Investigation And Research Of Northern Shaanxi Qingjian Daoqing Opera

Northern Shaanxi Qingjian Daoqing opera existed in the form ofsinging without makeup and acting before. Then it took in theinfluence of Shanxi Jin Opera and gradually developed into localopera drama, which was wide spread in Qingjian, Zizhou, Zichang,Yanchuan, etc. Located in the heart of Loess Plateau beside theYellow River, northern Shaanxi is the enrichment region of the cultureof northern Shaanxi. Its ethnic music has strong localcharacteristics.Besides the rich “Qupai”, Qingjian Daoqing opera also has old tune(West tune) and new tune (East tune) on the style of singing.“Qupai”is mainly played with stringed instruments and suona. Theaccompaniment is mainly played by small Sanxian (three-stringedChinese guitar), four-stringed fiddle and Guanzi (Chinese pipeinstrument). It is narrative, performed by both talking and singing, ofsteady interval and slow rhythm, very deep, peaceful and fresh. Thescript of Qingjian Daoqing opera is rich in content, having a profoundconnection with its sister art Hengshan Daoqing script.The thesis discusses in seven parts. I. The introduction brieflydescribes the survival environment of Qingjian Daoqing opera, and causes and meaning of the selection of the subject, going deeply intothe research result and shortages. II. Discuss academic field’s viewstowards the origin of Daoqing opera and make own judgement bycollecting and sorting information. Based on the different forms ofDaoqing opera in different historical periods, master the formationand evolution of Daoqing opera and describe the relation betweenDaoqing opera and Taoism. III. Discuss the introduction of QingjianDaoqing opera based on historical records, and speculate thepossibilities of Qingjian Daoqing opera being introduced from otherplaces. There are two views about the formation of the old tune andnew tune after introduced: formed in local or introduced from otherplace. Based on the historical records and investigation, the authorhas made her own judgement. And then discuss the development ofQingjian Daoqing opera through the process of evolving from folk artto drama, and at last performed on professional stage, together withthe events and spreading region. IV. Introduce the repertory andclassification of Qingjian Daoqing opera, and conclude the ideacontent and artistic features of the existing script. In addition, findthe connection between Qingjian Daoqing opera and HengshanDaoqing opera by comparing the thought implications of the relativescripts. The fourth chapter introduces the singing style and “Qupai” ofQingjian Daoqing old tune and new tune, and the accompanyinginstruments and percussion used in performance. It also states themusical, singing and “Qupai” features of Qingjian Daoqing. V.Introduce the artists, folk musical groups, performing groups andtransmission spectrum of Qingjian Daoqing, and understand itssurvival situation. VI. Study the development reason of Qingjian Daoqing opera based on its survival situation, and propose thedevelopment countermeasure. And put forward some ideas andsuggestions for the future development of Qingjian Daoqing drama.In2006, with the effort of Qingjian intangible cultural heritageprotection center, Qingjian Daoqing opera was classified as provincialconservation project. In June2008, it was included in the firstextended list of the national intangible cultural heritage. Qingjiancounty government has also developed a number of protectivemeasures and phased implementation plan to protect, inherit anddevelop Qingjian Daoqing opera, helping the local opera develop andgrow. Since this is the author’s first attempt to write thesis aboutlocal opera, there may be omissions, looking forward to experts’criticism.