Memoirs of Mei Lanfang (25)

"The Drunken Concubine"

"I went to Shanghai for the second time and sang for 34 days. "Drunk", "Pohongzhou" and "Yan'an Pass" are three plays, which I didn't perform last time. The "Breaking Hongzhou" and "Yan'an Pass" in this have long since stopped singing. The play "Drunk" is still being performed to this day. These scenes were told to me by Mr. Lu Sanbao.

"Drunk" is Mr. Lu's forte. I often watch his plays, and I think his style is quite meticulous, and his kung fu is solid, and he really deserves his reputation. When I was in the same class with him at Yiwen Club, he no longer sang "Drunk", so I decided to ask him to teach. He agreed. Either he came, or I went, and it took me more than half a month to learn it. It was staged at the Yiwen Society. He also gave me a nice pair of rhinestone bits, with a shiny bald head. Buy rhinestone now, where can it be compared. I still use it a lot. Every time I use the head face he sent, I always miss him. We have a good relationship, and he sings a lot with me in Yiwen Club. Such as the green snake in "Jinshan Temple", and Wang Bodang in "Hongni Pass...... It's all a play that is often sung.

"When it comes to the plot of "Drunk", it's too simple. Emperor Tang Ming and Yang Guifei made an appointment to hold a banquet in the Baihua Pavilion, but temporarily Emperor Tang Ming made an appointment and went to Concubine Mei's palace instead. The concubine could only drink alone, and because of the depression and unhappiness in her heart, she was very drunk, said a lot of wine talk, and made a lot of drunken behavior. In the middle of the night, with a resentful mood, he was supported back to the palace by the palace maids. But this typical dance drama is still a creation in the old play, and of course it is necessary to preserve it.

"Back then, there were no two intentions in making up old plays. Some specialize in singing, and some pay attention to thinking. In order to allow actors with and without voices to be able to play their skills in the drama. Naturally, there is also a kind of singing, reading, doing, and playing full-weight play, so there are not many of them. Because it's not easy to find a character who meets these four criteria.

"Since "Drunk" focuses on workmanship expressions, ordinary actors have overdone it in the drunken state of the concubine. inevitably embarked on the path of lewdness, turning a dance that exposed the inner feelings of the oppressed women in the court into yellow. That's a big loss. We can't just because we have this shortcoming, we don't want to correct it, so that the valuable dance skills created by the old-timers who worked hard in this play will be lost forever. This is one thing worth noting. So the "Drunk" I sang over the years has successively diluted this aspect, but it is not ideal. The year before last, I spent a few nights in Beijing to completely correct the lyrics. and Xiao Changhua and Jiang Miaoxiang, carefully studied the several gestures made by the concubine to Gao and Pei Erqing after she was drunk. From the original abnormal situation to reasonable development. The audience in Beijing, Tianjin and Shanghai seemed to be very satisfied with my performance. A few friends even suggested that I write down the revision process in detail. For the reference of our theater community. I agree with this proposal. With my own superficial understanding, I dare not say that it has been completely changed. It should be written out for everyone to study more deeply, so as to achieve the state of perfection.

"I used words to record the acting skills of "Cosmic Edge" in the first episode, and I already felt that it was not easy. Now to write "Drunk" more specifically and trivially, this is another bold attempt.

"There are two performances of "Drunk". In the first scene, Gao and Pei Erqing went up first, and after reading the poem, they recited 'Cigarette smoke, Niangniang, the royal driver is coming!' The concubine recited the word 'swing' in the curtain, this place is a little different from other plays. In other plays, when encountering this kind of scene, as usual, after reciting 'swinging' in the curtain first, the maids played in pairs. "Drunk" is the palace maid first, and then the concubine reads and sways in the curtain. This is a special case.

"When the concubine appeared, there were two shaking sleeves. The body should squat down slightly, and the attitude should be condensed and generous. The following two sections of four flat tones can be said to be the singing part of the large section of this play.

"In the first sentence, 'the island ice wheel turns at the beginning', from the 'island', the fan is opened, and three 'reverse steps' are taken forward, and the 'initial turn' is the body slightly to the left, holding the fan in both hands, and slowly turning from left to right.

"The second sentence 'see the jade rabbit, the jade rabbit rises east early', the word 'see' should start while singing, turn around and walk towards the left corner, sing the first 'jade rabbit', the left hand holds a fan and stretches it out, the right hand turns its sleeves up, the face rushes to the left, and the eyes look up. After singing the word 'rabbit', in the huqin door, walk three steps horizontally, turn around and return to the middle. When the word 'rise' is sung, the hands are diagonally pointed upwards towards the left corner.

"The third sentence 'the ice wheel leaves the island' is to take two steps back horizontally from the door of the lower field, then raise the sleeve with the left hand, and point upward with the right hand to the right corner.

"In the fourth sentence, 'the universe is very clear', the steps are still in place, holding a fan in one hand and a sleeve in the other, and at the same time trembling and drawing a small circle from top to bottom.

"In the fifth sentence, 'the moon is in the sky', turn from the right and still return to the middle; when the word 'empty' is sung, both hands are pointed diagonally towards the right corner of the platform, and the posture of the finger is similar to the fingering of the word 'sheng' in front.

"The sixth sentence 'just like Chang'e leaving the Moon Palace', the figure of 'just like it' is the same as the previous 'seeing the jade rabbit', but this time I turned around and walked towards the right corner, so the step of the hand and the direction of looking are just the opposite. After singing, you should also walk sideways to the middle. When the word 'palace' is sung, the front is pointed upwards.

"The seventh sentence 'slave like Chang'e leaving the Moon Palace', 'slave like' is to put his hands in front of his chest, sing 'Chang'e', and draw half a small circle from left to right with a fan with both hands on his chest, both of which are used as expressions of self-comparison. When you sing the word 'Gong', raise your eyebrows with your right palm down, and point your left hand upwards again. Many of the figures and steps in the above seven lines are made symmetrically. The fans in the body that I have talked about have to be opened. There are many upward gestures because each verse describes the reason for the moon. After singing this paragraph, he closed the fan, the whole crown, and the end belt, turned around and entered the door to sit in the outfield.

"The four sentences of the poem I sat down to read, I used to change it according to the meaning of "Song of Long Hatred": 'Beauty is born difficult to donate by itself, and it is a year to serve the banquet and wine. There are 3,000 people in the six palaces, and 3,000 are specialized. The following lines are the same as the old words, and they read: '...... Swing a hundred in the pavilion. Gao and Pei Erqing led the palace maids to lead the way in front, and they first 'double-out' and then 'double-turned' (Gao and Pei went out at the same time, and the insider's term is called 'double out'.) Separated from the two sides and walked back again, called 'one flip and two turns'), Yang Guifei followed the door and turned to the left. Walk in a half-circle, then turn back from the right and take a step forward facing outward. This means leaving the palace courtyard and walking towards the Baihua Pavilion.

"From the moment I left the palace. The eight sentences and four flat tones sung by the concubine are all descriptions of the scenery seen on the road. It can be divided into several subsections:

"(1) Looking at the moonlight at the head, the two sentences sung are: 'It's like Chang'e going down to the ninefold, clear and cold in the Guanghan Palace. Hey, hey, Guanghan Palace. The figure is holding her shoulders with her hands, which means that Chang'e is lonely and lonely in the Moon Palace.

"(2) After passing the jade bridge, Pei Nian 'Qi Niangniang, this is already a jade bridge', and Yang Nian 'led the way'. Gao and Pei led the way to the circle, and Yang walked towards the bridge while singing 'Jade Bridge Leaning on the Railing'. The figure is the right hand to lift the water sleeve, the left hand slightly to lift the skirt. Looking down at the ground, he slowly climbed the steps to the bridge, walked to the middle of the bridge, and made a slight gesture of flashing his waist.

(3) Look at the mandarin ducks and goldfish under the bridge. Yang got on the bridge and said, "Golden carp, see Niangniang." Yang sang: "The mandarin ducks come to play in the water, and the golden carp faces the water." Oops, the water is facing. The figure is to take the fan in the right hand and hand it to the left hand. Turn one body to the left, face outward, then pinch the waist with your left hand, raise your right hand, and look down, indicating that your hand is leaning on the railing and looking at the mandarin duck under the bridge. Then turn around again and hand the fan in your left hand back to your right hand. Raise your left hand and look at the goldfish under the bridge again. Only then did he lean over slightly, pretend to hold on to the railing, and walked down the bridge. From the upper bridge to the lower bridge, it is really a whole section. It can be divided into several paragraphs. Not only the hands, eyes and body steps, but also the vein, that is, singing and doing, there is also a close connection. Let me give you an example, for example, when I sing the word 'leaning' in the sentence 'Jade Bridge reclining on the railing', the singing voice and body of the actors in this place, the drumming and huqin of the scene, all gathered together, is the key to a summary.

"(4) Looking at the flying geese in the sky, they are walking, Gao and Pei Tongqi 'Niangniang, the geese are coming'. Yang sang: 'The geese in the sky, the geese fly, the geese fly, the geese fly! 'The 'Sky Goose' in this is a long cavity. The figure is to open the fan with his right hand, raise his eyebrows flat, turn the water sleeve up with his left hand, turn around and stop his feet first, and then start to walk the 'cloud step'. The way it walks is to put its feet side by side, take the toes to each other, move slowly horizontally, and walk around half a circle while singing. The upper body can't be shaking, and the steps must be even in order to look good. At the same time, the fan in the hand also has to make a wave-like tremble, which is a symbol of the ranks of geese flying in the sky. The following two lyrics of 'Smelling the slave's voice falling into the shade of the flowers, this scenery is sultry and intoxicating' have also been modified by us. The figure of "Falling Flower Shade" is to turn left after singing "Smell the Slave Voice", open the fan, turn the sleeve with the left hand, hold the open fan flat with the right hand, and fall down tremblingly, and the body also squats down, using these actions to describe the "falling geese" in the lyrics.

"(5) When I came to the Hundred Flowers Pavilion, Gao and Pei thought together: 'Qi Niangniang, come here to the Hundred Flowers Pavilion. Yang sang the word "pavilion" of "unconsciously came to the Baihua Pavilion", put his hands behind his back, and turned around to look inside, indicating that he had seen the pavilion.

"When I entered the pavilion and sat down, I read: 'Gao Pei Erqing, the holy drive is here, and I know it quickly. From the time she appeared so far, Concubine Yang came to 'be called to serve the banquet', so her expression and dynamics should match the scenery she saw along the way, revealing that her heart is full of joyful atmosphere, so that she can make a strong contrast with the depression and resentment after hearing the report of 'driving to the West Palace'.

"When Yang heard Gao and Pei Tongqi 'drive to the West Palace', the expression on his face was surprised. Stand up and cover your face with a fan, and make an offering on your back, 'Ah, stop, yesterday the Holy Decree ordered me to hold a banquet in the Hundred Flowers Pavilion today, why did you go to the West Palace, and free him.' There are two levels of expression. First made an expression of jealousy and hatred for Concubine Mei, groaned slightly, and was afraid that the attendants on both sides would snicker, so he immediately held back the anger in his heart, and forced himself to calmly recite the last sentence 'and free him'. After reading it, he turned around and held back his breath and ordered, 'Gao, Pei Erqing, put down the wine banquet and wait for the mother to drink a few glasses'. At this time, the scene was pulling cards, and Yang shook his sleeves again, the whole crown, the end belt, and returned to the infield seat.

"I have a small figure when I sit down, which is to hold my hand on the table and lift my body up slightly. This figure, no one else does this, I learned it from Mr. Huang Runfu, who sang flowers. I often watch him play Cao Cao of 'Yangping Pass', after the appearance and recitation of the big introduction, when entering the tent, he walked to the table and always lifted his body up, which means that he ascended to the tent and sat on a higher seat, and the 'throne' I am going to sit on now also meets this condition, so I will use it in 'drunkenness'. I won't say that Yang Guifei can learn from Cao Cao's figure, I'm afraid no one will guess it! In fact, the figures of all the characters on the stage are inseparable from the reality of life, as long as they are good-looking and reasonable, they can be absorbed and used by each other. That's why I always advise my students to watch more plays, not just the corners, but all the plays, that's the intention.

"From the time I came out to the time I entered the pavilion and took my seat, the figure before I got drunk can come to an end.

According to the rules for actors to sit on stage, sitting in the outfield (outside the table) is to turn right, and sitting in the infield (inside the table) is to turn left. It's always in an S shape. Mr. Mei said: "This kind of rule in Peking Opera was first introduced from marionette shows. If the person who wants to carry the thread keeps making a circle along the line, then his hand will not fall, and the thread will be twisted. ”

"Yang Guifei's three drinks in the pavilion indicate three changes in her heart. I mentioned this in the first episode of this book. But he only talked about his expression, not his figure. I'll now repeat the singing part carefully:

"The first time was a Perix toast. He was kneeling on the big side in front of the table (i.e., the top one, that is, on the side of the lower door), and Yang asked, 'What kind of wine is you toasting?' Pei replied, 'Taiping wine.' Yang asked, 'What is Taiping Wine?' Pei replied: 'It was made by the Manchu Dynasty and was called Taiping Wine. Yang Nian: "Present!" At this time, Concubine Yang had not drunk a single glass of wine. The jealousy in her heart can still be calm, so she holds the cup in her left hand and covers it with a fan in her right hand, and drinks it slowly.

"The second time was a toast from the palace ladies. They knelt in the middle of the table. Yang asked, 'What kind of wine are you toasting?' and the palace maid replied, 'Dragon and Phoenix wine.' Yang asked, 'What is Dragon and Phoenix Wine?' and the palace maid replied, "It was made by the Three Palaces and Six Courtyards, and it is called Dragon and Phoenix Wine." Yang Nian: "Present!" At this time, Concubine Yang was already drunk and sad, and she couldn't suppress her resentment, so she picked up the cup and drank it faster. The fan was also not so seriously blocked.

"The third time was a Colliers toast. He was kneeling on the small side in front of the table (i.e., the lower head, which is the side of the door), and Yang asked, 'What kind of wine are you toasting?' and Gao replied: 'All night wine.' Yang Nian: 'Ahh The figures in these two sentences are very complicated, so I will separate them and talk about them: the first 'ya' word, close the fan that is open on your hand. The second 'yah' character puts the closed fan head down. The word '啐' puts the palm of the hand downward, and points it out with both hands. 'Which with you' turns the fan back and points out a flat arc from left to right, which is a little representation of the word 'you'. The word 'tong' pestles the fan with its head down on the table. The character '宵' puts the left hand on the back of the right hand, and at the same time the face is raised to the left, and the eyes are also looking up.

Before Gao Lishi explained the name of the wine clearly, Concubine Yang should be slightly angry, and blame Gao for speaking lightly. Gao replied: "Don't be angry, this wine is made by the Manchu Dynasty day and night, so it is called all-night wine." Yang Nian: "So presented!" This time I drank with a thought, and Mr. Lu taught me a very good-looking figure. He read the word 'cheng', opened the fan, the word 'shang', raised his sleeve with his left hand, turned the fan with his right hand, and the word 'come', stood up slightly, threw himself forward, and held the edge of the table with his right hand. When he kneels, he should also sit back so that he has a low sitting figure. Compared with the above Yang Fei, one tall and one short, it looks particularly beautiful.

(Press) Drunken Colliers, Ru Fuhui did quite well. I've watched him perform with Mr. May, and when he sings this, he sits down and lifts one left leg. The face is biased to rush outward, and the figure that Mr. Mei made on it sets off the score and looks good.

"Concubine Yang sang the word 'Feng' of 'all-night wine, holding gold bottles, Gao and Pei Erqing are diligently serving', withdrew the right hand holding the fan at the table, and then used the fan with one hand, the sleeve with the other, and trembled with both hands, from top to bottom, forming a small circle. Sit down and say 'Life is in the world', and then sing 'Life is like a spring dream, and drink a few cups of self-opening.'" At this time, Concubine Yang had too much wine and couldn't suppress her drinking. Anyone who drinks too much will rush to drink it when he sees it. So it should be smiling, beckoning Colliers with both hands, grabbing the cup and drinking it all. After drinking, he lowered his head, leaned on the table and read: 'Gao, Pei Erqing, Niangniang's wine is not enough, take off her phoenix clothes and look at the big cup to serve!' In this lyric, the last two sentences are the clever techniques of the original screenwriter. He can write about the women of the court, and no matter how much they enjoy it, they still feel spiritually empty. There is also unspeakable pain in my heart. It has to be resentful and drunk to have this kind of outpouring. Just two sentences of singing, lightly written, but the intention is very profound.

"When Concubine Yang left her seat after drinking, the expression on her face and the movements on her body had to take into account the word 'drunk'. The figure here is also more heavy and delicate, first barely standing up, still sitting down. Standing up for the second time, he threw himself outward, and put his hands on the outside of the table, with the intention of vomiting or not. Standing up three times, he slowly walked to the left side of the table, and made the appearance of wine pouring up. Then he turned around and held on to the outside of the table, and squatted down low, which means that he was weak and unable to support himself after drinking. After leaving the table, he first walked to the front of the stage with drunken steps, rushed down the door to look at it, and then made a decision to change into palace clothes and prepare to get drunk, turned around and opened the fan, and with the rhythm of the '......answer' drum on the scene, he took a few steps to 'cloud step', and then was supported by the palace maid, and the first scene of the concubine was terminated.

"In the past, I squatted down, and the eunuchs and palace maids on both sides of the station looked at me, without any movements or expressions. Now I asked them to look a little frightened on their faces when they saw me crouching down as if they were about to fall, and I made a little bit of a look of wanting to come and help, and then I smiled at them, shook my head, and still struggled to stand up on my own. A drunk person is the least happy when others say that he is drunk, and the concubine does not want them to come and help him, that is, 'I am not drunk'. At the same time, it also shows that a person who has just drunk can still struggle on his own.

"There are two toasts in drunkenness, and each time it's drunk. If we don't distinguish the levels of 'drunk', we will get drunk the first time, which is difficult to deal with the development of the plot. So I'm dividing it like this now: the first is the first drunkenness, and the second is intoxication.

During Mr. Mei's visit to the DPRK, he sang "Drunk" the most times, especially in front of many of the loveliest people, which made him feel extremely excited, so he gained a lot of new understanding in terms of acting skills. The above-mentioned reforms after squatting down began in North Korea. Between smiling and shaking his head, he seemed to tell the audience from his eyes, "I'm not drunk, I don't need you to help me." This reform can not only expose the intoxicating psychology, but also correct the past problem of the eunuchs and palace maids who saw that the mother was about to fall and stood on both sides and had nothing to do with the play.

"How did you get drunk? I'll tell you about it by the way. The actor's head swayed slightly, and his body swayed from side to side, indicating an intoxicating and unsteady form of standing. For example, if you want to go to the right, then your left foot will go to the right first, and your right heel will also take a step to the right. This is also the way to go to the left. You also need to put your weight on your toes to appear light and floating. But it must also be done in moderation, if the head is shaking and the body is shaking, the audience will hate it. Because we are performing the drunk state of the woman on stage in the play, we must not ignore the condition of 'beauty'.

"Although the performance time of this play is only four quarters of an hour, it is quite difficult to play Concubine Yang. After the first game, I rushed to change my clothes when I went in, and it can be said that there was no rest from beginning to end. In the middle of the first two games, Gao and Pei did some cleaning of the pavilion and moving flower pots on the field as usual. Add a few more lines of dialogue, and that's it. The old words are "flowers" and "wine" as the titles, and let the two of them casually pick up a few meaningless lines. It's nothing more than delaying the time on the field, so that Concubine Yang can change her clothes in the back.

"I want to use this time to reflect on the callous mental abuse suffered by some women in the ancient court. Because they are all people who have been tortured and persecuted, it is only natural for them to say a little resentment from their mouths. With such a large section of confession, I can change my clothes in the background, and I can be more calm.

"Concubine Yang is gone, and the old actions and dialogues of Gao and Pei sweeping the pavilion and moving flowers still retain a part. I added a few sentences below: '(Gao) Grandpa Pei, Niangniang is almost drunk with wine, I can't let her drink it anymore! (Pei) That's right, if you drink it again, something will happen." It's no wonder. Let's take our mother, in the palace is one of the best celebrities, and I am still angry like this; So people outside don't know what's going on here, thinking that when they get to the palace, they don't know what kind of happiness they have! In fact, everything can't be as good as they want, and she is still a little troubled. That's a good point. I entered the palace a few years before you, and I saw a little more things than you; let's take our palace as a story, there are 3,000 people in the three palaces, six courts, seventy-two concubines, and palace ladies and women, all of whom came for the emperor alone; they really entered the palace until their hair turned gray and they didn't even see the emperor's face. (Pei) That's good. (High) gossip less, do the right thing is important. ’

"In the second scene, Concubine Yang changed into palace clothes, came out on her back, walked a few steps backwards, turned around and shook her sleeves twice, walked a few steps with drunken steps, and saw an empty chair on the big side, which was originally the place where Emperor Tang Ming came to sit, which immediately caused her to have an old hatred for 'driving the West Palace' just now, and shook her sleeves vigorously against the chair, this explanation has two effects: (1) It is to connect her depressed mood in the first scene to the second scene; (2) It is to point to the big side chair behind and gesture to Gao Lisbi, asking him to invite Tang Minghuang to drink with him, and make a foreshadowing.

When she saw a few pots of flowers moved by Gao and Pei, she felt fragrant and colorful, and insisted on going down to smell the flowers. The following is the figure of the three 'lying fish' followed by the three 'cups' that the audience should pay attention to. Both of these postures are made by waist and leg kung fu, but the legs of the lying fish are heavier, and the cup is heavier at the waist. In fact, it is not the same thing to put it on actors who have practiced martial arts and have a young work background.

"The first lying fish, as usual, was on the big side. Concubine Yang walked to the Kowloon entrance of the upper door, folded her sleeves from the right side with both hands, and slanted towards the entrance of the lower door, walked half a circle, and stood still as soon as she turned around. The upper body raised the left hand to turn out the sleeve, the right hand stretched out and turned the sleeve outward, the lower body raised the back of the left foot to the right of the right foot, slowly squatted down to the ground, and then used the left hand to turn back, making the appearance of climbing the flower and sniffing, after sniffing, but also put the flower branch back, this is slowly up.

"The second lying fish was on the small side as usual. The body is the same, and the parts of the hands and feet are just opposite to the first time, so there is no need to go into details.

"The third lying fish, as usual, is in the middle. The body is the same as the first time, but with a slight difference in the sleeves, the right hand is turned inward, and the left hand is turned outward. Squatted down, and had to turn around. Other people in this place did it, and they formed a circle and quickly fell to the ground. Take the dance posture as an example, it is indeed very good-looking, but in terms of the plot, it is unreasonable, a drunk person, the action will not be so fast.

"The figure of the lying fish, of course, depends on the actor's waist and leg skills. Don't overdo it. Some of the actors squatted down and lay on the ground for a long time before getting up. This is too much of a trick on his waist and legs, which is not in line with the role of smelling flowers. ”

"These three lying fish, I know the seniors, only squatting down, without smelling flowers. After I learned it, I also did the same way as I drew a gourd. Every time I perform it, I always feel that this kind of dance is precious, but the question is, what is it for? What does it have to do with the plot? Everyone only knows how the teacher teaches, so they do it, and I have been doing it for many years inexplicably. Once, unintentionally, he hid me in his heart, and an old inappropriate stuffy gourd was opened. I remember when I lived in Hong Kong, there was a meadow in front of the apartment house, and there were a lot of flowers, which was very beautiful. One day I looked so cute that I leaned down and sniffed it, so that an old friend next to me saw it and jokingly said to me, 'You look like you're making a reclining fish.' I've got a use for this inconsequential joke. At that time, I understood that these three lying fish bodies could be made into the meaning of smelling flowers. Because of the high head and Pei Erren, they moved a few pots of flowers to the stage, which happened to be a foreshadowing for me to smell the flowers. So at the beginning of the victory of the Anti-Japanese War, I performed "Drunk" again in Shanghai, and it was changed to what it is now.

"When Mr. Lu taught me. There are only two lying fish, and I asked several actors who played "Drunk" in Chinese opera, Sichuan opera and other local dramas, and they all said that they only had two lying fish. So in recent years, I've deleted one of the lying fish.

After Mr. Mei changed the figures of these three lying fish to sniffing flowers, he acted like this for a period of time, and felt that the two lying fish figures on the big and small sides were completely auspicious, and they looked too dull, and there should be some changes in small movements. He now changed the small-sided sniffing of flowers to climbing the flower branches with his hands exposed, and after sniffing the flowers, he also added actions such as pinching flowers and throwing flowers (the action of throwing flowers is done after standing up).

"When we used to describe the beauty of women, didn't we have two idioms: 'Sinking fish and geese, closing the moon and embarrassing flowers'? While dotting the scene, it is implied to be writing about Concubine Yang's appearance, which is a pun. It's a pity that there are too few flowers. After I changed the lying fish to the effect of smelling flowers, it happened to make up for the shortcomings of the original.

For the first time, Pei knelt on the big side of the table, and Yang sat on the small side of the chair. Pei Nian: 'Slave maid toasts. Yang turned around and stood next to his chair first. Hold the back of the chair with your left hand and raise your sleeve with your right hand. Seeing Pei toasting, he smiled, snatched a few steps, and arrived in front of Pei. Leaned over to try it for the first time, but didn't drink it because it was hot, so he retreated with a slight anger. Only then did he pinch his waist with both hands and drink officially. After drinking, he refused to put the wine glass, turned a harrier from left to right and turned over, and then put the glass on the plate. The few steps snatched here are a little exquisite: the steps should be small, dense, and fast, the body swayed slightly, the hands raised and turned outward sleeves, and the identity of the person in the play should be taken into account, and he walked easily and generously. This is also a sign that a drunk person likes it when he sees it. When the actor is on stage, not only does he have a singing voice and a body step, but he also has a certain size invisibly. For example, when you do this figure, the idea of playing the drum must be extra compact, and you have to fit it in size and do it properly to raise the mood of the audience. It's not hard to walk, but I'm afraid it's not going to be able to find this momentum all at once.

The second time he held the cup, knelt high on the small side of the table, and Yang sat on the big side of the chair. The figure is similar to the first time. Two differences: (1) This time the harrier turned over and turned to the right. (2) When rushing to step, use the inward double reverse sleeves to walk over and change the appearance.

For the third time, the palace maids knelt in the middle of the stage, and Yang sat on a small chair. The figure of the cup is a little similar to the first time, and it is also turned from left to right, but instead of turning a harrier and turning over, it turns into an arc and still turns back from the right. The meaning of leaning over and not drinking here is not to heat the wine. It should be described that she has drunk too much, and she really can't drink it. So this time I went into a state of intoxication after drinking. These dances are created by the old artists of the predecessors with a lot of painstaking efforts. The audience also likes to watch it, but like this, bending over and turning over a harrier drinking image, it is inevitable that some people are suspecting that it is not real enough, in fact, this is an exaggeration of the art of singing and dancing on the stage, indicating that she drank it all. We can also see her dancing after drinking. Because it is not uncommon for a person who has drunk too much to behave abnormally.

Gao and Pei saw that she was already drunk, and she was so anxious that she couldn't do it, so they bluffed that Emperor Tang Ming had arrived. Take 'Driving' to wake up Concubine Yang. Gao and Pei Tongnian 'The saint has arrived!' Yang sang the inverted board in the blindfold, and he could hear it in his ears and drive to the Baihua Pavilion. Standing up, the palace maids supported them in a one-line line, and sang: 'Boom belch...... Frightened, trembling, and kneeling in the dust!' The steps of this place will follow the singing and the passing of the door. After the inverted board is finished, before the next sentence is sung, the drummer starts and falls, and sings a lot of 'belching' first. This is also rare in other plays. Didn't I say that you have to sway from side to side when you get drunk? I'm going to roughly stipulate that when you make these 'belching' cavities, you should take three drunken steps on each side. 'Scared slave, trembling', two drunken steps on the left and right. At the end, I took a drunken step and just finished singing 'Falling to my knees in the dust'. The action on stage is alive. I usually walk this way, sometimes because of the size of the table, there are small differences. In short, the footwork here, if you don't follow the singing and go through the door, will never be appropriate.

"Yang knelt down and read: 'The concubine is late, I hope the lord will forgive the sin!' Gao and Pei read together: 'Qi Niangniang, the slave is a driver.' Yang Nian: "Ya Ya Chi!" Everyone fell to the right together, and Yang sang: "This is not drunk, everyone is drunk." Then to the left, the song continues: 'People are not charming, people are self-obsessed, ahhhh I changed these two old words to read: 'This is the wine into the intestines of the person is drunk, what is the love of the weekday, ahhhhhh The old performance method deals with the matter of driving too isolated. There is no connection in Yang's lyrics and expressions, which is not right. So the first step was to change the lyrics, and the second step was to add expressions. When Yang stood up, there should be a slight anger on her face, and then pushed the two palace maids who were holding her away, indicating that she was very dissatisfied with the driver.

Next is the scene where Yang and Gao and Pei laughed. The screenwriter of this place emphasized that the concubine's drunken Sichun had gone the wrong way at all. The actor does it according to the script, so he naturally inevitably has an obscene figure. Every time I used to play here, I always used a blurred expression to dilute it, and it was not a good idea. Because the responsibility of an actor on stage is to portray the inner desires of the people in the play clearly, and tell the audience to do their duty. So the year before last, before I performed "Drunk" in Beijing, it took a lot of effort to completely correct it. I will now go into detail about the revised part, and I hope you will use it as a reference to further improve it.

After driving, Yang sat on a small chair. The palace maid retreated, and Gao also slipped away. Pei Gang wanted to leave, but when he heard him called inside, he had to kneel and wait for the order. Yang sang: 'Where is Pei Lishiqing's house? Niangniang has something to ask you, if you win the heart of the mother, and obey the mother's wishes, I will come and come to the court to play the Danqi. Oh, Qing family, discipline you to increase the official, and the post to the post. Singing approached Pei's face. After singing, he made a gesture of holding a sake bottle in his left hand and a wine glass in his right hand, and poured wine. Make the eyes hint at Pei Zai toasting. Pei Nian: 'Niangniang has drunk a lot of wine, and it will be too much to drink again.' If something goes wrong, the slave and maid can't afford to eat. Yang Nu, took a step forward and said 'Ya Ya Chi', and slapped Pei three mouths at the same time. Singing: 'If you don't follow your mother's heart and don't go your way, I will come, come to the court to put this music supreme, sigh, slave, discipline you out of the palace gate, and suffer a lot. When the song was finished, the anger was still there. Sit down on a large side chair. Gao Shangchang said a few words to Pei, and when Pei retreated, Gao Gang wanted to leave, but when he heard him called inside, he had to kneel and wait for the order. Yang sang: 'Where is Gao Lishiqing's house? If you win the heart of the mother and the mother of the mother, I will come and come to the court to know the king. Oh, the Qing family, discipline you to increase the rank of official, and increase the rank of post. When he finished singing, he pointed outward with his hand. hinted that Gao went to invite Emperor Tang Ming to drink together. Gao pretended not to understand what she meant, and said, 'Niangniang, do you want to move the wine to the mountain to drink?' Yang then brushed his beard with both hands, pointed to Gao in front of the empty chair above, and made further expressions of his intention to drink with Emperor Tang Ming. Gao still pretended not to understand, and then said, "The slave has no beard." Yang was slightly angry and remade his gestures. Gao couldn't push it back, so he had to say again: 'You asked me to go to Mei Niangniang and ask Banzai to come and drink with you.' Yang smiled and clapped his hands, indicating that Gao had guessed. Gao Nian: 'The slave didn't dare to go, I was afraid that Mei Niangniang would beat me and overturn the vinegar jar. Yang Nu, read 'Ya Ya Chi', and at the same time took the last step to raise three mouths, and then sang 'If you don't follow the mother's heart, if you don't go along with the mother's wishes, I will come, come to the court to play this today, oh, slave, discipline you to drive out of the palace gate, broken bones. ’

"These three mouths, I used to hit with my hands, I always feel unsightly, recently changed to play with water sleeves, the two ways of playing are different, hit Pei is to hit with the sleeve, hit high is to use the sleeve to hit back.

After Gao was beaten, he kowtowed again and again, and Yang Han angrily turned around and sat on the big side chair. Gao Zheng stood up and wanted to slip away, but Yang looked back and saw him, Gao knelt down again, and Yang walked to Gao's side. The old-school figure here, Yang is pulling inward, and I pushed it out to go out instead, with the intention of letting Gao invite Emperor Tang Ming. But I took off my high hat by mistake. Wait until the end of the recitation, 'This is the slave's hat, give it to the slave's maid.' Yang Cai realized that he was holding a high hat, so he smiled and put it on his phoenix crown and learned to walk like a man. He took a hat and put it on for Gao, but he didn't put it on. Finally, throw it back to the master. The scene of ridicule came to an end. Yang wears a hat, and the insiders call it 'Mantou'. The first Yang spilled from the right to the left, and hid high to the right. The second Yang spread from the left to the right, and hid to the left. These two comics must be done very tightly together in order to show the beauty of the dance.

"I need to change the following words. The original word is, 'Where is An Lushanqing's house?' I think when you entered the palace, how Niangniang treated you and loved you. Until now, you have been ruthless and ungrateful. I will be separated from you from henceforth. An Lushan often goes in and out of the palace and is very close to Yang Yuhuan, which we can be sure of. As for all kinds of ambiguous legends, they are only mentioned by chance in the wild history, and they cannot be used as a basis. Moreover, he has nothing to do with the play. At the beginning, the screenwriter used it to emphasize Concubine Yang's fornication. Since we have washed the yellow part of the front, we have cleaned. Sing these old words again. It seems abrupt, and it is too out of harmony with the lyrics of the whole play. I changed it like this: 'Yang Yuhuan is like a dream tonight, thinking about how much he treated you and loved you when you entered the palace; So it's better to be straightforward, just take Tang Minghuang as the object of her resentment that night, and no longer implicate others in an extraneous way, it seems that she can justify herself.

"Sing here, the play is almost over. Gao and Pei Tongnian 'It's getting late, please go back to the palace', Yang Nian 'swing', and then sing the end 'Go and go, go back to the palace, and hate Li Sanlang, so he left himself a slave and left him a slave for a long night. When I returned to the palace, I only ended up in the cold and went back to the palace alone!'The three words 'Li Sanlang' in this were changed by me. The old word is 'Emperor Shengming'. I feel that I have already annoyed him, why should I respect him as the Holy Emperor. Emperor Tang Ming ranked third, and in the poems of later generations, he often called him Li Sanlang, and Concubine Yang called him like this behind her back, which seemed to match her tone. The expression here is empty and angry, and there is a look of exuberance. After singing the end, he was helped down by the palace maids. The play ended.

"Okay, I finally finished talking about the lyrics, pronunciation, workmanship, and expression of this "Drunk" very trivially. There are also some omissions. But the Daguan program is complete. This kind of record can be used as a reference for singing "Drunk". I don't dare to say that it is my final version. Because art is never-ending. I've been constantly changing it in the past, and I'm going to keep changing it in the future.

"A friend has watched my "Drunk" and "Cosmic Edge" many times and said that I like to change my body. In fact, where I sincerely want to change, wherever I sing, a new understanding will occur temporarily, and there will be changes unconsciously. Naturally, the major shows in every play cannot be changed. To know the progress of acting, it all depends on your own kung fu and heat, and slowly cultivate it to maturity. He couldn't understand it. Even if he is taught, he may not be able to do it properly. Therefore, the skills of every actor are progressing with his age, and they cannot be forced at all. I admit that my acting has indeed succeeded by gradual improvement. In general, old friends are ready to provide those valuable opinions, which are the materials that inspired me to reform.

"Writing "Drunk" like this is a personal attempt of mine. I hope that the current old artists will write down the rich experience they have gained in their lives and serve as a reference for our future generations of artists. This is the work that our predecessors did not do because of the limitations of the times, and we should rise up and advocate it. So that every line of life and ugliness has a very valuable record. That's a very valuable thing.

"Finally, I would like to talk a little bit about the origin and evolution of the play. The story of Yang Guifei's drunkenness can only be seen in the legends of the Ming and Qing dynasties in the "Palace of Eternal Life" written by Hong Sheng in the early Qing Dynasty and "Mochen Jian" written by Niu Shaoya in the late Ming Dynasty. In "The Palace of Eternal Life", it is written that she happily accompanied Emperor Tang Ming to drink in the imperial garden, which is completely different from the plot and characters of "Drunk". The stories written in "Mo Chenjian" are very similar, but there is no similarity in the lyrics. So, where exactly did it come from? I finally found its ancestor in the fourth volume of the "Supplement to the Score of Nashuying" compiled by Ye Tang, a Kunqu opera expert in the Qianlong period of the Qing Dynasty, in the category of "Drunken Yang Concubine". I compare the two books of Peking Opera "Drunk" and "Drunken Yang Concubine" of the current opera, the plot can be said to be all the same, and the lyrics can also be seen to be a source, but the Peking Opera script has been deleted, and it is much less than the current script. and Wu Taichu's "Yanlan Xiaopu" volume 4 also records that the actor Shuangxi official of the Beijing Kunqu Opera Troupe's 'Baohe Department' at that time often sang "Drunken Yang Concubine". Wu Taichu and Ye Tang were both from the Qianlong period, and this small evidence can get two kinds of circumstantial evidence: (1) "Drunken Yang Concubine" was a popular play on the stage at that time. (2) Because it is often performed in Kunban, it must be accompanied by a flute.

"The 'current opera' mentioned above is actually a kind of transformation of Kunqu opera. The singing method is no different from Kunqu Opera, and the composition does not conform to the laws of Kunqu Opera. Kunqu opera has a fixed set of brands. For example, in the drama "Drunken Yang Concubine", in addition to the first and last two folds of the brand, the first fold is 'Xinshui Ling', and the last fold is 'Qingjiang Introduction'), and there are more than 140 large singing words in the middle, although it also adopts the form of long and short sentences, but there is no brand name. The predecessors did not recognize it as an authentic Kunqu opera, so it was included in the current opera category.

"Cao Xinquan and Pu Xiyuan, two old gentlemen, said: 'There was no play "Drunk" in the earliest Beijing opera troupe. In July of the twelfth year of Guangxu, there was a Han opera artist Wu Hongxi, whose stage name was Yue Yuehong, who went to Beijing to sing in a class, and played bubble drama on the first day, which was "Drunk". Yueyuehong sang at the beginning, and everyone followed and acted in "Drunk". ’

Based on the above materials, let me summarize it. The story of this play is based on the legend of "Mo Chenjian". Peking Opera's "Drunkenness" was absorbed from Han opera. Han opera's "Drunk" may have been adapted from the current drama "Drunken Yang Concubine". The lyrics of the opera are too long, and it is necessary to subtract two-thirds of the Peking opera. Because it still retains the characteristics of classical Kunqu opera singing and dancing in the form of performance, if the lyrics are increased and the burden of the actors is heavier, I am afraid it will be difficult to be competent.

"Among my friends, Mr. Fu Xihua has the largest collection of opera materials. His family also has a copy of "New Score of String Tune Time Opera", which was jointly compiled by Zhu Tingbiao and Zhu Tingzhang, the owners of opera music in the Qing Dynasty. This book was published in 1749 (the 14th year of Qianlong in the Qing Dynasty), more than 40 years before the "Nashuying Music Score" was engraved. The book is divided into two volumes, with a total of 20 music scores, and "Drunken Yang Concubine" is also one of them. Mr. Fu believes that the accompaniment system of string tunes is mainly based on pipa, which may be derived from a system of Jin Yuan Beiqu. The name "current opera" listed in the "Nashuying Music Score" is based on the current drama of string tunes. Of course, both are possible. It is a pity that the history of the organization and development of the musical instrument of the string tune is not rich enough in this aspect of the existing theatrical documents, so I will not say much about it. ”