There are husband and wife stalls in all walks of life, as well as in the opera industry; among the many theatrical couples, Geng Qichang and Li Weikang are one of the most famous couples.
Li Weikang and Geng Qichang
< h1 class= "pgc-h-arrow-right" >01, bringing the "model play" back to the stage</h1>
The iconic event that impressed Geng Qichang and Li Weikang the most was on the spring evening of 1986.
On the spring evening of that year, Geng Qichang and Li Weikang sang three parts of the "Model Play" of "Wise Tiger Mountain, Drinking Celebratory Wine Today", "Red Lantern Record: Poor Children Early Home", and "Red Light Record : Have a Red Heart".
Since 1976, "model plays" have disappeared from the stage for more than a decade, and all artists have also kept silent about these plays. It was not until this time that Geng Qichang and Li Weikang brought the "model play" to the Spring Festival Gala, and the question of whether the "model play" should return to the stage was not taken seriously by the public.
That is, after 1986, the "model plays" gradually began to rearrange. The performance of the Spring Festival Gala in 1986 is of great significance in the history of the development of "model plays".
Geng Qichang
< h1 class = "pgc-h-arrow-right" >02, a match made in heaven</h1>
The couple who brought the "model play" back to the stage is a natural fit in the theater world. Geng Qichang and Li Weikang were born in the same year, admitted to the Chinese Opera School in the same year, graduated in the same year, and after graduation, both entered the Beijing Opera House of China, and later became the inheritors of the national intangible cultural heritage. So many coincidences are extremely rare in any industry.
Husband Geng Qichang is a raw horn, wife Li Weikang is a Dan corner, the husband and wife duo use the same tone to cooperate in many plays, offstage Fei interpreted a lot of husband and wife stories on stage: Xue Pinggui and Wang Baojun, who gathered less and more, Yang Silang and the Iron Mirror Princess with a suspicious heart, and Chen Shimei and Qin Xianglian, who were hostile to each other.
Li Weikang
Both were born in 1947 and are now 73 years old. For more than forty years, they have been like shadows, sharing hardships and hardships, and have achieved the good story of Jutan. The story of the two is not like the drama or the private life in the back garden, but after many ups and downs.
In 1966, the school rebels took Li Weikang out to accompany those reactionary authorities to be criticized, and when the wall fell on everyone, Geng Qichang said: "Li Weikang is not such a person, we have been in the same class for 8 years, I know what kind of person she is!"
In that era of change, it was rare to be able to say such words, and these words also reached the heart of an 18-year-old girl. Of course, in addition to love, saying such words is still driven by conscience.
<h1 class = "pgc-h-arrow-right" >03, learn from hundreds of families, no door and no sect</h1>
Speaking of Geng Qichang and Li Weikang, in addition to their love stories, another thing that has attracted people's attention is their artistic concept: learning from a hundred families, no door and no sect.
The traditional art industry pays great attention to portals, and it is not unusual to even see portals. Many people who study opera have entered the portal since they were young, and as long as they worship the teacher, the subsequent study of opera will also be subject to many restrictions. But Geng Qichang and Li Weikang are exceptions among Peking Opera artists, who never say that they are he of the He Men and He Sect, but just bury their heads in acting.
Li Weikang melted Mei, Cheng, and Zhang Yu in one furnace, and Geng Qichang was compatible with the heads of Yu, Tan, Yang, Ma, and Xi Pai; among the husband and wife, Li Weikang's achievements were even greater, even Geng Qichang said so.
Li Weikang once said that the principle of his performance is to "be faithful to the original work and fine-tune it."
When Li Weikang performed plays such as "Wu Jia Po" and "Fenhe Bay", he asked Mr. Gu Senbai, who is familiar with Plum Opera, to talk about the play, and when he performed "Farewell to the Overlord", he asked Ai Meijun to say the play, and when she performed various plays, she would find artists who could restore the original taste of the play, no matter what door or school, they all strived to be loyal to the original work.
On the basis of loyalty to the original work, Li Weikang sang and had his own creations, such as playing "Dragon Play Phoenix" basically using plum cavity, while embellishing the characteristics of Xun Cavity; absorbing some Cheng cavity characteristics when performing "Wu Jia Po"; when performing "Li Qingzhao", such attempts and experiments are even greater. It is precisely because of Li Weikang's eclectic artistic views that he has achieved such achievements.
< h1 class="pgc-h-arrow-right" > references:</h1>
1. Li Weikang, "The Development of Peking Opera Must Take the Big Road- My Little Understanding and Experience of Acting meipai opera"
2. Gan Wenjin, "The Perfect Match for Pear Garden - Geng Qichang and Li Weikang"