Zhao Lintong: Talk about the good horns and dramas I have seen

I learn the Qi School, between the similar and the unlike, this is Liu Housheng's encouragement to me, in fact, from the day I learned the drama, I was the Qi School, acting the Qi School.

Shanghai is a great place to meet, where heroes from all walks of life gather. So at that time, there were more plays, more watching, more hearings, and to some extent, my opera nutrition was better.

At that time, how many Qi sect old students in Shanghai, like Chen Hefeng, this is everyone, as well as Gao Baisheng, Li Ruchun, Yang Baotong, Xu Hongpei and so on. Shanghai, which I was more impressed with, had several big plays.

The first is that Master Zhou Xinfang and Mr. Huang Guiqiu performed the whole book of "Linjiang Sao". His "LinjiangSao" is different, he plays completely different from other actors' appearances, the original is the old fighting clothes, belt bags, he is not, it is completely customized: a small jacket with blue flowers on a white background, he does not wear a belt, it is a crescent-shaped money bag, the skirt is also a color of white background blue flowers, the top is a suspension, the bottom is haitao, the straw hat with a coat, because the first "Linjiangsao" rained heavily, wearing it is very beautiful; the face is rubbing, the hair is dark; he does not take the oars, take the stalk, and shake the sock. So he called Huang Guiqiu to meet him, he had a lot of dances, all very beautiful, I remember it very deeply.

There is also a play is "Road Remote Knowledge Horsepower", every Sunday daytime play, he has to paste the full book of "Road Remote Knowledge Horsepower".

During this period, I also watched "Three Forks" by Gai Called Tian and Ye Shengzhang, which was really enjoyable, and I thought about why the two of them could cooperate so well and play so wonderfully, and the same drama, why others played "Three Forks" could not be compared, I always wanted to find out why this.

I am also very willing to chat with old artists, in their unintentional way, I have the heart to listen, I can always learn things, there is no white chat. I remember an old artist chatting with me, at that time he was fifty or sixty years old, he said that when he was young, he saw an old gentleman performing "Xu Ce Running City", he had a laugh, and when he was running behind, he was in the "Forbidden City to kill a mess", and then he suddenly stopped, a burst of laughter, grabbed the sleeves, a twist, and then ran, this old man said that this is very exciting, I asked if there is any talk? He said that there was a story: the whole story of the Xue family general, the loyal general, the Xue family hundreds of mouths were killed, the atmosphere was very depressed, the mood of watching the play was also very depressed, just waited until Han Shan came to the people, the grandfather and the two met to the temple to protect the capital, did not ride a horse, did not sit in a car, the more he said the more energetic, the more excited he was, which showed that his mood had risen, and finally he had always thought that he could kill a mess at that time. He had never laughed before, and when he thought about this result, he let out a laugh at this time. I think the old gentleman makes a lot of sense. Then I thought, can I use it? Because this is different from the current treatment of Master Zhou Xinfang's movie "Xu Ce Running City", the old brand does not have this smile, but after I have thought it through, I still use it, and everyone found that they all said that this is good, indicating that it is used appropriately.

I have also seen the Qipai drama performed by Gao Baishi. His singing voice is not exactly the same as that of the Qi veteran, his voice is good, and sometimes he sings high, the most obvious play of "Playing Yan Yi". But Qi Lao did not criticize him, but also encouraged The Hundred Years Old Man. I think Gao Baisheng is right, he learned the spirit. Later, when I came to see Chen Hefeng's play, he also sang the Qi Sect, and his voice was more than Gao Baisheng'er.'s. Therefore, from the perspective of these old gentlemen, the Xueqi Sect should not mute its throat, do not necessarily have to die to learn, but give full play to its own strengths. Master Zhou concentrated the good of his predecessors on one person, and he used very special means to make up for the hoarseness of his voice, which was remarkable, it was very high.

Later, I went north, and after so many years, my knowledge has indeed grown a lot. What I still remember is in Tianjin, where I cooperated with Mr. Liu Hanchen in the whole book "Wind wave pavilion", a play we were both one and a half, he went from "Zhu XianZhen" to "Receiving The Will to Criticize Wang Heng", down I picked up from "PickpocketIng Copy", all the way to "Crazy Monk Sweeping Qin", two stations shouted and sang. Speaking of Mr. Liu Hanchen, he has a characteristic, and he has a good appearance and skills. His specialty play is called "Qilin Mountain", there is a white mouth, there is a kung fu, and martial arts, I remember the first time I went to Tianjin to shoot cannons, that day was the day we both co-starred in "Black Whirlwind Li Feng", my Li Kui his Wang Lin, he said to me, you have to die, if you smash in the face of this old man, do you mean it? I don't understand what he means by that. He said: "Grandpa you are on, I am on, we are both on, the field is hot, the audience is happy, we are both right." "He's using this encouragement to get you to get serious about performing. This is an interesting thing about my cooperation with Mr. Liu Hanchen.

Later, I cooperated with Zhao Songqiao to perform in Changchun, Jinzhou and Shenyang, and our grandfather cooperated until Beijing. Elder Zhao's best play has to say "Chop Face Liang", so far I have not seen a second person surpass Zhao Lao's "Chopping Face Liang". He was thin and small, he didn't hook a big face, he didn't tie a big back, he was a modified version of Yan Liang. Once on the Tian toad stage, he and Tang Yunsheng Tang veteran sang this play "Cut Yan Liang", he said that other people's Yan Liang are tied up, I am small and thin, and in Shanghai Tian Toad and Tang Lao will cooperate, my pressure is not small, I have to come to open up a new face. As a result one day he ran to the toad stage, there is a guild hall, there are two door gods posted on the door, also very short and very similar, he was inspired, began to create the role of Yan Liang, of course, he this Yan Liang gave me the feeling is indeed fresh, not high, but three inches thick bottom, fat jacket has been cushioned to the ear this, two tiger heads above the big forehead, the fox tail, the big scarf, he is short and did not wear a tiger helmet, so the scarf is very high, the whole face is black and purple, it is among them to pick up the chalk to poke a big hook, from the bottom of the stage, This face seems to have a face, a unique picture. When you see eight Cao Eight standing on all sides, it is to give you the feeling of a tiger falling into a flock. In the end, after wiping his neck and bumping on one leg, and the large knife with his nine noses was particularly large, this Yan Liang left a deep impression on the audience. Zhao Songqiao's play reminded me that an actor not only wants to learn to act, but also to create drama and create roles.

——Excerpt from "Talking about the Good Horns and Dramas I've Seen" (Zhao Lintong)