A treasure-appraisal maniac

The streets of Shenzhou City are quite wide, with many shops on both sides, and a steady stream of pedestrians passing by.

There are a variety of businesses on both sides of the street, including everything.

Department stores, snacks, handicrafts, souvenirs, pawn shops, etc., everything is available.

Lu Fei walked in the front, and the others followed Lu Fei's footsteps and entered slowly.

After walking more than fifty meters, Lu Fei plunged into a department store.

I bought a chess set and put it in my bag, and I will play with Jack when I go back in the evening.

Murray found an authentic Sichuan restaurant with two floors, and the business was booming. .??.

Several people came to the private room, ordered a table, and chatted while eating and drinking.

"Mr. Lu Fei, let's go tomorrow morning"

Murray was about to introduce tomorrow's itinerary, but was interrupted by Lu Fei.

"I don't want to go anywhere tomorrow, and you don't have to bother me."

"Just come and see me during the auction in the evening." Lu Fei said.

"Oh well!"

After dinner, it happened to be eight o'clock, so I hurried to Tiandu Teahouse to watch the show.

This teahouse covers an area of ​​500 square meters and has two floors of old-fashioned wooden buildings.

There are two huge posters stuck on both sides of the door.

One side introduces the drama that will be performed tonight, and the other side is a list of the main actors.

These are all old traditions and look very friendly.

After glancing at the drama, Lu Fei suddenly became excited.

"Wild Boar Forest", "Sanchakou" and "Flower Cart" are all classic dramas, and Lu Fei particularly likes them.

However, Lu Fei was the only one who was surprised, and the others couldn't show any interest at all.

This is the gap.

In my previous life, being able to listen to a play was considered a luxury.

But now, except for students in professional courses, people of Xiang Lufei's age would be regarded as monsters if their hobby was listening to operas.

But what they don’t know is how glorious Beijing Opera was back then.

Speaking of which, the development history of Peking Opera is not too long.

The so-called Beijing Opera talks about Beijing accent and rhyme, and of course it refers to the capital city.

But in the early Qing Dynasty, when there was no Peking Opera, Kun Opera and Qin Opera were popular in the capital.

But this century-old pattern was finally broken by the richest Huizhou merchants in the world.

In the autumn of 1790, to celebrate the 80th birthday of Emperor Qianlong, Yangzhou salt merchant Jiang Heting organized an Hui opera troupe called the "Sanqing Troupe" in Anqing. The troupe was led by artist Gao Langting and went to Beijing to participate in the birthday performance.

This Hui troupe mainly sings Erhuang tunes, and also sings Kunqu opera, blowing tunes, bangzi, etc. It is a troupe that plays various tunes at the same time.

This birthday celebration performance in the capital was grand in scale. From Xihua Gate to Gaoliang Bridge outside Xizhimen, a stage was set up every few dozen steps, with southern and northern accents and music from all directions.

Some people are singing string songs, or they are shaking their fans and dancing shirts. Before they stop, they start again at the back, with a group of performers gathering and various arts competing for victory.

In this art competition, the Sanqing Hui Troupe, which came to Beijing for the first time, immediately emerged and attracted attention.

Gao Langting of the Sanqing Class is from Anqing, Anhui Province. He was only 16 years old when he entered Beijing. He plays the female role and is good at Erhuang tune with superb skills.

"Looking at Flowers at the Eyes" describes him as: "She looks like a woman, without any pretense. She doesn't have to sing, just frown and smile, and sit together, depicting the feminine expression, almost transforming into a state of being."

After the success of the Sanqing Troupe in Beijing, Huizhou troupes such as the Sixi Troupe, the Hechun Troupe, and the Chuntai Troupe entered the capital, and gradually dominated the theater scene in Beijing.

This is the so-called "Four Anhui Troupes Entering Beijing".

The four major Hui troupes each have their own strengths. There is a saying that "the axis of Sanqing, the tune of Sixi, the handle of Hechun, and the children of Chuntai". The axis refers to the famous for performing the entire drama in succession, and the tune refers to the good ones. When singing Kunqu opera, the handler refers to the martial arts performer, and the child refers to the child actor.

In the capital, where dancing is very popular, Gao Langting, who has extraordinary skills, is naturally favored.

After arriving in the capital, he took over from Yu Laosi, the original leader of the Sanqing Class, and held the position for more than thirty years.

At the same time, he also served as the leader of the "Jingzhong Temple", a guild organization of the opera industry in the capital. Through the Jingzhong Temple, he implemented administrative management of the theater troupes and theaters in the capital, and he also became the leader of the opera.

After Gao Langting, Cheng Changgeng, Xu Xiaoxiang, Yang Yuelou, Liu Gansan and others all held this position.

By the beginning of Jiaqing, the Hui Troupe had gained a dominant position on the opera stage in the capital. According to the "Meng Hua Suo Bu", "Hui Troupes must be present in theaters. Large theaters such as 'Guangde Tower' and ' Guanghe Tower, Sanqingyuan, and Qingyuan must also be dominated by Huiban. Next, there will be Huiban, small class, and Western class, which are mixed and balanced."

The four major Anhui troupes came to Beijing to perform, marking the beginning of more than two hundred years of magnificent Peking Opera history in China.

Faced with the omnipotent and masterful artistic advantages of the Hui Troupe, the artists of various opera genres in Beijing were unable to compete with them, so most of them turned to the Hui Troupe.

Among them are famous actors in various opera genres on the Beijing stage, such as Mi Xizi and Li Fenglin, the famous Han opera actors from Hubei who joined the Chuntai Troupe, Han Xiaoyu, the famous Luantan actor from Hunan who joined the Sixi Troupe, Wang Quanfu, a Beijing-born Beijing opera actor who joined the Sanqing Troupe, etc. As a result, Huizhou troupes have gathered a variety of vocal operas.

Therefore, in the process of performing various tunes, Hui Troupe gradually focused on the performance of Pihuang opera, from "two pots" and "three pots" to "wind stirs snow".

The predecessor of Peking Opera was the Qing Dynasty

It was first popular in the Jiangnan area and featured Hui troupes that sang blowing tunes, high plectrums and Erhuang tunes.

The Hui Troupe is highly mobile, has frequent contact with other opera types, and has exchanges and penetrations in vocal tunes. Therefore, in the process of development, it has performed many Kunqiang operas, and also absorbed Luoluo tunes and other miscellaneous tunes.

In the fifty-fifth year of Qianlong's reign in the Qing Dynasty, the first Hui Troupe headed by Gao Langting entered the capital to participate in a performance celebrating the 80th birthday of Emperor Qianlong.

"Yangzhou Huafang Lu" records: "Gaolang Pavilion entered the capital, and became the flower department of Anqing, combining the two Qin tunes of Beijing, and named its group Sanqing." Yang Maojian's "Menghua Suobu" published in the 22nd year of Daoguang also said: " And the Three Celebrations precede the Four Celebrations. In the 55th year of the Qianlong reign, when Emperor Gaozong entered the capital blessing box on his 80th birthday, he was called the 'Sanqing Emblem', making him the originator of the Hui class."

Wu Zishu pointed out more specifically in the annotation of "Suiyuan Shihua" that "Wu Nala, the governor of Fujian and Zhejiang, ordered Zhejiang salt merchants and Anqing Hui people to Zhuli." Subsequently, many Anhui troupes came to Beijing one after another.

The famous four classes are Sanqing, Sixi, Chuntai and Hechun. Although Hechun was founded in the eighth year of Jiaqing, later than the thirteenth year of Sanqing, later generations still called it the "Four Major Anhui Classes in Beijing".

During the entire evolution process, Peking Opera had many names. After hundreds of years, Peking Opera was finally positioned as Peking Opera, also known as Peking Opera.

In the past, setting up a stage to hold a party was a very honorable thing.

Being able to listen to a play is even more luxurious.

But today, more than two hundred years later, more than 90% of people can no longer understand opera.

Maybe it's not that I don't understand it, but I just can't enjoy it at all.

Those fans who want to watch a play can only watch it on the opera channels of major festivals, apart from watching the video.

And the level is still uneven.

Speaking of which, it is really sad that Peking Opera, which was so brilliant at that time, has fallen into such an embarrassing situation today in just two hundred years!