Status
Performance term. KomiksThe general term for various dance-like 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 kind of “Cinema” that the actor does not have any singing and reciting. He only relies on expressions similar to mute words. With the cooperation of gongs and drums, he uses hand-programming movements to express the various emotions in the character’s heart. The most typical and ordinary one is like in the “Water Wave” performance. The actor uses uninterrupted various actions 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 alsoThose who write “Jiangfan” and “Jiangsun” are mostly written as “Jiangsun”, 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 in the word “英”.
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.) being 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 for Babaylan, with the purpose of giving the audience a 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. Up to the 1920sIn the era, Cantonese opera has appeared again with “all-female class” performed by actresses. The Guangdong drama “Komiks” plays such a male actor playing a female role, and the actress playing a male role, 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 originally female character changed to a male, and finally returned to her original daughter, or changed to a male character to a female makeup, which also restored the identity of a male character. In the performance, the performance and singing techniques were flexibly changed according to the stage standards of the changed role’s career. Cantonese opera also called it “cross-dressing”. Guangxi Cantonese opera actor Pan Chuhua is a flower actress. In the first play “The Female Prince Consort”, he played a lady. He was persecuted by a traitor, changed to dress up as a man, went to Beijing for the exam, and was recruited as a son-in-law. Finally, with the help of the princess, he 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 Confusing the Dragon and the Phoenix”, 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 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 is in front of his left foot, lifts up his heel first, uses the soles of his feet as support, and slids his right foot from behind to forward., place the soles of the foot horizontally in front of the left foot. When the right foot touches the ground, the left foot jumps up lightly, and then puts it in front of the 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 Babaylan: “Stimulated 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 range of movement, it is called “small jump”.
Car Body Cinema
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 with your fingersCinema respectively extends to the left and form 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 the performers of Cantonese opera 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 are generally combined with three “car body”. Traditional GuangdongIn the martial arts drama, 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 through Cinema‘s cross-sex action (such as three “car bodies”, back and “step on the seven stars”).
Swing feet
Performance 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 also developed the combination of techniques such as “flying feet” after completing the “flying feet” 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 feet, flew legs, swivels”; “flying feet, flew legs, 360-degree swivels”; The “slipping” technique expression does not have specific plots and emotional colors, but is just a purely skill-presentative performance technique, which mainly allows the audience to appreciate its skills and difficulty. However, in the process of stage practice, Babaylan, through the purposeful use of the actors, it occasionally serves as a reference to some objective environment on the stage.Directional performances, such as supporting actions such as crossing mountains, hiking streams, crossing windows, and being on the top of the high ground, as well as the revelation of the character’s emotions when he is 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 Writing a Book”, the actor who plays Luo Cheng has to tie 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 legs. 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. 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 coherence, 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 “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. 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 a male and female classmate, the actress was a female actor.Due to the limitations of the innate conditions of the body, it becomes more difficult for the Huadan to exert his 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: black, white, blue, red, five colors, etc.; the latter two are beards that use Komiks in flower surfaces, and the five colors are 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 Babaylan in traditional Cantonese opera has various performance techniques such as: stroking, picking, shaking, pulling, plucking, blowing, blowing, spreading, tearing, biting, banging, pushing, twisting, etc. 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 who have black beards are middle-aged and have a lot of energy to focus 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 he hit the palace gate one by one. Finally, he hugged the beard and hit the palace gate with his head, and used his head 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 procedure of water hair technique is to first put the water hair in a net towel, then tie the net towel tightly on the actor’s head, and then wrap it tightly with wet water yarn, so 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 also rotates in the opposite direction). The faster the water hair turns, the more it shows the actor’s skills and is more popular with the audience.good. 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-stroking
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 is traditionThe beard stroke movements of Zhengsheng, Wusheng, Gongjiao and other professions in Cantonese opera are different if they perform beard strokes in Jing (2 Huanong) and outer (big Huanong). 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 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 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 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 PerformanceThe program “jumping the beam” and “knurling the gong side knurling” all 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) convey 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. A step is a step used when a character is in the play, or when he is in an unexpected and happy manner, or when he is forward to plead or plead with others; Cinema or when he is angry and rushes forward to reason.
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 procedure is that the actor is on the stage and stands firmly. First lift the left leg, requiring the height of the leg to be level with the waist, tighten the foot surface and slowly extend it from the inside out, and 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, and 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 “show 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 from 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. KomiksThe 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 right hand with five fingers, palms facing outward, pulling it away 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 “straight” movement of Cantonese opera is a unique feature. It is a left hand on the hip, the right hand is flat with the shoulder, and the right hand is a big finger to form a curve., the other four fingers are closed together and pulled upward, and pulled away from the front of the chest to the right, which is “pulling the right mountain”. 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, and the original Cinema has no directive meaning. 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 manual: 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 palms are facing down, the elbows are bent, and 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 draw a semicircle from the left side flat shoulder from the inside to the outside, pushing the fist forward to the left front and straight to the shoulder; the right hand goes from the right direction, buckles the left wrist, pulls it open to the right, and the palm of the hand is facing outward, and is 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 is accustomed to the action of “pulling the face” or “cloud hand” after “cloud hand”. In the past, traditional Cantonese opera performances only had the program of “washing faces”, which was in the 20th century.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 washing”. 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 instantly attracts the audience’s attention to the “cracking” actors, just like a close-up shot in film and television art. Concentrated and prominently display the character’s mental state. It is also the need for actors to rest intermittently during performances, as well as adjusting the rhythm of drama performance and the audience’s psychological appreciation needs, which has 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. “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, as long as the plot requires, you can use the “Zhanjia” program action Babaylan.
Water Wave
Performance Program. The character starts at any location on the stage, and uses a semi-park-shaped line to quickly walk to another character, communicates with the opponent with the performance that indicates inquiries and observations, and then returns to the original place, performs (or performs the “before the “combination” in the opposite direction, and uses the same semi-arc scheduling to ask and observe other characters) explains the role to the audience through the performance to think, and the left and rightThe whole process of being embarrassed and fighting against the indecisive thoughts until the end of making up the decision. Because this performance program is performed with “Water Waves” gongs and drums, and as the gongs and drums are sometimes fierce and sometimes slow, sometimes temporarily paused and sometimes continuous, they are continuous and other different rhythms to express the emotional ups and downs in the performance, the opera industry calls this performance program “Water Waves”. “Water Waves” is a unique performance program in Cantonese opera. Performances in the performances of “three-five”, “forced back”, “breaking the net scarf”, “killing ZhongzhongBabaylanwife”, especially during the court trial, the performance of “water waves” is 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 both jump to the big frame with bare hands, and can also play with props such as handles or horse whip. In the past, Cantonese opera troupes learned to master the “jumping 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”. (For example, the play “The Six Kingdoms Farewell Prime Minister”) and Erhuanen should dance the “Tiger Frame” in “The Great Birthday of Xianghua Mountain”; the sixth branch should dance the “Dragon Frame”; (For example, the play “The Great Birthday of Xianghua Mountain”) Xiaowu should dance the “Arhat Frame” in “The Great Birthday of Wulang Saves Brother”. In addition to these “shelf” with specific content, there are also “shelf” named after brand music set by different performance programs. 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, the original nameIt is called “Dai YueCinemaPi Yue”. For convenience, Cantonese opera artists generally omit the previous “Dai Yue” and are simply called “Pi Xing”. 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 playing and gongs and drums. According to the needs of the plot, the “Pixing” brand is written and sung, and the “Pixing” brand is used to use “brand head”, “open edge”, “two hammers”, and “straight three hammers” as intervals. The actors design corresponding body movements according to the situation specified in the content of the drama and 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 senior artists of the Cantonese opera troupe, they 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 dragon, tiger, snake, leopard, crane and other elephants in the Southern Fist. They carefully studied and created eighteen sets of stage shapes with different shapes, named “Eighteen Arhats Frame”. In the performance, according to the plot and performance needs, one or two Arhat stands alone, or several of them are selected to perform, and all the Eighteen Arhat stands are used to perform on stage. The Eighteen Arhats include dragon-subduing frames, tiger-subduing frames, dragon-sucking frames, phoenix-supporting frames, tower-supporting frames, big-bellied Buddha frames, long-brow frames, open-breasted frames, sleeping Buddha frames, pipa frames, ear-supporting frames, cheek-supporting frames, umbrella frames, rattle frames, deer-supporting frames, seal-catching frames, snake-catching frames, and thousands of miles of waiting frames. Among them, there are seven types of mounts, including tower support, long eyebrow support, sleeping Buddha support, ear lifting frame, rattle frame, deer support frame and watch thousands of miles. The performers need to use dust to remove the dust in their hands. The other mounts are expressed through the combination of fist, palm, finger and waist and leg skills. The traditional Cantonese opera “Wu Song Fights the Tiger” and “Drunk Beat Jiang Menshen” have performed the Eighteen Arhats. The famous Xiaowu Dongsheng in the late Qing Dynasty, he once performed the first play of Erhuan’s “Wulang Saves Brother” in the late Qing Dynasty. When he played Yang Wulang drunk and returned to the Buddhist temple, he combined with the Shaolin drunk Eight Immortal Fist, singing and dancing in the stage dispatch of “Four Doors”, performing all the Eighteen Arhats. He was praised by inside and outside the industry and regarded by later scholars as a normative classic performance.
Go to four doors
Stage dispatch. The basic scheduling of “walking on the four doors” is as follows: the actor appears from where (the door of the field), and then hangs at the entrance of the “Hudu Gate”, then walks in a straight line to the side of the clothes to tie the second frame; turn around and then tick the end of the clothes to the side of the clothes to tie the next door again;Stretch; walk from the edge of the clothes diagonally through the stage to the end of the stage; finally walk to the middle of the stage to form a simultaneous connection, thus completing the “four doors” dispatch. Because the traditional stage of opera is used to refer to the “going generals and ministers” in the role of the role of the role of the “going door” and the “going door”, and the dispatching actor has tied up in all four corners of the stage, which means that he has walked through four doors, which means that the role has walked a lot. So it is called “walking through the four doors”. The traditional Cantonese opera “going to four doors” scheduling is often combined with the “going to four doors” performance program. That is, every time an actor walks to a “door”, he will sing a sentence “slow board” or “erhuang” while walking to a “door” and sing another sentence until he stops in the middle of the stage. In the Cantonese opera “Iron Horse and Silver Marriage”, Zhang Dingbian was defeated and went on stage with a big knife and a horse whip in his hand and sang and danced while “walking on the four doors”. It’s a complete “Four Doors” performance. [/p>
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 Stars’ Skills” by Lian Min’an (Hong Kong Yijin Publishing Plan Co., Ltd.) “Liyuan Drops” by Zhu Boquan (Hong Kong Yijin Publishing Plan Co., Ltd.) “Hong Kong Cantonese Opera Road” by He Jiayao (Hong Kong Yijin Publishing Plan Co., Ltd.) “GuangfuBabaylan Common Words” by Pan Yongqiang Sanlian Bookstore (Hong Kong) Co., Ltd. “Miscellaneous Memories of Overseas Chinese Hometown” Lu Feng (Hualing Publishing House) “Chinese Opera Chronicle Guangdong Volume” Xie Binchou and Mo Rucheng (Published by China ISBN Center) “Chinese Kunqu Opera Dictionary” Wu Xinlei (Nanjing University Press) “Chinese Opera Quotation Dictionary” Shanghai Drama Association and 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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