Kun Opera, formerly known as "Kunqu Opera" Kunshan opera "(referred to as" Opera in Kunshan Province "), yes China archaic Traditional Chinese opera Tunes used in traditional Chinese operas , Genre of drama Now also known as" Kunqu opera ". Kunqu Opera is one of the oldest traditional Chinese operas ^[22-23] It is also a treasure of Chinese Han traditional culture and art, especially opera art, known as an "orchid" in the hundred gardens. ^[22] Kunqu Opera originated in 14th century China Suzhou Kunshan , after warp Wei Liangfu The improvement of others and to the whole country, since the middle of the Ming Dynasty has led the Chinese opera circle for nearly 300 years.

Kunqu blended Sing, read and fight It is famous for its elegant lyrics, graceful style and delicate performance, and is one of the operas under the Southern Opera system known as the "ancestor of all operas". Kunqu Opera uses drums and plates to control the singing rhythm flute , A three-stringed plucked instrument As the main accompaniment instrument, its singing voice is" Zhongzhou rhyme ".

Kunqu Opera was released in 2001 UNESCO Be listed as Masterpieces of the oral and intangible heritage of humanity" ^[21] In 2008, it was included in the Human Intangible cultural heritage Representative List ^[20] ). Included in the first batch in 2006 National intangible cultural heritage list . ^[1] In December 2018, General Office of the Ministry of Education About announcing Peking University as Kunqu Opera China outstanding Traditional culture Heritage base. ^[2-3]

Kunqu opera takes part in the 2019 Chinese Opera Culture Week on Oct 2, 2019. ^[4]

Chinese name

Kunqu opera

Foreign name

Kun Opera

Another name

Kunqu opera , Opera in Kunshan Province , Kunshan opera

Geographical indication

Jiangsu (Province) Shanghai, Zhejiang, Beijing, Hunan, Jiangxi

Intangible cultural heritage level

world-class

Estate category

Traditional drama

atlas

catalogue

1Development course
▪Origin and formation
▪flourish
▪The struggle of flower elegance
2Regional distribution
3Voice
▪Initial consonant of a Chinese syllable

▪A compound vowel used in a Chinese syllable
4Artistic characteristics
▪Vocal line
▪peculiarity
▪Stage art
▪Kunqu opera industry
▪Qupai accompaniment
▪The name of the melody

Basic information

Chinese name: Kunqu opera
Foreign name: Kun Opera
alias: Kunqu opera , Opera in Kunshan Province , Kunshan opera
Geographical indication: Jiangsu (Province) Shanghai, Zhejiang, Beijing, Hunan, Jiangxi
Intangible cultural heritage level: world-class

Estate category: Traditional drama
Reporting area: Chinese National Academy of Arts , Jiangsu (Province) , Zhejiang (Province) Etc.
Heritage number: Ⅳ - 1
cradle: Kunshan in Jiangsu Province ^[1]
Protection unit: The Northern Kunqu Opera Theater ^[5]

Development course

broadcast

EDITOR

Kun Opera, formerly known as "Kunqu Opera" Kunshan opera "Kunqu Opera" or simply referred to as "Kunqu Opera", is an ancient Chinese opera voice, drama, now also known as "Kunqu opera". Kunqu Opera is one of the oldest traditional Chinese operas ^[23] It is also a treasure of Chinese Han traditional culture and art, especially opera art, known as an "orchid" in the hundred gardens. ^[22] The music of Ming Dynasty is mainly opera music. Ming Dynasty then Southern opera For "Legend". After the Ming Dynasty, the form of Zju gradually declined, and the "legendary" music dominated the drama circle, and the music of Zju was also absorbed, and the name was changed to "Kunqu".

Kunqu originated more than 600 years ago by Kunshan people Gu Jian Start. to Ming generation Jia Jing During the same year, Wei Liangfu, a prominent Kunqu musician and reformer, was married Kunshan The cavity carried out a bold reform, absorbing the popular Yuyao cavity, Yiyang opera The characteristics of the sea salt cavity have formed a new sound cavity, which is widely welcomed. Because this tone is soft and delicate, like the glutinous rice dumplings made by Jiangnan people with water mill flour, it has an interesting name, called "water mill tune", which is today's Kunqu Opera. ^[6]

During the Wanli period of the Ming Dynasty, Kunqu opera developed explosively, with a large number of excellent scripts and prosperous performances. According to records, there were thousands of professional Kunqu performers in Suzhou alone at that time. Today, there are eight Kunqu opera troupes in the country, with a total of more than 1,000 employees, which shows the prosperity of Kunqu performances in those years. At that time, Kunqu opera was performed in a variety of places: at home, in villas, in the grass terrace country, and even on boats in Jiangnan water towns.

At one point, it also opened the wind first, allowing women to go out to watch the drama. However, in order to avoid discord in etiquette, a "women's platform" that only women are allowed to enter will be built. In some large-scale performances, there was a grand situation of "more than 10,000 people Shouting in unison", just like the current superstar concert. In addition to the pink ink performances, Kunqu singing, which everyone can participate in regardless of age, profession or class, is popular all over the country, forming a spectacular cultural phenomenon. ^[6]

On 18 May 2001, UNESCO issued a document Paris Announced the first batch of "Masterpieces of the Oral and Intangible Heritage of Humanity" list, a total of 19 entries, including China's Kunqu opera art, China became one of 19 countries to receive this honor for the first time. ^{7 [8]}

Kunshan opera began as a folk style Qing Qu Small singing, its distribution area, began to be limited to Suzhou area. In the Wanli period, Suzhou was the center of expansion to the south of the Yangtze River and the north of the Qiantang River, and it also flowed into Beijing at the end of the Wanli period. Thus Kunshan opera became the most influential opera form from the middle of Ming Dynasty to the middle of Qing Dynasty.

Kunqu Opera is one of the most influential operas from the middle Ming Dynasty to the middle Qing Dynasty Genre of drama Many kinds of opera are developed on the basis of Kunqu opera, known as "the ancestor of all operas, the teacher of all operas", has the elegant name of "the mother of Chinese opera". Immediately, Wuxi Kunqu Club played a role in promoting the prosperity of Kunqu opera. Kunqu Opera is a kind of opera with the most complete performance system in the history of Chinese opera. It has a profound foundation and rich heritage, and is the result of the high development of Chinese traditional culture and art. Music history It occupies an important position in the history of dance.

The performance of Kunqu Opera also has its unique system and style. Its biggest feature is strong lyricism, delicate movements, and ingenious and harmonious combination of singing and dancing. In terms of language, according to the characters of Chou and vice, the series can usually be divided into South Kun and North Kun: South Kun is dominated by Suzhou white and Yangzhou white. Bac Kun Most of them are Yunbai and Jingbai.

Kunqu Opera, with its ornate and graceful singing, elegant pronunciation, delicate performance, elegant dance, and perfect stage setting, can be said to have reached the highest level in all aspects of opera performance. Because of this, many local operas, such as Jin opera , Puzhou opera , Hunan opera , Sichuan opera , Jiangxi opera , Osmanthus opera , Shaoxing opera , Fujian opera All of them have been nurtured and nourished by Kunqu opera art in many ways.

Many plays in Kunqu Opera, such as" Peony Pavilion "" Hall of Eternal Life "" The Peach Blossom Fan ", etc., are immortal works in ancient drama literature. Kunqu Qu has been inherited Tang poetry , Song Ci , A style of music played in the Yuan Dynasty In the literary tradition, Qupai has many of the same characters as Song Ci and Yuan Qu. This has laid a good cultural foundation for the development of Kunqu opera, and also created a large number of Kunqu writers and musicians, among which cinnabar , Tang Xianzu , Hong Sheng , Kong Shangren , Li Yu , Li Yu Ye Ya and others are outstanding representatives in the history of Chinese opera and literature.

From the historical development of Kunqu, 400 years before the 18th century, Kunqu gradually mature and increasingly prosperous period. During this period, Kunqu Opera has been showing people all kinds of customs in the world in a perfect way of expression. It is precisely this furlihua performance atmosphere and the deliberate pursuit of arty elegance that make Kunqu Opera increasingly elegant and difficult. In the late 18th century, local operas began to rise, which broke the pattern of performance formed for a long time, and the development of opera also transitioned from aristocratic to popular, so Kunqu began to decline.

Mid-19th century ^[9] , Beijing Opera With the rise of Kunqu Opera, the decline of Kunqu Opera was even more obvious, and many Kunqu artists switched to performing the popular Peking Opera. With the founding of the People's Republic of China in 1949, the traditional Chinese opera industry was vigorously supported and revitalized, and Kunqu Opera was fortunate to regain a new life. In 1956, the Zhejiang Kunqu Opera Troupe adapted and performed" Fifteen sentences Had a wide impact across the country, Zhou Enlai The Premier once said with emotion: "A drama saves a drama genre." ^[10] Later, Kunqu troupes were restored in many parts of the country.

On May 18, 2001, UNESCO The first list of "Masterpieces of the Oral and Intangible Heritage of Humanity" was announced in Paris, including China's Kunqu Opera art, making China one of 19 countries to receive the honor for the first time. ^[11]

The Jin and Yuan Dynasties rose in the north at that time zaju The story is played by many characters. southerly An ancient Chinese opera Originate from Jian Yan south ferry Before and after. Emperor Taizu of Ming During the reign of Hongwu, southern opera and northern drama became legendary.

According to Wen Zhengming hand record Loujiang Wei Liangfu " The South quotes the right words One article recorded, "The Yuan Dynasty has Gu Jian Although away Kunshan Thirty miles, live Qian Dun (now Qiandeng Town ), good at southern Ci, good at writing ancient Fu. Expand Timur Hear his good song, repeatedly unyielding. Good development of Nanqu Ao, the motherland began to have ' Kunshan opera 'said ", Kunshan Gu Jian was the founder of Kunqu Opera in the late Yuan Dynasty. Today Kunshan Qiandeng town has Gu Jian memorial hall. Kunshan opera in Ming Dynasty is opera Four sound cavities One of them. At the end of the Yuan Dynasty, after the southern opera spread to Kunshan area, it combined with the local folk tunes to form a rich local characteristics of the voice, under the promotion of musician Gu Jian, there is a great development.

According to Zhou Xuanwei's The Jing Lin Story, Emperor Taizu of Ming Zhu Yuanzhang Also noticed Kunqu opera, it can be seen that the scale of Kunqu opera was not small at that time. Ming Dynasty Zhengde , Jia Jing Qing Qu singer in the years Wei Liangfu Inherit the ancient tradition of "cultural music" and improve Kunshan opera , adopt Zhongzhou rhyme The system, according to the word sound line, "call the water mill, beat the cold plate", so that Kunqu has a delicate and graceful characteristics, and therefore has" Grinding tempering "," Grinding cavity "Said.

Later, the legendary new work "Jade Jue" and "Jade Jue" performed in Kunqu Opera appeared. The Phoenix "" raccoon "And so on, the new tune began to be popular in the north and south of the river, becoming a leading opera voice. From Wanli of Ming Dynasty to Qianlong of Qing Dynasty, Kunqu opera flourished for more than 100 years, and the stage art of Kunqu opera also developed and matured in the middle of Qing Dynasty. thereafter anthocarp The rise, represented by Kunqu opera Masabe Gradually retired from the stage, but passed on through the fire, its voice and performance art deeply influenced later operas, such as Beijing Opera; The singing activities of the folk music club have also been continuous, becoming the main force to preserve the norms of singing.

Flower ministry is also known as "random bullets", according to the" Record of Yangzhou Painted Boat Volume 5, in particular, to "random" to collectively referred to the flower ministry tunes can be known. Xu Fuming's "Random talk and random talk" article pointed out that "random talk" is also known as "Luan bomb", "rotten bomb", "random talk". The style of music used in the flower melodies is livelier and more noisy.

Origin and formation

Kunqu Opera is a new drama style that appeared in China's Ming Dynasty. Since the late 16th century, it has gradually occupied the central position in the drama circle and become the most important drama form in the following two hundred years. Kunqu Opera has gone through a long process from its origin to its formal formation.

According to the information that can be seen, about the Southern Song Dynasty Mitsujong Emperor Period, Zhejiang Yongjia County The rapid rise of a local drama with southern folk music as the main singing tunes, so it is called Southern opera . The southern opera retains many characteristics of folk art, is not bound by any rules and regulations, the performance is free and lively, with greater randomness. In the process of development, the South Opera gradually absorbed a variety of mature traditional music forms since the Tang and Song dynasties, and gradually became rich and detailed. However, due to the lack of participation of the upper intellectuals, it has not been able to overcome its various congenital or acquired defects for a while, so that it has lingered on a not too high level for a long time.

In the early Ming Dynasty, Southern opera, on the one hand, drew valuable artistic experience from the northern melodies, on the other hand, attracted some intellectual elites to join, and presented a new look. The founding emperor of the Ming Dynasty Zhu Yuanzhang Get up to wise (? - 1359) wrote the Southern Opera play" The Story of Pipa " Later, greatly appreciated, specially asked people to rehearse in the court. It can be seen that the southern opera of the early Ming Dynasty has begun to move towards a more elegant artistic realm, which has been positively affirmed by the upper society.

The reason why the South opera can make such rapid progress is closely related to its own flexibility, which is concentrated in the multiplication and change of its singing tunes. From the Southern Song Dynasty to the Ming Dynasty, the southern opera was continuously combined with local dialects and folk music in the process of spreading, and a variety of different styles of local tunes were developed.

It and Kun Mountains of local music and Wu language The combination formed Kunshan opera is the predecessor of Kunqu opera. It must be noted that the Kunshan cavity at this time It's just a musical form of singing, not yet used to perform a full dramatic plot. Ming Dynasty Before the middle period, the spread of Kunshan dialect was not very large, and it was only popular in Suzhou. At that time, Suzhou was far ahead in economy, culture and other aspects, and was the leading metropolis in the southeast region. The economic prosperity has driven the development of culture and art, and Kunqu opera has come to the center of the social and cultural stage under this background.

The scene of Kunqu opera performance in the Ming Dynasty's "South Zhong Fan-Hui Map" (3 photos)

Developed the Kunqu Opera Institute Art of implication The artistic potential that makes it an important form of singing is that of folk musicians Wei Liangfu (Date of birth and death unknown). Like many outstanding folk artists in Chinese history, Wei Liangfu's biography is very brief. Combined with some materials in the writings of the people of that time, we can know that he lived about the Ming Dynasty Jia Jing , Long Khanh Years of origin Jiangxi (Province) Yu Zhang, who lived in Taicang for a long time, took singing folk tunes as his profession. This occupation exposed Wei Liangfu to a variety of northern and southern tunes. Through comparative research, he became increasingly dissatisfied with the flatness and simplicity of Kunshan tunes, and the lack of fluctuation and variation, so he worked closely with a group of like-minded artists and began to study Kunshan opera A comprehensive reform.

This reform is divided into singing and accompaniment two aspects. Wei Liangfu Such folk musicians, on the basis of the original Kunshan dialect, collected the strengths of various tunes from the south and the north, and at the same time learned from the minor music of Jiangnan folk songs, integrated a new tune different from the past. When singing, they paid attention to the tone of the lyrics to coordinate with the melody, and at the same time extended the syllable of the word, resulting in a soothing rhythm and giving people a special musical beauty. This is Kunqu that has been handed down to later generations. Wei Liangfu is good at singing, but he is not proficient in Musical Instruments. In the process of reforming Kunshan Opera, he got great help from Zhang Yetang (birth and death years are unknown) from Hebei Province. Zhang Yetang assisted Wei Liangfu to absorb northern tunes into the southern Kunqu, and at the same time reformed the original accompaniment instrument of northern tunes, Sanxian, and used it together with xiao, flute, clapper, pipa, gongs and drums and other instruments in the accompaniment of Kunqu, so that its singing became euphemistic, delicate, fluent and distant, which was known as "Kunqu". Grinding cavity ".

The success of the Kunqu reform brought Wei Liangfu a great reputation. Once this new style of melody came out, it immediately conquered the vast audience with its irresistible artistic charm. A group of folk musicians have learned Kunqu singing techniques from Wei Liangfu, so that the beautiful melody soon spread in the surrounding area. The earliest plays performed in the form of Kunqu opera are generally believed to be Kunshan people cinnabar (c. 1521 - C. 1594) raccoon ".

The beauty of Kunqu Opera, more importantly, is the depth of the thoughts and feelings it conveys and the beauty of the aesthetic taste it contains. Love is the eternal theme of Kunqu Opera, and what Shengdan on the stage is best at is love. But there are many subtle differences between these love stories. ^[6]

Go by Wei Liangfu Reform and cinnabar The influence of Kunqu Opera on the artistic practice grew and soon spread to the vast areas of Jiangsu and Zhejiang, becoming the main dramatic form in these regions.

flourish

During the initial formation of Kunqu Opera, folk artists played a key role. After Kunqu Opera obtained a relatively complete dramatic form, it began to develop to a higher level. At this time, many first-class writers and scholars joined in and wrote a large number of scripts with exquisite verses and vivid and tortuous stories. In the same period when Liang Chenyu created Huansha Ji, there were two other works of equal influence in the field of Ming Dynasty drama, that is Li Kaixian (1502-1568), "The Sword" and the anonymous "Ming Feng". They were not originally created for the performance of Kunqu Opera, but later switched to the performance of Kunqu opera and became an important repertoire of Kunqu opera.

Ming Dynasty Edition of "Jade Hair" illustration "Chasing Farewell" (5 photos)

" raccoon "" The Long Sword "" The Phoenix Other plays mainly focus on political themes, while other plays before and after, such as Xu Lin's (1462-1538)" A surname ", Gao Lian's (birth and death years are unknown) "Jade Hairpin" and so on, mainly around the theme of love. Since then, politics and love have become the two major themes of Kunqu opera, sometimes independent of each other, and sometimes closely combined.

Around the end of the Ming Dynasty, during the Wanli Period, Tang Xianzu (1550-1616), another great playwright in the history of Kunqu opera, was born. He was 15 years older than Shakespeare (1564-1616), who died in the same year. Tang Xianzu's" Peony Pavilion Boldly put the girl's love dream on the stage, once performed, immediately caused a huge sensation. When Shakespeare's" A Midsummer night's dream In the Elizabethan London theatre to win bursts of laughter, in the Chinese rich gentry's family performance venue or folk amphitheater, "Peony Pavilion" in the mysterious and beautiful dream is also making people enchanted. " Peony Pavilion It breaks through the conflict between emotion and reason in traditional Chinese ethics and tries to pursue an ideal love concept of "where emotion comes" and "the living can die and the dead can live".

There was another Kunqu opera playwright of equal importance to Tang Xianzu in the Ming Dynasty Shen Jing He was born in Wujiang, Jiangsu Province (1553-1610). Shen Jing is obviously not as fierce as Tang Xianzu. His thought is more orthodox and conservative, and he takes a fully positive attitude towards the current social system, which is very obvious in his Kunqu opera plays. From the perspective of artistic practice, Shen Jing's Kunqu opera creation pays attention to the artistic characteristics of the drama itself, provides a normative sample suitable for stage performance for the playwrights at that time and later generations, and has its positive significance that cannot be erased.

Shen Jing's" A chivalrous crusade From the book Water Margin The story of Wu Song. It objectively reflects the social reality of rampant adulterers, judicial disorder and official venality, and holds that these are the concrete manifestations of moral corruption, and Wu Song's struggle with the bullies to the end is a worthy justice act. The end of the play shows that only by consciously maintaining the normal social order centered on the emperor can the moral standards destroyed by the minority be restored. Shen Jing led and influenced a group of playwrights in the same area with his own artistic opinion, and formed a group of Wujiang school writers in the field of Kunqu opera creation.

Master dramatists like Tang Xianzu and Peony Pavilion The emergence of such masterpieces as "Kunqu Opera" and the formation of such a powerful group of dramatists as the Wujiang School marked the beginning of the heyday of Kunqu opera creation. Under the drive of Tang Xianzu and Shen Jing, the creation of Kunqu opera in Ming Dynasty is changing with each new day, and has produced a large number of famous plays. Even some plays of the Yuan Dynasty were absorbed and transformed into Kunqu opera scripts and performed in the form of Kunqu opera.

With the emergence of dramas, Kunqu opera performance is unusually prosperous. The areas where Kunqu Opera performances are most concentrated are Jiangsu, Anhui and Zhejiang. In order to meet the needs of the society, in Wanli years, there were many professional folk opera troupe in these areas, including Rui Xia Troupe in Suzhou, Wu Huizhou Troupe, Hao Kecheng Troupe in Nanjing, Chen Yangxing Troupe in Nanjing, Yushan Troupe in Changshu, and Cao Cheng Troupe in Shanghai. During the period of Tianqi and Chongzhen, the number of folk Kunqu opera troupes increased rapidly. There were dozens of Kunqu opera troupes in Nanjing alone.

Compared with the folk opera troupe, the number of Kunqu opera troupe established by the private family organization of literati and gentlemen class is larger, and the performance is more frequent. Due to the careful guidance of writers and scholars and sufficient economic security, the performances of family Kunqu opera operas are generally more exquisite, and the overall level is often better than that of folk operas. In addition to the performances of the folk Kunqu opera troupe and the family Kunqu opera troupe, the stage performance of amateur actors is also an important part of the Ming Dynasty Kunqu opera performance. These amateur actors include writers, scholars, relatively well-off civilians, folk musicians, freelancers, and prostitutes with high cultural literacy.

In the late Ming Dynasty, Kunqu opera performances entered the court and became a new form of entertainment for the emperor. At the same time, Kunqu Opera broke through the regional restrictions and was widely spread in the north, truly and thoroughly accepted by the whole society. At this stage, there were many famous artists in the field of Kunqu opera in Ming Dynasty, which reflected a kind of overall strength. No matter drama writers, scholars or folk Kunqu artists, they are diligent in thinking and brave in practice, and constantly bring Kunqu opera to a higher level with their own abilities and talents.

After entering the Qing Dynasty, Kunqu still maintained the momentum of continuous prosperity. At the end of Ming Dynasty and the beginning of Qing Dynasty, after the Wujiang School, there appeared another group of Kunqu writers in Suzhou, which was called the Suzhou School by later generations. Compared with previous playwrights, they pay more attention to reality and try to use their creations to save the situation and correct the deviation of human nature. Although the Suzhou School playwrights did not completely get rid of the influence of the bureaucrat-gentry class, they also brought a lot of fresh breath to the field of Kunqu opera, and their works reflected the political landscape of various periods of the Ming Dynasty and the thought and living conditions of the emerging citizens in different degrees.

In art, they go beyond the Kunqu tradition of overvaluing beautiful aesthetics and show a grand narrative style. Among the Suzhou School dramatists, Li Yu (whose birth and death years are unknown) made the greatest achievement. He fully grasped the characteristics of Kunqu opera performance and combined the stage and literature in his creation. Chingzhong Spectrum "" Thousand Loyalty Slaughter "" A handful of snow "" champon More than 30 outstanding Kunqu opera works, such as "Kunqu Opera", won the love of a large number of audiences at that time and later generations, and had no small influence on the stage of Kunqu opera in the late Ming and early Qing dynasties.

The Suzhou School of playwrights spanning two dynasties paved the way for the creation of Kunqu opera in the early Qing Dynasty. During the reign of Kangxi, Hong Sheng (1645-1704) 's Hall of Eternal Life "And" Kong Shangren (1648-1718) The Peach Blossom Fan Two important Kunqu opera works have been published successively, marking the arrival of a new round of Kunqu opera creation climax.

There was also a very important playwright in the early Qing Dynasty Li Yu (1611-1680). Li Yu is a genius writer. Li Yu created ten Kunqu opera plays in his lifetime, and also wrote the "Kunqu Opera" which occupies an extremely important position in the history of Chinese drama theory. Casual love I send ". He had many novel ideas in art, but his political thought was conservative. He believed that playwrights should deal with the ideological content of works artistically, so that the audience could unconsciously accept the influence of feudal ethical and moral thoughts in the aesthetic process.

Li Yu's masterpiece of Kunqu opera is" miskite ", the protagonist of the play is a scholar named Han Shixun, his parents died early, living in his father's friend Qitian gun home. Qi Shi, the son of Qi's family, was ugly and vulgar. One day he was flying a kite when it fell into a family named Zhan. When I got the kite back, I found that Miss Zhan Jia two had inscribed a poem on it. Han Shixun deliberately put another kite into the house of Zhan temptation, soon received the invitation of Miss Zhan. He went to the house of Zhan to go on a date, did not expect to meet is ugly stupid Miss Zhan, scared to run away.

Later the ugly big miss Zhan married Qi Shi, Han Shixun achieved the first place in the civil exam, Qi Tian gun called him and beautiful Zhan Jia two miss marriage. Han Shixun mistakenly thought to marry is the last time seen ugly woman, resolutely refused to promise. It was not until I met the bride in the bridal room that I completely clarified the misunderstanding. This is a humorous custom comedy, mediocre ideas and skills, stage performance effect is very ideal.

From the beginning of the Qing Dynasty to the middle of the Qing Dynasty, Kunqu opera performances continued to maintain a relatively strong momentum, and various family troupes and professional troupes were still the main force of performance. The performance of Kunqu opera in the palace also developed. In the early Qing Dynasty, it was mainly a venue for performing various classic plays. During the Qianlong period, some cultural officials were instructed to create some large dramas of longer length, which fully incorporated Kunqu opera performances into the scope of court culture.

The struggle of flower elegance

Emperor Gaozong of Qing Dynasty was a luxurious scene for the Empress Dowager to celebrate her birthday

Kunqu Opera from the folk once surpassed other simple and crude dramatic styles with its beautiful and fresh style and ascended to the peak of the art of The Times. Unfortunately, in the middle of the Qing Dynasty, Kunqu Opera gradually lost its original vitality and began to decline after a long period of prosperity. As we all know, the prosperity of Kunqu Opera is closely related to the full commitment of many writers and scholars. Until the intellectual elites who led the zeitzeit, such as Tang Xianzu, Li Yu, Hong Sheng and Kong Shangren, disappear beyond the horizon of history, Kunqu Opera will reluctantly fall into an unprecedented silence. Mediocre successors have struggled to reach the artistic standards of previous masters, only to create according to increasingly rigid norms, and produce one work after another that looks the same and has nothing new.

In art, the delicate and elegant Kunqu opera has also begun to reveal a side far from the public appreciation interest, too polished lyrics, too long singing, too slow rhythm make ordinary audiences more and more difficult to accept.

The ban issued by the Qing government, including the ban on officials owning family opera troupes, made the family Kunqu opera troupes no longer exist, and the close relationship between the literati and the gentleman class and Kunqu opera was fatally destroyed. Kunqu opera lost the last and most important social foundation and could only continue to decline in the hard support.

Backstage of Kunban during the Qing Dynasty

After the middle of Qing Dynasty, various singing local operas gradually emerged, their rough style, vigorous vitality, rich and changeable forms, known as "flower department". Under their fierce impact, Kunqu Opera gradually withdrew from the mainstream stage, and also announced the arrival of a new era in the history of Chinese drama. These new forms of opera are often folk dramas with simple plots and songs, or they are adaptations of Kunqu Opera and other traditional dramas. Compared with Kunqu opera, which is called "Yabu", their language is rough and messy, and even has the drawbacks of logic confusion and syntax errors. This is because most of the writers of these plays are folk artists with low cultural level. They do not know the rhyme of poetry, nor have they systematically studied traditional classical works. However, they have some advantages that literati writers and scholars cannot match, that is, they are quite familiar with folk art and popular language, and they also have a better understanding of the mentality of ordinary audiences. Know how a play can hold the audience's attention.

The local dramas they created, which are close to life and close to the audience, subvert the elegant aesthetic tradition of Kunqu opera and show the artistic charm of simplicity and charm. It can be said that an important reason why these local operas can defeat Kunqu opera is that they have the sincerity and simplicity that Kunqu opera conquered the audience at the beginning. In other words, the reason for the decline of Kunqu opera is precisely because it betrayed the artistic creed of its success and went to its own opposite.

In order to compete with local operas, Kunqu opera troupes have been reformed to some extent. The folk performing artists of the Qing Dynasty no longer performed the complete Kunqu opera repertoire on the stage, they selected some wonderful scenes or passages on the basis of the original Kunqu opera and made genius re-creation, gave full play to the singing skills in the performance, enhanced the beauty and difficulty of the dramatic actions, and added some funny and interesting plots to dilute the gap brought by the elegant lyrics. This gave birth to "folding opera". In the course of long-term performance, these Kunqu opera "Zizi opera" has been continuously enriched and developed in both content and form, enriching many vivid details, making the content of the drama more perfect and the characters more vivid, so it has a lasting artistic charm, which is never tired of watching.

In addition, the folk performing artists of the Qing Dynasty also specially created some short plays with popular content and popular scenes of martial arts, and performed on the same stage with the traditional plays. These new plays with a strong breath of life, fresh, lively and interesting, deeply loved by the audience at that time. In this way, Kunqu opera after the middle of the Qing Dynasty relied on the classical repertoire of" highlights And new short plays continued to thrive on the stage, reinvigorating the art in competition with various local plays.

On the other hand, in the competition of stage performances, the artistic elements of Kunqu Opera were absorbed by various local operas, which contributed to the prosperity of local operas and the birth of Peking Opera. The new Peking Opera inherited some of the repertores and styles of Kunqu Opera, adopted the profession and performance system of Kunqu opera to a large extent, and overcame the limitations of the language of Kunqu opera, thus winning the support of the audience and becoming an important drama style dominating the Chinese opera circle after Kunqu Opera.

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EDITOR

The popularity of Kunshan dialect

Due to the extensive performance activities of the Kun Class, in the late Wanli year, Kunqu Opera was introduced to Beijing and Hunan through Yangzhou, and rose to the top of the various Chinese operas, becoming the standard singing style of the legendary script: "The four songs must live in the Wumen" ^[12] . At the end of Ming Dynasty and the beginning of Qing Dynasty, Kunqu spread to Sichuan, Guizhou and Guangdong and developed into a national drama. Kunqu Opera singing was originally based on Suzhou Wu dialect as the carrier, but after it was introduced to other places, it combined with local dialects and folk music, developed many schools, formed a rich and colorful Kunqu opera system, and became a representative opera of the whole nation. In the Qianlong period of the Qing Dynasty, the development of Kunqu opera entered its heyday. Since then, Kunqu Opera has dominated the pear garden and has lasted for 600 to 700 years, becoming the oldest traditional opera form in China and even in the world.

Kunshan Cavity began its circulation area, initially limited to Suzhou area, Wanli years, Suzhou as the center to expand to the south of the Yangtze River and Qiantang River Throughout the north, Wanli also flowed into Beijing at the end of the year, and in the Qing Dynasty, because of Kangxi's love of Kunqu opera, it became more popular. Thus Kunshan opera became the most influential opera form from the middle of Ming Dynasty to the middle of Qing Dynasty.

According to scholars' research, "Although the aesthetic taste represented by Kunqu opera is obviously southern, especially in the Jiangnan area, it is not Cultural identity But it does not belong to a time and place, it embodies the aesthetic pursuit and artistic creation of literati in vast areas of China. It is precisely because it is literary and elegant model It has a strong coverage ability, has the possibility of being widely disseminated, and in the process of dissemination, it basically maintains its internal aesthetic consistency." ^[13]

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EDITOR

The pronunciation of singing and reading is usually Suzhou Wu language or there Entering tone In the Middle of the state rhyme, some clowns also use a warped tongue sound Su Bai .

Characteristics of Kunqu singing and pronunciation ^[14]

Initial consonant of a Chinese syllable

Pitched sound

Like most operas, Kunqu opera is distinguished Pitched sound . Jing Qing from the heart evil mother to read the fine sound, see Xi Qun Xiao box mother to read the fine sound.

Such as: fine [si], drama [ɕi], seven [ts? iʔ], Qi [tɕ? i], product [tsiʔ], pole [tɕiʔ]

upwarped

A surname upwarped the Wu language - Suzhou dialect The pronunciation method is the same, the tongue against the lower gum, not rolling the tongue. Flat warping method and Suzhou Pingtan It's a little different.

Suzhou dialect has no rhotic r[ɻ], Kunqu press Suzhou dialect Wen reading pronunciation, the Japanese initials read as [ʐ], not Wu speaking area "Is easy to hear as" Heify ", but it is dulled.

Light lip v

and Wu language The text reads the same, Kunqu all micro characters are read v.

Eg: [v = n], [v = N], [V = N].

Doubtful mother ng

"I" and other words retain the suspect mother ng, read [o]. But the number of characters in Kunqu is much less than that in Suzhou, and [y] [i], [u] [Y] [U] [Y] [U].

Dull sound

by Suzhou dialect Impact, Kunqu less numbers will be retained Dull sound However, it is not systematic and cannot be compared with the complete voiced system of Suzhou dialect.

other

Some of the initial consonants of the mica Chinese characters are converted to r[ɻ], and the original pronunciation is used in Kunqu opera.

Eg: Rong Rong Rong Rong Rong [io]

A compound vowel used in a Chinese syllable

Retained sound

and Wu language Consistent, Kunqu retained Entering tone Throat plug tail, do not distinguish the rhyme end.

For example: seven [ts? iʔ], product [tsiʔ].

Juyu Rhyme

These sounds are in part Wu language Middle, read linguofacial . Read the warped tongue in Kunqu.

Such as: Zhi [ʧʅ], wisdom [ʧi]; Chu [ʧ? u], Chu [ʧ? y]; Eg. You will pick up all your wind and sound.

Eastern rhyme

And suzhou dialect is consistent, the wind [f ʊ ŋ] and east [t ʊ ŋ] the finals of the same.

Machine rhyme

Such as: non-fat miliaria Fei Fei [fi]

Universal rhyme

Such as: all street Jiejie Jie [ʨiai], crab shoes [ɕiai], Kai kai [ʨ? iai], by the narrow [iai]

Stem rhyme

palatalization Eg. [eg]

For example, [ʨi/O], [ʨ? i/O], [ɕi/O].

Gu Mo Yun

You can pronounce [u], or you can pronounce [ou] according to the Suzhou accent.

Clara

The rhyme rhyme is [o], [uo]

E.g. [ko]≠ [kuo]; He [ho]≠ and [huo]; [lo]≠ snail [luo].

other

[li nationality]

[kuon]≠ Guan [kuan] (ibid Suzhou dialect ); [ʨian] ≠ shoulder [ʨi am doing so]

Artistic characteristics

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EDITOR

Vocal line

Kunqu Opera, as a genre that once had a huge influence on the whole country, can miraculously revive again after going through hardships and hardships, which is beyond itself Artistic charm There is a close relationship, and its artistic achievements are first expressed in its music.

The style of Kunqu opera is beautiful, and it is famous for its lingering, gentle and leisurely. Focus on vocal control in singing skills, rhythm The speed of the slow down and the emphasis on the pronunciation, the scene accompaniment music is complete.

" Grinding cavity ". This new tone laid the foundation for the characteristics of Kunqu opera singing, which is fully reflected in the slow music (that is, "fine music") of the southern opera, which is specifically manifested as slowing down bat Slow down the rhythm in order to use more decorative coloratura in the progression of the melody, in addition to the usual One's eyes are fixed , Be straight as a tack In addition, there is the "gift plate song", which is about 4/4 beat melody Slow down into 8/4, the tone is clear, soft and euphemistic, and strict requirements for the word, flat, on, to, into one by one, each singing a word, pay attention to the head, abdomen and tail of the word, that is, the word, the cavity and the radio, so that the space of the music layout increases, the change increases, and its lingering, gentle and distant characteristics are more prominent.

Relatively speaking, the mood of the northern song is inclined to be bold and bold, and strong jumping. Its use of seven-tone scales is different from that of southern Opera with pentatonic scales (basically no semitone), but in the long-term absorption of Kunshan opera singing process, the original characteristics of northern Opera have gradually been melted into a "southern opera" singing style, so in the repertoscope of Kunshan opera, Northern Opera has both complete sets of use, but also a single song brand selection, and "North and south set".

" North south sleeve In general, the northern song is sung by one character, while the southern song is sung by several different characters. The cooperative use of these north and South songs completely starts from the plot, so that the music can obey the needs of the drama content as perfectly as possible.

From the changes of the north and south song itself, there are a variety of methods such as "borrowing palace", "violating key" and "collecting song". The original set of songs, whether north or south, belong to that one Modes of classical Chinese opera The tune questions when the singing request emotion In the case of significant changes, the music in the same palace key is not competent, and the appropriate music in other palace keys can be borrowed. As... Peony Pavilion · Surprise Dream, the Qu cards used successively are [hillside sheep] (commercial tone), [Peach Red] ( overtone ), [Bao Laoqiang] (Huangzhong Palace), [cotton catsu] (Yue tone).

In singing skills, Kunqu opera pays attention to the control of the voice, the speed of the rhythm and the enunciation, and has clear "," fold "," trembling "," Ho!" The distinction of the same cavity method and the character singing method of various roles. The plate rhythm of music, in addition to the southern song "gift plate" to double the slow music of four meters, both north and south songs, including the commonly used three-eye plate, one-eye plate, water plate and scattered plate. They have many variations when they are actually sung, and everything is subject to the situation of the play and the emotions of the characters.

The performance of Kunqu opera has a whole set " Singing and dancing "The rigorous form of performance

peculiarity

The biggest characteristic of Kunqu opera performance is strong lyricism, delicate movements, and the combination of singing and dancing is clever and harmonious. Kunqu Opera is a kind of song, dance, medium, white all kinds of performance methods cooperate with each other Comprehensive art In the long history of the opera, the performance characteristics of singing and dancing have been formed, especially reflected in the performance of the roles, whose dance figures can be divided into two kinds: one is the auxiliary posture when speaking and the hand gesture developed by the emphasis on freehand dance; One is cooperation Libretto of a ballad The lyrical dance is both superb Dance movement It is also an effective means to express the character's soul and the meaning of lyrics.

The opera and dance of Kunqu Opera absorb and inherit the ancient folk dance, Court dance The tradition, through long-term stage performance practice, has accumulated rich rap The experience that is closely combined with dance, ADAPTS to the needs of the performance venue of narrative painting, creates many dance performances that focus on description, and cooperate with "drama" to become a strong story. Adapted to the needs of lyricism and action are strong performances, create a lot of lyric dance performances, become a lot of single fold lyric Song and dance drama The main means of performance. Representative plays such as "Xichuan Map · Luhuadang" "Jingzhong Ji · Sweeping Qin" "Moon Pavilion · Stepping Umbrella" " The Long Sword , Night run "" Serial story · Ask Detective, Tiger Bag Bomb, Mountain Pavilion, etc.

Kunqu opera The spoken part of a Chinese opera Also very characteristic, because Kunqu opera is developed from Wu, so its voice with Wu Nong soft words The characteristics of. Among them, buffoon There is also a local white based on Wu dialect, such as Su white, Yangzhou white, etc., this kind of city language in the Wuzhong area has a strong atmosphere of life, and often uses a fast style of rhyme, which is very distinctive. In addition, the singing of Kunqu opera has extremely strict norms for the pronunciation, line, rhythm, etc., forming a complete singing theory.

Stage art

Kun Qu "Peony Pavilion" poster (5 photos)

Including rich clothing styles, exquisite colors and decorations as well Facial makeup Use three aspects.

In addition to inheriting the costume styles of opera characters since the Yuan and Ming dynasties, some costumes of Kunqu opera are very similar to those popular in society at that time. Reflected in the play, the military general has a variety of military clothes, and the civil officials also have a variety of clothes according to the feudal social class level. Facial makeup is used for both clean and ugly lines. Very individual characters belonging to Sheng and Dan are also occasionally used, such as Sun Wukong (Sheng) and Zhong Wuyan (Dan), and the color is basically red, white and black.

After years of run-in and processing, Kunqu opera art has formed a fairly perfect system, and this system has occupied a unique position in Chinese opera for a long time, so Kunqu opera art is respected as "the ancestor of all operas", which has a profound impact on the development of the whole opera, and many local operas have absorbed its artistic nutrients to varying degrees, including some Kunqu opera.

Kunqu opera industry

Kunqu Opera The Story of the Western Chamber

Because the early Kunqu Opera belongs to the southern opera system, it inherited the role system of the southern opera, and at the same time absorbed the advantages of the northern drama, with seven basic roles of Sheng, Dan, Jing, end, ugly, outer and pasting. The early work Huansha Ji reflects the role branch method in the early stage of Kunqu opera, that is, it not only follows the seven lines of the Southern opera, but also borrows from it Yuan zaju opera The small end, small Dan and other setting method, and add small Sheng, small Dan, small end, small outside, small net five lines, a total of twelve lines.

In the flourishing period of Kunqu opera at the end of the Ming Dynasty, the Legend of Mohanzhai, published in the Ming Dynasty, changed the original "pasting" as an old woman to "pasting". An old female character in Chinese operas It also absorbed the branch method of Yuan Zju. Other character trades are basically the same as in the early days of Kunqu opera. During the Kangxi period of Qing Dynasty, the role industry of Kunqu Opera basically maintained the system of "twelve characters in Jianghu".

During the reign of Emperor Qianlong, Kunqu Opera was at its peak, the performing arts were further improved, and the role system set up for the portrayal of characters also made new breakthroughs. There are "twelve characters in Jianghu" in "Yangzhou Painted Boat Record", they are: Deputy end, Laosheng, Zhengsheng, foreigners, Daimian , two faces, three faces, called "male role"; The old woman, a young or middle-aged female character type in Chinese operas Xiao Dan, stick Dan, called the "female role"; There is also a joke, called "miscellaneous". It was later changed to Xiaosheng and harmony in the Southern Kunqu Opera Female character As the main role, so these two doors are more detailed. Small children line the next points: big A surname , minor official, towel, shoe leather (poor) and pheasant-tailed Five categories. Dan line is divided into: old Dan, Zhengdan, Dan (can play a boy), four Dan (assassination Dan) Five female characters (Boudoir Dan) and six Dan (Tiedan) six categories. But each Kunqu opera tribe has its own categories.

With the development of the performing arts, the division of roles in Kunqu opera is becoming more and more detailed. Between Jia and Dao, the role of Kunqu opera combines the original "twelve roles in rivers and lakes" with the later emergence of a more detailed division of labor, and under the five lines of "Sheng, Dan, net, end and ugly", it is subdivided into twenty small lines, called "twenty doors".

Hall of Eternal Life

In the "birth" this door, it is divided into official birth, towel birth, shoe leather birth, pheasant tail birth, to perform different character . A line of official students, acting as an adult man who is an official, which is divided into large and small official students due to their age and status. For example... Hall of Eternal Life Tang Ming Emperor and Li Bai in Taibai Drunken Writing are all played by Daguansheng. Xiao Guansheng played Wang Shipeng in 荆钗记 and Pan Yue in The Golden Finch. The performance of official and Jinsheng is different: Jinsheng plays the young scholar of elegance and elegance, who is elegant and elegant in singing falsetto Combined, the composition of falsetto is larger, clear and pleasant; Official students should be free and generous in performance, senior official students should be rich in style, and the singing method is also a combination of true and false voices, but the true voice falls in a higher range than the true voice of Jin Sheng, and the beauty is loud and bright.

Denier line is also subdivided into old denier, Zhengdan, as denier, four denier, five denier, six denier. But in practice there is also a Dan, a total of seven doors.

Zhengdan usually plays a relatively poor married woman, such as in the Story of the Pipa Zhao Wuniang "The Golden Lock" Dou E Zhang Sangu in the Lang Dan. Zhengdan in the performance focus on simple and generous, in singing, enunciation spout should have greater strength, sound color bright, generous, volume is also required to be larger. Zhengdan repertoire is quite rich, all kinds of characters played have distinctive characteristics, providing a broad performance space for actors. In addition, the pure line divides the large face and the white face, the large face is mainly red and black, so there is "seven red, eight black, three monks"; White face mostly plays the villain, in addition to the eye pattern, the whole face is coated with white powder, usually divided into phase sable white face, pleated white face, short shirt white face, etc., white face sometimes also plays the positive character, or no good or bad role, sometimes also plays the female corner. There is also a sloppy white surface separated from the white surface line, in addition to the white powder on the face, in the corner of the eye, nose socket, etc., with some black lines, so the name. They're mostly lower-class characters, and they're close to A gag Type of character.

The last line is subdivided into Laoshi, Laoshi and Laowai. The Kunqu opera does not distinguish between culture and martial arts, such as Lin Chong in "The Sword", "The Sword". Kirin Pavilion Qin Qiong et al. And the beard on his last foot is full from black to white, like the old.

Ugly behavior is divided into two sides (also known as "two faces") and ugly two doors. The difference is that the white piece of the face is painted on both sides of the eye, and the ugly is only painted to the middle of the eye, the deputy often wears pleats, palace clothes, robes, and the ugly wears short clothes.

Before the Kunqu opera, the southern opera and the Yuan drama did not have such a profession, because of the emergence of the "deputy" line, Kunqu opera has expanded the scope of ugly performance to Upper class Among the nobles of the state. Most of the actors are not decent literati, treacherous officials, dodgy officials, CFG, help the thin strips of such characters, the common characteristics of these roles are rape diao envenomous, duplicitous, more emphasis on the performance of its cold side, called "cold water two sides." Ugly because of its facial white block is smaller than the pair, also known as "Xiaohua face", because it is arranged after the second face, also known as "three-flower face", played mostly lower social status or funny and cute roles, such as "Looking for relatives" of the tea doctor," Fish Jiale Ten thousand spring. Kunqu opera ugly feet regardless of civil and military, sometimes play the heavy martial arts body drama.

Traditional Kunqu opera professional troupe, generally only 18 actors, commonly known as the "18 nets", only a few big troupe has 27 actors. General class as long as ten doors complete, can be performed, other roles can be replaced by the actor close to the door, these ten basic doors are called "ten court pillars", they are: pure, official, Sheng, Sheng, old, end, Zhengdan, five Dan, six Dan, vice, ugly. One of the most can determine the quality of the performance is: Jing, old, official students, Zhengdan four doors.

Each profession of Kunqu opera has formed its own set of procedures and skills in performance. These stylized action languages have formed a complete and unique performance system of Kunqu opera in terms of depicting characters' personalities, expressing their psychological states, rendering drama and enhancing their appeal.

Qupai accompaniment

The music of Kunqu Opera belongs to the structure of couplets ^[15] It is referred to as "Qupai style". According to incomplete statistics, there are more than one thousand kinds of Qupai used in it. The sources of Qupai from the north and the south include not only ancient song and dance music, Tang and Song dynasties, Song Dynasty songs and Zhugong tunes, but also folk songs and minority songs. It is based on the southern melody, and uses the northern melody of the repertoire, and "offense", "borrow palace", "collection" and so on trick To create. Kunqu Opera accompaniment instruments, mainly Qu, supplemented by sheng, xiao, suona, three strings, pipa Etc. (with percussion).

The name of the melody

Qupai is the most basic singing unit in Kunqu Opera. There are more than 300 kinds of operas in the country, which are divided into two musical systems: plate-cavity And qupai style. The vast majority of operas are Banqiang, and a few are Qupai. And Kunqu style is the most rigorous. According to the master of Qu learning during the Republic of China Wu Mei According to statistics, there are more than 4,000 southern Qu cards and more than 1,000 Northern Qu cards. Only about 200 are commonly used. The most popular South Qu cards such as "Garden" in "Every step Jiao"," Soap robe 【 Good sister 】, 【 Lazy Thrush 】 in "Piano Pick", 【 Lazy Thrush 】 Song of the dynasty ]. These two plays work, too

Jade Hairpin in Kunqu Opera

To lay the groundwork for actors and actresses. There is a saying in Kunqu Opera that women learn "Garden Tour" and men learn "Qin Pick".

North Qu, "Straight", "New water Ling", "Drunken flower shade", "Point crimson lips", "Butterfly", "Fight quail", "a flower", "collection of Xian bin", and so on. The application of qupai in Kunqu opera forms a joint set, (also known as the set number) through the selection, adjustment and comparison of the set to form a whole drama music and literature structure, basically a play is a set number.

Quyi Musical structure And the literary structure is unified. Because Qupai is developed from ci, also known as Ci Yu, it is a long and short sentence pattern in the text, and writing is filling words. There are rules on how many words and sentences a qupai has, and the level and tonal tone of each word. And the important lexical bits strictly in oblique tones should be separated from up (∨) and go (\). If it is not based on tonal tones, it is difficult to compose music and sing. This is one reason why writing and singing Kunqu opera is so difficult.

The singing characteristics of Kunqu Opera are "to line the words", the words follow the words, and there are certain modes in singing, which are different from other operas that can be played at will according to the individual conditions of the actors, but have strict four conditions: setting the tone, setting the cavity, setting the plate, and setting the score.

Repertoire introduction

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EDITOR

In the long-term performance practice, Kunqu opera has accumulated a large number of staged plays. Among them, influential and frequently performed plays such as: Wang Shizhen's Ming Feng Ji, Tang Xianzu 's Peony Pavilion "Purple Hairpin" "Handan" "Nanke", Shen Jing's" A chivalrous crusade ", etc. Gao Lian's A tale of Jade Clasp ", Li Yu's "Kite Error", Zhu Suchen The Fifteen Guan, Kong Shangren's The Peach Blossom Fan ", Hong Sheng Hall of Eternal Life, there are also some famous follies, such as" A trip to the garden was a surprise "Yang Guan" "Three Drunkenness" "Autumn River" Think of worldly things ", "Broken Bridge" and so on.

From November 16 to 22, 2009, the Paris Chinese Opera Festival was held at the Monfu Theater on the banks of the Seine in Paris, France, with performances of "Silang Exploring the Mother" by Fujian Peking Opera Theater, "Breeze Pavilion" by Henan YuOpera Troupe and Nanchang University in Jiangxi Province Jiangxi opera The Research Center's" Dou E Yuan ", Shandong Lv opera Troupe's "The Wall", Suzhou Kunqu Opera Company's "Three Dreams of Floating Life", Hong Kong Peking Opera Company's "Peony Pavilion" and Zhejiang Kunqu Opera Company's "Peony Pavilion" Gongzi capital "And other plays with multiple genres and themes participated in the competition. In the end, the Zhejiang Kunqu Opera Troupe's "Gongsun Capital" won the top prize, the Senna Prize. ^[27]

"Gongzi Du" is the successor to "Gongzi Du" Fifteen sentences After that, Zhejiang Kunqu Opera Troupe another great work. The drama won the first place of the top ten fine plays of the National Stage Art Fine Project in 2006-2007 and the 12th "Wenhua Award" of the Ministry of Culture, and got a high bonus of 1.5 million yuan, which is the highest award for outstanding plays in Zhejiang so far. Gongsun City is based on the Ming Dynasty Feng Menglong A historical drama adapted from the novel "Annals of the Kingdoms of the Eastern Zhou Dynasty". The story of the play is unique and fascinating. Through the psychological depiction of the male grandson who is unsparing, conspiring to kill people until they are destroyed, it reveals the life perception that a single thought can become a hero, and a single thought will become a sinner, and shows and criticizes the common evil root of mankind -- jealousy, which is possessed by the character of the male grandson. It has strong philosophical and cautionary effect.

Its innovation is mainly reflected in two aspects:

Handan Dream in Kunqu Opera

First, the theme is profound, which opens up the expression of Kunqu opera in the drama. While most of the traditional Kunqu operas are known for love dramas, Gongsun Capital is a psychological drama that tells the story of the Spring and Autumn Period State of Zheng In the war against the country of Xu, vice Shuai Gongzi are eager to win, with a stab to kill the boss Yingkao uncle after the day panic, and finally died of the story. Based on the traditional play "Fadzidu", it jumps out of the narrow sense of right and wrong of the ancients "to repay good and evil", and writes about the fear and anxiety after Zidu shoots people behind the back -" avoiding the punishment of law but difficult to avoid the punishment of heart ", in order to crack down on the common heart poison of mankind - jealousy. "Although the story takes place in the Eastern Zhou Dynasty, jealousy is the 'original sin' of mankind, which is an eternal topic of mankind to resonate with modern audiences," said the creators.

Second, the revival of Kunqu's "martial opera" tradition in performance is a representative of modern Kunqu's "masculine opera". Kunqu Opera's martial arts inspired Peking Opera's martial arts, but after modern times, the pattern of Kunqu opera gradually narrowed to "Xiao sheng, Xiao Dan, Xiao Hua face" "three small operas." The outstanding highlight of Gongsun Capital is the creation of an entire martial opera, which has been rare in Kunqu opera for many years. Opera critic Liu Housheng Say. Acting as Gongsun Du is the head of the Zhejiang Kunqu Opera Troupe and the winner of the Plum Blossom Award Lim for Lim To long rely on, Bunt fighter You see, you see." Gangnam one leg "Said. At the end of the play, grandsons and grandsons in platform boots jump forward from high above, often drawing cheers from the whole hall.

Kunqu Opera troupe

在中国大陆现有 Jiangsu Su Kun Opera Troupe Founded in 1956, the original name was Suzhou Su Kun Opera Company, renamed in 2001 Suzhou Kunqu Theatre, Jiangsu Province ), Jiangsu Kunqu Theatre Shanghai Kunqu Opera Troupe, Hangzhou Zhejiang Kunqu Opera Troupe North of Beijing Ballad opera Yuan, Chenzhou Hunan Kunqu Opera Troupe Six Kunqu opera professional art groups, as well as Zhejiang Yongjia County Kunqu Opera Study House, known as "six groups (courtyard) one house". Yongjia Kunqu Opera Troupe has been restored, 2015 Kunshan Contemporary Kunshan Theatre Established. There are now eight Kunqu opera troupes in China.)

Famous artist

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EDITOR

Wei Liangfu

Wei Liangfu, the originator of Kunqu

Wei Liangfu, styled Shangquan, born in Nanchang, Jiangxi Province, lived in Jiangsu Province Taicang The South Pier. He was an outstanding opera musician and innovator in Jiajing period, and the originator of Kunqu (Southern Opera). It has made outstanding contributions to the artistic development of Kunshan Opera, and is regarded as the "ancestor of Kunqu Opera" by later generations. A surname "Said.

Tang Xianzu

Tang Xianzu

(1550-1616), Chinese Ming Dynasty dramatist A man of letters. Word Yi still, no. Hai if, if, Qingyuan Tao people. Han Nationality, Jiangxi The city of Linchuan The man. In the aspect of opera creation, it is against imitating the ancient and sticking to the formula. The legendary "Peony Pavilion" and "Peony Pavilion" The Story of Handan "" Nam Ke Kee "" Purple Hairpin ", collectively called" Jade Mintang four dreams It is best known for the Peony Pavilion. In the history of opera, and Guan Hanqing , Wang Shifu It has an important position in the history of Chinese and even world literature and is known as "the Oriental. Shakespeare ".

Shen Zijin

Shen Zijin (1583 ~ 1665) was famous in the late Ming and early Qing dynasties dramatist . Word Boming, late word long kang, number west, double Ju Tong. Shen Zijin was born in Wu Jiang Shen family, indifferent Official rank (in feudal China) He is warm-hearted, diligent and well-read, rich in literary talent. He also has extraordinary musical talent, lifelong love, study ceaselessly, is the opera circle Jiang school of the master. His works include "the continuation of millet", "Yue Xi New Chant", "Not Shu Tang near grass" and so on.

Yu Zhenfei

An outstanding Kunqu opera artist, he has a certain degree of ancient literature accomplishment, and is proficient in poetry, books and paintings. He not only studies Kunqu opera, but also is a Peking Opera performing artist. Therefore, he can integrate the performing arts of Beijing and Kunming into one, forming a elegant, elegant, strong and vigorous style, especially with a rich "bookish" reputation in the drama circle. His representative programs that are highly respected at home and abroad include Li Bai in "Taibai Drunk Writing"; In The Garden and the Dream Liu Mengmei ; Tang Ming Emperor in "The Change · Buried Jade"; Pan Bizheng in "Qin Pick"; Jian Wenjun in Eight Yang; " Bridge cutoff In... Xu Xian Wait, it's all so vivid.

Zhou Chuanying

Zhou Chuanying, Hou Yu Kunqu Opera Study House During the training period, the stage name for the transmission of ying. Can play a lot, "Hall of Eternal life · love, give box, magpie bridge, secret oath, change, bury jade" in the Tang Ming Emperor and other roles are very good; Especially in the "Jade Hairpin · Qin pick, steal poetry" in the role of Pan Bing Zheng, can be in the elegant style, without losing the nature of the scholar, its body, stage, sleeve kung Fu elegant and wonderful, can be called a unique step. After the founding, he was in Fifteen Laws The change of the leading role from a senior actor to a senior actor (press Kunqu opera The traditional branch, which is played by old people), absorbs and melts some of the body movements of the towel, and the performance is more excellent. After the appearance, although the voice is slightly hoarse, but vigorous and powerful, dignified body, walking unrestrained, successfully shaped a plea for the people, resolute and upright, witty and able, and with a bookish official image and reputation at home and abroad. Zhou Xinfang, master of Peking Opera and founder of the Kirist School, is starring in a Beijing Opera transplant and adaptation Fifteen Laws When, special to Chuan Ying learned this play. Zhou Chuanying was honored by the Party and the people because of her superb performing arts and great contributions to the Kunqu opera cause, and became one of the outstanding representatives of the Kunqu opera circle after the founding of the People's Republic of China. The author of... Kunqu opera career of 60 years Book, July 1988 Shanghai Literature and Art Publishing House Publish. In October 1986, in commemoration of the 30th anniversary of the successful performance of the Kunqu Opera "Fifteen Guan", he won the commendation letter and award issued by the China Kunqu Opera Research Society. In recognition of this outstanding Kunqu opera Performing artists "in the successful performance of the Fifteen Guan, in the training of young and middle-aged outstanding actors, in carrying forward the outstanding tradition of national culture, the revitalization of Kunqu opera made outstanding contributions".

Zhang Xian

Kunqu Sinian corner, later teacher. His original name was Zhang Fengxia. Born in Shanghai. She is affectionately known as "our Kunqu Mother" Zhang Xian. Husband Zhou Chuanying, son Zhou Shizhang. Both Su opera and Kunqu opera are masters, creating artistic images such as Yang Guifei in the Hall of Eternal Life, Cui Yingying and matchmaker in the Story of the West Chamber, and Du Liniang in the Peony Pavilion. In commemoration of the 150th anniversary of Hong Sheng's birth, she performed Yang Guifei beautifully, which surprised the stage. Premier Zhou praised after watching: "Hall of Eternal Life" is a classical magnificent national opera in China. Since the 1980s, she has recorded more than 30 kinds of classic plays. In order to inherit the art of Kunqu opera, Zhang Xian diligently trained several generations of actors, and now all the young women who play the role of Yang Guifei in major Kunqu opera troupes across the country are her students. In 2002, Zhang Xian was awarded the "Kunqu Opera Art Special Contribution Award" jointly issued by the Ministry of Culture and UNESCO.

Cultural inheritance

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EDITOR

survive

Kunqu's selection of "Human Oral and Intangible cultural heritage Because it is a classic of Chinese classical performing arts. But" There is no success, there is no failure The glory and defeat of Kunqu Opera are related to its characteristics. The prosperity of Kunqu Opera and the time Literati and officialdom The interest of life and artistic interest are in the same vein. scholar-official Cultural accomplishment Their leisure life and pursuit of the ethereal realm have endowed Kunqu with the character of slow rhythm and beautiful artistic conception. In addition, the scholastic officials' deep heart contains the sadness and sadness of society and life, which makes Kunqu always show melancholy and lingering emotions in music and singing. However, in the Qianlong period of Qing Dynasty, the civil class rose, and the soothing and melancholy style was obviously out of tune with them. Even the scholar-officials began to be pragmatic. While Kunqu was not favored by the people, it also lost the position of the scholar-officials. As a result, Kunqu gradually went into decline.

Before the founding of New China in 1949, there was no professional Kunqu opera troupe in the country. In the 1950s, a production of Fifteen Systems revived a genre, and six Kunqu opera troups were set up across the country. Han Shichang, Bai Yunsheng A surname Zhu Chuanming , Zhou Chuanying Yu Zhenfei, Hou Yongkui, North Kunming famous flute king Tian Ruiting and his daughter Northern Kunqu Opera The older generation of performing artists such as the famous actress Tian Julin and Li Shujun, who were cultivated after the liberation, CAI Zhengren , Ji Zhenhua , Zhang Jiqing , Hong Xuefei, Wang Shiyu Such as a group of outstanding actors, collated and choreographed the Peony Pavilion, Romance of the Western Chamber "A Thousand miles to send Jing Niang" "Single Knife Club" " The Peach Blossom Fan "And a large number of excellent plays. However, today, the strict stylized performance of Kunqu Opera, the slow tempo of the board, the overly elegant lyrics, and the outdated storyline have lost their fashion and most of their entertainment functions, and are far from the aesthetic needs of contemporary people, so it is difficult to win the audience, and the performances are becoming fewer and fewer, and it is difficult to find them in the performance market, forming a vicious circle. Before, there were about 800 people working in Kunqu opera across the country, known as the "800 strong men", but now only 600 remain. The creation and performance of the six Kunqu opera troups in the country are generally in trouble, and the actor training and artistic creation are unable to invest. Since the Tian family was forced to leave Beikun, its unique family secret "Double Zhankui", "He Zhu match" and "Lady White" were lost, which is also a great loss for northern Kunqu.

Some people argue that Kunqu opera should be regarded as a museum art, only to be preserved and not developed, which is opposed by Kunqu opera practitioners and intellectuals, and also runs counter to the original purpose of UNESCO's selection of humanity's oral and intangible cultural heritage - to ensure the survival of these outstanding cultures, rather than to curb their future development. However, Kunqu Opera does face difficulties: the loss of talents makes the personnel competent for Kunqu opera creation few; To innovate Kunqu opera, we are faced with a dilemma: if we do not make great changes to Kunqu opera, we cannot narrow the distance between Kunqu opera and The Times; If major changes are made, Kunqu will lose its character and not be called Kunqu.

Experts believe that the urgent task of Kunqu opera is to save the existing repertoire and literature, first of all, the repertoire of middle-aged and elderly artists in the country should be recorded and videotapes, and precious Kunqu literature, performance scripts, scores and pictures should be collected and sorted out. Kunqu opera performances can make a living from old plays, and the repertory should be mainly inherited and sorted out. For example, the Peony Pavilion, rehearsed by Shanghai Kunqu Opera Troupe in the past two years, cut Tang Xianzu's original work into three books, with modern stage treatment, which not only maintains the characteristics of the original work, but also conforms to today's aesthetic taste, and has received a good market effect.

The Ministry of Culture plans to set up two training centers for Kunqu opera performers in Beijing and Shanghai over the next 10 years to train performers for Kunqu opera troupes across the country. Kunqu Opera theater heads hope to concentrate the country's outstanding teachers, in National Academy of Chinese Opera Training courses for Kunqu actors, scriptwriters, directors, composers and managers will be held.

Intangible cultural heritage

Selected time: On 18 May 2001, in Paris, UNESCO announced the first list of "Masterpieces of the Oral and Intangible Heritage of Humanity" (hereinafter referred to as "Masterpieces"). ^[16]

Reasons for inclusion: Originating from the South pier of Taicang, Jiangsu Province, Kunqu Opera has a history of more than 600 years and is known as "the ancestor and teacher of all kinds of operas". Many local operas, such as Jin Opera, Puzhou opera Shangdang Opera, Hunan opera , Sichuan opera , Jiangxi opera , GUI Opera, Yong opera Yue Opera and Guangdong Cantonese Opera, Fujian Opera, Wuju opera Yunnan Opera, etc., have been nurtured and nourished by Kunqu opera art in many aspects.

1. Kunqu Opera is highly technical

The means of expression in traditional Chinese opera are a combination of singing, reading, acting and playing (dancing). These four aspects and their synthesis are the most demanding in Kunqu opera. Kunqu opera performers must be both in these aspects. The stage presentation is also the most perfect and excellent. All other performers learn Kunqu opera to improve their skills. As a Peking Opera actor Mei Lanfang I have a deep Kunqu opera and can perform Kunqu opera. Hebei Clapper actress Pei Yanling's representative work Lin Chong night run It is performed in the form of Kunqu Opera.

2. Kunqu Opera is a "Living Fossil"

Since its formation, Chinese opera has been spreading on the stage. With the changes of The Times, the script, the voice and the performance are constantly changed, while Kunqu Opera changes less, retains more traditional characteristics of opera, and has an extremely rich repertoire, which is called "living fossil".

3. Kunqu is an "Endangered Species"

In the late 18th century, the rise of local opera, Kunqu opera because of too elegant and difficult, then declined. Before 1949, there was no professional performance group in the country except for the "Guo-style New-style Su Opera Troupe" and the "half-paid Kunqu Class", which tried to continue the artistic life of Kunqu opera.

Kunqu Art Festival

The Chinese Kunqu Opera Art Festival was founded in 2000 Ministry of Culture, People's Republic of China , Jiangsu Provincial People's Government , Suzhou Municipal People's Government Hosted by the Steering Committee of the Ministry of Culture to Revitalize Kunqu Opera, Jiangsu Provincial Department of Culture , Suzhou Cultural Bureau, Kunshan City It will be organized by the People's Government and co-organized by the China Kunqu Opera Research Society and relevant funding units. The purpose of the China Kunqu Opera Festival is to preserve and develop the art of Kunqu opera, and to enhance the communication between Kunqu opera lovers from all over the world.

In addition to the selection of the participating plays, various exhibitions, congratulatory performances, seminars, artist book signing and mass networking activities were also held. The government also printed postcards, first-day covers and other souvenirs for the festival. The first China Kunqu Opera Art Festival was held in Kunshan City and Suzhou City, Jiangsu Province from March 31 to April 6, 2000. The 2nd China Kunqu Opera Art Festival was held in November 2003 Suzhou City Hold.

Local kunqu opera

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EDITOR

Fujian Kunqu Opera

A still from Kunqu's A Dream of Red Mansions

Ming Wanli period (1573 ~ 1619) before the introduction of Fujian. So far, the earliest record of Kunshan dialect introduced into Fujian is the second year of Ming Wanli (1574). Yang Sizhi was appointed as a patrol press in Fujian Monitor the imperial history In the "Xinglijiao Zheng Custom Discussion" wrote: "Smell of min songs, there are those who sing with local music, there are those who learn Zhengyin songs." The "correct pronunciation" here refers to Kunshan dialect. Wanli years, Fuzhou people Deng Yuanyue In Volume 10 of "Xilou Ji", "Minzhong Yuan Xi Qu", there is a poem describing the scene of singing Kunqu opera in Fuzhou Lantern Festival: "Tonight, the rain is fresh and cool, short beat long song Not yet dawn ; Learn Kunshan Qi press the shot, also pearl outside the moon like frost." The "Huanzhu Gate" in the poem, that is, today's Fuzhou drum-tower Before. According to Ming Dynasty Qian Qianyi " A short biography of the poems of the Dynasty "Ding Ji volume six records, Wanli thirty-one year (1603), the Mid-Autumn Festival, officials, scholars gathered in Fuzhou city Wushi Mountain Lingxiao Tai, invited "pear garden several, the audience is blocked." Famous playwright Turong Just trip to Fuzhou, invited to participate in the grand event, during the dinner, long scarf white, sleeves up to do "Yu Yang mixed", a drum, no one in the square, mountains and clouds fly, the sea rises. Lin Maozhi sat down when he was young, raised, and held his hand and said: "Son should be my drum, and the song will give Tu." Quick, this night will last forever!" At the same time, a large number of Kunqu opera scripts, such as "Kunchi New tune eight can play brocade", "North-South Fashion Kunyiya tune" and other anthologies, are in northern Fujian Jianyang county Ma Sha Book House publishing, distribution everywhere. ^[17]

In addition to the Kunqu opera in Fuzhou public performances, many officials also have their own family classes. Wanli twenty-nine years (1601), Jinshi, served as Jiangsu Gia Dinh County magistrate Chen Yuan, usually love Kunqu opera, because of discord with the prime minister of the current dynasty, return home. He kept "a song boy" in Fuzhou Yijin Fang, often performed Kunqu opera to entertain himself, and also participated in the role of "big flower", thus having the nickname "Chen Big Flower", and his residence is commonly known as "Chen Big flower House" (see Qing Dynasty) Guo Bocang Quan Min Ming Poetry Biography, volume 37, Wan Li Dynasty 8). It is further stated that He Liangjun "Four friends Zhai Cong said" volume 13 "History 9" records, Min county (now Fuzhou) people Lin Tingang, as a Taishou, "more leisure days, hospitality, happy Yanle, every day there is a troupe, at the door to serve, although there are no guests. Chang, Wu two counties, the rotation of the day to the workers food silver five money, actors are happy to wait, the people do not complain."

Kunqu Opera is widely spread in Fujian, and has had some influence on local operas in Fujian more or less, or directly or indirectly. The late Ming Dynasty Cao Xuequan The original opera of the Confucian dynasty, its main voice "Jiaoqiang", contains Kunshan opera elements. For example, the representative play "Purple jade Hairpin", the main melody is "thirteen cavities". In the past, most of the Minju artists were illiterate and semi-literate, and they taught by mouth and by sound. As a result, they mistakenly read (or even wrote) the "thirteen tones" as "Xishan tones". According to the 29 years of the Republic of China (1940) June Fuzhou published "Anti-enemy drama" second volume tenth, famous drama theorist Dong Migan In the article "Singing Opera" said: "In the Fujian opera" New Camellia ", "stealing the country to save the country" sings the [self-sigh] song, the listener only feels its tone is sad and miserable, and does not know what tune it is taken from. This tune is actually based on the Kunqu opera "The treasure Thrown into the River" thirteen operas."

The so-called "thirteen cavities" is [Tongcheng], [Su Luo], [double overlapping Cui], [Yu Erang], [four different], [GUI Zhier], [Play child], [Qingjiang], [three and a half], [silver willow], [ancient day], [six Niangzi] and other thirteen kinds of tone synthesis (" double overlapping Cui "as two cavities). In addition, in the traditional Liyuan opera Jung Won-hwa "(also known as" Li Yaxian ") play [goose feather snow] a song, marked "Kunqu". Popular in Fuqing, Pingtan In the Ci Ming Opera, "water tune" mainly comes from Kunqu Opera. Pingnan The four level play with Nanping The Southern Ci opera has also performed the repertores of Kunqu opera.

Kunqu Opera also appears in the form of sitting singing in the folk. In the 35th year of Qianlong in Qing Dynasty (1770), Jianou County established "Jaiya Lin Qu Club" to learn to sing Kunqu opera, commonly known as "singing Daqu".

In the 16th year of Guangxu's reign in the Qing Dynasty (1890), a manager of Dongshan Salt Farm surnamed Hai initiated the "Kunqu Opera Hall in the Cloud Sky", followed by Ma Zhaolin, Ma Zhengxiang Both father and son participated in the activity. In the 10th year of the Republic of China (1921), Cao Meiting and Peng Fengren of Jianou County organized "Kunqu Opera Field". In the same year, Lin Pengchuan, a Kunqu opera enthusiast from Dongshan County, bought a set of "Six Day Music Score" while doing business in Shanghai. After returning to Dongshan, he founded organizations such as "Dongshan Traditional Music Research Association" and "Kunqu Music Study Institute". Subsequently, Dongshan County set up "Dongtian and Kunqu Opera Hall", the number of more than 70 people. to War of Resistance Against Japanese Aggression On the eve of the outbreak, Dongshan Kunqu reached its heyday. During the Anti-Japanese War, Dongshan Kunqu Opera Organization was disbanded.

After the founding of the People's Republic of China, Dongshan Kunqu Opera was restored. In 1957, it developed from the form of singing to performing on the stage, performing traditional programs such as "The Legend of the White Snake" and "Drunken Beating Mountain Gate". " Cultural revolution During the period, the precious copy of the "Six Day Music Score" was burned.

After crushing the Jiangqing counter-revolutionary clique, Huang Kuangguo and Sun Chuye, successors of the seventh generation, actively explored the heritage of Kunqu opera, and by 1994, collected and sorted out 12 plays and 47 Qupai. Among them, "The Legend of the White Snake" 13, "Removing armor and sealing the King" 4, "Fugui Changchun" 1, "The Legend of the White Snake" Drunk at the gate "3," Fu Hu "4," Sifan "5," Fu Hu" Hall of Eternal Life "3," "West Chamber" 5, "Appreciation of Lotus" 1 and so on.

Zhejiang Kunqu Opera

Kunqu Opera, commonly known as "grass Kun" and "Jin Kun", is a branch of Kunqu that spreads in Jinhua. Because of the long-term mobile performance in the rural grass terrace and temple fair, to farmers as the main audience object, so the language is more popular, the pursuit of plot twists, singing is not confined to the four-tone style, to perform martial opera, work drama, drama. After the Ming Dynasty, it has been regarded as the authentic of Wuju. In fact, it is a tributary of Kunqu in Quzhou (now Quxian area) and Jinhua, and it is simplified or changed in combination with local habits in language and melody, so it is called "grass Kun". Now its repertoire has been less performed, some of the tunes are absorbed by the Ruantan voice, such as the Ruantan tune contains "Kuntou" [Little peach red][New water Ling][Mountain Tiger] and other fragments. ^[18]

Inheritance and protection

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EDITOR

In November 2019, the List of National Intangible Cultural Heritage Representative Project Protection Units was announced, and the Northern Kunqu Opera Theater, Hunan Kunqu Opera Troupe, Jiangsu Performing Arts Group Co., LTD , Shanghai Kunqu Opera Troupe, Yongjia Kunqu Opera Troupe (Zhejiang Yongjia Kunqu Opera Institute), Chinese National Academy of Arts Obtained the "Kunqu" project protection unit qualification. ^[19]

In September 2022, due to institutional reform, the protection unit was renamed Yongjia Kunqu Opera Troupe (Yongjia Kunqu Opera Training Institute). ^[25]

On October 31, 2023, the List of National Intangible Cultural Heritage Representative Project protection units was announced, and the project protection units of Northern Kunqu Opera Theater, Hunan Kunqu Opera Troupe, Jiangsu Performing Arts Group Co., LTD , Shanghai Kunqu Opera Troupe, Yongjia Kunqu Opera Troupe (Zhejiang Yongjia Kunqu Opera Institute), Chinese National Academy of Arts Assessed qualified. ^[26]

Honor received

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In 2001, Kunqu was selected as one of the first Masterpieces of the Oral Intangible Heritage of Humanity by the United Nations. ^[24]

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