When it comes to drama in China, it is bound to talk about Beijing Renyi and "Tea House", and when it comes to Beijing Renyi and "TeaHouse", it must be inseparable from the name.
So he performed more than 400 teahouses in his lifetime, and from the day he was led into the drama door by Mr. Lao She, he was ready to contribute everything with his life to the stage.
However, Ma Ge's wish to wrap the body was ultimately disappointed, so he suffered from severe Alzheimer's disease in his later years, he could not remember the lines, did not remember the movements, and did not even remember where he stepped down...
In such a lonely and depressed situation, so he stepped on the stage of "The Tea House" for the last time, and he did not know whether the audience would be harsh, pity, or disappointed.
<h1 class= "pgc-h-arrow-right" >, the last scene</h1>
So the last time he stood on the stage as Wang Lifa was in 1992, when he was 65 years old, the year of the 40th anniversary of the establishment of the Beijing Ren art institute.
This is not a very high age, but his cerebrovascular disease and Alzheimer's disease have been so serious that it affects his thinking and performance, his face will twitch constantly, his mouth cannot fully express what he thinks, and he still insists on saying goodbye to the art, the audience, and the stage.
July 16 is just a normal day for most people, but it is a meaningful day for yes and his loved audience.
After this day, the so version of "Tea House" Wang Lifa became a masterpiece. "The Tea House" has always been a hard ticket to get, not to mention that this is the closing performance of this.
Spectators waited at the ticket gate with dry food and benches, waiting from daytime to early morning or even all night, just to say goodbye.
The curtain had not yet been lifted, the bells of the theater had not yet sounded, the auditorium was not as noisy as before, and people were trying to suppress their voices and whisper, waiting for the sacred moment to come.
In the video data, so he wore an ordinary white shirt and sat calmly in front of the mirror to put on makeup, which was no different from his performance before every time he played "Teahouse" on stage.
After putting on makeup, he came to the back of the stage, touched every prop with his hand, said goodbye to his old guys, and always looked calm, until he picked up the abacus on the table, and those seven or eight beads made his heart uneasy, unwilling, and miscellaneous.
The theater bell sounded, the curtain opened, the audience all waited with bated breath, Boss Wang stood at the counter and wiped the table with his hands and feet, and then he added tea and water to the customers, and lectured the shopkeeper...
Even the audience who came with the idea of "I want to see it" could only see Wang Lifa, the owner of the teahouse, and forgot about it. This is the audience's perspective, so what about on stage?
So after the trip flowed through a period of time, suddenly there was a fear in his heart, and the lines that reached his mouth evaporated in an instant, and at this time, The blue sky wild skillfully took over.
For a moment, looking at Zheng Rong, his mouth began to squirm, but he could not call out the "Fourth Master Chang", and when the sweat fell like rain, he began to panic, but with his stage experience, only the careful audience found that his hands and feet were trembling.
This is the most proud and confident thing on the stage, this is his curtain performance, and he once had a lot of fun on the stage, so this time he felt deeply afraid.
A handful of paper money was thrown to the sky, Wang Lifa turned around with his belt, and the curtain slowly closed.
So he walked to the backstage, that back shadow desolate sadness, not only the tragedy of "The Tea House" brought about by the depression, but also the indelible sorrow in his heart, he was frustrated by his own clumsiness and powerlessness, he was pained by the fact that this farewell with the audience could not be perfect, and he truly realized that he could no longer play "The Tea House".
<h1 class="pgc-h-arrow-right" > second, the curtain closed</h1>
The curtain opened again, and the applause was thunderous, so he slowly walked to the middle of the stage to close the curtain, this thank you, more than his apology, always frowned and did not let go.
Suddenly, someone in the audience shouted, "Goodbye Teacher!" And then one man, two people, fifteen people... The whole audience was shouting, "Goodbye Teacher!" "Yes hello!" Yes goodbye! "
So two lines of hot tears crossed his face, and he took a few steps forward and bowed deeply, and the applause lasted for a long time, until his figure disappeared on the stage.
Somewhat in a trance, he went down to the backstage, saying "The audience is too tolerant, too tolerant", the tears were still flowing, and his legs were soft and crashed into a wooden door, fortunately he was supported.
Exhausted, the car left the theater, still standing at the door of the theater to bid farewell, and the crowd gradually turned into a vague dot, so he said softly: "I feel a little sorry for the audience." "
He regretted and regretted that he did not get out of the car to meet the audience again, and for this, he wrote a special article to apologize to the audience.
Years later, he was gone, and the audience was still obsessed with his performance in that performance. In fact, many viewers have watched "The Tea House" countless times, and the lines are even more backwards, so they have already seen the mistakes.
If this is the result of a 40-year-old, or if this is a 65-year-old who is not sick, the audience who loves him will definitely criticize him fiercely, but before the 40-year-old and therefore the other is not sick, the audience will not be able to fault the slightest mistake.
He was sick, he was too sick to go on stage anymore, he was so sick that the audience who was very strict with him could not bear to blame him, so how could this friendship with the audience not be touching?
<h1 class = "pgc-h-arrow-right" > three, actors and audiences</h1>
The actors and the audience are mutually accomplished. The purpose of the actor's performance is not to be self-congratulatory, the audience wants to see literary and artistic works to enrich their lives, and it is inseparable from the actor's interpretation.
So he was lucky to meet Lao She and "The Tea House", which is a great literary work, so he was also lucky to meet a group of audiences who understood him, loved him, and tolerated him, so that more than 400 performances could be remembered and circulated.
It is also fortunate to meet the audience, who is worthy of the stage, worthy of the performance, worthy of the people and the art, through his interpretation, leaving the audience with the most shining diamond in the crown of Chinese drama - "The Tea House", he has always sincerely performed for the audience.
The actor has the audience in his heart, but he can't "lick" the audience on his knees, he can't flatter the audience; the audience likes the actor and can't coddle the actor, which is difficult to do today, but then he and the audience who love him do it.
He Bing said that when he first entered the art, he couldn't understand how good the acting was, but he didn't dare to say that he was not good, and the audience did not laugh, and the applause was more like giving honor.
After many years and countless plays, I found that the greatness of this is that I never pandered to the audience on the stage.
He never doubts his performance for the audience's laughter or non-laughter, applause and non-applause, and does not change the best way of performing for some false name, which is the conscience of the performance, and this is the responsibility to the audience.
The audience will not say that the performance is not good, so they themselves feel that the audience has love for themselves and a very strict side.
A good audience makes a good actor, and a good actor brings good works to a good audience. Today's audiences miss it, not only because they regret not seeing such a good performance again, but also because the audience is not satisfied with today's actors and themselves.
Thus put forward higher requirements, the audience through nostalgia, in the appeal is: today's actors do not perfunctory audience, cut pictures, do not memorize lines, squeeze eyebrows and stare such industry chaos can not be less.
Can actors demand more of themselves; the audience should stop referring to deer as horses, stop exaggerating poor acting skills as "acting skills bursting", and provide the most objective and true feedback to the actors, so that they can really improve.
Good audiences are still looking forward to the emergence of good actors like this, and there will be good works like "Teahouse".
Text/Wen Shi Wangwang