Cheng Yanqiu is one of the giants filmed in "A Hundred Years of Great Masters and Peking Opera".
"100 Years of Masters and Peking Opera" was launched on July 13, 2015 at the Mei Lanfang Memorial Hall. Guangming Network, People's Network, CCTV Network, Xinmin Network and others reported on the launching ceremony.
Reading Chen Yanheng's "Tan Spectrum", there are difficulties in Mr. Tan Xinpei's old mr. Tan Xinpei saying that the performance of "crying" and "laughing" in the play, although there are some insights, it is a pity that I can't understand it. Therefore, the analysis of the substitution is as follows.
Lao Tan said, "Crying and laughing is the hardest in the play, because it is difficult to be realistic." But what is the fun of making it true? It can be seen that on the one hand, Lao Tan wants to perform "crying" and "laughing" like the real thing, on the other hand, he is afraid of crying and laughing like the real, which is too uninteresting. This side of "thinking" and "afraid" on the other side is the contradiction in the hearts of the old artists. He felt very embarrassed, and he could not say the root cause, and there was no way to solve it. Although Chen Yanheng praised Lao Tan's words well, he did not know why. He just feels it, and he can't say I can. That wouldn't solve the problem.
Chen Yanheng
To solve this problem, it is first necessary to point out that the performance method of opera is two-tiered. That is, such as singing, chanting, crying, calling, everything about the mouth. The first layer is the rhythm (scene) of the music, and the other layer is the heart and mouth of each actor. The cooperation between the two sides is indispensable.
Some mediocre and incompetent actors only recognize one side (like Bao Lao, who is old and old, and Lu Mou of Qingyi). Just singing according to the public program is finished, and the heart is not moving. However, famous artists must take care of both sides, such as Lao Tan of the Old Life Line, Yao Weng of the Qingyi Line, etc., on the one hand, in accordance with the rhythm of the public, while exerting their own soul and oral methods. This is complete art.
Although Lao Tan, Yao Weng and others have become famous actors with their inner performances, they cannot focus on their inner performances and abandon the rhythm of music and public laws (the rhythm of music and public laws are good weapons for actors to leave an impression on sadness without stimulating), they play "laugh", and those who should "laugh" must also "laugh"; to play "cry", they must also use "crying head" and "calling head". We must not cry and laugh freely like "drama".
Tan Xinpei and Wang Yaoqing's "Fenhe Bay"
The performance method of the drama is single-layered, there is no music on the scene, there is no singing rhythm, and it is necessary to really laugh and cry. "Really laughing" is OK, "really crying" the audience really can't stand it. That was the answer to Old Tan's words, tasteless.
In addition to drama, it is "Zizi" and "Bungee". Although these operas also have scenes and rhythms, their instrumental music and singing voices are fundamentally strongly stimulating, coupled with the actors' efforts to seek truth, so that the cries are deafening. As "Heavenly Occasional Hearsay" says: "It is like weeping, smelling shocked." That is to say, the cry gives the audience an unbearable feeling of suffering.
It must be pointed out that drama is art, and those who appreciate opera buy tickets to enter in order to seek spiritual comfort. What is expected is pleasure, not stimulation of the nerves.
Or that opera has a large plate of tragic stories, and sadness is indispensable to "crying". The artist really cries with his heart, as long as it is in line with the drama, it is the responsibility of his performance. It is necessary to express both sadness and pleasure for the audience. However, sadness and pleasure are the opposite. Isn't it too difficult to juggle both sides?
Beijing Opera's answer to this question is "not difficult". It can be done on both sides, and it can be seen how exquisite and correct the role of musical rhythm and the use of the art of Peking Opera are.
The "crying" and laughing in the play were all regular. "Laughter" has three laughs, a single laugh, an interactive laugh, an overlapping laugh, a big laugh, a sneer, a miserable laugh, and an obscene laugh. "Crying" has a head, a cry, a double cry, a single cry, a cry of singing, a cry of chanting, and the rhythm of music.
We must pay attention to the "laughter" of Beijing opera, which is indeed a bit like the truth. Such as the laughing "haha", sneering "hey hey", it is really not much different from the real laughter of ordinary people. And "crying" can't.
There are "tears" in real crying, and crying in the play never needs real tears.
Crying with great sorrow only raises or increases syllables in crying, calling the head, or chanting, and never really cries and shouts.
Why can "laughter" be like the real thing, but "crying" not like the real thing? Just because "true laughter" does not produce bitter stimuli, while "true crying" strongly disturbs the nerves. Therefore, "laughter" can be true, "crying" cannot be true, which is also the precise subtlety of Beijing opera.
For example, the legal field of "The Book of the Golden Lock" is a great unjust prison, and when it comes to the critical point of punishment, the sadness has reached the extreme. In fact, it is inevitable to cry and cry. But the performance of art does not need those. The recitation of only four verses of the poem, with a low tone and gentle music (small gong), expresses the sadness of "extreme swallowing". Then pick up a paragraph of anti-two yellow, the so-called "miserable sound bitter festival, refreshing heart card". This adopts the "artistic method" to deeply convey the mourning of the deputy middleman to the audience, so that they naturally have a sad impression and produce empathy.
Cheng Yanqiu and Sun Futing's "The Golden Lock"
Because it is expressed through the method of art (the rhythm of music), there is only empathy, no bitterness, only pleasure, and no stimulation. In this way, the task of "taking care of both sides" and "the best of both worlds" (this is the most ingenious and correct performance method of Beijing Opera. ）
There is also a "crying hall" like "Visiting Mother", there are many people on the field, each of whom has different degrees of kinship for Shiro, and they have reached the juncture of life and death. Among them, mother and son, brother and sister, husband and wife, a family of flesh and blood, young and old men and women, all kinds of voices, all kinds of sorrow. Only with all kinds of crying, shouting, singing, one by one, layer by layer, in an orderly manner. What the audience feels, on the one hand, is that the sadness of the people in the play has left a deep impression; on the other hand, the opera has such a delicately organized rhythm and has such a complete expressiveness, which produces the beauty of art.
Except for Beijing opera (Pi Huang), it is not easy for any drama genre to complete such a task. Of course, zizi and commentary cannot be done, even the so-called "elegant" Kun opera cannot be done.
The more serious the drama and the commentary (jumping) are, the more difficult it is to hear, and the more intense the inner performance, the more people can't stand the stimulation.
Kun opera is just the opposite, no matter what the tragedy, the words and sentences are always "gentle and elegant". The breath is always "comfortable and quiet", the tone is always "melodious", and although the audience does not feel the stimulation, it does not get the impression. The zizi makes the nerves shook and restless, and the Kun cavity numbs the nerves, which is called "too much".
(Xu Lingxiao)
Source | "Cheng Yanqiu Drama Anthology"
Declare | The copyright of the article and the picture belongs to the original author, the source has been indicated in this public account, if there is any infringement, please contact us, that is, to deal with it
CCTV-1 "Evening News" reported that the "Century-old Giant Peking Opera Chapter" was launched
On July 13, 2015, the launching ceremony of "A Hundred Years of Great Masters and Peking Opera" was held at the Mei Lanfang Memorial Hall in Beijing
On July 13, 2015, at the launching ceremony of "100 Years of Masters of Peking Opera", Mr. Yang Jingdao, producer and chief planner of "100 Years of Masters", took a group photo with Mr. Mei Lanfang, the son of Mr. Mei Baojiu, the famous Peking Opera performance artist Mr. Mei Baojiu, the son of Shang Xiaoyun, the famous Peking Opera performance artist Mr. Shang Changrong, the famous Peking Opera performance artist Ms. Du Jinfang, the disciple of Xun Huisheng and the famous Peking Opera performance artist Ms. Sun Yumin
Producer | Hou Xuan
Art Editing | Magical conch
About us
The large-scale cultural project "Centennial Masters" is China's first large-scale series of biographical documentaries focusing on the masters and masters who made outstanding contributions to Chinese civilization in the 20th century, and is jointly produced by the China Federation of Literary and Art Circles, the Central Radio and Television Corporation, the China Academy of Arts, the Central New Film Group, the China Literature and Art Foundation, and the Centennial Masters (Beijing) Cultural Communication Co., Ltd.
"Centennial Masters" is the "Chinese Excellent Traditional Culture Inheritance and Development Project" of the General Office of the CPC Central Committee, the General Office of the State Council and the Central Propaganda Department, which has been selected for two consecutive years as the "Record China" communication project of the Propaganda Department (Information Office of the State Council), the key topic planning project of the "14th Five-Year Plan" documentary of the State Administration of Radio, Film and Television, the key documentary celebrating the 100th anniversary of the founding of the Party, the "Recording the New Era" documentary boutique project and the key documentary project (2018), and the major theme main line publicity and key topic selection project of CCTV. It is also funded by the National Arts Fund, the China Literature and Art Foundation, the China Art and Culture Foundation, the Beijing Municipal Government Cultural Innovation and Development Fund, the Beijing Culture and Art Fund, the Beijing Radio and Television Network Audiovisual Development Fund, and the Beijing Xicheng District Cultural and Art Creation Support Special Fund. It has won 9 documentary awards.
From 2013 to 2017, the filming of 43 masters in the first season of "100 Years of Masters" has been completed, which is divided into art, calligraphy, Peking Opera, drama, music and literature. The filming of 57 masters in the second season of "Centennial Masters" has been launched in 2018, adding science and technology, education, traditional Chinese studies, architecture, traditional Chinese medicine, opera and film, which are scheduled to be completed in 2021, when the "100 Years, 100 People, 100 Episodes" documentary, "100 Masters Special Exhibition" and "100 Books Publishing" will be used as a gift for the 100th anniversary of the founding of the Communist Party of China.
The completed documentary "100 Years of Masters" has been broadcast on CCTV (one set, three sets, four sets, nine sets, ten sets, fifteen sets, discovery channels, international channels), China Education Television, provincial satellite television, overseas television stations and other 134 TV stations at home and abroad, which have been widely praised and have repeatedly set a new high in the ratings of similar documentaries. "100 Years of Masters (International Edition)" is broadcast worldwide in 8 languages.
CCTV Market Research Co., Ltd. (CTR) in July 2020 According to the statistical results of CSM National Measuring Instrument, "Centennial Masters" reached a total of 10.2 billion people.
The series of books "100 Years of Masters" has been distributed to nearly 1,000 colleges and universities across the country for three consecutive years by the Ministry of Education, the Ministry of Culture and Tourism, and the Ministry of Finance as a "High Art entering the campus" study book.
"Centennial Masters" has become one of the most high-end phenomenon-level brands in the field of culture, and with its unique advantages, it has built an important platform for disseminating China's excellent traditional culture, interpreting and displaying cultural self-confidence, and practicing the core values of socialism.