People have an illusion: The traditional opera culture represented by Peking Opera seems to have the dignity and identity as a national art, but it is always associated with the word "recession". In fact, "recession" is an illusion formed for various reasons since the 1980s, and it is also a "conclusion" drawn by comparing the performance and existence of opera with the golden age of Peking Opera and local opera during the Republic of China period. In fact, in any country in the world today, all traditional art that represents tradition and interesting traditional art are not very popular today. It has nothing to do with "fashion" or "fashion". However, this is another topic, and what this article wants to explore is related to this, but it is far from being as simple as "relative" or "popular".
It is precisely because there are various illusions and blind obediences about "recession" inside and outside the industry that we have another attitude towards acting, that is, we must use almost every opportunity to promote various types of traditional culture, including opera. In the central word "utilization", the public seems to have formed an incredible consensus: we must use the media, use all platforms, resources... to promote and prosper. The word "use" seems a bit naked, but if you have to use it, then it is unknown who can use it.
Traditional opera
Not long ago, a talent show called " China Star " was quite eye-catching. A singer named Tan Weiwei combined the singing method of rock (I didn't say here that she really sang rock, because if rock as a music genre still needs a serious definition) with Shaanxi Huayin old tune to perform a song "Give You a Little Color". Because the musical style of the work is refreshing, the lyrics reflect the dual dilemma of the current human existence environment and spirit. It is also due to the skills of the TV program in the director and the strong promotion of famous singers such as Cui Jian, this song was popular in various communication media for a while. This can truly constitute an event that combines culture and media. Many people believe that Huayin Laoqu borrowed the "light" of modern performance forms, and the "light" of mass media such as TV network, mobile phones, and WeChat. Because before this, almost no one paid attention to or even knew about this kind of shadow play called "Huayin Laoqu". So, should our traditional art use this event as a sample to promote ourselves, try our best to cooperate with the media, and "use" the media?
Behind this problem is the relationship between mass communication and traditional culture, and the micro relationship between the medium of mass communication and opera culture. However, the answer has nothing to do with "utilization". Only by abandoning this utilitarian and superficial understanding can we understand the relationship between the two above more clearly. Perhaps in the work "Give You a Little Color", the public did know this small song that was not mysterious in the Northwest String and Cable Series through the cooperation between Tan Weiwei and the old Huayin artist. But at the same time, it is undeniable that "China Star" has gained higher attention, and Tan Weiwei also has a higher click rate than any previous work. Therefore, if you have to use the word "utilization", it must be mutual.
Tan Weiwei sings
Huangmei Opera is one of the representative operas in traditional operas. This Anqing region Huangmei Tunes produced the genre of literati not as high as Kunqu opera, and the tradition of music and performance is not as deep as Sichuan opera and Qin Opera. It is not an entertainment-led drama formed in the rich atmosphere of restaurants and tea gardens in the city like Peking Opera. The growth of this drama has its own unique trajectory. After the 1950s, from 1953 to 1965, Huangmei Opera quickly completed the process of nationalization from local to national through the flagship character Yan Fengying and his film works. At that time, Huangmei Opera was the fastest and most influential local operas among local operas that also took the nationalization process.
" Tianxian Paired " is mostly because of the reform of Huangmei Opera Music, Yan Fengying's personal artistic achievements and other reasons that can achieve nationalization. The most important thing is that the "The Fairy's Compatibility" and "The Female Prince Consort" at that time were spread through opera movies. Later, Huangmei Opera was nationalized for the second time. Although this time it was not spread through the form of movies, with the development of the country, TVs gradually entered the homes of different people. Therefore, Huangmei Opera can be presented in the form of a TV series. The two nationalizations of Huangmei Opera were mainly completed through self-media, and these two nationalizations of the capital are the most important and very worthy of attention in the history of Chinese opera. There is no problem with the expression of "Female Prince Consort"
, and to a certain extent, it also explains the reasons for the nationalization of Huangmei Opera. But what is confirmed behind this phenomenon is only the one-way relationship between mass communication and traditional culture. Another phenomenon that requires us to continue to pay attention and think about is that almost at the same time as the 1950s, there was an equally prosperous Huangmei Opera market in Hong Kong, but that was achieved through the media of movies - Hong Kong Shaw Brothers Film Company Huangmei Opera movie. Shaw Brothers (Hong Kong) Co., Ltd., the famous Shaw Brothers Film Company, was established in Hong Kong in 1958 with Mr. Run Run Shaw as the president. It is not an exaggeration to say that Shaw Brothers movies are half of Hong Kong movies. From the establishment of the company in 1958 to the announcement of the suspension of production of movies in the 1980s, Shaw Brothers invested in more than a thousand movies, and in 2000 announced that the permanent copyright of Shaw Brothers movies would be sold with "Tianying Entertainment" for HK$400 million. There are indeed too many classic works of Hong Kong movies in Shaw Brothers movies, both in art and business, and they are well-deserved towering peaks.
A phenomenon worth pondering is that in the early Shaw Brothers movies, Huangmei Opera movies were its mainstream. From "The Beauty of the Country" in 1959, "Hanshan", "Hanshan Ghost Story" in 1960, "Hanshan Ghost Story" in 1961, and "Han3 Dream of Red Mansions" in 1966, nearly 50 films of the Huangmei Opera films of Shaw Brothers in 1978, were released. Its influence is no less than that of the Huangmei Opera films "The Fairy" and "The Female Prince Consort", which were also widely popular in mainland China during the same period. Due to historical reasons, these Huangmei Opera films were not released in mainland China, because the main audience of these movies at that time were Hong Kong citizens. But several of them have also been popular in the mainland and have even become classic works in the hearts of mainland audiences in the era of cultural poverty. For example, "The Shaw Brothers Huangmei Opera Movie has many artistic aspects to discuss, but our vision is to extend beyond its artistic discussion. So, why did such a large number of Huangmei Opera movies appear in Hong Kong at that time? What does this phenomenon have to do with the relationship between mass communication and traditional culture?
"Tang Bohu's Tiger's Autumn Fragrance"
Looking back at the development history of Shaw Brothers Film Company, the period from the late 1950s to the mid-1960s was a critical period of its development. Whether it was the Shaw Brothers at that time or Mr. Run Run Shaw, who had formed a complete set of business philosophy later, the most important thing is the audience's feelings and reactions. In other words, all Shaw Brothers' production directions are based on box office as an important consideration. Then, the same is true for the selection of directors and actors. Shaw Brothers has made countless film and television stars and directors famous, but this is different from the current many works are directors' "self-talking" and personal artistic pursuits, and they are not tailor-made and launched works for celebrities. This is the core reason why Shaw Brothers has become a generation of film giants, and it also provides us with the possibility to get to the topic of this article.
Precisely because it follows the starting point of the audience's taste, Shaw Brothers must find the audience's excitement point, and the audience's excitement point may be the company's selling point. It is said that Shaw Brothers has made director Li Hanxiang , but in fact, it is also Li Hanxiang's vision and box office performance that are exactly what Shaw Brothers wants.Li Hanxiang is an important director during the start and accumulation period of Shaw Brothers Company, and the most important works in his directorial career are almost all Huangmei opera and films. From 1957 to 1958, Li Hanxiang filmed the ancient costume color yellow plum drama movie "Diao Chan" . This movie is starring Lin Dai , Zhao Lei and Luo Wei. The music in the film is composed by Wang Chun and lyrics by Li Junqing . All Huangmei tunes in the play are sung by Jingting for Lin Dai. This is the pioneering work of Huangmei Opera movies and the beginning of Li Hanxiang's awards, because the influence of this movie was so great at that time.
"Diao Chan"
We can't help but ask, Is this subject based on the understanding and protection of traditional culture, or is it based on the need to "use" movies, a new mass communication method to serve the promotion of traditional drama? 's answer must be no. There may be many reasons, but the most real one may be only one: Shaw Brothers wanted to gain a foothold at that time, and he had to "use Huangmei Opera. If the communication media wanted to successfully intervene in a group's life, he had to choose the content and form recognized by the group. In Hong Kong at that time, Huangmei Opera was such a traditional cultural resource. Whoever utilized it could control the taste and box office of the public. This was a win-win process. The success of Shaw Brothers Company has never deviated from the understanding and "use of traditional culture". After Li Hanxiang, Hu Jinquan and Zhang Che were famous for filming martial arts films. Martial arts films opened a new era of box offices of millions after Huangmei Opera. Isn't martial arts culture another important part of Chinese traditional culture? Isn't it another "use of traditional culture" by mass communication?
Another example can further illustrate the same problem. Pingju " Liu Qiaoer " once played an irreplaceable role in the promulgation and implementation of the "Marriage Law" in New China. With a secret propaganda purpose, Pingju, a local opera art, has influenced thousands of audiences' new understanding of marriage and love issues with its own unique charm. But at the same time, is this artistic form that promotes free love irreplaceable? Isn't all the crystallizations of human literature and art for thousands of years praising the individual's pursuit and desire for the free spirit? The emotions that Liu Qiaoer wants to express are the same or Isn't the earlier Audrey Hepburn 's movie " Roman Holiday " the same expression as it? The answer is yes. What Liu Qiaoer can express, "Roman Holiday" is exactly the same as it, at least in terms of free love. However, "Liu Qiaoer" can make millions of rural Chinese audiences at that time go to open-air movie screenings, but "Roman Holiday" cannot. What are people watching? What are they watching? They watch - drama.
"Liu Qiaoer"
If this kind of publicity is not through opera, it will not be accepted by the public at that time. Therefore, it is not that opera is spread through films, but on the contrary, that films must use opera to enter people's lives and through the media of opera. Because It was the form of local opera, and audiences of all levels in China at that time were not accepted by audiences of all kinds of Chinese levels. This can also explain why EDA Records had to produce Peking Opera records to open up the Chinese market in the Republic of China period at that time. Why was the first film produced and put on in China by Tan Xinpei " Dingjunshan " instead of any Western film classic in the silent film era? The problem at that time obviously no longer exists now, but this truth is out of date. Mass communication, as the concept officially proposed, was that the English meaning of communication in 1945 was closer to a kind of communication and activity formed by communication.
"Dingjunshan"
So obviously, The purpose of mass communication is to create an influence for the masses. It is very likely that the ultimate goal of influence is to make profits, but communication and cooperation are at the top. When it interacts with culture, especially traditional culture, the basic relationship between the two is promoted in two directions.Before the industrial age, cultural dissemination was carried out through human behavior between different civilized regions, different regional cultures, and different groups. Navigation, trade and even war were all ways to implement and spread culture. After the high development of industrial civilization, the dissemination of culture no longer depends solely on human behavior, but on tools, which is the medium of communication.
Communication media as a tool, its nature often determines and changes the direction of culture. In this process, media is always using culture. Only by using culture can it implement its own generation and update. Culture, especially traditional culture, is mostly a product of human spiritual activities. Its dissemination depends on the value and reputation of the culture itself, rather than on the nature, characteristics and preferences of the media. Then behind this, it is not the contradiction between the media and culture, but the contradiction between "tools" and "behavior". If we realize this, we may no longer ask for any way to promote traditional culture, including opera, because the culture "is there or not."
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