Qin dialect is not a type of drama?

Qin dialect is a kind of local opera that originated in Shaanxi, the hometown of the Western Zhou Dynasty. Simple, rough, bold, exaggerated, with a strong atmosphere of life. Of the eight monsters in Shaanxi, one of the monsters is "singing and roaring", which is the rough and heroic when singing the Qin dialect.

I heard Qin dialect when I was very young, it was in the mid-80s of the last century, in the radio, every night after 10 o'clock, I could always hear a desolate music on the hand phone, people seemed to be crying, but the voice sang very high-pitched. With dim lighting and sometimes kerosene lamps, the situation is even more bleak. In fact, I was too young at that time to know this Qin dialect.

In my opinion, as a local opera, the Qin dialect is relatively close to the style of opera in the northwest ethnic minority areas, and the singing voice is free and dripping, which seems to be an indulgent singing on the grassland, expressing personal feelings to the fullest, and it is a type of drama with relatively exposed feelings. The style is robust and clear, compared with southern operas such as Yue Opera and Huangmei Opera, the Qin dialect is much more masculine and rough. However, because of this kind of masculine roughness, it seems too rustic under the impact of the wave of market economy.

At present, the spread of the Qin cavity is mostly limited to the northwest region, and it is also in a state of shrinking in other places in the northwest region except Shaanxi. Although there are many Qinhua opera troupes in Xinjiang, there are still relatively few folk opera fans, and in terms of mass communication, Qinhua is even less widely spread than Henan opera in Xinjiang.

As far as I know, in addition to being popular in Henan, Henan Opera is also popular in Shandong, Shanxi, Hebei and other provinces, and the mass base is quite deep. The Yue Opera board map mainly includes Zhejiang, Jiangsu, Shanghai and other Jiangsu and Zhejiang regions, and this piece is precisely the most populated place, and the audience is very wide. Huangmei opera sings mellowly, very peaceful, in addition to Anhui, there are a large number of fans in the Jianghuai area.

Although the three operas of Henan Opera, Yue Opera and Huangmei Opera are also local operas, they have all had a national impact. An important symbol is that the people of the whole country can hum two voices on these three kinds of local operas, Chang Xiangyuyu's famous opera "Mulan" "Who said that women are not as good as men"? Ask the Chinese, who can't sing?

Yue Opera's "Sister Lin Fell from the Sky" and Huangmei Opera's "Tianxian Match" are also familiar to the people of the country. But as for the Qin dialect, there is no famous singing section that is known throughout the country.

Therefore, the Qin dialect is not as influential as Henan opera, Yue opera, and Huangmei opera in Chinese local opera, and even inferior to Ping opera. The status of the Qin dialect is a bit like the two-person turn in the Northeast, and the regionality is too strong, which restricts their national spread. Despite this, the Qin cavity has long become a living fossil of ancient Chinese culture with its profound cultural heritage, and its cultural and historical value is being increasingly discovered.

Belonging to the Qin dialect, it is the main local opera popular in Northwest China. Qin cavity is originated in ancient Shaanxi, Gansu area of the Han folk song and dance, in ancient China's political, economic, cultural center Chang'an grew up, through the creation of generations of people and gradually formed, because since the Zhou Dynasty, the Guanzhong area is called "Qin", Qin cavity is named after this.

The Qin cavity can be divided into two roads: the west road flows into Sichuan and becomes Bangzi; The East Road is a Jin opera in Shanxi, a Henan opera in Henan, and a Bangzi in Hebei. Qin cavity is also known as "Qin Sheng", "Random Bullet" and "Bangzi Cavity".

After the middle of the Qing Dynasty, Beijing and other places were also called "Western Qin Dialect" and "Shanxi Bangzi". In Shaanxi, the Qin dialect has evolved into four roads due to the differences in local dialects and pronunciations: it is popular in the Tongzhou (now Dali) area of the eastern capital of Guandong, which is called "Tongzhou Bangzi" (that is, the Qin dialect of the East Road); It is popular in the Xi'an area of Zhongfu, which is called "Xi'an Random Bullet" (that is, the Qin dialect in the middle road); Popular in the Fengxiang area of Xifu, it is called "Xifu Qin Cavity" (that is, Xilu Qin Cavity); It is popular in the Hanzhong area, called "Han tune 桄桄" (that is, the Qin dialect of the South Road).

Qin cavity, also known as random playing, originated from the West Qin cavity, popular in Shaanxi, Gansu, Qinghai, Ningxia, Xinjiang and other places in the northwest of China, and because it uses jujube wood bangzi as a percussion instrument, it is also called "bangzi cavity", commonly known as "桄桄子" (because of the "trance" sound when hitting the knot). At the end of the Ming Dynasty, the legend of the anonymous "Lotus in the Bowl" used the song card of the two offenders of the Western Qin dialect, so it is known that it originated in Gansu. Gansu was called West Qin in ancient times, hence the name.

During the Kangxi Dynasty of the Qing Dynasty, Zhang Dingwang, a native of Jingyang, Shaanxi Province, wrote "The Theory of Qin Cavity", which shows that Qin cavity has developed into a mature period at this time. During the Qianlong period, Wei Changsheng entered Beijing to perform the Qin dialect, which caused a sensation in Beijing. It has a direct impact on the formation of the sound cavity of Bangzi in various places.

Qinqiang opera, also known as "Bangzi opera", is one of the oldest dramas of the Han Chinese people, originating in the Western Zhou Dynasty and originating in Xifu (the core area is Qishan (Xiqi) and Fengxiang (Yongcheng) in Baoji City, Shaanxi Province).

Matured in Qin. [1] It is one of the national intangible cultural heritages.

In ancient times, Shaanxi and Gansu belonged to the Qin State, so it was called "Qin Cavity". Because in the early Qin dialect performance, it was often accompanied by jujube wood bangzi percussion, so it was also called "bangzi cavity".

After the Qin cavity was formed, it spread throughout the country, and because of its complete set of mature and complete performance system, it had a different degree of influence on the opera genres in various places, and directly influenced the Bangzi cavity to become the ancestor of the Bangzi cavity opera.

Qin's performance skills are simple, rough, bold, full of exaggeration, strong life atmosphere, and rich skills.

On May 20, 2006, it was approved to be included in the first batch of national intangible cultural heritage list. ICH Number: -16.

Qin cavity should be regarded as a kind of singing cavity.

Four lives, bai six dan, two.

Clean, ugly. du

Qin's performance is self-contained, and he is ugly, and dao has its own merits. The role version system of Qin Yan has four lives, six rights, two nets, and one ugly, a total of thirteen doors, also known as "thirteen nets". Its outstanding characteristics are mainly reflected in the singing, Xu Sheng, Tsing Yi, Lao Dan, and Flower Face multi-horned singing, so it is also called "singing and playing".

There is a folk saying that "Dong'an Anxi is slow, and Xi'an sings a good mess".

These boards are played indiscriminately, and there are dozens of sentences long. For example, in "White Palace", Emperor Xian's instrument is played indiscriminately, and more than 50 sentences must be sung, and the singing is chic and natural, beautiful and beautiful, and the folk call it "crisp board playing".

Qin cavity has all the characters.

There is a unique source of style and specialty. When singing, it must be baisheng, Tsing Yi, du laosheng, laodan, and flower face are sung again, so it is also called "singing and playing dao".

The old students are divided into the old students, the old students of the declining school, the old students who rely on the old students, the old students who rely on the hats, the people who rely on the handles, the yarn hats, the robes and the red students.

Xiaosheng is divided into pheasant tail students, yarn hat students, poor students, martial arts students, young students, old Dan, Zhengdan is divided into sleeve Tsing Yi, python belt Tsing Yi.

Xiao Dan is divided into boudoir Dan, Dao Ma Dan, Hua Dan is divided into joke Dan, spicy Dan, Wu Dan, matchmaker, Dajing, Mao Jing.

Ugliness is divided into big clowns, clowns, and martial clowns.

The role of Qin Yan is divided into Shengdan Jing Ugly. The role system of the Qin dialect has four lives, six dans, two nets, and one ugly, with a total of thirteen doors, also known as "thirteen nets". Its outstanding characteristics are mainly reflected in the singing, Xu Sheng, Tsing Yi, Lao Dan, and Flower Face multi-horned singing, so it is also called "singing and playing".

There is a folk saying that "Dong'an Anxi is slow, and Xi'an sings a good mess".

These boards are played indiscriminately, and there are dozens of sentences long. For example, in "White Palace", Emperor Xian's instrument is played indiscriminately, and more than 50 sentences must be sung, and the singing is chic and natural, beautiful and beautiful, and the folk call it "crisp board playing".

Qin cavity singing. The singing cavity of the Qin cavity is a plate variation, that is, a tune is used as the key, and a series of different plate styles are formed through changes in beat, rhythm, melody, speed, etc. The Qin cavity singing cavity includes two parts: "board road" and "color cavity", and the board road has six basic plate types, such as two six plates, slow boards, arrow boards, two inverted plates, belt plates, and rolling plates.

Color cavity, commonly known as "two tones", is an octave of pitch, and is mostly used in the emotional turmoil of the characters and the ups and downs of the plot development. The Qin dialect is sung with a false voice, and the drag tone must be attributed to the "An" rhyme, which is full and hearty to listen to, and is extremely expressive, which is also the difference between the Qin dialect and other local operas.

The above content refers to Encyclopedia-Qin Cavity.

The history of development is relatively noteworthy, with a very far-reaching and long history. It is one of the oldest dramas of the Han nationality in China, which began in the Western Zhou Dynasty and gradually matured during the Qin Dynasty. Later, it was included in the first batch of national intangible cultural heritage lists.

It was very popular in ancient Shaanxi and Gansu. It's been a long time coming.

As early as the Western Zhou Dynasty, this art existed in the core area of Xifu, and finally reached its peak during the Qin Dynasty, and in the long process of development, it absorbed other miscellaneous operas and formed a unique artistic style.

The Qin cavity originally emerged in the northwest of China, originated in the Tang Dynasty, became mature in the Ming Dynasty, and reached its peak during the Qing Dynasty, and was the first batch of national intangible cultural heritage in China.

Qin's performance is a family of its own, and it is ugly and ugly, each with its own merits. Qin Yan's role system hasFour lives, six dans, two purities, and one ugliness, a total of thirteen doors, also known as "thirteen nets".

The roles of Qin Yan are divided into four categories: sheng, dan, pure, and ugly.

Qin dialect is associated with many operas.

The Qin cavity has the greatest connection with Hebei Bangzi, because the Qin cavity is also called "Bangzi cavity", and the singing cavity is high-pitched and passionate, sonorous and powerful;

Regarding the characteristics of the Qin dialect mask and its relationship with the Peking Opera mask, Peking Opera draws on the experience of the Qin dialect mask. In general, the Qinxiang mask is more complex than the current Peking Opera Jingjiao mask, especially the eyebrow pattern is relatively fragmented. Although the current Peking Opera Jingjiao mask is relatively simple and neat, many of the patterns of broken and crooked faces in the early years of Peking Opera are still fine.

The complexity of the Qin dialect mask shows that it is more classical than the current Peking Opera Jingjiao mask. There are many masks in the Qin dialect masks that are similar to those of Peking Opera, such as Guan Yu, Bao Zheng, Meng Liang, Jiao Zan, Hu Yanzan, Li Yuanba, etc. Between opera and opera, other art forms such as opera and dance drama and ** opera have a tendency to homogenize.