In the summer of 1925, 18-year-old Meng Xiaodong and 31-year-old Mei Lanfang met on stage. One is an "old student" who has just become popular in Beijing, and the other is a "Hua Dan" who has already been well-known in Beijing. Who would have thought that this seemingly beautiful encounter would become the beginning of a life legend with ups and downs. From acquaintance, love to separation, and then to the pinnacle of their respective lives, the stories of Meng Xiaodong and Mei Lanfang tugged at the heartstrings of countless people. When Meng Xiaodong finally left Mei Lanfang, she said softly: "Wanhua, don't be afraid, don't be afraid." What kind of emotion and wisdom does this seemingly simple sentence contain? How did it affect the second half of the lives of these two Peking Opera masters? Let's walk into this dusty past and explore the love that spans time and space.
In August 1925, a special congregation was being held in a theater in Beijing
This meeting is unusual because it brings together two new talents and famous actors in the Peking Opera industry. On the stage, an 18-year-old girl is playing Yang Yanhui in "Shiro Visits His Mother", her appearance is majestic and solemn, her singing voice is sonorous and powerful, and her gestures are full of the demeanor of an old student. This girl is Meng Xiaodong, a rising star who has just emerged in the capital.
She is playing with a 31-year-old man, but he plays the princess of Tiejing in the play. This man has a handsome appearance, a soft figure, and a graceful singing voice, it is Mei Lanfang, who was already famous in Beijing at that time. With her unique "Mei School" performance style, Mei Lanfang has long become the first of the "Four Famous Dans" of Peking Opera and enjoys a high reputation.
The configuration of this scene is quite special. One is a young woman playing the role of an old student, and the other is a mature man playing the role of a young man. This contrast not only did not cause discomfort to the audience, but made the whole performance full of unique charm. The audience was fascinated and applauded.
Although Meng Xiaodong is young, her old student performance is already quite skillful. Her voice is strong and powerful, her singing voice is mellow and full, and even in the face of such a famous partner, she has no stage fright. Her Yang Yanhui is majestic and heroic, in stark contrast to the soft Princess Tiejing played by Mei Lanfang, but it is harmonious and unified.
Mei Lanfang, with her superb artistic skills, vividly interpreted Princess Tiejing's dignified and elegant, intelligent and clever interpretation. His every look and every action is just right, portraying the inner world of the characters in the play vividly.
The two of them come and go on the stage, and they cooperate tacitly. Meng Xiaodong's strength and Mei Lanfang's graceful and soft complement each other, making the whole performance wonderful. The audience was fascinated and applauded.
After the performance, Mei Lanfang was full of praise for Meng Xiaodong's performance. He was amazed at the talent and courage of this young junior, who was able to challenge the extremely difficult profession of an old student at such a young age. Meng Xiaodong sincerely admired Mei Lanfang's artistic attainments, and the two talked happily and exchanged acting experiences with each other.
This performance has also attracted wide attention from the Peking Opera community. Many fans and peers are full of praise for this unique pairing, believing that their combination is novel and unique, and brings new possibilities for the development of Peking Opera. Some people even began to imagine what kind of surprise it would bring to the Peking Opera industry if these two talented artists could work together for a long time.
However, fate always comes up unexpectedly. This seemingly ordinary church performance has actually become the intersection of Meng Xiaodong and Mei Lanfang's life trajectories. It is not only a meeting of two artists on stage, but also a collision of two souls. This encounter laid the groundwork for their later emotional entanglement, and also left a good story for the Peking Opera industry.
From this day on, the names of Meng Xiaodong and Mei Lanfang began to appear frequently in the theater of the capital. Spectators rushed to buy tickets just to get a glimpse of the fabulous pairing. Each time they performed on the same stage, it became a sensational event, injecting new vitality into the long-dormant Peking Opera industry.
With the frequent cooperation between Meng Xiaodong and Mei Lanfang on the stage, the relationship between the two has become increasingly close. Mei Lanfang's fans, the so-called "Mei Party", began to eagerly discuss the future of the talented and beautiful couple. They believe that if Mei and Meng can get married, they will definitely become the most dazzling pair in the Peking Opera industry, and their birthday and Dan will be unmatched.
Fueled by the "Mei Party", on the 24th day of the first lunar month in 1927, 18-year-old Meng Xiaodong quietly married 33-year-old Mei Lanfang and became his third concubine. As soon as this news came out, it immediately caused an uproar in the capital. Many people rejoiced at the union of the duo and thought it would be a great event in the Peking Opera world.
However, not everyone was supportive of the marriage. Meng Xiaodong's master, Qiu Yuexiang, strongly opposed this family business. He believes that Meng Xiaodong is on the rise in his career, and if he marries, he is likely to be banned from performing on stage by Mei Lanfang. Qiu Yuexiang once persuaded his apprentice with great pains: "The fist does not leave the hand, the song does not leave the mouth, as long as you don't sing for half a year and a year, you will lose all your efforts, it's a pity!"
It's a pity that Qiu Yuexiang's advice did not impress Meng Xiaodong. After marriage, as Qiu Yuexiang worried, Meng Xiaodong was "hidden in the golden house" by Mei Lanfang and stopped acting for four years. In the past four years, Mei Lanfang's career has been thriving, but Meng Xiaodong has gradually faded out of the public eye.
Sudden gunshots
Just when people thought that the couple would spend the rest of their lives peacefully, a sudden gunshot broke the silence. On September 24, 1927, a man who claimed to be a die-hard fan of Meng Xiaodong broke into Mei Lanfang's house, shouting, "The hatred of taking his wife is not shared!" , shot and killed Mei Lanfang's friend Zhang Hanju. The man was then shot dead by the military police and beheaded in public.
This bloody case caused an uproar in the capital, and various speculations and rumors spread everywhere. Some say it's a love killing, some say it's a vendetta, and some say it's an elaborate conspiracy. No matter what the truth is, this incident has cast a shadow on the marriage of Mei Lanfang and Meng Xiaodong.
After the incident, Mei Lanfang's second wife, Fu Fangzhi, took the opportunity to say to Mei Lanfang: "Uncle's life is important, and the child can't live without a father." Although this sentence was short, it deeply pierced Mei Lanfang's heart. He began to think about whether he had brought danger to himself and his family because of marrying Meng Xiaodong.
At the same time, Meng Xiaodong also began to feel uneasy. She originally thought that she would be happy by marrying Mei Lanfang, but the reality was far from that. Not only did she lose the opportunity to perform on stage, but she also had to face the open and secret battles of other wives and concubines. This shooting incident made her feel that she might have become a burden to Mei Lanfang.
At this moment, another incident completely upset the fragile balance between the two. In 1928, Mei Lanfang's mother died. According to the etiquette at that time, Meng Xiaodong, as Mei Lanfang's concubine, could not participate in her mother-in-law's funeral. However, Meng Xiaodong insisted on worshipping. This move caused strong dissatisfaction among the Mei family, who thought that Meng Xiaodong did not understand the rules and was insulting.
The funeral turmoil became a turning point in the relationship between Mei and Meng. Mei Lanfang began to estranged Meng Xiaodong, and Meng Xiaodong also felt that her position in the Mei family was becoming more and more embarrassing. The contradiction between the two is deepening day by day, and the former love is gone.
In this way, Mei Lanfang and Meng Xiaodong's marriage came to an end. In 1931, Meng Xiaodong resolutely published a statement in the newspaper, announcing his disconnection from Mei Lanfang. This statement caused a huge sensation in the society at the time, and many people did not expect that this once enviable talented and beautiful couple would end their marriage in such a way.
From acquaintance, love to separation, Mei Lanfang and Meng Xiaodong's relationship has experienced a complete reincarnation. Although this marriage was short, it left many embarrassing stories. It was not only a private matter for two people, but also a microcosm of the social changes of the era, reflecting the complex attitudes of the society at that time towards marriage, status and personal value.
In 1931, after Meng Xiaodong and Mei Lanfang officially broke up, she did not sink. On the contrary, the 24-year-old veteran actor has shown amazing resilience and talent, opening a new chapter in her artistic career.
Soon after leaving Mei Lanfang, Meng Xiaodong returned to the stage. Her comeback performance chose the role of Yang Yanhui in "Iron Crown". This choice is quite meaningful, because it was this role that made her meet Mei Lanfang many years ago. However, at this time, Meng Xiaodong is no longer the fledgling little girl she was back then, her performance is more mature and stable, and her singing voice is more mellow and powerful.
The comeback performance was a huge success, and the audience was surprised to find that the four-year silence had not dampened Meng's talent, but had only taken her artistic accomplishments to the next level. This performance not only re-established Meng Xiaodong's status in the Peking Opera industry, but also proved her strength as an independent artist to the world.
In the next few years, Meng Xiaodong's career flourished. She is constantly challenging new roles and expanding her performance range. In addition to the traditional old-fashioned dramas, she also tried some new plays, such as "Su Wu Shepherd", "Wen Tianxiang" and so on. These works not only demonstrate her superb acting skills, but also her deep understanding of historical figures.
In 1935, Meng Xiaodong ushered in an important moment in her artistic career. She premiered the new historical drama "Farewell My Concubine" in Nanjing, playing the role of Xiang Yu. This role was a huge challenge for Meng Xiaodong, because Xiang Yu was not only a complex historical figure, but also needed to show strong emotional changes.
However, Meng Xiaodong's performance surprised everyone. Her Xiang Yu has both the majesty and domineering spirit of an overlord, and does not lose the love of children. Especially in the farewell concubine scene, Meng Xiaodong vividly expressed Xiang Yu's inner contradictions and pain, which moved the audience. This performance has not only won unanimous praise from the audience, but also received high praise from people in the cultural circles. After watching the performance, the famous writer Yu Dafu wrote an article praising Meng Xiaodong's performance, saying that she "deserves to be the first old student of our time".
At the same time, Mei Lanfang's career is also booming. In the 1930s, he performed abroad many times, bringing the art of Peking Opera to the international stage. In 1930, Mei Lanfang led a troupe to perform in the United States, causing a sensation in New York, Chicago and other places. Although the American audience did not understand Chinese, they were deeply attracted by Mei Lanfang's performance. The famous Hollywood star Chaplin even went backstage to ask Mei Lanfang for acting skills.
In 1935, Mei Lanfang went to the Soviet Union to perform again. His performance not only won warm applause from the audience, but also aroused great interest in the Soviet theater circles. After watching Mei Lanfang's performance, the famous director Stanislavsky was full of praise for the performing art of Peking Opera and invited Mei Lanfang to give a demonstration performance for the actors of the Moscow Art Theater.
Mei Lanfang's artistic innovation in China has not stopped
In addition to her success on the international stage, Mei Lanfang's artistic innovation in China has not stopped. He continued to improve the traditional repertoire and create new plays, such as "Cosmic Edge" and "Daiyu Burial Flower", which have become classics in the Peking Opera world. Mei Lanfang also devoted herself to the research and summary of Peking Opera theory, wrote a large number of theoretical articles, and made important contributions to the development and inheritance of Peking Opera.
In 1937, the War of Resistance Against Japanese Aggression broke out. In the face of the national disaster, Meng Xiaodong and Mei Lanfang both expressed their patriotism in their own ways. Meng Xiaodong actively participated in the anti-Japanese rescue performance, and she created and starred in new dramas with patriotic themes such as "Mulan in the Army" to inspire the people's enthusiasm for resisting the enemy and saving the country. Mei Lanfang chose to protest by "keeping his hair but not his head", and he grew a beard throughout the Anti-Japanese War and refused to perform on stage to express his uncooperative attitude towards the Japanese invaders.
Although they parted ways, both Meng Xiaodong and Mei Lanfang reached new heights on their respective artistic paths. Their achievements have not only enriched the connotation of Peking Opera art, but also won respect and praise for traditional Chinese culture on the world stage. Their story transcends personal grievances and becomes a legend that highlights the charm of art and the wisdom of life.
After the end of the War of Resistance Against Japanese Aggression, Chinese society underwent tremendous changes. This change not only affected the fate of the entire country, but also profoundly changed the life trajectory of Meng Xiaodong and Mei Lanfang.
In 1945, when the Anti-Japanese War was won, Meng Xiaodong was 41 years old and was in the golden age of his artistic career. With her superb performance skills and rich stage experience, she enjoys a high reputation in the Peking Opera industry. However, the post-war political turmoil and social changes brought new challenges to her career.
In 1946, Meng Xiaodong participated in the farewell performance of the famous "Mei School" actor Yan Huizhu. The performance, which was supposed to be an ordinary artistic exchange, led to a series of unintended consequences due to the complex political environment of the time. After the performance, some people accused Meng Xiaodong of having ties with the "reactionaries", and although this accusation lacked factual basis, it still caused Meng Xiaodong a lot of trouble in the sensitive political atmosphere at that time.
In order to avoid unnecessary disputes, Meng Xiaodong chose to temporarily leave Beiping and go to Shanghai for development. In Shanghai, she met Cheng Yanqiu, a Peking Opera master who had also taken refuge here. The two hit it off at first sight and soon formed a new troupe. This troupe brought together a number of famous Peking Opera artists and quickly made a name for itself in Shanghai's theater scene.
In 1948, Meng Xiaodong and Cheng Yanqiu collaborated on the new historical drama "Wen Tianxiang". This play features Wen Tianxiang, a patriotic minister of the Southern Song Dynasty, as the protagonist, and tells the story of his unyielding loyalty when the country was in danger. Meng Xiaodong plays Wen Tianxiang, and Cheng Yanqiu plays Boyan, the prime minister of the Yuan Dynasty. The wonderful rivalry between the two masters not only showed their superb artistic attainments, but also alluded to the turbulent social reality of the country at that time, which aroused strong resonance from the audience.
However, the good times were short-lived. In 1949, with the change of regime, Meng Xiaodong once again faced a turning point in his career. In the early days of the founding of the People's Republic of China, traditional opera was once regarded as a "feudal legacy", and many artists were forced to change their careers. Meng Xiaodong is no exception, she stopped performing for a time and turned to work in opera education.
Mei Lanfang's life has also undergone tremendous changes
After 1949, he was appointed director of the Peking Opera Company of China and became a leading figure in the new Chinese opera industry. However, this position is both an honour and a challenge. Mei Lanfang needs to find a balance between traditional art and the requirements of the new era, and the process is not easy.
In 1950, Mei Lanfang participated in the creation and starred in the new Peking Opera "The Legend of the White Snake". This work blends traditional Peking Opera art with modern aesthetics, while retaining the framework of the classic story, adding new ideological connotations. Bai Suzhen played by Mei Lanfang not only has the grace and gentleness of the traditional Danjiao, but also shows the independent spirit of women in the new era. The success of this work not only proves that Mei Lanfang keeps pace with the times in art, but also points out the direction for the development of Peking Opera in the new era.
In 1956, at the National Opera Observation and Performance Conference, Meng Xiaodong, who was 61 years old, returned to the stage and performed her masterpiece "Iron Crown". This performance is considered the pinnacle of her artistic career. Despite being over the age of six, Meng Xiaodong's performance is still in good spirits and his singing voice is strong and powerful, which has won unanimous praise from the audience and industry insiders. This successful comeback also marks the gradual re-recognition of traditional opera art in New China.
However, the good times were short-lived. In 1966, the "Cultural Revolution" broke out, and the opera industry suffered a serious impact. Many artists have been criticized and devolved, and Mei Lanfang and Meng Xiaodong have not been spared. Mei Lanfang had already escaped the catastrophe by her death in 1961, but his artistic achievements were severely denied during this period. Meng Xiaodong experienced even more difficult years, she was sent to the countryside for labor reform, and the "old queen" on the stage in the past became an ordinary peasant.
After the end of the "Cultural Revolution", Meng Xiaodong was finally able to return to Beijing. Although she is over the age of old, she still cares about the opera career. She is actively involved in the education of Chinese opera, passing on what she has learned throughout her life to the younger generation. In 1985, the 81-year-old Meng Xiaodong performed on stage for the last time, drawing a successful end to her legendary artistic life.
Mei Lanfang and Meng Xiaodong's lives are like a drama of ups and downs. Their artistic achievements are brilliant, but they have also experienced various challenges brought about by the changing times. Their story is not only the personal biography of two outstanding artists, but also a microcosm of the ups and downs of the entire Chinese opera industry in the 20th century.
With the changes of the times, although the two Peking Opera masters, Mei Lanfang and Meng Xiaodong, have passed away, their artistic spirit and unique skills have not disappeared with them. On the contrary, through their disciples and descendants, these precious artistic legacies have been passed on and developed, giving new life in the new era.
Mei Lanfang's artistic legacy is mainly continued through his children and many disciples. Among them, Mei Baojiu, as Mei Lanfang's eldest son, has been exposed to it since she was a child, and she has won the true inheritance of her father. In 1979, Mei Baojiu performed on stage for the first time, and she amazed the four as soon as she played "The Drunken Concubine". The audience was surprised to find that Mei Baojiu not only inherited her father's superb performance skills, but also had her own innovations in singing and figure.
In the 1980s, Mei Baojiu performed abroad many times, promoting the art of Mei Pai to all over the world. In 1983, he performed in the United States with the Peking Opera Troupe of China, and his performance at the Metropolitan Opera in New York caused a sensation. Although the American audience does not understand Chinese, they are still impressed by Mei Baojiu's beautiful figure and delicate expression. This performance not only allowed overseas audiences to appreciate the charm of Peking Opera, but also made an important contribution to the cultural exchanges between China and the United States.
In addition to Mei Baojiu, Mei Lanfang's other children have also contributed to the inheritance of Peking Opera art in different fields. Mei Qiaoling is committed to the research and teaching of Peking Opera music, while Mei Wei is devoted to the design of Peking Opera costumes, injecting new vitality into traditional costumes.
Important contributions
At the same time, Meng Xiaodong's artistic heritage is mainly continued through her disciples. Although Meng Xiaodong has no children under her knees, she is full of peach and plum all over the world and has cultivated many excellent old actors. Among them, the famous veteran actor Ye Shaolan is Meng Xiaodong's disciple.
Ye Shaolan studied Peking Opera since childhood, and at the age of 15, she worshipped Meng Xiaodong as her teacher. Under Meng Xiaodong's careful guidance, Ye Shaolan soon showed extraordinary talent. In 1978, Ye Shaolan became famous in the National Peking Opera Festival, and her "Iron Crown" and "Lost Space Chop" won unanimous praise from experts and audiences. Critics believe that Ye Shaolan not only inherited the performance characteristics of Meng Xiaodong, but also had her own innovation in the use of vocal cavity.
In the 1980s, Ye Shaolan performed abroad many times, promoting the art of the Meng School overseas. In 1985, she performed in Japan with the troupe, and her performance at the National Theater in Tokyo caused a sensation. Although the Japanese audience did not understand Chinese, they were still impressed by Ye Shaolan's performance of both rigidity and softness. This performance not only allowed the Japanese audience to appreciate the charm of Peking Opera veterans, but also made an important contribution to Sino-Japanese cultural exchanges.
In addition to Ye Shaolan, Meng Xiaodong's other disciples such as Li Shiji, Li Hezeng and others have also emerged in the Peking Opera industry and become the backbone of the new generation. While inheriting the essence of Meng school art, they also innovated according to the characteristics of the times, so that the art of Meng school radiated new vitality in the new era.
It is worth mentioning that Mei Lanfang and Meng Xiaodong's artistic inheritance is not limited to stage performances, but also includes theoretical research and educational work. In 1986, the Chinese Academy of Drama established the "Mei Lanfang Art Research Institute", specializing in the research and inheritance of Mei School art. The institute not only collated and published a large number of Mei Lanfang's performance audio and video recordings and manuscript materials, but also organized a number of academic seminars to deeply discuss the characteristics and development direction of Mei School's art.
Similarly, in order to commemorate Meng Xiaodong's artistic achievements, the Beijing Peking Opera Company established the "Meng Xiaodong Art Research Association" in 1990. The research society is committed to collating and researching Meng Xiaodong's art materials, and regularly holds the "Meng Xiaodong Art Festival", inviting the descendants of the Meng school to show the charm of Meng school art.
In the 21st century, with the development of society and the changes in the aesthetics of the audience, the art of Peking Opera is facing new challenges and opportunities. The descendants of the Mei and Meng schools are also actively exploring how to keep pace with the times while maintaining the essence of the tradition. For example, Mei Ruopu, the daughter of Mei Baojiu, tried to integrate Peking Opera elements into modern stage plays, and created new stage works such as "Mei Lanfang", which was widely acclaimed.
Zhang Guoqing, a disciple of Ye Shaolan, tried to combine Peking Opera with multimedia technology, creating Peking Opera works with a sense of modern science and technology such as "Farewell My Concubine", which attracted a large number of young audiences. These innovations not only enrich the expression of Peking Opera, but also open up a new path for the inheritance and development of Peking Opera art.
From Mei Lanfang and Meng Xiaodong to their disciples, and then to today's new generation of actors, the art of Peking Opera has continued to innovate in inheritance and adhere to tradition in innovation. This chain of inheritance has witnessed the vitality and adaptability of Chinese opera art, and also demonstrated the profound heritage and eternal charm of Chinese culture.