What are the characteristics of Anshun local opera?

Anshun local opera, commonly known as "jumping the gods", is a unique folk drama performed by Tunpu people wearing wooden masks in Anshun, Guizhou. It is a kind of drama, which was formed in the early Ming Dynasty.

Anshun local opera performance takes the village as the performance unit, and the actors are all authentic farmers. Generally, a village has one scene, and there are twenty or thirty actors, and the "God Head" is responsible. During the performance, the whole village watched happily in the paddock. Its performance form is relatively primitive. The actors wore masks, blue gauze, flags, knives, guns and other weapons on their backs, and sang, sang, danced and beat with the sonorous accompaniment of gongs and drums. The scene is warm and entertaining, and it is deeply loved by the people.

Sacrifice with Najib significance

Nuo, a cultural phenomenon that originated from primitive religion in ancient China, is the worship of totem, ghosts and ancestors by ancestors in primitive society, and belongs to the worldwide cultural category. In the long history, Nuo gradually evolved into a fixed ritual activity to drive away epidemic ghosts or "exorcise evil spirits".

In the whole cultural activities of Nuo opera, Nuo instruments, Nuo dances and Nuo operas are constantly improving. Nuo opera is basically divided into three different schools of Nuo cultural and artistic performances, namely, court Nuo opera, villagers Nuo opera and military Nuo opera, in which military Nuo opera is a local opera.

In the early years of Ming Dynasty, in order to consolidate the southwest border, Zhu Yuanzhang sent Fu Youde, Hou of Yingchuan, as the general of the south expedition, riding 35 troops in one step, and arrived in Anshun, Guizhou on 138 1, and Anshun became the base camp of the Ming army.

1388, after the Ming army's second expedition to the south, a large number of immigrants came to Guizhou from Jiangnan provinces. In this way, the unique tunpu in Anton area was formed by troops and immigrants. Later, the Ming Dynasty forcibly recruited a large number of farmers, craftsmen, servants, businessmen and criminals from the Central Plains, Huguang and Jiangnan provinces to move to central Guizhou, forming military fortresses, civilian fortresses and commercial fortresses, which constituted a unique social group of Anshun Han nationality.

The arrival of this group of Han immigrants from Jiangnan water town has had a far-reaching impact on Guizhou's economy, politics and culture. After they arrived in Guizhou, they gradually formed Tunpu culture, one of which was the military Nuo from the Central Plains, that is, the local opera.

As the name implies, "local opera" is a drama performed on the ground. It also has another name called "Jumping God", which not only means that the performance mode is mostly jumping dance movements, but also a kind of reverence for God.

The performance time of Anshun local opera is mainly twice a year, once during the Spring Festival and once in July in summer. Performing for about 20 days during the Spring Festival, known as "Spring Festival Dance", is a new drama gathering activity at the end of the year, which is held together with anti-epidemic etiquette and Naji.

When dancing the Spring Festival performance, you should insert a big red flag at the entrance of the village or in an eye-catching place. The flag is embroidered with the word "Shuai", which means that the village will perform a local opera today, and it also means Naji. Before the performance, the wooden box for storing dough should be carried out from the temple or the depositor's home, and a solemn unpacking ceremony should be held.

The performance of the Spring Festival dance consists of four parts: opening the door, sweeping the mouth, jumping into the sky and sweeping the tail. Actors are also farmers. They wore simple robes, covered their heads, wore blue gauze on their masks, put flags on their backs, and held wooden weapons such as knives, guns, swords and halberds in their hands. They sang and danced with the sonorous accompaniment of gongs and drums. An ancient and simple breath came to my face.

Jumping in the Spring Festival has brought happiness to Anshun countryside, and at the same time, it has entrusted farmers with good wishes. The main purpose of farmers jumping off buildings during the Spring Festival is to drive away evil spirits and epidemics. According to farmers, jumping into the sky in the first year can make every household safe, the six animals flourish and the grain is abundant.

In the middle of July in summer, there is also a local drama. At this time, the rice is in full bloom, which is called "jumping rice flower god" and begging for a bumper harvest of rice.

In addition, when there are festive activities, there will be irregular Anshun performances, such as building temples and opening new venues. After each performance, the mask should be sealed with a solemn closing ceremony, and it can not be opened ceremoniously until next year's performance season, during which there can be no blasphemy.

Anshun local opera only plays "official history" and does not play complicated dramas. There are only martial arts dramas, not literary dramas. The performance form of local operas is relatively primitive. The actors wore masks, blue gauze, flags, knives, guns and other weapons on their backs, and sang, sang, danced and beat with the sonorous accompaniment of gongs and drums. The scene was warm. According to the Ming Dynasty local chronicles "Continued Anshun Fuzhi" records:

People who jump into the sky, wearing green scarves, wearing skirts, wearing masks on their foreheads, holding spears and halberds in their hands, casually sing and dance in response.

Anshun local opera is a kind of seven-character and ten-character rhyme rap. Accompanied by gongs and drums, one person leads the crowd, with the aftertaste of Yiyang old tune. Its dance is the performance of fighting and fighting.

The performance procedures of Anshun local opera are generally divided into unpacking, inviting gods, topping gods, sweeping away gods, jumping off gods, sweeping the tail and sealing boxes. Among them, "Jumping God" is a formal performance, which is divided into "establishing the DPRK", "leaving the war seat", "sending troops" and "returning to the DPRK". The rest is a Nuo opera activity, with exorcism and Naji elements.

Because of Tunpu people's view of gods, local operas are endowed with the nature of "exorcism". When villagers build houses to seek wealth and pray for their children and grandchildren, they will invite "gods" in the local opera team, such as Guan Yu and She Taijun, to conduct activities such as "opening the door" and "sending the prince away".

The repertoires and books performed by Anshun local opera are also called "local opera spectrum", which has the nature of taking history as a clue. In chronological order, the repertoires handed down include Romance of Gods, Broken Iron Sun, Story of the Eastern Zhou Dynasty, Chu-Han Struggle, Romance of the Three Kingdoms, Great Resistance to Lu, Four Horses in the Tang Dynasty, Luo Tong Sweeping the North, Xue Dongzheng, Western Expedition and Xue Gang's Anti-Tang Dynasty.

Most of the content is the story of the Battle of Kingoma Iron. There are no dramas of talented people and beautiful women, honest officials, outlaws and grotesque, only dramas of loyal ministers and good generals who praise loyalty and serve the country. Reflect the era from Shang and Zhou Dynasties to Ming Dynasty. War stories sang the rise and fall of dynasties, which constituted the most important feature of military Nuo.

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