Mei Lanfang and Qi Rushan
The reason why Mei Lanfang has become a drama master in China, in addition to the excellent conditions he has, external help should be said to be indispensable, such as Qi Rushan, which is one of them.
Qi Rushan (1875-1962) was a native of Gaoyang County, Hebei Province, the birthplace of Kunyi Cavity, who developed the habit of watching drama in his childhood, graduated from the Tongshuguan, went to Europe twice, returned to Beijing in 1913, began to study drama, wrote the book "Talking Drama", was appreciated by Wang Botang (then the chief of education of the Beiyang government), and gave a speech for Peking Opera artists in the "Zhengle Yuhua Association", which attracted the attention of President Tan Xinpei, Tian Jiyun (stage name Xiang Jixiao), and people in Pear Garden. He was originally Mei Lanfang's audience, and after watching Mei's performance, he was amazed by the genius, he said that Mei's voice was round, her body was beautiful, she was handsome in appearance, she was good at acting, she was both talented and able to play, "it was indeed a good material" (Tan Xinpei praised Mei Lanfang's words at that time), which gave rise to the motivation to support Mei Lanfang. The acquaintance of Qi and Mei did not introduce people, but were discussed through the exchange of letters. In 1913, Mei Lanfang performed "Fenhe Bay" at the Tianle Tea Garden, Qi Rushan sat under the stage to watch the play, and when he saw Xue Rengui singing a large section of "Family Lives in the Dragon Gate of Daizhou County" outside the kiln, Mei Lanfang, who played Liu Yingchun, sat facing inward and actually rested herself. This large section of singing is exactly what Xue Rengui was recounting in his connection with Liu Yingchun, how could Liu Yingchun not react at all?
So he wrote a long letter to Mei Lanfang, explaining his opinion, "If a person says that he is his husband who has been separated for eighteen years, he does not believe it, and asks him to recount his life, this is a test of him. How can the other party be talking endlessly and yet indifferent to himself? Although the old man taught in this way, but damaged the plot, the drama is never allowed to rest on the stage, not to mention that this section is the key to the whole play, the wife listened to her husband's narration of the old feelings, will never be indifferent, if you want to become a big actor, you must have the heart of reform. Qi Rushan was still in the letter, and he imagined the expression and action, according to Xue Rengui's singing paragraph, sentence by sentence, for Mei's reference. Ten days later, Mei Lanfang performed "Fenhe Bay>, and when Qi Rushan went to see the play again, Mei had completely processed and modified the art according to his ideas, and received a burst of applause. It is said that after the play, Tan Xinpei, who played Xue Rengui, told people that he was very confused, he did not play with many colorful voices, pay attention to it, it turned out that Mei Lanfang was doing a play. It can be seen that in her youth (when she was not yet twenty years old), Mei was able to accept opinions with an open mind and be as good as a stream. Soon, Mei Lanfang asked Bao to send a letter to the old audience who was watching the play offstage, asking him to meet and talk, and the two betrothed from then on.
Mei Lanfang and Tan Xinpei's "Fenhe Bay"
Before and after Xinhai, Mei has emerged, for example, a funding charity performance was prepared for the primary school run by the "Zhengle Yuhua Association", Tan Xinpei pressed the stage, Yang Xiaolou sang the second, and the third was Mei Lanfang and Wang Huifang's "Fan Jiang Guan>, mei had three church meetings that day, and could not catch up. Tan and Yang were confident that they were sitting in town, Shaomei alone was insignificant, but unexpectedly, as soon as Yang Xiaolou appeared, the people in the audience were noisy and coaxed, saying that they had to watch Mei Lanfang's play, otherwise the ticket was refunded, and the host had to send someone to urge Mei to rush to participate, and the stage was calmed down, causing Yang Xiaolou to grass and grass at the end, which was very unhappy, and Mei Lanfang's limelight at that time was strong, which was evident. However, once upon a time, the first stage invited Dan Linqing, a famous southern sect, to perform a new drama of the Hai sect, which made people refreshed and full of seats. Mei Lanfang, who performed at the Dongcheng Auspicious Theater, was greatly affected. So Mei Nai turned to Qi Rushan and asked him to write a new drama to save the situation. Qi and Mei's collaborative masterpiece is "Prison Mandarin Duck", this story is found by Wu Zhenxiu from the notes of his predecessors, and the author is Qi Rushan, which was a sensation after the performance.
"Prison Mandarin Duck"
Qi Rushan also designed a costume for Mei from the ancient paintings, and helped him place various dance styles in the play. The first is "Chang'e Running Moon", followed by "Red Line Stealing Box", "Heavenly Girl Scattered Flowers> "Lian Jinfeng", etc., these plays Li Shijie and Luo Gonggong have also contributed ideas, but the total result is Qi Rushan.
In the 1920s, it was the heyday of Peking Opera, when all the famous actors gathered, each Zhang Yijun, Yang (Xiao Lou), Mei, Yu (Shu Yan) called the "Three Ding Jia" the most prominent, and the "Four Famous Dans" were formed, and each choreographed new drama as a call, and the competition was particularly fierce. At that time, Cheng (Yan Qiu) had Luo Luogong and Jin Hanlu, Xun (Huisheng) had Chen Moxiang, Shang (Xiaoyun) had Jin Juyin (Qingyi Resident), and Mei's new plays were mostly written by Qi Rushan, especially in terms of qi's drama for Mei cong costume dramas at that time, rehearsing the popular "Jun raiders> and "Luoshen" and four consecutive "Taizhen Wai chuan> making Mei Pai's new plays unique and invincible.
"Magu Dedication"
In the 1928 issue of the Weekly Pictorial, which was attached to the Morning Post (published in Beiping), a poem written by The Duke of Shunde Luo (Haige Tune Qi Rushan) was published, which was copied below:
Qi Lang is not old for forty years, and the songs can not be poor and mysterious; the combination is often an ancient beauty, endowed with hatred and laughter. Poor Qi Lang was in good shape, and he was soft and soft when he leaned back. Self-pity the wind willow waist, and finally reflect the day hibiscus noodles. The chin is quite bearded, and it is difficult for The Heavenly Daughter and Magu (1). Just borrow Mei Lang's good color, and do his best to put the dance posture on the qinú shū[; Mei Lang's wonderful dancers are envious, and painstakingly instruct no one to see. He looked at the chuanyi in his old age, and the disciple Cheng Lang (2) was beautiful in the world. The north has regained the city, and in the evening there is a fragrance to spread the jade capital; the dance clothes are taught by Qi Lang, and the former sages are afraid of the future generations. Good peach and lee in front of the double show door, Cao Hui shancai that has this? Qifu is truly proud of the world, sealing ten thousand households Hou Ning foot ratio; the hidden light will be sent to my poetry, sending Er's fame to thousands of miles.
concentrate:
(1) Refers to Mei Yanqi's "Heavenly Girl Scattered Flowers" and "Magu Xianshou >.
(2) Refers to Cheng Yanqiu.