We analyse the problems encountered on the road of Yu opera development and the dilemmas it is facing now, hoping to have a guiding role in the future development of Yu opera.
Yu opera is an art, and art needs to be supported by a certain scale of consumer groups, otherwise it will make the actors engaged in the performance of Yu opera have no source of income, which will eventually lead to the demise of Yu opera. In the current new media era, people are attracted by short videos of entertainment, news, anecdotes, etc. The unique fast-food culture has caused the market of Yu opera to shrink and the economic benefits to decline. Most of the audiences of Yu opera are middle-aged and elderly people, and with the popularity of mobile phones and other mobile phones, their vision has been transformed, making the audience of Yu opera further reduced. On the other hand, because the pace of life nowadays is accelerating, the pressure of life is increasing, the aesthetics and preferences of consumers tend to be more towards direct and simple forms of entertainment; however, Yu Opera is a collection of rapping and martial arts, with a slow tempo, which requires the audience's careful taste, so it does not meet the public's needs, resulting in a downturn in the market.
The art form of Yu opera is a stage art form like other operas, which is carried by actors and continues to this day through continuous performances. Therefore, the Yu opera troupe is very important to the development of Yu opera. As the market shrinks, Yu opera troupes will have problems in terms of funding, and the costumes cannot be cleaned or replaced due to financial problems, which will result in a decline in the quality of the Yu opera's spectacle. Moreover, some private Yu opera troupes cut funds in order to maximise profits; recruit practitioners with insufficient cultural heritage, insufficient understanding of Yu opera, and inadequate expression of emotions; and reduce the number of accompaniments, among other problems. The lack of funds also makes it difficult to innovate, and Yu opera is a native folk art, the form and system are very fixed, which is a great limitation to innovation.
An art form wants to be preserved needs some necessary conditions: firstly, this art form must have its own unique performance characteristics, and can become a kind of art symbol. Secondly, this art form must have its own successor, and the successor must have a high artistic standard and innovation ability, which is also the basis for an art to be passed on. However, the new culture has had a great impact on Yu opera, and most of the Yu opera artists are over the age of old, and it is difficult to attract new talents without high interests and incomes, so it is difficult to find a suitable successor.
1. The artistic characteristics of Yu Opera are divided into several parts: singing, roles, make-up, costumes, musical instruments and so on.
2. Because of the differences in speech in different places, Yu Opera forms artistic genres with regional characteristics in music. Experts of Yu opera divide it into Xiangfu tune, Yuandong tune, Yuxi tune and Shahe tune. This division is widely accepted, that is, Kaifeng as the centre of the Xiangfu tune; Shangqiu as the centre of the tone of the Yu East; Luoyang as the centre of the tone of the Yu West; popular in the southeast of Henan Shaxi River around the Shahe tune, also known as the "local bang".
3.The roles of Yu Opera are composed of "Sheng, Dan, Jing and Chou". According to the general saying, there are four Sheng, four Dan, and four Huafang. The troupe is also organised in accordance with the structure of "four students, four dan, four faces, four soldiers, four generals, four maids; eight scenes, two boxes of officials, plus four handymen". Four students that is, the old man (Su Sheng, commonly known as red face, generally divided into red face and two red face), Sheng (early, including Wu Sheng, Sheng, dolls Sheng; now separate), the side of the Sheng (two complementary Sheng, that is, sweeping the side of the old Sheng, generally secondary roles, and then gradually merged into the line of the old Sheng). The four dans are Zhengdan (Qingyi), Xiaodan (including Huaodan and Boudan), Laoodan, Wuodan (including Shuaidan and Jianmaodan), and Caidan (Chouwu). The four purities are Zheng Jing (also known as the Copper Hammer and the Black Head; commonly known as the Big Flower Face), Vice Jing (also known as the Rack; commonly known as the Rack Flower Face), Wu Jing (commonly known as the Wu Flower Face; including the Wrestling Flower Face), and Mao Jing (commonly known as the Mao Flower Face). A clown is a three-flower face.
These characteristics limit the innovation of Yu Opera, and the make-up of the actors makes it difficult to appreciate (for young people). And the subject matter is mostly historical stories, making it difficult to perform new tricks.
Conclusion: In order to make Yu Opera better develop in the new era and new context, we need to solve these problems one by one, and we will launch the solutions to these problems in the next push, so please look forward to it!
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