The Study On Chinese Folk Opera Performing Arts Since The New Period (1976-2016)

Since the birth of Chinese first folk opera,"The White-haired Girl" has been presented to the world with its unique artistic style.She not only created its own pattern of development in the field of Chinese opera,but also explored a way to meet the time spirit of the China and aesthetic characteristics.It brings together the traditional opera music style,the use of the varieties of cavity plate and the technique of dominant theme through the film in order to make comprehensive creation.In the practice of the performing,it forms the dialectical unity of the western realism and eastern emotional and spiritual world.She creates distinctive national characteristics and starts the modern opera art form with the combination of Western "Bel Canto" and the unique expression of Chinese opera vocal system,with multiple singing as elements and Chinese ethnic multifarious performing arts as ontology,using the performing art experience and idea from the west for reference.In more than 70 years of stage practice in the field,this new opera has always adhered to the characteristics of the national performing arts,achieving development and growth continuously in the hard exploration.Especially from1976 to 1996,totally in 20 years,Chinese national opera reconstructs vitality from the stagnation for Cultural Revolution and the serious interference of the ultra leftist politics to the emancipation of literary concept and creation of ideology along with reform and opening up.While in the 1980 s and 1990 s of last century,the traditional opera in China is confronted with a new crisis after a massive influx of western thoughts.When“The White-haired girl "," Xiao Erhei marriage " and other opera patterns began to decline,gradually marginalized,the opera " The Daughter of the Party " as a symbol,restarted a new era of Chinese national opera.With the continuously deepening of the reform and opening up,in the ten years from 1996 to2006,Chinese opera emerged blowout,the opera also presents the states of pluralistic development since the interaction influence of the three forces which are the market economy,political ideology and academy.On the one hand,popular music drama becomes the mainstream music art in the era because it caters to the new people’s taste.On the other hand,the experts and students gradually grew up,beginning to lead the social acceptance of elegant art with its aesthetic taste.Moreover,it should also be noted that the mainstream ideology stillhas great influence and restriction on China Opera and artists must have clear responsibilities and obligations undertaken by them under the promotion of the state.In this period,Chinese National Opera blossoms a bright flower-" Struggles in an Ancient City” and her appearance has a certain historic inevitability.With the advent of 21 st Century,the trend of rejuvenation of Chinese national culture rises and cultural pattern appears new atmosphere,which means the awakening of national consciousness;the Chinese traditional culture protection awareness is becoming stronger,all of which make the Chinese culture development path clear in the direction of the revival of the spirit of national culture.Thus artists have reproduced "The White-haired Girl","Sister Jiang" “Honghu Red Guards "," Xiao Erhei marriage " and other operas,the stage of classical regression is becoming a test field of innovation and reconstruction.The artists with the spirit of challenge began to explore the relationships between " make foreign things serve the china "and " make the past serve the present”,the "dialectical choices" and "bring forth something new from the old".In the new art practice,they reproduce the shine of the National Opera in the new century with constantly innovation,improvement and reconstruction.According to the current situation of practice and academic research on the performance of national opera,applying follow-up investigation and literature review method,taking Peng Li-yuan,Kong De-cheng,Dai Yu-qiang and Lei Jia etc as the research object,all of whom are national opera performing artists,this dissertation elaborates their interpretation and reconstruction of the characters in their performances,thus presenting the unique artistic style and techniques.What can be seen from the practice and theoretical summary of the above artists is that how arduous exploration and efforts the national opera experiences from theory to practice.On the one hand,they need to co-opt the western drama---“sound,stage,posture,expression”.On the other hand,they integrate the traditional opera performances---" hands,eyes,body,method,and step".These artists not only accumulated rich practical experience for the contemporary national opera performing arts,but also provided important theoretical basis for the development of opera art.Through the analysis of the relevant works in the field of national opera,as well as the academic exchanges with opera artists,research experts,this dissertation attempts to explore and summarize the performing arts and relevant theories of national opera with new perspective,borrowing the "cultural collision theory" to analyze the structure relationship between Chinese and Western operas(Xiqu-Folk art),we can see the "cultural collision theory" has interpretation advantages and theoretical significance in revealing and summarizing the cultural background of the National Opera’s generation,andanalyzing the dialectical unity of the realism and the freehand and multiple singing skills formed by the artists in their performing practice.It should be pointed out that,due to the imbalance between the talent training mode of Chinese music Art College and the demand of opera art market in China,there are few artists who are competent for starring the leading role.While the vast majority of practitioners,they can’t meet the requirements of the role for acting or singing for the weakness or lack of competence.The phenomenon of "Singing" but not "playing" and "playing" but not "Singing" is increasingly common,and the type of tone is often the same as the "College" sound.This dissertation not only conducts an investigation,but also makes a detailed analysis and puts forward its own views: performing arts must combine the ancient with the modern,tradition with the western,market with the audience and other key aspects,only in this way can we walk on the road to accord with the law of development of national opera,thus truly creating a healthy "industrial chain" in development of the National Opera.The artistic life and aesthetic charm of the national opera will last for a long time,hoping this research will provide a theoretical perspective and reference for the national opera performers and learners.