Xiangyun Ziduoqingwu Opera introduces...

[Edit this paragraph] History of Wu Opera

Since the Ming and Qing Dynasties, the Jinhua area has been a commercial and trading area where salt and silk were imported into Gan and lacquer and porcelain were imported into Zhejiang. In addition, the products are abundant, so it has always been It is a place where all kinds of operas compete for success. The popular Yiwu accent in the mid-Ming Dynasty was formed in Jinhua Prefecture (now Jinhua, Zhejiang), which belongs to Yiwu County. Gaoqiang and Kunqiang in the late Ming Dynasty, Luantanqiang in the early Qing Dynasty, and Hui opera in the middle Qing Dynasty were all popular in Jinhua. Gaoqiang can be divided into Houyang, Xiwu, Xi'an and Songyang. Houyang Gaoqiang is popular in Dongyang and Yiwu areas. Some people think that it may be derived from Yiwu tune and is good at performing martial arts. Xiwu Gaoqiang got its name from the opening of a class in Xiwu Village, Beixiang, Jinhua. Its singing style is more euphemistic and simple than Xi'an Gaoqiang, and it uses more rolling singing. It is related to Huichi Yadong. Xi'an Gaoqiang is popular in the Quzhou area, and Quzhou was called "Xi'an" in ancient times, hence the name. According to legend, it is closely related to Yiyang tune, and some people think it may be a legacy of Xiping tune. Its tunes have many words but few accents, and have the characteristics of being able to be heard all at once. For the above three types of music, one person starts the singing, and others help with the singing. The gongs and drums help the rhythm, and the tunes fall into the tune according to one's heart. The characteristic of most high-pitched tunes is that gongs and drums support the rhythm, regardless of the strings, one person speaks, everyone harmonizes, and the tone is high and exciting. However, Xiwu Gaoqiang and Songyang Gaoqiang are accompanied by a band, which is a unique form among various Gaoqiang in my country. There are many high-pitched tunes, and different repertoires have prescribed "sets". Use long and short sentence patterns for the first time. The repertoire is rich, such as "The Story of Huaiyin", "The Story of Hezhu", "The Story of White Rabbit", etc. Kun Opera, commonly known as "Cao Kun" and "Jin Kun", is a branch of Kun Opera spread in Jinhua. Because it has been performed on grass terraces and temple fairs in rural areas for a long time, with farmers as the main audience, the language is relatively popular, the plot is tortuous, and the singing is not limited to the four-tone pattern, focusing on martial arts, craftsmanship, and grand operas. After the Ming Dynasty, it has been regarded as the most authentic among the tunes of Wu Opera. In fact, it is a tributary of Kun Opera in Quzhou (today's Quxian area) and Jinhua. The language and tunes are simplified or changed based on local habits, so it is called "Cao Kun". Nowadays, its repertoire is rarely performed, and some tunes have been absorbed by Luantan tunes. For example, Luantan tunes contain fragments such as "Kuntou", "Xiao Taohong", "Xinshuiling" and "Xiashanhu". Luantan is also called "Pujiang Luantan" because most of the "Luantan classes" that specialize in Luantan are from Pujiang County. The main singing tunes are Erfan, Sanwuqi and Luhua. In addition to Jinhua, Quzhou, and Yanzhou (now Jiande, Zhejiang), its popular areas are also often performed in Changhua and Tonglu. Erfan has the characteristics of northern opera singing. Some people think it originated from the Western Qin opera, while others think it originated from Anhui's blowing tune and Siping tune. Sanwuqi has the characteristics of southern opera singing and is an early blowing tune. Some people think that its formation is related to the Huizhou, Siping and Taiping tunes in southern Anhui. Luhua is derived from blowing tunes and is a legacy of Hui opera. According to the "Dictionary of Chinese Opera and Folk Arts": Luantan refers to the four tones of "San Wu Qi", "Lu Hua Diao", "Er Fan" and "Ba Zi" in Wu Opera. "Sanwuqi" and "Luhua tune" evolved from Anhui's "Shibei tune". The flute is used as the main player. The tune is gorgeous, smooth and stretching. The singing tune has fewer words and more tunes. Later it developed into "Laipan" with more words and fewer tunes. . "Erfan" is a tune that evolved after Qin opera spread to the south. In Wu Opera, it developed into four tunes with different attributes: "Chizi", "Xiaogong", "Zhenggong" and "Fanzi", each with its own "inverted" tune. Different board styles, such as "board", "original board", "flowing water", "tight skin" and "stacked board", respectively have emotional characteristics such as exciting, high-pitched, tragic and melancholy. "Bazi" also has board styles such as "reverse board", "huilong" and "original board". According to the nature of setting the tone, "Erfan" is generally associated with "Three Five Seven", and "Reed Flower" is associated with "Ba Zi". There are many repertoires, such as "Reed Blossoms", "Gui Zhi's Writing", "Snow Plum", "Pearl Shirt", etc. Hui opera was introduced from southern Anhui. Since the late Qing Dynasty, a large number of Anhui people have moved to the Jinhua area, most of them doing business, and Anhui opera has flowed in along the trade routes. There are more than 30 local Anhui classes in Jinhua and Quzhou, and more than ten local courses were opened around 1918 alone. Wu Hui opera troupe has its own style, mainly based on old Hui tunes such as Bazi, Luhua, and blowing tunes. He sings Xipi and Erhuang, and performs rough, slapstick, simple and healthy performances. His repertoire includes "Second Entering the Palace", "Famen Temple", "Qinglong Hui", etc. Among them, the performance styles of "Burning the City" and "Capturing Pound" are rare in modern Pihuang dramas. Tanhuang, according to legend, originated from Tanhuang in Suzhou. During the Qianlong and Jiaqing years (1936-1820), Jinhua had a folk singing class. Some people believe that Tanhuang was introduced by the performers of the boat girls who traveled between Quzhou and Lanjiang. It first became an amateur singing troupe, and later developed into opera by Wu opera artists and became one of the tunes of Wu opera. There are "Pujiang Beach Spring", "Lanxi Beach Spring" and "Dongyang Beach Spring". The repertoire includes "Meeting of Monks and Nuns", "Broken Bridge", "Peony Duo", etc. The traditional plays "Gathering of Monks and Nuns" and "Broken Bridge" compiled after liberation have new creations in scripts and performances. Shidiao is the collective name for fashionable folk operas since the Ming and Qing Dynasties. Some come from folk songs of the Ming and Qing Dynasties, some belong to Nanluo, some are from Youtan, and some originate from local minor tunes. Evolved from local folk songs, songs and dances, it is a style of singing rural life dramas. The repertoire includes "Walking in Guangdong", "Selling Cotton Yarn", "Wang Po Scolding Chicken", etc. The above six kinds of tunes are not mixed in one play in Wu opera, but each tune has a number of specialized repertoires. Initially, Gao Qiang, Kun Qiang, Luantan, etc. formed independent classes, and later developed into combined classes with different combinations. The opera troupe that also sings Gao, Kun and Luan is commonly known as the "three-in-one troupe". Later, Hui opera was introduced to the Jinhua area. Some Sanhe troupes abandoned the high tune and also sang Hui opera, while some Hui troupes also sang Luantan. After that, Tanhuang and Shidiao were absorbed.

[Edit this paragraph] Overview of Wu Opera

The traditional repertoire of Wu Opera is very rich. The more influential repertoires include: "Golden Seal", "Sun Bin and Pang Juan", "Three Invitations to Pear Blossoms" ", "Broken Bridge", "Xi Shi's Tears" and the modern drama "The Peach Affair" etc. The performances of Wu Opera are exaggerated, vivid, vivid, and strong. They pay attention to the literary performance of martial arts and the performance of literary and martial arts. As the saying goes: "Writing opera takes your time, and literary opera breaks the stage." Since the costumes in the past did not have sleeves, most of the performance involved working on the fingers and wrists, and the appearance and posture were similar to the postures of the characters in Dunhuang murals, which was unique. There are many stunts, such as face-changing, tooth-playing, lamp rolling, red boxing, flying fork, beads, etc. The roles are divided into Laosheng, Laowai, Vice Mo, Xiaosheng, Da Hua Mian (Jing), Er Hua Mian (Vice), Xiao Hua Mian (Chou), Si Hua Mian (Wu Jing), Hua Dan, Zuo Dan, Zheng Dan, Lao Dan, and Wu Xiao Dan. , Sanliang Dan, (the third Hua Dan), Za (playing the role of a fairy, a tiger, a dog, and the concurrent one in charge of the "three boxes") *** fifteen lines. Famous actors include Jiang Heyi, Xu Dongfu, Zhou Yuexian, Xu Ruying, Zhou Yuegui, Xu Xigui, Wang Jinlong, Ye Agou, Zheng Lanxiang, Ge Suyun, Wu Guangyu, etc. During the Tongzhi and Guangxu years (1862--1908), the Wu Opera Troupe had more than 40 classes. After 1935, Wu Opera began to have actresses, and women's classes (Hui classes) were held successively in areas such as people's livelihood, culture, folk music, and small culture. Each of the "three-in-one classes" and "luantan classes" also recruited apprentices from the troupe. , trained many outstanding actresses. In the early days, Wu Opera troupes mainly performed at fairs and temple fairs in Sixiang (collectively known as festival venues). In the early 1930s, they began to enter the city, using Jinhua City God Temple, Xihua Temple, etc. as performance venues. Later, they gradually often performed in Changle, Beishan, Jincheng, The crowd waited for the theater performance. In rural areas, some early amateur classes were called "Prince Class" (mainly composed of the "leisure class" in villages and towns). In the early days, these organizations mainly entertained themselves by sitting and singing. During the gods-welcoming games, they would go around the streets and villages singing with gongs and drums. Later, they began to develop into costumes and stage performances. During the Anti-Japanese War, Jinhua fell for a time. Some outstanding actors such as Xiao Hua Mian A Yao, Xiao Lanying, Hua Dan Zhang Shu Nai, etc. died in the war. The Wu Opera troupe was scattered, and this opera genre almost collapsed. After the founding of the People's Republic of China, with the support of relevant departments, the Wu Opera Improvement Association (later changed to the Jinhua Regional Opera Federation) was formed, and the Zhejiang Wu Opera Experimental Troupe was established in 1953. A number of "Japanese opera troupes" were also established in various places. In 1955, various theater troupes jointly recruited more than 200 students and trained a number of talents. In 1956, the Zhejiang Wu Opera Troupe was established on the basis of the Zhejiang Wu Opera Experimental Troupe, and carried out more systematic excavation, recording, inheritance and reform of the traditional art of Wu Opera. By the early 1980s, Wu Opera had twelve troupes, including seven from the Hui Troupe, two from the Triple Troupe, one from the Dual-and-Half Troupe, and two from the Luantan Troupe. The country attaches great importance to the protection of intangible cultural heritage. On June 8, 2007, Zhejiang Wu Opera Troupe won the first Cultural Heritage Day Award issued by the Ministry of Culture.

[Edit this paragraph] Related nouns

1. Yiwu Tune The ancient opera tune. It became popular in Yiwu, Zhejiang between the Longqing and Wanli periods of the Ming Dynasty. Ming Wang Jide's "Qu Lv": In the past few decades, Yiyang, Yiwu, Qingyang, Huizhou and Leping tunes have emerged. This is the earliest record of Yiwu accent. According to Shen Chongsui's "Instructions for Duqu", Yiwu tune was still the most influential opera tune at that time along with Haiyan and Yiyang tunes in the late Ming Dynasty. It has been lost, and its characteristics in repertoire, music, and performing arts cannot be examined. According to the memories of some old Wu opera artists, Yiwu tune was popular in the Qing Dynasty in Pujiang, Zhejiang, and was a high-qiang style. Its repertoire, music, and performing arts are all very close to the Xiwu high-qiang style in Wu Opera today. However, Mr. Luo Di from the Zhejiang Provincial Art Institute believes that the so-called Yiwu accent is just the "Yiwu accent" brought by Yiwu people when they sing operas in other places. Over time, the operas sung by Yiwu people have been called "Yiwu accent". Therefore, the so-called Yiwu accent is almost impossible to find in Yiwu. In terms of tone types, Yiwu tune is not a kind of tone. 2. Western Wu Gaoqiang opera type. It was named because it was once popular in Xiwu Village, Jinhua, Zhejiang. It is said to have become popular at the end of Ming Dynasty. Some people think that Xiwu Gaoqiang is a corruption of Yiwu Gaoqiang. In the past, it was sung by the Sanhe Troupe in Qu County, and now it is also occasionally sung in Wu Opera. In the process of development, Xi'an Gaoqiang and Xi'an Gaoqiang have influenced each other. Backstage vocals are used, and orchestral accompaniment is added. The music tunes are rougher and simpler than those of Xi'an Gaoqiang. Traditional plays include "Meeting at the Mill" and so on. 3. Xi'an high-pitched opera. It was once popular in Quzhou (now Qu County, Zhejiang Province). The ancient name of Qu County is Xi'an, so it is also called "Quzhou Xi'an Gaoqiang". In the past, it was sung by the local "Sanhe Troupe", and now it is also occasionally sung in Wu Opera. It evolved from the spread of Yiyang tune in Jiangxi to the Quzhou area. During the development process, it was influenced by Kunqiang and blowing tunes, so it adopted backstage vocals and added flute accompaniment and fill-in. The form and method of singing are relatively free. Except for rolling singing and some introductions, each singing sentence ends with a word or number. Traditional repertoires include "Locust Tree", "He Zhu Ji", "Reed Blossoms", etc. 4. Hou Yang’s high-pitched opera type. Popular in Dongyang, Yiwu, Pujiang and other places in Zhejiang. Originally sung by Dongyang Troupe. Nowadays, Wu Opera is also performed occasionally. Some people think that after the Gaoqiang from Yueyang, Hunan was introduced to Dongyang, it was mistakenly called Houyang Gaoqiang. The tunes sung have more of a folk song flavor, with orchestral accompaniment, but musicians still use the vocals. The melody is simple and rarely uses roll singing. Traditional plays include "The White Parrot", "Liang Shanbo", "The Story of Selling Water", etc.

Houyang Gaoqiang and Shaoxing's tune have many similarities. 5. Songyang high-pitched opera type. It is popular in the Suichang and Longquan areas of Zhejiang Province (the original Songyang County in Zhejiang Province was merged into Suichang County in 1958). It originated in the late Ming Dynasty and early Qing Dynasty and was quite popular during the Guangxu period of the Qing Dynasty. Coloratura and high eight falsetto are commonly used. There is orchestral accompaniment, but with vocals. There are seven types of plate types: nested plate, flat plate, tight plate, inverted plate, stacked plate, stacked plate, and branched plate. The accompaniment pieces come from Kun Opera, Anhui opera and folk percussion music respectively. The language is mainly Songyang official dialect. The traditional repertoire is relatively rich, and entire plays such as "The Legend of the Lady", "The Story of the White Rabbit" and "The Story of the Luhua" can still be performed today. It was in decline before liberation, but was excavated and renovated after liberation.

[Edit this paragraph] Unique stunts

1. Snake steps and snake steps. This is the performance of Bai Suzhen and Xiao Qing in Wu Opera Tanhuang's "Broken Bridge". Bai Suzhen and Xiaoqing are not human women, but humans and snakes, so they have to have both styles in their performances. The performance of Wu opera "Broken Bridge" is almost perfect. The steps of the white snake and the green snake are light and delicate, moving forward in an S-shape, just like snakes walking on the water, floating in the air, and their graceful dancing postures make people feel that they have a strong mythological color. When Xiao Qing was chasing Xu Xian, he was full of murderous intent. Once he stopped, he would do a "three-flip head", that is, his head would suddenly shake three times, just like the fierce and agile form of a water snake when it is looking for food. After liberation, there have been several generations of actors who performed "Broken Bridge" Bai Niangniang and Xiao Qing. The earliest ones were Chen Meijuan and Chen Juandi, followed by Xu Ruying and Jinfengcha, Liu Yulian and Jiang Shuying, Ni Zhixuan and Zhu Zhufeng, Fang Lei and Gong Jian, Fang Xiaorong and Jin Guojuan et al. The "snake steps and snake shapes" they performed maintained the strong characteristics of Wu opera. In "White Snake Prequel" directed by Xu Qina. 2. Flying like a paper man "Flowing like a paper man" is also known as "paper man Kung Fu", which is a special skill such as Qinggong. The character seems to be hanging in mid-air, with his head lowered and his arms straight, swaying left and right, and spinning back and forth like a paper man. The actor's performance method is: standing on tiptoes on the ground, using gentle body movements, sometimes swaying, sometimes moving left and right, and sometimes spinning 360 degrees, all of which must show a shape like paper floating in the air. The key is that when the actor stands on tiptoe, his arms should be as low as possible, and then he should move his body in small steps, and the costume should cover his feet so that the audience will not see that you are using your toes. Zhang Wenyuan performed this skill in the Wu Opera Hui Opera excerpt "Capturing Sanlang Alive". "Capturing Sanlang Alive" tells the story of Song Jiang's murder of Xi in "Water Margin". Song Jiang, the superintendent of Yuncheng County, was a righteous man and spent money like water. He was known as "Timely Rain" and won the support of his fellow villagers and the respect of heroes in the world. At that time, Yan Po and Yan Po Xi, mother and daughter, were trapped in Yuncheng. Song Jiang felt sorry for their hard life and often gave them some small money to support their livelihood. Seeing that Song Jiang was spending money like water and working in the government office, Yan Poxi made Yan Poxi his concubine. So Song Jiang bought a house in the city to support Yan Poxi. There was a colleague of Song Jiang named Zhang Wenyuan, who was handsome and handsome. Because he and Song Jiang were both yamen clerks and had some relationship between master and apprentice, Song Jiang often drank with him and became friends. Song Jiang was a generous man, and sometimes he even took Zhang Wenyuan into Yan Poxi's place to drink, and ordered Yan Poxi to play and sing to entertain him. This Yan Po Xi was born with a face like a peach blossom and was quite pretty. Zhang Wenyuan was originally a philandering hypocrite. As soon as he saw Yan Poxi's beauty, he developed evil intentions. Coincidentally, Yan Poxi was also a free-spirited woman. The two hit it off and soon became an adulterer and an adulterer. Zhang Wenyuan often came here for trysts, but he just kept it secret from Song Jiang. Yan Poxi found a new love and became indifferent to Song Jiang. Song Jiang was not a lecherous person at first, so when he saw Yan Po Xi deliberately being cold, he didn't want to go to Yan Po Xi. When something happened, Chao Gai and others robbed the birthday card, and the government sent troops to arrest him. Fortunately, Song Jiang reported the news and was able to escape and go to Liangshan Luocao. In order to repay his life-saving grace, Chao Gai ordered Liu Tang to send him three hundred taels of gold and a letter. Song Jiang was not a man who loved money. He only accepted a piece of gold and a letter, and asked Liu Tang to take them back. After sending Liu Tang away, Yan Po happened to catch him and dragged Song Jiang upstairs. He dragged Song Jiang upstairs and wanted to keep Song Jiang overnight. Because of Yan Poxi's neglect, Song Jiang was very bored and left before dawn, but he forgot the "chao pouch" containing gold and letters in the room. Yan Poxi took a look at the bag and found out that Song Jiang had secretly communicated with Liangshan, so she took the opportunity to force Song Jiang to write a letter of divorce and give out 300 taels of gold to support her and Zhang Wenyuan in the rest of their lives. Song Jiang found that the "chaowen bag" was missing in his room and hurried back to look for it, but the bag had been hidden by Yan Poxi. Yan Poxi made trouble in every possible way, which made Song Jiang angry, and he killed Yan Poxi in a rage. After Yan Poxi was killed by Song Jiang, her ghost lingered on. She wanted to stay with Zhang Wenyuan life and death and go to the underworld together to renew their former relationship. That night, Zhang Wenyuan missed Yan Poxi in the study. Yan Poxi's ghost sneaked into the study to meet him, told him about the past, and asked him to go to the underworld with him. Zhang Wenyuan was so frightened that he lost his mind and tried to run away. However, he was fascinated by Yan Poxi and was hanged until his orifices bled. The "Paper Man Skill" is used when hanging: Yan Poxi grabbed Zhang Wenyuan (Sanlang) by the collar. Zhang Sanlang swayed from side to side like a pendulum, spinning in place like a fly, floating like a paper man, and as light as a paper man. Smoke. This kind of stunt performance vividly portrays Zhang Wenyuan's frightened and devastated expression. This is a Wu opera show with a colorful face, and the best performers are Feng Jinliu and Yu Lanying. The "flying like a paper man" stunt has been used in various dramas and is still performed today. But it is rarely seen in Wu opera. (Author: Jia Xianglong) 3. The lost unique skill----Big Eyes and Small Eyes This is the performance of Xiangzi from Han Dynasty in Wu Opera Hui Opera "Lian in the Fire" ("Xiangzi Ferrying His Wife").

One of the Eight Immortals, Han Xiangzi, went to the mountains to study with his master, but did not return for three years. One day, Xiangzi came down from the mountain. In order to test whether his wife Lin had changed her mind and turned into an ugly monk, she sneaked into the garden. At that time, Lin was burning incense in the garden to pray for her husband to return early. After expelling him, Xiangzi felt relieved, changed back to his original form, and told his wife, "If you want us to meet again, please wait for another three years." After that, he disappeared and left. When Xiangzi, disguised as an ugly monk, flirted with Lin, his right eye opened wide and his left eye shrank so small that he couldn't even see the black beads. This look clearly reveals the ugly monk's mental activity of lusting after sex. Wu Baiming Chouying Ayao and Xu Dongfu will perform. This stunt has no successor. 4. The lost unique skill--Dragonfly touching water is Wang Ying's stunt performance in Wu Opera Hui Opera "Exploring the Five Suns". When Wang Ying was exploring Wuyang City, he looked for water sources. He put his right hand upright on the ground and kept his body straight. Sometimes he performed "drafting" and sometimes his body was tilted back. This stunt shows Wang Ying's superb martial arts and mysterious posture during reconnaissance. Now lost. 5. The lost skill - kicking and putting on shoes. This is Xu Xian's performance in "Broken Bridge" by Tanhuang in Wu opera. Fan Shouqi, a famous young actor in the Wu Opera Hui Troupe, can kick the flat boots on his feet to the top of his head, and then drop them from the top of his head to his toes, automatically wearing them. Shouqi used this special skill on Xu Xian. When Xu Xian was chased by Bai Niangniang and Xiao Qing, he ran away. In a panic, he fell down and kicked his shoes above his head. He looked everywhere but found nothing. I scratched everywhere and found it fell on my head. Then he cocked his head and put the shoes on his toes accurately. This stunt of "kicking and putting on shoes" perfectly conveyed Xu Xian's timid and panicked mood. Now lost.

[Edit this paragraph] Artistic Features

The role of Wu Opera used to be called "Thirteen and a Half Net Scarves", that is, the four white faces: Xiaosheng, Laosheng (Zhengsheng), Laowai, Fumo; Four-flowered noodles: Dahuamian (Jing), Erhuamian (Fujing), Sanhuamian (Chou), Sihuamian (Wujing); Wudantang: Huadan, Zhengdan, Zuodan, Lao Dan, Wu Xiaodan, these are the thirteen lines. In addition, there are "three boxes" (a tube made of bricks, which also plays the roles of gods, tigers, and dogs) and miscellaneous feet, which is "half a net scarf". Later, Sanliang Dan (Hua Dan is called "Daliang Dan" in Quzhou area, Zuo Dan is called "Er Liang Dan", "San Liang Dan" means the third Hua Dan role) and Xiao Dan (also known as "Little Baotou") , "Baitang Dan", specializing in roles such as maids and palace maids who rarely speak), ***15 lines of roles. A class club usually had twenty-eight people in the past (especially Hui class). There is one leader (also known as "foreman", actually the boss), and one "chengtou" (that is, "acting ant", who helps invite actors when the class is formed, and is mainly responsible for contacting the performance venue after the class is formed. This was canceled in the 1950s). , there are five people in the band, one person in the backstage, one person in charge of the suitcase (suitcase), one person in the helmet case (hat, helmet, beard), one person in the three boxes (pieces), one person in charge, two people in charge, plus fifteen actors,* **Twenty-eight people. In terms of performing arts, due to long-term performance in the square, it has formed the characteristics of exaggeration, roughness, strongness and liveliness. For example, when a military commander appears, he takes a quick step back and puts on a high profile to highlight the character, which is different from other dramas where he stands still and then takes a step forward. Another example is that other operas emphasize circles in every move, and the movements are in a continuously changing curve, but Wu opera is often round with straight lines, with broken lines and straight lines appearing in the curves to show the power of the movements and the intensity of the emotions. It pays attention to "the martial arts are done in literature, and the literary drama is in martial arts", which is the so-called "take your time in martial arts, and step on the stage in literary drama". For example, "Broken Bridge" is a literary drama, but Bai Suzhen and Xiaoqing's "snake steps" and a series of dance figures, Xu Xian's "hanging hair", "flying kneeling", "grabbing the back", "flying against the tiger" and other falling Fighting Kung Fu is no less demanding than martial arts. On the contrary, in the martial arts drama "Water Capture of Pound", the moves are slow and slow, the fight starts during the music, and the victory is won by dance movements. In the past, Wu opera did not have sleeves, so the wrist and finger skills were very prominent. The Dan character's actions such as opening doors, dressing up, and doing facelifts all focus on the trembling skills of the fingers; the various cloud hand movements of the characters such as Jing and Sheng also pay great attention to turning the wrist, turning the palm, and often bending the legs to shine the soles of the boots during the appearance, which is similar to Nuo. The dance is quite close to Buddhist dance. In addition, when the character comes on stage, the elbows (lower arms) are flat, the thumb is raised, and the other four fingers are close together. When "raising the bully", he uses all the body rotation movements. When raising the whip to urge the horse, the tip of the whip is always upward, etc., which is also similar to the puppet show. The actions are similar. At the same time, many stunt performances have been preserved in Wu Opera, such as the three-face change with colors through somersaults in "Burning the Capital", the ceiling lamp in "Rolling Lamp", the flipping beam and seventy-two hangings in "Big Menu Tank", The red fist and dance fork in "Meat Dragon Head", the playing of Buddhist beads in "The Monk and Nun Association", the "upside down wind flag" in "The Water Capture of Pound", the "upside down drinking water" in "Three Beats of Wang Ying", The "flying zombies" in "Xiangliang stabs beams" and so on. In terms of character creation, some plays often understand the characters from the perspective of peasant life, even emperors and generals. For example, in "Jiuxi Palace", Cheng Yaojin, who has been officially declared nine thousand years old, secretly eats dates when people wish him a birthday. Another example is Liu Bei in "Three Brothers", but he is a freeloader and a slippery-tongued second-rate man.