Cantonese opera performance Komiks

The development experience of Cantonese opera performance industry has been from simple to traditional; initially there were only three major categories: the third, the dan and the jing, and gradually derived to the top ten major industries; the art of industry is in line with the overall expression characteristics of the genre of opera art. Modern opera performance art shows a trend towards personalization of characters, and the industry has gone from traditional to simple. Most local operas use “Sheng, Dan, Jing, Mo, and Chou” as the basic types. In the early days of Cantonese opera, there were “Top Ten Professions” such as Wei, Jing, Sheng, Dan, Chou, Wai, Xiao, Tie, Hu, and Mia. In traditional Cantonese opera performances, the opera troupe has strict regulations on the role of the performance industry. The actors cannot change or transgress at will after the profession agreed in advance. Otherwise, they will be considered to be breaking the industry rules and must be punished. The worst case may be eliminated from the opera. In the play, if the character has a large age span and is played from a teenager to an old age, different performing actors must be responsible for roles of different age groups. For example, the role of Mu Guiying was a young woman in “Mu Guiying Down the Mountain”, and was played by Titan (or Huadan); by “The Female General of the Yang Family”, he was already middle-aged, and he was played by Zhengdan (or Qingyi). In addition, due to the different identities of the characters, they also need to be played by different performing actors. For example, the roles are at the beginning of ordinary people or heroes in the green forest, and later they have been the king and dominant. Then the Xiaowu industry is responsible for the job, and the latter is the general practitioner industry. Therefore, traditional Cantonese opera often had different careers, different actors, and played the same role. After that, after going through the “six-pillar system”, in which the modern theater troupe mainly performs Shengdan opera, the awareness of Cantonese opera performance gradually faded.

Baotou　　The common name of a female actor in a traditional opera troupe. According to Yang Zhangsheng, a native of the Qing Dynasty, in “Menghua SaoBook”, “It is common to call Danjia Baotou, because they wore nets in the past, so it is called Baotou. Now they are all combing the water head, which is no different from a woman, but they are still named Baotou…” It can be seen that Baotou is just a title that follows the past customs. The combing water head mentioned here is the “Bao Datou” of the current Dan actor in the troupe. In the past, when a male actor played a female role (commonly known as a male actress), he was called “Male Baotou”; “Baotou” and “Feet Color” two titles refer to female roles and the other refer to male roles. They are the corresponding two titles in traditional Cantonese opera troupes, and are rarely used now.

Old Guan　　The noun of opera troupe. It refers to an actor who has achieved success in the Cantonese opera troupe and serves as the starring actor. The word “old prostitute” was originally Wu. In the past, the singers and geisha were called “pants”. The so-called “pants” were the so-called “pants”. It refers to singing girls and geishas who have performance experience. In modern language, it is an experienced artist and actor who is profession with stage performance. During the Qianlong period of the Qing Dynasty, Guangzhou became the only Babaylan trading port in the country. Merchants from Jiangsu and Zhejiang gathered in Guangzhou, and thus brought the opera troupe in their hometown. In the 24th year of Qianlong’s reign, a troupe guild organization was established in Guangzhou, called “Jiangliyuan Guild Hall outside Guangdong Province”.Many of them are from the Gusu class in Jiangsu. These opera troupes also brought the word “old peddler” in Wu language. Influenced by it, Guangdong people called Cantonese opera actors “old peddlers”, and to this day, some famous actors are still called “big peddlers”. Zhengyin    The name of the performance post. Other local operas are called “Zhengguan” or “Zhengse”. Among the various performances of the Cantonese opera troupes or troupes, the actors with the most important roles are called Zhengyin, such as Zhengyin Wusheng, Zhengyin Huadan, Zhengyin Xiaowu, Zhengyin Chousheng, etc. Zhengyin was originally an official system in feudal society. Zhengyin means Zhengtang, which is the first in charge of the official office. In the Ming and Qing dynasties, the official seals used by local officials at all levels, from the governors to the prefectures and counties, were square, so they were used to call them official seal officials. The Cantonese opera troupe borrowed this title and became the name of the performance position.

Two-step needle 　 Performance post name. It refers specifically to the secondary actors responsible for the second level in the “six-pillar system” troupe, except for the six pillars (main actors) on the top level. It includes the second martial artist, the second young actor, the second young actor (the second ugly student), the second style (the second civil and military student), the third flower actress (because the six pillars include the regular printed flower actress and the second flower actress, the third flower actress becomes the “two-step needle” and belongs to the secondary actor), and the fourth flower actress (the second flower actress who replaces the pillar in sequence). These actors are responsible for the role of the performances in the nightclub. When the six pillars do not appear, they are responsible for the leading actors of the troupe. “Two Steps” means the second layer, and “needle” is taken from the implicit language habits of the opera troupe. The word “thimble” is split into “needle” and uses “needle” to embody the word “top”, which means that although you are in “two Steps”, you are ready to push it at any time and combine it into “two Steps”. Some actors who play “two-step needles” are also called “three-step needles”.

Top Ten Businesses　　The early Cantonese opera troupes’ performances are collectively known. In the early days, the Cantonese opera troupe divided all roles in the performance into the “Top Ten Professions” by category. That is, the last (including male feet and general life), Jing (2 flower noodles), Sheng (including Zhengsheng and Wusheng), Dan (zhengdan), Chou (including male ugliness and female ugliness), Outer (big flower noodles), Xiao (including Xiaosheng and Xiaowu), Post (including Huadan and Xiaodan), Hu (Lao Dan), Mia (including six points, pulling and other types of corners). The origin of these ten types of careers can be roughly divided into two categories. One is named after the position of an actor, such as Mo, Jing, Chou, and Miscellaneous. In addition, it is named after the identity of the person playing the play, such as Sheng, Dan, Wai, Xiao, Hu, Tie, etc. With the development of Cantonese opera art and the changes in artistic style, this type of performance industry is constantly being integrated or eliminated. After the Tongzhi period of the Qing Dynasty, the arrangement and business names of the top ten major industries changed, and they changed to: Wusheng, Zhengsheng, Xiaosheng, Xiaowu, Zhengdan, Huadan, Gongjiao, Zongsheng, Jing, and Chou. By the end of the Qing Dynasty, the title of performance industry was based on actual needs of the performance.And the order of arrangement has taken a new transformation, becoming: Wusheng, Xiaowu, Huadan, Zhengdan, Zhengsheng, Zhengsheng, Xiaosheng, Gongjiao, collectively referred to the big flower noodles and the two flower noodles, and included male ugly and female ugly in the ugly. In the 1930s, the Cantonese opera troupe developed into a theater troupe, integrating the “Top Ten Businesses” into a “six-column system”. Although the names of many industries in the “Top Ten Businesses” are the same as those in modern Cantonese opera stage practice, their content and meaning are no longer the same. For example, integrate the business of Mo, Jing, Sheng, and Wai into Wusheng, and combine Dan and Huadan.

Last performance. One of the top ten early Cantonese opera industry. There are many explanations for the last. Song Dynasty called Mo Ni, who specializes in playing the role of an old man. “Dream Liang Lu” says: “The last mud in the zaju play is the long.” The last is the abbreviation of the last word; Hu Yinglin said: “The name of the legendary opera is to be reversed but not real, and the beginning of the story is to be destined to be the last word;” Wang Chuanshan believed: “The last word is, the only one, the other word”, pointing out that this is the main character of the Indian Buddhist drama, NAYAKA, Nicong Ni (NI); there is no conclusion in all theories, but the Yuan Za Theater, is born as the last, or the last, and there are distinctions between the last, the second, the last, the last, and the second. Xu Wei’s “Nan Ci Xu” also says: “In Southern Opera, family slaves often use the ultimate role, which is also the meaning of the ancient army and the old man.” The “last” in traditional Cantonese opera includes two types: male feet and general students, and plays an elderly man with different identities in the opera. Its performance function is roughly the same as that of other local opera operas. During the Tongzhi period of the Qing Dynasty, the Cantonese opera troupe readjusted the top ten industries according to the needs of the performance, and the original last-foot profession was divided into two industries: male and general students.

小　　　Performance. One of the top ten early Cantonese opera industry. The origin of the name of Jingjiao is named after the ancient word “Joinjun” and the word “Joinjun” is repronounced. During the Six Dynasties, the Northern Qi Lanling King was beautiful and he had to wear a hideous and terrifying mask to deter the enemy to intimidate the enemy. People at that time wrote the dance song “The Song of the Lanling King Entering the Formation” to praise it. Later generations used “daily face” as the name of this music and dance. The opera Jingjiao plays brave and generous young people on the stage, so they also like the Lanling King to “replace the face”, so they paint their faces to outline the picture to increase the power of the character. Later, many local operas called “flower noodles” “big noodles”, and “big noodles” is the transliteration of “dai noodles”. Jingjiao once occupied a very important position in the traditional Cantonese opera stage. For example, among the traditional plays “Eighteen Great Shows”, “Three Gos to the Southern Tang Dynasty”, “Wulang Saves My Brother”, “Falling Zhong Zheng Selling Martial Arts”, “Gao Wang Entering the Table”, “Beheading the Two Kings”, “Digging the Hole and Swedish” and other plays are all the first plays of Jingjiao. Jingjiao often plays loyal, brave, heroic and rough military generals on the stage, and occasionally there are violent and perverse figures, such as Zhang Fei, Wang Yanzhang, Xiang Yu, etc. But they all must be proficient in the martial arts of the Southern School in order to be able to adapt to the work. Li Yu said in “The Idle Love”: “The extremely rough and vulgar words are always used to write lyrics, but it is best to take the character from the perspective of the character. If you are in a big picture, you are afraid that it is not rough or vulgar.” This shows the performance style of Jingjiao. During the Tongzhi period of the Qing Dynasty, the top ten Cantonese opera industries were adjusted, and the connotation and extension of the foot was to bring out the “outside” that also needed to be opened.The foot is included in the category of net. By the end of the Qing Dynasty and the beginning of the Republic of China, the top ten Cantonese opera industries should reorganize, change the clean to the flower noodles, and then divide the original outer feet into large flower noodles; change the original clean feet to the two flower noodles.

Student　　Performance. One of the top ten early Cantonese opera Babaylan. Except for Yuan Zaju, traditional operas have the profession of “life”. “Sheng” was a general term for scholars in ancient society, such as scholars, students, students, Confucian scholars, and gentlemen. Therefore, traditional opera uses “Sheng” to represent the literati in the opera. Ji Xiaolan of the Qing Dynasty once wrote a couplet for the stage of the Imperial Garden of the Qing Palace. The first couplet says: “Yao and Shunsheng, Tang and Wujing, Five Heroes and Seven Heroes Chou”; he used Yao and Shunsheng as a decoration, which shows that Xuanjiao is a loyal and upright figure on the stage. The “black feet” among the top ten early Cantonese opera industries were specializing in playing decent male characters in the play. Among them, it is divided into Zhengsheng and Wusheng. They both hang “Black Three Locks” or “Black Five Willows” in their performances. Zhengsheng plays middle-aged scholars, such as Liu Xi in the traditional Cantonese opera “Liu Xi’s Son” and Su Wu in “Su Wu Shepherds the Sheep”. Wu Sheng plays a middle-aged martial artsman. For example, Qin Qiong in the traditional Cantonese opera “Qin Qiong Sells Horses” and Yang Liulang in “Beheading the Son at the Gate”. During the Tongzhi period of the Qing Dynasty, the top ten Cantonese opera industries were integrated, and the original footwork was divided into two industries, Zhengsheng and Wusheng, and their respective names and stage performance functions remained basically unchanged.

Dan 　 Performance. One of the top ten early Cantonese opera industry. According to Wang Jingyu’s “Research on the Name of the Drama Characters”: “The beginning of the name of Dan must be the mistake of the word “sister”. Yuan Qingshan pretended to be a young lady or eldest sister, and the poem was slightly signed in the poem, and later it was slightly changed to Dan, which was also called “Titai (Titai) as a divination, and the deputy (Power Jing) as a divination.” This seems to be the origin of the title of Danjiao. Traditional Cantonese opera is called a regular dan, and meets Qingyi of Peking Opera to play an upright, solemn, virtuous and virtuous woman, or a lady from a wealthy family in the play. Such as Sanniang in “Sanniang Gives Children” and Wang Baochuan in “Xue Pinggui”. The traditional Cantonese opera official looks like a big head, a sliver of a sliver, a sliver of a sliver, a white dress; he pays more attention to singing skills and facial performance. In the early Cantonese opera, they used men to play the role of the Danjiao, and they were called male actresses. In fact, they worked as the official actress. During the Tongzhi period of the Qing Dynasty, the top ten Cantonese opera industries were integrated, and Zhengdan still occupied an important position in the Cantonese opera industry. By the end of the Qing Dynasty and the beginning of the Republic of China, they gave way to Huadan and retreated to a secondary position. After the troupe implemented the six-pillar system, the main dan industry was abolished and its performance function was compatible with the Huadan industry. Since the beginning, there has been no title of a professional actress in Cantonese opera. Later, the troupes mostly played supporting roles of middle-aged females in the play. The main role of middle-aged women is still performed by the main actresses of “Qin Xianglian” (Qin Xianglian), “Saving the Mother with the Tomb” (Xie Qiongyao), and “The Pipa” (Zhao Wuniang). Because of frequent artistic exchanges with other local opera operas, Qingyi’s industry title was introduced to replace Zhengdan.

Ugly performance. One of the top ten early Cantonese opera industry. Chou is the name of the role of traditional opera. The name of ugly was first seen in Song Dynasty.According to Xu Wei’s “Nan Ci Xulu” in Yuan Nan Opera, “The surface is covered with toner, and its shape is very ugly. Today, the literature of the Southern Opera is called ugly.” The ugliness of the Southern Opera are similar to those of the Northern Opera, and they usually play secondary roles in the play, mainly making jokes and funny jokes. Peking Opera Chouxing is divided into two categories according to the character’s performance skills: literary Chou and martial Chou. The ugly behavior of Kunqu Opera is divided into two types: clown and vice ugliness based on the character characteristics of loyalty and treacherous, good and evil in the play. Traditional Cantonese opera is divided into male ugly and female ugly according to the gender of the characters in the play. Traditional Cantonese opera troupes have some famous actors who have unique skills and were once famous. They were unable to perform roles in their original career due to their old age or loss of voice, and became clowns in their later years. They had rich professional skills and stage knowledge, old qualifications and high seniority, and everyone was happy to ask them for advice. They were all the masters in the class and were respected by the artists of the opera troupe. In the past, when traditional Cantonese opera troupes performed in the countryside, all actors had to hold a ceremony called opening the pen before putting on makeup on the first night. The ugly man in Zhengyin picked up a brush in the backstage “Domestic Fighting” (traditional makeup box) and dipped it in silver and lead white. On the pillar close to the makeup, he wrote a big word “好” on it. Then write the four words “Open the good news” on the desktop. There is also a point in writing the word “女”, which means leaving a gap in the mouth below the word “女”, which implies that you have to speak, because an actor can only sing the opera. If the mouth is blocked, it will become difficult to speak and the opera cannot be performed. That is a very unlucky thing. During the Red Boat Opera Troupe, the accommodation beds for all the artists were arranged by the executive. However, the class of the chief in the class, the man and Erhuan can be arranged to live in the first cabin without having to take charge. Because according to the ancient tradition of the opera troupe, the second flower face is the white tiger star, which can block evil spirits and bless everyone’s safety, and Chou Sheng is the master of everyone in the opera troupe, so they have this privilege. This shows the important position of Chou Sheng in traditional Cantonese opera troupes. There is a proverb in the opera: “No ugliness can be a play.” Traditional Cantonese opera is a stage performance of ugly people, which is relatively difficult and complicated. There are few large and complete singing segments, fewer stereotyped performance traces and normative program performances. Get used to improvised jokes, requiring actors to be responsive on the stage, be good at dealing with them, pursue lifelike performances, and have live communication with the audience. Traditional Cantonese opera men have a higher status and a heavier role; while female ugly women only play matchmakers, brothels, etc., and have an average position in the opera troupe. By the end of the Qing Dynasty and the beginning of the Republic of China, there were still differences between male ugly and female ugly. After the troupe implemented the six-pillar system, female ugly was abolished and the name was unified as an ugly person.

External performance. One of the top ten early Cantonese opera industry. As early as the Yuan Dynasty opera, there were Wai Mo, Wai Dan, Wai Jing and other professions, which roughly refer to the secondary roles of Wai, Dan, and Jing. Since the Ming and Qing Dynasties, “outside” has gradually become a role for performing elderly men. There are also saying that “outi” often plays the role of “outi” in the play, so it is referred to as “outi”. Other local operas are mostly classified according to this category, and traditional Cantonese opera troupes attribute this category to the “last”. The “outside” among the top ten early Cantonese opera industries was to play villains such as Cao Cao, Dong Zhuo, and Yan Song. The first couplet on the stage of a township in Nanhai County, Guangdong says: “When you start the stage, you will perform a sealed photo, and every play must be done.Kill the outer actor to end, and advise you not to wipe your brother white; “In the past, traditional Cantonese opera troupes went to the countryside to perform, and the original scene of the matinee must be played by the “outside” actor to play the treacherous minister, to murder loyal and good people, and to do everything evil. When the evil officials arrive, they will definitely kill him. As the saying in Guangzhou: “Kill the big flower and have no scenes.” “This can prove that the “outai” role is the later big flower-faced industry. Because “outai” only plays negative roles in the play, every play is a role. During the Tongzhi period of the Qing Dynasty, the top ten Cantonese opera industries were adjusted and merged into the “jing” category. The top ten Cantonese opera industries in the late Qing Dynasty and early Republic of China were integrated again, and the “outai” was called “outai” according to their appearance characteristics.

Xiao　　Performance industry. One of the top ten early Cantonese opera industries. Many local operas with a long history have the title of “small” performance industry, such as the “small” in Sichuan opera refers to the young actors, Xiaodan and clown. The “small” in early Cantonese opera refers to young men in the play. Most of them are positive roles, and they are divided into two categories: Xiaowu and Xiaosheng with different temperament types and performance styles. Type. Xiaowu mostly plays young and middle-aged men who are good at martial arts. According to the performance style of the specific role, it can be divided into robe-armored Xiaowu and short-armored Xiaowu, but Cantonese opera actors have never had clear boundaries. According to the performance style of the region, it can be roughly said that Xiaowu in the “Shang Six Mansions” mostly became famous by robe-armored opera, while Xiaowu in the “Shang Four Mansions” is good at short-armored martial arts skills. Xiaosheng plays both gentle and gentle men, scholars, young masters and other literati and scholars. Because traditional Cantonese opera performs many martial arts scenes, Xiaowu’s status is relatively important in the opera troupe. During the Tongzhi period of the Qing Dynasty, the Cantonese opera troupe carried out a large integration of the traditional ten industries, and divided the original “small” industries into two industries, Xiaowu and Xiaosheng. Since then, there has been no “small” in the Cantonese opera performance industry. href=”https://comicmov.com/”>Cinema title.

Post　　Performance. One of the top ten early Cantonese opera actors. Commonly known as Tadan, it is also called “Zhan” because of omitting strokes. Tadan is a traditional opera character. Xu Wei of the Ming Dynasty explained in “Nan Ci Xulu”: “Beyond Dan, Tadan is also the first”. It refers to the secondary Dan foot in the same drama, and often plays a younger woman than “Dan” (Zhengdan). In conjunction with Cantonese opera, the plays specializes in playing young and beautiful girls. Early Cantonese opera was mainly martial arts scenes, and Dan (Zhengdan)’s status and role in the troupe were more important. Danjiao did not play the opposite role like Pan Jinlian according to convention. Therefore, the protagonists in dramas such as “The Uncle of Jinlian” and “The Rowing Boat” were young women who did not meet the feudal moral standards, so they were played by Tadan. During the Tongzhi period of the Qing Dynasty, the top ten Cantonese opera industries should be reintegrated and replaced Tadan with Flower Dan. Due to the changes in Cantonese opera style, the <a The role of Huadan at the time of Komiks is different from the original performances of the original. For example, the "Silang Talents and Demons", "Digging the Hole and Swedish", "Drawing the Hole and Swedishing the Phoenix" and other dramas in the traditional "Eighteen Books of the Great Popularity", were starring Huadan. The title of "Posted" has never appeared in Cantonese opera since the beginning. The six-pillar system was implemented in Cantonese opera.Later, the third actress actually inherited the traditional acting style and performance functions of the actress. Husband　　Performance. One of the top ten early Cantonese opera industry. According to the book "Research on the Mother-Saving Mother's Mother's Movie Writing" written by Japanese scholar Takeshiro Kurashishi, "Hu" is the abbreviation of the wife, and it is pointed out that in the 14th year of Wanli in the Ming Dynasty (1586), the name "Hu" was used instead of the wife. The early Cantonese opera stage "Hu" was a profession that specialized in playing elderly women, and the roles of women belonged to the "Dan category", so "Hu" was called "Hu". Peking Opera is called "Lao Dan". In the early days, Cantonese opera introduced the top ten Chinese (play) troupes of Huguang to the Cantonese opera troupes, so that the Fudan was set up. However, there were few roles of Fudan in traditional Cantonese opera repertoire. The popular "Eighteen Jianghu" and "Eighteen Big Shows" at that time did not have the first play that Fudan played specifically. During the Tongzhi period of the Qing Dynasty, according to the arrangements of performances and market needs, the top ten Cantonese opera industries made major adjustments, abolishing the establishment of the Fudan industry, and their functions were held by female ugliness. In the late Qing Dynasty and early Republic of China, the top ten Cantonese opera industries were integrated again, and it turned out that the functions of the Fudan industry were changed from Chou Sheng or Wu Sheng to work together. Due to the age of the character, Fudan has little posture on stage performance, and pays more attention to singing and reciting. He uses his real voice to sing flat throats. For example, in the Cantonese opera "Zhao Wuniang is looking for her husband for a thousand miles", and in the "Yang Family Female General", she and other roles.

Miscellaneous Performance. One of the top ten early Cantonese opera industry. It is a general term for various types of actors and secondary supporting roles in Cantonese opera troupes. The title of miscellaneous business evolved from the “miscellaneous costumes” in Song Zaju. Miscellaneous titles were first seen in Southern Opera and Miscellaneous Opera in the Yuan Dynasty. For example, the Southern Opera “The Legend of Pipa” contains a mixed dress of Qionglin’s banquet, and the zaki “The Legend of Bao Shishi” contains a mixed dress of three people, including the people who are a mixed dress of Bao Mi. If an actor in other industries plays miscellaneous feet, it is called “miscellaneous”. For example, the writing in the Yuan Zaju script: “Disguise on the outside” and “Disguise on the pure” and so on. “Miscellaneous Dang” plays an unimportant and unknown character in the play. Some operas with a long history (such as Kun Opera), miscellaneous refers to “a relatively complex family with various mass scene roles and secondary mass supporting roles. The group role refers to more than four people. Men are collectively called “supporters”, including eunuchs, lieutenants, generals, soldiers, yamen runners, followers, servants, minions, gods, demon soldiers, etc. Women are collectively called “palace maids”, including palace maids, singers, dancers, concubines, maids, maids, female soldiers, etc. Playing such group roles is commonly known as “supporters” or “palace maids”. Actors must be familiar with the position, formation of various group stages and master various whole scenes. The same song and placards are sung together. Martial operas also need to have the ability to beat and fall. Mixing also plays a secondary supporting role for the masses, commonly known as “little head” or “fragments”, including the yard, servant, scholar, central army, men, long squad, newspaper, ceremonial, attendant, assistant, assistant, updater, groom, coachman, boatman, sedan, sedan, executioner, umbrella deacon, flag deacon, male forbidden son, female forbidden son, yawoman, wedding girl, maid, concubine, etc. ” (quoted from “Chinese Kun Opera Dictionary” P572 “Miscellaneous” article) In addition to the differences in some specific nouns and titles, traditional Cantonese opera has roughly the same performance functions and content. Traditional Cantonese opera miscellaneous shows include: subordinates, plum blossoms, Wujunhu, Liufen, Madan, Tangdan, and Pudding. They are the most basic and bottom-level part of the troupe’s performance. The main difference from other types of dramas such as Kunqu Opera is that under the general term for miscellaneous Cantonese opera, it is named after the performance industry by category, while Kunqu Opera, etc. are named after the characters in the play (such as “官网”, “官网”, “官网” and so on). In the late Qing Dynasty and early Republic of China, Cantonese opera no longer had the title of miscellaneous acts, but the various performances it contained were included in the troupe’s compilation. After the troupe implemented the six-pillar system, some industries such as Liufen and Madan were abolished. In modern times, subordinates, plum blossoms, lashus, and Wujunhu are still essential business preparations for the troupe. Li Dou of the Qing Dynasty recorded in “Yangzhou Huafanglu”: “Come on a joke is called miscellaneous.” Cantonese opera audiences also call clowns who make jokes in the play “ghost horses (Guangzhou dialect means funny and joking) miscellaneous”. According to Mai Xiaoxia in “A Brief History of Guangdong Drama”, “Miscellaneous means mixed feet, which is the old deputy Jing. Although it is the same as the ‘Erjing’, its style is not in line with each other; Jing belongs to the two flower faces, and it is mostly played with rough and bold people, such as Zhang Fei and Li Kui; Miscellaneous means large flower faces, which are old, treacherous, slim, such as Dong Zhuo and Cao Cao.” It is recorded only to save another statementBabaylan.

Student　　Performance. Among the top ten early Cantonese opera industry, it belongs to the “last” category. If there are many “Black Three” or “Five Strands” to appear, most of them are responsible for the role of a middle-aged emperor in the play. If there are supporting roles of middle-aged emperors in the play, for example, the general student will play, and a complete set of performance standards will be formed, which will become a feature of the general student’s performance. For example, King Hui of Liang of Wei in the traditional classic drama “The Great Feudal Prime Minister of the Six Kingdoms”, and the emperor in the traditional Cantonese opera “Xue Pinggui”, are all played by the general student. Since the 1930s, the troupe implemented the “six-pillar system”, the performance setting of the General Student has been cancelled and has become the third martial artist in the troupe.

Public feet　　Performance. Among the top ten early Cantonese opera industry, it belongs to the “last” category, also known as the “last”. The male feet play the role of an elderly man with a low status in the play, and he often hangs “Three White Snails” or “Five White Willows”, and also hangs “White Man Hu” according to the plot needs. Most of the male feet are responsible for the roles in the plays, such as playing the role of the old servant Xue Bao in the traditional play “Sanniang Teach the Children” and playing the roles of the old neighbor Zhang Guangcai in “Zhao Wuniang’s Thousand Miles to Find Husband”. In long-term stage practice, the male footwork has formed a unique body shape, platform steps and singing style, and refined a whole set of standardized performances in the industry; for example, it is called “public footwork” in singing, and the stage steps are called “public footwork”; the body shape is called “public footwork”. After the troupe implemented the “six-pillar system”, the setting of the performance of the male foot was cancelled, and the stage performance function was performed by other actors in the troupe.

Erhuanian　　Performance. Among the top ten early Cantonese opera industry, it belongs to the “clean” category. clearAt the end of the Republic of China, the top ten Cantonese opera industries should be reorganized and were officially called “Erhuamian”. It is similar to the vague appearance of Peking Opera in terms of industry categories. Traditional Cantonese opera two-flowered faces have unique artistic expression colors and distinctive boundaries; in terms of appearance shaping, red or black faces are outlined, and hang beards and hang beards more often. Most of them play positive characters with rough and straightforward personality; they must be proficient in martial arts. He is more silly in performance but less singing, pays attention to the standard performance program of the profession, and requires a wide range of work to match the rough personality traits of the characters. In the traditional Cantonese opera “Eighteen Great Shows”, many dramas, such as “Gao Wang Entering the Table”, “Killing the Two Kings”, “Li Zhong Selling Wu”, etc., are played by Erhuamian, and are called Erhuamian’s first drama. These southern martial arts operas require actors to be familiar with the southern martial arts skills before they can perform. Therefore, Erhua, a traditional Cantonese opera, must be able to perform skillfully on the stage in the face of southern martial arts such as “hand bridge”, “playing with belly”, and “fighting the real army”. The most famous Erhuan in the history of Cantonese opera is Li Wenmao, who rebelled and rebelled during the Xianfeng period of the Qing Dynasty. The “Wang Yanzhang Ferry” starring him was praised by people at that time. With the emergence of the “Six-Pillar System”, the setting of the performance of Erhuamian was cancelled in the troupe, and its function was replaced by the Second Martial Arts.

Six points　　Showing. Among the top ten early Cantonese opera industry, it belongs to the “miscellaneous” category. “Six points” need to be played in traditional Cantonese opera performances, and they specialize in playing roles such as generals, kings of fiction, and robbers who are good at martial arts. They are mostly villains in the play. Traditional Cantonese opera is mostly martial arts, and “six points” is an indispensable performance. The origin of the title of “Six Fen” in the industry is that the colored parts of the face of the industry account for 600% of the actor’s entire face, which mainly refers to the fact that the lower half of the actor’s face is not painted, indicating that it is different from the net angle (two flower faces) that are both open. Another saying is that “six points” outlines the composition shape of the facebook, which is similar to the six Chinese characters, hence the name. In the traditional Cantonese opera troupe, “Liufen” is the deputy of Erhuamian, playing roles such as the King of Fans in “The Yang Family General”, the monk Hua in the traditional Cantonese opera “Shandong Xiangma”, and the general of Fans in “Jiao Guangpu Selling Wine”. When Erhuami cannot perform on stage for some reason, the “six points” requires a top-notch performance. Therefore, an actor who serves as a “six points” must have excellent Southern martial arts skills. In traditional Cantonese opera troupes, the “six points” that are specifically responsible for martial arts performances is called “six points”. In fact, it combines the functions of the two performances of Peking Opera “Wu Hua Face” and “Battle Hua Face”. After the troupe implemented the six-pillar system, the title and position of the “six points” industry were cancelled, and its performance functions were to serve as other industries such as pulling and Wujun Tiger.

Zhengsheng　　Performance. Among the top ten early Cantonese opera industry, it belongs to the “life” category. Zhengsheng is originally a traditional opera character. According to Wang Jide’s “Qulu” in the Ming Dynasty, there are Zhengsheng and Yisheng (original note: “or Xiaosheng”). Here, compared with Yisheng and Yisheng, it can be seen that Yisheng should be the old student. In the Qing Dynasty, Li Dou’s “Yangzhou Huafanglu” records, there are old people, and the first one is not a young person, so the first one is like a young person. In “The Send to Leisurely Love”, Li Yu said: “I am the leader of a book, and I am all guests.” Right nowIt is the main character of the legend, so it is named “六”. The role played by the early Zhengsheng is not limited by age. Later, the division of labor in the opera performance industry became more and more detailed, and the old student was independent of the branch in terms of age; and the role status of the young actor became more and more important on the stage, so the phenomenon of the old student being mixed with the Zhengsheng, and the Zhengsheng being mixed with the young student being mixed with the young student. The traditional Cantonese opera Zhengsheng has always been a “life”. Most of the middle-aged scholars or officials who are knowledgeable about books and rituals, and are all upright characters in the play, such as the Jade Emperor in the traditional play “The Jade Emperor climbs the palace”, Lu Dongbin in the traditional play “The Great Birthday of Xianghua Mountain”, and Liu Bei in the traditional play “The Great Birthday of Xianghua Mountain”, and Liu Bei in the “Crossing the River to Recruit the Marriage”. Because traditional Cantonese operas are mostly martial arts scenes, the role of the Zhengsheng (starring martial arts dramas) is relatively less than that of the martial arts (starring martial arts dramas) who belong to the same “sheng” show, and his status in the opera troupe is also relatively low. There is no first play that Zhengsheng plays in the traditional Cantonese opera “Eighteen Great Shows”. During the Tongzhi period of the Qing Dynasty, the top ten Cantonese opera industries were adjusted, and the original “shen” industry was subdivided into two independent industries, namely Wusheng and Zhengsheng. In the late Qing Dynasty and early Republic of China, Zhengsheng was still one of the top ten Cantonese opera actors, but his status was already ranked after Zhengdan. After the troupe implemented the six-pillar system, the role and performance functions of Zhengsheng’s career were transferred from the second and third martial artists to serve. From the beginning, the troupe had no Zhengsheng’s career settings.

Wusheng　　Performance. Among the top ten early Cantonese opera industry, it belongs to the “life category”. On the stage, they specialize in playing middle-aged and elderly men who can do martial arts or become military officers. Depending on the age and identity of the character, black and white “three-tooth strands” or “full-hu” are hung respectively. During the Tongzhi period of the Qing Dynasty, the top ten Cantonese opera industries made major adjustments, and martial artists jumped to the top of the top ten, commonly known as “Babaylan”, and their stage performance functions did not change. In the late Qing Dynasty and the early Republic of China, according to the practice of opera troupes, martial artists still had the first sign. Until the troupe implemented the six-pillar system, the martial artist was compatible with some performance functions of Zhengsheng, Dahuanian, Erhuanian, and Fudan. With the change of Cantonese opera style, martial artists have become an indispensable and subordinate position in contemporary theater troupes. In addition to being familiar with the martial arts of the Southern School and the “knocking” kung fu, traditional Cantonese opera martial artists must also understand the numerous performances and solid singing skills. In the traditional play “Eighteen Great Shows”, “Silang Talking to the Mother” and “Liu Lang’s Sin” are both the first plays by martial artists. Since the late Qing Dynasty, all actors who serve as martial artists in the Zhengyin will play Gongsun Yan in the traditional play “The Great Celebration of the Six Kingdoms” and perform their unique “car ride” skills (see the “car ride” statement for details), which is a test of martial artists’ performance skills. Kuang Xinhua and Liang Cibo were both representative figures in the martial arts profession at that time.

Xusheng　　Performance. Among the top ten early Cantonese opera industry, there was no need to be a student. This title was introduced from Peking Opera, also known as “Lao Sheng”. Playing middle-aged and elderly men on the stage, most of them are positive characters in the play and beards. The Cantonese Opera Industry is explained literally. All elderly people who hang beards on the stage are called beards or old children. After the troupe implemented the six-pillar system, the setting of Zhengsheng’s career was cancelled. The martial artists in Cantonese opera usually only play middle-aged and elderly men who know martial arts skills. Then the middle-aged and elderly men who know martial arts skills in literary dramas will be left to Xusheng (or Laosheng) to play it. It actually integrates the performance functions of the top ten early Cantonese opera industry such as Zhengsheng, Gongjiao, and General Student. From this we can see that the meaning of the Cantonese opera Xusheng (Laosheng) business is very different from that of Peking Opera Xusheng. Xusheng is in a contemporary Cantonese opera troupe and is in a role of coordinating roles, such as Qiao Guolao who plays “Zhao Zilong’s Battle” and the Eight Wise Kings in “Mu Guiying’s Great Break of the Sky Gate Formation”.

Zhengdan　　Performance. The “dan” among the top ten traditional Cantonese opera industries during the Yongzheng period of the Qing Dynasty refers to “zhengdan”. “Zhengdan” is the role of the decent heroine in the play, compared to “Zhengsheng” in the life. According to the character settings of the plays performed at that time, most of them were mature, steady and dignified women, and their performances were mainly based on singing and reciting, and they were the number one heroine in the Cantonese opera troupe at that time. By the Tongzhi period, the style of Cantonese opera performance changed gradually. According to the needs of the performance, the troupe adjusted the top ten performance industries, and the Huadan industry appeared, specializing in Babaylan played the role of a young and beautiful woman in the middle-aged play, and the main actress turned to middle-aged women. By the late Qing Dynasty and the early Republic of China, both the role and the position in the opera troupe gave way to the flower dynasty and became a secondary supporting role. In the 1930s, the Cantonese opera troupe developed into a theater troupe, and many performance businesses merged and abandoned the title and setting of the Zhengdan industry.

Qingyi　　Performance. Qingyi’s career title was introduced from Peking Opera. Although the Cantonese opera performance industry has been integrated many times in history, there is only Qingyi’s career title, and there is no Qingyi’s career setting, and most of its career performance functions are shared by Huadan. Qingyi is similar to the traditional Cantonese opera; she usually plays a middle-aged and young woman, mostly a good wife and a chaste woman. In the performance, the main singing is the same, the movements are relatively calm and the manners are steady; but there are also occasional skills such as emitting and sand storing. Such as Wang Baochuan in “Pinggui’s Farewell Kiln” and Wang Chun’e in “Sanniang’s Children”. Because such characters often wear simple black clothes (花文) on the stage, black was called blue in ancient times, so the troupe named this business as Qingyi.

The performance of the petite profession. The title of “The Boy” in the business of the Boy is introduced by Peking Opera, but there is no such business in traditional Cantonese opera, and its stage performance function is held by the Zhengdan Opera. After the troupe implemented the “six-pillar system”, most of the regular printed actresses were responsible for the role of unmarried girls who were knowledgeable and knowledgeable, such as officials and wealthy daughters, and they were usually the heroines of the positive characters in the play. Such as Wang Baochuan in “Three-Five” and “Peony Pavilion”》Du Liniang and others. Most of their personalities are gentle, virtuous, intelligent and beautiful, with elegant and soothing performances, generous and decent movements, and follow the feudal women’s norms of “not showing off their feet and not showing off their teeth” to highlight their prominent family background and upbringing. It is a category of Huadan business, but the functions and performance characteristics it covers are slightly different from Peking Opera and Cantonese opera; Peking Opera’s boudoir work is re-worked, and Cantonese opera focuses on singing; Peking Opera’s boudoir mostly plays innocent and lively jass, while Cantonese opera is mostly steady and mature ladies; Peking Opera’s boudoir is an unmarried girl, while Cantonese opera also plays a young woman. In ancient times, a girl’s bedroom was called a boudoir, and a talented woman was called a lady, while the door of the boudoir was called a boudoir door, so it was called a boudoir door.

Net Scarf 　 Performance. The opera industry is abbreviated as “bian”. “Net Scarf” originally refers to the male ugly man in the early Cantonese opera troupe. Later, with the continuous integration and evolution of the performance industry, it became synonymous with the ugly life. During the Qing Dynasty, men had long braids. Actors had to comb their hair on their heads and then wrapped them with net towels before they started to put on makeup. At that time, as a clown in the Cantonese opera industry, they were simple and casual in makeup. They didn’t need to wrap their hair with net towels. They just slid their braids on their heads. They used their own braids instead of net towels. Therefore, the ugly business was called “net towel braids”. The Guangzhou dialect and the two characters “Bianbian” are homophones. The opera artists are accustomed to using simplicity to replace traditional Chinese, which is called “Bianbianbian” and are still used to this day. Like other local operas, Peking Opera is divided into different types of clowns according to their skills: literary and military chou, old and big chou. However, traditional Cantonese opera is marked by the different costume styles worn by men on the stage, and divides them into black robe opera, sea green robe opera, blue cloth long robe opera, and bad robe opera, four categories of ugly students with different identities and styles. Only by being able to act in these four different dramas can one be called an all-round ugly actor. There are very few ugly people who can be called versatile in history, but there are many people who can master one or two of them. In the late Qing Dynasty and early Republic of China, he was good at performing the role of black-robed drama (the style is similar to that of Peking Opera, such as the role of Chou Dou Pimei, who is famous for playing Li Ruoshui in “The Twelve Gold Medals of Calling Yue Fei”. He is very good at singing and his performance is known for his implicit humor. His first play was “Stealing and Profile” written by screenwriter Liang Yuansan. Another ugly skinned xiu Su won by acting in Haiqing Opera (similar to the ugly shoe leather of Peking Opera). He played Ling Guixing in “Liang Tianlai complained about the imperial examination”, focusing on portraying the arrogant and domineering character of the character, and singing mostly in nasal sound, which is quite charming. The famous ugly snake was a sage in Zhuhuanian class. He was originally a scholar who was not a brother, and his best skills were to play the role of a teacher in the school or astrology. He wore a blue cloth gown, looking like a corrupt scholar who had a good read. His blue cloth long gown drama (probably similar to the square scarf in Peking Opera) was the best. His first play is based on “Qiao Niang’s Love Hate” (played by Tian Yanzai) from the Chinese Studio. In the later stage of the Chinese New Year class, the ugly man in the squad, the ugly man in the snake was a slut (similar to the squad in Peking Opera), wearing tattered clothes on the stage to play poor families such as beggars. He performsHe is humorous and often “burns” on the spot (that is, he does not follow the script and improvises lyrics and music) and is good at communicating with the audience, which makes people laugh. The first play is “Fear of Wife” (playing Yang Wanshi) and is deeply welcomed by the lower class of audiences in society. After the troupe implemented the six-pillar system, the performance style of the Chousheng gradually developed towards the personalization of the actors, while the above-mentioned genre characteristics continued to weaken. In many cases, it was necessary to play the role of the female role and also play the performance function of the female ugly actors.

Wu Chou 　 Performance. Peking Opera is commonly known as “open mouth jump”. Among the top ten performances of Cantonese opera in the early days, there were only eighty men and eighty women, but no categories of eighty martial arts and eighty literary works. By the 1950s, the exchanges between Cantonese opera and other local opera types increased. With the transplant of a number of Peking Opera short plays (such as Cinema‘s Sanchakou, “Blocking the Horse”, etc.) to the Cantonese opera stage, Wu Chou was introduced from Peking Opera and became a branch of Cantonese opera cum show. Wu Chou is a man who is proficient in martial arts and has a humorous personality in the play. Stage performance focuses on posture, fighting and pick-up, such as Liu Lihua in “Sanchakou” and Jiao Guangpu in “Stop the Horse”. Due to the performance style of the opera, until now, only actors from other performing actors also perform martial arts dramas, and few actors specialize in martial arts.

告小小小小　　Showing. The title of this business was introduced by Peking Opera. Peking Opera was originally called Wank Dan, but in the Guangzhou dialect, the two words “官” and “官” are similar in pronunciations. The Cantonese opera troupe has always been named after Wank Dan. In fact, the title and pronunciation of Peking Opera and Wank Dan in Cantonese opera are similar, but the functions of their careers are different: the joke Dan in Peking Opera mainly plays the role of a folk young woman corresponding to the boy; while the joke Dan in Cantonese opera specializes in playing the role of a villain female role such as a matchmaker and a brothel. There are ugly businesses in the top ten traditional Cantonese opera industry, including male ugly and female ugly. Later, through the integration of performance industry, male ugly and female ugly, the performance function of female ugly, and is collectively called ChoushengKomiks. But in practice, many times, the Chousheng cannot take into account the original function of the female ugliness, so he set up the stubborn dan. The Cantonese opera troupe interprets the word “Chousheng” as naughty and laughter, and renames the traditional female ugliness to be “Cinema”. Their performance functions are exactly the same. The difference is that the female ugliness is the responsibility of the male actors, while the stubborn dan is the subject of the actresses. Wanxiaodan fully uses extremely exaggerated techniques in makeup, usually with a squid, a lynx mouth, and a ring-shaped red rouge on both cheeks. This is the distinctive feature of this business. Because the shape of the squid is similar to that of bamboo shoots, there are also people in the opera industry who call this business by “bamboo shoot bun”. In addition, because Xiao Xiaodan will also work on some characters of the carving book and the girl type, these characters are combed in two-inch buns, so they are also called “two-inch””. Wuxiaodan mainly performs funny and humorous performances, and is good at performing with exaggerated expressions and deformed body shapes. When singing, they often use relaxed and jumping melody and unique pulling to achieve a funny and funny stage effect. After the troupe implemented the six-pillar system, Wuxiaodan’s business setting was cancelled, and its functions were all under the responsibility of Chousheng. Because Wuxiaodan generally has no heavy role in the play, but is also an indispensable supporting role and leisure role, there will also be actors such as the Third Chousheng or “pull”. Later, the troupe introduced Caidan’s business title from Peking Opera, and Caidan replaced Wanxiaodan.

Caidan　　Performance. Traditional Cantonese opera does not have Cai Dan’s title was originally a female ugliness, and belonged to the “ugliness” category among the top ten traditional Cantonese opera performing industries. Later, in the process of the integration and development of the Cantonese opera performance industry, it was replaced by the original male ugliness. Through continuous communication with other types of dramas, Cai Dan introduced the title of Cai Dan from Peking Opera and was replaced by actresses. Cai Dan played villains in traditional dramas, such as Li Ma, the maid of “Embroidered Ru” and Aunt Jiu of “Phoenix Jade Pendant”. In the newly created and transplanted dramas, the drama characters tend to have a diverse personality, and they also played cheerful, funny and funny positive characters, such as Twelve Niang in “Three Takes Off the Top Robe” and Liu Ma, who is in “Picking Jade Bracelet”. Performance It has a farce, particularly exaggerated performance, and large-scale performance movements, closely combining the naturalism in real life with the procedural performance of the opera stage, and applying heavy colors on makeup, ugliness is beautiful, so it is called Caidan. In Cantonese opera performance, Caidan mostly plays supporting roles or irrelevant leisure roles.

Big Flower Side　　Performance. Among the top ten Cantonese opera industries in the early days, it belongs to the “outside” category, also known as “outside feet”. In the late Qing Dynasty and early Republic of China, the top ten Cantonese opera industries were re-integrated before they were officially called “big Flower Side”. In terms of performance style classification, it is similar to the “copper hammer flower Side” of Peking Opera. Because this industry expresses the needs of specific dramatic characters, the actors have to outline the picture score, so It is called “Huamen”, but in order to distinguish the two Huamen, which focus on showing loyal and brave generals, it is called “Big Flower Noodles”. “Big Flower Noodles” is a villain with prominent identities in the play. It has many white noodles and is full of beards. Most of them are responsible for the role of the play. For example, in the traditional Cantonese opera “Fengyi Pavilion”, and plays villains such as Cao Cao in “Huarong Road”. When singing the traditional Cantonese opera, the voice is quite distinctive, the range is wide and the penetration is strong. It is commonly known as “Iron Sound” in the industry, which is rare now. After the troupe implemented the “six-pillar system”, the performance of the Dahuamen has been cancelled. During the performance, it will be replaced by Zhengyin martial artists or the second martial artists according to the needs of the plot. Xiaosheng Performance. Among the top ten traditional Cantonese opera industry, it belongs to the “small” category. Young male characters such as Brother Geer who plays a great family on the stage (such as Jia Baoyu in “Dream of Red Mansions”, a suave literati (such as Zhang Sheng in “The West Chamber”, an upright and pedantic scholar (such as Jiang Shilong in “The Moon Worship”, and Luo Tuo Han Ru (such as Lu Mengzheng in “The Snow Discussion”) who is not well received in traditional Cantonese opera performances, and there is no role in theLike Peking Opera, the Xiaosheng business is divided into various branches such as Kuangsheng, Guansheng, Fansheng, Lingzisheng, Wu Xiaosheng, etc. according to the performance skills required by the character. The appearance of the Cantonese opera actor requires a clean face; he specializes in literary opera, pays special attention to duet skills; his body movements are elegant and graceful. Early Cantonese opera singers also sang in fake voices like Peking Opera, while sang in fake voices while sang in real voices. By the 1920s, Cantonese opera singers began to switch to sing in real voices and flat throats, triggering a series of changes in Cantonese opera in singing style, singing skills, accompaniment, instrumental music, etc. For different types of young actors, different stage performance skills and expression methods are required; such as fan skills, water sleeve skills, (game hat) wing skills, and feather skills. In the late Qing Dynasty and early Republic of China, with the changes in the plays and acting styles of Cantonese opera, young actors, like Huadan, once occupied an important position in the Cantonese opera stage. In the 1930s, the troupe implemented the “six-pillar system”, and the young actors were also one of the “six-pillars”, but its stage performance function is no longer the original strict sense of the young actors. In the play, it is no longer a role such as young scholars who are specialized in literary scenes. It has become a responsibility position, and its function is similar to that of the civil and military students. It is specifically responsible for the younger second male protagonist in the play who does not need to be slapped or opened faces. When the troupe’s awareness of the industry was reduced to the maximum extent, Cantonese opera singers were only left with the name of the industry, and without the establishment of the industry, their special performance skills were gradually weakening.

Official Sheng　　Performance. This business is introduced by Peking Opera, and it is also called “Guansheng” or “Shenghaosheng”. Although the names of the official students of Cantonese opera are the same as those of Peking Opera, the functions of the profession are slightly different: Peking Opera officials are mostly people with higher social status such as emperors and officials, similar to the general career of traditional Cantonese opera; Cantonese opera officials are a branch of the young actors, specializing in playing ancient civil officials wearing veil hats (including black veil hats, veil hats and flower veil hats) and wearing round-necked python robes. The drama environment they performed was mostly in yamen and courts, and the plot was about interrogating prisoners. The Cantonese opera troupe called this type of joke “big audition opera” or “official opera”. During the performance, the official actors are required to sing with cheerful singing, strong and powerful mouths, and clear rhythms to reflect the official power. In the performance, you should pay attention to the coordination with the drums and drums, and master the intimacy and beauty of the sport, which is different from the ordinary young actors’ elegant and suave performance style. It is especially necessary to use performance programs such as “opening the hall” and “water waves” skillfully. When you encounter hesitation or conflicts are difficult to resolve, you will also use the special skills of “playing (game hat) wings” to perform. In Cantonese opera, there are always titles but no business settings. Because the characters performed by the official are generally the protagonists in the play, after the troupe implemented the “six-pillar system”, most of the official operas were led by civil and military students.

Xiao Wu　　Performance. Among the top ten traditional Cantonese opera industry, it belongs to the “small” category. Peking Opera is called Martial Arts. Cantonese opera Xiaowu is in the playHe plays a young man with a handsome appearance, proficient martial arts and majestic character; such as the general who can fight (Zhang Zhong in “The Two Kings”); the warrior who is as ill as a vengeful warrior (Wu Song in “Wu Song Kills Sister-in-law); the young master who has been practicing martial arts since he was young (Xue Jiao in “The Lion Watching Pictures”); the commander of civil and military talents (Zhou Yu in “The Three Qi Zhou Yu”) and other characters. From the makeup and style of the character to the performance style, traditional Cantonese opera Xiaowu can be divided into two categories: Xiaowu, robe and armor, and Xiaowu, short-dressing. Traditional Cantonese opera calls the Dakuai (Beijing Opera called Dakuai) the big armor, and the young character wearing Dajia is played by Xiaowu, a robe and armor. They sport high boots, hold long weapons such as big swords, guns, etc., and fight against their opponents. For example, Li Cunxiao in “Wang Yanzhang’s Ferry” is such a business. A knight who dresses up in short clothes, often fights with bare hands, or holds short weapons such as swords, such as Zhao Yingqiang in “Xihehui”, is called short-striking martial arts. Xiao Wu’s career occupied a more important position in early Cantonese opera performances. Among the traditional “Eighteen Books of the River and Lake”, Xiao Wu starred in six; among the later “Eighteen Books of the Great Show”, Xiao Wu also had six first plays. In traditional Cantonese opera, Xiaowu must understand martial arts. He must master the martial arts skills such as “hand bridge”, “shuoshi, shovel chair”, and handles, various performance combinations such as “jumping big frames” and “star frames”, as well as special performances related to the Xiaowu industry, and use them proficiently in the play. The traditional Cantonese opera Xiaowu sang in the studio with a real voice, mainly in “dominant” and “left-handedness”, and used “gongs and drums, white mouths,” “hero white”, “mouth white”, and “mouth drums” with strong rhythms and strong verbalness to increase the heroic momentum of the character. If the performance style is divided according to the performance area, generally speaking, the “Second Four Houses” and Guangxi area attach more importance to short-term fighting scenes; while the “Second Six Houses” perform more robe and armor dramas. After the troupe implemented the six-pillar system, the functions of the Xiaowu industry were annexed by the civil and military students. In the past, Xiaowu’s plays were led by the civil and military students, and the second and third Xiaowu’s plays were led by the “two styles” and “three styles” of the troupe (referring to the second and third civil and military students). There is no longer a setting for Xiaowu’s industry in the troupe, and the title of Xiaowu’s industry has gradually been faded. Due to the change in the style of Cantonese opera performance, the traditional Cantonese opera Xiaowu industry, Xiaowu’s first play, and its performance style have basically been lost.

Xiao Wu, a robe and armor, performing. It belongs to a type of Xiaowu industry. Compared with short-term Xiaowu, it is named after wearing a big robe and a big robe (traditional Cantonese opera calls “big robe” the big robe). Peking Opera is said to be a martial artist. Traditional Cantonese opera Xiaowu generally performs two different styles of Xiaowu opera, namely robe and armor opera and short fighting opera, so there is no need to separate the two into separate business settings in the troupe. When Xiao Wu was performing a martial arts scene, he wore big buttons, high boots, and held a long spear, a big knife and other long handles; he played the lead role in fighting or fighting. When performing literary scenes, you wear a big robe (a robe), commonly known as a big robe. They need to be familiar with various martial arts routines (such as “fighting four stars”, “fighting two stars”, etc.); master allThe traditional performances of the martial arts arena (such as “killing the three coaches” and “battle”), and are familiar with performance combinations with industry characteristics (such as “jumping the big frame” and “weituo frame”); and one or two stunt performances (such as “fighting the real army” and “don’t vomit real blood” and so on) to attract audiences. In the early days, Cantonese opera was mainly martial arts, so Xiaowu, the robe-armored Xiaoji, had a heavy role in the performance and had a higher status in the opera troupe. Later, with the change of the style of Cantonese opera performance, Xiaowu’s career (especially Xiaoji, the robe-armored Xiaoji) developed a “martial arts and literary” performance style, which was to turn Xiaowu’s martial arts scenes into literary scenes. The role of Xiaowu, who is the leader, has not changed, the content of the drama, the costumes, and the costumes of the characters, but in the performance, the main focus is on martial arts and body performance, the main focus is on singing and making moves, and the martial arts arena has become embellishments. The “domineering” and “left-handed” singing styles were changed to flat-throated singing, laying the foundation for the civil and military students who gradually transitioned to the six-pillar system. After the troupe implemented the six-pillar system, the civil and military students replaced the roles they originally held in Xiaowu’s business, but most of them only performed literary operas or “martial arts and literary operas”, and basically no longer had the traditional meaning of Xiaowu’s martial arts.

Pen-paste style (no color, no rest) Performance. This is the common name of the traditional Cantonese opera troupe for short-term martial arts. It is compared with the small martial arts robe and armor. Peking Opera is called short-term martial arts practitioner. The young people who are mainly responsible for martial arts in the play are generally positive heroes who are as ill as enemies and help the weak. They wear short clothes such as Beijing clothes, hunting clothes, clothes, horses, etc., and shoes or boots. When fighting, they often use bare hands to fight, or short weapons such as swords and swords. In traditional plays, the more representative characters are such as Wu Song in “Wu Song Kills Sister-in-law” and Zhao Yingqiang in “Xihehui”. Regarding the origin of the name “Bitaishi”, the Cantonese opera troupe has different explanations: one said that “Bitaishi” is the official title of a low-level civil servant in the Qing Dynasty, and the opera troupe used this official title as a synonym for similar role performances. Second, this name should be a mistake of “not sticking to color”; in the past, traditional Cantonese opera short-term Xiaowu did not focus on makeup, and before the performance, only apply thin powder on the face without rouge and oil paint; when the performance is performed, when the characters in the play are excited, use the traditional “face-changing” technique to use qigong to turn the face red instantly, turn black in an instant, and then turn white again; so when putting on makeup, it is “not sticking to color”, which describes the performance characteristics of the short-term Xiaowu industry. The third saying is “no rest”; the traditional Cantonese opera troupe’s small martial arts, especially short-term martial arts, performs martial arts, mostly mainly martial arts and performances. They work harder than other performing actors and have fewer opportunities to rest in the theater, so it is called “no rest”. Three terms are called “pen-on style”, “not color”, and “not rest”. The pronunciation is similar in Guangzhou dialect, and people in the opera troupe are often confused with each other. They are all common names for traditional Cantonese opera short-striking martial arts. The above statements have their own opinions, but there is no conclusion yet.

Hua Dan　　Performance. There are no titles and settings for the top ten traditional Cantonese opera industry. With the development of Cantonese opera performance art and the variation of the acting style, during the Tongzhi period of the Qing Dynasty, the Cantonese opera performance industry underwent a major integration, and it was derived from the “Tit” (Dan) among the original ten major industries.The Huadan business was born, and the Zhengdan business was gradually replaced by the late Qing Dynasty and the early Republic of China. Peking Opera and other types of opera also have flower actresses, but the performance functions of Cantonese opera actresses are different from theirs. Peking Opera actresses focus on showing innocent and lively, or bold and slutty young women, such as Yan Xijiao in “Oulongyuan” and Jin Yunu in “Babaylan” and Jin Yunu in “Babaylan”. They are actually similar to traditional Cantonese opera posts (dan). From the iconic requirements of traditional Cantonese opera for flower actresses: the four techniques referred to by “Four Flowers and Children in Four” we can see that the Cantonese opera actresses have vaguely weakened the special functions of the industry to the greatest extent. One of the “four gangs” is “streaking”, which requires martial arts performances and body performances (such as “Thirteen Sisters Make a Stirring Story”); the second is “emantic”, which is originally the special skill of the Zhengdan (Qingyi) (such as “Xihehui”); the third is “wearing armor”, which is the acting of a robe and armor in a big button, which belongs to the category of fighting martial arts; (such as “Liu Jinding Killing the Four Gates”); the fourth is “girls”, which requires you to know how to act in a small gang (such as “Mugua Down the Mountain”), so that you become a generalist who can play any kind of scene. Cantonese opera actresses were originally like Peking Opera, wearing short clothes, long trousers or skirts, playing the role of young and beautiful women in the play, focusing on white and hard work; the characters are generally lively and innocent in character, and are light-hearted in their behavior. Later, with the change of the style of Cantonese opera performance, the role played by Huadan increased in the play, and his status in the opera troupe became more and more important, and gradually turned to singing, and the clothing, makeup, etc. also changed like Peking Opera. By the 1920s, the business functions of Cantonese opera Huadan had already covered the performances of the entire Cantonese opera stage, except for the Fudan (Laodan). After the troupe implemented the “six-pillar system”, the regular film actress served as the first heroine in the troupe’s performance, and the second actress was the second heroine. In this way, the actresses not only had the unexpected performance, but also were a stage responsibility position. Flower shirt  　Showing business. It is also known as “Yandan” in the industry. It is one of the Danjiao business and a branch of Huadan. He mainly plays some young women with beautiful and beautiful appearances. They have an open personality, unruly behavior, and despise the moral norms of women in feudal society. They often take the initiative to tease men in the play, and most of the roles they play are villains, such as Pan Jinlian in “The Uncle of Jinlian” and Yan Xijiao in “Sitting on the Tower and Killing Xi”. The performance is mainly about posture and work, but most of them play supporting roles in the play and only exists as a foil for the regular print actress or the regular actress. There is no title of fancy shirt among the top ten traditional Cantonese opera industries, and there is no setting for this industry afterwards. During the Tongzhi period of the Qing Dynasty, the Cantonese opera performance industry was greatly integrated and the Huadan industry appeared. In addition to replacing the original function of the Lai (Dan) industry, all young and beautiful characters in the play were classified into the category of the Huadan industry. With the change of Cantonese opera style, the position of Huadan in the late Qing Dynasty and early Republic of China gradually surpassed that of Zhengdan, but Zhengyin Dan and Zhengdan followed the old practice of the opera troupe, never played the role of villains in the play, so they met the villain who was indispensable in the play.The role is the third actress in the troupe. For example, Daji in “The Five Passes of Huang Feihu”, Jia Fei in “Salvation of the Tomb and Save Mother”, and Xianxian in “The Boat Rooster”. In the 1920s, the main filming actress of the Life Insurance New Year opera troupe was Qianliju, the second actress was Chang’eying, and the third actress was Sao Yunlan. Qianliju wanted to support Sao Yunlan, but with Sao’s artistic ability, he was never able to be promoted to the second actress. According to Sao Yunlan’s acting style in the class, she often performed styles, so she created another hall on the play list, called “Yan Dan”. In the future, other actors from the opera troupe followed suit and called themselves “Yandan” on the program list. The title of Huashan is introduced from Peking Opera, but the specific meaning of Cantonese opera “Huashan” and Peking Opera Flower Sweater are different: Peking Opera Flower Sweater industry means both Huadan and Qingyi, and they take one word in each of the two industries, so they are named Huashan; while the Cantonese opera troupe is named because the costumes worn by the characters are mostly fancy and gorgeous. For a long time, the Cantonese opera troupe has the title of Huashan (Yandan), but there is no such establishment. After the troupe established the “six-pillar system”, such roles were played by the third actress.

Xiaodan　　Performance. Xiaodan plays more innocent and lively girls on the stage. There were no titles and settings for Xiaodan industry among the top ten Cantonese opera industries in the early days. The Cantonese opera troupe called Xiaodan opera a girl opera according to the Guangzhou dialect. The girl plays are usually performed by the Tadan. During the Tongzhi period of the Qing Dynasty, Huadan officially entered the top ten Cantonese opera industry. At that time, the four skills that must be mastered must be proficient in the printed actresses, namely, stepping on the stilts, robe and armor play (wearing big buttons), and girl play. (See the “Four Deans of Flowers and Four Gates” for details) Among them, the girl plays should be done by the Xiaodan profession. Therefore, although traditional Cantonese opera does not have Xiaodan profession, there are Xiaodan operas, and the stage performance function is undertaken by the Huadan. After the Cantonese opera implemented the “six-pillar system”, the main and second-bian actresses were one of the six-pillars. Except for the plays that mainly play matchmakers like “The West Chamber”, they were unwilling to play the supporting role of “Girls”, and most of the girls’ dramas were replaced by the third-bian actresses. The title of Xiaodan in the industry was introduced by Peking Opera, but the Xiaodan in traditional Peking Opera is Taedan, mainly playing supporting roles in the play, such as playing Cui Yingying in “The Matchmaker”. Therefore, although it is the same as the “Xiao Dan” name in Cantonese opera, the content of the industry is actually different. There are Xiaodan operas in Cantonese operas, but there is no formal professional setting for Xiaodan. The stage performance function is held by Huadan according to the plot needs. The Xiaodan industry focuses on body shape and facial expression performance. Luosannu who dances with Luosan in the traditional Cantonese opera “The Great Seal of the Six Kingdoms”, Mu Gua in the traditional Cantonese opera “Mu Guiying’s Great Defeat of the Heavenly Gate Formation”, and Sun Yujiao in “Picking Jade Bracelet”, are all roles that Xiaodan industry perform.

Da Wudan　　Performance. The top ten Cantonese opera industry in the early days did not have the setting of the Wudan industry, and her stage performance function was also held by Tidan. Dawu Dan mainly plays a young woman who knows martial arts skills, and focuses on martial arts and figure in her performance. During the Tongzhi period of the Qing Dynasty, the top ten Cantonese opera industries were reintegrated, and the Huadan was officially included in the top ten, and the printed actresses were required to master the stage performance skills of “four-door” such as stilt walking, essays, girls’ operas, and robe-basket operas. (See “Four-doors-basket operas” article) The robe-basket operas areThe performance of wearing women’s big buttons was started, and it should have been part of the performance function of Dawudan. It can be seen that the performance function of Dawudan was included in the Huadan industry at that time. In the late Qing Dynasty and early Republic of China, the Cantonese opera troupe officially received the title of “Fighting Wu Dan”, but there was no specialized business setting for “Fighting Wu Dan”. Traditional Cantonese opera can perform short fight scenes such as “Liu Jinding Killing the Four Gate” (played by Liu Jinding), “Mu Guiying’s Great Break of the Heavenly Gate Formation” (played by Mu Guiying), and other short fight scenes such as “Thirteen Sisters Make a Fight in Nengren Temple” (played by Thirteen Sisters), “The Legend of White Snake” (played by Green Snake). This actually integrates the performance functions of the two branches of Wu Dan and Dao Ma Dan in Peking Opera. Modern and contemporary Cantonese opera have always performed the performance of Wudan, and retained the performance characteristics and skills of the industry. (such as stilt walking, radiating, fighting the real army, etc.) If the character is the protagonist in the play, (such as Chu Yun in “Wu Pan’an” and Lingbo Fairy in “Lingbo Fairy”) is the regular printed actress; if the character is the coordinator in the play, other actresses will also be held (such as Ganoderma lucidum in “Bao Lian Lantern” and the Green Snake in “The Legend of White Snake”), or a flower actress who is specifically responsible for martial arts opera (such as Sun Erniang in “Wu Song Fighting Shop” and Jiang’s wife in “Drunk Beat Jiang Menshen”), but there is never a business setting for Wudan.

Daomadan 　 Performance. This industry is introduced by Peking Opera, and it specializes in playing young and middle-aged women who are good at martial arts. Focusing on singing and body dance performances, in the 1950s, Cantonese opera exchanged frequently with Peking Opera and other local operas, and a number of performances by Daomadan and Wudan were transplanted, such as “Blocking the Horse”, “Liang Hongyu”, “The Female General of the Yang Family”, “Three Fightings of the White Bone Spirit”, etc., and the title of Daomadan was introduced to the industry. The division and definition of the branches of opera performances in Cantonese opera has always been relatively vague. He famously interpreted the sword and horse as a woman wearing robes and armor and riding on horses to play swords and guns, and the roles of short-term martial arts plays belong to the category of martial arts. In this way, the connotation of the sword and Madan in Cantonese opera has deviated from the original strict definition of the sword and Madan business in Peking Opera. Although Cantonese opera has the title of Dao Madan and the opera starring in the industry, there are not many such operas, and most of them are not heavy in the roles, so there is no special professional setting for Dao Madan. When encountering a drama starring Dao Madan, the main printed actress will be performed by the main film actress, such as “Mu Guiying Takes the Commander” and “Liu Jinding Kills the Four Gates”. If Dao Madan is a co-star in the play (such as Yang Qiniang in “The Female General of Yang Family”, a young actress who has received strict martial arts training in the theater troupe will be selected to play it.

Lao Dan 　 Performance. There is no such business in traditional Cantonese opera, and this title was introduced by Peking Opera. According to its performance function, it belongs to the “husband” among the top ten traditional Cantonese opera industries. During the Tongzhi period of the Qing Dynasty, the Cantonese opera performance industry was integrated, and there was no Fudan setting. It turned out that the functions of the Fudan industry were changed from male Chou to cross-dressing. When he went to the troupe to implement the “six-pillar system”, when the Chou Sheng himself had to play the role and had no time to clone, the Wu Sheng was also responsible for cross-dressing. Until the 1950s, some professional troupes introduced the title of Lao Dan from Peking Opera and set up Lao Dan careers according to performance needs. Lao Dan is a female actor who plays an elderly woman in the play, so she is called Lao Dan. For example, She Taijun in “The Female General of Yang Family”, and other characters in “The Injustice of Dou E”. Influenced by the traditional “husband” Dan, the old Dan in Cantonese opera is also slightly different from the old Dan in Peking Opera. The old Dan in Peking Opera mainly sings, with few performance movements and not much physical movements. There are also the first plays that the old Dan industry should take on, such as Li’s mother in “Fishing Golden Turtle” and the mother-in-law in “Mother-in-law Tattoo”. Most of the old Dan Dans in Cantonese opera are supporting roles and leisure roles. The singing uses real voices to flat throats. The singing method is different from other Dan’s feet. The crutches on the pillars do not require the ground to be touched during the performance. Currently, there are still six-pillar troupes in Hong Kong and other places, and there is no Lao Dan business setting, so the old example of using Chousheng or Wushen to play Lao Dan is still retained.

Five Army Tigers 　 Performance. The “Five Army Tigers” belong to the “miscellaneous” category among the top ten early Cantonese opera industries. They are actors in the opera troupe who are specialized in martial arts and somersaults. Nowadays, the troupe is mostly called martial arts actors, but they are still called “Five Army Tigers”. In the past, the performance functions of the Cantonese opera troupe “Five Army Tigers” were slightly different from those of other brother operas. “Five Army Tigers” were only responsible for martial arts and fighting and fighting in stage performances, and did not play any other roles. Among the “points and generals” in the traditional Cantonese opera performance, there are three armies in front, middle and back, plus the left and right camps, which are a total of five armies; these martial arts actors mostly perform these military soldiers, and use “tigers” to describe their might, so they are called “Five Army Tigers”. “Five Army Tigers” have multiple alias, one is “Five Army Tigers”. Because in the past, martial arts artists in the opera troupe practiced their side fighting, and they practiced their qigong on the grass in the countryside. Somersaults required running and force churning, so they would naturally step on the grass to death, so they jokingly called them “foot pumps to death grass”. The second is “Taking Rotten Table”. The southern martial arts of traditional Cantonese opera are mostly made of practical martial arts. Many popular scenes of big-hitting often deliberately smash the tables and chairs on the stage to show the intense scenes and show the actors having real skills and hard work to perform; the audience uses “Taking the Rotten Table” as the beautiful name for the “Five Army Tigers”. The third is “rotten cotton patch”. (i.e., guide to shattered cotton coat). When the opera troupe goes to the countryside to perform, he will definitely perform the classic drama “The Six Kingdoms’ Famous Prime Minister” on the first night; and in the “Failing Prime Minister”, there must be a “rouge horse” fighting performance, so any opera troupe is indispensable for somersaults. This is the need for performance at that time, ensuring their work and life. But their salary is generally not high, and they can only solve the problem of food and clothing and avoid being hungry and cold; therefore, they just joked that they are “rotten cotton patches”, which are not glamorous, but quite practical. The fourth is “Dragon and Tiger Martial Artsman”. Dragon and tiger are both powerful totems on the stage, and in traditional Cantonese opera performances, the roles of dragon (shape) and tiger (shape) are mostly played by “Five Army Tigers”, so they are praised for their martial arts masters who are as fierce as dragons and tigers, so they are called “Dragon and Tiger Martial Arts Masters”.

Tug 　 Performance. Among the top ten early Cantonese opera industry, it is classified as “miscellaneous” category, similar to the “sweeping edges” and “fragmentations” of Peking Opera. “Tug” has a higher status in the troupe than his subordinates, but there is no fixed acting career or position. Generally, the subordinates are more “striking” (smart and smart) and have the opportunity to be promoted to “Tug”. There is a saying in the troupe: “The head of the subordinate, pull the tail”. It means that the top of the subordinates meets the latter position in “pulling”, vividly pointing out the relationship between the two.and status in the troupe. “Tao” plays a male character with a strong genre on the stage. Most of them have no specific role identities or specialized performances. Those with names and surnames do not necessarily explain to the audience, and they often play the roles of court officials, family courtyards, central army, flag plaques and other roles in the play. They must master simple and standardized procedural singing and reciting, and occasionally have independent procedural performances. During the performance, when an actor is sick or a role is missing, the person should be pulled in the top corner. “Tug” is an indispensable position in the opera troupe. In the history of Cantonese opera, the performance industry has been integrated many times, and the status of “Tug” has remained unchanged. The troupe now has this title. The origin of the name “pull” is now difficult to examine. In Guangzhou dialect, the hand movements of pulling and pulling are called “punching”, and there are also actors in the opera troupe commonly known as “punching” as “punching”.

Subordinates　　Performance. Among the top ten traditional Cantonese opera industry, it is classified as “miscellaneous” industry. He served as an actor in the Cantonese opera stage performances, including the Bing Ding, Yachao, and family. Peking Opera is called “Dragon Support”. Because the strokes of the two “subjects” of Babaylan are combined with seven strokes, the Cantonese opera industry is accustomed to calling them “seven strokes”. The subordinates of Cantonese opera usually come on the stage in groups of four, and they have a strict and meticulous division of labor on the stage. “Yitong Pass”: The first subordinate on the field is responsible for the task of publishing and transmitting. He will complete any subordinates’ simple speech. “Second fall”: the subordinates come on the stage, the first one walks to the left corner of the stage (the side of the clothes), the second one walks to the right corner of the stage (the side of the side), so the protagonist wants to dismount. At this position where he stands, he takes over a series of actions such as Cinema‘s horse whip, tie the horse, and other actions, and the second subordinate who comes on the stage will be responsible. The third subordinate who was on the stage, stood close to the protagonist, so he had to show drinking and banquets on the stage, and the task of drinking and drinking was handed over to him. “Four Ink Grinding”: Whenever you want to serve your master to write in the plot, the fourth person will come to grind the ink for him. In addition, the subordinates must be familiar with some basic stage performance programs and scheduling, such as “opening the hall”, “double dragons coming out of the water”, “opening the alley”, etc., and also understand some group martial arts routines, such as “fighting four stars” and “battle”, etc.; and master some group-specific performances such as “ghost responsibilities” and “rolling three rums”. Only by mastering and applying it on the stage skillfully can one be considered a qualified subordinate.

Mei Xiang　　Performance. There is no title of Mei Xiang among the top ten traditional Cantonese opera industries. The stage performance function is Ma Dan, who belongs to the miscellaneous category among the top ten industries. It was only with the emergence of the Huadan industry that the role of Huadan gradually increased, which led to the title of Mei Xiang, who followed Huadan, and included it in the group of the troupe, gradually replacing Ma Dan’s position. It is the same as the “palace maid” in Peking Opera, and it specializes in playing the role of palace maids, maids, female soldiers and other types of characters on the stage. According to the specific functions, plum fragrance can be divided into dumb plum fragrance and open plum fragranceTwo types: “Dumbow” means not to open your mouth. Dumbou Meixiang does not need to sing or perform in performances. It only bears some of the most basic group stage scheduling, which is usually held by apprentices who are just new to the industry. “Kumbou Meixiang” requires that in addition to mastering general group stage scheduling and basic performance programs, you must also master basic singing skills such as singing “four and six sentences” (

Dangdan　　Performance. Among the top ten early Cantonese opera industry, it belongs to the “miscellaneous” category. He is an actor who is responsible for playing the role of eunuchs, yamen runners, entourages and other roles. It is the lowest-level group of Cantonese opera troupes, mostly served by newcomers. In the performance, there is no complicated posture and skills, no lyrics and singing, but it focuses on literary scenes. It often appears with the emperor or civil servants. It is mainly responsible for group stage scheduling performances such as “flower opening door”, “buying building”, and “anti-pig intestine”. With the continuous integration of the troupe’s compilation and the development of stage art, Cantonese opera no longer has the title of Tang Dan, and its performance function has been held by “subsidiaries”.

Ma Dan　　Performance. Among the top ten early Cantonese opera industry, it belongs to the “miscellaneous” category. The traditional Cantonese opera Ma Dan plays a role in a group of people such as palace maids and fairies. Like the Tang Dan, he only takes on some of the most basic group stage scheduling performances in the performance. Tangdan plays a male role, and Madan plays a female role. In the performance of the “Rouge Horse” in the traditional Cantonese opera “The Great Seal of Six Kingdoms”, the six ladies rode on the stage in a bamboo “horse-shaped” form. The last two were played by the fifth flower and the stubborn laughing Dan, and the first four ladies were played by Ma Dan as usual. They use their programmatic movements, figures and dances to play the “Five Army Tigers” of horses, showing the process of leading and taming horses. This is how Ma Dan got its name. Ma Dan has no singing and difficulty skills during the performance, nor does she perform individually; so she is generally a beginner. After the troupe implemented the six-pillar system, Ma Dan’s stage performance function was also held by “Mei Xiang” in the troupe, and Ma Dan’s career title was also cancelled.

The 12 types of posters　　The history of Cantonese opera performance is a general term. There is a traditional Cantonese opera proverb: “The court discusses titles, and the opera troupe discusses position.” It can be seen that the rank and sequence of the opera troupe are extremely strict. In the early 20th century, Cantonese opera troupes listed as many as 12 performances of the starring actors on posters. The arrangement order is as follows: Wusheng, Xiaowu, Huadan, Zhengdan, Zhengsheng, Zongsheng, Xiaosheng, Gongjiao, Big Flower Noodles, Erhuan, Chousheng (Male Ugly), and Wanxiaodan (Female Ugly). In fact, this is the troupe’s arrangement of the traditional top ten industries according to the performances and the audience’s enjoyment. If the big flower noodles and two flower noodles are combined into the flower noodles, and the ugly men and women are combined into the ugly things, it is still the top ten industries in the Tongzhi period of the Qing Dynasty. Because these 12 types of businesses are listed on postersActors, so they are called 12 types of posters.

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Six-column system　　Cantonese opera troupe compilation model. In the 1930s, the artistic form of traditional Cantonese opera changed as a whole, and gradually transformed from an ancient opera troupe to a theater troupe. In terms of personnel arrangement, the “big class” consisting of more than 100 people was integrated into a troupe with more than 70 members. In terms of the division of labor of actors, a “six-column system” model was formed, that is, six main actors were responsible for taking charge of the protagonists of all the performances of the troupe, just like six pillars supporting the performances of the troupe, hence the name “six-column system”. These six pillars include: martial artists, civil and military practitioners, regular print actresses, young actors, second flower actors, and chou actors. When the troupe was preparing to form a team, it looked for the main actors based on the preparation of the “Six Pillars”. Although the six leading actors in the “Six-Pillar System” are called performance professions, they are actually not the artistic division of labor in the performance professions. They are the adjustment of the internal mechanism of Cantonese opera in the development process. Among them, martial artists need to take all the main characters of the male feet, general students, and Zhengsheng in the traditional ten performances, as well as the main characters of the outer (big flower noodles) and the clean (two flower noodles) that need to be opened. Chousheng is responsible for taking charge of male ugly and female ugly, as well as all the main characters belonging to clowns. There is no qualitative difference between the regular and second actresses in terms of performance. They are originally in the same performance industry, but they only have different sizes of the scenes they occupy. The civil and military student is not a performing career, it only represents the number one male lead in the troupe. In specific performance practice, no matter what kind of career, as long as the male protagonist with the most important role in the play, he will be born with Wenwu. This is a unique phenomenon in the process of market-oriented development of Cantonese opera. The young actor is not a strict actor. He is just the second male lead in the troupe, and his status is similar to that of the second actress. The compilation of the troupe’s plays is based on this “six-pillar system” to set up characters and perfunctory plots. The “six-pillar system” made positive contributions to breaking the strict boundaries of traditional opera troupes, compressing staffing, and reducing redundant staff, which was conducive to the comprehensive play of actors’ performance talents and the development of the troupe at that time, especially the transformation from square art to theater art. However, it is also easy to have the disadvantage of making up scenes based on people and arranging scenes based on roles. Each play must be filled with the “six-column system”. In the practice process, the performance art of the industry is weakened, and in general, it is a fact that it is adapted to the market and sacrifices and weakens the development of the performance art. By the 1960s, the “six-pillar system” gradually disappeared.

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WenwushengThe troupe’s main performance positions. There is no title of “civil and military student” among the top ten traditional Cantonese opera industry. In the 1920s, Xiao Wu and Liang Shaohua, the headmaster of the Greater China opera troupe, invited Xiao Wu Liangxian, who was good at “Xihehuihui” to join in order to strengthen the strength of the squad. Given that Liang Shaohua and Liangxian are both famous Xiaowu actors, it is difficult to distinguish in terms of rankings. Liang Shaohua considered that his performance belongs to the style of “martial arts and literary works”, and he created the term “civilian and martial artists”. He served as a civil and martial artist, and Liangxian served as a chief Yin Xiaowu. On the one hand, it shows that the two are different, and on the other hand, it also expresses that they have no intention of being a stern with Liangxian. Later, the opera troupes followed this title. After the troupe was converted to the “six-pillar system”, the name “civil and military students” did not change, but the actual meaning changed qualitatively from the beginning. It is originally intended to balance the needs of the troupe actors’ ranking, and it has become a reconfiguration of the interests of the veterans within the troupe and is the most important pillar in the “six-column system”. The title of “Literary and Martial Arts” is to declare to the audience that the old prostitute, a civil and military talent, can star in various types of male characters on the stage, namely the first male protagonist in the theater troupe. Therefore, “civilian and military students” are not performing performances, but should be the responsibility position of the troupe’s stage performance. The performances of various local operas are based on the performances belonging to the characters in the play. Cantonese opera has created the responsibility position of “civil and military students”, breaking the strict boundaries of the industry, and downplaying the special performances of the industry; whether in terms of name or specific content, it is a unique phenomenon in Cantonese opera.