A Study on Singing Techniques of Sheng and Dan in Chinese Qiong Opera

The Qiong opera has been a traditional drama in China for 300 years. In June 2008, Qiong opera was approved by the state council of the People’s Republic of China to be included in the second batch on the list of National Intangible Cultural Heritage. However, with the rapid development of material culture, Qiong opera has been declining. One of the important reasons was unscientific vocalization. Taking the “Sheng” and “Dan” of five role types in Qiong opera as examples, this paper adopted the survey interview method and comparative analysis method. First, the survey interview method was adopted. Through the study of 5 troupes: Joan theater Hainan Province, Haikou City Qiong Opera Performing Arts Co. Ltd, Wenchang Qiong Opera Troupe, Qionghai Qiong Opera Troupe, Chengmai Qiong Opera Troupe, and 30 professional actors, the researchers obtained the primary information, studied vocalizing characteristics of Qiong opera, and pointed out the weakness of Qiong opera actors. At the same time, the students were trained of “Qiong Opera Talent Cultivation” project in bel canto vocal skills such as breathing, resonance, and articulation, and achieved remarkable results. Then comparative analysis method was adopted to compare and analyze the students’ vocalizing conditions before and after taking bel canto vocalization classes. At the same time, the Qiong opera vocalization techniques were compared with bel canto, putting forward the thought that we could draw lessons from breathing, throat states, resonance, and articulation skills in bel canto to improve Qiong opera singing. The study showed that there was not a scientific vocalizing method in Qiong opera. Sheng had three technical problems when singing. First of all, the voice was not slack enough, and most of the actors had high throat positions. Next, the tone of the middle area was not clear, and it was difficult to sing in treble. Finally, resonance was not used properly. Dan also had three main problems. First, the improper mixing of true voice and falsetto in the mid-voice area and falsetto was comparatively overused. Second, the overuse of the throat muscles and poor vocal cord closure led to tightening, squeezing, and pinching voice. Finally, the pronunciation and articulation were not clear. Lessons could be drawn from bel canto on four aspects: first, chest and abdominal breathing method that made deep and coherent breaths; second, throat states in bel canto; third, the mixed resonance of bel canto; fourth, the articulation skills in bel canto.