STUDY ON THE SENSITIVITY OF THE DEVELOPMENT OF FUJIAN OPERA AND TAIWAN OPERA AND THE CHANGES OF WORKING EMOTION AND BEHAVIOR OF THE TROUPE

Abstract

Abstract Background Yangqin was introduced into China in the late Ming Dynasty and early Qing Dynasty. With the flow of musicians, it spread all over the world. It is not only used for folk God welcoming games, birthday celebrations, literati self entertainment or music clubs, but also the most eye-catching musical instrument in private collections, government and business and children's Museum music clubs. From the leisure and entertainment stage of “song” popular in the Qing Dynasty to the commercial rap of “selling medicine” and “sweeping the floor”, it absorbs the nutrition of performance forms such as car drum array, Siping opera, Tea Picking Opera and juggling, and adds the “opera in the play” of hand and foot dance to show the footprints of Yangqin. Xiangju opera, developed from Taiwan songs, is a mixture of Zhangzhou Xiangjiang generation folk music. Hunan Opera (Gezai Opera) is the only common local opera on both sides of the Taiwan Strait. In 2005, Hunan opera was included in the first batch of national intangible cultural heritage list. It is deeply influenced by Southern Fujian culture and has distinctive Southern Fujian characteristics. It has played a positive role in promoting cross-strait cultural exchanges, which is reflected in the frequent exchanges between relevant researchers and troupes on both sides of the Strait. The excellent repertoire of Hunan opera has been widely praised at home and abroad. Research Objects and Methods This study adopts the methods of literature analysis and field investigation to collect and sort out the research data. Literature analysis is mainly the collection, comparison and classification of historical data. Fieldwork is the author's fieldwork for more than ten years and his contact with folk artists and musicians of Gezai Opera. Starting from the Yangqin proposition, the master's thesis began to study and collect data, collect and read Taiwan Local Chronicles, newspaper documents, Shengzhi diaries, oral history and fieldwork for more than ten years, and copy the existing music manuscripts, photos, sound recordings and audio materials in the public sector. At the same time, it is selected from the emotional experience report form compiled by Ekman, freisen and ancoli (1980), which has been modified many times by gross and widely used. There are 10 adjectives in the emotional experience report form. Each emotion was assessed by the 9-point Likert scale, “0” means no, “8” means very strong, and the subjects were required to choose the corresponding number according to their actual emotional experience. 2.2.4 questionnaire on the degree of implementation of guidance. The questionnaire consists of 6 questions. Using the 6-point Likert scale, “0” indicates complete non-compliance, and “5” indicates complete compliance. The purpose is to check whether the subjects adjust their emotions according to the instructions of the main test when watching emotional movie clips, and ask the subjects to answer truthfully according to their actual situation. Results Performance knowledge comes from objective analysis. Performers practice and change the objective world and themselves through psychological thinking such as perception, imagination and emotion. With the progress of the times, Hunan opera is facing the dual pressure of economic and cultural inheritance. Economically, the income of the troupe's actors is unstable, which gradually weakens the actors' enthusiasm for the cause of Hunan opera. In terms of cultural inheritance, the older generation of Hunan opera is relatively old. The emergence of new culture has reduced the interest of contemporary young people in Hunan opera and led to the crisis of the inheritance of Hunan opera. In the process of the influence of life events on anxiety, they play an intermediary role through economic response. The higher the economic level, the stronger the emotional regulation ability of the troupe personnel. Among them, the mediating effect of anxiety can be adjusted through psychological elasticity. That is, economic level can regulate the pressure of life events, and coping style can be used as an intermediary factor of emotional regulation to regulate the impact of life events on anxiety through coping style. Conclusion Facing the challenge of traditional art inheritance and survival, driven by the cultural environment and multicultural environment of the global village, this is a problem that many traditional arts must think about if they want to survive. The government needs to take various measures to change the current situation and make the excellent traditional culture of Hunan opera continue to flourish. Through more bilateral exchanges and communication, cross-strait cultural inheritance and innovation, strengthen cross-strait cultural and artistic exchanges and cooperation, jointly play the piano art for the opera troupe, and work together for the in-depth development of both sides. Acknowledgments This paper is the general project of Fujian Social Science Planning Project Art Fund in 2019: Fujian Taiwan Gezai Opera (Xiang Opera). Phased achievements of Yangqin Development Research (Project No.: fj2019b029).