In the past, we have discussed how to get along between masters and apprentices, and we have also given many examples of famous teachers and apprentices. In these examples, highly respected teachers and devout and studious students have formed a good interaction in the process of education and learning, and the master teaches carefully and the apprentice learns seriously, cultivating generations of famous artists for the opera industry and becoming a model in the industry.
One meaning of the model is the role model, which is a particularly idealized state, that is, "should learn from them", and the other meaning is scarcity, after all, most of the masters and apprentices have not yet reached the level of the model, and there are many examples in the opera industry that the master and apprentice turn against each other or even expel the master.
Mr. Liu Yuzhong rehearsed the play for his apprentice Sang Zi
Father and son, father and son, there is a father before there is a son; a master and apprentice, there is a teacher and then there is an apprentice. As a master, he always has to teach his disciples skills, spread virtues, and pass on ideas, which is the meaning of "preaching and teaching karma to solve puzzles.".
Opera art education actually includes many levels, the most basic should be the basic skills training and body singing performance training, after all, opera is first of all a practical industry, teaching how to sing, how to compare movements, and even how to act in opera, which is the basis of education, but also the basic responsibility of opera educators.
If required from a higher level, opera educators should also have both ability and political integrity, and teach the basic skills well through words and deeds, so that students can learn a correct view of art and even life. What we often say is that virtue and art are both xinxin and virtue are first, and what is emphasized is that artists should have good ideological character, so that as literary and art workers in the new era, they can assume the responsibility of indoctrination in Gaotai.
Peking Opera master Mei Lanfang and Yu opera master Ma Jinfeng are masters and apprentices
In the late 1970s and early 1980s, opera schools in various places either built new or resumed enrollment. At that time, there were quite a number of famous actors who were very influential in the country in the opera school. They have been away from the stage for more than ten years, with the increase of age, the decline of physical strength, and the fear of their full of skills wasted, so in the teaching of a lot of effort, the students cultivated have now basically become the mainstay of various dramas.
It can be said that these teachers are basically actors, many of whom are representatives of dramas, or more influential in the country, and their performance level is naturally very high; in addition, they themselves are often born of bitter children, educated and grew up in the early days of liberation, received Marxist literary and artistic education, have a deep understanding of art morality, and are also very urgent for artistic inheritance, so they almost reach the level of sleeping and forgetting to eat when feeding new seedlings.
Qin famous ma bluefish teaching
Then on the other hand, if the teacher's own artistic cultivation is limited, "he has not yet figured out how to act", he began to teach students and even accept apprentices for various reasons, and he even tried to make people show that he had to splash ink in the student's artistic career with a big belly of white powder, and the effect could be imagined.
What's more, there are indeed some people who not only have empty stomachs and cold bodies, but also have empty brains and chaotic thoughts, and if they have the mind of a good teacher, it is even more terrible. "I haven't figured out how to behave as a person yet," so he opened the mountain gate and began to accept disciples.
We have said before that in order to "build a grand contingent of literary and artistic talents" and "cultivate a group of influential literary and artistic leaders in various fields", we must first continuously improve the "ideological, professional, and moral level of art educators". Every opera educator cannot be required to be morally blameless and professionally exquisite, but they should at least be role models and artistic guides in the lives of their students.
Author: Li Xiang
Edited/Reviewed: Yao Yang
Final Judge: Wang Mei