The heroine's card came out, and her name was: "I don't know if it's Su Chuo or Lu Pianpian."
I mean, guess who the heroine Sama is.
But in any case, the result is certainly not that simple.
I hope everyone will like the heroine card. If you like Su Chuo or Lu Pianpian, you can like it.
Regarding the speculation about the Lord of the Yin Pearl, that is the inference of the protagonist Luo Ning, and it does not mean that my story is like this.
And to say that the owner of the Yin Pearl is a female protagonist, or another powerful villain, is just a guess on the part of readers, and it does not mean that my story will be written like this.
Regarding Yin Zhu, the story may still be a bit surprising, but we will find out later, no spoilers.
The male protagonist Ning Ge is a drama actor, that is, an actor. A very small number of readers may look down on his identity and say that he is a low-class person.
I don't even bother to refute this view.
I don't think that people who have created spiritual products and entertain the general public since ancient times are despicable.
I just want to say, don’t confuse drama actors with those so-called celebrities whose personalities have collapsed. Our protagonist, Brother Ning, will not be blamed for this.
I don’t think people of our time should be able to say such words as bad actors and dirty actors.
There are scum in any industry. Some so-called celebrities earn huge sums of money that are seriously inconsistent with their abilities and contributions, but they are morally corrupt and are poisonous all over the world... But this is caused by abnormal capital operations.
In the past, it was not easy to eat this bowl of rice. The so-called "a quarter of an hour on stage, ten years of practice off stage... practicing thirty-nine in the winter and three days in the summer" all describe the hard work of learning opera.
Actors and actors in ancient times had to endure a lot of hardships and learn many skills in acting, music, dance, martial arts, literature, and painting.
Then, they moved the story characters from history and reality to the stage to perform and reproduce them, punishing evil and promoting good, and identifying right and wrong in front of the audience.
In terms of educating the people, the role of actors and storytellers is better than that of gentlemen and scholar-bureaucrats who read books by sages and sages.
However, they were played with, guarded against by the rulers (for fear that they would perform works that violated taboos), exploited, and their careers were also looked down upon. This was not only the result of the characteristics of the feudal era, but also the reason for deliberate suppression.
The earliest drama actors in China were Nuo shamans and corpses in the pre-Qin period.
Nuo opera is a national sacrificial ceremony. The emperor or the princes personally preside over the ceremony. If gods need to be invited to perform sacrifices, the shaman who plays the role of the god is an actor.
When Wu Zhu plays a god, he needs props, costumes, lines, and supporting roles. Wherever he goes, everyone bows down, as if the true god has descended.
The corpse is also the earliest actor. When the emperor, princes, ministers and officials worship their ancestors, they need to select a direct descendant to play the role of the ancestor. The descendant who plays the role of the ancestor is the corpse.
When the corpse plays the role of ancestor, it must wear the clothes of the ancestor during his lifetime, and in the role of ancestor, accept worship, feeding and prayers from the sacrificer.
The corpse then admonishes the sacrificer in the tone of his ancestors and bestows blessings.
In this tedious and long ceremony, when you play the role of the corpse of your ancestor, you must not make any mistakes, such as laughing, saying the wrong thing, doing the wrong action, or recognizing the wrong person...otherwise it will be regarded as unlucky.
Taking opera as a profession and becoming an industry matured in the Tang Dynasty.
Due to the strong support of Liyuan Emperor Tang Xuanzong, the classical performing arts industry has developed greatly. Therefore, actors respect Xuanzong as their ancestor.
Li Cunxu, Emperor Zhuangzong of the Tang Dynasty during the Five Dynasties period, even acted on stage himself and took the stage name Li Tianxia.
In the Northern Song Dynasty, the development of drama reached its first peak. In the Song Dynasty, not only did Goulan Restaurants have stages, but there were also a large number of professional theaters and theaters.
In the Ming and Qing Dynasties, folk opera troupes flourished.
During that period, Chinese folk still retained the culture of Spring Society and Summer Festival. During the Spring Society and Summer Festival, operas were sung.
Nowadays, these customs are mainly inherited by Japan, and some ethnic minorities in southwest China still retain them.
Therefore, actors are actually very ancient. Compared with modern "star artists", actors are by no means equal in terms of cultural connotation and historical accumulation.
Of course, the Ling Dao, Ling Xiu setting, and interpretation of Ling in this book will also have new understandings and extensions.
The dramas in this book do not clearly indicate the type of opera, but are a fusion of multiple opera types, just like when Hui Opera inherited Kun Opera, then integrated dozens of opera types such as Qin Opera, Han Opera, Hebei Bangzi, etc. to become Peking Opera.
Regarding the professional knowledge related to drama, the author has a superficial understanding and limited knowledge. Professionals are welcome to correct me.
Thank you for your valuable feedback!
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