Yesterday (the 22nd day of the second lunar month) was Liang Guyin's 80th birthday. Because the community is temporarily closed, everyone cannot celebrate her birthday, and the students can only send the cake to the gate of Liang Guyin's community.
Liang Guyin is still rehearsing at home, although the performance of "Nei Pei and Yun Sheng Shi Hua Zhang Lan Yuan Love", which was originally scheduled to be performed on the Yifu Stage in April, will be postponed. According to the plan, Liang Guyin will present "Si Fan", a story about youth, which belongs to the girl who can't be held up.
From the age of 12 to 68 years, Liang Guyin has experienced life from the people in the play, and also used his life experience to show the transformation on the stage: "Life is such a process. From the beginning of learning one, two, three and four, to learning five, six, seven, eight, and even ten million. Then back to the thousand, back to the hundred, back to the ten, back to the one, back to nothing. From nothing to something, from something to nothing, and finally left — the soul. ”
Three young beauties entered the room. The atmosphere of the rehearsal hall is bright.
The first girl, a pair of apricot eyes on the face of the white goose egg, was vivid, and her voice was full of anger. The second girl, pretty and elegant, looked happy between her brows, with a timid attitude. The third girl, with better skin and a plump body, revealed a boyish heroism in her demeanor.
They all have their hair simply tied, wearing black sweatshirts, sweatpants, white exercise shoes, and a colored face, but it is difficult to hide the outstanding facial features and eyebrow charm, making you feel that even if you put them in a large group of people, you can still recognize them at a glance. After all, they were admitted to the drama school, and then became the actors of the Shanghai Kun Opera Troupe, studying art for more than ten years, and they were selected from the middle level of tens of millions of people.
One day in early spring, these three young actors from the Shanghai Kunqu Opera Troupe came to the rehearsal hall in order to prepare for the actor's examination, so they specially invited Teacher Liang Guyin to sit in the hall.
Teacher Liang came. Freshly permed short mane, red lips, red nails, after taking off the purple down jacket, is a sweater with big red roses on a white background, each flower blooming, covered with an orange cardigan. Liang Guyin skillfully turned on the air conditioner, then found a chair on the edge of the rehearsal hall and sat down, taking a small sip of the coffee brought by the students, signaling the three actors to start without saying much.
The first girl, playing the red lady, sang "Good Period" in "The Tale of the West Chamber". The second girl, playing a little nun, sang "Si Fan" in "The Book of evil seas". The third girl, playing Dou E, sang "Chop E" in "Dou E's Grievance". The fragment of each person is about a quarter of an hour. After singing, it was commented by Liang Guyin. But sometimes halfway through the performance, Liang Guyin would also stop, go forward to correct some action details, and personally demonstrate.
Liang Guyin was born in 1942, and now she can no longer squat so low, and she has to be slow when she gets up, but those words still come out. She sang the little nun's yearning for life and demonstrated the loyalty and innocence of the red bride. At this moment, she did not put on makeup, in terms of age alone, she exceeded any youth in front of her for half a century, but in the instant action, the eyes flowed, the fingers moved slightly, but more like a girl than any beautiful person in front of her - not the form of the girl's "white and thin", but the girl's irrepressible liveliness, the fearless vitality, it was really wonderful.
She grasped that abstraction.
【Sifan】
Many people know that Liang Guyin was born in Zhejiang.
In order to escape the war, Liang Guyin's mother gave birth to this girl in a cave surrounded by mountains in Jinhua, Zhejiang Province. In early spring, drizzle, empty valley orchids, mountains echo the cries of babies, and educated mothers name her "Gu Yin".
But many people don't know that Liang Guyin actually grew up in Shanghai. She spent her childhood on Shanyin Road in Shanghai's Hongkou District, and then left the city with her parents and returned to her ancestral hometown of Chengguan Town, Xinchang County, Zhejiang Province, to buy land to live. Changes in the world may have various impacts on the lives of adults, but in the eyes of children, they only feel fresh and interesting. Liang Guyin later recalled the journey back home: "Suddenly the world became so small, it didn't take much time to run from the east of the city to the west of the city, and then from the west of the city to the north of the city." But my little world is on the contrary tens of times, hundreds of times, thousands of times bigger..."
However, the second year after returning to his hometown, his father passed away. The mother hurriedly sent the only remaining boy in the family, the younger brother, to the grandparents' house in Hangzhou for foster care. The rest are girls, except for the eldest sister, who is already studying and boarding, and the remaining three are still young. One morning, the mother woke up her three young daughters, dressed them in foreign clothes, gave each of them a fritter that could only be eaten normally, and then led them out of the city gate to The Wanfu Nunnery under the corner of the western wall of the city.
I saw the female masters in the Buddhist hall sitting on the upper left, and in the middle sat the master who was in charge. The 3-year-old little sister was brought up, the abbot shook his head and said "sin, too small", the 4-year-old big sister was brought up, the abbot shook his head and said "too fierce". Liang Guyin instantly understood the intention of coming to the nunnery and never dared to look at the masters again. At this point, all you can hear is "Giggle... This is good, this is good, hee-hee..."
In this way, Liang Guyin was left in the nunnery. This year, she was 8 years old.
The mother sent her two little sisters to a rural farmhouse, and then returned to Shanghai alone to work as a draftsman in a badminton factory. Since then, families have been scattered and separated.
Liang Guyin, who remained in the nunnery, was allowed to continue her schooling during the day and return to live in the nunnery at night. Sometimes at night, seeing the four big Kongs on both sides staring at each other, Liang Guyin was frightened to go into the crazy nest that scared her during the day, and never dared to stay alone in the room again.
Four years, spent in the morning bell twilight drum and cigarette vegetarian food. In the early 1950s, my mother, who was working in Shanghai, heard about the establishment of the East China Opera Research Institute and the opening of a training class for Kunqu actors. It is said that the meals and clothes of the candidates are all in place, and the mother thinks of Liang Guyin, the most suitable of the children, and entrusts her daughter to take her daughter to Shanghai for the examination.
Fate flowed, so that Liang Guyin returned to Shanghai, with intelligent comprehension and a pair of natural talking eyes, was admitted as a member of the Kunda class. Many years later, when she was praised for her role as a lively little nun in Si Fan, she was asked if her childhood experience in the nunnery had made her more understanding of the character's personality.
Nearly half a century after leaving, Liang Guyin once returned to Wanfu'an. At that time, it had become the Xinchang County Taxation Bureau. She later wrote in her essay: "Those few wooden houses and temples have been transformed into pavilions for tourists to enjoy. Jeans, beach pants, and fashionable Chinese and Western costumes filled the park, making me unable to recall the gray robes, black hats, and black cloth shoes of the teachers and nuns at that time. The fruit tree still exists, but it is old and weak, and it can no longer bear fruit. The rhythm of karaoke dispels the depressing sound of bells and drums. (Liberation Daily, October 27, 1992)
It is said that after liang Guyin was gone, the old mad nun only saw a long-distance bus driving outside the nunnery gate from then on, and chased after him desperately, shouting:
"Come back! Don't go! Learning drama is too hard, I let you study! ”
【Good Time】
In 1954, Liang Guyin entered the Kunqu Training Class of the East China Academy of Opera and became the first batch of students recruited by the training class (that is, the Kunda Class).
At the time of enrollment, the teachers of the Chuanzi generation, who had been scattered everywhere and thought that they would never have the opportunity to contact Kunqu opera again, were once again gathered together, and they cherished this job that was worthy of loss and recovery, and also threw their life's skills and full of love to these teenage children.
Among them, some teachers used to be stars on the stage, and when the curtain came out, there were wives who threw out gold rings. Some teachers themselves are legends of the Pear Garden family. But for Xiaoliang Guyin, from the nunnery to the earthly world, what she remembers is the kindness of the teachers——
Teacher Zhu Chuanming "pampered us to the point of indulgence, everyone was noisy in class, the teacher secretly went out to buy ice bricks, and he was afraid that the school leaders would know that they would be criticized, so he put on a yellow raincoat, and his hat and pockets were filled with cold drinks, and he let everyone eat comfortably behind closed doors, and then obediently listened to his class." At night, the teacher paid for it himself and added fried noodles, cakes, chocolates and other spices to the children who performed the performance.
Teacher Zhang Chuanfang's flute was mischievously put on cigarette ash by the students, "As soon as the teacher blew, the ash was stained with a face." But the teacher did not make a sound, wiped his face clean with a handkerchief, and then took out a box of matches and said to us: 'Sing a song once and take out a match.' We thought it was funny, so we did it, singing it and taking one, waiting for a box of matches to be lighted, and the song was memorized. At the same time, I couldn't help but feel a sense of shame, and I never fooled around again. Later, I heard that Zhu Chuanming bought ice bricks for students to eat, Teacher Zhang did not say anything, the next day when he entered the classroom, he brought a few pounds of candy, put it on the table, picked up the flute, and said lightly, "After class, I will divide it."
Also, Hua Chuanhao, who always wears a straight tweed Zhongshan suit and polishes his shoes to spotless, does his own thing in order to teach everyone to act, but at that time, the young boys and girls in the class were embarrassed to carry each other, so liang Guyin jumped on his back. "After all, the teacher is a person fifty miles away, in case there is a mistake, how to get it." Teacher Hua's stiffened tunic was crumpled, his pants were covered with mud footprints, and he was sweating and panting. ”
There is also Yang Chenyin, who said that "that big belly needs three boys to surround it with their hands, and the purring in the middle of the night can shake the ocean room". He was a screenwriter and consultant to the drama master Ouyang Yuqian, and was proficient in ancient Chinese, so he was responsible for teaching Tang poetry, Song Ci, and the Three Character Classic. But the children often went to pat Teacher Yang's belly and pull his long beard, and he had to look at everyone and smile bitterly, shake his head, and say in his mouth: "In the future, I will regret it!"
Children who study drama are all residential. At the New Year, the other children all went home, except for the homeless Liang Guyin, who was accompanied by Teacher Yang who stayed behind in the empty building. Two men burned a piece of meat in a kerosene stove, put a few eggs on it, and cooked a bowl of noodles, and the two men each told about their lost relatives.
Teacher Shen Chuanfang, who lost her daughter, took care of Liang Guyin, who was the same age as her deceased daughter. Teacher Shen taught her Danjiao drama, added clothes and leather shoes for Liang Guyin, and sent hot water bottles in winter. "He was happy that I was good at art, and he was angry that I wasn't angry. During the time of natural and man-made disasters, his own son ate green vegetables, but I had two poached eggs every day. ”
Before I came to study drama, I heard that I would be beaten up when I studied drama. But when I arrived at the training class, I found that the teachers really regarded these students as treasures in the palm of their hands.
It was also because of the dedication of these masters that the students of the "Kunda Class" later shone brightly, and famous artists such as Cai Zhengren, Yue Meiti, Hua Wenyi, Zhang Xunpeng, Ji Zhenhua, Wang Zhiquan, Fang Yang, Liu Yilong, and Zhang Mingrong emerged.
Many years later, Liang Guyin went north to learn opera from Peking Opera teachers and was shocked: their traditional rules are so strict. Students must stand and learn drama without drinking a sip of water, and Peking Opera master Yu Lianquan does not smile and is daunting. But even such a serious teacher, as soon as he heard that Liang Guyin was a student of the Chuanzi generation, he immediately looked at him with astonishment and carefully taught it. A month later, when Liang Guyin, who was studying art, bid farewell and returned to Shanghai, the teacher also invited Liang Guyin to eat a delicious Lu dish.
【Idiot complaint】
Liang Guyin himself has grown into a person who impresses the audience.
In 1956, Liang Guyin partnered with Teacher Zheng Chuanjian and acted in "Uncle Drama", playing "Pan Jinlian" for the first time. On this day, there were Lou Jicheng, Jiao Huang, Zhu Xijuan and so on who came to watch the play. After the play, Lou Jicheng pointed at Liang Guyin and said, "This child is born a 'Pan Jinlian'. The eyes of the senior teachers flashed with the surprise of encountering talents, but for Liang Guyin, who was only 14 years old, this sentence was particularly harsh: "Why am I a bad woman?" ”
But perhaps Liang Guyin herself did not realize that the tenacity to leave the family early and live alone created an irrepressible vitality for her, like a grass drilled out of a stone slab. From a business point of view, she has no problem playing a boudoir, but in terms of temperament, she can inject different vitality into female characters with complex personalities. It seems that lou Jicheng's words defined her sex, and since then, these roles have become the representative roles of Liang Guyin.
After that, Liang Guyin starred in Cui Shi in "Rotten Keshan", bitterly guarding a husband who had tried many times, forcing her husband to divorce her husband but high school, when her husband splashed water in front of the horse to show that it was difficult to continue the frontier, he wanted to perform that kind of demented helplessness.
Liang Guyin also starred in "Butterfly Dream" in the Tian family, in front of the spirit of the deceased husband Zhuang Zhou, it is difficult to suppress the spring heart, obsessed with Wang Sun, and even in order to save Wang Sun, he plans to split her husband's coffin, to reflect the entanglement and intense psychological struggle in it.
Liang Guyin also starred in Yan Boxi in "Water Margin", even if he married a good man like Song Jiang, he gave up his life and pursued his love.
These women may not be strong enough, not kind enough, not loyal enough, not selfless enough, but they are real, have desires, have desires, they want to live, they want to love, the desire to live overwhelms etiquette, they are not simple evil "faces", nor can they be attributed to the "innocence" under external pressure. Liang Guyin has a unique path and gives life to complex characters, "a few more pity, a few more hate".
Photo by Kim Jeong-geun
After decades of stage career, Liang Guyin has constantly asked this question with his own interpretation. She read Tovon's famous book Anna Karenina and wondered about the mentality of the heroine in Flaubert's Madame Bovary. People in the play are stupid, people in the seat are stupid, and people on the stage are even more stupid. She uses "waist" to show "demons", and also uses "accuracy" to interpret "complex". This is literature and art's percussion of human nature.
For this reason, Liang Guyin won the title of "character actor", won medals and honors, and won master fans such as Chen Congzhou, Xie Zhiliu, and Chen Peiqiu for himself. Chen Peiqiu wrote an inscription for Liang Guyin, and Chen Congzhou's way of "brushing rockets for Aidou" was to leave traces of "immovability" in Shanghai—when he designed the Yu Garden Garden, he named one of them "Guyinjian".
On March 31, 2019, on the occasion of her 77th birthday, Liang Guyin starred in the full book "Pan Jinlian" for the last time. This time, 63 years have passed since she first performed Pan Jinlian. In a period of time, many fame and fortune in the outside world have dissipated, but the people in the play are still so impulsive and distinct, always young, naïve, and mercurial.
Just offstage, the masters and fans have gone one after another. On January 6, 2022, Kunqu opera performance artist Zhang Jiqing passed away. Due to the epidemic, Liang Guyin was unable to go to Jiangsu to send it. In the Shangkun rehearsal hall, watching the new generation of young actors walking around like flowers, Liang Guyin said: "It is time for our generation to leave the stage one after another. ”
【Dream Hunting】
In early spring, the spring is cold. On this day, when tutoring three young actors in the Shangkun rehearsal hall, Liang Guyin repeatedly emphasized a concept: "Don't move so much." ”
When explaining to the actors who played "Si Fan", she said: "The character of this character is lively, but you have to be stable. ”
When explaining to the actors who played "Good Time", she demonstrated: "There are movements here, but there is no need to move for movement, and there is no need to move. Be clean and clear, and the 16-minute "Twelve Reds" should be completed in one go, so that the audience can move for you. ”
When directing the actors for "Chopping E", she said: "When I was a child, I saw Mei Lanfang acting, and I didn't necessarily have a large number of movements, as if I didn't move. But a scene is lined up, and it is not boring at all. 'Don't move much, but move everywhere', this is the master. I just thought that now many Kunqu lovers come to learn drama, and novices prefer passages with a lot of action, because the action can cover up the lack. I understood that this 'hyperactive' is the student, and the style of the horn is 'not moving'. ”
Photo by Jiang Diwen
The seemingly slow movement of kunqu opera actors will eventually point to a sculptural still freeze frame. There is a subtle difference between the two concepts of whether the movement between the freeze frame and the freeze frame is embodied in the action or the dynamic.
Therefore, in the rehearsal hall, Liang Guyin's ear lifting life can be heard continuously: "Too much movement", "to collect", "don't sprinkle", "you don't skim", "collect" and "mention".
I asked one of the young actors, "Of all your teachers, is Teacher Liang fierce or gentle?" ”
The young actor laughed, thought about it, said: "Go to the heart", and added: "She prefers you to move less, and feel more moving and stirring." ”
After sending the young actors away, Liang Guyin said: "This understanding must also be something I have slowly figured out as I have grown older. When I first started learning Kunqu opera, I definitely started practicing from the basic skills and pursuing the placement of each action. But this year, I have been studying drama for 68 years, and now let us old actors pursue the flexibility of movement and the expression of limbs, which is definitely not as good as youth. However, you have accumulated decades of experience in acting, and the experience of the role is in your bone marrow and blood. ”
The skin and flesh may age, but the strength in a person will not be consumed, and it will even become more prominent with the passage of time.
On October 1, 1949, Xinchang County in eastern Zhejiang celebrated the National Day. Liang Guyin, who had just entered elementary school, and his classmates twisted and sang and danced around the town for two hours. The people on the side of the road and the People's Liberation Army that entered the city saw it and clapped their hands. Someone pointed at Liang Guyin and said, "This one wears a green vest and dances best." "This time Liang Guyin jumped even harder, and when he got home, his legs couldn't be lifted, and his green vest was soaked with sweat." But I was so happy. The next time I want to jump, I will be so happy. ”
Destined that she would be able to eat this bowl of rice.
Shangkun offers
Shangkun Rehearsal Hall. After the people dispersed, Liang Guyin got up, turned off the lights, turned off the air conditioning, and sorted out the chairs that everyone had just sat on. When she touched the back of the chair with her finger, I remembered seeing a message from a Kunqu opera fan on the Internet, so I said to Liang Guyin:
A fan of the play met Liang Guyin while riding the bus, and the two sat in the front and back rows. Liang Guyin got up when he got out of the car, and the hem of his clothes rubbed his fingers on the armrest of the back row of fans. So the fan excitedly wrote: "That is the closest distance I am to Liang Guyin." ”
After listening to it, Liang Guyin hurriedly said: "Does he mean that I touched him and forgot to apologize?" ”
I said, "No, no, that's not what it means. His message was to express his excitement, and he did not expect to see his favorite Kun opera masters on the bus. ”
Liang Guyin said: "Famous people also take the bus every day." ”
She put back on a long purple down jacket and put on her hat. At this moment, the tough Liang Guyin and the stubborn Liang Guyin were wrapped in the coat. She was going to hurry away.
Liang Guyin wants to go to her daughter's house and cook for her granddaughter. It was a real girl, under the tutelage of Liang Guyin, who was also learning Kunqu opera. Girls of different eras will face similar expectations and difficulties in fate. Women in different situations have also shared the same understanding to a certain extent. Their presence makes the future difficult to tame, and only in this way, life becomes promising.
Liang Guyin said: "Life is such a process. From the beginning of learning one, two, three and four, to learning five, six, seven, eight, and even ten million. Then back to the thousand, back to the hundred, back to the ten, back to the one, back to nothing. From nothing to something, from something to nothing, and finally left — the soul. ”
Liang Guyin
A first-class actor, he graduated from the first Kunqu Opera Actor Class of Shanghai Opera School in 1961. Shi Chengzhang Chuanfang, Zhu Chuanming, Shen Chuanzhi and other famous masters, mainly attacking Hua Dan, Zheng Dan, Boumen Dan are competent. He has won the Chinese Drama Plum Blossom Award, the Wenhua Performance Award, the China Drama Festival Outstanding Performance Award, the Shanghai Magnolia Drama Performing Arts Protagonist Award, and the Japan-China Friendship Association "Yamamoto Anglo Cultural Foundation" Award. He was a member of the 7th, 8th, 9th and 10th Shanghai Municipal Committee of the Chinese People's Political Consultative Conference, a member of the Steering Committee for the Revitalization of Kunqu Opera of the Ministry of Culture, a member of the Chinese Dramatists Association, and a director of the Shanghai Dramatists Association.