Li Ningning, an opera actor in Lanzhou
Li Ningning, an opera actor in Lanzhou, studied under Wang Xixiao and Liu Shuqi, famous performing artists of Beijing opera in Gansu Province, as well as Zhang Xiaoqin, a national first-class actor, famous performing artist of Qin opera and winner of the Plum Blossom Prize of China opera. Her representative plays included "Spring in the Jade Hall,""Sitting on the Floor to Kill Xi,""Beheading Dou E,""Broken Bridge,""Dream,""Beheading Qin Ying,""Walking Snow,""Honghu Red Guards," and other child plays, as well as "Qingfeng Pavilion,""Double Officials Announce,""An An Send Rice,""Four Sages Book,""Brand Wan Ji," and so on. He won the 4th Red Plum Competition in Gansu Province and the third prize in the 7th Yellow River Basin Red Plum Competition. Read more exciting novels for free
Li Xinyuan, Sichuan opera actor
Li Xinyuan was a Sichuan opera actor. He was originally playing a small role."Sheng" ranked first in the "Sheng Dan Jing Mo Chou" role category of Sichuan opera. He participated in the performance of Sichuan opera "Four Girls" and also appeared in the old movie "Bashan Strange Injustice". In addition, the famous Zigong Dan Dan Noodles was originally created by him. He carried a pole and peddled along the street, which later became the legendary delicacy of Zigong. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Are Li Yijie and Li Jie the same Beijing opera actor?
According to my knowledge of online literature, Li Yijie and Li Jie are not the same Beijing opera actor. Li Yijie was a web novel author, and Li Jie was one of her fictional characters that did not exist in reality.
To be an opera actor
To become an opera actor, one needed to work hard in many ways. Basic training 1. In terms of singing and reciting - The singing in the opera required the actors to have a good voice and unique vocal skills. Long-term vocal practice was needed to broaden the vocal range and enhance the endurance and expressiveness of the voice. For example, different operas had different singing styles, such as Xipi and Erhuang in Beijing opera, Xiangfu tune in Henan opera, etc. The actors had to be familiar with the rhythm of their respective operas. - Saying was also very important. It included rhyming and dispersing. Rhyme was full of rhythm and musicality, while loose white was closer to the language of life but had a certain artistic processing. Actors had to accurately grasp the tone, sharpness, clarity, and so on of the words to clearly express the meaning of the lines. 2. In terms of fighting - In opera,"do" referred to body movements, including gestures, eyes, and catwalk. Actors had to go through systematic training to make their movements beautiful, coordinated, and full of expression. For example, different fingering techniques represented different meanings in the orchid finger of a female character. The training of the catwalk was also very important. The catwalk of different types of characters had different characteristics, such as the steady catwalk of the senior students, the light catwalk of the female character, etc. - " Fight " referred to martial arts movements. For actors or characters who needed to perform martial arts, they had to undergo strict martial arts training, such as the use of weapons such as swords, spears, and halberds. Not only did this require strength, but it also required precise control of movements and a sense of rhythm. II. Character Understanding and Shaping 1. Understanding the Character - Actors had to conduct in-depth research on the role they were playing, including the identity, personality, and historical background of the role. For example, when performing a historical drama, one had to understand the social culture, customs, and other factors at that time so that they could better interpret the character's behavior and emotions. - Different types of roles had different performance standards, such as Sheng, Dan, Jing, and Chou, each with their own performance characteristics. For example, the dignified and steady character of a raw character, the gentle and delicate character of a female character, the rough and unconstrained character of a clean character, the humorous and funny character of a clown, etc. The actors had to perform according to the type of character. 2. expression of feelings - He had to be able to accurately convey the emotions of the character. In opera performances, the expression of emotions was often achieved through a combination of singing, reciting, acting, and fighting. For example, when expressing sadness, it might be reflected through sad singing, slow catwalk, lowered eyes, and many other ways. Third, cultural accomplishment and inheritance 1. cultural knowledge accumulation - The opera was a comprehensive art, closely related to literature, history, music, dance, and many other artistic forms. Actors needed to dabble in relevant cultural knowledge, such as poetry, historical allusions, etc. This would help them better understand the meaning of the opera script. - Understanding the development history of opera, including the origin, evolution, and formation of different styles of opera, was of great significance to the inheritance and development of opera art. 2. inheritance and innovation - On the basis of learning traditional opera performance skills, one must also have a sense of innovation. With the development of the times, the aesthetic needs of the audience were also changing. On the premise of maintaining the essential characteristics of the opera art, opera actors could appropriately introduce modern expression techniques or integrate them with other artistic forms to attract more audiences. IV. Stage Practice and Experience 1. actively participate in the performance - Whether it was a small grassroots performance or a large-scale stage performance, they had to actively participate. He would continue to accumulate experience on the stage and improve his performance level and ability to deal with unexpected situations. - Starting from the basic level of performance, he would understand the needs and reactions of the audience and gradually improve his performance ability in different stage environments. 2. Cooperate and communicate with peers - Work closely with other opera actors, band members, directors, etc. In the process of cooperation, they would learn from each other and promote each other. For example, the cooperation with the band should reach a tacit understanding, the actor's singing and performance should be consistent with the rhythm of the band's accompaniment, and the communication with the director could help to better understand the creative intention of the script, so as to better shape the character. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Qin opera actor Li Maigang's apprentice
Li Maigang's disciples were Du Cangyuan, Zhang Jibin, Wang Jianli, and Yang Li, four professional disciples, and four non-professional disciples, Gao Xijuan, Ma Leizi, Qin Jianjun, and Niu Jinling. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
The male lead is an opera actor
There were a few novels that could be recommended. The male lead was an opera actor. First of all," The Withering of Crosstalk: A True Song that Shocks the Mountains and Rivers " was a recommended novel. The male lead was a crosstalk actor who guarded his crosstalk garden, and the female lead was the niece of a director. In addition, the female lead of " Dreaming of a Lion " was a Beijing opera actress, the male lead of " I Think of You as Before " was a Kunqu opera actor, the female lead of " The World's Best Theater " was a shadow puppeteer, and the female lead of " The Feast of Flowers " was a Shu embroidery craftsman. In addition," Qing Yi " was also a recommended novel. The female lead was an opera actress. These novels cover different types of opera actors and characters. I hope they can meet your needs.
Famous Kunqu opera actor
Here are some famous actors in Kunqu opera: - Qian Wei, who came from Kunqu Theater of Jiangsu Province Performing Arts Group, was born in 1985. He was a national second-class actor and a clown of Kunqu opera. He studied under Li Hongliang, Zhang Jinlong and other teachers. He had won many awards such as "Performance Award" for outstanding young actors in Kunqu opera. He had participated in works such as "Happy Times: The Story of Leftover Men's Blind Date" and "Thirteen Homicide". He had performed Kunqu opera in many places. - Xu Dongyin, an ugly actor from Suzhou Kunqu Theater in Jiangsu Province, created three distinctive clown images through the performance of "The Beauty of Kunqu Ugliness--Xu Dongyin's Kunqu Drama Excerpt". He stood out among 83 participating plays and won the White Magnolia Award nomination award. - Li Qin was born in Kunshan, Jiangsu Province, the birthplace of Kunqu opera. When she was 11 years old, she was sent to an opera training class. In less than a year, she won the Golden Flower Award in the National Children's Drama Competition. In addition, there was also the Xu family in Xiao County, known as the Kunqu aristocratic family. In the "China Kunqu opera dictionary" edited by Wu Xinlei, a famous opera history expert and professor of Nanjing University, Xu Shuzheng, Xu Shenyi, Xu Daolin, Xu Ying, and Li Fanggui were included. Their descendants also contributed to the cause of Kunqu opera. There were also actors from the Shanghai Kunqu Troupe's "Kunwu Class 4" and "Kunwu Class 5" such as Zhou Yimin, Ni Xuhao, Yuan Jia, Zhang Weiwei, and Qian Yuting. The novel " The Legend of Dian Kingdom in Clouds as Deep as the Sea " is equally exciting. Everyone is welcome to click and read it!
Character Creation of an opera actor
An opera actor could start from the following aspects: - ** In terms of preparation work **: First of all, you have to be familiar with the script and lyrics, because lyrics are an important medium to convey the author's thoughts and attitude towards life. Only by understanding the meaning of the lyrics can you correctly shape the character image. At the same time, the precise study of the tone of the performance and the control of the timbre were also important parts of the basic preparation work before the performance, which was very important for the character image. - Grasping the character's personality: The key to successfully shaping the character's image is to accurately grasp the character's personality. Every character has its own unique personality traits, and actors should avoid mixing characters with similar personalities. Because character traits were relatively abstract, actors needed to study the character's living background, living environment, and other details to understand their personality traits. They could also use actions, language, eyes, and other methods to express the character's personality traits. For example, if they played Juliet and Sister Jiang, although their endings were tragic, their personalities were completely different. The actors needed to carefully study the differences between the two personalities and clearly express them in order to successfully shape the characters. - ** Voice usage **: The voice can be divided into different types according to the tone and quality. Different types of voices are suitable for creating different characters. Performers could divide their roles according to their different types of voices. At the same time, the voices of different characters were also different. For example, the voice of a young woman was sung by a soprano singer with a clear voice, while the voice of an old man was sung by a bass. Even the same type of character would have different vocal characteristics. - ** Chorus usage **: Chorus plays an important role in character creation and can be combined with individuals. For example, when a character faced a difficult situation alone, the voice of the chorus could be like the voice of the character's heart, with different expressions such as encouragement and doubt. This " inner chorus " effect helped the audience to deeply understand the psychological changes of the character, making the character more three-dimensional and triggering the audience's emotional resonance. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Beijing opera actor An Yunwu
An Yunwu was born in Beijing on June 15, 1948. He was a national first-class actor, a member of the Arts Committee, and a senior student of the Ma (Lian Liang) School. In 1958, he was admitted to Beijing City Drama School. He was initiated by Wang Shaolou, a disciple of Yu Shuyan. He laid a solid foundation with the norms of Tan and Yu School and learned plays such as "Touching Stele","Running at Night","Catch and Release Cao" and "Red Mane Fierce Horse". In 1962, after Ma Lianliang took over as the principal, he personally taught him plays such as "Trial Head Stabbing Soup","White Python Platform","Qing Guan Ce","Zhao's Orphan", etc. During rehearsals and performances, Ma Lianliang let him use his props and headdress, and personally took charge of the scene for him. He was also deeply loved and instructed by Xu Lanyuan and Yang Baozhong, two Jinghu masters. He graduated in 1966 and was assigned to the Beijing Peking opera troupe. In 1968, he was transferred to the Henan Province opera troupe. In 1985, he was transferred back to the Beijing Peking opera theater. In 1975, he became a disciple of Ma Zuiliang (Ma Lianliang's younger brother), and consulted Ye Shengchang, Wang Jinlu, Chi Jinsheng, Wang Helin and other teachers who studied the "Horse School", striving to pursue the artistic charm of the "Horse School". His performances included "Si Lang Visits His Mother","Wulong Courtyard","Hai Rui Dismissal" and other plays. He also studied "South Qi and North Horse". His performance was full of passion and meticulous, and his singing was powerful and tactful. He was loved by the audience. In 1994, he was nominated for the Mei Lanfang Gold Award Competition. "Yun Anlu's Body Sacrifice" is equally exciting. Everyone is welcome to read it!
The Predecessor of a Peking opera Actor
The predecessors of Beijing opera actors were mainly Hui actors. In the process of the formation of Peking opera, the arrival of the Hui troupe was an important prelude. After the artists of the Hui troupe entered Beijing, they stayed in the capital for various reasons. They took classes with each other, learned, blended, and worked together. The Hui troupe originally sang Erhuang, Chuiqiang, and Bazi, as well as Kunqu, Bangzi, and other miscellaneous tunes. Under the needs of survival and artistic development, these artists continued to integrate the characteristics of other operas. After tempering themselves, they finally formed Beijing opera. They were one of the predecessors of Beijing opera actors. In addition, there might also be artists from other local operas who participated in the formation of Peking opera, laying the foundation for the formation of Peking opera actors. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>