Mei Lanfang took the stage at the age of eleven, and soon became famous; Zhou Xinfang acted at the age of seven, and quickly led an army by herself; Compared with these young and blockbuster artists of the previous generation, it should be said that the road to becoming a famous veteran actor ma Changli in the Beijing Peking Opera Theater group is much more bland and slow. However, the folk proverb has the saying that "Ganluo hair is early and tooth late", it seems that the formation and emergence of human talents are not sooner or later.
A verdant green leaf
Ma Changli "started" by playing a supporting role.
Here, it is not necessary to say that when he sat in the "Rongchun Society", he performed all the "flag gongs and umbrella newspapers, courtyard corridors" in many plays, nor did he say that after nine years of full science, he ran in Tianjin, Zhangjiakou and other foreign port docks, acting as an inconspicuous "bottom bag". As far as Ma Changli himself remembers, the number of times he played Lü Bohao in "Catching and Releasing Cao", the number of times he played the Eight Sages in "The Book of Qing Officials", the number of times he played Kan Ze and even Xu Shu and Liu Fu in "Borrowing the East Wind" was much greater than the number of times he played the protagonists Chen Gong, Kou Zhun, Kong Ming, and Lu Su in these dramas. However, "the east corner of the lost, the harvest of the mulberry elm". Although the young and studious Ma Changli rarely had the opportunity to take the lead alone, in the opportunity to play a supporting role, he fully enjoyed the outstanding performances of the previous artists, greatly broadened his horizons, and understood the true meaning of a lot of art. For example, about the integrity of the performing arts of Peking Opera - the jargon is called "a vegetable"; On the issue of how to foil the dialectical relationship between the main and supporting characters, and how to get their own wonderful dialectical relations, he not only has his own opinions, but also practices them personally. It was also in this way that Ma Changli was favored by Tan Fuying, Qiu Shengrong and other famous artists, and in the early 1950s, he was selected into the beijing Peking Opera Second Troupe at that time, and played the role of a lizi laosheng in the troupe. Soon, major supporting roles such as Wang Ping in "Lost Space", Yan Yan in "Dingjun Mountain", Wang Bodang in "Broken Secret Stream", and Liu Xiu in "Yao Period" were almost "exclusively operated" by Ma Changli.
People still relish Ma Changli's role as Han Guangwu Liu Xiu in the famous Qiu Pai drama "Yao Period". "Yao Period" was originally called "Caoqiao Guan". In the early years of performance, Liu Xiu was often played by Xiaosheng, and Qiu Shengrong first created "Yao Period", which fixed Liu Xiu as a lizi laosheng. Ma Changli made a concrete and profound analysis of Liu Xiu's role. He believes that according to the requirements of the script, Liu Xiu is not only a coward who is drunk and does not pay attention to the government, but also an expert who does nothing on the surface and actually harms the heroes. The relationship between Liu Xiu and Yao Qi is complex and delicate. It is through this relationship that the drama "Yao Period" exposes the authoritarian feudal tyrant. From this point of view, although the drama and history are not in line with each other, the "Yao" drama is still widely circulated. Based on this understanding, Ma Changli felt that the script arranged only six singing sections for Liu Xiu [Erhuangyuan Plate], and the tune was relatively general, and it was difficult to deeply express the characters. He boldly expanded the original lyrics into twelve sentences and carefully designed the singing segment. For example, in the first sentence, the three words "think of the year", the sound difference varies greatly, especially the word "dang", which is lifted up in the air, giving people the feeling of protruding peaks, which is borrowed from the "unopened words" three words of the Yan (Ju Peng) school "Let Xuzhou" "unopened words are not rolled by people's tears", and then integrated and adapted. However, the tactfulness of the three words of the "unspoken" of the Yan school is to express Tao Qian's decadence, while Ma Changli's three words of "thinking of the year" have another upright trend in the gentleness, and liu Xiu's first ascension to the dragon throne is an invincible imperial demeanor. In the sentence "Wen Zhen is accurate in Mr. Deng's yin and yang", Ma Changli mixed the singing method of "two yellows and three eyes" to make the melody bright and the rhythm strong. In the sentence "Emperor Yao's brother Baoding Qiankun", he added a small breath between the words "Emperor Yao" and "brother", so that although the sentence was broken, it was still meaningful, and the singing method was ingenious and novel. In the sentence "I hope to have a peaceful haiyan river, and the monarchs and courtiers share the peace", Ma Changli seamlessly rubbed some Qingyi singing methods, so that the singing sentence jumped briskly and moved back softly, coupled with his proud facial expression, the shape of the body movement of shaking his shoulders slightly, a white water uprising, and the image of the feudal emperor who is now powerful, suddenly appeared in front of the people. And this image is exactly the same as qiu Shengrong's image of The city government and the humble and careful old minister Yao Qi, which forms an extremely strong and extremely sharp contrast, which plays a good role in expressing the theme of "Yao Period" and portraying two typical characters.
Ma Changli played Chen Shimei in "The Case of Gongmei", cunning and sinister, and the "Gongtang" [Xipi] singing section, which has been popular for a long time; Yu Qing, who he played in "Will Xiang He", bid farewell to Lin Xiangru when he sang the phrase "I hope the two families will resolve their private anger", the momentum is magnificent, the spirit is full of energy, and with the drum sound of the "Da Bar" beating, yu Qing's hope for reconciliation and wishing the country a prosperous and strong country is fully expressed. For example, Wang Bodang in "Broken Secret Stream", The Eight Sages King in "The Book of Qing Officials", Liu Bei in "Changsakapo", Wang Yun in "Three High-Fives", and even Tian Zichun in "Ten Old An Liu", Xu Maogong in "Bai Liangguan", Qin Qiong, who has only one "hanging field" in "Lock five dragons", and other supporting roles of the first level, Ma Changli is also exquisitely crafted and brilliant. To say that Ma Changli is a supporting role like a verdant green leaf is not an exaggeration.
A "miscellaneous family" who has learned from all
The artistic path of Ma Changli is like climbing a mountain, and the asymptotic approach is repeated.
Around the sixties, slowly, even unconsciously, Ma Changli "survived" to the point of starring. Of course, this is the result of his dedication to the art.
After Ma Changli became the lead actor, people often asked him which faction he was, which really could not be answered exactly in one sentence. Judging from the repertoire, Ma Changli has performed Horse Pai plays such as "Borrowing the East Wind", "Ganlu Temple", "Ten Lao An Liu", "Su Wu Mu Yang", "Rouge Bao Fold", "Tan Pai Dramas such as "Da Tan II" and "Red Mane Liema", and Yang Pai plays such as "Wu Zixu" and "Hong Yang Dong"; From the overall style point of view, Ma Changli has the elegance and elegance of the Ma Pai, the excitement and high pitching of the Tan Pai, and the implicit exploration of the Yang Pai. To be honest, Ma Changli is not cool to Xiao Ma Lianliang, Tan Fuying or Yang Baosen. He just wanted to learn from the achievements of these artists and even more artists, "take it and use it for me.". The horse long ceremony is the horse long ceremony. Of course, this has nothing in common with arrogance and rejection of predecessors.
"The Orphan of Zhao" is a masterpiece of Ma Lianliang's late period, and it is also one of the plays he personally taught Ma Changli. The role of Cheng Bao in the play, the age span is large, the characters' feelings are sad and happy, and there are big ups and downs. Ma Lianliang mobilized a variety of artistic means to shape Cheng Bao, which can be said to combine singing, reading, doing, dancing and other skills. Actors with slightly lacking skills really do not dare to ask for help easily.
Ma Changli plays Cheng Bao, the basic patriarch Ma Lianliang, and combined with his own conditions, he has made a new artistic treatment for individual places. For example, the famous "Sacrifice of Orphans" singing section of "Taking Orders in the White Tiger Lobby", the old Yu (Shu Yan), Ma and other different singing methods. In short, Yu Pai's singing method is upright and strong, and the ups and downs are clear; The horse pie is full and smooth, rounded and gorgeous. Ma Changli's singing is based on the horse cavity as the basic norm, and some of the specialties of the Yu school are absorbed in the pronunciation of the words. In the sentence "I was ordered in the White Tiger Lobby", Ma Changli used a very melodic voice after the word "Tiger (Wow)". Because of his crisp voice, the full note of this cavity can be clearly transmitted to the ears of every audience. The song "Stacked Plate Huilong" "All for the sake of saving the orphans' houses, tired of the elderly Cang Cang suffering and torturing, seeing the two separations" One sentence, Ma Changli slightly collected the "two" characters, a "small cushion head", and then gradually increased the volume of the word "separation", from weak to strong, it sounded very pleasant, not only gave people a beautiful musical enjoyment, but also appropriately expressed Cheng Bao's righteous indignation against the traitor Tu Anjia.
"Say broken" a fold, Cheng Baby has a heavy confession. Ma Lianliang's thoughts were originally full of wide mouths, suppressed, and extremely musical. This was something that Ma Changli was deeply unable to grasp. But he was able to give full play to his crisp voice, powerful bites, and sincere words, and read this scene sincerely and vividly. When it is said that Tu'an Jia was raging, he often used tooth and tone characters to express his resentment; Speaking of the Zhao family's more than three hundred mouths being killed, he used a slight and slightly hoarse vibrato to render Cheng Baby's heartache; Remembering that when he sacrificed his life to rob orphans and save orphans, he expressed infinite gratitude with a hearty tone; When he broke the organs and did his best to disclose the orphan's origins, his tone was firm and his words were sonorous. This large passage of recitation, twists and turns, such as crying like a complaint, slowly saying that the orphans on the stage follow their dots, moody and angry, that is, the audience under the stage, also moved by his emotional performance, almost like a daze, a little softer, almost ready to be a green shirt soaked Jiangzhou Sima .
"Wen Zhaoguan" is a major singing opera in Peking Opera and one of the most popular plays performed by Ma Changli. In the play, the "sigh five more" is folded, and there is a complete set of [two yellow] singing voices. This set of singing voice, the rhythm from slow to fast, the tone is getting higher and higher, the whole singing section clearly shows Wu Ziqing's sadness, urgency, resentment, anger and other psychological changes, singing is extremely difficult.
In the old days, "Wen Zhaoguan" was generally sung by Wang (Gui Fen) and Yang. Ma Changli's singing, the basic patriarchal Yang school, while at the same time paying attention to the personal voice clear and wide range of strengths. Take only the passage "Chicken Dog Barking Five More Days" [Fast Original Board] as an example. This is not only the fastest rhythmic [Erhuang] singing section in the traditional play, but also mixed with "playing the board", "flashing board", "dragging board", "catching the board stack" and other high-difficulty singing techniques that change the rhythm. The first sentence of "Chickens and Dogs Bark five more days" should be sung, and the "Gray Smoke of Parents' Grievances" in the back should be even higher. At that time, Yang Baosen's singing was indeed deep and subtle, steady and generous. But his voice is not very good, and when he sings [fast original board], he occasionally has repeated exhaustion. In view of this, Yang Baosen often changed the word "more" of "chickens and dogs barking for five more days" to singing in a low voice, and often changed the word "ash" of "the ashes of parents' hatred into gray smoke" to the word "dust". Although this is a clever point where famous people play to their strengths and avoid their weaknesses, after all, they are helpless and demoted to seek it. In the mid-1950s, Ma Changli asked Yang Baosen about his art, and Yang Baosen said directly to Ma Changli: "I sing 'Five More Heavens' as 'Five Wells Heaven,' and Sing 'Turning Gray Smoke' into 'Dust And Smoke' according to my conditions. When Ma Changli heard this, he was extremely touched. He did not expect that the artists who created a new generation of voices would be so pushy and devoted to himself. After pondering for a long time, Ma Changli made a promise to Mr. Yang: "You can rest assured, I will definitely try to sing "Wen Zhaoguan" well, sing these two sentences well!', listening to Ma Changli's words, looking at Ma Changli's innocent expression, Yang Baosen nodded and smiled.
In the future, whenever he sang "Wen Zhaoguan" and sang these two high-pitched sentences, Ma Changli was always full of palace tones and went all out. When the applause in the audience is everywhere, In Ma Changli's mind, there will always be a scene of Mr. Yang Baosen taking the lead in acquiescence, nodding and smiling...
Be a push-forward
The 52-year-old Ma Changli has spent more than forty spring and autumn on the stage. With 40 years of experience, Ma Changli knows that conservatism suffers and innovation benefits.
One thing made Ma Changli never forget. The traditional repertoire "Three Stores, Da Dengzhou" has two kinds of performance methods: "Jing Dynasty School" and "Waijiang School". According to the acting method of Ma Lianliang and Yang Baosen, when Qin Qiong was matched, he only sang a few words [scattered board] on the scene. However, after Qin Qiong came on, the "Waijiang Sect" sang a large section [flowing water board]. The "Bring Yourself to the Mouth of the Street" singing section here is novel and lively, the words are popular, and they are loved by the audience. In the old days, if there was a chasm between the "Jing" and "Hai" factions, the famous characters of the "Jing" faction never sang this passage [flowing water]. In the early 1960s, Ma Lianliang taught this repertoire to Ma Changli. Before the performance, Ma Changli remembered this singing segment, and he wanted to absorb this singing segment, but he was afraid that the teacher would object. When he had gathered enough courage to consult with the teacher, the violinist Li Muliang came out and advised him: "Don't take the liberty of making things stiff, or I will probe Mr. Ma's attitude for you first." A few days later, Li Muliang brought an echo: "Mr. Ma said, first ask Chang Li to sing to me, as long as it is good, it can be added." Hearing the teacher's approval, Ma Changli was very happy, a little thoughtful, he understood, the old gentleman in his sixties, unconservative, keen to seek innovation, no wonder people can create their own faction!
Learning from the teacher's innovative spirit, Ma Changli adhered to the practice of "abiding by the law without sticking to the law, and innovating the formula without violating the formula". This is reflected in his traditional plays such as "Three Stores", "Da Deng Zhou", "Su Wu Mu Sheep" and so on, and more prominently in the modern plays he performs.
Since the late 1950s, Ma Changli has successively performed modern dramas such as "Zhi Zhi Zhi Bandit Mountain Carving", "Song of Youth", "Grassland Beacon", "Ludang Tinder", etc., successfully shaping some positive and negative characters. Yang Zirong, who he played in the drama "Wisdom", sang "Yang Zirong was originally a good root, nine-year-old cattle and ploughed the land" when he described his life, which did have the charm of Yang Pai, but also had a simple and earnest style; Diao Deyi, who he played in "Ludang Tinder", is even more ingenious and well-known. In the play, Diao Deyi's kind of lifting and putting on the robe is the evolution of the pleats in the traditional play; Diao Deyi's recitation with "language costume" has a taste of song art rap; Diao Deyi's rapidly changing facial expressions obviously draw nourishment from dramas and movie close-ups; The [Xipi Rocking Board] sung during the "Trial of Sand" is obviously born out of the "Three Gongtang" of the "Four Jinshi". All these things were widely recruited and adopted by Ma Changli and turned into his own. Thus creating the image of Diao Deyi, who is gentle and elegant on the surface, but is actually "as poisonous as a snake and scorpion as fierce as a wolf".
Barter moves. In the blink of an eye, the "Four Great Names" and "Four Great Su sheng" have all become ancients. The times must have a new generation of artists appear, and practice will create a new generation of stars. A middle-aged actor like Ma Changli shoulders the mission of inheriting the past and opening up the future. Feeling this, he did not dare to slack off a little on various matters such as practicing exercises, rehearsing plays, studying, performing, and apprenticeships. He said, "I'm like a shovel of mud, a brick, and even if it's not big, I'm going to spread it on top of the edifice of art!"
(Article transferred from the Internet)