Hanzhong Quzi is the first batch of provincial intangible cultural heritage in Shaanxi Province. Hanzhong Quzi is a kind of Han opera art with relatively complete performance forms. First, it needs to go on stage, second, it needs to wear makeup, and third, it needs to sing, act, recite, and fight. In addition to a large number of small plays closely related to the folk life in Hanzhong, Shaanxi, it can also perform "Paodai" drama. The music singing, stage setting, and band accompaniment have been greatly improved and developed. The roles also have Sheng, Dan, Jing, Mo, Chou and other professions. Because Hanzhong Quzi is deeply loved by the masses, other dramas and local drama troupes must perform Hanzhong Quzi dramas at the request of the audience during large-scale performances. The historical origin of Hanzhong Quzi Hanzhong Quzi, which developed from the ancient people reciting Quzi, is one of the ancient local dramas. Hanzhong Quzi is the evolution of Qinqu in Hanzhong. It is the most suitable carrier of local folk customs and folk literature and art. It is the most favorite literary and artistic form and way of self-entertainment for the local people. Through research, its origins are as follows: 1. Hanzhong Quzi is one of the ancient dramas. In ancient times, people created the art of singing and dancing during production labor. After the Western Zhou Dynasty, folk singing and dancing developed more widely, and poetry and rap also came into being. In the Han Dynasty, Baixi (a general term for various folk acrobatics and dances) appeared. Under the influence of Baixi, opera combined the elements of singing, dancing, and rap, added plots and stories, and formed a unique comprehensive art of opera. "Reciting songs" is the most primitive form of this period. 2. Hanzhong songs were formed in Hanzhong before the Song Dynasty. It is difficult to study the embryonic drama or drama-related activities in Hanzhong in ancient times, but some clues can be found from documents and unearthed cultural relics. The bronze mask unearthed in Su Village, Chenggu County in 1976 proved that as early as the Yin Wojia era, there were sacrificial jumping Nuo masks similar to the facial makeup of drama characters. During the Western Han Dynasty, Zhang Qian, a diplomat born in Chenggu County, brought back musical instruments such as Hujia and Pipa from the Western Regions, as well as the horizontal "Mahadoule" music played by drums and horns, which provided reference for the enrichment of later opera music. During the Northern Song Dynasty, Han Yi, the governor of Yangzhou, wrote poems recording folk drama (music) activities: "People play orchestras in the night moon" and "Noisy drums and horns welcome the shrine". When Cai Jiao, another governor of Yangzhou, was in office, there was also a record that "county officials set up curtains and music to celebrate with the people". In the Song, Yuan and Ming dynasties, there were records of the construction of theaters and music towers in the old temple, the God of Wealth Temple, the Wangye Temple, the Ziyun Palace in the current Lueyang County, the mountain temple, the new temple in Baishuijiang Town, the Yangxian City God Temple, the Guandi Temple and other places. It can be seen that Hanzhong has had similar drama performances since the 11th century, and drama was formed and gradually developed in the Yuan and Ming dynasties. 3. The documented troupes of Hanzhong Quzi already existed in the late Qing Dynasty. The most famous troupe of Hanzhong Quzi is the Chenggu Quzi Troupe, which was established by Jiang Shangzhi and Wu Jinbang from Yuangong Town, Chenggu County in 1878 (the fourth year of Guangxu in the Qing Dynasty). In 1938 (the 27th year of the Republic of China), a Chenggu Quzi troupe was also established in Dongjiaying Village, Chenggu County. In the early days of liberation, quyi societies were established in Chenggu, Yangxian and other places, radiating from Chenggu to the surrounding areas. During this period, Hanzhong Quzi prospered again. Most of the old artists of Chenggu Quzi who are still alive today have learned their skills during this period. The main content of Hanzhong Quzi, "Quzi", originated in the pre-Qin period. The pre-Qin capital was built in Yong, so it was called "Yongcheng Qinqu". After the Tang Dynasty, it was renamed "Xifu Quzi". After "Xifu Quzi" flowed into Hanzhong, it was integrated with local minor tunes and folk songs, and based on the voice of the people in the upper reaches of the Han River, it gradually formed a Hanzhong Quzi with local characteristics and style. According to the family materials (handwritten copies from the Qianlong period of the Qing Dynasty) and memories of the old folk quzi artists in Yang County, there was an activity of "reciting quzi" in the area of Yang County in the late Ming and early Qing dynasties. In addition to weddings and funerals, birthday celebrations, and the full moon of the son, "singing quzi" is also required for welcoming gods, temple fairs, and lotus-picking boats. The repertoire of Hanzhong Quzi Opera is mainly based on folk life stories. The repertoires that are deeply loved by the masses include small plays such as "Picking Cherries", "Lijia Bay", "Beating the Noodle Jar", "The Second Sister's Baby Gets Sick", "Nailing the Jar", "Flowers for Cloth", "Beating the Kitchen God", "Zhang Lian Sells Cloth", and large-scale repertoires such as "Fragrant Hill Fulfills the Vow", "Plum Jiangxue", and "Embroidered Ru Ji". The singing styles of Hanzhong Quzi Opera are diverse, including both gentle, lyrical, and humorous small songs, as well as passionate, generous, and lingering large tunes, and the board-style tunes are extremely rich. "Reciting quzi" has developed into "Quzi Opera", which has not only been improved from narrative a cappella to a drama performed by characters, but also other aspects have been staged. The roles are divided into Sheng, Dan, Mo, and Chou. The orchestra is also divided into Wenchang and Wuchang. Wenchang has banhu, sanxian, flute, erhu, yueqin, etc. In addition to retaining the four-leaf tiles and bells used for "reciting songs", Wuchang also uses all the percussion instruments of Handiao. The main characteristics of Hanzhong Quzi 1. Hanzhong Quzi is a drama formed by combining the southern legend of Guanzhong Mihu with the folk tunes, folk songs, and Buddhist songs in southern Shaanxi. The singing style is diverse and the ban-style tunes are rich. There are "seventy-two major tunes" and "thirty-six minor tunes". 2. The performance of Hanzhong Quzi is relatively simple, mostly impromptu performances of life, without complex and fixed performance programs, and basically imitates the performance program of Handiao. 3. The performance art of Hanzhong Quzi has always been taught orally and passed down from generation to generation. The roles are divided into five major roles: Sheng, Dan, Jing, Mo, and Chou. The basic skills are divided into five categories: singing, acting, reciting, fighting, and speaking. The performance emphasizes the five methods of hand, eye, body, mouth, and step, as well as the skills of waist, legs, arms, and neck. The performance program combines the free and easy, generous, bold, and straightforward character of the people in Hanzhong area and the fun and humorous viewing taste. In the long-term performance practice, a performance style that emphasizes free and easy and compact has been formed. 4. There are not many people in the Hanzhong Quzi class. As long as there is one person in each of the categories of Jing, Mo, Sheng, Dan, Chou, Lao, Xiao, and Za, and four or five apprentices, it is considered a complete line. In the class, Jing, Mo, Sheng, and Dan are called "four beams", and Chou, Lao, Xiao, and Za are called "four pillars". The line is complete, and the performance is more leisurely. Therefore, there is a proverb in the line that "seven tight, eight slow, and nine quiet". 5. The singing, reciting, acting, and fighting of Hanzhong Quzi are the same as other operas. Singing must be pleasant and emotional, and pay attention to "correct words, round voice, accurate pitch, and beautiful rhyme". As the saying goes, "Noodle sellers rely on the soup, and opera singers rely on the voice". The old artists of Hanzhong opera are the "pillars" of various operas, and the "mother and son operas" are naturally more particular. The meaning of words is very important in Hanzhong opera, and they pay special attention to wit and humor. As the saying goes, "a thousand pounds of white, four ounces of singing, and a mouth full of yellow when the mouth is not good". Hanzhong opera pays special attention to "dialectal speaking", that is, speaking in the local dialect of Hanzhong, compiling local stories, proverbs, and jokes into jingles and speaking in the local dialect, which can better attract the audience's attention, enhance artistic appeal, and liven up the atmosphere of the drama. (No pictures yet, welcome to provide.) (No pictures yet, welcome to provide.)