Hu Shensheng
Tan sent the name of the ticket Cheng Junmou
Mr. Cheng Junmou
It was in Beijing at the beginning of the twenties. At the entrance of a theater garden, a striking poster was posted, which read: "Mr. Cheng Junmou and Xun Huisheng cooperate." This poster caused a lot of repercussions among ticket holders and fans: according to the writing format of the poster, Cheng Junmou was undoubtedly a ticket friend, but there are not many people who know which way he is. When he first arrived in Beijing, he shared the stage with the famous Xun Huisheng, and Cheng Junmou's play was so good?
No "going to the sea"
Who is this Cheng Junmou? How could he come to Beijing to sing?
Cheng Junmou, born in a feudal bureaucratic family, ranked fourth. His father, Cheng Songwan, was a former Marquis of Qinghu Province. At the same time, he also served as the president of Yuelu Academy, one of the four famous colleges in China. Now a couplet at the second gate of Yuelu Academy in Hunan Province, "Na Yu Da Lu, The Famous Mountain of Tibet", is his father's handwriting. At that time, his father led the whole family to live in Hankou. Cheng Junmou lived in such a family of officials and eunuchs, and it was logical that he should follow the path of eunuchs like other children. But he didn't have the heart to do this, but he was fascinated by Peking Opera since he was a child. First time learning flower face. He was only nine years old when he first appeared on stage, playing Zhou Ju in "Three Evils". Later, he changed to an old student and specialized in Tan Pai. As he grew older, he acted more and more plays, and his artistic deeds became more and more refined, becoming a famous ticket in Hankou.
If a ticket fan wants to make a real name, he also has to go to Beijing to meet the audience, and Cheng Junmou feels more and more that he needs to get the guidance of a famous teacher, so he leaves to go north and worship under Chen Yanheng. Along with him, he also studied with the famous old students Su Shaoqing and Yan Jupeng. He was serving in the Senate at the time. In his spare time, he went to Chen Yanheng to learn drama and learn huqin at the same time. In the future, he often performed "Lost Space Chop", "Air Force Mountain", "Drumming and Scolding Cao", "Catching and Releasing Cao", and other Tan Pai dramas, all of which were elaborated by Chen Yanheng.
Cheng Junmou "Empty City Plan"
Cheng Junmou's commitment is both high, and he is willing to work hard to study, and his artistic level is improving day by day. Especially when performing on the same stage with Xun Huisheng, he successfully "passed the hall" for. Recognized by the Beijing ticket industry, so the reputation is getting bigger and bigger. At that time, many friends who were laymen and laymen urged him to simply "go to the sea." Cheng Junmou himself was also quite moved. At this time, a telegram from Hankou completely shattered his dream of becoming an actor. It turned out that the news that Cheng Junmou had sung red in One Fell Swoop in Beijing had not gone away, and it had reached his father's ears. "What? The fourth elder actually sang a business drama in Beijing and went to the sea? His father usually disapproved of his children learning to sing Peking Opera, believing that this belonged to the "lower three abuses". I heard that Cheng Junmou actually wanted to go to the sea, how could the old man not be angry?
At that time, in such a family, the father's decree was irresistible. Cheng Junmou, who had made a name for himself in Beijing, had to pack up, bid farewell to his mentor Chen Yanheng, and return to Hankou. Since then, he has never dared to think of "going to the sea" again. However, his interest in Peking Opera has not weakened, and he still studied the art of Peking Opera assiduously, acting in many plays as a ticket holder, and winning the titles of "Hankou Tan Xinpei" and "Living Kong Ming" in the ticket industry of Hankou. Famous drama critics Liu Juchan and Xu Muyun also initiated and compiled a "Cheng Junmou Special Issue" to comprehensively introduce Cheng Junmou's artistic achievements.
Ticket drama anecdotes
Among the four famous dans of Mei, Cheng, Shang and Xun, Cheng Junmou not only performed on the same stage with Xun Huisheng, but also had an unforgettable cooperation with Cheng Yanqiu. Cheng Yanqiu and Cheng Junmou are the same as the four, and both are surnamed Cheng, and the two "Cheng Fourth Masters" performing "Ertang Shezi" together has become a good story in the Hankou ticket industry.
Although Cheng Junmou never went to the sea in his lifetime, people generally regarded him as an expert. He learns a lot, sees a lot, knows a lot, has a very wide abdomen, is good at the protagonist's supporting roles, and knows all the scenes of literature and martial arts. Two of these things show one of his artistic talents. Once, Meng Xiaodong posted "Catch and Release Cao" at the China Theater in Tianjin, and specially invited Cheng Junmou to play the piano for him. Ma Liankun, a flower-faced actor who plays Cao Cao, deceives Cheng Junmou as a ticket fan, and when singing the sentence "Hate Dong Zhuo's dictatorship and chaotic chaogang", he did not wait for the door to finish opening. Although this kind of singing is also available, it is generally communicated with the organist in advance. Now Ma Liankun is so "looking at Lengzi" to come here, he is deliberately trying to test how capable Cheng Junmou is. Fortunately, Cheng Junmou was well-informed and experienced on the spot, and at the moment he steadily entrusted Hu Qin to the scene, did not withdraw the soup, did not leak water, as if he had confronted the actors beforehand, this time, Ma Liankun had to look at Cheng Junmou differently.
Cheng Junmou, Rui Debao, Qian Baosen and Wang Fushan took a group photo
In the 1940s, Tan Xiaopei brought his son Tan Fuying to Shanghai to perform, and when he was parting, Tan Xiaopei proposed to perform "Qingfeng Pavilion". Among them, the old Dan He clan should be counter-stringed by the harlequin as usual. This can be anxious to spoil Liu Binkun, who is known as the ugly name of Jiangnan. Liu Binkun has acted in this play many times, but it is all on the same stage as Zhou Xinfang, and now Tan Xiaopei proposes to play "Qingfeng Pavilion", and the Zhang Yuanxiu he plays is naturally the Tan Sect of Chengjia Xuezong. Qipai and Tanpai, one south and one north, the number of performance roads is not exactly the same. Seeing that he is about to take the stage, where to learn the Tan School's "Qingfeng Pavilion"? Just when Liu Binkun was in a hurry, Mr. Sun Luan invited Cheng Junmou to elaborate on Tan Pai's "Qingfeng Pavilion" for Liu Binkun. When Liu Binkun and Tan Xiaopei played against each other before the official performance, the two cooperated tacitly. This surprised Tan Xiaopei. Liu Binkun couldn't help but say, "How is your Qingfeng Pavilion in the south the same as the north?" Liu Binkun smiled and said, "What can I do, I just drilled the pot with Fourth Master Cheng (Junmou)."
Tammen passed on the salary
In terms of disseminating and inheriting the art of the Tan school of Peking Opera, Cheng Junmou has done a lot of useful work. In 1928, Cheng Junmou's father led the family to move to Shanghai. Before coming to Shanghai, Cheng Junmou made a special trip to Beijing to bid farewell to his teacher Chen Yanheng. Chen Yanheng placed great hopes on Cheng Junmou going south, and he instructed Cheng Junmou to carry forward the art of the Tan school of Peking Opera after he arrived in Shanghai. After Cheng Junmou arrived in Shanghai, he always kept in mind the teachings of his mentor. First, he devoted himself to tutoring and cultivating students. Among his students, the first was Meng Xiaodong, a female elder who later became an excellent descendant of the Yu Sect. During Meng Xiaodong's questioning of his art, he devoted himself to teaching "Catching and Releasing Cao", "Beating Drums and Cursing Cao", "Touching Monuments", "Empty City Plan", etc., which laid some foundations for Meng Xiaodong to inherit the mantle of Yu Shuyan in the future. Chen Dahao, another descendant of Yu Shuyan, also rushed from Hangzhou to Shanghai, and through the recommendation of friends, studied a lot of drama under Cheng Junmou. Sun Yue, the famous Yu Pai old student of the Beijing Opera House in China, was still 10 years old, accompanied by his father Sun Junqing, to Cheng Junmou's home to study "Lost Space Chop". Until now, Sun Yue sang some of the singing voices in this play or cheng Junmou said it that year. No wonder that after Sun Yue became famous, he mentioned that his Master Mengshi still did not forget Cheng Junmou. Mr. Mei Lanfang and Cheng Junmou were also very close, and had repeatedly advised Cheng Junmou to go to the sea. In the 1950s, he specially let his daughter Mei Baoyue learn a play "Nanyang Guan" from Cheng Junmou. Until the 1980s, Mei Baoyue still remembered this teacher-student friendship, and once when she met with Cheng Junmou Zhesi and the famous film actor Cheng Zhi in Beijing, she also recounted with emotion the experience of learning drama from Cheng Junmou.
Second, I was invited to record a large number of records. At present, Shanghai People's Radio still has his "Changing Sons of the Law Field", "Sitting in the Palace", "Qin Qiong Selling Horses" and so on. Mr. Wu Xiaoru, a famous drama critic, wrote in the "Peking Opera Old School Review · In the "Tan School", Cheng Junmou and others were once evaluated: "Xu Liangchen and Cheng Junmou in the south, and Han Shenxian (the lord of Xiashan) and Wang Yusheng in the north are all famous people who have a deep understanding of the art of the Tan school, and they have made contributions to the preservation and dissemination of the Tan school's singing voice and the Tan performing arts." The records they recorded are also valuable historical materials for the study of Tan Pai's singing art. Mr. Wu Xiaoru's evaluation is relatively fair and in line with the facts.
Third, it has compiled and published a lot of music scores for Tan Pai opera. After liberation, Cheng Junmou, together with Cheng Zhi, at the request of Yu Zhongfu of the Shanghai Culture Publishing House, spent several years compiling such famous Tan Pai dramas as "Lost Space Chopping", "Catching and Releasing Cao", "Beating Drums and Cursing Cao", "Li Ling Monument", and "Juding Guanhua". These plays are all sorted out by Cheng Junmou, Cheng Zhiji. For a while, the father and son worked day and night, spending most of their spare time on this, and what these scores recorded was not only the singing voice, but even the costumes, recitations, appearance positions, and figures of each character in the play were clearly explained, which was very conducive to the inheritance and dissemination of these plays. Thus, book one was published. It has been welcomed and praised by professional workers and ticket holders, and some have been reprinted. Regrettably, "Changing Sons of the Law Field" and "Nanyang Guan" have not yet been sorted out, and the Cultural Revolution began, so the scores of these two plays have not been able to meet with the vast number of readers.
Cheng Junmou was born in 1893 and died on February 5, 1967, at the age of 74.
Shanghai Drama 1991-03