Luo Yusheng, the master of the Jingyun big drum: Seriously perform innocent people, refuse to accompany the wine in the Marshal's Mansion
The sea of autumn
Jingyun big drum master Luo Yusheng
Based on the Jingyun drum master Luo Yusheng, the novel "The Vicissitudes of Time" was recently published, and the premiere ceremony held at the Capital Theatre on July 27 was hosted by Pu Cunxin, and the author Song Fengyi and zhu Xu, Lan Tianye, Lü And other old artists of Beijing renyi recalled Luo's old past.
Sketch a picture of the republic of China's art world
People who have watched the 1985 version of the TV series "Four Generations Together" may remember the song "Reorganizing the Mountains and Rivers for Future Life", the singer Luo Yusheng (1914-2002) was already old at the time, but he still sang with a straight and round voice and a mellow rhyme. Luo Yusheng has been an artist for more than 70 years and founded Luo Pai Jingyun, but similar to many folk artists since the Republic of China, Luo Yusheng has a rough life, as an orphan girl who has been abducted and sold many times, she has traveled with her adoptive father since she was a child, Shanghai Great World, Nanjing Confucius Temple, Hankou Grand Stage... They have left her juggling and singing figures.
To commemorate the 100th anniversary of the birth of this Jingyun drum giant, the novel "Vicissitudes and Thick Years" based on the life of Luo Yusheng by renyi screenwriter Song Fengyi was recently published. It not only restores the legend of Luo Yusheng's life, but also combines the sorrows and joys of the contemporary artists on and off the stage, the ups and downs of fate, and outlines a picture of the republic of China's art world.
The novel begins with the life of Luo Yusheng, meiqing (note: Luo Yusheng is the prototype of the protagonist of the novel, Mei qiang), is an orphan girl, who was bought and sold many times by human traffickers on the way to escape, and was mistakenly adopted by Yan Chengxiang, the "three-string holy hand". Under the cultivation of her adoptive father, Mei Qiang, with talent and hard work, became a famous jingyun drum horn. However, in the chaotic world, the little people are like Piaoping, the master dies on the street because he offends the warlord, the adoptive father is killed by the Japanese Kou because he is not bent to aggression, and Mei Qiang and the children of the rich family know and fall in love, and finally break up because of the disparity in the door. In the face of the turbulent years, Mei Qiang embodies the stoicism of a woman, she quit the art world and does not perform for the Japanese and the traitors. After the founding of New China, Mei Qiang continued to explore and innovate on the basis of inheriting the experience of her predecessors, and finally founded the "Yanpai" singing voice. In the year of Hua Jia, she reappeared on the stage and was praised as a "national treasure" by Chinese people at home and abroad, pushing the art of Jingyun big drum to the peak.
Luo Yusheng (center) is with Zhu Xu and Song Fengyi.
Change the script to the novel to seek no dishonesty
Because of her father's love of drum books, Song Fengyi (now 86 years old) has been a fan of Luo Yusheng since childhood. In the 1980s, Song Fengyi had the opportunity to experience life in the Tianjin Qu Art Troupe, and this month made her friends with "idols".
Song Fengyi recalled that at that time, she followed Luo Yusheng every day, sometimes accompanied her to the troupe early in the morning to guide young actors, sometimes watched her practice and accompanied her to the theater to perform. After work, he listened to Luo Yusheng's gossip about his life. Originally, she was only attracted by Luo Yusheng's artistic standards, and at that time, she found the personality charm of the artist: "She is of character, conscientiously performing on stage, and innocently acting offstage." During the Republic of China period, it was very difficult for the opera actress to accompany the food and drink, but she still refused to accompany the wine in the Marshal's Mansion. This was rare in the old society. ”
In addition to Luo Yusheng, several other veteran drum artists in the qu art troupe also became friends with Song Fengyi: "They confessed to me with 100% trust the bumpy life they had experienced, and their stories touched me and became the driving force for my creation." I am willing to do my best to let the world know about their past hardships and their simple love for the motherland and the nation. ”
These memories provided Song Fengyi with the original material for the script, which she originally wrote for the 30-episode TV series. In the early 1990s, the program had already begun, but due to the misappropriation of the film by the producers, it was eventually not made until Luo Yusheng's death due to lack of funds. Some people also suggested changing it to a movie, but because the TV script capacity is large, Song Fengyi does not want to delete too much loss, and this script can only be shelved.
The industry often changes the script of the novel, but Song Fengyi does the opposite, changing the novel with the script, which has her helplessness: "Later, I was on the Quyi Channel of the Central Station, and every week I could see Mrs. Luo appear. This reminded me of some thoughts: the old lady has always wanted to watch this TV series and did not watch it, what should I use to fulfill my promise? If you think about it, you have to change it to a novel, isn't this a small investment. This year is her centenary birthday, and I published this novel as a memorial to her and fulfilled a promise I made to my old friend, and now I am no longer a dishonest person. ”
In 1979, "Tea House" went to Tianjin to perform, and Luo Yusheng participated in the fraternity organized by the Tianjin art community. (From left: Luo Yusheng, Zheng Rong, Lan Tianye)
Dissatisfaction brings singing into the art of music
As a rap art, drum music emphasizes the pronunciation of words, which has something in common with drama performance. During the Korean War, when the renyi faction zhou zheng, Zhang Hui, Wu Shiliang and other Korean support fronts, Luo Yusheng performed with them in the same group and established a good relationship, and after that, before the "Cultural Revolution", she often came to the theater to direct the actors to speak.
Performance artist Lan Tianye introduced that Luo Yusheng is a composer he admires very much, and she has raised the art of music to the level of culture. "When she came to Beijing to perform, I was afraid of disturbing her backstage (she didn't enter), and she would ask Amano if she came, why not backstage. She also suggested that I learn Jingyun from her, and I said that I really wanted to learn but I really couldn't learn, and I was out of tune with one mouth. ”
Song Fengyi's husband and performance artist Zhu Xu wrote the title of the book. Zhu Xu introduced that he also liked Luo Yusheng's performance when he was a child, "At that time, qu art did not smear rouge or powder, it was really just art. Zhu Xu revealed that Luo Yusheng had a nickname called "Little Monster" when she was a child, because when she was a child, she did not have a children's voice, and it was the voice of an adult when she sang it, and the poster of the big world performance often wrote "Today's Little Monster Performs on stage".
But in life, Luo Yusheng is a humorous old lady, Zhu Xu recalled, Luo Yusheng once told him about the recording of the theme song of "Four Worlds Together": "In her words, when she entered the recording studio, the comrades of the band looked at her with a very strange look: Because the people who recorded songs for movies and TV series were singers, very beautiful, how did a white-haired old lady come today? One is not high, can this person do it? As a result, she recorded it again and again, and everyone was satisfied, and many comrades stood up and applauded her. ”
But when the TV series was broadcast, the old lady herself could not listen to it: "Thousand Miles of Knife Light and Shadow, how do I sing 'Camp'?" Zhu Xu said that this is because Luo Yusheng is not satisfied with bringing singing into the art of music, thinking that this will affect pronunciation, "Our drama sometimes makes mistakes in this regard, and now it seems to be used to listening, some words are sung backwards (the high and low of the tune rises and falls with the yin and yang of the word tone, and the four tones are basically the same, if not consistent, it will form an "inverted word"). I think renyi should first grasp this problem. ”
But now that the music art is in decline, and popular songs have become the mainstream of popular culture, Song Fengyi believes that this still needs to cultivate the interest of the audience, "not that young people don't like it, there are also likes, some college students can still run to tianjin's overpass to listen to music art, the key is to see how to guide, how to cultivate interest." For the recent "Thunderstorm" student field has become a hilarious scene, Song Fengyi believes that today's young people only hear about the past things, lack of understanding: "The difference between what they have heard and what they have experienced is 108,000 miles, and we may also need to make some explanations in this regard, such as what are the characteristics of that era, what are the dreams pursued by young people, so that young people may understand." ”
On July 27, the premiere ceremony of "The Vicissitudes of Time" was held at the Capital Theatre, hosted by Pu Cunxin, and the author Song Fengyi and the old artists of Zhu Xu, Lan Tianye, Lü And other Beijing artists jointly recalled Luo's past.