The old drama bone He Saifei, the topic of these two days is very high.
Because she criticized the current situation of the opera industry, she roared, "Even if you arrest me, I will talk about it."
In this regard, netizens chose to stand up and say bluntly, "Move the whole network and pay tribute to the artists who dare to tell the truth and tell the truth!" ”
So, what exactly did He Saifei say that made netizens so excited?
It started when she was invited to serve as a judge for the "China Bangzi Conference".
01, He Saifei's soul torture - what about the play? What about money?
"China Bangzi Conference" is a variety show about the opera competition, hosted by Bai Yansheng, and the invited judges are all celebrities in the music industry, He Saifei is one of them.
In the program, a young opera actor named Zhang Junbo performed eye-catchingly.
With superb singing skills and solid performance skills, while the performance of "Qingfeng Pavilion" won the applause of the audience, the judges couldn't help but ask about its recent situation.
This question, the "suffering" behind it and the fig leaf of the industry, was torn apart.
From Zhang Junbo's self-statement, we learn that he was originally transferred from Lü Liang to the Shanxi Jin Theater because of his outstanding talent for opera.
However, because he is not a staff member, he can only get 1500 yuan per month.
What is even more poignant is that Zhang Junbo has experienced a full five years of this situation.
What's more, he still has three children and a wife to support, and in order to chase his dreams, he can only rely on food delivery and online ride-hailing to survive.
Such a "tragic situation" made He Saifei, who was a judge, instantly angry, and she shouted loudly, "Such an artist, who does not protect, does not give basic survival?" ”
At the same time, she also affirmed his performance, Zhang Junbo just likes opera from the bottom of his heart, that's it.
Perhaps the bitter experience of a low-level drama actor like Zhang Junbo touched He Saifei too much.
Immediately, she boldly "tore the fig leaf" of the industry and denounced the inaction of the opera industry, and the so-called "revival" completely became a joke.
And, the soul asked, "What about the play?" What about money? ”
"Inheritance, where did your money go?"
This voice questioned, the chaos in the opera industry is self-evident.
And He Saifei, as an "old man" who loves the opera stage deeply, is even more angry and complains about its injustice.
As she said, the reason why she has not left Yue Opera for so many years is because of deep love, and going out to make film and television dramas is also for life.
For her, what she says on stage is a little more sensitive.
But whether it is Zhang Junbo's experience or her own experience, she is willing to bravely stand up and expose the bad habits of the opera industry.
That's why she said, "If you arrest me, I'll say it."
02, He Saifei's confidence and netizens' worries
Frankly speaking, when he heard Zhang Junbo's self-report from the show, Uncle Fan still felt quite outrageous.
As netizens said, now in any city, the monthly salary of 1500 yuan, the dishwasher is more than this price.
However, the absurd thing is that such a thing actually happened in the opera world.
Of course, in addition to the netizens who supported He Saifei, some people also questioned, is He Saifei qualified to say this?
Don't say, there really is!
As we all know, she rose to prominence with the movie "The Red Lantern Hangs High", and then became known to the audience in "The Gate of the Mansion" for the spicy and charming Yang Jiuhong.
But in the world of opera, her fame is much greater than that.
She studied musical instruments since childhood, was admitted to the Zhejiang Daishan Yue Opera Troupe at the age of 19, became famous at the age of 21 for starring in the Yue opera "Five Women Praying for Shou", and joined the Chinese Dramatists Association at the age of 22.
After that, she not only won awards in the Chinese opera industry, but also served as a director of the Chinese Opera Performance Society and many other titles.
Moreover, being a judge of the "China Bangzi Conference" is a kind of strength in itself.
She knows the hardships of opera actors and how difficult it is to persevere.
So, she has the right and the ability to say such things.
However, hearing He Saifei's words, some netizens also expressed concern that "the gun shot the first bird", and He Saifei would not be treated unjustly.
In fact, such worries are really unnecessary, for two reasons.
First, major official media successively published He Saifei's remarks.
In other words, this is to show the attitude of the state, and it is necessary to resolutely rectify and crack down on chaos.
Therefore, it is the country and the broad masses of people who "support" He Saifei, and what should be feared should be the moths in the opera industry.
Second, He Saifei's speech directly hit the "pain point", which is an unavoidable problem.
We also said earlier that He Saifei once sent out soul torture - where did the money go?
You know, the development of opera culture is inseparable from state subsidies, and the money subsidized by the state every year is generally used in two aspects.
One is the remuneration of the actors; The other is for rehearsals.
But now, the life of grassroots actors is precarious, and the monthly salary without formal establishment is only a pitiful 1,500 yuan; Moreover, the large amount of money spent every year "concocted" a drama that is enough to win the grand prize, the common people did not see it, where did it go?
These are the things He Saifei wants to "denounce", it is clear that the position she stands on is not even a opera artist, but as a member of the masses.
03. Compared with Guo Degang, the rectification of the opera industry may not be enough
Since there is a problem, there needs to be a way or way to solve the problem.
But can rectification alone save the opera industry?
Before answering this question, let's talk about crosstalk.
Once upon a time, crosstalk was also "abandoned" by the public like a opera, and became the "last stream" in the streets and alleys.
At that time, crosstalk also had doors and genres, chaos abounded, it was difficult to rectify, and it was even more difficult to develop, until the emergence of Guo Degang gave this line a new turnaround.
Not to mention Guo Degang's bitter road to fame.
He can lead crosstalk to the road of "national tide", and there are two things worth learning from opera:
First, on the basis of identifying with Chinese culture and crosstalk culture, dare to innovate.
It's easy to say, but it's hard to do.
Crosstalk is a culture that emphasizes accumulation and inheritance, and the soil for innovation is enough, but it requires courage, these Guo Degang have, such as "My Life" in the "I" series of works, which is a masterpiece created by him based on his years of life as a small person.
He knows how to keep up with the times and how to fit the audience.
Second, the marketing methods and talent training in accordance with the times.
In today's era, each culture can show its own charm, but it needs certain means.
For example, when New Media was just emerging, Guo Degang promoted crosstalk through video transmission.
At the same time, he established a brand such as "Deyun Society" and cultivated Yue Yunpeng, Zhang Yunlei, Guo Qilin and other new forces.
Inheritance and development, he has achieved both hands.
Judging from the current situation, Guo Degang was very dangerous and difficult at that time.
The Chinese opera culture also has the shackles of development and inheritance, and if you want to break it, it is not enough to call for it.
It needs someone who "carries the top".
Coincidentally, Guo Degang was also given the hope of "saving" the opera industry by the audience.
Guo Degang likes Peking Opera, although he has no teacher, his skills are still good, especially his singing voice, high tune, bright voice, and action is also plank.
After that, he founded the Peking Opera Club, which attracted many fans to watch.
To a certain extent, he led the fire of Peking Opera and promoted the development of opera culture in disguise.
For example, he once led the team to rehearse "The Legend of the Dragon" with Tao Yang, a Peking Opera god.
And when Tao Yang returned to his hometown to sing, Lao Guo took the initiative to publicize.
In his words, "inherit the national classics and carry forward the national culture".
In the variety show "Happiness Knocks", he even said frankly, "Opera also needs to keep pace with the times, and the audience's love is the most important." ”
Of course, today's Peking Opera is no longer the grandeur of Mr. Mei Lanfang, but the original intention of Guo Degang's many actions is to let more people pay attention to Peking Opera and opera.
In Uncle Fan's opinion, this intention is far more real than the current "closed-door" of many opera actors.
Of course, Guo Degang himself once said, "Maybe we don't sing well, there are always good singing, everyone is tired of listening to us, they will go to find a better garden, this subtle, Peking Opera can live." ”
This is the attitude that a opera person should have, and it is also the attitude that this industry should have.
04. The dilemma of the opera industry needs a "Guo Degang" to solve
Rectification can only cure chaos, but it cannot change the dilemma of opera culture.
In Uncle Fan's view, there are at least two "difficulties" in opera culture that need to be faced.
First, the audience is decreasing.
As early as the eighties and nineties of the last century, opera culture was still relatively popular.
Rural temple fairs and regular opera performances have made many audiences have a sense of resonance and identification with such culture.
However, with the rise of short video platforms, many adults have gradually abandoned opera culture, and teenagers have flocked to other cultural fields.
Opera, gradually became unpopular.
Second, the "escape" of potential opera actors.
In the previous speech of He Saifei, we can see one thing, that is, the same actors, opera actors' income is much lower than that of film and television actors.
This leads to potential opera actors "fleeing" and pouring into the film and television industry, after all, the two fields have a lot in common.
For example, Yuan Quan and Zeng Li, who were once the two "golden flowers" of Chinese opera, were talents cultivated by Chinese opera schools for many years.
There is also Qin Hailu, who has studied hard for 12 years, is also in the film and television industry, gaining fame and fortune.
Of course, among these people, the most pity is Li Qin.
She was once the most favored student in the Xiqu School, and she was spared no effort to cultivate for 9 years, hoping that she could inherit the Kunqu Boudoir Dan.
However, later director Li Shaohong took a fancy to her and invited her to participate in the movie.
In the end, the teacher of the Xiqu School could only say, "If you want to come back after filming, you can always come back." ”
Sadly, choices like Li Qin's are much more than that.
Third, the "castle in the sky" of the opera industry is prohibitive.
It is true that although today's opera industry is in decline, its status is not low; And many people who really like opera can only be rated as "senior ticket holders" by professionals.
Just like we said Guo Degang.
In his crosstalk, we can often hear the shadow of opera.
A layman who has no teacher inheritance and is not a professional actor can wrap opera in his career and treat it with heart, which is worthy of our admiration.
As netizens said, "After sitting down and talking, why not join in?" To be able to move forward a little is a little. ”
And our opera "professionals" only used "senior ticket holders" to describe this and left.
This fixed "small circle" development is not a "castle in the air".
Ironically, the development of opera over the years has been driven entirely by some "laymen", such as Li Yugang, who added a lot of opera elements to his songs.
This has given the public a little understanding of this national essence.
And those opera actors who are really in the compilation, rehearse the award-winning opera works, as the public, we know nothing.
This also led netizens to have two views:
Some people say that opera is originally "sunset" and should be eliminated.
Opponents say that opera has not been passed down well, and it is still the most beautiful living carrier of Chinese culture!
Yes, opera culture is not bad, it should be well inherited and developed.
Some netizens gave a conjecture on the development of opera, rather than rectifying, it is better to be thorough - "break and then stand", opera comes from the people, should serve the people, from the masses, to the masses.
According to this line of thinking, theaters should be responsible for their own profits and losses and adapt to market developments.
At the same time, improve the living status of actors, through multi-media parallel methods, on the basis of ensuring survival, talk about inheritance and development.
For example, live broadcast, on the one hand, the form of live broadcast can make more young people feel the charm of opera; On the other hand, it can also increase the income of actors.
Of course, these are just conjectures.
Finally, Uncle Fan wanted to say that He Saifei's "angry rebuke" was only a wake-up call to the opera industry, and the cry of this "whistleblower" was useful, but it was also limited.
The "breakthrough" of the opera industry needs a "Guo Degang" who is accepted by the industry.
Back then, he received Cao Yunjin, and now the latter's crosstalk live broadcast is very popular, and to some extent, his actions have also fed back to the crosstalk industry.
In the world of opera, the same is true, a "Guo Degang" can make more people recognize opera, and can also bring more new forms.
Of course, this requires testing the courage, boldness and persistence of the "bearer", and also requires all opera people to put down their posture.
Just like so many crosstalk artists wore suits back then, only Guo Degang insisted on innovating in inheritance and retained the future of crosstalk with a long robe.
(Movie Rotten Tomatoes Editorial Office: An An)