Li Yugang's opera road
On a cold winter day in 1978, a boy named Li Yugang was born in a little-known small mountain village in Gongzhuling, Changchun City, Jilin Province. Li Yugang was born in a typical poor rural family, his parents were authentic farmers, and he was raised just by giving him a nickname.
At a young age, Li Yugang showed a strong character, and in order to change his fate, he worked hard to learn Xi and ranked among the best. However, in 1996, due to family constraints, Li Yugang had to drop out of school and leave his hometown to make a living in an unfamiliar big city.
After coming to the city, Li Yugang began a difficult life, he worked as a waiter, salesman, and even worked as a choreo in a dance hall. In order to make a living, he relied on his self-taught unique voice to earn money by singing in nightclubs by swapping male and female voices, barely making ends meet.
Finally saved up the start-up capital, Li Yugang founded a housekeeping company, but it still failed, and he had to regain his acting dream. Li Yugang with excellent strength and firm perseverance, in 2006 to participate in the CCTV "Avenue of Stars" competition, his amazing male and female voice conversion skills made everyone stunned, the dream that has been silent for many years at this moment burst rebirth, a song "One Night in Beijing" for him to win the third place of the year, life has reached a new height, embarked on a legendary journey.
Mei Baojiu took a fancy to Li Yugang
Li Yugang's wonderful performance in "Avenue of Stars" refreshed the audience who are accustomed to melodious drama Xi, and Mei Baojiu, the son of Peking Opera master Mei Lanfang, especially admired Li Yugang's talent.
In Mei Baojiu's view, Li Yugang's integration of popular elements into Peking Opera has brought this ancient art form to life and attracted a large number of young audiences to pay attention to Peking Opera, which is exactly the new blood that the Peking Opera industry urgently needs.
So, Mei Baojiu, who is the successor of Peking Opera, took the initiative to contact Li Yugang, whose popularity soared. After several rounds of exchanges, the two sides established a good relationship. Mei Baojiu unreservedly taught Li Yugang the unique skills left by her father Mei Lanfang, and also integrated the essence of Peking Opera into it.
Under the careful guidance of Mei Baojiu, Li Yugang's Peking Opera skills gradually improved. In the end, under the influence of Mei Baojiu, Li Yugang successfully joined the China Opera and Dance Theater and became a national first-class actor.
For a while, people expected Li Yugang to become a new star of Peking Opera and bring this ancient art to glory.
The differences are exposed, and Mei and Li have grievances
However, the good times were short-lived. In the early cooperation with Mei Baojiu, Li Yugang was relatively humble, but with the success of his career, he gradually revealed his conceited side.
Li Yugang has an independent personality and does not like to be constrained by rules, preferring to integrate popular elements into Peking Opera. He believes that opera must be innovative in order to attract young audiences. Mei Baojiu believes that Li Yugang should inherit the orthodox art of Peking Opera and should not improve it as he pleases.
The differences between the two on the direction of the development of Peking Opera became increasingly obvious. Mei Baojiu tried hard many times to persuade Li Yugang to practice more basic skills Xi, but Li Yugang disagreed.
In 2010, after Li Yugang became famous with his masterpiece "The New Concubine Drunk", he actually claimed to be a "representative of the Mei faction". In the 2012 CCTV Spring Festival Gala, when everyone introduced that Li Yugang would bring the classic repertoire of the Mei faction, Li Yugang once again claimed that he represented the Mei faction, and Mei Baojiu, who was so angry that she was backstage, immediately left the table angrily.
Since then, Mei Baojiu has been greatly disappointed in Li Yugang and publicly criticized him as a "liar" and "layman". Li Yugang was also angered by Mei Baojiu's accusations. Since then, the two have formed an indissoluble bond and become mortal enemies.
The dispute shattered a brief illusion of peace in the Peking opera world and heralded an even greater split to come.
The current situation of opera is explored
The open contradiction between Li Yugang and Mei Baojiu reflects to some extent the current dilemma that the Chinese opera industry is facing. With the transformation of society and cultural diversification, the traditional art category of opera is gradually declining, and the problem of lack of green and yellow is prominent.
Many opera inheritors do not have disciples who are willing to practice the basic skills, and their ability to continue to develop is worrying.
Some young performers no longer adhere to the rules of traditional opera and perform in informal settings in order to make a living. They give short demonstrations in parks and shopping malls, or perform in restaurants and bars with opera elements.
Due to environmental constraints, these performances are often abbreviated and deviate from the original meaning of traditional opera. In some places, the old stage also often has aging actors and few audiences.
At the same time, some opera stars are trying to attract young people to Xi opera. For example, Guo Degang held the "Opera Enrollment" activity, trying to inherit the intangible cultural heritage.
We must realize that opera, as a treasure of traditional Chinese culture, should be valued and cared for by the whole society. Only by allowing more young people to love the quintessence of the country can opera be revitalized.
The way of inheritance of opera
In view of the current predicament faced by the inheritance of opera, we must take positive and effective measures to promote the development of the opera industry.
First, the state and society should increase their support for intangible cultural heritage. Set up a national-level opera inheritance base to attract actors to enter and teach skills. Increase government procurement for opera performances and hold relevant cultural festivals.
In terms of national policies and social environment, create an incentive mechanism for learning Xi opera.
Second, the opera industry itself should take the initiative to integrate into the new era. In view of the aesthetic characteristics of young people, on the basis of traditional repertoire, appropriate modern elements that are easy to understand are added.
Surprise in the form of performances that appeal to a wider audience of teenagers. At the same time, it is necessary to make full use of new media to promote opera and make it close to the lives of young people.
Third, it is necessary to promote the introduction of opera into schools and communities. Set up an art school to cultivate an interest in opera from an early age. An amateur opera club was formed to allow more people to experience the fun of performance.
It can also consider integrating with modern art forms such as musicals, innovating the language of traditional repertoire and enhancing its modernity and public appeal.
As long as all sectors of society work together to inject new elements into opera, we will surely be able to rejuvenate this ancient art in the new era!
Conclusion
The disagreement between Li Yugang and Mei Baojiu reflects the pain points and dilemmas faced by Chinese opera in the process of inheritance. But this does not mean that Chinese culture will inevitably die out in the torrent of the times.
The historical trend is full of wisdom, and it is in the collision of tradition and innovation that Chinese civilization can shine with new brilliance.
It is the responsibility of the whole society to protect and inherit traditional culture. We need to take a positive look at the fusion of old art forms and new ideas. It not only respects the traditional norms of opera, but is not afraid to carry out brave innovative practices.
Let each generation find its place in the process and become the watchman of the national culture.
In life, the most precious thing is the "heart". We must inherit and tolerate with a pure heart, spread and practice with enthusiasm, and make the treasures of traditional Chinese culture shine in the relay from generation to generation.