Zhao sang for his neighbors, which not only made him addicted to drama, but also gave people an opportunity to entertain after a hard day's work, and entertainment and life were not delayed.
Gradually, Zhao began to be dissatisfied with this solo performance, without the accompaniment of musical instruments and the help of others. This made him feel very lonely and had a strong sense of emptiness and unwillingness.
One year during the Dragon Boat Festival, Zhao wandered in the street to celebrate the wandering spirit. Walking, he found two middle-aged people performing an opera in an obscure corner of the street. There are two people, one is an accompanist and the other is a singer.
Zhao knows from their performances that these two artists have real skills. The musicians played the erhu very well, which was completely comparable to the musicians of those professional troupes at that time. The singer's singing skills are even more unique. Zhao found that his singing was different from Yiyang, which he was good at. It comes from the south and is very contagious.
Seeing this, Zhao stepped forward to watch carefully. At this time, the first two people began to perform the joke "Mu Lian Save Mother", which has been circulating for a long time and is a classic repertoire sung by many operas. Zhao is very familiar with nature.
Accompanied by erhu, Ye Zhao followed into the plot and unconsciously walked to the center of the venue, singing with the opera singers. Several people are artists with solid foundation, and their cooperation is very tacit, and their performances are getting better and better, which has won applause from the audience.
It was getting dark, and Zhao and the two artists felt reunited after a long separation, so Zhao took them to his home to talk. After a long talk all night, they decided to organize a troupe. Zhao is in charge of the equipment of the troupe, and the other two are in charge of finding peers when performing around. This is a minority deal.
A few years later, Zhao and others organized their own troupe and toured around Changde. Every festival or folk wedding, Zhao's troupe will always appear.
In fact, the opera activities in Changde area have flourished as early as the Wanli period of the Ming Dynasty, and the troupe organized by Zhao is only one of many folk troupes in Changde area. At the same time, Yiyang tune had been introduced into Changde at that time. According to Yuan Zhongdao's Records of Persimmon Residence and Ying Long's Answers to Central Plains Phonology, besides Yiyang, Kunshan, Qingyang and Chu were popular at that time. The Chu tune in the Wanli period of Ming Dynasty refers to the high notes evolved from Yiyang tune.
Historically, Changde Han Opera, centered on Changde, Taoyuan, Hanshou and Cili in Hunan Province, was popular in counties on the west bank of Dongting Lake and in Qianyang and Xiangxi Autonomous Prefecture, as far away as southwestern Hubei and eastern Guizhou. Adopt a unified stage language that combines Zhongzhou rhyme with Changde dialect.
There are three kinds of vocal cavities in Changde Han Opera: Gaoqiang, Qiang and Kunqu, and now Qiang is the main melody. It is similar to Jing Hexi's and Baling's operas in tune, repertoire and performance style.
During the reign of Kangxi in the Qing Dynasty, with the recuperation policy of the Qing Dynasty, the society tended to be stable, and the lives of ordinary people in Changde area became increasingly affluent. At this time, Shaanxi Opera, Su Ju Opera and Anhui Opera were introduced into Changde, which gave the Han Opera troupe the opportunity to further develop.
In this case, some pear artists who are unable to maintain their vitality finally stopped worrying about their livelihood and began to shift more energy from labor production to opera art.
Later, during the reign of Qianlong and Jiaqing in the Qing Dynasty, the Qiang tune rose strongly, replacing the Kunqu tune and gradually becoming the main tune of Changde Han opera.
Around 19 10 years, the bullet cavity became more dominant and the high cavity gradually declined. During this period, Tianyuan, Ruining, Wenhua and Le Tong appeared in Changde.
Before 1949, opera fans generally called Changde Han Opera "Changde Class", "Yuanhe Opera" and some called it "Han Opera". The name of Han Opera is named after the influence of Hubei Han Opera on its later period.
The aria of Changde Han opera is similar to the aria and turntable of Han opera, but the Xipi of Beilu Road still retains the status before its death. Huang Er tune, also known as "Huang Er", comes from Anhui and is formed in the area adjacent to Anhui in eastern Hubei. In Beijing Opera, Han Opera, Hui Opera and other operas, Huang Er and Xipi Tune are used together, collectively known as "Pihuang".
In xiang opera, Guangxi Opera and other operas, Huang Er is also called "South Road", which is opposite to Xipi's "North Road" or collectively called "North-South Road". In the early Qing Dynasty, Xipi was the lead singer of Han tune and Huang Er was the lead singer of Hui tune. In the middle of Qing Dynasty, Xipi and Huanger began to merge.
Changde Han Opera inherits the high-pitched tune of Han Opera, and its vocal tune includes high-pitched tune, Kunqu opera, elastic tune and miscellaneous tune. At present, the Han opera in Changde is mainly based on tune, followed by high tune.