Luo Yusheng
Luo Yusheng (1914-2002), stage name Xiaocai Dance, took the stage at the age of four, and founded the "Luo Pai" Jingyun art with round characters, sweet voice, euphemism and lyricism, and mellow charm, "Sword Pavilion Wenling Bell", "Ugly End Yinchu", "Hongmei Pavilion", "Zi period listening to the qin", "Heshi Bi" and "Reorganizing the Rivers and Mountains for Posterity" have become classics. She served as the president of the China Qu Artists Association and is the Taishan Beidou that everyone in the music industry admires, and her first half of life experienced very bumpy.
In 1914, when Luo Caiwu, a jianghu artist who changed tricks and played double reeds, performed in Shanghai, he bought a six-month-old girl and named her Luo Yusheng. Luo Caiwu is a native of Tianjin, so Luo Yusheng thinks that he is a Tianjin native. After she grew up, she analyzed that she may be a child of a poor family not far from Shanghai and somewhere in Jiangnan, who could not afford to be raised and sold to those who ran the rivers and lakes.
When he was four years old, Luo Yusheng and his adoptive father Luo Caiwu went in and out of the Shanghai Great World Amusement Park. At that time, there were many entertainment projects in the big world, Luo Yusheng liked Beijing opera the most, and also followed the study, sometimes learning from the old students, sometimes singing Qingyi, from this time on, she showed extraordinary talent, no matter what the play, once learned. Luo Caiwu's wife Leng Shi is a native of Zhenjiang, also from a poor woman' background, seeing that Luo Yusheng has this talent, he wants to earn money from her, desperately let her learn drama, and scolds her.
When Luo Caiwu performed the trick "Cleverly Changing a Living Person", he conjured Luo Yusheng out of the "digging", stood on the stage table, and sang "Three Niangs Teaching Son" or "Sand Mole" to the accompaniment of HuQin. Luo Yusheng don't look at the young age, but he does not shy away from the stage at all, rap singing, the applause from the stage is endless, and a lot of foreign money, silver horns and copper plates are thrown on the stage. At that time, people called the girl "Little Monster", and posted a poster at the door of the Big World: "Four-year-old little monster oratorio erhuang." ”
When he was five years old, Luo Yusheng went to Hankou with his adoptive father and performed in the People's Paradise and the Old Garden Garden, Luo Caiwu was still a trickster, and played double reeds with Yao Wenbin, Luo Yusheng sang Erhuang, and Yao Wenbin played the piano for her. At that time, the actors in Hankou were all famous actors from Beijing and Tianjin, Luo Yusheng heard Liu Baoquan's Beijing rhyme drum in the old garden, and also watched the performances of Bai Yunpeng, Jin Wanchang, Lin Hongyu and other actors, began to be fascinated by the big drum, and learned from Yang Haoting the two small sections of "Layer by Layer Seeing Joy" and "Zhaojun Out of the Plug".
She learned Beijing opera from Su Huanting, nicknamed Su Xiaobraid, for about five years, memorizing words, practicing singing, hanging her voice, practicing exercises every day, and learning forty or fifty Beijing operas, all of which were the highlights of the old students. Luo Yusheng is a genius, learning what accounting, it is not difficult at all, but also learned to pull strings, bang gongs, when the wenwu field is short of manpower, she can top.
In 1921, when Luo Yusheng was seven years old, Meng Xiaodong performed the newly edited Beijing drama "Xuantong ZhaoQin" in Hankou Yiyuan, which caused a sensation in the three towns of Wuhan and repeatedly performed for several months. In the play, when the emperor was married, Xuantong, played by Meng Xiaodong, the empress played by Bai Peony, and the wen and wu officials gathered on one side of the stage, and a small stage was temporarily set up on the other side of the stage, Luo Yusheng dressed up, and the inspection field lifted her to the small stage, shaking the feather fan and singing "Empty City Plan". Set up on the stage, string of plays in the play, even Meng Xiaodong was screamed for Xiao Luo Yusheng.
After that, Luo Caiwu returned to Shanghai, but could not make money, gold and silver jewelry were sold out, life was nothing, in 1926 he went to nanjing Confucius Temple, stayed in the Zhuangyuanjing Zhuangyuan Hotel, performed in the Qifangge Tea House, changed tricks, performed double reeds, Luo Yusheng was still singing Erhuang. At this moment, Luo Caiwu and Leng Clan fought, to be separated, the two fought for the child, Luo Yusheng returned to his adoptive mother, changed his name to Xiaocai Dance, and still performed on stage every day to earn money.
In 1931, when Luo Yusheng was seventeen years old, he changed his singing to the Erhuang Drum, that is, adding the Erhuang Singing Section to the Jingyun Drum. From Lan Yun's father, he learned "Fishing for Golden Turtles", "Listening to the Piano in the Sub-Period", and "Serial Counting", and learned the big drum with Wang Zhushan, who changed the tricks, and specially rushed to listen to the singing of Bai Yunpeng, Bai Fengming, Rong Jianchen, Jin Wanchang and others. Over time, the music industry rumored that she "stole art". Feng Zhibin, who studied Liu Baoquan, sang "Changsakapo", saw Luo Yusheng go, and Leng said that he had forgotten the words and did not sing down. When Liu Baoquan, the king of the drum industry, heard that Luo Yusheng was coming, he deliberately added a lot of gadge to deal with her "stealing art".
Later, Liu Baoquan's violinist Han Yonglu and two disciples, Yang Xiaofang and Li Yanxiang, came to Nanjing to perform, and Han Yonglu was known as the "Three-String Sacred Hand", with comprehensive skills, tight tone, and tight seams. He had always accompanied Liu Baoquan before, and also accompanied Liang Xiaolou, the little black girl Jin Huijun, Bai Fengyan, Bai Fengming and others, Fengyan and Fengming were Han Yonglu's apprentices. Luo Yusheng officially worshiped the master, which was included in the line of Jing Yun and had a portal.
At the age of 19, his adoptive father and adoptive mother died one after another, and Luo Yusheng was alone and unaccompanied. Two years later, she went to Jinan with her master Han Yonglu. At the same time as Luo Yusheng performed, Han Yonglu standardized for helping her, sorting out the singing sections such as "Great West Chamber", "Drumming and Cursing Cao", "Ancient City Society", "Seven Star Lantern", "Battle Changsha", "Jin Ding Scolding City", "Single Knife to the Meeting", "Zhao Yun Intercepting the River", "Burning Manuscript", "Crying Jade" and so on.
The two apprentices acted in Jinan for a year and came to Tianjin in July 1936. At that time, there was a saying circulating: "Those who sing Beijing opera cannot be recognized by the Beijing audience, and those who sing music cannot be praised by the Tianjin audience, even if they are popular all over the country, they are not hung up and cannot stand." Luo Yusheng had long wanted to come to Tianjin to practice and to occupy a place in the Tianjin music scene.
After arriving in Tianjin, he took the Taikang Shopping Mall Xiaoliyuan (then called Song and Dance Building) as a base, and at the same time rushed to the fifth floor of Zhongyuan Company and recorded on China Radio. Before long, her singing art was recognized by the Tianjin audience, and she gained a foothold in Tianjin, and the name "Golden Voice Song Wang Xiaocai Dance" appeared on the neon signs and posters. After that, Luo Yusheng began to use Tianjin as a base to push the art of Jingyun big drum to a new peak.