Čínská Opera

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Čínská Opera JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra zpěvu Zpěv Čínská opera Diplomová práce Autor práce: BcA. Bai Hang Vedoucí práce: MgA. Richard Pohl, Ph.D. Oponent práce: PhDr. Alena Borková Brno 2020 Bibliografický záznam BAI, Hang. Čínská opera, Chinese opera. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra zpěvu, 2020. 49 s. Vedoucí diplomové práce MgA. Richard Pohl, Ph.D. Anotace Diplomová práce „Čínská opera“ pojednává o vývoji čínské opery z historického hlediska, o jednotlivých typických znacích v čínské opeře s průnikem až do současnosti a o představitelích této opery. Annotation Diploma thesis of „Chinese opera“ deals with the development of Chinese opera from a historical point of view, about individual typical features in Chinese opera with an intersection to the present and about the representatives of this opera. Klíčová slova Čínská opera, tradiční čínská opera, Pekingská zpěvohra, současná čínská opera, Tan Dun Keywords Chinese opera, traditional chinese opera, Peking opera, contemporary chinese opera, Tan Dun Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně, dne 17. srpna 2020 Bai Hang Poděkování Na tomto místě bych rád poděkoval pedagogům Richardovi Pohlovi Ph.D, Wang Xing Xing Ph.D, doc. MgA. Zdeňkovi Šmukařovi, MgA. Romanu Hozovi a doc. MgA. Junu Královi za jejich cenné rady a pomoc při mém studiu na Janáčkově akademii múzických umění v Brně. Obsah: ÚVOD...................................................................................................... 7 1. HISTORIE ČÍNSKÉ OPERY........................................................... 8 2. NÁBOŽENSTVÍ JAKO HLAVNÍ HYBATEL ČÍNSKÉ HUDBY................................................................................................. 12 2.1. KONFUCIANISMUS......................................................................................... 12 2.2. TAOISMUS........................................................................................................ 13 2.3. BUDDHISMUS.................................................................................................. 13 3. NEJSTARŠÍ ČÍNSKÉ UMĚNÍ – HUDBA.................................... 15 3.1. HUDEBNÍ NÁSTROJE...................................................................................... 16 3.2. HUDBA A SPOLEČNOST................................................................................ 17 3.3. PEKINGSKÁ ZPĚVOHRA............................................................................... 18 4. ZROD ČÍNSKÉ OPERY A JEDNOTLIVÉ DRUHY OPER...... 19 5. PEKINGSKÁ OPERA.................................................................... 20 5.1. POSTAVY PEKINGSKÉ OPERY..................................................................... 21 5.2. SCÉNA A HUDEBNÍ DOPROVOD PEKINGSKÉ OPERY............................ 22 5.3. MEI LANFANG................................................................................................. 24 6. HUDBA V ČÍNĚ VE DVACÁTÉM STOLETÍ............................. 25 6.1. SVĚTOVĚ NEJZNÁMEJŠÍ ČÍNSKÉ OPERY DVACÁTEHO STOLETÍ ..... 25 7. ČÍNSKÁ PĚVECKÁ TECHNIKA................................................. 30 8. ČÍNSKÁ SOUDOBÁ VÁŽNÁ OPERA......................................... 31 8.1 SOUČASNÉ OPERNÍ DOMY V ČÍNĚ............................................................. 31 8.2. TAN DUN – NEJUZNÁVANĚJŠÍ UMĚLEC SOUČASNOSTI...................... 33 8.3. BIOGRAFIE TAN DUNA................................................................................. 35 8.4. TAN DUN A OPERA......................................................................................... 36 ZÁVĚR.................................................................................................. 41 POUŽITÉ INFORMAČNÍ ZDROJE................................................. 42 PŘÍLOHY............................................................................................. 45 Úvod Dnešní klasická hudba se stále více rozvíjí na půdě Číny, odkud přicházejí stále více talentovaní a znalejší hudebníci. Ve skutečnosti dnes mnozí úspěšní interpreti a skladatelé pocházejí právě v Číny a tento jejich úspěch byl označen jako „fenomén obrovských rozměrů“. Rovněž hudebníci z řad orchestru, hudebních souborů, profesorů či soukromých učitelů jsou označování za důležitou součást budoucnosti klasické hudby. Taktéž se Číňané postupně stávají schopnými výrobci hudebních nástrojů, jako jsou klavíry, housle a violoncella. Čína však není pouze vývozcem hudebníků či nových nástrojů, je to taktéž nadšený a nenasytný spotřebitel klasické hudby. Hlavní města jako Šanghaj či Peking mají několik symfonických orchestrů, které pravidelně provádějí díla z klasického repertoáru i skladby čínských skladatelů z historie i současnosti. Čína vlastní také své bohaté, rozmanité a staré hudební tradice. Důležitou součástí kulturního dědictví každého národa a také Číny je opera. Tradiční čínská opera se začala formovat později a postupně se rozvíjí zavedením západní hudby od počátku 20. století. Těžištěm mé práce bude právě hlubší proniknutí do vzniku a souvislostí vývoje čínské opery od počátků až do současnosti. Rád bych touto prací vysvětlil jednotlivé mezníky historie čínské kultury, umění a opery a také objasnil současné hudební dění v Číně. Proto se domnívám, že tato práce bude mít velký přínos v českém hudebním prostředí a obohatí tak poznatky hudebníků na české půdě. 7 1. Historie čínské opery Opera jako hudební žánr vznikla v Itálii na konci šestnáctého století. Je důležitou součástí kulturního dědictví každého národa. Opera je komplexním uměním, které integruje hudbu, drama, poezii, tanec a výtvarné umění v jeden celek. Právě italská opera neboli západní opera měla velký vliv na formovaní opery nejen v Evropě, ale v celém světě. Pro Čínu je opera tak, jak ji vnímají Evropané, jakýmsi cizím uměním, které Číňané nazývají „západní operou“. Dějiny čínských sociálních a kulturních kontaktů se Západem sahají po mnoho staletí. Hudba spolu s literaturou byla jedním z nejvýznamnějších projevů duchovní činnosti čínského národa. Již dva tisíce let před začátkem evropské civilizace měla Čína vyvinutou kulturu ve vysokém stádiu. Věda, literatura, umění, matematika, medicína, mechanika a astronomie byly ve velkém rozkvětu. V Číně na počátku našeho letopočtu existovala divadla na profesionální úrovni. Tato divadla byla především na císařských dvorech a pozůstávala z tradičních lidových tanců a písní. Čínská opera jako celek vznikla ve dvanáctém století za doprovodu baletní pantomimy. Tyto specifické rysy si uchovala až dodnes. Čína jakožto vynálezce mnoha hudebních nástrojů – strunných – drnkacích i smyčcových, dechových i bicích nástrojů, měla již 1500 let před naším letopočtem ucelený, vědecky rozpracovaný systém stupnic o dvanácti stupních. Tento systém byl založen na kvintové souslednosti. Za dynastie Jüan se ve dvanáctém století vyvinulo hudební drama ve smíšeném stylu lidových písní a tance. Nazývalo se jüanské drama (jüan čchü), ve kterém se styly lidových písní staly volnějšími než dříve a do tohoto lidového představení byla přidána kromě tance i akrobacie. V básnictví se kladl důraz na „nedramatické písně“ (san-čchü) a na popularitě získávala povídka v hovořeném jazyce. Z důvodu, že dramatici psali povídky v hovorovém jazyce, tento nový literární žánr přilákal nejenom vzdělance, ale i široké nevzdělané posluchačstvo. Vznikaly romantické hry o čtyřech či pěti aktech a v každém aktu se objevovaly lidové písně. K nejslavnějším dramatikům této doby patřili Kuan Chan-čching, ktorý napsal přes šedesát dramatických děl a Wang Š-fu, kterého nejznámější a také zachované dílo se jmenuje Západní komnata ( Si-siang ťi). Ve čtrnáctém a patnáctém století za dynastie Ming přetrvávalo hudební drama z období Jüan, ze kterého vzniklo operní drama, jako nová hlavní umělecká 8 forma. Měla pevně disciplinovaný styl ca – ťü o čtyřech aktech. Autoři mingského dramatu byli velice tvořiví v této nejpravidelnější mnohoaktové formě, známé jako „jižní drama“ (čchuan-čchi). Pro jevištní operní drama psali nejenom uznávání učenci a hodnostáři, ale také členové císařské rodiny. Za této dynastie Ming byl považován za nejznámějšího skladatele Tchang Sien-cu. Jeho nejznámější zachované dílo se jmenuje Mu-tan tching tedy v překladu Pavilon pivoněk. Začátkem šestnáctého století našeho letopočtu se v Číně konečně stanovily základy rovnoměrně temperované dvanáctitónové stupnice čínskými hudebními vědci. Západní klasická hudba byla poprvé představená v Číně, když Matteo Ricci1 dal císaři Shenzong (Wan-li *1563 - +1620) klavichord jako dárek a složil na něm osm písní v čínštině, které zpíval za přítomnosti soudu v roce 1601. Západní hudba se šířila prostřednictvím rostoucího počtu misionářů, kteří přicházeli do Číny a cizinců, kteří se usadili v takzvaných „smluvních přístavech“, které byla Čína nucena vytvořit po první válce v roce 1839. Čínští hudebníci však začali objevovat západní hudební nástroje a západní kompoziční techniky až na počátku dvacátého století. Skladatelé cestovali do zahraničí za studiem hudby, nejprve do Japonska a později do Evropy a Spojených států. Tento přímý kontakt se západními hudebními dovednostmi naučil čínské skladatele hudební techniky a koncepty, které jim umožnily vytvořit národní hudbu, která by mohla zaujmout mezinárodní i čínské publikum, v souladu se vznikajícími proudy čínského nacionalismu. Někteří zahraniční hudebníci, kteří žili a pracovali v Číně, měli také významný vliv na hudbu v západním stylu
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