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zá jù zájù（ varietyplay）
zhōng guó xìqǔ yì shù fā zhǎn dào chéng shú jiē duàn de zuì zǎo de xìqǔ zhǒng lèi。 yǐ qí fā zhǎn yǎn biàn dì yù hé shí qī de bù tóng， yòu kě fēn wéi sòng zá jù、 jīn yuàn běn hé yuán zá jù。 jiù qí yīnyuè── běi qū lái shuō， zé shì yī zhǒng zǎo qī de yǐ qǔpái tǐ wéi tè sè de zhòng yào shēng qiāng xì tǒng。 tā xī shōu、 róng hé liǎo zhōng guó chuán tǒng yì shù de yōu xiù chéng guǒ， duì dāng shí de nán xì hé míng dài yǐ lái nán běi gè zhǒng dì fāng shēng qiāng jù zhǒng gěi yǐ guǎng fàn 'ér shēn kè de yǐng xiǎng。 zài zhōng guó xìqǔ yì shù fā zhǎn de jìn chéng zhōng， jù yòu fēi cháng zhòng yào de dì wèi。
“ zá jù ” zuì zǎo jiàn yú táng dài， nà yì sī hé hàn dài de“ bǎi xì” chàbù duō， fàn zhǐ gē wǔ yǐ wài zhū rú zá jì děng gè sè jié mù。“ zá” wèi zá duō，“ bǎi” yě shì xíng róng duō；“ xì” hé“ jù” de yì sī xiāng fǎng， dàn dōuméi yòu jīn tiān“ xì jù” de yì sī。 dào liǎo sòng dài，“ zá jù” zhú jiàn chéng wéi yī zhǒng xīn biǎo yǎn xíng shì de zhuān chēng； zhè yī xīn xíng shì yě què shí chēng dé shàng“ zá” de， bāo kuò yòu gē wǔ、 yīnyuè、 tiáoxiào、 zá jì， tā fēn wéi sān duàn： dì yī duàn chēng wéi“ yàn duàn”， biǎo yǎn nèi róng wéi rì cháng shēng huó zhōng de shú shì， zuò wéi zhèng shì bù fēn de yǐn zǐ； dì 'èr duàn shì zhù yào bù fēn， dà gài shì biǎo yǎn gù shì、 shuō chàng huò wǔ dǎo； dì sān duàn jiào sàn duàn， yě jiào zá bàn、 zá wàng、 jì hé， biǎo yǎn huá jī、 tiáoxiào， huò jiān yòu zá jì。 sān duàn gè yī nèi róng， hù bù lián guàn。
zá jù de yīnyuè， yòu xiē zhí jiē qǔ zì sòng dàqǔ， yòu xiē zé lái yuán yú mín jiān xiǎoqǔ。 dàn sòng dàqǔ yī bān zhǐ qǔ táng dà qū de yī bù fēn， chēng wéi“ zhāi biàn”； sòng dàqǔ de jié gòu yě yǐ yuǎn jiào táng dàqǔ jiǎn dān。
běi sòng yǐ hòu， zá jù jì yòu suí nán sòng nán qiān de， yě yòu wéi jīn suǒ jì chéng de， jīn jì chéng de sòng zá jù yě chēng yuàn běn， xìng zhì shàng yǔ sòng zá jù què méi yòu qū bié。
běi sòng mò nán sòng chū， yě jiù shì 12 shì jì， nán fāng yě chǎn shēng liǎo yī zhǒng yǔ sòng zá jù bù tóng de xìqǔ nán xì， yòu jiào xì wén， yòu yīn wéi chǎn shēng dì zài zhè jiāng wēn zhōu， suǒ yǐ yòu jiào wēn zhōu zá jù、 yǒng jiā zá jù。 nán xì wán quán biǎo yǎn gù shì， jié gòu kě suí gù shì biàn huà， bù xiàng sòng zá jù jī běn yóu sān duàn gòu chéng。 nán xì yīnyuè yǐ nán fāng liú xíng de xiǎoqǔ、 gē yáo wéi zhù， dà gài hòu lái shòu dào sòng zá jù de yǐng xiǎng， yě cǎi yòng chàng zuàn、 cí diào hé dàqǔ de bù fēn qǔdiào。 nán xì suī bù jiǎng jiū gōng diào， shí jiān jiǔ liǎo què yě zì rán xíng chéng liǎo jí qū chéng tào de guī lǜ， qǔpái lián jiē yǐ yòu yī dìng cì xù。 zài nán xì de wǔ tái shàng， yī bān juésè yě kě gē chàng， yīn cǐ biàn yòu dú chàng、 duì chàng、 hé chàng děng gè zhǒng xíng shì， yīnyuè de lù zǐ xiǎn dé kāi kuò liǎo。
xíng chéng hé yǎn biàn
zá jù de míng chēng zài wǎn táng shí yǐ jīng chū xiàn， dào liǎo sòng dài， yóu yú chéng shì shāng pǐn jīng jì de fán shèng， shì mín jiē céng duì yú wén huà shēng huó de xū qiú， dōng jīng（ jīn hé nán kāi fēng） chū xiàn liǎo jí zhōng yǎn chū gè zhǒng jì yì de wǎ sì、 gòu lán， wéi xì jù xiàng zōng hé yì shù fā zhǎn tí gōng liǎo tiáo jiàn。 sòng zá jù shì zài jì chéng gē wǔ xì、 cān jūn xì、 gē wǔ、 shuō chàng、 cí diào、 mín jiān gēqǔ děng yì shù chuán tǒng de jī chǔ shàng róng hé、 fā zhǎn 'ér chǎn shēng de。 dāng shí， zá jù zài gōng tíng zhōng de yǎn chū , suī chuān chā yú zhū bān jì yì zhī zhōng , dàn yǐ jù yòu dú lì yǎn chū de xìng zhì。 zài mín jiān wǎ sì， zá jù wéi jīng cháng bān yǎn de jié mù , zhōng yuán jié yǎn《 mù lián jīng jiù mǔ zá jù》 kě lián yǎn 7、 8 tiān , guān zhě bèi zēng。 kě jiàn dāng shí zá jù zuò wéi xìqǔ xíng shì yǐ zài mín jiān guǎng fàn liú chuán。
nán sòng， suí zhe zhèng zhì zhōng xīn nán yí， zá jù yòu shèng xíng yú lín 'ān（ jīn zhè jiāng háng zhōu） děng dì， tā zài zhū bān jì yì zhōng yǐ jū yú shǒu yào dì wèi。 dāng shí， zài běi fāng yǔ sòng duì zhì de jīn， zé yòu yuàn běn（ xíng yuàn suǒ yòng jù běn） liú xíng。 jīn yuàn běn yǔ sòng zá jù zài tǐ cái、 yǎn chū xíng shì、 juésè fēn gōng děng fāng miàn dà zhì xiāng tóng， qí bù tóng zài suǒ yòng qǔdiào（ qǔpái） fāng miàn。
jù wáng guó wéi tǒng jì xiàn cún yuàn běn míng mù 689 zhǒng zhōng , suǒ yòng qǔdiào yǐ běi fāng hàn zú hé shǎo shù mín zú mín jiān gē diào wéi duō， ér zài sòng guān běn zá jù zhōng suǒ yòng qǔdiào zé yǐ dàqǔ、 fǎ qū hé cí diào wéi duō。 zài xíng shì fāng miàn， jīn yuàn běn jiào sòng zá jù yòu suǒ fēng fù hé fā zhǎn， chū xiàn liǎo mǒu xiē xīn de xíng shì。
tóng shí qī de nán fāng wēn zhōu zá jù suī míng wéi zá jù， dàn shí wéi nán xì。 yuán tǒng yī zhōng guó， yǐ dà dū（ jīn běi jīng） wéi zhōng xīn de běi fāng dì qū jí zhōng liǎo dà liàng cái fù、 rén lì（ bāo kuò gè sè yōu xiù yì rén） hé wén huà yì shù zhēn bǎo。 wén rén yīn bèi shòu bǐ shì 'ér jué yì shì jìn zhě， cháng yǔ zá jù yì rén gòng tóng jìn xíng chuàng zuò， cóng 'ér shǐ yuán zá jù zài yǐ dà dū wéi zhōng xīn de běi fāng dì qū fán shèng qǐ lái。 nán běi tǒng yī hòu， yuán zá jù zhú jiàn liú chuán yú jiāng nán lín 'ān děng dì。
yuán chū zhì yuán dào dà dé nián jiān（ 1279 ～ 1307）， yuán zá jù fā zhǎn zhì dǐng shèng shí qī， dà dū yǐ jí gè dì de zá jù yǎn chū fēi cháng huó yuè， zuò jiā bèi chū， míng zuò rú lín。 rú guān hàn qīng de《 dòu 'é yuān》、《 jiù fēng chén》、《 bài yuè tíng》、《 dān dāo huì》， wáng shí fǔ de《 xī xiāng jì》， mǎ zhì yuǎn de《 hàn gōng qiū》 , wèi jūn xiáng de《 zhào shì gū 'ér》 děng bù xiǔ zuò pǐn , fǎn yìng liǎo guǎng dà rén mín de kǔ nán hé hū shēng。 zhù míng yǎn yuán yòu zhū lián xiù、 tiān rán xiù、 hóu shuǎ qiào、 huáng zǐ cù děng， shèng jí yī shí。 yuán dài mò nián， zhèng zhì hēi 'àn， jīng jì shuāi wēi， běi fāng zhòng zāi， gèng yóu yú kē jǔ huī fù， wén rén zhuǎn qū shì tú， yǐ jí nán fāng chuán qí xīng qǐ děng yuán yīn， yuán zá jù yòu jiàn qū shuāi luò。
míng chū， zá jù jìn yī bù gōng tíng huà， dài zhī 'ér qǐ de yòu tǐ cái jiǎn duǎn de duǎn jù hé zhuān chàng nán qū huò jiān yòng nán běi qū de nán zá jù， qí zhōng suī yòu shǎo shù jiào hǎo de zuò pǐn， rú xú wèi de《 sì shēng yuán》 děng， yě zhōng yú bù néng wǎn huí zá jù shuāi wáng de mìng yùn。 zhì cǐ zá jù yì shù yǐ zài zhōng guó xìqǔ yīnyuè de jì xù fā zhǎn zhōng wán chéng liǎo zì jǐ de lì shǐ shǐ mìng。
yuán zá jù de yīnyuè yuán zá jù jié gòu xiāng dāng yán jǐn， yī běn xì jī běn shàng kě yǐ fēn zuò 4 zhé ; zhè zhǒng fēn zhé jié gòu fú hé yú xì jù qíng jié fā zhǎn de qǐ、 chéng、 zhuǎn、 hé de yī bān guī lǜ。 4 zhé zhī wài , hái yòu duǎn xiǎo de jù yòu kāi chǎng huò guò chǎng xìng zhì de xiē zǐ zuò wéi bǔ chōng。 yǔ chàng qiāng yòu guān de juésè fēn xíng shì yóu sòng zá jù hé jīn yuàn běn fā zhǎn 'ér lái de， ér fēn gōng gèng wéi míng què、 xì zhì。
zá jù de tǐ cái
zá jù de tǐ cái， shǒu xiān shì yī běn sì zhé de xíng shì， zhè shì shòu sòng zá jù yǎn chū shí fēn wéi sì duàn de yǐng xiǎng。 sì zhé zhī wài yòu kě yǐ jiā yī、 èr gè“ xiē zǐ”。“ zhé” xiāng dāng yú yīcháng xì， dàn zài yī zhé zhōng， chǎng jǐng què kě yòu suǒ biàn huàn。“ xiē zǐ” de piān fú bǐ jiào duǎn xiǎo， tōng cháng fàng zài dì yī zhé qián， qǐ lèi sì xù mù de zuò yòng； yě yòu fàng zài liǎng zhé zhī jiān zuò wéi jù qíng de guò dù， tā shì sì zhé yī běn xíng shì de zhòng yào bǔ chōng bù fēn。 gè bié zá jù yì yòu tū pò sì zhé yī běn de xíng shì de。 rú《 zhào shì gū 'ér》 wéi wǔ zhé。 yī bān shuō lái， yī běn wéi yī jù， dàn yě yòu yī xiē zuò pǐn chāo chū yī běn， rú《 xī xiāng jì》 jí wéi wǔ běn。
zá jù de gòu chéng
zá jù yòu sān gè gòu chéng bù fēn： bīn bái、 chàng cí、 kē jiè。 sān zhě jiāo xiāng pèi hé， tuī dòng jù qíng fā zhǎn， kè huà rén wù xìng gé。“ bái” yòu yùn bái、 sàn bái； hái yòu“ dài yún”、“ bèi yún”、“ nèi yún” děng míng mù， gè qǐ chuàn lián chàng cí、 jiāo dài nèi xīn huó dòng、 rén wù jiān jiāo liú de zuò yòng。 yuán zá jù shì yī zhǒng gē wǔ jù， yīn 'ér“ kē jiè” bāo kuò rén wù dòng zuò、 biǎo qíng、 wǔ dǎ、 gē wǔ yǐ jí yīn xiǎng xiào guǒ děng nèi róng。 chàng cí shì zá jù zhōng zhòng yào gòu chéng bù fēn， zài yīnyuè shàng cǎi yòng lián tào fāng shì， yóu tóng yī gōng diào de shù zhīqǔ zǐ zǔ chéng， yī zhé yī tào。 zhì yuán dài hòu qī cái chū xiàn nán běi qū lián tào de xíng shì。 qū de pái liè yòu yī dìng gé shì， dàn yòu yòu duō yàng de biàn huà， yào qiú měi yī zhīqǔ zǐ de yīnyuè qián hòu bì xū xián jiē。 qū wén yào xié lǜ， fú hé qǔpái guī dìng de gé lǜ， píng zè yào hé xié。 yā yùn yǐ dāng shí běi fāng huà wéi zhǔn zé， fāng shì wéi quán tào tōng yā yī yùn， dàn kě sì shēng tōng xié， yùn zì yì kě fù yòng。 cǐ wài， qū wén zhōng kě jiā chèn zì， bìng kě lì yòng fēng fù de duì zhàng xíng shì： ǒu jù duì、 dǐng zú duì、 lián bì duì、 gé jù duì、 lián zhū duì， děng děng， zēng jiā qū wén de xiū cí sè cǎi。
zá jù de juésè
jī běn juésè yòu 4 lèi : dàn（ nǚ xìng juésè）、 mò（ nán xìng juésè）、 jìng（ gāng liè háo qiáng jí huá jī rén wù）、 zá（ qí tā zá sè）， měi lèi gèng yòu xì zhì de qū fēn。 yóu zhēngdàn huò zhèng mò bàn yǎn zhù yào juésè， gù jù běn yòu dàn běn、 mò běn zhī fēn。 yuán zá jù de yīnyuè běi qū， shì xíng chéng yú běi fāng de yī zhǒng zhòng yào de qǔpái lián tào tǐ shēng qiāng xì tǒng。 tā jì chéng liǎo yóu lái yǐ jiǔ de chuán tǒng yīnyuè yì shù， bāo kuò táng sòng yǐ lái de gē wǔ yīnyuè ( rú dàqǔ hé zhuǎn tà )、 shuō chàng yīnyuè（ rú gǔ zǐ cí、 chàng zuàn hé zhū gōng diào）、 gēqǔ（ rú qǔzǐ cí、 hàn zú hé běi fāng xiōng dì mín zú de mín jiān gēqǔ） děng。 qí zhōng， jì yòu fēng fù duō cǎi de qiāng diào jī lěi , yòu yòu yán jǐn dú jù tè sè de jié gòu xíng shì , yǐ jí jīng zhàn de gē chàng yì shù hé qì lè yǎn zòu。 tōng guò jǐ bǎi nián wú shù yì rén de tàn qiú hé shí jiàn， cái wán chéng běi qū zhè yī shēng qiāng xì tǒng de yì shù chuàng zào。
zá jù de tè diǎn
yuán zá jù yǎn chàng de yuán mào , yǐ bù kě jiàn , zhǐ néng cóng lì shǐ jìzǎi、 qǔpǔ、 kūn qū zhōng de běi qū yǐ jí xìqǔ wén wù zhōng liǎo jiě dào tā de jī běn qíng kuàng， dà zhì shuō lái， yòu rú xià yī xiē tè diǎn。
① jiù qí yīnyuè fēng gé lái shuō， qián dài qū jiā yī zhì rèn wéi tā jù yòu nóng yù de gāng jiàn xióng hún de fēng gé sè cǎi。 zhè zhǒng yīnyuè fēng gé de xíng chéng yòu yǔ yǐ xià suǒ jǔ qǔdiào gòu chéng zhū yīn sù mìqiè xiāng guān。 yòng qī shēng yīn jiē， duō sì dù yǐ shàng de shàng xià tiào jìn， bìng yòu qí cháng yòng de tè xìng yīn diào， xíng chéng gāo xià diē dàng de xuán lǜ tè diǎn。 zhè hé běi fāng yǔ yán de shēng diào、 yǔ diào yòu guān。 jù cí yòng yùn yǐ běi fāng yǔ yīn wéi zhǔn， fēn píng、 shàng、 qù sān shēng（ rù shēng fēn bié bìng rù zhè sān shēng）， měi zhé wéi yī tào qū， qí suǒ yòng qǔpái jūn yòng yī yùn。 tā de jié zòu zhì pǔ jǐn cù， jù yòu“ cù chù jiàn jīn” de xiào guǒ。 jù jiān líng huó zì yóu dì jiā yòng chèn zì； jù wěi cháng shǐ yòng dǐ bǎn， yǐ zēng qiáng chàng qiāng de dòng shì。
cǐ wài， zì duō qiāng shǎo de cí qū jié hé xíng shì yì yú tū chū cí qíng。 yóu yú zhè xiē yīn sù de zōng hé yùn yòng， xíng chéng tā shǎn zuàn dùn cuò de chàng qiāng tè diǎn。 tā de bǎn shì bǐ jiào zì yóu， bǎn shù wú dìng， xià bǎn de wèi zhì yě bù gù dìng。 jié pāi yòu sǎnbǎn、 yī yǎn yī bǎn、 sān yǎn yī bǎn 3 zhǒng , qí sù dù xiāng duì jiào nán qū wéi kuài。
② qū shì jié gòu── qǔpái hé qū pái lián tào（ tào shù）。 yuán zá jù yī bān yóu 4 zhé 1 xiē gòu chéng， měi zhé yòng 1 tào qū， yī jù yòu 4 dà tào qū， yǐ tǐ xiàn yīnyuè jié gòu yǔ xì jù jié gòu de yī zhì xìng。 qí qū shì jié gòu fù zá yán jǐn , zhù tǐ bù fēn de qǔpái jī běn shàng yòu 3 zhǒng xíng shì： jí bù tóng qǔpái xiāng lián jiē de chán lìng xíng shì； liǎng zhǒng qǔpái jiāo hù lián jiē de chán dá xíng shì hé tóng yī qǔpái biàn huà fǎn fù de me piān xíng shì。 zhè xiē xíng shì zài jù tǐ 'àn qiāng shí róng xǔ yòu suǒ biàn tōng。
③ gōng diào yùn yòng。 yuán yàn nán zhī 'ān de《 chàng lùn》 yòu shí qī gōng diào zhī shuō。 shāo hòu de zhōu dé qīng zé shuō gōng diào“ yī shí yòu 'èr”。 ér jīn cún yuán zá jù běn zhòngbiāo míng qǔpái suǒ shǔ gōng diào， zhǐ yòu wǔ gōng sì diào， jí zhèng gōng、 zhōng lǚ gōng、 nán lǚ gōng、 xiān lǚ gōng、 huáng zhōng gōng、 dà shí diào、 shuāng diào、 shāng diào、 yuè diào děng 9 zhǒng gōng diào。 yuán zá jù yī xì 4 zhé、 měi zhé gè yòng yī gōng diào（ xiē zǐ tóng yú qí qián、 hòu zhé）。 gēn jù xiàn cún běi qū qǔpǔ lái kàn， gōng diào fēn lèi de yì yì bìng bù zài tiáogāo hé diào shì fāng miàn。 tào shù de lèi bié què shí shì chēng zuò gōng diào。 zhè zhǒng“ gōng diào” fēn lèi， réng jù yòu guī fàn tóng lèi qǔpǔ xiāng jìn de diào yù hé dà zhì de yīn yù， huò biǎo shì yòu tóng lèi qǔpǔ cún zài zhe gòng yòu de mǒu xiē tè xìng yīn diào de xìng zhì， yīn cǐ néng wéi chuàng zào xīn qiāng huò lì yòng yuán yòu qǔpái bìng wéi shí jì yǎn chàng tí gōng fāng biàn。 jiè gōng hé fàn diào děng tū pò gōng diào guī fàn de xīn de shǒu fǎ， yě shǐ qǔpái de biǎo xiàn lì dé dào fēng fù、 kuò zhǎn。
④ yǎn chàng xíng shì hé yǎn chàng yì shù。 yuán zá jù shòu zhū gōng diào de yǐng xiǎng， qí quán jù huò 1 zhé， yóu zhù yào juésè zhù chàng , yòu bǐ jiào jí zhōng de dà duàn chàng qiāng， yǐ kè huà zhù yào rén wù huò xù shù shì jiàn。 chú zhù chàng zhě wài， qí tā juésè yī bān zhǐ yòu bīn bái。 qí jiēguǒ， yī fāng miàn gù rán kě yǐ chōng fēn fā huī gē chàng yì shù zài xìqǔ zhōng de zuò yòng， tí gāo zhù chàng zhě de yǎn chàng shuǐ píng； dàn lìng yī fāng miàn， cì yào juésè zài yǎn chàng shàng dé bù dào yīngyǒu de fā huī， yě xiàn zhì liǎo tóng zhù yào juésè de qíng gǎn jiāo liú。 yīn cǐ， hòu lái de jù běn yě wéi cì yào juésè 'ān pái yī xiē chàng qiāng。
guān yú zá jù de yǎn chàng yì shù， rú gē chàng fāng fǎ、 gé diào、 jié zòu、 gē shēng、 shēng yùn děng fāng miàn， jī lěi liǎo fēng fù de jīng yàn， zài yuán yàn nán zhī 'ān zhù《 chàng lùn》 yī shū zhōng yòu bǐ jiào jiǎn gāi de jì shù。
⑤ qì lè bàn zòu。 bù shǎo rén rèn wéi běi qū de zhù yào bàn zòuyuè qì wéi xián suǒ， dàn cóng xiàn zài yí cún de diǎn xiāng、 bì huà、 zhuān diāo zhōng suǒ jiàn què zhǐ yòu dí（ huò yòu bì lì）、 gǔ、 bǎn， dà zhì tóng yú táng zhī gǔ jià bù jí sòng jiào fāng sì bù zhōng de gǔ dí bù。 yīn cǐ， yòu rén rèn wéi xìqǔ chàng qiāng bàn zòu jiā yòng zhēng、 pí pá、 sān xián děng xián lè qì shì jiào hòu de shì。 zhè xiē wèn tí yòu dài jìn yī bù yán jiū。
Drama zájù (variety play)
The development of Chinese traditional opera to the mature stage of the first opera types. Development and Evolution of its geographical and time differences, can be divided into the Song Dynasty, the Jin and Yuan Dynasty. ─ ─ north of its music song, it is the body of an early to Tune Tune system for the important characteristics. It absorbs, combines the outstanding achievements of traditional Chinese art, drama and the South at that time a variety of places north and south since the Ming Dynasty opera tune give a broad and profound impact. In the Chinese opera in the process of development of the arts, has a very important position.
Plays music, some directly from the song starter, and some from civil ditty. However, Tang and Song Daqu Daqu Generally, only a part of, called "Abstract time"; Song Daqu structure much smaller than in the Tang Daqu simple.
After the Northern Song, Southern Song Dynasty established with south, and also provided money inherited, Jinji Cheng Song Dynasty also known as the hospital this, nature is no different with the Song Dynasty.
Formation and Evolution
Southern Song Dynasty, with the political center moved south, Drama Also popular in Lin'an (now Hangzhou), etc., which fill you with all of drama in the primary position has been living. At that time, the confrontation between the North and the Song of gold, there are homes of this (line institutions with a script) epidemic. The Jin and the Song Dynasty in the genre, show the form of role division of labor is basically the same, with their different tune in the (melody) side.
According to Wang Guowei statistics of existing homes in the 689 kinds of names, the use of melody in northern Han Chinese and minority folk song tune as many officials in the Song Dynasty used in this tune Zeyi Daqu, French music, and multi-word notes. In form, the Jin Song Dynasty had a more enriched and developed, there has been some new forms.
The same period, although the name South Wenzhou Dynasty Dynasty, but the real drama for the south. Yuan unification of China, to most (now Beijing) as the center of the northern region have a lot of wealth, human (including colored artistes) and cultural and artistic treasures. Much despised by scholars and those who never intended to officialdom, often together creative artists and Drama, so most of the Yuan in order to flourish as the center up north. North-South reunification, Yuan gradually spread in South Linan and other places.
Early Yuan Yuan to Dade years (1279 ~ 1307), Yuan Dynasty to the peak of development, mostly, and very active around the Opera performances, the writer of giving birth to masterpieces such as the forest. If Guan Hanqing's "Snow in Midsummer," "save the Courtesan," "Praying to the Moon," "will single-handedly," Wang Shih-fu's "The West Chamber", Ma Zhiyuan's "Autumn in Palace", Weijun Xiang's "Orphan of Zhao", etc. immortal works, reflecting the majority of the people's suffering and cries. Famous actors show a bead curtain, natural show, playing Hou Qiao, Huang vinegar, Olive Tree. Yuan Dynasty, the political darkness, economic decline, the North disastrous, but to restore the imperial examination, scholars turned career, and the rise of Southern legends and other reasons, then gradually decline Yuan.
Early Ming Dynasty further court-based, replaced by a genre of short skits and sing special songs Nanqu or a combination of Southern Opera North and South, which despite a few good works, such as Xu Wei, "Ape", etc. , and finally can not turn around the decline of the fate of Drama. So far Drama Art in the continued development of Chinese opera music to complete its historic mission.
Yuan Yuan's very strict structure, a game can basically be divided into four break; this sub-folded structure found in the dramatic plot development, the commitments, transfer, cooperation of the general law. 4 fold, there is too short field with the opening or the nature of the wedge as a supplement. Roles and singing the Song Dynasty and the branch is developed from the Jin, the division of labor is more clear and detailed.
Genre Drama
Genre Drama, first in the form of a Si Zhe, which is subject to the Song Dynasty in four sections of the performances. Sizhe outside can also add one or two "wedge." "Break" the equivalent of a drama, but in a compromise, but may be change scenarios. "Wedge" relatively short length, usually on the first break before the curtain from a similar role; also on a plot between the two folding transition, which is Sizhe an important complement to form part of. Individual dramas have a breakthrough in the form of Si Zhe. Such as "Orphan of Zhao" as Wu Zhe. In general, a is a drama, but there are some works than one, such as "The West Chamber" shall be five.
The composition of Drama
Drama has three components: Spoken, lyrics, Section Introduction. Three cross matching, and promote the development of plot, characterization Characters in. "White" has rhyme white, loose white; there "with clouds", "Back cloud", "internal cloud" and other names, the serial from the lyrics, inside account of events, the role of exchanges between characters. Yuan is a musical, which "Section Introduction" includes action figures, facial expressions, martial arts, dance and sound and so on. Opera libretto is an important component of the joint _set_s in the music by way of transfer from the same palace several tune the composition of a folding _set_. To the north and south Qu Yuan appeared late in the form of joint _set_s. A certain arrangement of music formats, but there are a variety of changes, requiring each musical piece before and after a required interface. Qu Association law to meet the requirements of the metrical melody, tonal pattern to and harmonious. Rhyming words at the time the North as the standard way to complete a rhyme rhyme, but may pass the Society four tones, rhyme words can reuse. In addition, the song Lining paper can be words, and can use the rich couplet form: dual sentence right, Tripartite Couplet, even bi right, every other sentence pairs, Lianzhu right, and so on, increasing song rhetorical color.
The role of Drama
Drama Features
Yuan singing original, has not seen, only from historical records, music scores, music, and Kun Opera in the North understand its heritage in the basic situation, generally speaking, there are some features.
① their music style, the former generation of composers agreed that it is rich in vigorous and forceful style of color. The formation of this music style has cited the following factors constitute a closely related tune. Sound stage with seven more jump up and down more than four times, and has its characteristic tone commonly used to form the melody compete with the ups and features. This northern language tone, the tone. Rhyming word play to prevail in Northern voice, sub-level, on to the third tone (Entering into this three times, respectively), each pack is a _set_ of songs, their tunes are used with a rhyme. It's rhythm funky pressed with "Seeing the tendons to promote" effect. Sentence was added between the flexible liner free word; bottom end of the sentence often used to enhance the singing of the momentum.
In addition, fewer words and more words and music combined with the form of cavity easy to highlight the word love. The comprehensive use of these factors, the formation of its singing flash features make frustrated. Plate compared to its free, no fixed number plate, the plate's position is not fixed. Beat with rubato, one of a board, three of a plate 3, the relative speed faster than the Southern Drama.
② ─ ─ Tune musical structure and melody that _set_ (copy number). General Yuan off a wedge from 4, with each fold with a divertimento, a play with four major divertimento, to reflect the musical structure and dramatic structure consistency. The musical structure complex and rigorous, the main part of the melody basically three kinds of forms: the different winding linking the tunes that form; two tunes connected winding up interactive forms and the same melody repeated changes in the form of Mody articles. These forms in time to allow some specific modifications by cavity.
④ singing and singing art. Gong Yuan Shou Zhu stressed the impact of the opera or a discount, by the major role of the lead singer, has concentrated a large section of singing, to portray the main characters or the narrative events. In addition to the lead singers, the other players to only Spoken. As a result, while they can give full play to sing the role of art in the drama to raise the level of lead singer's concert; but on the other hand, on a secondary role in the concert should not play, also limited with the major role emotional interaction. Therefore, the script then arrange for a secondary role in singing.
Opera singing on the arts such as singing method, style, rhythm, song, rhyme and so on, has accumulated rich experience in the Yuan Yan Nanzhi Temple of "Singing," a book account of a relatively simple Gai.
⑤ instrumental accompaniment. Many people believe that the main accompaniment instrument Northern Song string of cable, but now remains of the Code box, murals, brick seen in only whistle (or Hichiriki), drums, sheet, roughly the same in the Tang Dynasty Drum Rack Education Department and Song Four Square Division of the drums flute. Therefore, some people think that opera singing accompaniment plus zheng, pipa, sanxian and other stringed instruments than later. These issues need further study.
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