What is the origin, performance form and characteristics of the West Road Bangzi in Haixing County, Cangzhou?

For a long time, the concept of "Western Qin Opera" has coexisted in a broad sense and a narrow sense. In a broad sense, it refers to the Shaanxi opera, which is widely spread in Shaanxi, Gansu, Ningxia, Qinghai, Xinjiang and other provinces (regions), and in a narrow sense, it refers to the Shaanxi opera that originated and spread in the hometown of Western Qin (now Baoji, Xianyang, Shaanxi and Tianshui, Gansu). As far as Qupai and its development and evolution are concerned, there are still many opinions on "Xiqin Qupai" in a broad sense. The main controversy seems to be whether the western tune, Sanfei tune and Shaanxi tune originated in Shaanxi are modern Shaanxi tunes, or whether they originated in Gansu's western tune, Shaanxi tune, Longdong tune and Gansu Bangzi. In fact, as long as we briefly summarize the focus of the dispute, it is not difficult to find that the narrow sense of "Western Qin Opera" just happens to have the coincidence of these two "origins". This kind of "Western Qin Opera" originated from Yongcheng, the capital of pre-Qin Dynasty (now Fengxiang, Shaanxi Province) to Fengxiang House, Yifeng County, Tang Suzong, and has always been called Xifu, so it is also called Xifu, or West Road Qin Opera and West Road Bangzi. There are two reasons for saying "West Road": First, it followed the organizational system of "Qin Feng Road" set up from Song Dynasty to Yuan Dynasty, and was named after Fengxiangfu, Guzhouqin (now Tianshui, Gansu Province) and even Lanzhou. Secondly, from the perspective of the formation and performance style of acoustic cavity disc, compared with East Road (mainly referring to Tongzhou Bangzi and Xi 'an Luantan), it contains the meanings of "playing Dao", "routine" and "number of Dao" in Xifu dialect. I was born in Fengxiang, and I started my career as an artist. I often pay special attention to the origin and development of Kansai Qin Opera, and I can list one or two without knowing anything, so as to discuss them. Among the folk arts and crafts cultural relics still collected in Fengxiang County Cultural Center, there are two printed plates of the woodcut New Year picture "Door God" with a length of about 1 m and a width of about 40 cm, which clearly indicate the words "Ming Zhengde Nine-Year Prosperous Painting Bureau". Judging from their costumes and postures, they are all opera figures, which are probably popular locally. According to Yi and Tai Liping, descendants of Shixing Painting Bureau, sons of Xiaoli Village in Fengxiang South, all the "drama paintings" were printed (such as back to Jingzhou and two sacrificial cups). ) The first carving is to find famous local artists to put on costumes and "drop ink" (that is, outline the characters as usual), and then describe them. In the early years of the Republic of China, Hou Lie (commonly known as Zhao Cheng), a famous Shaanxi opera singer in Xifu, was invited to specially decorate the statue of Guan Gong, and even the Spring and Autumn Pavilion, a "Beijing Guild Hall" located in Dongguan (commonly known as Shaanxi Guild Hall), Yu Fengxiang lost his ink first, and even left a rumor that "Hou Lie's statue shocked ghosts and gods" shortly after his death. In the early 1980s, while the traditional drama that was banned for more than ten years resumed, the "stage drama" in Xifu ancient temple fair also quietly resumed. This kind of celebration ceremony held in front of the temple on the day when the temple was completed and the statue (sculpture) was "opened" or "held" was witnessed by the author several times in the whole process, especially those accents, including the plate-like style of Shaanxi Opera and Hu Mei, the rhythm of Xifu Qingqu and Daoqing, and the articulation, pronunciation and drawling that sometimes appear similar to Beijing Opera or Han Opera, listening to the vivid Xifu Shaanxi Opera. "China Opera Records Gansu Volume (Summary)" contains: "In the first year of Yongle in Ming Dynasty (1403), Fengxiang House sent Fengxiang Yangko Team to Maying Post City, Gansu Province (now Maying Gangzi, Shahe Village, Hongyan Township, Gaotai County) to celebrate thousands of performances, and then stayed behind." It shows that Xifu Qin opera originated early and became popular early. In fact, as early as when Qin Xiangong moved the capital from Fengxiang to Liyang, and then Qin Xiaogong moved the capital to Xianyang, Xifu Quzi (called "Shaanxi Opera") and folk rap Allegro Tune and Temple Fair "Advocating Good Tune" were often absorbed by the performers, and many singing methods and performances of Liangzhou Tune, Ganzhou Tune and Longshan Tune were also absorbed. In the Tang Dynasty, there was a record that Fei Zhigu, a gifted scholar in Yongzhou, was called into the palace. In the Wanli period of the Ming Dynasty (1577- 1620), there was a clear record of "two criminals in the West Qin Opera". It can be seen that this kind of western Qin opera, which originated in western Shaanxi and eastern Gansu, not only took shape in the pre-Qin period, but also reached a quite mature stage in the mid-Ming Dynasty. According to the records of Kangxi period (1662- 1722), Deng, Lu Jiyong of Mianzhu of Yongzheng, Li's play and Wu Taichu's shop, the real peak of Xifu Qin Opera was in the late Ming and early Qing dynasties. Up to now, Huaqing Class (commonly known as Zhang Jiaban), one of the "Four Classes" in Xifu, was founded in the Chongzhen period of Ming Dynasty (1628- 1644), regardless of the former zhouzhi county Zhang Xian and Zhang Ming, or Zhang Rongqing who later "sold boxes without selling surnames". During the period of 1984, I collected a large number of proverbs and folk slang of western Qin opera for compiling Fengxiang opera records. There is a saying that "traditional Chinese opera is not eastern, but boxing is not western" (meaning that if you want to sing opera in class, you don't want to learn martial arts. Because of the controversy, I took the opportunity to visit Mr. Sun Fumin (commonly known as Sun Shuangtian), a famous Shaanxi artist in Xifu, and asked him to explain it in detail. Who doesn't know that Shandong and Henan (Shaolin Temple) in the east of China have been Wulin masters since ancient times? It should be' boxing is not east, drama is not west', it is better to say' east road drama' or pass it from our' west road'! This can be confirmed from the Preface of Shaanxi Opera Records edited by Mr. Xun Yu: "In the hometown of Western Qin (that is, the area where Fengxiang is the center of Xifu), the so-called' Western Qin Opera', also known as' Random Play', was formed by combining the folk songs and proverbs at that time. Later, the West Shaanxi Opera flowed to Dongfu, and in Tongzhou area, it inherited the legacy of Yuan Zaju and formed Bangzi Opera, which was later called Tongzhou Bangzi, Tongpu Bangzi or Shanshan Bangzi. Mr. Ou Yangyuqian also talked about the same view in the preface of "Preliminary Collection of China Opera Research Materials": "Shaanxi Bangzi is divided into West Road and East Road, and the West Shaanxi Opera brought to Beijing by Wei Changsheng and Hua Dan in Sichuan during the Qianlong period may be the West Road Bangzi in Shaanxi ..." Mr. Lu, a famous artist who was born in Xifu's Shaanxi Opera family, said that he studied with his father in Baoji and Tianshui when he was young (in the 1920s and 1930s). At the beginning, under the guidance of Sun Fumin and other predecessors, when learning to perform Chop Yan Liang, he even sang Kunqu Opera and Drum Play. He can still remember the phrase "Blowing Opera" sung when he was assigned to play Nezha by the troupe when he was young: "My family lives in Huanghuagang, ranking third" and its corresponding West Road Shaanxi Opera performance routine. Only later, with Xi 'an as the center of art media and related cultural industries (records, scripts, etc. ) The "West Road" artists, who gradually occupy the dominant position, have adopted their own "original" singing method inadvertently while imitating and absorbing advanced "playing the Tao". It is worth noting that there is an important time lag, that is, after the 1920s, xi 'an's "latecomers come to the top" momentum of the new Shaanxi Opera represented by Yi Sushe, which cannot replace the previous position of Xifu Shaanxi Opera or West Road Bangzi. It can be seen from the relevant data that the title of Xifu Qinqiang Opera officially seen in this paper actually came into being after the founding of the People's Republic of China, and it also produced the reference objects of Dongfu (East Road) and Zhonglu Qinqiang Opera. However, in the popular areas of Xifu Qinqiang Opera or West Road Bangzi, there are always only Xifu and Dongfu or West Road and East Road. Especially before the founding of the People's Republic of China, one of the simplest statements was that even Xifu and Xilu, once in Xi 'an, were considered Dongfu and Donglu, with no middle road. Mr. Dang and Mr. Cheng, the former vice presidents of Fengxiang Fengyi Society, once told me that at the beginning of the establishment of 1934 Fengyi Society, artists performed in shifts according to the move, including Xifu and Lanzhou, as well as Dongfu and An. As a result, the drama club of 180 people was divided into two performance units, one called "East Road Class" and the other called "West Road Class". At that time, when Mr. Liu Yuzhong, a famous student of Xi 'an, and Yu Qiaoyun, a famous scholar of Dongfu, came to Fengxiang to perform one after another, they were all called "East Road" masters of Shaanxi Opera on the playing cards and by word of mouth of the audience.