From the current point of view, the popularity of the Dan and the "Four Great Dan" as the most important representatives of the Peking Opera, are the established viewpoints and the cultural achievements of the Peking Opera art, but the development process of the Peking Opera is first and foremost The oldest hanging heads: "The former three tripods" and "the latter three tripods" are old-fashioned actors. "The former three tripods" Yu Sansheng, Cheng Changgeng and Zhang Erkui are "places of the land", each of which was born in Han opera and emblem. The drama, the opera of the Beijing Opera, and the three vocals have their own local colors. Tan Xinpei, who is the most prominent representative of "The Three Tripods" and is still the most important representative of the old man, has refined his performances on the basis of his predecessors, improved the sound chamber, changed the style of the aria, and refined and reorganized the old scripts, or Abridged or retouched, the lyrics are also edited to facilitate the performance of the singer. From the old repertoire of selling horses, touching the monuments, and exploring the mother, the core values of the old-fashioned art of Peking Opera are established with exquisite sings and scent, which begins to form the characteristics of individual singing. And the stage of "taking people to stand up" is opened.The history of the development of a Beijing opera is the process of gradually establishing the performance system. The complete stage performance art system can be said to be constructed by the old students. Therefore, compared with the old-fashioned line in the "Tan Pai" of Tan Xinpei, the key point of the rise of the trip is to "play the new style of creation". The actors in the line have successively performed two new plays, which are different from the original Peking Opera. The old man of the first card, the old man is playing a traditional repertoire that is ready-made, and does not have the concept of creating a new play.
Therefore, this paper is based on the emerging media of the Republic of China, which coexists with Beijing Opera, including printed newspapers, audio recordings, photographic films and other audio and video media. The newspapers use Shanghai's "Declaration", Beijing's "Shuntian Times", and Tianjin "Ta Kung Pao". "Yi Shi Bao" and "Beiyang Pictorial" are the main research objects. These comprehensive newspapers form a well-developed entertainment culture. The journals include: "Drama Monthly", "Drama and Literature", "Country Drama", "Drama Monthly" "Drama Weekly", "Half-Month Drama", "Ten-Day Drama", "Half-Month Drama", "Linyan Paintings", which framed the cultural picture of the Peking Opera's heyday. That is to say: the new media of the Republic of China played a great role and played a pivotal role in the period from the rise to the peak of Beijing Opera. It is very important for the stage to focus on the trip.The reputation of the four great Dan is derived from the propaganda of newspapers, periodicals and new media of the record, and it can gradually solidify in many trips. From the 1927 Beijing Shuntian Times, the "Five Famous Novels and New Drama Votes" was held. Later, in 1930, Shanghai "Drama Monthly" held the "Modern Four Famous Danes Comparison" essay activities, the actors' special numbers came out one after another, and in 1932, the Great Wall Company produced them. The "Four-Five Flowers Cave" record shows the crucial and decisive role of the new media in the Republic of China for the emergence of the four famous Dan.
Therefore, this thesis cuts in from the perspective of "creative style" and "new media of the Republic of China", and simultaneously observes and outlines the rise of Peking Opera to the peak of development: first under the old head. The development of the line, the match between Huang and the gender, the rise of Mei Lanfang in the middle of the country, the newspaper voted for the "Five Famous Novels", and the "Four Great Dan" established by the journals and records to build the completeness, transformation, change and competition of Beijing Opera. The context is of great significance: on the one hand, the "creative style" of the four famous monasteries is completely different from the old-fashioned behavior. They strongly dominate their new dramas, and the scripts and performances are fully involved and deeply invested. For example, Cheng Yiqiu recalled bluntly, " As long as he is the protagonist, he has his own script." Shang Xiaoyun also said, "If any art develops, it must be innovative. If you want to compete, you have to be unique and have your own unique work." It is clear that we must have new creations, non-new plays are not enough to sell, non-new caliber is not enough to compete, and the exclusive script of "Our shop" is created and unique. "I learned the child."In addition to the need for actors to behave in new plays and to be aware of the necessity of creation, they are further the only leader in the stage of the opera, besides being the troupe boss and the famous leader of the opera, which includes several aspects: Under the understanding of self-performance strengths, I personally choose literati to write for them, and have their own views on the theme story. Therefore, I will find the story, decide the script, and even guide the scriptwriter, the singer arrangement with the scriptwriter, the vocal layout, the narrative structure, and the plot. Levels have their own thinking and judgment. Even in the rehearsal process after accepting the script, the script will be actively modified to prove that these new plays are the embodiment of the actor's vivid creative concept. To some extent, the concept of the actor's creation is even stronger than the screenwriter.
On the other hand, the genre of the dynasty has risen and shaped in the operation of the new media in the Republic of China in the recording, film and newspapers. The self-promotion of the new media also relies on the promotion of the new media, especially from the "Five Famous Dan" to the "Four Great Dan". The change, the beneficiaries of the "Big Five" to "Four Big" and the affected people are Yu Huisheng and Xu Biyun. There is a special issue of "Baishe" next to Yan Huisheng, and the drama is vigorously promoted, even if Xu Biyun His reputation was not under the four great Dan, but it was gradually eclipsed by the lack of "Xu Dang" in the curtain to help the Austrian aid. It was too late to stand up and form the Xu faction, and the Xu faction faded out of the stage, thus opening up different developments.In addition, the performance of Danxing has been innovated and transformed by the influence of the new media in the Republic of China, especially the use of emerging film media. Among the four famous Dan, Mei Lanfang is especially used as an example, just because Mei Lanfang When you come into contact with movies, you will most have the opportunity to film. Unlike Tan Xinpei's "Movie Photography", which is different from the filming method of Yan Huisheng, Mei Lanfang is actually entering the studio to shoot movies, officially with "film director" Fei Mu. Cooperation, the most important thing is to accept the director's revision of the "Life and Death" script during the filming process, on behalf of him to deeply understand the difference between the stage and the film media, so the early silent film era took the lead in shooting, since the silent film has no sound, The transformation focuses on the modality of the eyebrows and the creation of costumes and costumes, emphasizing the visual beauty. It can be seen that Mei Lanfang was able to seize the opportunity early in the 1920s and accurately grasp the eternal power of film communication. This was what Mei Lanfang expected at the time, and gradually understood the characteristics of the film media transmission, looking for a method of moving the opera that was suitable for filming, and filming for his own classic repertoire. Therefore, Mei Lanfang regards movies as an emerging propaganda media, and faces another type of art that is different from Beijing opera.