In addition to the shrinking repertoire of Peking Opera, the gradual drying up of performance means such as the Four Skills and Five Techniques is even more harmful. The only faction is from, and even if it gains, it is only the "Lord of Keeping". Ancient feudal dynasties, encountered by the defenders, that is, the beginning of the decline of this dynasty.
Compared with calligraphy, if you specialize in Wang Xizhi, your achievements will be greater, and you will gain "almost chaotic" ears. Therefore, the way of art, avoid conforming to the rules, and establish a career.
Which sect do the four great masters belong to? They had all been instructive of Wang Yaoqing, and Wang Yaoqing had taught according to the conditions of each person; if Zhang Junqiu had followed the rules in any of The Sects of Meicheng Xunshang, where would the Zhang Sect, which was all the rage today? Tan Xin Pei set up or stopped at the study of Chang Geng or Yu Sansheng, nor did he become the originator of the Tan Sect; Ma Lianliang learned Tan at the same time, not to worship Sun Juxian, please benefit Xiao Changhua, Cai Ronggui, Jia Honglin, privately Shu Yu Shuyan, and finally become a Weiran everyone?
"Silang Visits Mother" Tan Xinpei as Yang Yanhui
"Turning yiduo is a ru master", Zhou Xinfang is a model. His success best illustrates the spirit of innovation and creativity that absorbs the strengths of all and has the courage to break through the barriers of predecessors. The path of learning art in his youth is too worthy of learning from today's youth. He not only learned from the old students but also from Hongsheng, Wusheng, Xiaosheng, Huayan, and Clowns, and Yu Shengxing did not stop learning from Tan Wangsun, while Wang Hongshou, Pan Yueqiao, Wang Xiaonong, Xia Kunzhong... All are the objects of the law, Kun Cavity, Emblem Tone, Han Tone, all for my use. Before the liberation of Shanghai, "Qi fans praised him as "Doctor Almighty", which made some sense.
Some audiences are only exposed to his performances in his later years, so they know that he is good at exclusive Qipai dramas, but they do not know that he has a lot of family treasures for Tanpai dramas, and the means of portraying characters in them have never been seen in the so-called "authentic Tan sect" in general!
During the War of Resistance Against Japanese Aggression, he was trapped on an isolated island, and even the stage play "Wen Suchen" performed for a long time. Secondly, for the newly compiled "Hatred at the End of the Ming Dynasty", each song to "the merchant girl does not know the hatred of the country, and sings the backyard flowers across the river", the emotions in the audience are intense, and the applause is thunderous. At the same time, it is also mixed with traditional old dramas. For example, "Beating sticks out of the box", when the north corner went south, this drama was most famous for Ma Lianliang and Tan Fuying. Zhou Xinfang "should not let go" and also frequently posted performances. Fan Zhongyu's shape alone is very different. He appeared in the sound of "slow new silk", his face was painted with oil, he was stunned, his upper body was stiff, his sleeves were hanging down, he did not move, his legs were separated, his heels were fixed at a fixed distance, he stepped on the gong and drum, he walked to the mouth of Kowloon, he stood still and half sounded, and then when the scene began to "tie, tie, and barn", he turned his eyes, looked at the sides, and sang "Found in front of the mountain and behind the mountain", a crazy man's dementia, a living dragon, realistic. Compared with the style of Ma Lianliang's right hand plucking the pleats, pacing the square step, and then rolling up the left water sleeve, looking at the back and singing, it is completely different. Ma's emphasis on a dashing and graceful figure focuses on the angry side, while Zhou's highlights the side of being over-stimulated to the point of nervous disorder, which is three points into the wood, and the audience is self-evident. I was born late, and I did not look at Tan Yu, but the names and beards below Tan Yu all witnessed but none of them looked like Zhou. If Tan's performance was not this year, then it must be Zhou's other machine. Zhou Chongtan learns from Tan, and dares to innovate, thinking of infinite admiration.
Zhou Xinfang as Mei Bo in "List of Fengshen Gods"
Learners often deliberately delve into the vocal cavity, and believe in the precepts of "point to the point" for workmanship, learners do not hesitate to operate in a dismal way, and singing workers "do not seek merit, but seek no fault", and there are many people who have committed this disease for decades! The author has always had the idea that if a talented actor can set "Tan Singing Qi Do" in one, is it not beautiful and set up a new milestone in life? He once peddled this statement to his colleagues, but most of them opposed it, or they refuted impurities, not donkeys and not horses, or ridiculed foreign strange talk, and wanted to get into it. I have always insisted that this is not only possible, but also from the perspective of development. Tan Pai singing voice, since Yu Shuyan created the peak, since then no one has surpassed it, Qi Pai worked, from the zhou family died, it is no longer difficult to find better than the blue, why? Where art is founded at the peak of the genre, the younger generations also tend to learn from him step by step, and if they want to surpass, it is not as good as "mountains and rivers are doubtful and there is no way", only by opening up another path and establishing a mountain on their own can we achieve the good situation of "another village of willows and dark flowers".
Old audiences who have watched Zhou's "Wen Zhaoguan" should remember that Wen Donggao Gong "Could it be Wu Zixu?" When terrified, he sang "Don't kill the King of Ping, how can my heart be at peace!" "The anger rushes to the crown, the passion of the shooting, assuming that the young people of the Yang Sect who learned later can boldly use the strong rhythm of the Qi Sect, will "Wen Zhaoguan" still sing the plague? The total score is only better than Yang Baosenli! Thinking of the Meipai youth, if you are willing to pick the water sleeve dance posture of Zhao Rongchen of the Cheng Sect, Wang Yinqiu's "Tears of the Barren Mountain", and Shangpai Yang Ronghuan's "Fushou Mirror", is it not the icing on the cake?
Reverie has such a young man with a big ambition, Yu Qianxian is Mei Chengxun Shang, and then people are all families and factions, integrated and self-contained, then it is necessary to become a world-recognized A sect. This is the broad road of development of the genre.
Mei Lanfang and Zhou Xinfang's "Baolian Lamp"
I don't admit that "Peking Opera is aging", she is still young, only more than a hundred years old. Her development is still abundant in the future! We appreciate the remarkable achievements of Tan Yuqima and Mei Chengxun, but we cannot "stop at the ancient literature". Art stops developing when it reaches the pinnacle of perfection. In the praise of the older generation of artists, there are inevitably "words of affection", but we must try to control the "words of affection" so as not to lead to blind worship. We may wish to calmly review, "the ruler is short, the inch is long", the ancestor of the famous genre is not "the Dharma is boundless", the unambitious person who has been a lifelong unambitious person, and has no skill? Young people must remember that The Duke of Zhuangyuan is not necessarily a good master, he does not have the kung fu to teach you, poor Xiu is a good gentleman, because he has not met in his career, he can be poor.
While respecting the achievements of their predecessors, young people should also see the limitations of their times, dare to criticize their shortcomings, and measure the depth of their height and depth at the level of today's theatrical theory, then you will find that in their normative actions, some things are no longer in line with the requirements of the times. Therefore, learning Tan Yu Qi Ma or learning Mei Cheng Xun Shang is like practicing characters to learn Wang Xizhi, taking its charm and beauty and abandoning its failure. Learning genres is to play good characters, not to play genres!
(Drama Newspaper, No. 8, 1984)