Wang Shaotang described Water Margin as a bridge connecting the past and the future, and spent his whole life perfecting the art form of storytelling, which became a model for us to understand the artistic law of storytelling in Yangzhou. The artistic form of Yangzhou Pinghua consists of oral literature narration of "full confession", phonological effect of bookstore and image-building interaction of storyteller's performance in bookstore. Understanding the interaction and integration of these three elements is the only way to comprehensively evaluate the art of storytelling. The study of Wang Shaotang's storytelling art can't be collated only on the basis of words. It is an illusion that Wang Shaotang's art of storytelling, which was collated ten times in the four major periods of "Wu, Song, History and Lu", could not reproduce the performance of the book case by memorizing words. Lao She sighed after reading Song Wu: "It's a pity that there is no cooperation between the eyes and gestures of the old man." [1] Since ancient times, it has embodied the interactive characteristics of calligraphy, phonology and desk modeling, and reached its extreme in Wang Shaotang's Water Margin.
one
"Wang Pai Shui Hu" is an oral art that attaches importance to literary content in Yangzhou comments. This kind of literature is different from ordinary written literature, even if all sounds and shapes are put aside. It is oral and comes from confession. The aesthetic principle it follows is what Wang Shaotang called "full confession". Lao She called this technique "I don't want to leave anything behind, but I try my best to shoot rabbits" [2]. Wang Shaotang often says "I want to explain everything" in his calligraphy. This narrative way is contrary to the principle of detail and truth in classical novels, and even more incompatible with the principle of paying attention to moderation and avoiding redundancy in modern novels. Yangzhou Pinghua was compiled into a written reader, which more or less penetrated the novel principle and deleted the audio text. Here are the main ways to present the "full confession" on the table.
First, poems, words and praises. As oral literature, these styles are indispensable. People on bookshelves are often praised as soon as they appear. The praise of storytelling in the north, if the two armies are at war and the main generals are out, even if there are eight partial generals, there will be eight different praises. The effect of the desk emphasizes "like the present", and the praise of the appearance of the characters is equivalent to the impression of people meeting for the first time in their lives, while the characters in modern novels may only see their mental emotions from beginning to end, but not their five senses. Pinghua rarely uses prose to describe natural scenery, and Wu He does not. Song only "strayed into Qingfeng Mountain", and Xue Yong inquired about Long Tingjian. If you use prose to describe the scenery on the desk, the audience will be impatient. The storyteller must recite the scenery in verse in order to catch the audience's god. Poetry, Ci and Fu are indispensable in form. In addition to the narrative function, these styles can also be used as symbols of the ups and downs of books and the emphasis of important moments. Listening to a sound for a long time will inevitably lead to psychological fatigue, and a long or short verse recitation can play a just refreshing role. Even if you don't know the lyrics, just the sonorous change of tone can arouse the interest of the audience. Once it becomes a written record, this excessive writing style will conflict with oral language, and this style will become a burden. As a result, almost all the poems, words and praises of Song Wu and Song Jiang were deleted.
Second, everyone has his own book. The presentation of the desk needs to "meet people", and every role on the stage has an action. Otherwise, it is a taboo for storytellers, such as "barren embryo", "curtain table" and "unique book", which are despised by storytellers. The characters only have their first and last names and do nothing. In the section "Song Wu killed the Governor's Mansion at night", there are kitchen stoves, two pockmarked seeds and two lazarillo de tormes. The chef cuts ham and talks with Jing Youzi. Wang Ermazi fried fish cake; The second fire lazarillo DE tormes and Wang Er pockmarked conflict. According to the style of the novel, these books are detailed and simple. These people only exist to become martial artists, and the rest have no books. This kind of character is better to move to the desk with a knife. The detail on the desk is that there are more books than books, so there can be no action.
Third, the same words appear again. Describe what happened, and then someone will repeat it. After all, the audio text is not a written text. There are only "different voices" on the desk, and there is no representation of the same text. The existence of bookcases is inevitable: first, the relationship between knowing and not knowing. In the virtual scene on the desk, one character needs to tell him what happened when another character was not present. The storyteller knows everything, the listener has predicted it, and if a character in the book doesn't know it, he has to repeat it. As a witness of life, Brother Qiao Yun told Xiangyang County Government the whole story of the murder. Master, who knows nothing, must know what happened before. Second, the delay from suspense. Zhao Da, who sells dog meat, reported to the well-meaning people that Song Wu had accepted the unfair theft case and deliberately repeated his conversation with Wang Xiaoliu. The more anxious he is, the more the audience appreciates the play. It's not funny if Zhao Da gives the cloven foot when he meets kind people.
Fourth, knowledge introduction. Quyi forms, such as storytelling, drumming and cross talk, often undertake the task of introducing knowledge. Pinghua mainly spreads knowledge to the public audience, which is one of the reasons why storytellers are called "gentlemen". Knowledge introduction is often used as a "cold" episode of "hot" books to delay or ease the tense atmosphere. The "three beauties" introduced by Yang Guifei belong to this category by textual research on the ring inserted in "Blood Splash in the Yuanyang Building". Judging from the requirements of written documents, it can only be regarded as a miscellaneous component that causes trouble.
Fifth, listen to books on the spot. Jin Shengtan criticized "The Water Margin" for its "coherent chapters, syntactic sentences, and phrasing words", and the storyteller was inspired by it to pay attention to "good words, good sentences and good paragraphs" [3]. When an artist tells a book on the stage, he should consider today's content, where is the highlight and where is the interlude. If the effect is good, it will gradually become a stereotype. The jokes are good, but not all ten jokes are good together. Because most of the long articles are arranged into written texts, compared with listening to books in the library, they have changed a lot. Listening to an episode every day is wonderful. Reading ten episodes in one breath and covering the flowers with leaves is very unsightly.
Sixth, the narrator appears. Wang said in Journey to the Art Sea that when explaining his "full confession" to the younger generation, Wang Shaotang emphasized "making everything clear and making it clear". How to achieve "all" and "all"? Books are often told directly by the narrator. Modern novels pay attention to the author's withdrawal from the work, and the storyteller always intervenes everywhere. Because storytelling is the communication relationship between desks, in bookstores, some storytellers need to "connect with the audience", but in written literature, it has become redundant. Wang Shaotang's generation taught the audience not to be "restless" like Song Wu, who has always been popular; However, in The History of Entrepreneurship, Liu Qing directly intervened with the voice of the author and became the focus of criticism.
"All-round confession", from satin to onion and garlic, is really delicate, which is the characteristic of Wang Pai's Water Margin and even Yangzhou's commentary.
two
Art morphology holds that "dictation itself is another form of language aesthetic existence", while "written language is far from having original spiritual content like audio language. Compared with the language in written literature, the language in oral literature has many incomparable emotional information. " [4] Because sound can make language images reflect and convey people's feelings, experiences and emotions in a tone, just like music. People who have never been to a bookstore can understand Yangzhou Pinghua better by listening to radio recordings than by sorting out words. In 1930s, Song Wu was broadcast live in Shanghai. [5] In the early 1960s, after the turmoil, Song Wu's recording touched several generations in the north and south of the great river. The form of broadcasting expands the space of the bookstore, allowing remote villages and busy downtown areas to enjoy and listen at the same time. The class with both refined tastes and popular tastes can appreciate and comment on Wang Shaotang's storytelling art, and the tone, rhythm and charm of spoken language are the basic guarantee for the vitality of the broadcasting bookstore.
1958 during the National Quyi Concert, Lao She observed Wang Shaotang's performance and said, "His movements seem to be controlled by gongs and drums, and his mouth is full of wonder." [1] This movement rhythm consistent with the mouth is also the music rhythm of narration. Wang Shaotang also said that his father taught him to read ci fu, "the emphasis is on strictness and listening." Of course, "board eye" refers to rhythm more clearly. Grasp the rhythm principle, "storytelling should have a high degree of yin and yang, and it is natural to tell;" There are tight and slow, ups and downs, and waves. Be quick and not chaotic, be slow and continuous "[6] 304.
Telling a story, whether it is appearance or performance, is to attract the audience and grab attention. Yangzhou people are commonly known as "taking souls". Storytelling embodies the basic skills of musicality, and the jargon is called "taking words". The requirement is to bite accurately, spit clearly and deliver enough. Accurate pronunciation is to distinguish the pronunciation parts of lips, throat, tongue, jaw and teeth; If the spit is clear, it needs to be clear in the continuous list, so that there will be no shortcomings of "eating words" (omitting the pronunciation of a word); Enough transmission means emphasizing and rereading the key words, using the spirit of the abdomen or "back sound" to increase the sound wave vibration frequency of each word pronunciation and strengthen the influence on the hearing organs of the audience. To understand the interactive presentation of the storyteller's voice and emotional rhythm, see the section "Heroes enter Jingyang Town" in Song Wu:
After five or six shops, I saw five clusters of brand-new straw houses on the right, with clusters of brand-new green bamboo poles inserted under the eaves, clusters of brand-new blue cloth wine flags hanging on the green bamboo poles, and clusters of brand-new plum red paper on the blue cloth wine flags, with five big characters written on the plum red paper: "Three bowls don't pass the post." Look at the store again and see a brand-new cooker, a brand-new chopping board, a brand-new table and stool, a brand-new counter and a brand-new person! Ah! There are new things around, where are the people new? Yes!
The content pays attention to the heroes in daily life, but the narration can't be a cliche, and it must show the changes of waves and intonation. The storyteller starts from the casual movement characteristics of Song Wu when he walks, recites the first sentence slowly, and rereads "only seeing" from the sudden discovery, which is the "beginning". Starting from the first "brand-new" accent, the following tones are strengthened and the rhythm is faster. The second word "Cluster brand-new" is still stressed, but it is slightly lower than before, highlighting the central word modified later, and then the noun "Top Truth" is lightly read, focusing on the new things that appear in front of the characters. Three new things appear one after another and are mentioned three times repeatedly, and the tone is changed from "urgency" to "urgency", while the four modified adjectives "Cluster brand-new" with bullets mean "urgency". At this point, the narrator makes a slight change from it, slows down the speech, slowly reads out "three bowls-no-over-the-post", and then "looks" and pauses briefly to leave observation time, which is also convenient for the storyteller to catch his breath. Then, from this slightly slow ups and downs to the climax of "quick talk", a series of parallelism sentences are used to turn the word "urgent" into "dense", and a modifier "brand-new" appears in every two words, and the five-deviation structure can't stop until the word "person" comes to an abrupt end, which is the "fall" in this section of this book. If we say "banyan tree", the word "brand-new cluster", which appears nine times, is a distinctive melody feature and rhythm sign. The only word "de" between the last modifier and the head word is the bundle hint.
This passage expresses the environment in the eyes of the characters. The environmental description in Balzac's novels is often unbearable. The audience will not get tired of Song Wu's environmental narrative, but appreciating it is like wonderful music. Every year, new words and phrases begin to communicate with the audience the emotional feelings and new atmosphere of the New Year. However, when the reception advantages of the sound on the desk are arranged into words, it is difficult to attract attention from the perspective of new literature. Such words are almost trivial, and it is not easy to express a word unless they are recited on the artist's stage.
The musical effect of the desk is also conveyed by nonverbal sounds. As soon as the storyteller opens his mouth, the sound of awakening wood is, and the sound of knocking hands and feet is. In addition, artists also use local onomatopoeia words that can't be found in dictionaries to set off and render the atmosphere. The sound of horses, drums and cannons in Wang Shaotang's mouth (also found in different bibliographies of other artists) can't be expressed in written language, whether the horse is far and near, near and far, wandering back and forth, or the drum is slow to illness. The performance of crying, laughing and fidgeting of the characters in the special context is different, but if 10% is recorded, thousands of people speak the same language.
Although voice communication is more infectious than written communication, it has no paralinguistic feature of coexistence of words and sounds. The artist's expressions, gestures and eyes can't touch the audience, and the emotional communication on and under the bookshelf can't be fully realized. The spatial modeling on the bookshelf is shielded by sound, and the three-dimensional characters cannot be visualized. There are two layers between writing books and bookshelf art, and there is also a layer between broadcasting bookshelf and bookshelf art. There are videos of storytellers performing on TV shelves, but it is still impossible to communicate on the shelves. "Storytelling is about work" [6] 298. Listening to the radio, we can appreciate the artist's "works", but we still lack "works", no expression or support outside the language, and no sense of reality in the physical representation of the characters' appearance, body shape and movements. Therefore, it is difficult to study the Water Margin of Wang School only by records.
three
Storytelling is the art on the stage, and the desk is the full presentation of the life of storytelling art. The desk is very simple, just like Beijing Opera and Kunqu Opera. If there is no role to step on the drums, the audience will turn a blind eye to the stage. The same reason means that the storyteller gives life to the table. Small desk: a table and a half, a desk circumference, a wooden chair, a teapot, a teacup, a stop sign, an extra folding fan in summer, a handkerchief in winter, and a book when you wake up. The sound of awakening wood is the beginning of calligraphy and the beginning of life on the desk. With the words in the book, the eyes and gestures of storyteller Wang Shaotang can instantly turn a simple and narrow desk space into an infinite universe, and its space and position are unrestricted. It can be as follows: heroes of Cross Slope and Erlong Mountain haunt, bustling Tokyo and Daming Mansion, Song Wu on yanggu county Avenue, Song Jiang and Lu Junyi of Jiangzhou and Daming Mansion kneel down to die, Jiujiang Mansion and yanggu county sit in the lobby, and Pan Jinlian and Daming Mansion sit down. Storytellers can always bring the audience into this world. This kind of space is extremely free, which Wang Shaotang's drama art did not have at the same time. Wang Shaotang holds a fan, which can be a knife with Shi Xiu or a gun with Lu Junyi. He can also briefly write a secret letter to Cai Jiu, surnamed Cai. China traditional drama actors perform the activities of the whole stage according to the program. Generally, Wang Shaotang does not stand up, but performs with his arms instead of his feet and legs. Almost all the movements are done by gestures on the table where he sits. Compared with China traditional operas, storytellers' performances are more restricted, but the content of performances has unparalleled freedom. In addition to this freedom of space and behavior, the freedom on the desk is more reflected in the replacement of roles. The performance on the bookcase is a one-man show without makeup. It is different from China traditional opera, with distinct boundaries between life, Dan, purity, end and ugliness, and each plays its own role. Storytellers can play all kinds of roles, no matter what their role is, they can "act like a person" [6] 297. Wang Shaotang's self-reported "Killing Sister-in-law in Song Wu" proves this point with a variety of multiple roles and the pursuit of performance. In the process of freely playing various roles, he pursues to make the audience seem to see the characters in the book and hear their voices. Moreover, scenes such as "killing my sister-in-law" and "drunken beating Jiang Menshen" are completely presented in the relationship between people at a specific time and place.
The relationship between the performance on the bookcase (called "performance" by artists) and the narrative (called "table") is not important. In the interactive relationship between performance and narrative, Water Margin by Wang School happens to be in a middle position in the whole Yangzhou commentary. The Journey to the West talked about Dai for a long time, talking about his watch and showing his facial expressions and eyes. He occasionally moves his right hand and puts his left hand on the teapot, but he hasn't moved for a long time. In hot weather, sweat will accumulate on the back of your hand. Colleagues joked that he built the shelf of the owner of the south goods store. All he has to do is bury his face here, look there and point to the right, and he can catch the audience. The negative example is Kang Guohua's heavy performance. "He plays the voices and smiles of Lu Su and Kong Ming, and his gestures indicate that there is a chessboard on this table." [6] 293. Kang Guohua's performance can be said to be vivid and empty. There is no comprehensive confession under his divine will, and the book is not thorough. Wang Shaotang is not as gentle and gentle as Dai, nor as red as Kang Guohua. He emphasized narration and performance.
This perfect combination of narrative and performance on the desk can only be achieved by strictly observing the artistic laws of the desk. Comments on the desk pay attention to speaking, doing, reading and typing. Bookshelf artists pay attention to procedures, and they are well aware of the artistic characteristics of their school, that is, "the difference between books and plays." The book stand is different from the stage, it is based on speaking. Desk speech is divided into "official white" and "private white", which gives play to the language and psychology of characters. In addition to the dialogues and monologues of characters in traditional Chinese opera, the "reading" on the bookshelf has another task, that is, to complete and present the storyteller's own creation and the image of the narrator, and the most prominent way is to recite various poems, words, poems and ode. Doing on the desk is the most basic kung fu besides saying. The program is not as detailed as the national drama, but it also has basically fixed body and gesture characteristics. Its purpose is to make the audience understand, convey the context of the book that cannot be expressed by sound to the recipient, strengthen the words in the book and highlight the characters. There is no clear boundary between "beating" and "doing" on the desk, but its content is unique after all, different from the general character behavior. The martial arts part of Water Margin written by Wang School is basically a short script, which is different from The Three Kingdoms and The Western Han Dynasty. Bunting pays special attention to the hands, feet, figure and posture of the characters. The characteristic of bunting on the table is that it doesn't require the fighting process to be completed in one go, which is a bit like the slow motion in the current movie, and the martial arts action is analyzed one by one. "He Xiangu is lazy to sleep on the gums", how to win or lose by static braking and deceive the enemy by pretending; ("Song Wu") "Hon Hai worships Buddha", how to put your hands together and turn into a shoulder pile. (Lu Junyi) The storyteller on the stage hardly knows martial arts. They can't do real kung fu, but they can understand kung fu stories. In a word, the artistic factors such as speaking, doing, reading and typing on the desk have their own independent artistic value, so it is necessary to rationally reveal and affirm the independent existence of the desk, otherwise it will be difficult to fully understand the morphological characteristics of the "Water Margin of Wang School" and even the whole Yangzhou commentary.
four
In artistic practice and teaching, Wang Shaotang, his predecessors and successors attach great importance to the comprehensive embodiment of narrative and performance of various artistic factors. The rhythm of language, the appropriate restriction of vivid movements and the coordination between them are the most emphasized requirements of practicing art. Wang Shaotang often said: "The most important thing to comment on a performance is five words: mouth, hand, body, step and spirit." [6] 301God communicates with the audience under the stage with his eyes. The media he relies on is intangible and a non-narrative understanding. It can control the mouth, hands, body and steps of auxiliary narration and performance, but it can not be separated from it for a single analysis. This is why artists often refer to "God" as "emptiness". The eyes are higher than the existence of matter. "Kou" is an audio narrative. Besides the symbolic meaning of a word, its physical form is sound. The combination of sound waves constitutes the change of music, which is one of the important morphological characteristics of storytelling art. "Hand, body and step" all use body movements to assist oral narration, which is the characteristic of paralanguage. They form the shape of the desk, which is presented to the audience intuitively, so that the audience can "see people". Wang Shaotang said: "Hands, mouth and eyes are connected ... so is the pace of the body." [6] 30 1 The intelligibility of the eyes, the musicality of the voice and the shape of the body constitute an inseparable artistic whole, which, together with the confession, constitutes the complete form of the story-telling table. To give a typical example, Song Wu eats in Jingyang Town Hotel, and when he is drunk, he will pay the bill. He took one or two hundred and twenty-five dollars and paid it to the small boss. The following are the actions and thoughts of the small boss:
The little boss reached out and took a swallow from the cashier. The silver was placed in the swallow's tray. Two fingers of his right hand touched the swallow and his left hand straightened it. After weighing the silver, he looked down at the silver and looked up at Song Wu's face: "Master! Your old man's money is one point and two points-you still owe one point ...! "
Wang Shaotang talked about the improper/unconscious relationship between Xiao Boss and Song Wu. The small boss deceived Song Wu into getting drunk without knowing it, so as to avoid conflict. The composition of the desk scene is unique, and its effect is different from the stage. When playing the small boss, the storyteller talks directly with the audience, as if Song Wu was in the crowd under the table, and the gap between the table and the floor hardly existed. How big the bookstore is, how big the virtual scene of the commentator on the desk is. When the narrator enters any role in the dialogue, he gives another role to the audience, who can't play it, but at least has a psychological effect. They have dual identities, both as appreciators and as temporary fictional characters. In this case, Song Wu was drunk and the audience woke up. The audience is not Song Wu, but they identify with Song Wu psychologically. They seem to have their own situation. The small boss's fraud against Song Wu seems to be deceiving the audience. The narrator's eyes, tone and actions constitute a realistic fraud process. The audience is clearly aware that this is a scam, so we should appreciate this scam from all aspects of the performer's performance, form a psychological conflict with it, and see through this scam consciously.
Wang Shaotang used a series of actions, a look and a line to play the fraud process and psychology of the small boss. He stretched out his right hand to take the plate, his left hand rushed to pick up the flowers, and his right hand held up a dime to show the process of weighing silver. There are no objects on the desk, and the storyteller's performance is a symbol. The action modeling is very particular, and the realism in the action is no less than the present effect. The narrator put the index finger of his right hand on the middle finger and arched it slightly to show the upward direction and weight of the tray, while his left hand moved horizontally to take care of the "word level" advertisement. At the beginning of the left hand movement, close to the right hand, the fingers are placed in the same way as the right hand, except that the middle finger is not arched. The fingers of the left and right hands constitute a symmetrical and beautiful composition, but more attention should be paid to the change of symmetry. Except for the arch of the middle finger, the left hand must be one or two fingers lower than the right hand to move to the left to show that it is ten millimeters higher than the bouquet. In the process of left hand translation, the narrator matches his eyes, and his eyes must move to the left in line with his hand, and the eye falls at the fingertip of his left hand, thus indicating the weight of silver. When the left hand movement and eyes stop at the same time, you should confess verbally: "The money has been weighed".
Then, it is the use of eyes, in which the psychological activities of small bosses who are greedy for money and cheat are exposed. The flowers on the scale have clearly marked the weight of silver, and the vision and confession above have been explained to the little boss at a glance. He can quote the weight of silver in one bite, why should he look down on it? This is the beginning of greed. The narrator lowered his head, not glancing at it casually, but made a gesture of aligning his head with his eyes from left to right, explaining the position of the dish, and slowed down the rhythm of his mouth when he professed "looking at silver", showing the attraction of silver in his sight, paving the way for the next eye movement (greedy for money). The following eye movements and chanting are recorded as context, but they are carried out at the same time. Read "Ye Jia! The word "you ..." is the moment when the action "looks up", and the next "look" and the last "look" are different from eye movements. The last "look" was staring at the silver. Before the next "look", it was a retrospective action. Without moving his head, his eyes suddenly became ill. He looked back at the silver from Song Wu, and then returned to Song Wu's face. This shows the strong attraction of silver. He has made up his mind about money, and he is afraid that Song Wu will find out, so he must carefully observe the attitude of the drinkers across the street. Between this review, I verbally read out "... the old man's money is a ..." ... Since then, I have been staring at Song Wu's face, my eyes are still, and I am making a sharp calculation in my heart: how to implement the idea of embezzling money, will it cause disputes, and finally decided to embezzle money.
The following chanting is the wonderful performance of this psychological drama conflict. The narrator must reflect the rhythm of the characters' inner activities through the rhythm change of the voice. The pronunciation of "Shi A" of little boss is light and fast, and it will be heavy and loud when it comes to "one or two", but it can't stop abruptly, because the drama conflict has not been solved in this place. Therefore, the narrator uses the post-nasal rhyme of words as procrastination to show the last moment of the small boss's inner decision. The little boss who quoted the number "one, two" was drunk after watching Song Wu for a while. So he boldly carried out his fraud plan. Sober viewers have long known that silver is 125 yuan with change. The audience will be puzzled by the strange performance of the little boss. Therefore, they have double psychological expectations. They are in a dilemma to find that they expect the small boss to quote the actual amount, but they are waiting for the scam because of his hint. From the interests of real life and the recognition of Song Wu's position, they hate the secrecy of small bosses; From the perspective of pure drama aesthetics, what they expect is the conflict of deception. At this moment, the small boss's chanting has taken a dramatic turn. After "one or two", he actually quoted a false number of "one point still owed". The presentation process of this action depends on the change of tone rhythm, and the contradiction of dragging cavity traces has not been solved. Between the sudden change of "one point short", Wang Shaotang added the word "Huan", which turned the slowness into a plain statement and made the meaning turn naturally and harmoniously. This careless word "return" played a key role in covering up and helping small bosses to report false figures shamelessly. Wang Shaotang's performance did not end here. He has an endless sigh "that" after "one point owed". This word is pronounced with a slight rhyme, which not only makes the tone of the last three words "one point owed" and the first two words "one or two" symmetrical and balanced, but also sets off the shameless and smug expression of the small boss.
Through the above analysis, we have a clear impression on the comprehensive application of storytelling performance skills, and have a certain rational understanding of it. Listening to (watching) the audience's appreciation of this dramatic performance shows that the narrator's mouth, hands and eyes work closely together and never leave his figure, guiding the audience's understanding. The musical narrative tone is indeed "a book with a whole body and a whole face." This process is not as intense as the action of "beating the tiger", but from this subtle action, we can see one of the artistic characteristics of Yangzhou Pinghua.
Wang Shaotang's hands, mouth and eyes are connected, and his body and steps are connected to form a shape, and its effect lies in presentation. The coherent presentation of different shapes is precisely to present the characteristics of man and nature to the audience. Artists not only pay attention to the range of modeling movements, but also pay more attention to texture. They should show their personal posture through the modeling of body movements to show the spirit and temperament of the characters. The lightness, gentleness, dignity, simplicity, roughness and delicacy of the action modeling all describe Bi Xiao's identity, personality and spiritual temperament. This is the charm of the case artist, and it also shows the different skills of each artist. This is the origin of Wang Shaotang's reputation as "the living Song Wu".
Precautions:
(1) table is narrative; Acting is what is usually called acting.
refer to
[1] Lao She. Listen to Qu Yan [N]. People's Daily, 1958-08- 12(4).
[2] Lao she Complete works of Lao She: 16[M]. Beijing: People's Literature Publishing House, 199 1: 55 1.
[3] Jin Shengtan. Water Margin Review [M]. Beijing: Peking University Publishing House, 198 1: 17.
[4] каυан. Art Morphology [M]. Beijing: Sanlian Bookstore, 1986: 345.
[5] Li Zhen and Xu Deming. Biography of Wang Shaotang [M]. Nanjing: Jiangsu Literature and Art Publishing House, 1996: 228.
[6] Wang Shaotang. My academic experience and expression experience [M]// Speaking of new books. 2. Shanghai: Shanghai Literature and Art Publishing House, 1980.