In the history of the Peking Opera circle, what kind of person is the real Tan Yuanshou?

Mr. Tan Yuanshou, a famous Peking Opera performance artist, Peking Opera master, the fifth generation of Tan Xinpei, a famous Peking Opera artist, a Peking Opera Master, a Peking Opera Tanmen descendant, a famous actor, Tan Xinpei's great-grandson, a famous actor in Peking Opera, a famous actor in Peking Opera, a famous actor in Peking Opera, a famous actor in Peking Opera, a famous actor in Peking Opera, a famous actor in Peking Opera, a famous actor in Peking Opera, a famous actor in Peking Opera, a famous

He once said to himself, "I'm not an artist, I'm a famous actor at best." On the shores of Yangcheng Lake, located in the southeast of Changshu City, Jiangsu Province, in the green curtain of the reeds, the soldiers of the New Fourth Army and the people of Shajiabang jointly composed a magnificent war poem. In the 1960s and 1970s, the well-known Peking Opera modern drama "Shajiabang", which sang all over the country, told the legendary story of the anti-Japanese resistance that occurred in this area. In 1971, the Peking opera "Sha Jiabang" was put on the screen, and after he settled down, Tan Yuanshou became a household name because he successfully played the role of Guo Jianguang, and he also became an idol of the people of that era.

Guo Jianguang's singing section is very difficult, and some of them are even all high octave singing voices, which requires very high singing skills of actors. Tan Yuanshou relied on his solid foundation to sing this character to the whole country, and set a record of forty consecutive performances, and other roles in the play have changed different actors, except for Guo Jianguang, who has always played the role of Tan Yuanshou. When Tan Xiaozeng and his father went to the reeds to experience life in order to rehearse this play, the environment in which they lived was really simple, how do you shape this character, that in addition to the shaping of the appearance, there is also an inner shaping. Modern drama seems to be very easy, but in fact it is very difficult, they experience life, go to the army to exercise, rehearse over and over again, they are a thousand hammers. Among them, they also suffered a lot and took a lot of detours. The role of Guo Jianguang is undoubtedly the heaviest of the characters played by Tan Yuanshou, and participating in the performance of "Sha Jia Bang" is also the most influential activity of his life, especially after "Sha Jia Bang" was filmed into a color movie in 1971, which was almost a household name. It is said that this Tan Yuanshou successfully shaped the character of Guo Jianguang, but how can he successfully shape it, in fact, Tan Xiao once felt that the shaping of a successful character and the establishment of a successful repertoire were not just a leap, he must have this accumulation for many years to successfully shape an actor. Take his father, for example, he has been picking classes in Shanghai since he was twenty-one or two years old, and he can pick and sing for two and a half years. With the accumulation of many plays he said, only then did he have the successful shaping of Guo Jianguang in the end, and only then could he be recognized and loved by the vast audience. In 1928, as soon as Tan Yuanshou was born, he was destined to shoulder the heavy responsibility of inheriting the art of the Tan school, and he grew up in a Peking Opera family with three generations of his grandfather Tan Xiaopei and his father, Mr. Tan Fuying. Since childhood, there is an artistic environment that others do not have, when he was ten years old, his father Tan Fuying sent him to Fuliancheng to learn art, during the study of the class, Tan Yuanshou was like everyone else, from running dragon sets to gradually playing supporting roles and protagonists, he learned literary drama from teachers such as Lei Xifu, Wang Xixiu, Zhang Lianfu, Liu Shengtong and so on; Learn martial arts from Wang Lianping, Shen Fugui, Ru Fulan, Qian Fuchuan and other teachers, all of whom are outstanding teachers with rich teaching experience, many practical experiences on the stage, and who enjoy a high reputation in the society, and they have laid a standardized and solid artistic foundation for Tan Yuanshou. After learning two hundred plays, one hundred literary plays, and one hundred martial arts plays, his achievements today are the profound foundation he laid in the seven years of Fulian Chengke Class. In 1945, Tan Yuanshou ended his seven-year class life, and after leaving the department, he went south to the north to set up a class, starring in supporting actors, literary and martial arts, ups and downs, enduring countless experiences, exercising a strong skill, and becoming an all-rounder Peking Opera martial artist and old master since the 1950s and 1960s. Tan Yuanshou and his father often told him that you don't have to read more books, and you concentrated on reading this book of "Three Kingdoms", "Three Kingdoms" and "Nations", which is of great help to you on this stage. At that time, I didn't quite understand how Zhuge Liang should act in the Three Kingdoms drama, what kind of person he was, at that time, the teacher who studied drama with the teacher did not tell you what kind of mood this Zhuge Liang was, when was it, whether it was the Three Gu Maolu or the Lost Street Pavilion, the Horse Chopper, anyway, it was the Three Kingdoms. Anyway, his father told him that he had read the book and it really helped a lot.

In the performing arts of Peking Opera, Tan Yuanshou pays attention to the eclectic and continuous improvement, which is also the inheritance of the fine tradition of Tanmen's predecessors. After Tan Yuanshou returned to Beijing with his father, he joined the Beijing Peking Opera Troupe, and at that time, under the glory of the five top brands of Ma, Tan, Zhang, Qiu and Zhao, he not only made green leaves for them, but also starred in a large number of excellent traditional plays and modern plays.

Tan Pai art combines literature and martial arts, whether it is the actor's innate voice conditions or the foundation of acquired skills. Mr. Tan Yuanshou not only has the best conditions to inherit the art of the Tan School, but also has accumulated profound artistic experience and rich performance experience in order to accumulate years of artistic practice and outstanding artistic skills, which has achieved his outstanding social and historical status in contemporary times. Tan Yuanshou loves and admires Li Shaochun's performing arts the most, Li Shaochun's plays are almost a must-see for all plays, even to the point of fascination, Li Shaochun's solid foundation and both literary and martial arts have become the goal of his struggle. "Playing the Golden Bricks" is Li Shaochun's unique repertoire of that year, which has both heavy singing skills and difficult action skills. In 1988, at the Auspicious Theater, the sixty-year-old Tan Yuanshou performed "Playing Gold Bricks" for the last time, and his clean and atmospheric performance skills surprised four seats.

In the 1990s, Tan Yuanshou participated in the performance of the Peking Opera Audio and Video Project, and successively made nearly 50 recordings and record appearances for his great-grandfather Tan Xinpei, grandfather Tan Xiaopei, master Yu Shuyan, father Tan Fuying, and master Li Shaochun, making important contributions to the rescue and protection of traditional cultural heritage, leaving a priceless treasure. In 1996, Tan Yuanshou recorded the performance of his father Tan Fuying's performance "Asking the Trees to Fight the Stick Out of the Box", at this time he was already an old man who was nearly old, and resolutely completed the difficult skill of turning over the hair in the play. There is a hanging hair, a hanging hair, the director is afraid, because he is more than seventy years old, to find a stand-in, and when the hanging hair is turned over, let the stand-in turn over, all ready, dressed up, all to the time to turn over the hanging hair, suddenly he thought, he said I am giving my father a picture, not to others, let others flip the hanging hair for me, I am unfaithful and filial piety, I want to say something bad, I fell to death, he did not let the substitute body, he was still his own flip of the hanging hair, at that time to everyone frightened.

Tan Men Peking Opera can be passed down for seven generations, is to rely on the moral spirit of the art of the lineage, Tan Yuanshou throughout his life humble and low-key, he resolutely does not allow others to call him a master, a famous artist, he always said that he is a lifelong hard to pursue, always sincerely learn from the Peking Opera tradition and the famous masters of the predecessors of the Peking Opera actors, he sincerely respects the tradition, respects the audience, sincerely misses the predecessors, enthusiastically promotes the youth. Li Shujian said, (At that time) he suddenly answered a phone call, the phone he saw was a phone call in Beijing, there was no name, the middle of the phone said, are you Comrade Li Shujian, Li Shujian said yes, he said which one are you, he said I am Tan Yuanshou, an actor from the Beijing Opera House, he was so excited that he sweated on the ground and came out, at 10 o'clock in the morning to call him, fourteen minutes, praised him a few words on this call. Watching TV to see him (Li Shujian) this trilogy of "Cheng Baby Rescue Orphans", "Qingfeng Pavilion", "Su Wu Muyang" do not know, but watching this drama, especially shocked. As the fifth generation of Tan Men, Tan Yuanshou took the promotion of Peking Opera art as his responsibility throughout his life, paid attention to the inheritance of Tan School art, and more than 80 years old still insisted on performing on stage to make an example for future generations, until the age of ninety, he still did not forget to care about the development of opera. Tan Yuanshou once said, "His own responsibility, the greatest responsibility, he thinks that it is not that I still sing every day, that I cannot sing, that one of my most important responsibilities is to pass it on to them, and these disciples, my descendants, will pass on to them what they know and do not bring to the coffin." Not only must we pass it on to them, but we must also pass it on to them, from generation to generation, so as not to live up to the great hopes of the party and the people for us and to give us (them) such a high honor. In May 2019, Tan Yuanshou, then 91 years old, together with Tan Xiaozeng and Tan Zhengyan, took the stage of the Capital Theater and participated in the "Talking About Art and Talking About Beijing" opera culture sharing meeting jointly organized by Beijing Youth Daily and Beijing Renyi, and the three generations of Tan Men shared the story of the Tan family's more than 100 years of ups and downs for the audience. On that day, Tan Yuanshou was very interested, and he and his old friend Lan Tianye co-performed and talked, and took the stage to speak. "I am very happy to inherit the art of Peking Opera with you, and I hope that more young audiences will like Peking Opera." Tan Xinpei represents the peak state of the maturity of Peking Opera and creates a situation in which there is no birth and no Tan. Many of the later old schools were derived from the sect founded by Tan Xinpei. As a descendant of Tan Men, Tan Yuanshou has played an important role in the art of Tan Pai Laosheng, and in his 80-year artistic career, Tan Yuanshou has dedicated many vivid character images and wonderful performances to the Peking Opera stage, full of love for Peking Opera art, and completed his life.

Although Mr. Tan Yuanshou has gone west with a crane, his voice and smile will always remain in people's hearts, and his art and virtue will be forever treasured in the treasure house of Peking Opera art by future generations, such as the immortal green pine on the top of Tai Mountain.