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 a bird swaying in the shape of a bird wing, which is a pictographic imitation; or, when he saw the river surging in front, the actor pointed his hand and then his hands were slightly fluttering and shaking up and down, which was 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 hand-making that the actor does not sing or chant, but only uses a mute expression method similar to mute words. With the cooperation of gongs and drums, hesitation and extreme contradictions are used to express the character’s inner emotions. The most typical and ordinary one is like the “Water Wave” performance. In the “Water Wave”, the actor uses uninterrupted hand-making 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 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 “Newly edited GuanmuKomiks” 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 kind of noun term that has long been clearly discussed has been used, and has changed its original meaning, given another explanation, and can be passed down; this phenomenon is not uncommon in Cantonese opera troupes. For example, GuangdongThe commonly known term “sing the mind” in the theater troupe means to see.
Kefan
Performance term. There are also those who write “Science Style” and “Science Spring”, and most of Cantonese operas are written as “Jie”, also known as “Jiekou”. 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 genre is an artistic feature of opera dance performances. “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, with the purpose of giving the audience a sense of novelty. In feudal society, it was forgiven by feudal etiquette and law,Cantonese opera is 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 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. She played a lady in the first play “The Female Prince Consort”. She was persecuted by a traitor. She 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, she was unjustly despised 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 finding misunderstandings, he dressed up as a woman. This is another “cross-dressing” of a man turning into a woman. Some Cantonese opera actors 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 the Zhongzhou pronunciation Komiks 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, which are used to reduce the number of words.Save strokes and turn “Tao” into “Da”. 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 action is terminated. For example, when Xiao Wu performs the “Kowloon’s Knurled Border”, he rushed up from the infield and used “small jump” and then stalked. At this time, the “small jump” is a reminder to the applause master who plays the gong and drums, Cinema let the gong and drums stop just when the actors stalked. 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. As the saying in Guangzhou: “Stimulate to jump”, “small jump” means to vividly express 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
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 of their feet 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 “car body” as a combination. In traditional Cantonese martial arts, the robe and armor worn by the military generals have two colorful “armor skirts” on the hem, and are accompanied by several silk ribbons of different colors.When the actor is doing the rotational movement, the “armor skirt” and the ribbon will be driven by the body and float like a windbreaker. Therefore, artists use “car body” to name this action. The word “car” here is used as a verb interpretation. “Car Body” usually appears in the group performances such as “uprising”, “pointing generals”, “sacrificing flags”, and “battle” in traditional martial arts. Focus on showing the ritual scenes in military life and the interweaving of the two armies. During the performance, the “car body” is rarely used alone. It is mostly used in program action combinations as a connecting action (such as three “car bodies” connected to “slide feet”), or a transitional action (such as three “car bodies”, back and “step on the seven stars”).
Swing feet
Performance skills. It is similar to the “flying legs” (flying legs) of Peking Opera Komiks. 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, 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 raised to the front of himAt the waist, the upper body is straightened and the abdomen is tightened, and the column is upright to maintain balance; 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 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. The word “典” in Guangzhou dialectIt means folding. This technique is to use the actor’s waist as the axis and bend forward and backward respectively. The troupe calls it “skewing waist”. 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 the age of male and female classmate, the female actors were the actresses. Due to the limitations of the physical condition, it became more and more difficult for the female actors to exert their skills. But there are also many outstanding people. The famous actress Yu Lizhen can be turned around for more than 800 times, but no one can match it yet. Braid hanging skills are also used to perform using hair. The colors of traditional Cantonese opera beards are: black, white, cyan, and redFive types, including five colors, etc.; the latter two are the beards used for flower surfaces, and the five colors must be the beards unique to Cantonese opera. The types of whiskers are divided into: full-hu, five-string, three-tie, pricking, hanging mouth, tooth whiskers, 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. BabaylanSubject to different performances and the different identities and emotions of the characters in the play, the performances are different. For example, martial artists and male feet generally use techniques such as stroke, pick, lift, blow, throw, and bounce; flower surfaces are performed by tearing, pulling, pushing, plucking, and biting; Chou students only use twisting their whiskers to express them. The key points of traditional Cantonese opera include: “There is less black beard and more white beard.” Because those with black beards are middle-aged and their energy is mostly focused on fame or livelihood, they have no intention of having to entertain themselves. White beard means that people are old and generally have achievements. If they are full of ambition, they will have leisure and care for their beards. When the senior martial artist Xin Baicai performed “Breaking the Palace Gate”, he knelt down at the palace to persuade the king. He knelt step by step and threw his beard to the palace gate. The king was closed. He used his long beard from right to left, and then he hit the palace gate one by one. Finally, he hugged the beard and hit the palace gate with his head, and tried to persuade the king to die. This is a famous example of outlining the character’s personalities with Xu Gong’s performance.
Shuifa
In ancient opera costume dramas, men before the Ming Dynasty all grew long hair. Opera was based on their artistic characteristics and creative concepts, beautified into an ornament, and then developed into performance skills. The water hair book was introduced from Peking Opera. The simplest skill performance of water hair is to hang water hair in front of the actor, tilt his head and swing it back hard, and the water hair floats behind him. Therefore, Peking Opera is called “hair-brushing”. The pronunciation of the word “北” is similar to the pronunciation of the word “北” in Guangzhou dialect. People in the Cantonese opera industry mistakenly call “北” as “北”, so it becomes “北”. The performance program of water hair technique is Babaylan. First put the water hair in the net towel, then tie the net towel tightly on the actor’s head, and then wrap it tightly with wet water yarn. This can ensure that the water hair will not fall off 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 actors stand on the stage, facing the audience, the water is spinning horizontally, and those with higher skills and attainments will beThe body rotates in a forward or reverse direction with the direction of the rotation of the water hair, which 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 it 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 performing kneeling on both knees, she also arranged eight dental 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”, and passed through the eight dental actors. Their exuding skills were orderly and would not be entangled with each other. Yu Lizhen was unable to show her skills at the time.
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. The actor is to stroke his beard with both handsThe thumbs and middle fingers of both hands are clamped and stroked down at the same time, and are 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 turned Cinema, and both parties 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 skill in Cantonese opera martial arts scenes. Guangzhou people have the habit of eating peeled oranges in winter after scalding them with boiling water. In Guangzhou, people call peeling peeling “pickled skin” orally. The surface of the peeled orange is irregularly round. In the past, people also used bamboo strips to tie the orange-shaped lanterns into “pickled” oranges, commonly known as “pickled skin oranges”. 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, the chicken den was pinched between the legs during training. Only when walking the garden platform was dense and thin, the chicken den would not be crushed or dropped. 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. Traditional Cantonese opera performanceThe footwork used by the staff in program performances is often used by Komiks, which is called “successful” in Peking Opera. The actor’s front foot (usually accustomed to put his left foot in front) moves forward, and the back foot takes a step forward with the heel and steps in the original position of the front foot. At this time, the front foot takes a step forward. Because the steps of the front and back feet are tightly connected together, it is called “step-to-step”. Because most of the artists in Cantonese opera troupes lacked culture in the past, they recited the word “子” into the word “子”, which was passed down and has been mistaken until now, and is called “子”. In the traditional Cantonese opera “The Six Kingdoms’ Grand Priest”, the actress frequently uses “snaps” to express the excited mood of the character in the performance program of “Turning Cart”. Traditional Cantonese opera performance programs such as “jumping the beam” and “knurling the gong side knurling” use multiple “snap steps”. The role of “snap steps” on the Cantonese opera stage is (1) generally expressing the form of the actors in the play when they are rushing; (2) adjusting the rhythm of the actors on the stage; (3) mostly use them as preparatory actions before the actors’ appearance; (4) conveying the “shadow head” that the actors must be snap to the masters who play gong skills.
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. The eyes should be the same as the rubbing step, and his hands should shake according to the emotions to be expressed by the character; or point 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 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 “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”. Normal positive characters appear on the sceneThe sole of the boot indicates that he is steady and mighty. If the villain comes on stage, it highlights his arrogance and arrogance. It can play a role in reflecting the character’s character.
Lashan
Program action. The action procedure of “Lashan” is: clench the fist with the left hand, extend it to the left and keep it flat with the shoulder; extend the five fingers with the palm of the hand, pull the palm outward from left to right, and be flat with the shoulder; this is called “Layoushan”. Conversely, clench the fist with the right hand and pull it open with the left hand, it is called “Lazushan”. Most local operas have basic stage performance movements such as “Lashan”. The traditional “Lashan” movement in Cantonese opera is a different style. It is a left hand on its hip, the right hand is flat with its shoulder, the big fingers of the right hand are curved, and the other four fingers are tied up and pulled from the front of the chest to the right, which is “Laye Mountain”. The left and right hands are changing movements between each other is “Laye Mountain”. If you put your hands on your chest and do the “Laye Mountain” movement, pulling them apart to the left and right sides; it is called “Zhengshan”, and it is also called “Kaishuangshan”. Traditional Cantonese opera performances also choose different “Laye Mountain” movements according to different performance activities, such as Erhua Face Lashan, and “Lashan” fingers The five fingers must be opened, which is called “tiger claws”; the “Lashan” movement is higher than the top of the head, which is called “Bongtoushan”; it reflects a rough and majestic style. When playing the Xiaowu industry, you must bend the three fingers of the masculine, ring finger, and tail finger; close and straighten the index finger and middle finger. This shape of “Lashan” is called “sword finger”, which shows his handsome and elegant character style. The “Lashan” of Huadan or Wudan only pulls the hand movements to the middle height between the shoulders and waist to show his softness and charm. These are the characteristics of “Lashan” movements that are different from brothers’ dramas. “Lashan” is a journey The stylistic movement has no meaning in itself. It was originally used to use the “opening mountain” static movement when practicing, as a training method for actors’ upper limb balance, called “Dingshan” (called “dengfang” in Peking Opera). “Lashan” is used on the stage, and its main functions are: 1. The actors are used to maintain body balance when performing on stage; 2. The transition and connection between program movements; 3. In the process of program combination, it is used to indicate strengthening strength; 4. The clutch (debut) after a series of combined actions is completed.
Facewashing (cloud hand)
Programming action. “Facewashing” is a traditional Cantonese opera performance program. The actor straightens his hands, Cinema draws a circle clockwise or counterclockwise in front of oneself. This action is similar to washing face in life, while in Cantonese, “face” and “face” mean the same, so artists call this action “face washing”. “Yun Hand” is a program action for opera performance. Most local opera operas use this program action. “Yun Hand” has two types of forward and reverse “Yun Hand”. Zhengyun manual: extend the five fingers of the left hand, straighten the palm of the hand, bend the arm and elbow, and the palm is in the chest; extend the five fingers of the right hand, straighten the palm of the hand, bend the palm of the hand, bend the palm of the hand, and bend the palm of the hand, then the left hand goes around the right chest and gradually pushes it to the left outside, and becomes a clenched fist style, and then draws a semicircle from the left side from the inside to the outside, pushing the fist forward from the left front to the left and straight to the shoulder; the right hand is from the right direction left,Push your left wrist, pull it away to the right, and the palm of your hand is facing outward to the right, and level with your shoulders. “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 the face”. After the 1930s, the exchange of skills between Cantonese opera and brother opera became increasingly close, so the “cloud hand” was introduced into Cantonese opera performances, gradually replacing “washing the face”. There is only “cloud hands” on the Cantonese opera stage now, but no “face washing” program action.
Kicking armor
Performance skills. During the performance, an actor kicks up the armor skirt with the bottom of the big button on his body with a single leg (mostly using the left leg) and is called kicking armor. The kick-off performance does not have specific targets or meanings on the stage, but only shows the might and momentum of the character. And as the connection between the two techniques of “pulling the mountain” and “car body”. Because the hem and the armor skirt need to be buckled when performing the “body” are swirled like a windmill, the actor must kick the heavier armor skirt with his feet in advance, so that it can use the rotation power of the actor’s “body” to drive the armor skirt to rotate in the air. The kicking armor is mainly performed by actors such as Xiaowu, Erhuamian, and Wusheng who wear big buttons. Even though actors in the Huadan industry have to consider the gender and identity of the character, they rarely perform in a kick.
Scratch
Program actions. Peking Opera is called “debut”. With the cooperation of gongs and drums, the actor used the dance movements to make short pauses, creating a statue-like stage shape. This is the “clustering” of Cantonese opera. It is like a close-up shot in film and television art, instantly attracting the audience’s attention to the “cracking” actors. Concentrated and prominently display the character’s mental state. 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, which has become the aesthetic setting of opera audiences. “Cha” is often used in the process of the character Babaylan‘s appearance or ending. 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 strife in the role of a single person; in the martial arts scene, the two will strife in the end of the fight, and the group dance scene, and multiple dancers will appear on the stage to strife together; when encountering “Strike up”,When reunion and other scenes or the end of the entire scene, all the actors present squashed 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. The performances are performed in the “three-five”, “forced against”, “breaking the net scarf”, “killing the loyal wife” and other podiums, especially during the court trial, “water waves” will be 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 jump to the big frame with props such as handles or horse whip; in the past, those who practiced the Cantonese opera troupes had to learn to hold the “leap to 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. It was originally named “Daiyue Piyue”. For convenience, Cantonese opera artists generally omitted the previous “Daiyue” and are abbreviated as “Pixing”. The actors perform the show while singing the “Star” brand is called “Star” and it is called “Star”. The “Pixing” brand is mainly composed of flute playing and gongs and drums. According to the needs of the plot, the “Pixing” brand is written and sung, and the “brand head” is used, “open the edge”, “two hammers”, and “straight three hammers” are used as intervals between the musical phrases. 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 pictographic boxing such as dragon, tiger, snake, leopard, and crane in the southern fist, carefully pondered, and created eighteen sets of stage shapes with different shapes, named “Eighteen arhats”. 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 “going to four doors” is as follows: the actor appears from where (the door of the field) and is in “Tiger”The door is tied to the door (debuted), and then walk in a diagonal straight line to the side of the clothes to tie the second frame; turn to the side of the clothes to the side of the clothes and tie it again; walk from the side of the clothes to the side of the clothes to the side of the stage to the side of the stage; finally walk to the middle of the stage, so that the “going four doors” dispatch is completed. Because the traditional stage of opera is a habit of calling the “going generals and entering the court” of the character’s up and down position “the door” and “going the door”, and the dispatching actor has tied to the four corners of the stage, which means that the character has walked through many roads. Therefore, It is called “Go to Four Doors”. Traditional Cantonese opera “Go to Four Doors” is often combined with “Go to Four Doors” performance program. That is, every time an actor walks at a “door”, he will sing a sentence “Slow Board” or [Erhuang]; after singing, with the cooperation of gongs and drums, he will dispatch to the next “door” with his dance posture, and sing another sentence until he sings 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 “Go to Four Doors”. This is the complete “Go to 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.) “Exploring the Incidental Language” by Pan Yongqiang Sanlian Bookstore (Hong Kong) Co., Ltd. “Miscellaneous Memories of Overseas Chinese Hometown” by Lu Feng (Hualing Publishing Plan Co., Ltd.) “Chinese Opera Chronicle” by He Jiayao (Hong Kong Yijin Publishing Plan 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 House) “Chinese Opera Chronicle” by He Jiayao (Hong Kong Yijin Publishing Plan 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 House)” by Chinese Opera Chronicle (China Opera Chronicle) 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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