their own preferences. When this trend is formed, only male actors play female roles and actresses play male roles are called “cross-dressing”. This is the difference from other brother dramas. In addition, in the play, according to the needs of the plot development, the character who was originally a female disguised as a male, and finally returned to her original daughter, or changed to a male disguised as a female, but also restored her identity as a male. In the performance, she also flexibly changed her performance and singing techniques according to the stage standards of the changed roles’ careers. Cantonese opera also called it “cross-dressing”. Guangxi Cantonese opera actor Pan Chuhua is a flower actress. She played a lady in the first play “The Female Prince Consort”. She was persecuted by a traitor and changed to dress up as a man. She went to Beijing for the exam and was recruited as a son-in-law. Finally, with the help of the princess, she was wronged and replied to the appearance of the flower actress. In this way, the process of changing makeup from a woman to a man is also a “cross-dressing”. In the Cantonese opera “The Prince of the Condor Heroes”, the prince fled and mistakenly entered the lady’s boudoir. In order to avoid others’ misunderstandings, he dressed up as a woman. This is another “cross-dressing” of a man turning into a woman. Some actors in Cantonese opera particularly like and are good at this type of drama, and they are used to calling it “cross-dressing drama”.
HudumenCinema 1950 witch cloth draw
Team terminology. The ancient stage is called “the general” and “the prime minister”. It is now generally called the pre-scene gate and the end-scene gate. The traditional Cantonese opera is called “Hudu Gate”. It is said that in ancient times, the characters and characters played on the stage were all dead ancients. Entering and leaving is like a ghost gate. The introduction is to play a “ghost” (ancient people), and the person (actor) is to enter the backstage, so the position of entering and exiting the venue is called “ghost gate”. Su Dongpo of the Song Dynasty had a poem to prove it: “Play the ancient people and go to the ghost path.” Later, he saw a musician with accompaniment put the gongs and drums next to the “Ghost Path”, so it was also called the “Gow Path”. The character “dou” in Zhongzhou is in line with GuangdongThe pronunciation of the word “hu” is harmonious, so Cantonese opera calls it “humendao”. Most artists in the past were not educated, and by chance, they changed the word “door” and turned it into “door”. Cantonese opera calls the upper and lower stage doors of the stage “Hudu Gate”, and “Tao” and “Du” are homophones in Guangzhou dialect. In order to reduce strokes, “Tao” is turned into “Du”. As a result, the Cantonese opera world now calls the upper and lower doors the Hudu Gate.
Xiaotiao
Program Action. The actor has his left foot in front, first lifts up his heel and uses the soles of his feet as support. His right foot slightly slids from behind to forward, and his soles are placed horizontally in front of his left foot. When the right foot touches the ground, the left foot jumps up lightly, and then puts it in front of his right foot to form a T-step. This simple action process is called “small jump”. “Xiaotiao” can be used in any profession or role in traditional Cantonese opera. Its function is: one is to change the auxiliary movements of actors when they move on the stage; for example, in the process of the actress pushing a cart in “The Great Secretariat of the Six Kingdoms”, they use “small jumps” to adjust the rhythm of the park. The second is the preparatory action of the actors when the performance combination is terminated. For example, when Xiao Wu actors perform “Kowloon by the Gong”, they rushed up from the infield and used “small jump” and then scrambled. At this time, the “small jump” is a reminder to the applauseboard master who plays the Gong and Drum, so that the Gong and Drum just happen to be held when the actors scrambled. The third is to make the actors add beauty during their body performance. Especially when the martial arts are fighting, give the other party a preparation time to achieve a stage effect of mutual understanding.
Size jump
Program action. The performer slowly retreated, and after standing firmly, suddenly jumped up with both feet at the same time, then landed on one foot (usually with the left foot), followed by “picking the key head” and “doing hands” and other performances. “Size Jump” is a key adapter action in the performance program combination “Water Wave”, and occasionally actors will use “Size Jump” alone to perform. “Small and small jumps” are common performance programming actions in traditional Cantonese opera, and are mostly used by actors in martial arts industries such as Xiaowu, Wusheng, Erhuanian. Guangzhou saying: “Stimulate to jump”, “small jump” means vividly expressing the character’s excitement. In order to be different from the program action “small jump” with a smaller action amplitude, it is called “small jump”.
Car Body
Performance skills. Common techniques and movements in traditional martial arts operas in Cantonese opera. It is similar to the “straightening” in dance art techniques. The key to the movement of “car body” is: put your hands together and extend them to the left and right sides respectively, forming a cross shape with the body; when turning left, the palm of your left hand is down, and the palm of your right hand is up; first step forward, then use the left foot as the support center of gravity, and rotate 360 degrees to the left; this is called “left car body”. On the other hand, the palm of your right hand is facing down, the left hand is facing up, and the right foot is moving to the right; it is called “right car body”. The most fundamental difference between the “car body” of Cantonese opera and the “straight” of dance is that the “straight” of dance hits the ground with the forefoot, and the feet are fastThe interchange center of gravity rotates forward; because Cantonese opera performers often wear high boots, they can only use the entire sole of their feet to touch the ground and push hard; the dance “switching” often uses a series of multiple rotational movements, while Cantonese opera performances generally use three “car bodies” as a combination. In traditional Cantonese martial arts, the robe and armor worn by the generals have two colorful “armor skirts” on the hem, and are accompanied by several silk ribbons of different colors. When the actors do the rotational movements, the “armor skirts” and silk ribbons will be driven by their bodies and float like windbreakers. Therefore, artists use “car body” to name this action. The word “car” here is used as a verb interpretation. “Car Body” usually appears in the group performances such as “uprising”, “pointing generals”, “sacrificing flags”, and “battle” in traditional martial arts. Focus on showing the ritual scenes in military life and the interweaving of the two armies. During the performance, the “car body” is rarely used alone. It is mostly used in program action combinations as a connecting action (such as three “car bodies” connected to “slide feet”), or a transitional action (such as three “car bodies”, back and “step on the seven stars”).
Swing the feet
TableCinema 1950 witch cloth draw acting skills. It is similar to the “flying feet” (flying legs) in Peking Opera. The action procedure is: the left foot is in front, the right foot is behind, the left hand clenches, the right hand extends the palm of the hand over the top of the head, moves the right foot, pushes up and flies, twists the waist and rotates, sways the left leg, and the right leg follows, and slaps the right foot with the left palm. This is called “right-hanging foot”. Because the action starts, the left foot is in front, so it is also called “left-hanging foot”. On the contrary, if the right foot is in front and the right hand hits the left foot, it is called “reverse-slipping foot” or “right-slipping foot”. The most significant difference between the “slipping feet” in Cantonese opera and the “flying feet” in Peking Opera is that the “flying feet” in Peking Opera requires both legs to jump straight and jump high. When slapping the soles of the feet with your hand, the other hand should keep the shape of the palm facing upward on the top of your head, showing the beauty of the posture. When traditional Cantonese opera “slides” slid their legs, their front legs will be naturally flexed. During training and performance, multiple “slides” are required to move in a straight line on the stage, which is called “slideslideslides”. After the body is in the air, the one who sways on the table (table) is called “hanging feet on the table”; the one who jumps down on the table (table) is called “hanging feet on the table (table)”; and the one who sways in front of the body and passes through the table (table) is called “hanging feet on the table (table)”; these are a series of techniques derived from “hanging feet”. In recent years, with the frequent exchange of skills and the evolution of training methods of brother operas, most Cantonese opera actors have abandoned the “swinging feet” and changed to “flying feet”. It has also developed the “flying foot” movement and the feet landed at the same time; the “one foot” landed (the foot that was slapped by Komiks 1960 witch cloth draw first landed in the shape of side legs or guard legs) and the “flying foot,”The combination of techniques such as “flying legs, swing legs, 360 degrees swing” is not a specific plot or emotional color, but is just a purely skill-presentation performance, which mainly allows the audience to appreciate its skill difficulty. However, in the process of stage practice, through the purposeful use of the actors, it will occasionally be used as a directional performance of some objective environments on the stage, such as mountain crossing, stream crossing windows, high and downward, and the expression of the character being exuded when he is excited.
One-legged
Performance skills. Actors are single-legged on the stage Standing, lift the other leg to the front waist, upright the upper body and tighten the abdomen, and keep the pillars balanced; because the soles of the feet are raised towards the crotch, it is also called “crotch protection legs”. In traditional Cantonese opera performances, they are mostly used as military generals, which is also an indispensable skill for intermittent pauses and changing rhythms of performance programs such as “dance of big frames”. In the first play of Xiaowu in traditional Cantonese opera, Luo Cheng writes a book. The actors who play Luo Cheng must hang up one foot on the stage and sing while performing. The whole process lasts for more than 20 minutes. It is required to wear high boots to support the body’s single leg without moving. This standardized traditional performance has always been a test of Xiaowu’s actor’s skills.
One-legged
Walking a short man
Performance skills. Peking Opera is called “short step”, also known as “short step”. The actor squats down his legs, lifts his heels, and walks forward with all his feet. Because he is squatting on the stage, he is half shorter than others, he is called “short step”. Most of them are used in the female actors. In the Cantonese opera stage performance, “short step” has many functions and functions; one is used to indicate that the person in the play is short, such as the traditional Cantonese opera “Golden Lotus Opera Uncle”, in which the role of Wu Dalang is played by a male ugly man, wearing a skirt spreading with a hem, and the whole performance is squatting on “short step” to show A “three-inch nail” stage image; secondly, the character should sneak in the play, so he uses “walk shorts” to perform. In the Cantonese opera “Shi Qian Thieves”, when Shi Qian sneaked into Xu Ning’s home, he uses “walk shorts” footwork. This is a performance that is suitable for martial arts. There is also a “walk shorts” in order to show the morphological characteristics of the characters in the play, such as the turtle spirit in the Cantonese opera “Eight Immortals Fighting the Sea”, he uses “walk shorts” to start fighting. In addition, sometimes in certain drama scenes, the actors perform “walk shorts”, stretching their hands in front of them, and kicking their feet towards the palms in front to express the character’s joy. There are also feet that extend diagonally behind and then retract them, which is Babaylan 1990 cloth draw, the body trunk tilts left and right, dragging forward step by step. This is another step of “walking shorts”.
Handwrinkle
Performance skills. It is a common technique used in traditional Cantonese opera. It mainly shows that the character in the play is walking up and down steep slopes or is disturbed by various factors and almost falls. The actor leaned forward slightly, suddenly his waist was slightly tilted back, and his upper body was slightly tilted, making a look of almost falling down. He worked with his hands in front of him to be a “little cloud hand”. Then he stood firm, patted his heart with his hands, or wiped away his forehead sweat, made a frightened expression, and then continued to move forward. The entire action requires strong consistency, especially the actors must have good coordination and control skills. The function of “waist-wrinkling” is to adjust the rhythm of the actors’ movement on the stage to create a beautiful feeling of the actors’ figure; it can be an action that integrates the plot of the drama and reflects the details of the drama, or a skill that exists purely for the actors’ physical performance. In Guangzhou dialect, the word “天” means folding. This technique uses the actor’s waist as the axis and bends forward and backward respectively. The opera troupe calls it “天機”. In the traditional classic drama “The Six Kingdoms’ Grand Priest”, Luo santhemum girl performed the Luo santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhem “Hand-struggle” is a performance technique that traditional Cantonese opera must master.
Steeling (sand stirring)
Performance skills. The role of “skewing” on the Cantonese opera stage is similar to the skillful action of Peking Opera “Woolong Bracket”. It is usually used to show the process of a character falling to the ground and standing up immediately. Action procedure: The performer stands, leans back and falls to the ground, spreads his limbs into a large shape, presses the ground with both hands, jumps straight to the ground, stretches his right foot from right to left, and draws a circle from the foot to the face, and turns the left foot in a circle in the direction of the right foot. When the feet complete one circle one after another, press the ground with both hands to get up, thus completing the skeining action. The one who moves the left foot first is called the left skein, and the one who moves the right foot first is called the right skein. When the single yarn sling is completed, the body lies on the ground and rolls horizontally 360°, and then does one more yarn sling; in this way, sling the yarn continuously and rolls a whole circle on the stage, it is called twisting “yuantaiya”. “Garden platform skein” is a form of the characters struggling repeatedly on the ground. Because when the actor performs the “skewing” action, his body rolls on the ground and his feet cross and shears, just like the shape of yarn being twisted when reeling in the past, this action is vividly called “skewing”. There is another saying that it is believed that in the past, the actors were on the ground, and they lie in the sand and roll, stirring up all the mud and sand on the ground, so they are named after “sanding sand”.
无无
Performance term. Hair beard and hair refers to various techniques that use special beards and hair to perform on stage to express the specific emotions of the character or the skill of the actor. Because the beard and hair on the stage are performed with exaggerated and deformed hair and hair props, it is a habit to combine them to call the hair and hair. Traditional Cantonese opera performances are mostly martial arts, and they focus more on technical performances in performances, and they are very important for hair-bearding skills. For example, traditional Cantonese opera requires that the four skills that must be mastered by the regular print actresses. The second item in “Four Flowers and Positions” is the exuding kung fu. Current birthBabaylan 1990 cloth drawThe “water hair” used in the foot was introduced by Peking Opera. Traditional Cantonese opera does not use “water hair” to make the hair tied up, but just combs the hair to be called “hair fleas”; it is impossible to perform difficult skills based on this. Therefore, the traditional hair-bearding exercise is the emanation of the single finger Dan foot. Traditional Cantonese opera is a traditional Chinese opera, which has many techniques such as “the garden platform is emanating”, “the kneeling walk is emanating”, “the horizontal movement is emanating”, and “the horizontal movement is emanating”. The male actors in the Cantonese opera class are played by male actors, called male Baotou (the male flower actress), and emanating skills are relatively easy to master. When Cantonese opera developed into the age of male and female classmate, the female actors were the actresses. Due to the limitations of the physical condition, it became more and more difficult for the female actors to exert their skills. But there are also many outstanding people. The famous actress Yu Lizhen can be turned around for more than 800 times, but no one can match it yet. Braid hanging skills are also used to perform using hair. The traditional Cantonese opera beards include five types: black, white, blue, red, and five colors; the latter two are beards used for flower surfaces, and the five colors are beards unique to Cantonese opera. The types of beards are divided into: full-hu, five-string, three-tie, pricking, hanging mouth, tooth scrubbing, one-line dragon, etc. The keys of traditional Cantonese opera include: stroking, picking, shaking, pulling, plucking, blowing, blowing, tearing, biting, banging, pushing, twisting, etc., and various performance techniques. According to different performances, and in line with the different identities and emotions of the characters in the play, different skills are performed. For example, martial artists and male feet generally use techniques such as stroke, pick, lift, blow, throw, and bounce; flower surfaces are performed by tearing, pulling, pushing, plucking, and biting; Chou students only use twisting their whiskers to express them. The key points of traditional Cantonese opera include: “There is less black beard and more white beard.” Because those with black beards are middle-aged and their energy is mostly focused on fame or livelihood, they have no intention of having to entertain themselves. White beard means that people are old and generally have achievements and are full of confidence and have leisure and care for their beards. When the senior martial artist Xin Baicai performed “Breaking the Palace Gate”, he knelt down at the palace to persuade the king. He knelt step by step and threw his beard to the palace gate. The king was closed. He used his long beard from right to left, and then he hit the palace gate one by one. Finally, he hugged the beard and hit the palace gate with his head, and tried to persuade the king to die. This is a famous example of outlining the character’s personalities with Xu Gong’s performance.
Shuifa
In ancient opera costume dramas, men before the Ming Dynasty all grew long hair. Opera was based on their artistic characteristics and creative concepts, beautified into an ornament, and then developed into performance skills. The water hair book was introduced from Peking Opera. The simplest skill performance of water hair is to hang water hair in front of the actor, tilt his head and swing it back hard, and the water hair floats behind him. Therefore, Peking Opera is called “hair-brushing”. The pronunciation of the word “北” is similar to the pronunciation of the word “北” in Guangzhou dialect. People in the Cantonese opera industry mistakenly call “北” as “北”, so it becomes “北”. The performance program of water hair technique is to put water hair in a net towel first, and then tie the net towel tightly on the actor’s head.Then wrap it tightly with wet water yarn, which can ensure that the actors’ hair will not fall off easily during the performance. There are many performance techniques for water hair. The most basic technique is that the actor kneels on the stage with one foot, lowers his head, and lets the water hair face the audience. The actor uses his neck as the axis and uses his head to drive the water hair. Generally, it rotates clockwise (sometimes it rotates in the opposite direction). The faster the water hair turns, the more it shows the actor’s skills and the more welcome and applauds it is from the audience. Another performance is that the actor stands on the stage, facing the audience, and the water hair rotates horizontally. Those with higher skills will be coupled with the body or reverse rotation in a forward or reverse direction with the direction of the water hair rotation. This is a difficult skill performance. Another type is that the actor makes the water hair draw a circle to the right rear first, and then to the left rear, so that the water hair can rotate alternately, and the actor’s body either moves forward or backward. Because this kind of performance is more difficult and is difficult for the audience to appreciate and accept, Cantonese opera actors are less used. The performance of “Shuihai” is often a sign of the character’s excitement after suffering physical or mental trauma; or a painful struggle.
Express
Performance skills. In ancient times, women all had long hair. On the Cantonese opera stage, the female actors used their long hair to combed them into various hairstyles. Due to the needs of the plot, the female in the play encountered major changes in life, either losing her father, losing her husband, or suffering from disasters, and then loosening her already combed bun. This kind of headdressing for the female is called “exhaust”. The actor must first “broken the big head” with the help of the makeup staff, put the wig in a net towel, and then tie it tightly on the actor’s head with a water gauze. After combing it, the wig is kept tight with a bone hairpin. When it is necessary to “spread” the performance, the actor will pull off the bone hairpin and his hair will suddenly scatter. In the play, the character uses the radiance on his head to express his excitement, which is also called “emission”. The actor kneels on the stage; pull the two ends of the middle tied on the head with both hands, then press the two hands on the waist, use the neck as the bearing, and use the head to drive the radiance and rotate clockwise; (Due to the actor’s habits, there are occasional examples of radiance and rotation in the opposite direction.) The faster the radiance rotates, the more the actor’s skills are shown, and the more popular it is, the more popular it is. Some actors will add “kneeling step on the garden platform” or “kneeling step on the side” when performing radiance according to the needs of the plot of the drama and their own skills. The “emission” of the Danfoot is like the “water hair” of the raw feet. It shows the excited emotional venting and painful struggles when the character is traumatized by physical or spiritual trauma on the stage. Most of the traditional Cantonese opera performing “expression” skills are actors in the main and Huadan industries. In the 1950s, Hong Kong Cantonese opera actress Yu Lizhen had excellent skills in exuding skills. In addition to skillfully performing kneeling on both knees, she also arranged eight Danjia actors on the stage, kneeling in a row, and performed their exuding skills together; Yu Lizhen herself took a kneeling walk on the wall, and used a snake-like serpentine dispatch similar to “weaving walls”. Their emanations were orderly and would not be entangled with each other. Yu Lizhen showed her skills and skills, and people at that time were incomparable.
Beard stroke
Performance skills. There are two different performance methods: one-handed whisker stroke and double whisker stroke. One-handed whisker stroke is the actor using his right index finger and middle finger to clamp three or five whiskers on the right ear whiskers, and stroke them down from the position close to the mouth. It is used for role thinking, waiting and watching, etc., and can also be used for characters to stalk when they are on the stage. When stroking the beard with both hands, the actor uses the thumbs and middle fingers of both hands, and at the same time, he clamps the middle strands and strokes it downwards, often using it with the whole crown movement to express the character’s temperament. The above are the beard stroke movements of Zhengsheng, Wusheng, Gongjiao and other professions in traditional Cantonese opera. If it is a beard stroke performance, it is different. The flower face should express the rough and majestic business style. You must open your five fingers, and the opera is called tiger claws, with a large range of movement. You should often use your hands to stroke your beards. Beard stroke is the basic technique of traditional Cantonese opera such as late, long, external, and clean performances. Pipi-Yeon Performance skills. In the martial arts scene, A attacks B with bare hands or with both hands (double blades, double swords, double hammers, etc.); first take the left step, and use the left hand to make a circular motion from bottom to top to outward in front of the body to hit Party B, and then Party A picks and turns A’s left hand with his right hand; then Party A uses his right hand to make a circular motion from bottom to top to inward in front of the body to hit Party B, and Party B uses his left hand to turn A’s right hand to resolve Party A’s attack. A took the opportunity to turn left, and both sides immediately repeated the above procedure. (There are also several rounds of offensive and defensive performances in succession, and there are no strict regulations on the number of times) The general ending action is that after A turns the last time, he pounces on him, and the two sides are stalked. This is a common performance technique in Cantonese opera martial arts scenes. Guangzhou people have the habit of eating peeled oranges in winter after scalding them in boiling water. In Guangzhou, peeling is called “Babaylan 1990 cloth draw” in oral. The surface of the orange peeled by “black” is irregularly round. In the past, people in Guangzhou also used bamboo strips to tie them into orange-shaped lanterns with “black orange”. The movement trajectory of this technique in Cantonese opera martial arts is an irregular circle, so the opera artists call it “Pipicheng”.
Go to the garden platform
Table steps. “Walking in the Garden” is a training program for the basic steps of opera actors on the stage. Noble feet and Dan feet use different techniques to walk on the garden platform. The foot requires a small stride and a tight stride; the foot requires a relatively large stride and a fast stride. The upper body should also be straight, lift your breath, tighten your abdomen, and do not move at all. In order to make the garden stand look good, in the past, the chicken dan clamped the legs while training, and placed the chicken dan clamp on both legs.In the middle, the walking platform only has dense and thin steps so that the chicken dan will not be crushed or fall off. If you wear a large buckle with a flag on the back of the ground, you need to keep your flag on the back of the ground without moving, so that the actor’s skills can be shown. “Walking in the Garden” is also the most common stage scheduling method in opera. One or several characters are circling on the stage according to the prescribed garden-shaped route to express the transformation of the stage space. According to the length of the detour route, they can be divided into large garden platforms and small garden platforms.
Sip (smoothing)
Table step. The footwork often used by traditional Cantonese opera actors in program performances is called “Successful Steps”. The actor’s front foot (usually accustomed to put his left foot in front) moves forward, and the back foot takes a step forward with the heel and steps in the original position of the front foot. At this time, the front foot takes a step forward. Because the steps of the front and back feet are tightly connected together, it is called “step-to-step”. Because most of the artists in Cantonese opera troupes lacked culture in the past, they recited the word “子” into the word “子”, which was passed down and has been mistaken until now, and is called “子”. In the traditional Cantonese opera “The Six Kingdoms’ Grand Priest”, the actress frequently uses “snaps” to express the excited mood of the character in the performance program of “Turning Cart”. Traditional Cantonese opera performance programs such as “jumping the beam” and “knurling the gong side knurling” use multiple “snap steps”. The role of “snap steps” on the Cantonese opera stage is (1) generally expressing the form of the actors in the play when they are rushing; (2) adjusting the rhythm of the actors on the stage; (3) mostly use them as preparatory actions before the actors’ appearance; (4) conveying the “shadow head” that the actors must be snap to the masters who play gongs.
Rumble step
Table step. The stage steps used by male characters in Cantonese opera stage performances can be divided into two types of rubbing steps left and right. The performer straightens his upper body, tightens his abdomen and lifts his breath, squats his legs slightly, and performs a four-level horse pose, with his eyes facing the same direction as the rubbing step, and his hands shake according to the emotions to be expressed by the character; or points to the target in the same direction; or performs tricks or lifts the beard. When starting, stand with a slight outer eight-character character, tiptoe at the same time on both sides of the left and right heels, push the ground horizontally to the left with force, and follow the right soles immediately. The feet always maintain the distance they were when they were standing. The soles of the two feet keep rising and falling in turn. The steps are required to be even and densely, which is the left rubbing step. The direction of the right rub step is the opposite of the left rub step, and the key points are the same. The step is a step used to show the character in the play, whether unexpected sadness and joy, or to plead with others, or to beg for mercy or plead with others, or to be angry and irritated to make decisions.
Danning the soles of the boots
Table steps. Peking Opera is called “bright boot soles”. When a general wearing high boots appears, he must first raise his legs and take a few steps to the middle of the stage before he can tie up to show the power of the general. The action program is for the actor to stand firm on the stage, first lift the left leg, require the height of the leg to be level with the waist, tighten the foot surface and slowly extend it from the inside out, hook the foot surface so that the audience below can see the actor’s boots sole, and then swing the ankles, highThe boots turn from inside to out, land from far to near, and then lift the right leg, the movement is the same as the left leg. If a civil servant goes on stage to “dialize the soles of the boots”, the movements are basically the same, but if you raise your legs, you only need to be about 20 cm above the ground. The word “sun” in Guangzhou contains the meaning of letting objects see light and reveal them, so this troupe is called “sun boots”. Generally, positive characters appear on the stage and “show the soles of the boots”, indicating that he is steady and mighty, and if the villain comes on the stage, it highlights his arrogance and arrogance. It can reflect the character’s personality.
Lashan
Program actions. The action procedure of “pulling the mountain” is: clench your fist with your left hand, stretch it to the left and keep it flat with your shoulders; stretch your five fingers with your right hand, pulling your palm outward, pulling it from left to right, and being flat with your shoulders; this is called “pulling the right mountain”. If you clench your fist with your right hand and pull your left hand away, it is called “Lazuoshan”. Most local operas have basic stage performance movements such as “Lashan”. The traditional “pulling mountains” movement in Cantonese opera is a different style. It is a left hand on the hip, the right hand is flat with the shoulder, the big finger of the right hand is curved, and the other four fingers are tied upward, pulling away from the front of the chest to the right. This is “pulling mountains”. The left and right hands exchange movements between each other is “Lazuoshan”. If you put your hands on your chest and do the “pull the mountain” action, pulling it away to the left and right sides; it is called “Zhengshan”, and some are called “Kaishuangshan”. Traditional Cantonese opera performances also choose different “Lashan” movements based on different performance activities. For example, Erhua Face Lashan, the fingers of “Lashan” must be opened with five fingers, which is called “tiger claws”; the “Lashan” movement is higher than the top of the head, which is called “Bongtou Mountain”; it reflects a rough and majestic style. When playing Xiaowu, you must bend the three fingers of the thumb, ring finger and tail finger; straighten the index finger and middle finger together. This shape of “Lashan” is called “sword finger”, which shows his handsome and elegant character style. For Huadan or Wudan’s “Lashan”, the hand movements are only pulled open to the middle height between the shoulders and waist to show their softness and charm. These are all the characteristics of “Lashan” action that are different from brother dramas. “Lashan” is a procedural action that has no directive meaning in itself. Initially, he used the “opening mountain” still movement when practicing, as a training method for actors to balance their upper limbs, called “Dingshan” (called “dengfang” in Peking Opera). “Lashan” is used on the stage, and its main functions are: 1. When the actor performs on stage, it is used to maintain body balance; 2. Transition and connection between program movements; 3. In the process of program combination, it is used to indicate strengthening strength; 4. Clustering (debut) after a series of combined movements is completed.
Facewashing (cloud hand)
Program action. “Washing face” is a traditional Cantonese opera performance program. The actor straightens his hands and draws a circle clockwise or counterclockwise in front of himself. This action is similar to washing your face in life, while in Cantonese, the meanings of “face” and “face” are the same, so artists call this action “wash your face”. “Cloud Hand” is an opera performance program action. Most local operas use this program action. There are two types of “cloud hand” that are positive and negative. Zhengyun’s manual action: extend the five fingers of the left hand, the palms are facing upward, the elbows are bent, and the palms are in the chest; extend the five fingers of the right hand,The palm of your hand is facing down, the elbow is bent, the palm is up to the eyebrows, then the left hand is around the right chest and gradually pushes it to the left and outward, changing to the clenched fist style, and then draw a semicircular shape from the left side to the right side from the inside to the outside, push the fist to the front left and straight to the shoulder; the right hand is left from the right direction, buckle the left wrist, pull it away to the right, and the palm of your hand is facing the outside of the right side, and level with the shoulder. The “Zhengyun Hand” action is completed here. The “anti-cloud hand” action program is the opposite. “Yunshou” is often used in performance combinations such as “Go to the World” and “Go to the Edge” in Peking Opera, and plays a role in connecting program actions. The “face washing” in Cantonese opera is the same as the “cloud hand” in Peking Opera, and the action procedures are similar: the action procedures are accustomed to the action of “pulling the mountain” after “washing the face” or “cloud hand”. In the past, traditional Cantonese opera performances only had the program of “washing the face”. After the 1930s, the exchange of skills between Cantonese opera and brother opera became increasingly close, so the “cloud hand” was introduced into Cantonese opera performances, gradually replacing “washing the face”. There is only “cloud hands” on the Cantonese opera stage now, but no “face washing” program action.
Kicking armor
Performance skills. During the performance, an actor kicks up the armor skirt with the bottom of the big button on his body with a single leg (mostly using the left leg) and is called kicking armor. The kick-off performance does not have specific targets or meanings on the stage, but only shows the might and momentum of the character. And as the connection between the two techniques of “pulling the mountain” and “car body”. Because the hem and the armor skirt need to be buckled when performing the “body” are swirled like a windmill, the actor must kick the heavier armor skirt with his feet in advance, so that it can use the rotation power of the actor’s “body” to drive the armor skirt to rotate in the air. The kicking armor is mainly performed by actors such as Xiaowu, Erhuamian, and Wusheng who wear big buttons. Even though actors in the Huadan industry have to consider the gender and identity of the character, they rarely perform in a kick.
Scratch
Program actions. Peking Opera is called “debut”. With the cooperation of gongs and drums, the actor used the dance movements to make short pauses, creating a statue-like stage shape. This is the “clustering” of Cantonese opera. It is like a close-up shot in film and television art, instantly attracting the audience’s attention to the “cracking” actors. Concentrated and prominently display the character’s mental state. At the same time, it is also the need for actors to intermittently relax in their performances, as well as adjusting the rhythm of drama performance and the audience’s psychological appreciation needs, which have become the aesthetic trend of opera audiences. “Cha” is often used to play or end the role. Especially in the start of the martial arts drama, both sides will use the “fighting” program action to reflect the different situations of the two sides’ victory or defeat, indicating that the martial arts have ended. There are also some people who end the action with a stalking after a dance move is completed. “Cha” has many forms of expression: for example, a single character is a singleWhen a person goes on stage, a single player fights; when two main characters fight in a martial arts scene, two people will fight at the same time; and when there is a group dance scene, multiple dancers will appear on the stage to fight together; when encountering scenes such as “resurrection”, Babaylan 1990 clothes draw reunion, or when the whole play ends, all the actors present will fight together. In any play, any role, any profession, or any actor, you can use the “cracking” program action as long as the plot requires it.
Water Wave
Performance Program. The character starts at any location on the stage, and walks quickly to another character in a semi-park-shaped line, communicates with the opponent with the performance that expresses inquiry and observation, and then returns to the original place, performs (or performs the “before” in the opposite direction, uses the same semi-arc scheduling to ask and observe other characters) explains the character to the audience to think, as well as to be in a dilemma, and struggles with hesitant thoughts; until the entire process of making up the determination. Because this performance program uses “Water Waves” gongs and drums to perform, and as the gongs and drums are sometimes fierce and sometimes slow, sometimes temporarily paused and sometimes continuous, they are uninterrupted and other different rhythms to express the emotional ups and downs in the character’s performance, the opera industry calls this performance program “Water Waves”. “Water Waves” is a unique performance program in Cantonese opera. Performances in “three-five”, “force back”, Babaylan 1990 clothes draw “breaking net scarf”, “killing loyal wife”, etc., especially during the court trial, “water wave” performances are used, which is a common performance program on the Cantonese opera stage.
Skip the shelf
Performance program combination. “Jumping” is a general term for the various types and forms of stage performance programs in Cantonese opera. Traditional Cantonese opera has a basic performance program combination called “jumping big frame”. After the actors come on stage, they perform basic program movements such as “steps”, “small jumps”, “pulling mountains”, “one foot”, “foot hits”, “seven stars”, and “body” along the prescribed stage routes and graphics according to certain procedures, and finally form a squat in the middle of the stage to complete the “big jump”. This is a pure dance form, without specific plot content, and there is no emotional catharsis of joy, anger, sorrow, and happiness. Both male and female characters can use this performance program, which can not only jump on the big frame with bare hands, but also hold props such as handles or horse whip to perform jump on the big frame; in the past, those who practice art in Cantonese opera troupes had to learn to master the “jump on the big frame”. Because many special performances in Cantonese opera performances are related to “big frames”. It is necessary to first master standardized program movements and basic skills by jumping into the big frame, so that you can further study various special performance programs with higher skills. For example, the third actress who is the actress who is going to dance the “Peach Blossom Girl Frame” (for example, the play “The Jade Emperor Climbs the Palace”), and the second actress who is going to dance the “Luo Paradise Frame”. (The example play “The Six Kingdoms’ Farewell Prime Minister”) and the second flower side should be in “In “The Great Birthday of Xianghua Mountain”, “The Tiger Frame” is to dance the “Dragon Frame”; (for example, “The Great Birthday of Xianghua Mountain”) Xiaowu, “The Great Birthday of Xiaohua Mountain”, “The Great Birthday of Xiaohua Mountain” is to dance the “Arhat Frame” in “Wulang Saves My Brother”. In addition to these “shelf” with specific content, some “shelf” named by brand music set according to different performance programs of Babaylan 1990 cloth draw. For example, the “Star Frame” from the
Star Game
Show Program Combination. “Star-skipping” is a performance program developed based on the traditional Cantonese opera “jumping big frame”. “Pixing” is the brand name of Cantonese opera music. It was originally named “Daiyue Piyue”. For convenience, Cantonese opera artists generally omitted the previous “Daiyue” and are abbreviated as “Pixing”. The actors perform the show while singing the “Star” brand is called “Star” and it is called “Star”. The “Pixing” brand is mainly composed of flute play and gongs and drums. According to the needs of the plot, the “Pixing” brand is written in the lyrics and sung, and the “brand head” is used between the phrases, “open edge”, “two hammers”, “shunting”, “shun San hammers” and other gongs and drums are used as intervals. The actors design the corresponding body movements according to the situation specified in the content of the drama, combined with their own technical characteristics. Therefore, although different actors perform “Star Fighting”, they can have the freedom to play different acting skills within the large framework of the “Star Fighting” brand. “Star-skipping” is a performance program that fully expresses the characteristics of opera art singing and dancing. Most of them are handled by Xiaowu, and are generally used to show specific drama scenes such as “breaking through the siege and seeking help”, “escape from the starry night”, and “being chased”.
Eighteen Arhats Frame
Performance Program Combination. Due to the performance needs of the Cantonese opera troupe, senior artists went to the Buddhist temple to carefully observe and deliberately imitate the sculptures and expressions of the Five Hundred Arhats, and then integrated the martial arts of pictographic boxing such as dragon, tiger, snake, leopard, crane and other pictographic boxing techniques in the Southern Fist, carefully pondered, and created the stage shapes of the eighteen Komiks 1960 witch cloth draw group of stage shapes with different shapes, named “Eighteen Arhats”.”. Cinema 1950 witch clothes drawIn the performance, one or two Arhat frames are used to tie the frames separately according to the plot and performance needs, or several of them are selected to perform. There are also several groups of all Eighteen Arhat frames to perform on stage. The Eighteen Arhat frames include dragon-subduing frames, tiger-subduing frames, dragon-sucking frames, phoenix-supporting frames, tower-supporting frames, big-bellied Buddha frames, long-brow frames, chest-opening frames, sleeping Buddha frames, pipa frames, ear-supporting frames, chin-supporting frames, umbrella frames, rattle frames, deer-supporting frames, print-catching frames, snake-catching frames, and thousands of miles of watch. Among them, the tower-supporting frames, long-brow frames, and sleeping Buddha framesKomiks 1960 witch clothes draw, ear-lifting frame, ringing frame, deer support frame and watch Qianli frame, the performer needs to brush the dust away with his hands. Other frames are expressed through the combination of boxing, palm, finger and waist and legs. Traditional Cantonese operas “Wu Song Fights the Tiger” and “Drunk to Beat Jiang Menshen” have performed the eighteen Arhat Fights. In the late Qing Dynasty, Xiaowu Dongsheng, famous in the late Qing Dynasty, he once performed the first play of the Erhua Noodles “Wu Lang Rescuing Brother”. He played Yang Wulang when he returned to the Buddhist temple drunk and returned to the Buddhist temple, combined with the Shaolin Drunk Eight Immortal Fist, singing and dancing while performing all the Eighteen Arhat Fights, which were praised by inside and outside the industry and regarded by later scholars as a normative classic performance.
Wu Mu
Stage dispatch. The basic dispatch of “Going to Four Doors” is as follows: the actor appears from where (the door of the stage), and then walks in a straight line to the side of the clothes to tie the second frame; turn to the side of the clothes to the end of the clothes and then tie the frame; wear it diagonally from the side of the clothes to the side of the clothes to tie the frame to the side of the clothes to tie the frame; Draw cross the stage and even the side of the stage; finally walk to the middle of the stage, so that the “four doors” dispatch is completed. Because the traditional stage of opera is accustomed to the “each general and the prime minister” of the role in the upper and lower stage positions is called “the doors” and “the doors”, and the dispatching actors have struck the four corners of the stage, which means that the character has walked through many roads. So it is called “four doors”. Traditional Cantonese opera “four doors” dispatches a lot when it is dispatched. The waiting meeting is combined with the “Walking on the Four Doors” performance program. That is, every time the actors walk to a “door”, they will sing a sing of “slow board” or [Erhuang]; after singing, with the cooperation of gongs and drums, they use their dance posture to dispatch the next “door”, and sing another sentence until they sing in the middle of the stage. In the Cantonese opera “Iron Horse and Silver Marriage”, Zhang Dingbian was defeated and went on the stage with a big knife and a horse whip in his hand and sang “Walking on the Four Doors”. This is the complete “Walking on the Four Doors” performance. [/p>
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Reference books: “Cantonese Opera Dictionary” “Chinese Drama Talk” by Chen Canggu, “Cantonese Opera Spring and Autumn” editor-in-chief Wang Wenquan and Liang Wei (Guangdong People’s Publishing House) “Cantonese Opera Celebrities’ Skills” by Lian Min’an (Hong Kong Yijin Publishing Company Co., Ltd.) “Liyuan Drops” by Zhu Boquan (Hong Kong Yijin Publishing Company Co., Ltd.) “Hong Kong Cantonese Opera Road” by He Jiayao (Hong Kong Yijin Publishing Company Co., Ltd.) “Exploring the Incidental Language” by Pan Yongqiang Sanlian Bookstore (Hong Kong) Co., Ltd. “Miscellaneous Memories of Overseas Chinese Hometown” by Lu Feng (Hualing Publishing Company Co., Ltd.) “Chinese Opera Chronicle” by He Jiayao (Hong Kong Yijin Publishing Company Co., Ltd.) “Exploring the Strange Words of Cantonese” by Pan Yongqiang Sanlian Bookstore (Hong Kong) Co., Ltd. “Miscellaneous Memories of Overseas Chinese Hometown” by Lu Feng (Hualing Publishing Company Co., Ltd.) “Chinese Opera Chronicle” by Pan Yongqiang Sanlian Bookstore (Hong Kong) Co., Ltd. “Miscellaneous Memories of Overseas Chinese Hometown” by Lu Feng (Hualing Publishing Company) “Chinese Opera Chronicle” by He Jiayao (Hong Kong Yijin Publishing Company Co., Ltd. “Study of Overseas Chinese Language” by Lu Feng (Hualing Publishing Company) “Chinese Opera Chronicle” by Pan Yongqiang Sanlian Bookstore (Hong Kong) Co., Ltd. “Miscellaneous Memories of Overseas Chinese Hometown” by Lu Feng (Hual Guangdong Volume” Edited by Xie Binchou and Mo Rucheng (Published by China ISBN Center) “Chinese Kunqu Opera Dictionary” edited by Wu Xinlei (Nanjing University Press) “Chinese Opera and Folk Art Dictionary” Shanghai Drama Association, Shanghai Art Research Institute (Shanghai Dictionary) “Cantonese Opera Cantonese Opera Art in Xiguan” Luo Yulin (China Drama Publishing House) “Chinese National Essence Art Cantonese Opera” Cai Xiaoben (China Federation of Literary and Art Publishing House)
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