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Cover news reporter Yang Chen
In May 1941, Mao Zedong gave a report on "Transforming Our Study" at the meeting of senior cadres in Yan'an, and the Yan'an rectification movement began. It was not until April 20, 1945, that the Seventh Plenary Session of the Sixth Central Committee of the Communist Party of China passed the Resolution on Several Historical Issues, marking the end of the rectification movement in Yan'an. Compared with the large-scale production movement, the Yan'an rectification movement solved the problems within the party at that time from the ideological point of view.
From May 2 to 23, 1942, during the rectification period in Yan'an, in order to straighten out the direction of literature and art and thoroughly solve the problem of who and how literature and art serve, Mao Zedong presided over the Yan'an Literary and Art Forum attended by more than 100 literary and art workers and responsible persons of various central departments. Mao Zedong's speech at the meeting played a positive role in the rectification movement in the literary and art circles, and even had a far-reaching impact on the formulation of the party's literary and artistic policies and the healthy development of related work.
In 1982, the writer Ding Ling wrote the article "Before and After the Yan'an Literary and Art Forum". Among them, he recalled that after the literary and art forum and after the rectification of the work style, the literary and art workers in Yan'an and the base areas behind enemy lines went deep into the workers, peasants, and soldiers one after another, facing the ocean of mass struggle, and the literary and artistic appearance of Yan'an and the various base areas took on a new look.
New poetry, woodcuts, fine arts, drama, music, reportage, novels and other flowers are colorful, and China's new literary movement has opened a new page. For the Chinese people to hear, with Chinese style and Chinese style of excellent works continue to emerge, many works have become classics for generations to pass, the opera "White Haired Girl" is one of them.
From May 2 to 23, 1942, Mao Zedong presided over the Yan'an Literary and Art Forum, which was attended by more than 100 literary and art workers and responsible persons of various central departments. Xinhua network infographic
The advent of "The White-Haired Girl"
Shows the importance of the pen pole in the revolution
The prominent theme of the opera "The White-Haired Girl" is that the old society forced people into "ghosts", and the new society turned "ghosts" into people.
The story is about a 17-year-old peasant girl Xi'er, whose father Yang Bailao was forced into debt by the harsh and decadent feudal system, and the debt was like a donkey rolling, more and more every year, and finally forced Yang Bailao to die, and he also had to take Xi'er to cover the debt. Xi'er is forced to flee to the cave and becomes a "ghost". When the Eighth Route Army arrived, they rescued her from the cave and let her see the light of day again.
Although the base area during the Yan'an period was extremely harsh and the material living conditions were harsh, it also provided the basis for the birth of the opera "White Haired Girl". In 1945, the artists of The Lu Xun Art Institute in Yan'an (hereinafter referred to as Lu Yi) created the opera "White Haired Girl" according to the legend of the "White Haired Fairy Girl". Combining the strong romantic spirit with the Communist Party's theory of class struggle, the play became one of the literary and artistic landmarks of the Liberated Areas, and quickly became popular and widely praised.
Lyricist and playwright Qiao Yu has a high evaluation of "The White-Haired Girl": "This is not only the theme of an old society forcing people into 'ghosts' and the new society turning 'ghosts' into people, it also tells people that the old system must be eliminated, and a new China should be replaced by a new China." ”
The advent of the opera "The White-Haired Girl" shows that under the leadership of the party and under the guidance of the "Speech at the Yan'an Literary and Art Forum," the vast number of literary and art workers know how to use literary and artistic weapons to unite themselves, educate themselves, strike at the enemy, and eliminate the enemy, and explain the truth that the revolution depends on two poles -- the barrel of a gun and the barrel of a pen.
The opera "White-Haired Girl" was performed in Yan'an in 1945, with Wang Kun as Xi'er. According to the official website of the China Opera and Dance Theater
Connecting with the "earth gas" of the times
Innovative tunes that do not copy old dramatic forms
One of the important reasons why "The White-Haired Girl" can become a "weapon" of literature and art and play a role in unity and education is "grounded", and the content and form of expression are consistent with the present.
In 1944, the opera performance artist Wang Kun went to Yan'an with the Western War Troupe and was transferred to the Lu Xun Art Work Troupe. At that time, Yan'an, which was influenced by the literary and art forum, was very fresh in Wang Kun's eyes.
Gradually, Wang Kun began to understand Mao Zedong's speech at the Yan'an Forum on Literature and Art, and realized that it did have great guiding significance for literature and art. "Before the speech was published, there were many problems in the literary and art circles, some of which were divorced from the people and divorced from real life. After the speech was published, the situation in the literary and art circles has greatly improved, and some good works serving the people have been created. ”
The opera "White Haired Girl" is one of the representatives, and Wang Kun plays the protagonist Xi'er. "The theme of this play is very clear, reflecting the sharp class struggle in the War of Resistance Against Japan." Wang Kun believes that many people involved in this work have gradually come to understand the relationship between art and politics, the relationship between art and the people, and the relationship between traditional national art and the times.
She mentioned that she had previously performed Peking Opera in the Northwest Field Service Troupe, and once wanted to perform anti-Japanese drama in the form of old Peking Opera. At that time, if you wanted to show the heroic image of the Anti-Japanese War, you made up a play of He Long. But it is the costume of the ancient general, and the army is also the old dress. ”
As soon as the actor who played He Long appeared, he began to read the poem: "Li - He Long is also." Unexpectedly, after He Long watched the play, he said, "I am like this?" Don't look anymore. ”
"He Long is a new type of general in the new era, and he cannot be represented in the same way as the old drama." Wang Kun said that this problem was noted in the creation of "The White-Haired Girl". "'The White-Haired Girl' initially used the tune of the Qin Cavity, but I felt that such a theme was interpreted by the Qin Cavity, and after the tune was sung, it was easy for people to associate it with the characters wearing ancient costumes."
Later, the script was rewritten by He Jingzhi and re-composed, combining the tunes of folk songs, Qin cavity, and Hebei Zizi, and re-created, which was refreshing.
From May 2 to 23, 1942, the Yan'an Literary and Art Symposium was held. The picture shows "Comrade Mao Zedong's Speech at the Yan'an Forum on Literature and Art" printed by the Jinsui Branch of the CPC. According to the website of the Central Academy of Party History and Literature
"The White-Haired Girl" is in the process of being created
The masses are "the most authoritative critics"
The success of "The White-Haired Girl" is inseparable from the key factor of "the people".
Before the publication of "Speech at the Yan'an Forum on Literature and Art," Mao Zedong was also invited to Lu Yi to "eat a small stove" for everyone and give a speech to the entertainers. Yu Lan, who was a former actor in the Luyi Experimental Drama Troupe, recalled that Chairman Mao said at that time: "Get out of the circle of school and go to the middle of the people's fiery struggle, where the source of artistic creation is." ”
This makes everyone's thinking more clear: Literature and art should serve the workers, peasants, and soldiers, and writers and artists should go deep into their lives, should go to the middle of the fiery struggle, and should be improved on the basis of popularization.
Similarly, in "Speech at the Yan'an Forum on Literature and Art," Mao Zedong proposed that literature and art are not superclassical, and that literature and art should be integrated with the masses of workers, peasants, and soldiers. To understand the masses, we must put the language of the masses in the first place; if we lack understanding of the rich and vivid language of the masses, we will inevitably be separated from the masses, and our lives will be empty, and we will not be able to talk about literary and artistic creation without understanding the language of the masses.
Yu Lan said that when composing the song "North Wind Blowing", he chose the tune of "Little Cabbage, Yellow in the Ground" as the basis, and processed and transformed according to this lyric, so it has a strong taste of Hebei rural minor. "There is also the section where Xi'er tied the red head rope, which was designed by director Wang Bin. He had lived in the countryside of Shandong, and he thought that everyone's children had silk satin in the New Year, and Yang Bailao had to hide from debts. The father was also distressed about his children, so he designed the plot of Yang Bailao buying a two-foot red head rope for Xi'er, expressing his love for his daughter and also in line with the situation of family poverty. ”
The creative process of "The White-Haired Girl" is also indispensable to the opinions and support from the masses. When the script of "The White-Haired Girl" was written and rehearsed for more than three months, due to a long period of overloaded writing labor, when writing the first draft of the last act, screenwriter He Jingzhi fell ill. So this scene was written by Ding Yi and repeatedly revised.
At that time, there was no theater, but it was rehearsed in the open air, and the nearby farmers and passers-by watched the rehearsal, participated in the discussion, and put forward many good opinions. Especially because of some misunderstandings caused by intellectuals' unfamiliarity with rural life, most of them were also proposed by the villagers and revised according to their wishes.
He Jingzhi said that if the performance is something familiar to the masses, "then the masses are our husbands, the highest connoisseurs, the most authoritative critics", and the creative experience of "The White-Haired Girl" proves this.
Resources:
The First Rehabilitated "Rightist": Wen Jize's Self-Description, China Youth Publishing House, 1999
"Before and Behind the Scenes of the Yan'an Literary and Art Forum, Oral Transcripts", Shaanxi Normal University Press, 2014
"Looking Back and Thinking: Proceedings in Commemoration of the 70th Anniversary of the Yan'an Literary and Art Symposium", People's Publishing House, 2014
The Forever White-Haired Woman: The Extraordinary Legend of the Red Classic, Beijing Publishing House, 2016
"Seventy Years of the White-Haired Girl", Shanghai People's Publishing House, 2015
"The Turning Point of History: Thirteen Years of the Central Committee of the Communist Party of China in Yan'an", People's Publishing House, 2018 edition
"The Yan'an Rectification I Experienced", Shaanxi Normal University Press, 2014
The Yan'an Rectification Movement: Memories and Research, Central Literature Publishing House, 2012
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