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"Spring Girl's Dream" is a play written and performed by Cheng Yanqiu in the early 1930s, which is taken from Du Fu's "New Marriage Farewell", and also takes Chen Tao's poem "Poor and Uncertain RiverSide Bone, Like a Person in the Dream of Spring Girl" as the title, the intention is far and deep, and the artistic creation is novel and chic, which is a masterpiece in cheng school art.
In his performance of "Spring Girl's Dream", Comrade Zhao Rongchen comprehensively demonstrated the stylistic characteristics of singing, reading, doing and dancing in the Cheng School art. In this small article, we will only focus on Zhao Rongchen's performance characteristics in doing and dancing.
In the art of Cheng Pai, in addition to the excellent singing, the water sleeve performance can be called a superior product. Zhao Rongchen's water sleeve kung fu not only inherits the essence of naishi, but also does not follow the trend. He expresses the thoughts and feelings of the characters through the use of water sleeves. In the boudoir, he met Wang Hui in a dream, and the performance of the water sleeve was strung with a "soft" word. The tenderness of the young woman in the boudoir is tight, shy and difficult to restrain, and the expression is so lingering and mournful, chuchu and moving, but it is also moderate, never hurting the vulgar, giving people a sense of elegance and freshness. In the dream, Wang Hui's abrupt departure, the plot developed to a big turn, at this time the water sleeve performance was strung with a "surprise" word.
The beautiful scenery in the boudoir has changed into a slaughter, and in the vast wilderness, the remains of corpses and bones are everywhere, and the fishy wind and bones are touching and sad. The most wonderful place is here: in the dream, Zhang's husband, who missed day and night, returned home, the two were talking about parting and parting, a riot destroyed the quiet atmosphere, the drum urged Wang Hui to return to the battlefield, and he snatched the door and went out. Zhang Shi finished saying, "Wait for me to catch him up", so he chased after Wang Hui and walked up to the circle field in the shape of "Taiji Diagram". The water sleeves flap, and the broken steps are like flying. The two turned to Taichung, doubled the door, turned outward, Zhang Shi pulled Wang Hui, Wang Hui squeezed, and Zhang Shi fell to the ground. Zhao Rongchen's performance was actually motionless at this time, what kind of sitting down, what kind of thing it had been, this kind of wooden stupidity that "did not move at all" won a silence on the field. Wang Hui came down, the gong and drum were noisy, he got up [the guide board], sang "Suddenly felt cold in the body", stood up, and then sang "Huilong" "There is no reason for a burst of wind and fish". Zhang's eyes appeared in front of the horrific scene of innocent beings being charred after being looted by war, and the atmosphere was very bleak with the gong drumming "slow long hammer", coupled with the palpitating drumming sound. Zhang Shi turned around and looked at the upper field door, froze, first his body trembled slightly, then withdrew, danced while retreating, even the belt shoulder twisted and looped, the sleeves were reversed, to the front corner of the "big side", turned around and looked back at the upper field door crouched to appear, and then sang "fast three eyes".
When Mr. Cheng performed this play, when singing this period, there were images such as the skeleton of the dead man on the stage, but this performance was only based on the gray sky and dead trees, and did not render too much of the tragic scene brought about by the disaster of war. However, Zhao Rongchen's superb performance actually made people feel the atmosphere of slaughter, which was really impressive. When he sang "Arrow Through the Chest", his left hand was twisted inward, and the audience immediately realized that this was a comparison of arrows; then singing "Knife Broken Arm", his right hand swung down to the right on his left shoulder, and his left hand was back, as if his arm had been split away. The performance time of this singing is extremely tight, the speed is extremely fast, but it is orderly, the movements of the hands are coordinated, and the image is touching. After singing "I don't know why I am dying", I turned to the next door to look at it, and then froze, and when he retreated, he looked back while retreating, turning left and turning right, and the movement was beautiful. Looking back twice, two kinds of treatment, one is sudden, the other is shock, the meaning is clear, and the viewer can see it at a glance.
The dream turned back to the beginning, the nightmare woke up, Zhang Shi's eyes were misty and empty, it seemed to be still in the dream, and the feeling of fear and uneasiness was still tightly grasping her. When she woke up, she realized that her husband was still far away from the battlefield and had not returned, and that the happy meeting just now was just an illusory dream. She sang helplessly: "Knowing that the dream is inaccurate, bored and looking for the dream", in Zhang's ghostly lament, the curtain slowly closed. Is it still in the dream? Or is the dream over? The people in the play are inexplicably confused, and the audience is hazy for a while. The drama is endless. The audience who left the theater was still playing and chewing, exploring the endless spring dream of this scene. Of course, the basis lies in the success of the script, but the perfection of the artistic image formed on the stage and the strong artistic charm are the crystallization of the artist's skill and cultivation.
Zhao Rongchen Yu Zhenfei "Spring Dream"
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This article is excerpted from Drama World, No. 3, 1984
Text | Ouyang Zhongshi Cao Qimin
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