But whoever can become a character must have a place in art that the audience recognizes, and may not be able to make you recognize, but he must have other audiences to recognize. Otherwise it is impossible to form a horn
Meng Guanglu is like this, some people love it badly, and some people hate it so much that their teeth itch. As long as you see the video of his singing, you must comment on "sprinkling dog blood". (Whispered: May not know what it means to sprinkle dog blood, people are cloudy, anyway, everyone says it)
Is it wrong to sprinkle dog blood?
Saying "spilling dog blood" is nothing more than thinking that he is always "singing", blindly selling strength and blindly pleasing the audience. However, with the development of the times, the acceleration of people's pace of life, the diversification of entertainment, the style of Meng Guanglu and Yu Kuizhi just fits the trend of the times, and the facts also confirm this. You have listened to Deng Break for two or three years, you really may not be able to hear where it is good, but I know several opera Xiaobai who were attracted to meng Guanglu's singing for the first time, I really want young people to like Peking Opera, who gives you two or three years?
Meng Guanglu stressed: "Actors should cater to the aesthetics of the audience." After all, the audience is the foundation of Peking Opera, and it is a good actor who has been recognized by the audience
Peking Opera should be diversified and developed
In the past, while creating the glory of Peking Opera, the older generation also set many rules and regulations for Peking Opera. Peking Opera has become more and more exquisite, the rules are more and more, and the shackles are more and more. It also prompts actors to lack more and more innovative spirit, and even more do not know how to combine their own conditions to learn, but just blindly imitate, which is not right
Looking at the drama reviews of the 1920s and 1930s, there are still many dissatisfied with the four famous Dans, especially for the anti-traditional Cheng Xun, including Qiu Shengrong, who is often called "sister flower face" and "copper hammer Qingyi", but it is precisely because they are in line with the development of the times and pushed to the progress of Peking Opera.
Therefore, Peking Opera is not an imitation show, Peking Opera is the art of the horns, and the horns must have personal charm and keep pace with the times.