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 hand is a test of the actor’s ability to perform on the stage. There is another way to do a hand, the actor does not sing or chant, and only relies on a mute expression. With the cooperation of gongs and drums, Cinema 1950 witch cloth draw uses hand-program actions to express the various emotions in the character. The most typical and ordinary one is like in the performance of “Water Waves”, the actor uses uninterrupted various hand-made hands to express the character’s mentality process of being in a dilemma, hesitation, extreme contradiction, and finally making up his mind. There is no strict and fixed standardized performance procedure when performing handwritten performances. Based on the actors’ understanding of things and events, Babaylan 1990 cloth draw combined with the actors’ stage experience and performance abilities, often different actors’ performances will 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”. The artists understand the literal word “guanmu” one-sidedly as gaze, 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. For this way of performing eyes, Cantonese operaBabaylan 1990 clothes drawThe artists of opera troupes are used to call it Guanmu, and have been used to this day. This kind of nouns and terms that have been clearly discussed have been changed, and they have given additional explanations, and can be passed down; this phenomenon is not uncommon in Cantonese opera troupes. For example, the Cantonese opera troupe’s commonly known as “Shenmu”, which means to see.
Sci-pan
Performance terms. There are also those who write “Sci-pan” and “Sci-sun”, and Cantonese opera is often called “Jing”, also known as “Jingkou”. Its original meaning is related to the movements in traditional scripts. Expressions, stage scheduling or other related stage prompts. For example: “×× buried position,” “out-come,” “another scene,” “Kaimosuke”, “due introduction”, “whisper introduction”, and a single “英语” in the script, indicating that the screenwriter reserves space for the actors, allowing 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 in the word “英”.
Loss of the scene
Teacher term. It refers to the delay of the actors’ appearance due to various reasons when they stipulate that the role should appear. Peking Opera and other local operas are called misplaced, and Cantonese opera is called misplaced. This is extended to other performers (such as band accompanists, stage staff, etc.) who are late or absent from the performance. Cantonese opera troupes collectively call this phenomenon absent. Some senior artists often remind newcomers to remember the traditional Cantonese opera troupe opera proverb: “It is better to violate the rules of heaven than to hate the public. “Don’t affect the whole troupe’s food (performance) because of a person’s loss of scenes. Losing scenes is what everyone hates. In the past, the troupe’s headmaster would hang a black boot (shoes) in the makeup position of the actor who lost scenes, with a horse whip inside, implying that the actor hopes that the actor will use the whip to urge himself to wear boots (shoes) and walk faster and don’t lose again in the future. In addition to kindly reminding the actor who lost scenes, this also serves as a warning to others. Dark scenes Troupe terminology. Refers to some plot content in the play, which does not explicitly face the audience on the stage. The performance was performed, but the characters explained it 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, killing Longnu Sanniang, and saving 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 has been swallowed alive by me. “I just explain it, this is the dark scene.
Cross-dressing
Ass terminology. Dividing the drama characters on the opera stage into professions by type is the artistic feature of opera stage performance. “Cross-dressing” refers to the actor leaving his or her own profession and “reverse” to “play” the roles of other professions, which is called “cross-dressing”. For example, the actors in the young actors play the role of a flower actress, or Xu Sheng plays the role of a Caidan, etc. The red line girl is originally a flower actress, commemoratingIn Ma Shizeng’s performance, she played the role of Xie Bao, a veteran actor in the Cantonese opera “Sou Shuyuan”; this kind of “cross-dressing” is only occasionally, with the purpose of giving the audience a sense of novelty. In feudal society, Cinema 1950 witch cloth draw was blessed by feudal etiquette and law, and 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 uses such male actors to play female roles and actresses to play male roles, which is also collectively called “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 woman changed to a man and finally returned to her original daughter, or changed to a male character to a woman’s makeup. As a result, the character of the male character is also restored. In the performance, the performance and singing techniques are flexibly changed according to the stage specifications of the changed role’s career. The Guangdong Komiks 1960 witch cloth draw drama also called it “cross-dressing”. Guangxi Cantonese opera actor Pan Chuhua is a flower actress. She played a young lady in the first play “The Female Prince Consort”. She was persecuted by a traitor. She changed to dress up as a man and went to Beijing for the exam. She 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”.
Hudumen
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 “gu” in Zhongzhou’s pronunciation is in harmony with the pronunciation of “hu” in Cantonese, 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 will put the stage up and downThe field gate is called “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: “Stimulated to jump”, “bigCinema 1950 witch cloth drawsmall jump” is to vividly express the character’s excitement. In order to be different from the program action “small jump” with a smaller movement 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 “stepping” of dance is that the “stepping” of dance is hit by the forefoot, and the two feet quickly exchange the center of gravity and rotate forward; because Cantonese opera performers often wear high boots, they can only use the entire sole to touch the ground and push hard; the “stepping” of dance is mostly used to use a series of multiple rotational movements, while Cantonese opera performances generally use three “cars”The body is a combination. In traditional Cantonese opera, 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 rotation movements, the “armor skirts” and the silk ribbons will be driven by the body, like a wind car. Draw like drifting. Therefore, artists use the “car body” to name this action. The word “car” here is used as a verb interpretation. “car body” is generally seen in group performances such as “uprising”, “pointing generals”, “sacrificing flags”, and “battle” in traditional martial arts operas. It focuses on the ritual scenes in military life and the interlude between the two armies. During performances, “car body” is rarely used alone. It is mostly used in programmatic action combinations, as a connecting action (such as three “car bodies” connected to “shoulder feet”), or transitional action (such as three “car bodies”, back and “step on the seven stars”).
Shoulder feet
Performance skills. It Komiks 1960 witch clothes draw 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 to surpass the top of the head, moves the right foot, pushes up and rotates the waist, sways the left leg, and the right leg follows, and slaps the right foot with the left palm. This is called “right-hanging feet”. Because the action starts, the left foot is in front, so it is also called “left-hanging feet”. On the contrary, if the right foot is in front and the right hand slaps the left foot, it is called “reverse-hanging feet”. On the contrary, if the right foot is in front and the right hand slaps the left foot, it is called “reverse-hanging feet”. On the contrary, if the right foot is in front and the right hand slaps the left foot, it is called “reverse-hanging feet”. The most significant difference between the “slide” in Cantonese opera and the “flying foot” in Peking Opera is that the “flying foot” in Peking Opera requires both legs to jump straight and jump high. When the hand clapped the soles of the feet, the other hand should keep the palm upward shape on the top of the head, presenting the beauty of the posture. When the traditional Cantonese opera “slide” is buckled, the front legs will be naturally flexed. During training and performance, multiple “slides” are required to move in a straight line on the stage. It is called “serial hanging feet”. After the body is flew, the one who thrusts on the table is called “snap the hanging feet”; the one who jumps off on the table is called “snap the hanging feet”; and the one who thrusts on the table is crossed in front of the body and passes through the sky with the hanging feet is called “snap the hanging feet”; these are a series of skills derived from “snap the 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 Abandoning the “slipping foot” and changing to “flying foot”. It has also developed the combination of techniques such as “flying foot” after completing the “flying foot” movement; “one foot” landing (the foot hit by the hand first falls to the ground, appearing in the shape of side legs or guard legs) and “flying foot, flew legs, swirling”; “flying foot, flew legs, 360-degree swirling”; and other techniques. The “flew legs” technique expression does not have specific plots and emotional colors, but is just a purely skill-presentation performance technique, which mainly allows viewingEveryone appreciates its skills and difficulty. However, in the process of stage practice, the actors use it with purpose, occasionally act as a directional performance of some objective environments on the stage, such as crossing mountains, creeks, crossing windows, and high places, as well as the revelation of the characters when they are excited.
Stick one foot
Performance skills. The actor stands on the stage with one leg, lifts the other leg to the front waist, straightens the upper body and holds the abdomen, keeps the columns 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 and are also an indispensable skill for intermittent pauses and changing rhythms in performance program combinations such as “jumping big frames”. In the first play of Xiao Wu in traditional Cantonese opera, Luo Cheng wrote a book. The actor who played Luo Cheng had to tie one foot on the stage and sing while performing. The whole process lasted for more than 20 minutes. He was required to wear high-end high-end boots to support the single leg of the body without moving. This standardized traditional performance has always been a test of Xiao Wu’s actor’s skills.
Stand up one foot
Walking a short man
Performing skills. Peking Opera is called “Short Step”, also called “Short Step”. The actor squatted down his legs, lifted his heels, and walked forward with all his feet. Because he was walking on the stage, he was half shorter than others, so he was called “walk short”. Most of them are used in the Danji industry. In the Cantonese opera stage performance, “Walking Short” 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 the “Walking Short” to show a stage image of a “three-inch nail”; the other is that the character wants to sneak in the play, so he uses “Walking Short” to interpret it. In the Cantonese opera “Shi Qian Thieves”, when Shi Qian sneaked into Xu Ning’s home, he used the “walk short” footwork. This is a performance of Wu Chou’s career. There is also the “dwarf” who shows the morphological characteristics of the characters in the play, such as the turtle spirit in the Cantonese opera “Eight Immortals Fighting the Sea”, so they use the dwarf to start fighting. Also, sometimes in certain drama scenes, the actor performs a “walky man”, stretching his hands straight in front of him and kicking his feet towards the palms in front to express the character’s joy. There are also other steps to extend the feet diagonally behind and then retract them, so that the torso of the body tilts to the left and right, dragging forward step by step. This is another step method 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. playThe officer 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 at the same time to make 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 santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum santhemum “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 “Oolong Tengpao”. 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 for performing special beards and hair on stage to express specific emotions, or actors’ skills and skills. 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 operas, and in performances, they focus more on technical performances, and are suitable for hair and beard.The merit is very important. For example, traditional Cantonese opera requires that the four skills that the regular print actress must master. The second item in “The Four Flowers and the Four Flowers” is the kung fu that is circulated. The “water hair” used for raw feet is now 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. There are also braid hanging skills that use hair to perform Komiks 1960 witch cloth draw. 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 key skills of traditional Cantonese opera include: stroking, picking, shaking, pulling, plucking, blowing, blowing, tearing, biting, banging, pushing, twisting, and other 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 is an old man.Babaylan 1990 clothes draw. Generally, he has achieved success and confidence, and has the leisure to cherish his beard. 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 simplest skill of the water hair is to hang the water hair on the actors.In front of him, he raised his head and swung it back hard, and the water hair floated 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 procedure of water hair technique is to first put the water hair in the net towel Babaylan 1990 cloth draw, then tie the net towel tightly on the actor’s head, and then wrap it tightly with wet water yarn, so that the actor can ensure that the water 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 skillsKomiks 1960 witch cloth drawSkills. 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 of the head with both hands, then press them on the waist with both hands, 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 rotating in the opposite direction.) The faster the radiance rotates, the more the actor’s skills are shown, and the more popular it is. Some actors will add “kneeling stepping” or “kneeling stepping horizontally” 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 is like the character who is physically or mentally traumatized on the stage. Babaylan 1990 cloth draw‘s passionate emotional venting and painful struggle. 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
Performing 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 used in conjunction with the whole crown movement to express the character’s temperament and style. 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. To show a rough and majestic business style, the five fingers must be opened, and the opera is called tiger claws, with a large range of movement, and often perform with both hands stroked. 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 “piercing skin” and the surface of the “piercing” orange peeled is irregularly round. In the past, people in Guangzhou also used bamboo strips to tie orange-shaped lanterns into “piercing skin”, commonly known as “piercing skin 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 step and a tight step; the foot requires a relatively large step and a fast step.quick. 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 platform look good, in the past, when training, the chicken den was placed between the legs. Only when walking the garden platform was dense and thin, the chicken den would not be crushed or fell 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 the most common stage scheduling method in Cinema 1950 witch cloth draw 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 characters in the performance program “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 on both sides of the left and right heels at the same time, 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, and the soles of the two feet kept rising and falling in turn, requiring fine steps to go evenly and densely. This is the left rub 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, first lift the left leg, and ask for the legThe height is flush with the waist, tighten the foot surface and slowly stretch out from the inside out, hook the foot surface so that the audience below can see the soles of the actor’s high boots, then swing the ankles, turn the high boots 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”. On the other hand, Komiks 1960 witch cloth draw clenched his fist with his right hand and pulled his left hand away, which is called “La Zuoshan”. 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 the features of “railing mountains” action that is 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. “Face washing is a traditional Cantonese opera performance program. The actors stretch out their hands and draw a circle clockwise or counterclockwise in front of themselves. This action is similar to washing their faces in life, while in Cantonese, the meaning of “face” and “face” are the same, so artists call this action “face washing”. “Cloud Hand” is an opera performance program. Most local opera opera types use this program. “Cloud Hand” has two types of positive and negative “Cloud Hand”. The correct cloud manual is: extend the five fingers of the left hand, straighten the palms, bend the elbows, and the palms are in the chest; the five fingers of the right hand are straightened, the palms are down, the elbows are bent, the palms are in the eyebrows, and then the left hand goes around the right chest and gradually pushes it to the left outside, changing to the clenched fist style, and then draws the semicircle from the left side from the inside to the outside, pushing the fist straight from the left front to the left and straight to the shoulder; the right hand is left from the right direction, buckles the left wrist and pulls it open to the right sideCinema 1950 witch cloth draw, with palm facing outward right and horizontal to shoulder. The “First Cloud Hand” action is completed at this point. The “First Cloud Hand” action program is similar to this Babaylan 1990 clothes drawOn the contrary. “Cloud Hand” is often used in performance combinations such as “Battle” and “Walk-Walk” in Peking Opera, which plays a role in connecting program movements. The “Face Wash” in Cantonese opera is the same as the “Face Wash” in Peking Opera, and the action procedures are similar: it is accustomed to the action of “Take the Mountain” after “Face Wash” or “Cloud Hand”. In the past, traditional Cantonese opera performances only had the program action of “Face Wash”. 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 “Face Wash”. The Cantonese opera stage now has only “Cloud Hand”. “There is no such thing as “washing the face”.
Kicking the armor
Performance skills. Actors kick up the armor skirt with a large button on the front of the body with one leg (mostly using the left leg) in the performance, which is called kicking the armor. The kicking armor performance does not point to the target or meaning on the stage, but only shows the might and momentum of the character. It also serves as a connection between the two skills of “pulling the mountain” and “body”. Because the hem and armor skirt that need to be buckled when performing the “body” need to be rotated like a windmill, the actor must kick the heavier armor skirt with his feet in advance, so that it can borrow the actor in the airKomiks 1960 witch cloth drawThe rotational power of the “car body” drives the rotation of the armor skirt. The kicking armor is mainly performed by actors in martial arts field industries such as Xiaowu, Erhuamian, and Wusheng. Although the actors in the Huadan industry have to consider the gender and identity of the character, they rarely perform kicking armor.
Zhanjia
Programming action. Peking Opera is called “debut”. With the cooperation of gongs and drums, the actors use dance movements to make short pauses, creating a statue-like stage shape. This is how it is.It is the “cracking” 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. It is also the need for actors to rest intermittently in performances, as well as adjusting the rhythm of the drama performance and the audience’s psychological appreciation needs. Cinema 1950 witch cloth draw, which has become the aesthetic prerequisite for opera audiences. “Cha” is often used in the process of the Komiks 1960 witch cloth draw 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. “Strike” has many forms of expression: for example, the single-player fights when the characters play alone; in the martial arts scene, the two will fight at the same time; in the group dance scene, multiple dancers will fight together on the stage; when encountering scenes such as “ravaged”, reunion, or when the entire scene is over, 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-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-High-H
Skip the shelf
Performance program combination. “JumpingCinema 1950 witch clothes draw” is a collective name for the various types and forms of stage performance programs of Cantonese opera. Traditional Cantonese opera has a basic performance program combination called “drilling big frames”. After the actors come on stage, they perform basic program movements such as “steps”, “small jumps”, “pulling mountains”, “one foot”, “foot hit”, “seven stars”, and “body” according to certain procedures, and finally in the middle of the stage Babaylan 1990 clothes Draw to complete the “dance of the big frame”. 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, and they can both dance with bare hands, or hold props such as horse whip to interpret the big frame; in the past, those who learn to learn the “dance of the big frame”. Because many special performances in Cantonese opera performances are related to “dance of the big frame”. Only by first mastering standardized program movements and basic skills by jumping into the big frame can they be used to master the “dance of the big frame”. Further study various special performance programs with high skills. For example, those who serve as the third flower actress will dance the “Peach Blossom Girl Floor” (for example, the play “The Jade Emperor Climbs the Palace”), and the second flower actress will dance the “Ruanzhan Floor”. (for example, the play “Six Kingdoms Farewell Prime Minister”), and the second flower girl will dance the “Tiger Floor” in “The Great Birthday of Xianghua Mountain”; the sixth branch will dance the “Dragon Suppressing Floor”; (for example, the play “The Great Birthday of Xianghua Mountain”) Xiaowu will dance the “Ruhan Floor” in “Wulang Saves Brother”. In addition to these “Shelf” with specific content, there are also brands set according to different performance programs The “fly” named by music. For example, the “fly” from the “fly” brand from the “fly” brand from the “fly” brand from the “fly” brand. Under the constraints of these “fly” brands and drums, actors try to arrange and design performance programming actions according to the needs of the plot and their own skills and characteristics, and give full play to their strengths. [/p>
Fly” performing program combination. “Fly” is a performance program developed based on the traditional Cantonese opera “jumps big frame”. “Fly” is the Cantonese opera music The name of the brand is originally called “Daiyue Piyue”. For convenience, Cantonese opera artists generally omit the previous two “Daiyue” and are simply called “Pixing”. The actors perform the dance frame while singing “Pixing” brand is called “Pixing”. The “Pixing” brand is mainly composed of flute playing and gongs and drums. According to the needs of the plot, the “Pixing” brand is lyrics and sung, and the “brand head” is used between the phrases, “open edges”, “two hammers”, and “shun three hammers” are used as intervals. The actors’ side shall follow the situation specified in the content of the drama, combined with Komiks 1960 witch cloth draw‘s own skill characteristics, designing corresponding body movements. Therefore, although different actors perform “Star Frame”, they can have the freedom to play different performance skills within the large framework of the “Star” brand.Star Frame is a performance program that fully expresses the characteristics of singing and dancing in opera art. It is mostly done by Xiaowu, and is 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 Arhat Frame
Performance program combination. Due to performance needs, senior artists from the Cantonese opera troupe went to the Buddhist temple to carefully observe and deliberately imitate the sculptures and expressions of the Five Hundred Arhats. , and then integrate the martial arts of pictographic boxing techniques such as dragon, tiger, snake, leopard, crane in Southern Fist, carefully study, and create eighteen sets of stage shapes with different shapes, named “Eighteen Arhat Frame”. In the performance, according to the plot and performance needs, one or two Arhat Frames alone are used to perform, or several of them are selected to perform. There are also several groups of all Eighteen Arhat Frames to perform on the stage. Eighteen Arhat Frames include Dragon Subduing Frames, Tiger Frames, Dragon Induction Frames, The phoenix-inducing frame, tower support frame, big belly Buddha frame, long eyebrow frame, open chest frame, sleeping Buddha frame, pipa frame, ear lift frame, cheek lift frame, umbrella support frame, rattle frame, deer support frame, hugging frame, snake catching frame, and look up the thousand-mile frame. Among them, the tower support frame, long eyebrow frame, sleeping Buddha frame, ear lift frame, rattle frame, deer support frame and look up the thousand-mile frame are seven types, including tower support frame, long eyebrow frame, sleeping Buddha frame, ear lift frame, rattle frame, deer support frame and look up the thousand-mile frame. Performers need to take dust away with their hands. Other strata are expressed through the combination of boxing, palm, fingers and waist and legs. Traditional Cantonese Opera There are eighteen Arhat Fighting in “Wu Song Fighting the Tiger” and “Drunk and Fighting the Chiang Menshen”. In the late Qing Dynasty, Xiao Wu Dongsheng, famous, once performed the first play of Erhua Noodles in “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 in the stage dispatch of “Walking on the Four Doors”, performing all the Eighteen Arhat Fightings. He was praised by inside and outside the industry and regarded as a normative classic performance by later scholars.
Walking on the Four Doors
Stage dispatch. The basic dispatch of “going to the four doors” is as follows: the actors appear from the side (the door of the stage), and then walk to the side of the clothes and tie the second rack; turn to the side of the clothes and tie the next rack and then tie the rack; go from the side of the clothes to the side of the stars and tie the rack; finally walk to the middle of the stage, so that the dispatch of “going to the four doors” is completed. Because the traditional stage of opera is a habit of calling the “going to the general and entering the court” of the characters’ up and down position “the door” and “the door of the scene”, and the dispatcher has tied up on all four corners of the stage, It means walking through four doors, which means the character has walked a lot of roads. So it is called “walking the four doors”. Traditional Cantonese opera “walking the four doors” scheduling is often combined with the “walking the four doors” performance program. That is, every time the actors walk to a “gate” and stop singing “slow board” or [Erhuang]; after singing, with the cooperation of gongs and drums, they use their dance posture to dispatch the next “gate”, 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 the four doors”. It is the complete “walking 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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