Jin Caifeng: Mo Shuo Yu Female Peak Head Cold

"Panfu" Jin Caifeng as Yan Lanzhen

◎ Solution three quinoa

Fans have not calmed their mood from the blow of the death of "Zhang Sanmeng" Zhang Jiqing, and they have heard the news that Jin Caifeng, the founder of the Yue Opera Golden School, has died of illness, and the north wind of Sanjiu in 2022 is really extremely cold and ruthless.

In the 1980s, Zhao Jingshen and other opera researchers compared Liu Yue'e and Cui Shi in "Rotten Keshan" after observing the performance of Jin Caifeng's "Cai Lou Ji", believing that both were young women in the cold kiln, and using Peking Opera to determine the business was both green clothes and flower shirts, the range of movements was relatively large, and the personality was flamboyant, so they had high hopes for Jin Caifeng to try to play Cui. After learning of this evaluation, Jin Caifeng said that he was more willing to continue to process the roles he had played, not to mention "Dream" and "Forced To Rest", Zhang Jiqing and Liang Guyin had already performed the name, why should they go to grab food.

This answer is frank and modest, not to argue, it is indeed her characteristic, even her famous "Panfu", which was also learned in the 1953 Beijing Show, temporarily assigned by the superiors, and "drilling the pot" within a few days. The opening gong and drum sounded, Jin Caifeng was still hesitating, Yuan Xuefen pushed her out of the Jiulongkou, and only then did she have the later "Living Lanzhen". At that time, sitting in the audience was Premier Zhou, who had always been concerned about literary and artistic work.

Unlike Yuan Xuefen and Fan Ruijuan, the founders of the first generation of Yue opera who were about ten years older than her, Jin Caifeng was a female middle school student who had never sat in a science, and was admitted to the Xuesheng Theater Troupe led by the two in 1946. At that time, the Xuesheng Theater Troupe had begun to rehearse a large number of new plays, and the students could only watch and learn from the sidelines, and Jin Caifeng's initial business was Xiaosheng, such as "Panfu", which naturally did not learn. Who would have thought that more than ten years later, this tall, thin little girl played the boudoir lady who needed to wrap a big head in those traditional plays, sang two and made three water sleeves, learned a little bit, realized the doorway, and performed a piece of her own strength.

Before 1949, Shanghai's "small radio stations" blossomed on all sides, which was an important medium for the dissemination of opera art, and famous actors could also attract audiences for new plays by running radio stations in addition to live performances. The teachers are famous after the radio, Jin Caifeng is the first to go on the radio after becoming famous, her voice is wide, the various genres of Shengdan have learned to fake the truth, the listeners first noticed the golden style in the radio waves, and then noticed the golden style on the stage, and wrote to the troupe to suggest that she change to singing Hua Dan. Coupled with the famous characters resting in summer, sick rest, various opportunities together, around 1950, Hua Dan Jin Caifeng, Lu Ruiying, Xiaosheng Ding Saijun as the "Three DingJia" of the Dongshan Yue Art Society, gradually became familiar to the audience, and their respective styles also began to emerge.

Audiences familiar with Yue opera know that Jin Caifeng's singing voice is mainly taught by Yuan Xuefen. Listening to her and Ding Saijun's 1956 quiet recording of "Meeting in the Nunnery", at this time both of them were under thirty, full of strength, Jin Caifeng's singing was sticky and playing, the four-work tune at first sound was all "Yuan Wei'er", and listened carefully to the shadow of the earlier "Queen of Yue Opera" Shi Yinhua, and the nasal sound was already quite skilled. The "seventeen years" of opera performances are booming, and the growth of opera actors is also rapid. When the movie "Dream of the Red Chamber" was filmed in 1962, Jin Caifeng played Wang Xifeng, the role was important, but there were not many scenes. A piece of "Yesterday's Magpie Noise in the Building" of Dai Yu for the first time, the melody is basically maintained in the midrange area, "the granddaughter in front of the knee" "to eat to use" a few sentences of frequent use of a sharp downward tone, bright and cheerful, the Jinpai singing voice has matured, a song outlines Wang Xifeng's "inside the tip to the outside light".

The movie "Jasper Hairpin", which was filmed in the same year, made another girly show portrayed by Jin Caifeng famous in the sea. The high-density vibrato and crying in the large section of the "three covers" show that Li Xiuying's love and hate for her husband are intertwined, and she is aggrieved and unwilling, and she is gentle and moving, no wonder she was known as "God Xiuying" when she performed in Hong Kong, and when she went to Hong Kong again in 1980, she also hung her stomach for the audience, and wanted to post "Send the Phoenix Crown" to feast on enthusiasm. Although the film can reach a wider audience, it is a pity that the lens cut dissolves the elaborate stage scheduling in this complicated singing in a certain sense, and the style of the performance can only be traced through the laughter and applause in the live recording.

After Returning to the stage in the 1980s, Jin Caifeng left a wealth of video materials in various repertoire working with actors of different genres, at this time, people were old and had slightly different flavors. For example, in "Panfu Sov", even from the recordings in the 1950s and 1960s, Yan Lanzhen's self-sustaining identity as the palm of the Xiangfu at this time can be found. Later, when the play was rearranged, Jin Caifeng, with the support of her husband Huang Sha, who was also a famous Yue opera director, reorganized Yan Lanzhen's personality logic, the water sleeves were more dazzling, and the performance style turned more spicy and unrestrained. Eavesdropping on Zeng Rong's self-lamenting clapping hands and crossed his waist, sitting on the table and crying when searching for sofu Sofu, has greatly exceeded the performance threshold of Tsing Yi and even Hua Dan, and the industry has been controversial, but the audience has always reacted warmly, and it has also left different versions of the post-learning of this genre, which can take their own strengths.

Jin Caifeng played more of everyone's boudoir shows when she was young, and the Liu Yue'e, Yan Lanzhen, and Li Xiuying, on whom she became famous, were not all big misses who were only nuonuo and delicate, especially had ideas and execution, and the character personality complemented her fiery and delicate performance style, full and sharp singing style, and in addition to the yuan pai of the sullen inner show and the fierce and infatuated Fu Pai, a new market segment of Yue opera Danjiao was created. She does not have a special fixed partner with xiaosheng, but there is no doubt that Lu Jinhua, who has a cold and stable style, can best match hot and cold and achieve each other. Whether it is the old drama of Yue opera, the "Panfu" before and after the heavy singing, or the "Commenting on snow identification" transplanted from Sichuan opera and singing less and more, the attack and defense are different in just one fold, the two mouths are arrogant and delicate, a chicken flying dog jumps, the drama rhythm is sharp and appropriate, and the stage effect and laughter are very prominent.

In addition to cooperating with the masters of the Xiaosheng school, Jin Caifeng, as a predecessor, also made useful attempts in the co-performance of Yue opera, leaving behind new historical dramas such as "Empress Hanwen" and "Three Ladies". The two greatly broadened the space for Jin Caifeng's character shaping, she went from boudoir to lady, and also continued the exploration of female political leaders in Yue opera since "Zetian Emperor". However, just like the "Soul Song" and "Gentleman in the Flowers" created in the same period, the protagonist retreats from the leader who is mainly responsible for the construction of values to the sister or wife who strictly adheres to the value of male roles and is responsible for assisting, which is also a characteristic of the times. Absorbing the depression of Shao opera, "Empress Hanwen" and "Three Ladies" also enriched the song library of Jin Pai singing strings down- and down-tuned, but unfortunately the performance was quite difficult, the former "Confessing Brother" was also occasionally seen after learning to play in the platter performance, and the latter was almost extinct on the stage, which was more rare than Xu Pai's "King of the Northland" and Yin Pai's "Prodigal Son".

Jin Caifeng has a shy and introverted personality, and she can play a lot of reasons that the troupe leaders at that time and the senior sisters were forced out to teach them little by little, but the establishment of the genre style was her own continuous exploration and active learning to accumulate layers. In "Baolian Lantern", Liu Yanchang inscribed a poem for the Three Madonnas, "Mo Shuo Yu Female Peak Head Cold", the premise is that "there are still rooftop medicine pickers", and the later study may not be able to break the high place of the founder of the genre, but at least it can break the threshold of some difficult plays and cold plays, every day "officials are like the moon in the sky", then you can only be a moon star. Image source: Shanghai Yue Theatre