Xiang Taihe yuan property

Hebei Bangzi evolved from Shaanxi Bangzi, which flowed into Hebei, and was first formed in the light years of Qing Dynasty (182 1-1850). Shaanxi Bangzi was brought by businessmen who went to Hebei to do business. After Shaanxi Bangzi flowed into Hebei, in the long-term performance process, from the end of Daoguang to the end of Tongzhi, Hebei Bangzi has spread all over central Hebei and several counties near Beijing and Tianjin, and has also achieved a certain position in Beijing. In the Guangxu period (1875-1908), it spread to Hebei province, competing with Beijing opera in big cities such as Beijing, Shanghai and Tianjin, and also spread to many towns in Shandong and Northeast China, even reaching Guangzhou in the south, Vladivostok (now Russia) and Boli (now Khabarovsk, Russia) in the north. Around the 26th year of Guangxu (1900), Hebei Bangzi, which prevailed in Beijing, was called the "old school" and Tianjin was called the "new school". The old school has a mixed flavor of Shaanxi and Shanxi in singing, while the new school is based on Putonghua and emphasizes singing skills, using both its own voice and its own voice. The new school took Tianjin as its performance base and developed to some small and medium-sized towns in Shandong and Northeast China. 19 1 1 year later, it is still popular in Beijing and Shanghai. 193 1 year, Japanese imperialism occupied the northeast, and a large number of Hebei bangzi artists fled into the customs. 1937, War of Resistance against Japanese Aggression broke out, and Hebei Bangzi Society in Shanhaiguan also disintegrated, and artists scattered. During the Japanese puppet regime, Hebei Bangzi Club no longer existed in Beijing, and there were scattered artists performing hat plays in the amusement park of Tianqiao. There are only a few individual artists singing in Tianjin. Most Hebei Bangzi artists in Beijing and Tianjin are forced to change careers and have a hard life. Even the famous Hebei Bangzi actress Xiao Xiangshui (Li Peiyun) finally starved to death at Tianjin Junliangcheng Station. In rural areas, a large number of class clubs have also been dissolved, and some artists even make a living by begging and singing. For example, the famous actor Da Jinzhong (Han) begged for a living in Fengning. After 1940, except for the occasional performance of Hebei Bangzi in rural temple fairs or festivals, there are almost no performances at ordinary times. On the other hand, Hebei Bangzi has developed in the liberated areas under the leadership of China Producers' Party. 1946, Peixin Drama Club (including Bangzi and Peking Opera) was established in Jizhong Military Region, Hebei Bangzi Troupe was established in Eighth District of Jizhong, and amateur Bangzi Troupe appeared in rural areas of Jizhong Liberated Area. After the founding of New China, Hebei Bangzi Troupe resumed and was established in batches. There are Dansheng Society and Sheng Qun Society in Beijing. Tianjin has Fuxing Drama Club, Shifeng Drama Club, Yimin Drama Club and Democratic Drama Club. In Hebei, there are Baoding Bangzi Troupe, Tianjin Bangzi Troupe, Shijiazhuang Bangzi Troupe and Hengshui Bangzi No.1 and No.2 Troupe, and there are Hebei Bangzi Troupe in Dingxian, Lixian, Mancheng, Renqiu, Raoyang, Qianxi, Huailai, Xinglong, Fengning, Yongnian and Xiongxian. Since then, Hebei Province, Tianjin and Beijing have all established state-run Hebei Bangzi Troupe. In order to better cultivate talents and develop traditional Chinese opera, Hua Xiaobai Hebei Bangzi Troupe was established in Tianjin, Hebei Youth Leaping into Hebei Bangzi Troupe was established in Hebei Province, and Hebei Bangzi College was successively established in Hebei Theatre School and Tianjin Theatre School.

origin

Hebei Bangzi evolved from Shaanxi Bangzi, which flowed into Hebei, and was formed in the light years of Qing Dynasty (182 1- 1850). Shaanxi Bangzi has a long history of flowing into Hebei. In the relevant records of the Qing Dynasty, some are called Shaanxi Opera, some are called Luantan, some are called Xi, and sometimes they are also called Yiyang Bangzi. According to Liu Xianting's "Yang Guang Miscellaneous Notes", the specific inflow time is: "Qin has a new voice, and the famous strugglers are very scattered and sad." Liu was born in the fifth year of Shunzhi in Qing Dynasty and died in the thirty-fourth year of Kangxi (1648- 1695). He recorded his experiences in Beijing and its surrounding areas at the end of the 17th century, which confirmed that "Qin Opera" or "Bangzi Opera" was popular in Gyeonggi area at this time. During the Qianlong period, Shaanxi opera became more and more popular, which formed an irresistible trend for Kunqu opera. For example, in the preface of The Legend of Dreams in the ninth year of Qianlong (1744), it was written: "Chang 'an (Beijing) Pear Garden has to be the voice of the piano, the Luo and the Yi. "Tired of listening to Wu Sao, listening to songs and Kunqu opera, but later dispersed in a hubbub. Since then, "during the Jiaqing period, the voice of Sang Jianpu flourished in the Qin opera." (Preface to the Ci Field of Dumenlie) The above list shows that A Qin Opera had been performed in Gyeonggi area at the latest in the middle period of Kangxi, and the Gan family had been performing all the time. The reason why Shaanxi Opera can flow into Hebei is mainly because Shaanxi commerce extends to the capital and all parts of Hebei. The road to business is the road to play. Shanxi-Shaanxi businesses, especially money houses, pawns and wine-making businesses run by Shanxi merchants, can be seen almost everywhere in major towns in Hebei. Businessmen introduce Shanshan Bangzi, which is popular in their hometown, to the places where they do business for business and entertainment, so as to please employers and expand their momentum. After Shaanxi Bangzi flowed into Hebei, in the long-term performance process, in order to win the appreciation of the local people, according to the local language habits and tastes, the art was constantly reformed and created, especially the localization of successors and professional groups. Among the actors, Hebei people gradually increased, which was an important factor leading to the change of Shanshan Bangzi. During the Daoguang period, Shaanxi Bangzi, a long-term activity in Hebei, gradually developed into an early Hebei Bangzi. According to Zheng Faxiang's Random Talk on the Performing Arts of Wukong Opera, Zheng Changtai, the father of Zheng Faxiang, was born in the 17th year of Qing Daoguang (1837). At the age of seven or eight, he entered the Huang Mao class in the old city of Hebei Province to study Zhili Bangzi. After graduation, he often performed in Baoding area. It can be seen that in11940s at the latest, there were regular classes of Zhili Bangzi in Hebei. By the end of Daoguang, there were three types of zhili bangzi, such as Sanqinghe and Xiangtai, in Mawutou and Dingxing, Xiongxian County, south of Beijing. Most students are children of poor local farmers. There are bangzi artists among the teachers, and there are also artists who are both high-pitched and can bangzi. Artists of this class are mainly active in Dingxing, Xu Shui, Rongcheng, Levin and Baxian. According to Li Yugui, a Hebei Bangzi artist (who was also good at Peking Opera) who sacrificed to the imperial court, the famous Hebei Bangzi artist who studied under Tian Jiyun in the early years of Guangxu in Qing Dynasty was born in Dingxing. The survey data of Quyang Class in Hebei Opera Research Office also confirmed that some teachers in Yonghe Class in Donghou Village of Quyang, which started in the second year of Xianfeng (1852), came from Dingxing. The class in Daoguang period is the earliest class in Hebei Bangzi, and it is also an important symbol of the birth of Hebei Bangzi.

develop

Hebei Bangzi has developed very rapidly after it has a unique look different from Shanshan Bangzi. By the turn of 1960s and 1970s, there were many class clubs in this province. With the emergence of a large number of class clubs and a large number of outstanding actors, Hebei Bangzi began to prosper at the turn of Qing Dynasty, which was its first development climax. The vigorous rise of Hebei Bangzi, together with Piquan School (that is, Peking Opera), which dominated Beijing at that time, formed a situation of competing for novelty and beauty. Hebei Bangzi Troupe and Troupe have mushroomed all over Hebei. The emergence of a large number of class associations has made Hebei Bangzi an unparalleled drama in rural areas.

descend

In 1930s, Hebei Bangzi went into decline, which first started in big cities such as Beijing, Tianjin and Shanghai, and then spread to small and medium-sized cities. The decline in rural areas is slow. By the end of 1940s, it began to decline and was almost extinct. 193 1 year, the Japanese imperialist aggressors began to invade China, and the July 7th Incident launched a full-scale war of aggression against China, which put the people of China at the critical juncture of national peril. The Japanese army first invaded the three northeastern provinces, causing a large number of Hebei Bangzi artists who were active in the northeast to flee back to the pass. Later, North China was also occupied by the Japanese. Under the threat of enemy aggression, people are in panic and the people are in dire straits. Hebei Bangzi Society in rural Hebei also disintegrated, with scattered artists and broken classes. Hebei Bangzi artists with profound attainments and good conditions mostly go to cities to study Peking Opera or Pingju. Those who have poor conditions and are unable to change jobs have a hard time making a living and are mostly trapped in poverty. As far as Peiping is concerned, there was no organized Hebei Bangzi Society during the Japanese Puppet rule, but there was Hebei Bangzi Hat Opera in the Honglou Opera Garden and Xiaoxiao Opera Garden of Tianqiao. The performance income of Hebei Bangzi artists is extremely meager. The reward for singing a play is not even enough to buy a catty of corn flour. In order to make a living, many bangzi artists also work as vendors, and some actresses are forced to become prostitutes. As for those who live in exile, there are even more. Tianjin is the most concentrated place for Hebei Bangzi class clubs and artists, with a deep audience base. However, during the period of the puppet regime, Hebei Bangzi actually fell to the point where there were no clubs, only bird markets, triangular areas and tea gardens in the west, and occasionally scattered Hebei Bangzi artists "beat children" (paid performances by the hour). The living conditions of artists are similar to those of Bangzi artists in Beiping. Even Xiaoxiangshui and Jin Gangzuan, once famous in Beijing and Tianjin and popular all over the country, ended up poor and sick at this time and died. In rural areas, the decline of Hebei Bangzi is slower than that of cities. However, in the 1940s, except for the occasional amateur performance of Hebei Bangzi at temple fairs or during the Spring Festival, there were few performances at ordinary times, and professional class clubs no longer existed. Hebei Bangzi artists in rural areas, like urban artists, some switched to other operas, some went ashore as farmers, and some made a living by singing and begging along the street.

resuscitation

The revival of Hebei Bangzi, first of all, began in the rural areas of the liberated areas under the leadership of the China * * * Production Party. Just when Hebei Bangzi Opera was on the verge of extinction, 1946 Peixin Drama Club was established in Jizhong Military Region of the Eighth Route Army, which was co-performed by Bangchun. Among them, the main actors of Hebei Bangzi are: Jin Guifen, Jin Ziyun, Gao and Xiang. At the same time, Hebei Bangzi Troupe was established in the Eighth Division of Jizhong. The main actors are Meng, Ji Guiyun, Tian Zhizhong and Ji Kuan. And later famous actors such as Xiao Cuiyun and Liang Dazi (Yunfeng) joined. The establishment of these two opera groups saved the endangered Hebei Bangzi opera and accumulated strength for the revival of Hebei Bangzi. In addition, in the rural areas of the liberated areas, under the care of the democratic regime, the lives of many diaspora artists have also been guaranteed, and amateur troupes of farmers have been established one after another, and many artists have joined amateur troupes. According to the article of Tianjin Progress Daily on June 7th 1952, Hebei Bangzi has developed vigorously in rural areas, and rural troupes have been established in all major rural areas, among which Hebei Bangzi Troupe is the most. According to the statistics of Pingshan, Yuanshi, Huolu, Jinxian and Shulu counties in Shijiazhuang during 1949 (referring to the eve of the founding of the People's Republic of China), 14 1 old troupes, there were 5 1 bangzi troupes. Although these rural troupes are amateurs, they have made Hebei Bangzi artists scattered in the countryside have a home, and also made contributions to the war of liberation, and performed many plays that are in line with the democratic revolution, such as Revenge of Blood and Tears, White-haired Girl and Nine Clothes. Rural amateur Bangzi Troupe in Hebei Province often performs. 1949 After the founding of People's Republic of China (PRC), Hebei Bangzi began to fully recover with the strong support of the people's government. In Baoding, the provincial capital, the original Peixin Drama Club of Jizhong Military Region was transformed into Hebei Experimental Theatre (Beijing, Ping 'an and Bangzi co-staged), and soon it was transformed into the state-owned Hebei Bangzi Theatre. At the same time, many professional Hebei Bangzi Troupes have been established all over the province. According to statistics, there are only regional performance groups: Baoding, Cangzhou, Tianjin, Hengshui, Shijiazhuang and other regional Hebei Bangzi Troupe; At the county level, there are Hebei Bangzi Troupe in Dingxian, Lixian, Mancheng, Xiongxian, Renqiu, Hejian, Raoyang, Qianxi, Huailai, Xinglong and Fengning counties. In addition, 1955 established Hebei Opera School to ensure that Hebei Bangzi has successors. This is the first opera education institution in Hebei history, which was established by the state to train Hebei Bangzi talents. Most of the first and second graduates of the school later became the backbone of Hebei Bangzi performance group. After a short recovery period, Hebei Bangzi Opera began to develop vigorously in the mid-1950s. By the early 1960s, Hebei Bangzi was fully revived. Many new writers and artists joined the team of Hebei Bangzi in 1950s and cooperated with artists in artistic reform and creation, which was also an important factor in the revival of Hebei Bangzi.

Hebei Bangzi's music is sonorous, vigorous and melodious, with strong lyric charm. Adagio is good at expressing characters' depression, troubles, memories, meditation and other emotions. Adjust the second and sixth boards like running water and stretch them calmly. However, the anti-tune Er Liu Ban is sad and touching, sad and sad.