National Tide 1980.

Chapter 181

In the old days, there were many options for the opening ceremony of Tanghui Opera in the capital.

There are roughly "breaking the platform", "cleaning the platform", "tiaolingguan", "tiaojiaguan", "jumping the God of Wealth" and "reporting the platform".

These ceremonies can be complicated or simplified, mainly depending on the political status and economic status of the host family.

Because all these ceremonies are held, the family has to pay for the performance, which is what Liyuanxing calls "lottery money".

Among them, the "breaking the platform" ceremony belongs to the feudal dross of pretending to be a ghost at twelve o'clock in the middle of the night.

Not only is the form mysterious, but there are steps of killing chickens and blood.

It often gets bloody, and the atmosphere is so terrifying that the owner doesn't like it, so he disappears.

In contrast, the ritual of "cleaning the platform" is much better.

Because although it is also for the purpose of purifying all evil spirits, the cleansing platform is mainly based on chanting the cleansing mantra, which is not so noisy.

In the earliest cleansing ceremony, actors in the Qing Dynasty played the role of a mage wearing a crown of five Buddhas, a red shirt and a white beard.

After taking the stage, chant a mantra to patrol the audience, and then step off the stage.

In the period of the Republic of China, this kind of ceremony became more auspicious.

Because at that time, "Potai" had been completely replaced by "Tiaolingguan", "Tiaojiaguan", and "Tiaojiaguan".

Then when "cleaning the platform", actors who play the role of spirit officials, heaven officials, and gods of wealth often recite the mantra.

You should know that no matter "Dancing Lingguan", "Dancing Jiaguan" and "Dancing God of Wealth", they are all opera dances aimed at flattering and pleasing the audience.

No matter what kind of role, they are all gorgeous.

Actors will hold colorful silk banners and dance while dancing to the tunes of gongs and drums.

After the auspicious dance, let these gods come to clean the stage.

Naturally, it is much more festive than an old monk dressed as an old actor chanting mantras.

As an alternative to "Breaking the Stage", "Dancing Spirit Officer" is undoubtedly the most lively group show.

Because this play requires at least four spiritual officials to play at the same time.

During the period of the Republic of China, the whole class of "Tiao Ling Guan" even appeared on stage.

It has become a must-perform show when the theater troupe is sealed at the end of the year and the troupe is unpacked at the beginning of the year.

The so-called Lingguan is actually the most respected guardian deity of Taoism.

Taoism has a saying of five hundred spirit officials, the most famous of which is the "Wang Lingguan".

In the first halls of many Taoist temples, the spirit official guarding the gate of the Taoist temple is usually this Wang Lingguan.

Traditional Peking operas such as "Hunyuan Box", "Wuhua Cave", "Nine Lotus Lantern" and "Sizhou City" all have this spirit official on stage.

Especially the play "Sizhou City" has the most beautiful scenery.

In the play, when Avalokitesvara summons the gods to subdue the jellyfish, the gods follow the lead.

The red-faced Lingguan and the black-faced Xuantan were the first to enter the stage.

Along with them, there are Jialan, Nezha, Qinglong, Baihu, Wei Tuo, and Wukong, all of whom are supernatural beings.

There is also the original text of Journey to the West, when it is written in the gossip furnace to escape from the great sage, and when the rampage mode is in chaos.

The article said that the Nine Obsidian Stars closed their doors and closed their doors, and the Four Heavenly Kings were invisible. Seeing that Pohou was about to hit the Lingxiao Palace.

In the end, it was thanks to Wang Lingguan who was on duty in Tongming Palace that Sun Wukong was blocked firmly.

This shows Wang Lingguan's identity, status, and ability.

Therefore, this "jumping official" has to surpass "jumping official" and "jumping God of wealth" in terms of role.

In fact, before the Republic of China, "Tiao Ling Guan" was even a repertoire exclusive to the royal family of the Qing Palace.

The reason is obvious, since they are all emperors, there is no need to "add officials" and "get rich", so they pay special attention to the spirit officials' ability to ward off evil.

According to the legend of Liyuan Xing, in the opening scene of the Qing Palace, eight or sixteen spiritual officials usually took the stage.

Sometimes when there are festivals, there are 32 or even 64 spirit officials.

In addition, the Qing Palace also paid attention to the use of good horns to dance to the Lingguan.

Such as Tan Xinpei, Wang Guifen, Qian Jinfu, Yang Xiaolou, etc.

Even those who sing Danjiao are no exception.

For example, Chen Delin, Wang Yaoqing, etc., all once skipped the Lingguan before acting in the palace.

It can be seen that the rulers of the year attached great importance to this drama.

As for the folk opera, because everyone's pursuits are similar.

That is, there must be one of "Jiaojiaguan" or "Jumping God of Wealth", or both.

There are three performance forms of jumping Jiaguan, "male Jiaguan", "double Jiaguan" and "female Jiaguan".

Costumes and props are dedicated and specially made.

The characters played are based on the "Heavenly Official" among the three officials of the Taoist gods "Heaven, Earth, and Water" (that is, the first grade of Shangyuan blesses the Heavenly Official).

Therefore, on the "admission note" opened by the actor to the audience, there are auspicious words such as "blessing from the heavenly official" and "admission to the official".

Therefore, it is called "jumping and adding officials".

What is more special is "Female Plus Official", which is an exclusive play for the old lady's birthday.

It is played by actors who sing Dan roles in the troupe. The characters they play are based on the Taoist goddess "Queen Mother".

Wearing a phoenix crown, wearing a female red python robe, holding a tooth wat.

Like the male officials, they wear a female mask with white smiling eyes, which Liyuanxing calls "the face of female officials".

Under normal circumstances, if two plays are performed together, the "Dancing God of Wealth" will be ranked after "Jiaojiaguan".

The performance form of "Jumping God of Wealth" is divided into two types: "God of Wealth" and "God of Martial Arts".

The God of Wealth and Wealth is based on the Taoist deity Bigan, the God of Wealth is based on the Taoist deity Zhao Gongming, and it is also said to be the "Great Huihui" of the Western Regions.

Since the middle of the Qing Dynasty, the performance form of the God of Wealth has gradually been lost, and there is only the dance of the God of Wealth.

During the performance, the actor pretending to be the God of Wealth held a big gold ingot in his arms, adjusted his crown with one hand, shook his sleeves, raised the ingot and jumped, and jumped twice to the left and right.

Put the ingot on the table, and then open the word scroll in the tray to show the audience a pair of couplets.

There are festive words such as "blessing is like the East China Sea" and "recruiting wealth and treasure" to please people and win praises.

And among all the opening ceremonies of the hall, the most ordinary one should be "reporting the stage".

Usually only Kunqu opera troupes have this ceremony.

The content of the reporting line is determined according to the nature of the church meeting held, and different churches have different reporting lines.

The effect is similar to that of the opening poem before the cross talk, just reading a paragraph of Jingbai Ci.

Therefore, Ning Weimin was thinking in the right direction.

He believes that what belongs to the nation belongs to the world, and the most typical stage art in Beijing is Peking Opera.

In addition, the costumes, outfits, and helmets of Peking opera actors are colorful and gorgeous.

This is very consistent with the theme of the fashion show with the theme of oriental silk.

That's why he took the initiative to ask Kang Shude for advice, trying to solve the problem by starting from traditional Peking opera.

Not to mention, since they are all performed on stage, there must be something to learn from.

When he asked this question, he really got the answer he needed from the old man's mouth.

According to the old man, "breaking the platform" can be ruled out first.

And "jumping to add officials" and "jumping God of Wealth" are not suitable

Because although these two opening scenes are joyful and echo the wish of foreigners to get rich, they are not in line with the spiritual civilization currently advocated by the country.

This year the government is promoting five stresses, four beauties and three passions, and our leading cadres also emphasize integrity.

Those who get promoted and get rich are really jumping up, and it is easy to be criticized by domestic newspapers.

In the end, there are only "jumping spirit officer", "cleaning curse" and "reporting platform".

If it is purely for auspiciousness and excitement, these are fine.

The old man added that there was a unique tradition in the inner court of the Qing Dynasty, which was "jumping five-color spirit officials".

The so-called five-color spirit officials have to distinguish five colors when scribbling their faces. Apart from the red-faced dolls, the four are red-faced red-faced, yellow-faced black-faced, blue-faced pale-faced and white-faced black-faced. , and then outline the texture with a pen.

In this way, there are more colors in the field.

If we consider from the perspective of enriching performance forms, we can combine the performances of jumping four-door fighting, setting firecracker poles, throwing firecrackers high in the sky, chanting the mantra of purifying the stage and reporting to the stage.

This kind of art has all kinds of martial arts, it's like acrobatics, and it's also highly entertaining. It's guaranteed that Chinese and foreign guests will love to watch it.

In this way, Ning Weimin took advantage of the old man's knowledge and showed his face in this matter.

Accompanying Pierre Carton and Song Huagui to the day of the Acrobatic Troupe and Beijing Opera Troupe.

Ning Weimin was actually the last to show his idea, and the result was the most eye-catching, most practical, and most suitable for needs.

Because one is that the magic show requested by Pierre Carton is too ordinary.

The ancient color tricks of the acrobatic troupe are really nothing to watch, and they are still at the level of "Appearing from the Cabinet", "Showing Colors at the Lantern Pavilion", and "Showing Colors in the Luoquan", which is too lacking in innovation.

Second, although the monkey show is wonderful.

However, due to safety issues, there are higher requirements for the stage, not only the size and stability of the construction.

Actors also need to adapt to the terrain in advance, and multiple rehearsals are good.

Otherwise, it would be difficult to guarantee the effect of the performance, and they could only send a monkey king to express their intentions, and they would not be able to meet Pierre Carton's brilliant and enthusiastic requirements.

But Ning Weimin's idea is different, he needs five martial arts actors to come on stage.

Although few people in the younger generation understand it, what is being performed is not a real show, but just the application of basic skills.

There are still old people in the troupe, so give me some advice, and it's not difficult to try out the performance.

In addition, Lingguan's appearance is all big painted faces, hooked faces, wearing helmets, and soft backs. Once they are colorful on stage, this image is bluffing.

An actor was found to go into battle, danced a four-door fight, and performed a high-door fire-throwing job, which made Pierre Carton so happy that he applauded repeatedly.

Song Huagui was also quite satisfied, and made an OK gesture to Ning Weimin.

So, the plan was decided, and the program was finalized on the spot.

(End of this chapter)