I'm not a ticket fan, and I rarely even make it to the box office. It's not that I don't like to sing, but there is really no time, my work is not something I can control, three days of fishing and two days of drying nets, it is inevitable that people feel insincere, at most it is hilarious, it will inevitably annoy people for a long time, simply do not participate. But occasionally I will go in and obediently sit in the corner and listen to a few paragraphs, and a good box office is also very contagious and enjoyable.
What is a ticket holder? It refers to amateur Peking opera actors and pianists. Ticketers can't charge money for singing, which is a rule. According to legend, the children of the Eight Banners of the Early Qing Dynasty used the "dragon ticket" of the imperial court to sing the children's books in various places to make voluntary propaganda for the Qing Dynasty. Later, amateur actors who did not get paid were called ticket holders. Ticket friends "turned positive" (became a professional actor) is called "going to the sea", and now when I say "going to the sea", I think it is business.
Throughout the history of Chinese Peking Opera, there are many people who have become famous tickets and "going to the sea" to become a family and establish a school:
Zhang Erkui, originally the "Du Yongsi" of the Ministry of QingGong, often made cameos as a ticket friend in the "Hechun Class", and later lost his job before "going to the sea", because of his good talent and voice, he soon became a famous character. Together with Cheng and Yu, he is known as the "Old Three Masters".
Sun Juxian, born into a merchant family, repeatedly failed to try, cast a pen from Rong, and awarded Hua Ling three pins of military merit to hou Dusi. He often performs in various class clubs and becomes a famous ticket. Later, he "went to the sea" and hugged the "Angong" old student drama alone. At the age of 90, he can still perform on stage in Beijing and Shanghai, and is known as the "Last Three Masters" with Tan Xinpei and Wang Guifen.
Liu Hongsheng, originally an apprentice of a knife and scissor shop in Beijing, loved to learn the singing of Mu Fengshan, and was instructed by Jin Xiushan to officially "go to the sea". Because of his lameness, he is not good at doing work, and he is good at singing. Later, he changed to singing Lao Sheng, and often reversed the string of public dramas.
Yan Jupeng was a former recorder of the Qing And Mongolian Tibetan Academy. Because of his addiction to old Tan, he studied under Chen Yanheng. In 1923, he accompanied Mei Lanfang to Shanghai to perform cooperatively and officially went to sea. He has a high literary attainment and a deep study of the rhyme of words. Drawing on the singing methods of Qingyi, Lao Dan, Xiaosheng, local opera and Jingyun drums, he gradually formed his own artistic style. Together with Yu Shuyan, Gao Qingkui and Ma Lianliang, he is known as the "Four Great Su sheng".
Xi Xiaobo, worshiping Master Yan Jupeng, and mei Lanfang carried him, and officially went to the sea. He is extremely exquisite in biting words and voicing, and his singing voice is unique, which has been respected by the majority of opera fans, and he is known as the "last four major students" with Ma Lianliang, Tan Fuying and Yang Baosen.
Chen Dahu, who was employed in the Hangzhou Highway Bureau, co-starred with Mei Lanfang as a ticket friend in "Silang Visits His Mother". After officially going to the sea, the private Shu Yu faction, together with Meng Xiaodong and Li Shaochun, was known as the "Three Masters of the Yu Sect".
Li Zongyi, in his youth, joined the box office of the Zhongnan Drama Society, and worshiped Wang Yusheng, the "ticket king" of Tianjin, as a teacher. After "going to the sea" to worship Bao Jixiang, he played a high-school drama, and also collected Yu and the length of the horse.
Li Jiazai, under the guidance of Yan Jupeng, was active in the ticket industry and officially "went to the sea" in 1960.
Gong Yunfu, who practiced jade in his early years, entered Xiaohong Kuiban to make cameo performances, first learning Lao Sheng, and then changing to Lao Dan singing the big axis.
There are also Xu Yintang, Wang Xiaonong, Wang Youchen, Guo Zhongheng, Sun Junqing, Zhao Xinpei, Jin Zhongren, Woyun Jushi... The list goes on and on, but the number is considerable.
There are more tickets without official "going to the sea", and it is better to mention a few old gentlemen:
Sun Chunshan, Danjiao ticket holder. He served as Langzhong of the Qing Army. Proficient in musical rhythms. Mei Lanfang's singing designs such as "Sacrifice river" and "Wu Zhaoguan" are all written by Sun.
"Owner of the Red Bean Restaurant", named Ai Xin Jue Luo Pu Dong. Wen Wu Kun chaos is omnipotent, and the six fields are transparent. Acting in "Heroes of the Crowd" can play the triangle of Zhou Yu, Lu Su and Jiang Gan. He also has a deep knowledge of cultural relics appreciation.
Cheng Junmou, Xi Lao Tan Pai, is also good at playing the piano. Chen Yanheng's guidance, absorbing the strength of Yu Pai's voice cavity, Meng Xiaodong also got his guidance, which was very prestigious.
"Xiashan Landlord", real name Han Shenxian. He has also asked Chen Yanheng about the art and has interacted with many veteran actors. It is very researched on the old Tan school singing voice, and the charm is mellow.
It is worth saying that the "going to the sea" of ticket holders is often more difficult and bumpy than the actor who comes from the art department. In addition to being more diligent and diligent in art and more cautious in dealing with the world, it is even more inevitable to be excluded and teased by some actors in the same industry. From the historical materials and memoirs, we can see Tan Xinpei mocking The contemporary Liu Hongsheng, Yu Shuyan ridiculing the contemporaries Yan Jupeng, Xi Xiaobo being ridiculed, and so on. Although on the art of art, what is said may not be completely false, but if the other party is not from a ticket friend, he will always leave some affection.
The current world's fans are also in a different situation. Some can spend thousands of dollars and invite famous people to share the stage; some can write books and biographies and do their best to inherit the essence of the country. Of course, it is more of an obscure, drama-loving person. I sincerely respect every fan who truly loves traditional arts and dedicates himself to Peking Opera, whether old or young, beautiful or dormant, rich or poor.
Some actors said to the ticket fans: "Singing, you are playing, it is a rice bowl for us." It is said that ticket holders are "play tickets", and in my opinion, most ticket holders do not "play" easily. Having said that, no matter how good "play" is, it is not a rice bowl, but it is something that cannot be given up and cannot be separated for a lifetime. Isn't this a valuable and cute place for ticketers?