Wang Hongshou, the originator of Peking Opera Guan opera, "Old Sanmazi"

The founder of the origin of Guan Opera mentioned above is Mi Xizi, and the founder of Peking Opera Guan Opera is Wang Hongshou (1850-1925). Wang Hongshou's stage name is Sanmazi, alias Three Bosses, Three Old Fathers, and Old Three Mazi. Originally from Huaining, Anhui Province, he was born in the Tea Temple of The Port Yard in Rudong County, Nantong City, Jiangsu Province. Young in their own Kun, Hui class to learn Kunqu martial arts ugly and Hui opera by the old student. In his youth, he spent his time in the Taiping Army Emblem Class, and later studied under Zhu Xiangqi, a martial artist of the Xiahe Emblem Class. Around the tenth decade of Qing Tongzhi, he took classes in tea gardens such as Qingle, Tianxian, Tianle and Dangui in Shanghai. His plays such as "Sweeping the Book of Songxia", "Three Searches of Su Province", and "Xu Ce Running City" are unique. In 1908, he went north and performed Guan Yu's plays "Baqiao Picks The Robe", "Crossing the Five Passes", "The Ancient City Society", "Flooded Seven Armies", "Walking Maicheng" and other plays in Tianjin and Beijing.

His father was originally an official in Nantong who managed the transportation of grain in waterways, and because he loved opera, he organized two opera classes of Huitong and Kunqu. Young in their own Kun, Hui class to learn Kunqu martial arts ugly and Hui opera by the old student. In his youth, he spent his time in the Taiping Army Emblem Class, and later studied under Zhu Xiangqi, a martial artist of the Xiahe Emblem Class. Around the tenth decade of Qing Tongzhi, he took classes in tea gardens such as Qingle, Tianxian, Tianle and Dangui in Shanghai. His plays such as "Sweeping the Book of Songxia", "Three Searches of Su Province", and "Xu Ce Running City" are unique. When he was 14 years old, because his father was not good at flattery and did not give birthday gifts to the superiors who came to inspect the inspector, he was included in a book and caused a full door to be beheaded. Fortunately, Wang Hongshou hid in the box and was spared. Since then, he has been living in exile in anonymity, and because of the slight numbness on his face, he has been given the stage name "Three Mazi".

In addition to acting in emblem dramas such as "Xu Ce Running City", "Sweeping Song Xia Shu", and "Snow Embracing Blue Pass", Sanmazi mainly plays Erhuang Opera. At the age of 20, he went north to Jinmen, first performed the old student drama, was not taken seriously, so he changed to guan yu plays such as "Ancient City Society" and "Flooded Seven Army", which became a hit and became popular, and has since become famous for acting Guan opera. The reason why guan yu he played can be praised is because he carefully studied Guan Yu's images. It is said that he once obtained 66 portraits of Guan Yu dancing with a knife from his father's friends, and if he obtained the most precious treasure, he studied day and night and pondered with his heart, enriching Guan Yu's image.

Wang Hongshou's greatest contribution was that on the basis of reforming the appearance of the old relevant drama programs, he created a set of southern school old masters dramas (Guan Yu plays) with strictly prohibited paradigms, thick skills, and heavy bones; Before Wang Hongshou, those who were good at acting guan opera were all Northern School artists, and although the Northern School artists could act, they did not often perform; their main evolution was Cheng Changgeng - Wang Guifen - Wang Fengqing, and there was no successor after Wang Fengqing. At that time, the old Guan opera, the old Hui class had more than ten plays such as "Chopping Huaxiong", "Chopping Sable Chan", "Xue Wen Ugly", "Ci Cao Picking Robes", "Broken Wall View Book", "Ancient City Society", "Huarong Dao", "Zhan Changsha", "Flooded Seven Army" and so on. According to the "Qingsheng Pingban Drama Repertoire" included in the "Annals of the Pear Garden Department since Daoxian", when Huiban entered Beijing, the Guan Yu dramas carried by Hui ban were only "Huarong Dao" and "Taking Changsha", and the Guan plays performed by Kun ban were only "Knife Society".

The Northern Sect's Guanguan Drama Does Not Pay Attention to The Sect, as the saying goes, the old master plays "upright", Dan Feng's eyes are squinting, his shoulders are slightly shrugged, and his index finger is hairy; when he kills the enemy in the battle, he cannot play with a big knife flower; the clay sculpture in the imitation temple only waits for the enemy to kill himself. Wang Hongshou's reform drama was changed from five long hairs to wearing three long hairs, hooking a red face (the northern sect is rubbing carmine, Cheng Changgeng rubs his face with rouge, scratches several stripes with black and purple pens, dots the seven star moles, and wears five hairs; while Wang Hongshou hooks his face with silver zhu, his face is like a heavy jujube; he hooks the silkworm eyebrows, Dan feng's eyes, and two curved lines on the brain door, one on each side of the nose socket, and changes the seven star moles to two) and adds actions such as brushing, pushing, and grooming. The drama "A Thousand Miles to Walk a Single Ride" joins the horse, with the horse boy, the horse boy of the Guan opera, since Wang Hongshou, has been inherited so far, with the horse boy churning and falling to lure Guan Yu on the field and cooperate with the horse whip swing, from time to time, staggered; this move is actually to bring the hot and fierce style of the short martial arts drama of the Xiali River Hui class into it. The first play of the three mazi is won by merit, and people at the time have commented: "It is the drama of the three mazi acting, and the best frame is". For example, the northern school of the drama "Blocking Cao" is mainly based on singing, the duwang Hongshou first reworks, the second six, allegro, and the loose board in the play all go flat; instead, the appearance of the body is focused on the appearance, such as the vertical knife of the first stage, and the appearance of the horizontal knife pushing the hair and squinting after singing the guide board is its first creation; secondly, the use of "wind stirring snow" to integrate the emblem tune of the emblem tone of the second yellow (唢呐二黄 from at least the B tone has been reduced to the main palace tone), the high dial, the blowing cavity, the small second reed (that is, the last four flat tones) and the skin yellow of the Beijing class. Become a unique singing style. Previously, the Jingban sang only "Dragon tiger fight" and "Great Hui Dynasty" and other dramas; and "Dragon tiger fighting" and "Great Hui Dynasty" were also from Huiban); and the green dragon sword held by Guan Yu was uniquely created and improved. In addition to the above innovations, there is also an innovation in the wearing of the head of the line; Guan Yu changes the color of the wearing in different plays due to the change of identity. It is precisely because of Wang Hongshou's many improvements and unique creations of Guan opera that Hatano Kanichi and the "History of Peking Opera in two hundred years" say that he is "born in the red life of Guan opera, unique and new, the fortress is new, and the world is called 'Living Guan Gong'." ”

In addition, it is said that Wang Hongshou got a set of 66 portraits of Guan Gong dancing with knives on horseback, and he pondered all day long, so he created his own Guan Drama of the Southern Sect. In fact, the Guanju of Sanmazi is based on the inheritance of the old Guanju of Huikun, and integrates the prestige atmosphere of the Northern School of the style performed by the Huiban class of the Xialihe River into it, and integrates it with the statues of different periods of Guan Gong and the posture of the Northern School of Guan Gong; therefore, its appearance has a sculptural sense of solemnity. Wang Hongshou's "Ancient City Meeting" takes a "asking the tree" (that is, GuanTun Bing Liulin, who learns where Zhang Fei is from the woodcutter), and "Huarong Dao" has followed the old road number of Huiban since the beginning of sitting in the tent and sending troops. The book "Chun Xuelu Drama" contains: "Shanghai people, with Wang Hongshou not being the same as before, are also impressed, to the point of being in the name of Hongsheng, and Wang Ling's specialty in old master dramas is also different." ”

On the basis of inheriting the old Guan opera, Wang Hongshou successively transplanted all the Huiban Guan operas to the Beijing tune stage, and after the "Romance of the Three Kingdoms", the Guan Yu stories that had not yet been compiled into plays were almost also made up into plays, and performed on various stages in Shanghai with Beijing naughty yellow. For example, "Chopping Huaxiong" expands the previous performance of Lü Bu into "Tiger Prison Pass"; in "Jie Wen Ugly", it is preceded by "White Horse Slope"; in addition, the Guan Yu drama in Yuanming Miscellaneous Drama, Ming and Qing Legends (Kunqu Opera and Yiyang Cavity) and one of the four major plays of the Qing Palace, "Dingzhi Spring and Autumn", are also mostly sorted out and adapted by him, and the Guan drama is rich to more than forty (Wang Hongshou first went north into Beijing, only with "Ancient City Society" and "Flooded Seven Army" two dramas are famous in Beijing) such as "Chopping Bear Tiger" (that is, "Guan Gong Is Born"). Choreographed by lao Sanmazi and Shanghai at the age of 73), "Walking Fanyang", "Breaking the Yellow Turban", "Tiger Prison Pass", "Among them, Wang's most successful drama is "Walking Maicheng".

According to the 1922 drama magazine Wang Hongshou's self-description of the "Dailing Man Wang Hongshou Shangguan Zhuangmiao Submission" written by others, the premiere of the Republic of China in the sixth year of the Republic of China and the first stage of Dangui are quoted below, "The manager of the first stage of Dangui in the sixth year of the Republic of China has a proposal to rehearse the ascension of Maicheng, and Hongshou does not measure up to allow it as requested." Since the beginning of the performance, it has sold a lot of seats, and for a while public opinion said that the night walk in Maicheng was the day when the old man ascended to heaven and became a god. "There are four copies of "Walking Maicheng", and the only one performed by Ran Wang is the first book of Maicheng (that is, Guan Yu refused to marry and took the five tigers, took Xiangyang, flooded the Seven Armies, scraped bones to cure poison, lost Xiangyang, and walked Maicheng)

Wang and Hu staged the drama "Walking Maicheng", mostly Wang Xiaonong as Liao Hua, Zhou Xinfang as Lü Meng, Miao Shengchun, Zhang Guixuan, Li Hongchun or Gai Mingtian as Guan Ping; this lineup was no different for a while. The four "Walking Maicheng" are the stories of Guan Yu's capture of Xiangyang and defeat of Maicheng, after Liu Beixing's army attacked Eastern Wu, from the time he refused to marry to the time he captured Pan. Respectively, the first book is from the ascension of Maicheng, where Guan Yu refused to marry, the second book is the Yuquan Mountain Manifestation Belt to catch Lü Meng, the third is the Rolling Drum Mountain and the white robe, and the fourth is to cut Down Dong Wu and catch Pan Zhang.

After Wang Hongshou founded the unique Southern Guan opera, once the performance was carried out, it became popular in the north and south, and all the southern school artists who performed the Guan opera did not obey Wang Hongshou's path; Wang Hongshou's proud and high-ranking Li Hongchun occupied the north for a long time, and the northern Guan opera was also his exclusive respect, and the Guan opera performed today was roughly under the door of Li Hongchun and Li Wanchun. (After the death of King Shi, his disciples Li Hongchun occupied the Wanjun army in Beibei, Lin Shusen, Zhou Xinfang, and Li Jilai, the little three mazi, and called them the four major high feet of his three mazi.) Wang Hongshou is an innovator of Guan Yu opera in Peking Opera and the "originator of Hongsheng" of Peking Opera.

Wang Hongshou can play a lot, Beijing, Kun, Wu, Hui, literature and martial arts, not only can act and edit, but also good at calligraphy. In addition to being good at acting in Guan Yu's plays, he can also perform Lao Sheng, Wu Sheng, Wu Ugly, and even Lao Dan and Sanhua Face dramas with great characteristics.

In 1923, the three bosses came to Beijing again and lived in the headlines of Whip Lane in Nancheng. Gao Qingkui's "Qingxingshe" performance, mainly performing Three Kingdoms drama. Here Gao Qingkui asked him for a teacher. Suffering from horseback riding tumors, he left Beijing and returned to Shanghai in September. The theater learned that the three bosses returned to Shanghai, invited to appear on the stage several times, but the three bosses took the illness to perform "Walking Maicheng", which was extremely enthusiastic from the Japanese audience. The three bosses worked harder, played Guan Yu and returned to heaven, and the three bosses also had difficulty in moving, because the file sores collapsed and the blood flowed, so they were bedridden, and died of illness in shanghai Honglian Li Apartment the following year. Acted in Guan Yu drama for a lifetime. In the end, guan Yu's last play before his death ended at the age of 76.

The disciples of Lao Sanmazi included Zhou Xinfang, Li Hongchun, Lin Shusen, Liu Kuiguan and others. Xia Yuerun, Li Jilai, Tang Yunsheng and others play Guan Yu, all of whom are patriarchal King Hongshou.

According to Li Hongchun, the grandmaster of Northern Guan opera, Guan opera can be divided into the following branches from Wang Hongshou:

Tan Xinpei, Liu Hongsheng and Li Shunting are the "old school" in the north.

Wang Fengqing, Guo Zhongheng, Chen Zitian, and Zhang Juqiao were the "Wang Guifen faction" in the north.

Although Zhou Xinfang was a student of Wang Hongshou, he became a family of his own and was a "Qi sect" in the south.

Lin Shusen was a student of Wang Hongshou, who sang "Guan Opera" as a complete patriarchal teacher and was the "Wang Sect" in the south.

Liu Kuiguan, Ge Dihua, and Li Yongcheng were "Henan factions."

Guo Minglei (in "Mingshenghe" Coban Zake) is a "Shaanxi faction".

Cheng Yonglong, Wang Fulian, Zhang Jiukui, and Peng Zhenjiu are the "Tianjin faction.".

Li Tieying was an apprentice of Zhao Songqiao and Tang Yunsheng, and because he had long occupied the northeast and Shanxi as "Shanxi factions", Li Honglao was different from Li Tieying's performance of "Walking Maicheng", and when Guan Yu ma fell into the pit, he had an opinion on the way to play three "upside-down tigers" in a row.

Rui Debao, Li Xinfu and Shen Huaxuan imitated Mr. Wang Hongshou's acting method and were "imitating the Wang Faction".

Xia Yuerun (nicknamed "Xia Bagen'er", dressed as Guan Yu wearing a hard leaning, tie eight poles to rely on the flag), Zhao Ruquan, Li Guifang are the "self-created faction" in the south.

Although Bai Yukun played "Guan Opera" and learned the acting method of the old sanmazi, it has developed and become a school of its own - "White School".

Tang Yunsheng's "Guan Opera" is different, known as the "Kanto School".

Li Jilai (stage name Xiao Sanmazi) imitates the old Sanmazi, but it is not taught by Mr. Wang himself, but it is taught by Liu Changlin, who plays a horse boy for Mr. Wang, and it is the "imitation of the king school" in the south.

Su Yuelou and Hao Qingkui are "Hebei factions".

Although Wang Chunbai learned from the old sanmazi, he belonged to the "Kanto school".

Liu Hanchen sang in Tianjin for a long time and also had his own acting style.

Ma Chunqiao also imitated Mr. Wang Hongshou's acting.

Zhao Songqiao is a self-created faction.

Li Wanchun initially asked Lin Shusen about the art and learned a play "Baqiao Picks the Robe"; after going north to act, most of the "Guan Opera" was said by Li Hongchun, who could play a lot, and was the Li School in the north.

Jiang Tielin and Wang Yilu studied Li Wanchun.

Li Shaochun's "Guan Opera" is self-written, self-directed, and self-acted.

Li He once played "Guan Opera" to learn Gao Qingkui, and he has his own and creation.

Goldman Sachs Lin's "Guan Play" is Xue Zhou Xinfang.

Yao Debao's singing method is Xuecheng Yonglong.

Cao Yibin first learned from Zhou Xinfang; then he worshiped me as a teacher to learn the "Wang Pai".

Wang Jinlu and Song Yuchun were students of Li Hongchun.

Li Jinsheng, Li Yusheng, Li Runsheng, and Li Shisheng were li Hongchun's sons.