Hat boi (also known as "tuong" or "hat bo") is one of the traditional Vietnamese theatrical art forms, with a long history of development. Hat boi is estimated to have been born around the 16th century, formed in the 17th-18th centuries, and flourished in the 19th century. Thus, Hat boi was born and reached the perfection of artistic level within the framework of the Middle Ages. For that reason, Hat boi stage integrates within it a system of aesthetic rules belonging to the "classical" thinking orbit of the Middle Ages. The core of that system of rules is the conventional quality with expressive methods such as symbolism, stylization, showiness, ... specifically expressed through expressive techniques such as face painting, costumes, and dance.
In addition, the singing and speaking techniques of hát bội also carry within themselves unique features that only this art form has. Hát bội singing and speaking are not only beautiful in terms of lyrics (usually prose and poetry following the rules of medieval language creation with the “golden rules” of rhythm and rhythm) but also beautiful because of the systematic system of melodies with emotional levels of joy, anger, love, hate, etc., which have made many generations of audiences admire and sob when coming to hát bội.
Collection “The singing-speaking model in Vietnamese opera art” Performed by Hieu Van Ngu - Cultura Fish, the collection aims to introduce to the audience the basic, commonly heard repertoires of hát bội such as noi loi, bach, xuong, hat khach, hat nam, etc. With this collection, Hieu Van Ngu hopes that the audience will be more confident when going to "watch the show" as well as using the singing and speaking materials of hát bội in creative projects.
UNTRUTH
Rhythmic speaking style, often based on parallel prose. Speaking style has many different roles in hát bội performance, such as narrative, lyric, dialogue, conversation. Depending on the music, expression or action, speaking style will have specific names.
WHITE
The basis of a "bai" is usually a seven-word quatrain, sometimes the following two lines are a fu. "Bach" is often used to introduce and express a character's temperament, especially when that character has just appeared in a performance.
SINGING
The basis of "xuong" is usually a quatrain or an octet; "xuong" often has a function similar to "bach" but is often used for immortal characters, people with a dignified and leisurely demeanor.
SOAK
Long, clear, high-pitched, slow-paced singing voice, also called singing poetry, reciting poetry. (According to People's Artist Dinh Bang Phi, "Looking at the Southern Opera Theater", Literature Publishing House, 2005)
GRUDGE & RESENTMENT
The basis of “than” or “oan” is often based on a quatrain or seven-word poem. “Than” and “oan” are often used in sad situations such as lamentation and separation.
GUEST SINGER
The lyrics of guest songs are usually written in six-word or seven-word verse or in the form of a poem. Guest songs belong to the Northern singing genre, with a strong, happy melody that can change to sadness but is still strong, without the feeling of sadness and resentment. Guest songs are often used in situations of going to war, returning victoriously, or when friends meet, confide in each other while drinking, etc. There are types: Guest songs for sightseeing, Guest songs for presentation, Guest songs for military journeys, Guest songs for dialogue, Guest songs for urging, Guest songs for besieging, Guest songs for lamenting/ Guest songs for death, Guest songs for congratulating, etc.
SINGING MALE:
The lyrics of male songs are often written in the six-eight or seven-seven-six-eight verse form with cheerful, gentle melodies, sometimes changing to sad and tragic. The system of male songs is also diverse, sometimes depending on the music (nam xuan, nam binh, nam ai), according to the expression (nam thuong, nam luy, nam han), or when focusing on action (nam chay, nam biet).
Listen to male singing in the audios "Talking to someone through nam ai", "Talking to someone through nam tau".
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Collection “The singing-speaking model in Vietnamese opera art” Researched, edited and selected content by Hieu Van Ngu. The project team includes:
- Idea & content: Luc Pham Quynh Nhi
- Content consultant, systematic collection: Researcher Vuong Hoai Lam.
- Project management, recording and post-production: Ha Thuc Duc Tung.
With the support of:
- People's Artist Xuan Quan (Ho Chi Minh City Opera House)
- People's Artist Thanh Trang (Ho Chi Minh City Opera House)
- With musicians from the Ho Chi Minh City Opera House: Ngo Van Tong, Le Kim Phong, Phan Ngoc Hieu, Le Minh Tan, Nguyen Tran Thanh Tuan, Nguyen Van Do.
