This article introduces Gao Qingkui and Yan Jupeng, who were born in the fourth year.
Gao Qingkui was born in 1890, mingzhenshan, trumpet Zijun, a native of Beijing, originally from Yuci, Shanxi. Coincidentally, Yu Shuyan, Gao Qingkui, Yan Jupeng, three influential famous actors, were all born in the same year in 1890. He sat in Xiangqing and Keban since childhood, worshiped under Jia Lichuan's door, because of his hard work, he took the stage at the age of 12, became the bottom warehouse after the seventeen-year-old voice collapsed, staged the flag Luo Sancang on the stage, the general role, because of frequent contact with major genres, the harvest was great, the 28-year-old voice recovery had accompanied Mei Lanfang to the east to Fusang, returned from Japan to see, in addition to studying the new three schools of Tan, Wang, Sun Three, but also absorbed Liu Hongsheng's singing essence, the same generation of Yu Shuyan, Yang Xiaolou and so on are also his imitation objects. Therefore, his skills have greatly improved, and he can not only perform the representative works of various old schools, but also perform lao dan, flower face and other plays. Some conservatives call him heterogeneous and impure, giving him a derogatory term for high heterogeneousness. But in fact, this wide-ranging, erudite learning attitude is his valuable point. Thus, he can not only act in Liu Hongsheng's "three slashes and one touch", that is, "Chopping Son", "Chopping Yellow Robe", "Chopping Horse Rumors", "Touching Monuments", "Xiaoyaojin", "Tanyin Mountain", as well as Yang Xiaolou's "Serial Set", and Sun Juxian's representative plays, but also played Lao Dan and Hua Face, and his "Peak Spring and Autumn", including "Zhan Fan Cheng", "Changting Hui", "Wen Zhaoguan", "Huan Sha Ji" until the final "Thorn King Staff" before the first four folds to play Wu Zixu Laosheng, "Thorn King Staff" a fold to play the flower face of the Ji Staff, one catch two, He played all of "Qun Borrowing Hua", the former "Qunying Hui" as Lu Su, the middle "Borrowing the East Wind" as Kong Ming, and the later "Huarong Dao" as Guan Yu of Hongsheng, catching up with three, it is precisely because of his acting hard work that he won the praise of the audience.
Gao Qingkui's voice is high-pitched, bright, full of strength, simple singing, smooth and straight. For example, Emperor Xian of Han, who played "Xiaoyaojin", sang "Fathers and sons wept sadly in the palace courtyard", a sentence with a thick, rounded and high-pitched voice, full of sorrow and affection, full of strength, and completed in one go. It is as big as a crane chirping nine nights and an ape mourning for a long time, which makes the audience feel shocked. He studied Liu Hongsheng's singing method attentively, and summed up the dark qi method of stealing qi with cavity, slowing down the breath with words, lifting the qi, and saving the qi, and the turning method of holding back the qi. As a result, Gao Qingkui made a new mark in his interpretation, calling it Gao Pai. It was inherited by Li Hezeng and others later, such as the spiraling singing method used by Li Hezeng in "Removing the Three Evils", which was derived from the high school singing method.
In addition to Gao Qingkui's unique singing method, his workmanship is also meticulous. It looks dashing in solemnity, especially the drama on the face. He is good at acting hard drama and is good at portraying tragic characters. For example, Emperor Xian of Han in "Xiaoyaojin", Shen Baoxu in "Crying Qin Ting", and Liu Zizhong in "Life and Death Card" not only have unique features in grabbing the board and falling down, but also show great skill in expressing the direction of inner activities. For example, after informing his younger sister Wu that Liu Ziming had been hanged to death, Wu Shi was dizzy, he subconsciously used his hand to shoot, when the hand was almost on Wu's shoulder, he suddenly remembered that he was a great uncle, Wu Shi was a younger sister, hindered by the number of etiquette can not go to shoot, in the moment when the hand is not placed, even the hair on the body trembles together, which is a good performance of Liu Zizhong's anxious mood, and the living dragon is alive. He choreographed many new traditional plays that expressed patriotic ideas, national integrity and loyalty. Such as "Weeping Qin Ting", "Gifting Silk Robes", "Xunyang Lou", "Yue Wang Gou Jian", "Shi Kefa" and so on. He acted in new plays to break through the limitations of the industry, focusing on portraying characters and attaching importance to drama reform. At that time, there was Zhou Xinfang in the south and Gao Qingkui in the north. After the age of 46, his voice became hoarse, and he was apprenticed. He was a teacher at the Chinese Opera College, and his disciples included Bai Jiafu, Yu Zhongheng, Li He and his son-in-law Li Shengzao. He died in 1942 at the age of 52.
Another of the four major students in the 1930s was Yan Jupeng, the founder of the familiar Yan School. Yan Jupeng was born in Beijing in 1890 with Gao Qingkui, a Mongolian who worked as a small clerk in the Qing Dynasty. He loves the art of Peking Opera, especially Tan Pai opera, which is almost a must-have for every performance, and devotes himself to the study of Tan Pai's singing voice, recitation, and body performance, and even records while observing it in the theater. He participated in the Qingyin Yaji and Chunyang Friends Association box office performances, hoping to get Tan's personal guidance, but did not get his wish, and turned to Tan's collaborators to learn. For example, Yang Xiaolou, Wang Yaoqing, Qian Jinfu, Wang Changlin, the owner of the Red Bean Restaurant and others have taught Yan Jupeng Tan's script, singing voice, and body. Due to his hard work, he finally devoted himself to pear garden and officially went to the sea to become an old Tan actor. In the process of performance, he deliberately avoided the lack of his bad voice, and won with rhyme, and finally became a family of his own, unique, and created a singing voice. The outstanding feature of the art of the Yan School is that the singing cavity design reflects the profound cultivation of Yan Jupeng from the four singing melodies of the word. Because he is proficient in musical rhythms, he has a deep study of the four sounds, and he is both flexible and appropriate in the process of application. He advocated that because of the cavity of the word, the word cavity can be rounded. His creation cavity is accurate in sound, the words are clear, there are no inverted words, and there is no fluttering sound. At the same time, pay attention to the joy, anger, sadness, fear, and surprise of the characters in the play through singing. People praised his singing: cavity flowers, strong taste, cavity flowers are relatively easy and strong taste is difficult. This is also the main sign that the school of speech is different from other schools. Listening to his singing is like admiring a beautiful landscape painting, elegant, fresh, and heartfelt. It reflects his profound knowledge of vocal rhymes, songs and singing skills. His study of the four voices does not stop at just for the sake of the right words, such as the four anti-Xipi scattered plates in "Wolong Hanging Filial Piety": "When I see the tears of the Lingtang, I speak to whom, I cry, cry Zhou Dudu, call, call Mr. Gongjin, ah, ah, my heart, pain, ah." Among them, the three words of tears, shouting, and pain all go to the sound word, according to the lake Cantonese tone to go low and high, similar to the Yangping value of the Beijing tone, Yan Jupeng used this feature accurately to make the word sound, but did not simply stay on the low and high, but further adopted the 5 degrees, 7 degrees of big jump, so that the music sound from 6-3, from 6-5, plus his breath with the air caressing of the word heavy light breath control, so that the tone is poignant and straight, and the singing cavity outside the soft and strong, so that it better expresses Zhuge Liang's sad state of mind at this time. Thus, his use of the four voices deepens to express the inner heart of the character. Although Yan Jupeng's voice conditions were far less than Tan Xinpei's, he did not have Yu Shuyan's tall and tall. However, in his own effective vocal range, he is more than a swimmer, which can be described as a bird flying in the sky. For example, he sang the anti-erhuang of "Wolong Hanging Filial Piety", from bass 3 to high note 2, almost two octaves, making the melody ups and downs under the premise of the right cavity. For example, "Pang Tong gave that serial count." This sentence is sung from low 3 to high 1, highlighting Zhou Gongjin's great achievements. Another example is the guide board: "Only left speechless and want to ask the sky" This sentence sings the lowest tone 4, the highest note uses 2, and the melody line slides from high to low and then to high 2, which vividly shows the sadness of the characters rolling in their hearts and praying to the sky. The greatest characteristic of the school of speech is fully reflected here because of the vocabulary of words. For example, in this anti-two yellow singing cavity, the strong contrast of the sound area is unfolded due to the different sounds of the words, so that the singing cavity rises and falls, almost everywhere. For example: "The great hero left that liver and intestines in pain." The above heroes, empty relics, liver intestines, this contrast between yin and yang ping characters, resulting in a high and low contrast of melody. Some reach 6 degrees, some reach 8 degrees, creating favorable conditions for the cavity. Yan Jupeng has grasped this characteristic and made the singing voice form its own unique style. At the same time, combined with the clarity of the biting word, the subtlety of the use of qi, the fullness of the cavity, the use of techniques such as suppressing the rise and falling, and the singing voice of the speech school, the fine place is like a babbling stream, a thousand turns; when it is unrestrained, it is like the noisy flow of the great river waterfall. All this was achieved entirely as a result of the succession of the Tan Sect and the multi-faceted involvement. He not only absorbed Wang, Sun and other trades, but also Dan, Xiaosheng, lao dan, and quyi also integrated and integrated by sucking the big drum and then receiving it. At the end of the twenties, he picked his own classes and had to show his talents.
Yan Jupeng joined the Ling world as a ticket holder, and the old leader of the Tan Sect became the founder of the Yan Sect. He believes that the phonological cavity is the performance center of the old students, and doing a good job of it is like a wisdom pearl in hand. Therefore, he expanded the repertoire in large numbers and innovated the singing voice one by one. Such as "He Hou Scolding Hall", "White Python Platform", "Hitting the Golden Branch", "Removing the Three Harms", "Zhentan Prefecture", "Eight Sledgehammers" and so on.
In addition to winning with the sound cavity, his knife and gun targets such as "Dingjun Mountain" and "ZhentanZhou" are few but clean and neat, and easy and pretty, among which the gun frame in Zhentan Prefecture is both generous and clever, and is not inferior to Yu Shuyan.
Although Tan Xinpei is called the King of the Lingjie, but the image of the pig's mouth is not good at staging the king's drama, Yu Shuyan can be described as a generation of grandmasters, and his appearance is dashing and handsome. His disciple Li Shaochun often pursued his goals in the guise of a master. For example, Ju Peng's costume is slightly bitter, but because he is good at showing the character's sorrow and anxiety, and his inner anxiety, he plays the character without shame. For example, Tao Qian's anxious mood of seeking talents for the country in "Let Xuzhou" and Kong Ming's inner contradictions in "Cutting Horses" are all appropriate.
Yan Jupeng's voice talent conditions are not very good, and in his later years, his voice is even more inadequate, and because he has made excessive efforts in the sound and rhyme of words, he has become more and more elegant, only to end up with a single taste and a low tone, and he has no choice but to spend it. In his later years, he and his daughter Yan Huizhu sometimes had to relegate to the second card. At that time, Beijing was in the period of Japanese and pseudo-fall, and some yellow dramas such as "The Big Coffin", "Spinning Cotton", and "Miss Fan" were rampant for a while, which made this upright artist depressed, and in June 1942, the founder of the School of Speech died in poverty and illness at the age of 53.
After yan jupeng's death, after the liberation of the Yan faction, under the care of the dramatists Ma Shaobo and Ma Lianliang, in 1959, Yan Jupeng's eldest son Yan Shaopeng and daughter-in-law Zhang Shaolou Jinjing performed "Wolong Hanging Filial Piety" and "Let Xuzhou", which made the lovers of the Manchu Dialect School for many years feast their ears. Premier Zhou once said that the Yan school is as difficult to learn as the Cheng school, so there are few people who learn, but the difficulty of learning shows the height and depth of art, and the more difficult it is to learn, the more it must be learned, and the more it is learned, the more it must be passed on. Yan Shaopeng said: When we mention the Yanpai, we must first thank the party, and it is the party that has saved the Yanpai to life. Ten years later, Yan Jupeng's eldest grandson Yan Yiqing (later renamed Xingpeng) made a comeback of Yanmen, especially his double songs "Playing Gold Bricks" and "Golden Branches", which were well-known in Beijing and are still one of the most representative figures of the Yan school.
Gao Qingkui
Yan Jupeng