Special article of this journal Wang Fang
The shanshan zi gradually evolved into four large zi in Shanxi. In the continuum of history, the four major branches have blossomed and borne fruit, experiencing their own rise and fall.
Where to start? Since in the change of time, Jin opera appears in the face of provincial drama, then let's start with Jin opera.
After entering the new era, in my eyes, there is a person, she with a glorious image, good reputation so that the audience has been remembering her, thinking of her. This remembrance is decades of fiery love and worship.
She is Wang Ai'ai, she is the "Queen of Jin Opera", and she is the "Queen of Jin Opera" sealed by the audience.
Jin Opera Traditional Repertoire "Hitting the Golden Branch" Branch
In the days before I went to Taiyuan to work, I didn't know how to connect with such artists.
In September 2018, the "First Drama Friends And Fans Opera Protection Forum" was held in Shuozhou, and the important organizers at that time were Qu Runhai and Guo Shixing, who were known as the "Director of the Zizi Hall". As an unknown person, I was also invited because I had written several articles about opera. On the bus to Shuozhou, I really saw the long-known "Queen of JinJu" for the first time, she did not say much, just smiled, occasionally spoke, but also first hung a sweet smile on her face, although she was nearly eighty years old, her voice was still sweet.
On the way back from the end of the conference, we witnessed a miracle. A little girl named Wang Ai'ai was led by someone, and that day she met the real famous Wang Ai'ai. This little girl's mother loves drama and gave birth to a daughter, so she named her daughter Wang Ai'ai to commemorate her youth when she loved the "Queen of Jin Opera". Until this day, by chance, the little Wang Ai'ai, born in 1979, waited for more than 30 years, and finally met Wang Ai'ai, who was 79 years old (two months away from 80 years old), and met Wang Ai'ai, who her mother had loved all her life. That night, I sent out an article on my WeChat platform called "Wang Ai'ai really met Wang Ai'ai", which was liked countless times.
In the many days I returned from Shuozhou, I often recalled the scene of those three days. After all, Teacher Wang Ai'ai is close to the age of eighty, her waist is not good, she was still sick before going to Shuozhou, but this forum was held, and the organizer only mentioned one condition, that is, Wang Ai'ai must be invited, and the old director Guo Shixing agreed. Such a meeting on opera, on the inheritance, protection and development of opera, in the name of the people, it is not easy to gather some people who have been running for opera for many years, so the head of the old hall came forward to endorse his decades-old friendship and invited Wang Ai'ai. When Teacher Wang knew that the convening of this meeting had something to do with her, she did not hesitate to agree.
At the evening party, Shuozhou Fang organized solemnly, many theater-loving audiences heard that Wang Ai'ai came, came from all over the place, there was no seat on the scene, they stood, no matter how many programs were in front, quietly waiting, waiting until the end. In the finale, Wang Ai'ai finally appeared under the gaze of all parties, and before he walked from the audience to the stage, the audience was already thundering with joy, and when the singing voice of "Wheat Ears Yellow in April" was together, the whole audience completely boiled. I can't express that eagerness and excitement, it was the first time I saw the audience's enthusiasm for what they thought was the "queen". The person next to me saw that I was still relatively calm and said to me, "Why don't you applaud?" This is Teacher Wang's masterpiece, we have listened to it for decades, it is really good!" A harsh criticism, as if I had done something wrong, I quickly applauded, but my heart was wondering: An old man of nearly eighty years old, her voice is still so sweet, why is she so crazy? What is the significance of such a phenomenon?
The meeting was over, and that voice kept echoing in my head.
Until that day, I walked into the home of Teacher Wang Ai'ai. Knocking on the door, she smiled at me and she said she was waiting for me. She said that after seeing what I wrote about "Two Wang Ai'ai Meet", plus qu Runhai and Guo Shixing, two old hall directors who spared no effort to praise, decided to find me. She said she was doing a job of audio and video and wanted to come to me to track down and write something. Originally, she wanted to take her masterpieces, the plays that had left recording materials decades ago, such as "Playing Golden Branches", "Jinshui Bridge", etc., so that the disciples of Tian Guilan, Ma Yulou, and Wang Baochao, who were her contemporaries, would play the people in the play, so that the sound and image would leave the old repertoire intact.
I gladly accepted.
It turned out that it was the small article written in the language of the Internet that knocked on the "palace door" of the "queen". After many years, I can finally intersect with such a big artist. I was also able to find what I wanted from her.
The greatest contribution of Wang Ai'ai Jin opera art should be to leave an irreproducible "love cavity".
The formation of "love cavity" should start from her childhood. Her enlightenment came from her grandmother. The reason why she can go the way of singing is related to her family.
In June 1940, Wang Ai'ai was born in Nanguan Village, Yuci, Shanxi.
Yuci is now Jinzhong City, and it can be said that the entire Jinzhong region is the birthplace and prosperity of Jin opera. At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the Mountain Shaanxi Zizi or at that time there was already a clear "Puzhou Zizi" saying, with the footprints of merchants or the influence of the war, it spread to the central Shanxi Fenyang, Xiaoyi, Taigu, Qixian and other areas, combined with local folk songs, folk songs, folk tunes and other local elements, retained the passionate artistic characteristics of Puzhou Zizi, and at the same time formed a gentle and delicate lyrical style, resulting in a new drama "Zhonglu Zizi", once this drama was formed, it was transferred to the central and northern shanxi and Shaanxi Provinces. Inner Mongolia and Hebei province spread and became an important member of the big family of Zizi, and after 1949, it was renamed "Jin Opera".
Jinzhong is the base of Jin opera, and naturally the opera here is full of branches and leaves. In the ninth year of Xianfeng (1859), Wang Yu, a wealthy household in Yuci Niedian, established the "Sixi Class", which was the earliest class society in Jin Opera. In the early years of Tongzhi, Hou Dianyuan, the second treasurer of the "Rishengchang" in Pingyao, established the "Tongchun Garden", quyuangan, the rich man of Qi County, established the "Juli Garden", and Li Yuhe of Xugou set up the "Wuyi Garden". During this period, the art of Jin opera was gradually perfected and stereotyped, and its influence became more and more influential.
With the ups and downs of the times, when Wang Ai'ai was born, Yu Cixing ran such as the "Xingsheng" class, the "Shuangju Pear" class, the "Rong Pear Garden" class, the "Jinfeng Garden" class, etc., and these classes gathered a number of famous characters, such as "Talking About Hong" (Xu Sheng, Gao Wenhan), "Gai Tianhong" (Xu Sheng, Wang Buyun), Xiao Guihua (Xiao Dan), Cheng Yuying (Qingyi), Guo Fengying (Xiaosheng), Niu Guiying (Qingyi) and so on.
The family where Wang Ai'ai was born and the Jin opera are deeply related. Her family is a big family, she remembers that the family has cars and horses, count the ingredients, should be regarded as a capitalist, her grandfather is called Wang Jinkui, he spends money to raise a drama class, loves drama all his life, raises three troupes, marries three wives, two of which are opera artists. Wang Ai'ai's grandmother was Grandpa's youngest wife, which was the famous Xiao Guihua mentioned above.
Wang Ai ai said that she sang opera, which was the wish of her grandparents and her grandmother.
She had to sing. The whole family sang, and she had no choice. Her two aunts learned to play, and other relatives also learned to play, and the whole family is a play.
Gorgeously dressed artists
She asked timidly, is this a family?
I quickly said emphatically: Count!
Grandma is not an ordinary person.
Grandma Xiao Guihua is a native of Shandong, and when she was 13 years old, she learned to sing and comment under Sun Fengming. At the age of 15, he became a pillar at the Qishan Stage in Dalian. At the age of 16, he performed on the same stage with Li Jinshun and was deeply influenced by Li Pai's singing style and was given the title of "Li Pai Actor". At the age of 19, he entered Harbin and became popular with dramas such as "Ma Widow Opening a Shop", "Wang Shaoan Catching a Boat", and "Flowers as a Medium". She, Li Jinshun, Bai Yushuang and Liu Cuixia are known as the "Four Famous Dans" of "Fengtian Luozi". The plays she sang are also classified as traditional repertoire of critics. After Li Jinshun withdrew from the opera stage, she became the main representative of Fengtian Luozi and was active on the opera stage. She has a high-pitched, bright, strong and unrestrained style for her singing style. Zeng worshiped the "Zi Lai Xiang" (Zhang Yonggui), who was very good at his feet, as a teacher, and later worshiped under the name of Xiao Jixian (Zhang Baokui), the "Four Famous Dans" of Jin Opera, and integrated the strengths of the two masters, and practiced a hard kung fu, the body movements, steps, and round field were very skilled, one move and one style were clean and neat, the performance was sincere and sincere, and the swing was free. Her singing of "Red Mane Horse" and "Tong Evil Newspaper" has been liked by the general public, and also set off a "Shinobi Flower Fever". People have praised her as "Drama Critic", "Drama King" and "Prince Yunyan".
After Wang Ai'ai was born, although grandma had a brilliant life, she did not reach the highest realm of the stage because her voice was not good enough. Cultivating wang love and love has become Grandma's greatest wish.
Once born, Wang Ai'ai experienced the atmosphere of singing every day, and what he heard every day was the Jin opera cavity. Wang Ai'ai knows that it is the environment that creates people's paths, and such a family situation makes her not want to go to school when she was young. This path was her inevitable choice. Learn drama with grandma, Wang Ai'ai is also willing, she is adoring grandma, born to clean the ugly, singing and dancing, grandma is a well-known expert.
At the age of 7, when we were going to go to primary school, Wang Ai'ai began to embark on the road of her life with drama.
In order to practice her voice, every morning, no matter the wind, frost, rain or snow, Grandma took Wang Ai'ai out, facing the wall, shouting her throat, and Grandma stood at a certain distance - listening, listening sentence by sentence, listening word by word, there was a sound that was inaccurate, Grandma's whip was waved over, sometimes it was slap on the face, left and right bow. When the fight was over, I picked her up and threw her far away and continued to sing.
It really hurts. However, the pain did not dare to say, and the tears were not allowed to fall. Keep singing.
Keep singing, until every word sounds clear from a great distance.
The actors are ready to perform on stage
"They all say that love is good, how to listen well?" The common people said that listening to Wang Ai loves to sing, do not have to look at subtitles, spit out words, this is the simplest way to say, for this do not have to look at subtitles, how much sin has been suffered, so that they all say that I am not a child of the Wang family, I must have been raised. Although I was sinned and beaten and scolded, I would like to thank my grandmother, who gave me the foundation of love and love, and I ate it all my life. But now children, who would beat them like this? You know, kung fu is all bitter. She said a mouthful of Taiyuan dialect, maybe Yuci dialect? I'm not sure.
Singing, passing, the body kung fu must also pass. In order to achieve this, Grandma took an almost inhumane approach, sleeping at night without pillows, and putting both feet as pillows under her head; When running the round field, tie her legs with a belt, she runs in front, Grandma runs in the back, runs slowly, Grandma will step on her feet, run big, and fall down. Strict training gives her a solid waist and leg kung fu and a steady running round stage.
Practicing in this way is very hard, but Grandma said that you have to practice hard!
You have to practice hard! In the middle of the night, grandma called up to shout her voice, learned to sing in the morning, followed the organist and drummer, practiced in the afternoon, and at four or five o'clock, grandma had to play mouth-to-mouth, and at night she had to learn to speak white, fortunately, she remembered her lines very quickly, and this point could be beaten less. At night, I sleep with my grandmother and teach drama at any time.
How many years have passed, and now in retrospect, I don't remember the pain, I only remember the tiredness. In a year, the only thing to look forward to is the New Year, when you can not practice, you can sleep.
At that time, I was living in bitterness and exhaustion, and I didn't know what happiness was.
But soon, the joy came.
After practicing for a year, at the age of 8, Wang Ai'ai joined the Yuci Xinsheng Jin Opera Troupe. In the same year, she ushered in her first appearance on stage, performing "Moon Worship" in "Fengyi Pavilion", she played the mink cicada, which was her enlightenment. Bai Yue is said that after the mink cicada was taken in by Wang Yun, he was depressed, and went to the back garden to worship the moon and express his resentment towards Dong Zhuo, just when Wang Yun heard it, he felt that he could use the mink cicada to set up a serial plan to destroy Dong Zhuo and Lü Bu. After knowing the righteousness, the mink cicada agreed. Wang Ai'ai was so young at the time that she couldn't reach the chair on the stage, so her grandmother, who was still standing in the side curtain, came out and hugged her up. Standing on the stage, she looks so small, but she plays vividly. On this appearance, Yuci was sensational, and he knew that there was a little love on the stage.
The first time on stage, scared no?
"Don't be afraid, Grandma is on the stage, Grandma is standing in the side curtain, she doesn't dare to be afraid at all, and she has to behave well."
After that, she transferred to the Yuci District Jin Opera Troupe, and successively performed many traditional plays such as "Godson", "Ming Gongjue", "Fan Lihua", "Huilongge" and so on. She has both Xiao Dan's physical kung fu and qingyi's clear voice, and she can win heartfelt applause from the audience everywhere she goes.
During this time, Wang Ai'ai met her second teacher (if grandma was her first teacher), Cheng Yuying.
Cheng Yuying is the founder of the Cheng School of Jin Opera, focusing on Qingyi. At the age of ten, he worshiped Gao Wenhan, the "Storyteller Red", as a teacher, and first learned to be a student, and then to learn Qingyi. In the long-term stage practice, a clear and gentle, air-supporting cavity, hi hi-hi, ups and downs, crisp and crisp, melody and rhythm of the ever-changing "hi hi cavity". The representative repertoire is "The Godson". In 1956, Cheng Yuying went to the People's Jin Opera Troupe in Yuci Prefecture to perform for a month, and later stayed in the troupe as the leader and star. At this time, Wang Ai'ai was the leading actor of the second branch of the Jin Opera Troupe in Yuci Special District, and under the guidance of Cheng Yuying, the level of Wang Ai'ai's "Counting Grain" and "Godson" had far exceeded that of her first stage, with the distinct personality of Wang Ai'ai's performance. At this time, her performances of the big dramas "Ming GongJue", "Fan Lihua", "HuilongGe", "You West Lake" and so on have become the audience's favorite and popular masterpieces.
Nourished by the artistic nutrition of "Hi Hi Cavity", Wang Ai'ai's singing skills have become more mature, and she has been praised by the audience as "Golden Voice". In 1957, he performed "You West Lake" in the second opera performance of Shanxi Province, and in 1959, he performed "Chaoyang Fire" in the modern opera performance of Shanxi Opera, which won awards respectively. Wang Ai'ai gradually became famous in Shanxi Province.
This stage of meeting Teacher Cheng Yuying is a transitional period for Wang Ai'ai's art to mature.
The joy of acting has made her find the value of life.
From 1950 to 1959, she had mastered the skillful use of various performance methods and techniques to create a stage art image.
She said: "The actors came to the stage, they wanted to play the characters, and now the actors are misplaced, they have been playing themselves, which is not right, when they get on the stage, they are bent on winning the lottery, which is too far from the characters." Opera is first of all beautiful, elegant, impatient, we should follow the teacher's teaching, do not show ourselves, art can not be trampled, not to be vague. ”
I could only nod my head frequently.
In 1960, the 20-year-old Wang Ai'ai was selected to be transferred to the Shanxi Jin Theater Youth Troupe, which is the most representative Jin opera performing arts group in the province, where Ding Guoxian, Niu Guiying, Guo Fengying, Ji Meilian, Liang Xiaoyun, Qiao Yuxian, Liu Junying and a number of performing artists of the older generation with deep artistic attainments were gathered, as well as Zhang Yiran, Liu Yuantong (Mei Lanfang's disciple), Fang Bing, Wen Mingxuan, Zhao Buyan, Wang Xinlu, Li Shou frame, Liu Heren, Chen Jinyuan, Liu Zhu, Zhang Buxing and a number of screenwriters and directors with high artistic quality. Composer, performer and management talent.
Wang Ai'ai did not expect that the teachers she had heard about suddenly appeared in front of her eyes. She loves this environment, this environment, and it also provides her with artistic nourishment. I understand that feeling, in a show, Guo Baochang (the director and director of the TV series "The Gate of the Big House") often says: I have seen the true God. The true god mentioned by Guo Baochang refers to Mei Lanfang and Cheng Yanqiu at that time, who watched Mei and Cheng sing when he was young, and the image and personality of the masters of that generation left a deep impression on him, and they were the true gods. After the founding of New China, a group of artists represented by "Ding (Guoxian) Niu (Guiying) Guo (Fengying) and Ji (Meilian)" brought Jin opera to a peak, they were all milestone figures, and in the eyes of Wang Ai'ai, they were true god-level figures.
Here she met her third teacher, The Jin opera performance artist Niu Guiying.
Niu Guiying is the founder of the Jin opera Niupai art. 9 years old from the art, worship "Erniu Dan" Li Tinglan as a teacher, first learn to be a student, then learn Qingyi, 13 years old officially debuted, and then often with "Mao Maodan", "Twelve Reds", "Floating on the Water" and other famous artists in Taiyuan, Inner Mongolia, Zhangjiakou area with the same stage performance, the reputation was shocked, in 1947 into Beijing, performance for four years, became the founder of the "Ding Niu Guo Ji" in the Niu School, the niu school art is characterized by euphemisms, pay attention to words, pay attention to charm.
Wang Ai'ai is smart, she carefully absorbs the strengths of the Niupai art, carefully analyzes the singing art of Cheng and Niu, according to her own conditions, skillfully transforms the Niu cavity into the Cheng Cavity, integrates the artistic essence of the two, and innovates it, not only maintaining the characteristics of the Cheng School's enthusiasm, unrestrained, rigidity and uprightness, but also absorbing the steady and generous and euphemistic style of the Niu School, and also drawing on Guo Lanying's powerful folk singing method, gradually forming a new genre of singing. "Love and love cavity" is about to come out.
Last time, we sang the passage "In April" in Shuozhou, and the audience said that it was your masterpiece? I asked.
She laughs: Yes.
In 1961, Wang Ai'ai performed with the Jinjing Youth Troupe of the Jin Theater in Shanxi Province, and won high praise from the audience in the capital with plays such as "Han Yan", "See huanggu" and "Counting grain". Her fame also flew out of Niangziguan. Shanxi People's Radio has preserved a wonderful recording of Wang Ai'ai's role as Liu Xuemei in "Han Yan", which still feels fresh and pleasant to the ear, and makes people feel comfortable from the heart. This singing section was sung by Han Yan's sister-in-law Liu Xuemei on the field path to pick mulberry, and the title is "In April". The first sentence of the singing voice, "In April, the south wind blows the wheat shoots yellow", Wang Ai'ai sings crisply and stretched, especially the "blowing" two words, breaking through the traditional pattern and singing method, novel and unconventional, like singing lyrical folk songs. "Silkworms are like ants, silkworms are two inches long, morning and evening often guard, move foil to avoid heat and avoid cold" This singing, singing words for long and short sentences, in the design of the singing cavity, breaking the traditional plate structure, from the "thirteen coughs" directly into the splint, the two sexes, singing up to great difficulty. However, after Wang Ai'ai skillfully sang, it had a distinct Wang style, and the scene in April appeared in front of his eyes, with green grass and red flowers, birds and flowers, fresh and free, like singing opera. At that time, a song "In April" came out, resounding throughout the provincial capital and sensationalizing the capital. This beautiful singing section has become Wang Ai'ai's famous work, and it is also an important symbol of the formation of "love and love cavity".
But her art has not yet been perfected, and history has an inflection point.
Theatrical actors who tidy up their costumes backstage
Not long after she was transferred to the province, everything became abnormal.
At that time, she did not understand, but felt that there was an unusual atmosphere brewing, and when she entered the door of the Jin Theater, it was always quiet, and there was no rehearsal or performance. Fortunately, at this time, her voice was wrong, and the Propaganda Department of the Provincial Party Committee sent her to Beijing to treat her throat and stop by the China Conservatory of Music to listen to lectures. That section of the class also had a great impact on her singing voice, and it was only when she came back to rehearse the play that she understood what the teacher said.
After returning from Beijing, the "Cultural Revolution" began. At that time, she was a "black five category", she could only accept labor reform, because her youth league was directly under the provincial party committee, the impact was not severe, the personnel were pulled to the Nangong every day to practice rehearsals, and the provincial party secretary personally led the team.
At that time, I could only act in modern dramas. But she can't play, she can only run errands for people, pour tea and water, and help people make up.
She didn't say how she felt. But I understand that a good actor can't play on his own, but he has to put makeup on others and then watch others on stage, which is definitely a pain, and this pain can be found in Bi Feiyu's "Qingyi".
During that time, the impact on her life was great. In particular, she experienced the tragic experience of a generation of masters Ding Guoxian and the tragic death.
She had insomnia, and at that time she could only fall asleep by eating and settling, and she was like a frightened bird, afraid that if there was any wind and grass, she would be taken away. This settled, she ate for decades. For example, if I want to interview her, I must make an accurate appointment in advance, otherwise, if someone knocks on the door unexpectedly, she will be shocked. For a long time, whenever possible, she went out with her head down, bowed her head to go home, walked against the root of the wall, and walked against the root of the wall, and she never competed with people for roles. She rarely talks nonsense, and she can never talk without talking.
I also found out about this in the course of the interview, in this kind of conversation that there was no match, and often came to a standstill, which made me a little overwhelmed by the talkative, but after I knew the reason, a lot of pity arose in my heart.
After the 1970s, it was not as popular as before, and it was possible to rehearse plays, Wang Ai'ai starred in two modern plays, one was the modern drama "Three On Peach Peak", which had been brutally attacked by the "Gang of Four", and the other was a jin opera transplant of modern Peking opera "Song of Longjiang". In the design of the singing cavity, the composition of these two plays breaks through the limitations of the industry, breaks the mode of traditional Jin opera music, injects the tone and atmosphere of the new era, and makes breakthrough achievements in the inheritance and development of traditional music of Jin opera. Wang Ai'ai's performance and singing in these two plays more fully demonstrated her artistic talent and left an unforgettable memory for the audience. Audiences familiar with this period of history know that the performances of "Ode to the Dragon River" and "Three Upper Peach Peaks" mark that Wang Ai'ai genre art has entered a very mature stage.
But how many people know about her special experience with these two plays?
Busy background preparation
First of all, "Three On the Peach Peak", this is a play that originated in a special era, and it is also a major unjust case in Shanxi's cultural circles. The story of a horse and two villages was written into a play, first performed at the grassroots level, and then because there was really no drama in that era, this play was arrested to the province, and once represented Shanxi into Beijing to perform, but before the performance, the wind and clouds suddenly changed, and this play was suddenly arrested into a typical criticism fight, saying that it was for Liu Shaoqi to be wronged, and the "Gang of Four" set it as a big poisonous weed, the spearhead was directed at Premier Zhou, the whole country began to criticize the struggle, and countless people were implicated. Of course, the lead actor Wang Ai'ai was also criticized, and Xie Zhenhua, the secretary of the provincial party committee, lost his official position. Just after learning that this play was already about to be criticized, they also let "Mikami Peach Peak" continue to act, acting for the sake of criticism, and the actors cried on the stage and could not sing. Later, in order to appease the actors, Jiang Qing arranged for them to enter Beijing again to perform "Ode to the Longjiang", of course, Wang Ai'ai starred. Wang Ai'ai suffered a lot for these two plays. After the end of the "Cultural Revolution," the literary and artistic atmosphere of the whole country underwent a major change. In the 1980s, traditional dramas were restored, and Wang Ai'ai not only restored traditional plays such as "Hitting Golden Branches", "Counting Grain", and "Jinshui Bridge", but also rehearsed new plays such as "Out of the Water Qinglian" and "Spring River Moon". During this period, she was selected as the national "March 8" red flag bearer, participated in the Fourth National Literary Congress, won the third national "Golden Disc" Award (Ding Guoxian won the first "Golden Disc Award"), and was also named one of the "Top Ten Female Masters" in Shanxi Province. As she grew older, her performing arts became more skilled. The new historical period has given her a new artistic life, tempered from body to heart, and made her singing more and more mature. It was also at this stage that the audience shouted out the phrase "love cavity", which was decades.
How can this "love cavity" with a variety of styles be so? Why?
She said to me: Love and love cannot be attributed to me alone, there are cheng (Yuying) teachers, Niu (Guiying) teachers, and the collective contributions of composers, I just met them at the most appropriate time, and they made me.
That's her attitude.
Speaking of the formation of the "love cavity", Mr. Qu Runhai said this: The formation of a genre representative, in addition to the relationship between teachers and teachers, has a high level of cooperation and tacit understanding of the creative team, especially the choreographer, director, music creation talent. Wang Ai'ai has such a team around him. This is also the reason why the "love cavity", "love treasure cavity" and "Junying cavity" were formed at that time.
Such a group of artists achieved the prosperity of Shanxi opera in the 1980s, they were the darlings of the cultural desert after the "Cultural Revolution", and of course, they were also the best who survived from countless hardships. After the darkness of disorder, the times struggled out of the spiritual chaos after the civilization was destroyed by ignorance and barbarism, and extended a helping hand to the once orderly context, and these outstanding people were accepted, and we saw the beautiful appearance of opera.
Editor-in-Charge: Shi Hong