Mr. Yuan Xingmin took a photo in the 60s
Yuan Xingmin (1921-), pen name Fuchuan, a native of Xianyang, Shaanxi, graduated from primary school. In 1934, he was an artist, and the main worker Qin Lusu was born and old. He has successively served as a student of Yimin Society in Xianyang City, Shaanxi Province, and has been taught by two masters, Hui Jimin and Li Bulin, famous old artists of Qin Cavity, specializing in Qin Cavity Xusheng and Lao Sheng. At the end of the 1930s, he came to Pingliang and successively served as an actor in the then "Pingle Society" and "Juyi Society". After the founding of the People's Republic of China, Mr. Yuan successively served as the main actor, director and business leader of the Pingliang "Xinmin Opera Troupe", "Xinlong Opera Troupe" and "Pingliang Qin Opera Troupe", an actor of the Pingliang Pingle Society, and an actor, director, deputy leader and consultant of the Pingliang Regional Qin Opera Troupe. Director of Gansu Dramatists Association. Member of the Second and Third CPPCC Committees of Gansu Province. In 1936, he first performed Qin Lu's "Branding Bowl Meter". In 1956, he joined the Chinese Dramatists Association and played Song Shijie in the traditional Qin opera "Four Jinshi". "Three Drops of Blood" Zhou Renrui, "Da Zhen Tai" Wang Zhen, "Fifteen Guan" Condition Clock, "Split Door Selling Paintings" Bai Maolin, "Back to Jingzhou" Liu Bei, "Shepherd" Su Wu, Qin Cavity Modern Drama "Red Lantern" Hatoyama, "Sha Jiabang" Hu Chuankui, "Honghu Red Guards" Peng Batian, "Li Shuangshuang" Xiwang, etc. Played Li Gang in the traditional Qin opera "Li Gang and Zong Ze", and won the first prize of the Gansu Provincial Performance Actor in 1955. The videos include the traditional folding drama "Splitting the Door to Sell Paintings", "Walking snow" fragments, "The Record of the Bowl", "Catching the Slope" and so on. The directors of the traditional drama "Yang Eight Sisters Stealing knives", "Yang Men Female General", "Sun An Dongben" and so on. He has made outstanding contributions to the cultural and artistic undertakings of Pingliang in his lifetime, won high praise from the audience, and is deeply respected and loved by the vast number of Qin opera fans and friends in Longdong and even the northwest region.
In his 60-year acting career, Mr. Yuan Xingmin has played hundreds of different types of roles on the stage, and the stage art image he has created can be said to be vivid and vivid. Among them, the role of Su Sheng is the most important. Suzhou Prefect Situation Clock in the play "Fifteen Guan", Tian Yunshan in Zhixian County, Jiangxia County in the play "Butterfly Cup", and Ling Wang Zhen in Huating County in the play "Dazhentai", these crowned and bearded characters, although they all wear black veils and official clothes, but played by Yuan Lao, they all appear to have flesh and blood, angular and distinct, not similar, not set, different personalities, each with a thousand autumns, leaving a very deep and distinct impression on the audience. "Hitting the Town Platform" is a fold in the play "Autumn River Moon". It is written about Li Qingruo, who has no law of the state, who commits murder, kills people and makes trouble in the public court, and is beaten up by Wang Zhen of Huating County with his wisdom according to law, and then successfully closed the case. Elder Yuan plays the role of Wang Zhen, firmly grasps the theme of the whole play, closely grasps a "typing" word, and fully demonstrates Wang Zhen's fearless spirit of not fearing power and daring to struggle. In order to achieve this goal, with decades of excellent theatrical skills and long-term accumulation of rich experience in stage performance art practice, he lifted his robe, threw off his sleeves, brightened the soles of his boots, blew his whiskers, glared at his eyes, and played with hats and wings in a larger range, and strived to do so: the recitation and singing words are round and round, the voice is full of emotion, the performance is angular, the form and spirit are both, and the character image is vividly shaped. In the course of the performance, when he heard someone beating the drum, he quickly went on the stage in the dragging cavity of a "sharp board", his eyes were shining brightly, facing the questioning of Li Qingruo, the general town of Badai, who was menacing and unreasonable, and with his wisdom and open-mindedness, incorruptible and fearless county commander's dignity, he calmly coped with it while observing the color. When Li Qingruo ordered his men to whip Wang Zhen indiscriminately, he pressed the anger in his chest and secretly thought about countermeasures. When the song is sung, "How did this case turn out?" When I thought of the Song Dynasty names Xiang Bao Zheng and Kou Zhun, who were not afraid of power and dared to judge the relatives of the emperor and the state, I suddenly felt that my courage was doubled, and my eyes lit up, and when I saw that there was the holy will of the current emperor hanging above the public hall, my spirit was lifted, and I thought to myself, "The existing emperor's holy purpose is here, am I still afraid that you will not succeed in the town?" So he turned his sleeves in his left hand, and his robe in his right hand suddenly turned around, angrily pointed at zhentai, blurted out "Open words and then call Li Qingruo", and then he pressed the top with a thousand jun, his voice from low to high, and the rhythm from slow to fast, and he made more than thirty large paragraphs of confession, like a cannon, and asked the general town to open his mouth and be speechless, and then ordered Ya Gong to beat Li Qingruo of the eight main towns forty boards. When he heard Ya Gong exclaiming "absolute breath", he was shocked, flashed backwards, climbed to the table to shake his whiskers and shake his head, and then hurriedly left the case in the sound of the "inverted four hammers" percussion, lifting his robe, turning, wrapping his whiskers, striding forward, pointing angrily at the town platform with his left hand, and quickly moving forward in anger to personally inspect the town platform. Next, he clapped his hands together, and then separated the "spread palms" and "shake his hands" to show that zhentai was indeed killed. Horrified, while alternating his hands to stroke the yarn hat, he pondered bitterly: "The murder case has not been clearly interrogated, but it has accidentally killed the Eight Tai General Town, how can this be good?" Thinking about it, he flicked the gauze hat three times, and then patted the gauze hat again, to show that it was just a loss of official and killing his head, what fear! In the course of this series of performances, Elder Yuan vividly expressed Wang Zhen's inner activities from resentment to horror, from shock to calmness, from calm to calm, vividly and vividly, portraying the characters in a delicate and realistic way. "Wang Zhen was born boldly, tortured the general town and caused trouble, since ancient times loyal subjects are not afraid of death, afraid of death and how to redress the people!" These four rhymes before the end, Yuan Lao read lightly and heavily, fast and slow, just like Hong Zhong in the ear, shook the heartstrings of the audience, received the artistic effect of the finishing touch, leaving the audience with endless aftertaste and long-term reverie.
Mr. Yuan Xingmin and Wang Xiaoling perform "Catching the Slope" (June 5, 1986)
What Elder Yuan is best at is the "decline" of the old man: Bai Maolin in "Selling Paintings and Splitting the Door", The Righteous Servant Old Cao Fu in "Walking in the Snow", Liu Zimin in "The Bowl Count", Song Shijie in "Four Soldiers", Zhou Renrui in "Three Drops of Blood", Liu Bei in "Sacrifice spirit", Su Wu in "Shepherd", the old man in the medicine collection in "Yangmen Female General" and other excellent Qin operas, all of which are Yuan Lao's best plays. In particular, the drama of "selling paintings and splitting doors" is a representative work of Yuan Lao's "decline" school. He has performed this play for fifty or sixty years, and the number of performances is less than one hundred and ten. But every time he performs, he has to devote himself wholeheartedly, every move, every move, meticulous, unambiguous. "Selling paintings to split the door" is a fold in this play "Sun and Moon Chart", writing that the evil young Hu Gongzi wants to forcibly marry Bai Maolin's daughter Fengluan as a concubine in the name of buying paintings, Bai Maolin is in a hurry to meet the knock on the door and cut it with a knife, but the person who comes is Tang Ziyan, the nephew who came to join the family because of the rape and framed the starry night, so they planned to eliminate the story of adultery. This is a heavy work-making drama of the old students, the emotional changes are repeated, the body movements are connected, not only to interpret a series of complex psychological activities of the protagonist in the play, but also to organically combine with the corresponding external physical actions, to give the audience a beautiful artistic enjoyment, the difficulty can be imagined. However, Elder Yuan can perform in layers, interlocking, and vivid and touching. For example, when Bai Maolin's father and daughter faced the gold and silver satin sent by Hu Fu, they were helpless, appearing indignant, frightened, anxious, and depressed, but there was a rapid knock at the door, and Bai Maolin, played by Elder Yuan, slammed into the "three hammers", fell and slipped out of the scene, and his arms shook in the "cold hammer". Then he "stomped on his feet", pressed forward step by step, and rushed to the door in a hurry to check whether the gate was closed, and his anger overflowed into words. At this time, he heard the door knocker ringing continuously, the knocking sound continued, he stabilized the other party while answering the door, and shook his fist and looked for a way to deal with it, looking anxious. With the sound of knocking on the door, Bai Maolin had a premonition that his daughter, who was with him day and night, would be snatched away by the miscreants, but he was a bitter and helpless woman with his eyes, and he could not help but tremble with grief and indignation, stumbled backwards, and slumped down on the chair, his eyes were straight to the wooden chicken, and his frustration suddenly arose. In the darkness, the subconscious hand touched the desktop, suddenly touched the iron tool, came with his hand, fixed his eyes on it, it turned out to be a kitchen knife, he couldn't help but be angry from the heart, he was afraid to use the steel knife to kill the thief, vowed to fight with the gangsters with his old life, so he threw his hat and fist, lifted the shoe tie, in a hurry, how could not hook the shoes, he wanted to step on the foot a little higher and then go to hook the shoes, but unexpectedly a foot stepped on the air, the jaw bone touched the edge of the table, and the pain immediately made him drill his heart, trembling, and mixed feelings. Immediately after that, Bai Maolin endured the pain, covered his beard, held the knife in his sleeves, and was steady and courageous, and with the sound of the "sharp board" of "opening the chai door and holding the steel knife to find the child's head", he slammed the door and slashed it, concentrating on finding the person's head, and there was no blood when he touched the blade in his hand, and he was stunned, confused, and trembling. As the people who came shouted "Uncle", he woke up like a dream, and Fang knew that the person who came was not the evil young Hu Gongzi, but the nephew Tang Ziyan who had come to surrender to the night because of the adultery! The feelings of this scene are stirred, the moments change suddenly, the sound is painted, and the protagonist's arrogant spirit and magnificent righteousness of being poor and ambitious, jealous and hateful, not afraid of rape, and vowing to fight to the death are vivid and vivid, delicate and realistic, and are deeply impressed by the audience. And this false misunderstanding caused the suspenseful audience to laugh indignantly.
Stills of Mr. Yuan Xingmin's "Famen Temple"
In his acting career of more than half a century, Elder Yuan has been good at absorbing the strengths of all and being eclectic. In his youth, he humbly sought advice from his mentor Hui Jimin and Li Bulin, two old Qin artists, and later, he humbly observed and studied the stage performance art of the famous Peking Opera performance artist Zhou Xinfang and the famous Jin opera actor Yan Fengchun, absorbing inexhaustible artistic nutrition from them, and gradually formed his own solemn and generous work frame, solemn and elegant demeanor, delicate and vivid workmanship, elegant and vivid workmanship, elegant style, elegant style, and free and unrestrained artistic performance style. Although Elder Yuan's level of stage performance art has reached a fairly high level, he is still humble and sees the strengths of others, that is, he can learn to use for me. For example, after watching the opera "The White-Haired Girl", he felt that Yang Bailao's action of slapping the Huang family gate three times after being driven out of the door by Huang Shiren could be completely borrowed. So when he later performed "Selling Paintings and Splitting the Door", when Hu Gongzi forced Fengluan to send a dowry, Bai Maolin resolutely refused to obey, Hu Gongzi was angry, pushed Bai Maolin out of the door, and threw out the dowry, he first stared at the gate with his eyes straight, and then angrily pushed the gate three times in a row, and then in the "dry fight", he grabbed his fist in his sleeve, wrapped his whiskers in his left hand, angrily pointed at the gold and silver satin with his right hand, tied the "front bow and rear arrow" stereotype, and sang a "sharp board" of "I want to lift my female knot hair for three days". This drama was handled by the details of Yuan Lao's life, and the tragic encounter of a dying old man who was forced to be forced to be cornered, indignant, and lonely, was very delicate and real, which aroused strong resonance from the audience! For example, after watching the performances of many famous Qin actors in Xi'an, he felt that they were very good at mastering the "tricks" and were very good at using gas in the singing style. After careful consideration, combined with the weakness of his own voice "hoarseness", he gradually explored the method of singing words without singing, that is, qiaoqiao sand tone, to brew rhyme, highlight the tooth tone, to sharpen the mouth, use the jaw tone, replace the cavity with qi, develop the explosive tone, to help the momentum, and gradually formed his vigorous and steep, round character singing characteristics.
Stills of Mr. Yuan Xingmin's "Yangmen Female General" (1984)
When he played the role of the medicine-picking old man in the play "Yangmen Female General", he carried forward the unique singing style he had cultivated for many years to the extreme. When the old man who collected medicine encountered Song Bing's fashion deaf and dumb, he made a "back" gesture, like whispering to the other party, singing softly: "I did not dare to speak out when I was a thief soldier here", when he was sure that the Song Bing in front of him was the Yang family general, he sang "The Yang family will enter the mountain and kiss and kiss" in a high-pitched and agitated manner, so he bowed his head and arched his hands, and calmly sang "I pretend to be deaf and sell dumb too disrespectfully" to show apology. When he heard Mu Guiying sing "I was originally Mu Guiying of Shandong", he was surprised, and hurriedly fell to his knees, thumbed up with his hands, and sang "Chopping Board": "Hugh blames me for not recognizing that you are Mu Guiying who broke the Gate of Heaven", to show admiration. When he heard the murderous news of Yang Zongbao's sacrifice at the border pass, he sang the bitter tone "Tight Plate": "I heard that Marshal Yang lost his life for the country", followed by stepping up, frowning, pulling his face, glaring, shaking his head, shaking his head, shaking his whiskers in the sound of the explosion of thunder and thunder, and after the percussion music slowed down, he continued to sing" "Not by my elderly people's tears, the Yang family will be loyal to Baoshe Ji, the East and West Expeditions and the Northern and Southern Wars have made great contributions, and the old man I have listened to is clear. Shake the old spirit I will lead the way..." Just a few sentences of singing, every sentence can do scientific word luck, perfect sound and rhyme, fully exhibit his vigorous and charming artistic singing characteristics, and his delicate characterization of the workmanship complement each other, blending in, pushing the performance of the whole play to a climax. The old man who collects medicine is only a ten-minute play in the whole play, but in The view of Elder Yuan, this is a "drama bully" and must be performed well, only in this way can it play a finishing role for the success of the performance of the whole play. Therefore, he is very involved in every performance and does not dare to slacken off at all. In the summer of 1978, the Qin Opera Troupe of Pingliang District performed the play at the Lanzhou Lanyuan Film Theater, performing more than 30 consecutive performances. There are several Lanzhou opera fan friends, every night to see the 10-minute play of the old man who collects medicine played by Elder Yuan, while watching the play, while praising, taking the lead in applauding more than a dozen times within 10 minutes, and then returning satisfied.
Stills of Mr. Yuan Xingmin's "Fifteen Consecutive" (late 1970s)
Speaking of which, the audience's appreciation angle is always different. Some people especially admire Yuan Xingmin's dignified and generous frame and beautiful body, while others especially appreciate his vigorous singing skills and heavy chanting of sand ridges. Of course, Yuan Xingmin's voice conditions are not good, due to overwork in his youth, he once lost his temper and stagnated. However, he was not constrained by this defective condition, but with the exquisite thinking of the Seven Tricks, he poured himself into his own artistic insights and explored the way of singing words without singing. That is, qiaoqiao sand sound, to brew rhyme; highlight the tooth sound, to sharpen the mouth; the use of jaw tone, with the gas instead of cavity; the development of fried sound, to help the momentum. Like the "slow cut" in the "early morning rush to the street to sell ink paintings" and "call the wind luan open the firewood for the father to return home" and other plate style of luck, the sound of the rhyme, all fully appreciate his vigorous and steep, full of charm of the artistic singing characteristics, and with his delicate characterization of the workmanship complementary, blended with one, radiant with a keen pursuit of progress, innovative light. Because Yuan Lao is good at learning and diligent in thinking, his performance is becoming more and more exquisite, the drama path is getting wider and wider, in the 50 or 60 years of acting career, he has not only successfully staged many Xusheng roles, but also played the role of Yang Wulang in "Brother Wutai", Ai Qian in "Flame Foal", and also played clowns like Wu Dalang in "The Death of Wu Dalang" and He Qijuan in "Jade Tiger Fall". In the performance of the big anti-string, he also played the wife of Wang Chengxiang (Lao Dan character) in the later book of "Wu dian Po" and Su San (Xiao Dan role) in "Yutang Spring". Especially when performing modern dramas, he also played villain roles such as Hatoyama in "Red Lantern", Hu Chuankui in "Shajiabang", and Peng Batian in "Honghu Red Guards". These characters, he has created a realistic image one by one, Wei Miao Wei Xiao. This is undoubtedly very valuable for an actor who has been mainly attacking and shogunate all his life.
The roles of different professions, played by him, seem to be so handy, sound and colorful, coupled with his gradual mastery of the knowledge of Qin Gong and Drum Point from the fan of the drum, which laid a solid foundation for him to successfully direct many Qin Operas later. Since the 1950s, he has directed as many as 40 or 50 plays. His style of platooning is rigorous and meticulous. In each row of plays, he requires each actor to start from the characters he plays, to focus on showing the inner world and spiritual outlook of the people in the play, every move on the stage, one move and one style, both in line with the specifications of the program and artistic beauty. He not only has strict requirements for the actors, but also requires the staff of music, art, lights, costumes, Taoism, effects, scenery and other aspects to establish the idea of "one game of chess" for the whole group, take their place, perform their duties, and contribute their own strength to the success of the whole play. The historical dramas he directed, "Four Soldiers", "Three Drops of Blood", "Flame Foal", "Capture the Golden Building", "Fifteen Consecutive", "Han Mo Yuan", "Hui Jingzhou", "Bird with Wings", "Flaming Yangzhou", "Yang Eight Sisters Stealing knives", "Wu Dian Po", "Lying Salary and Tasting Guts", "False Son-in-law Riding the Dragon", "Sun An Dongben", and modern dramas "Liang Qiuyan", "Red Lantern", "Honghu Red Guard", etc., all left a sense of inexhaustibility among the audience. In particular, he directed the newly written historical drama "Xie Yaohuan", which was once famous in the urban and rural areas of Longdong. In the late 1970s, he directed "The Female General of Yangmen", which was performed in Lanzhou in the summer and autumn of 1978, and performed for more than 3 months. Elder Yuan also has a prominent feature when directing plays, that is, he never competes with people for roles and "eats drama vinegar". When arranging "Agni Yangzhou", the two wenwu xusheng roles of Yangzhou Taishou Jiang Cai and Assassin Li Tingzhi in the play can be played, and he can act very well, but he has not acted talent. Later, when he directed this drama twice, he only played a small soldier under Li Tingzhi's subordinates, practicing with the team, standing guard, and putting on a sentry... This style and spirit of his cannot help but make people awe-inspired.
Yuan Lao has performed more than 100 plays and folding plays in his lifetime. He has received many awards for his superb performing arts achievements. He played Li Gang in the play "Li Gang and Zong Ze", and in 1955, he participated in the provincial Qin Cavity Performance, won the first prize for performance, and won a gold medal. In 1956, he became a member of the Chinese Dramatists Association. He also served as a director of the Gansu Dramatists Association. His best plays "Selling Paintings and Splitting Doors", "Walking Snow", "Bowl Counting" and "Catching Slopes" were recorded by Gansu Provincial Television Station and Pingliang Television Station respectively, and have been broadcast in the province and the whole region many times. In 2003, his artistic achievements were included in the book "Dictionary of Chinese Dramatists". On May 23, 2004, he was awarded the honorary title of "Famous Qin Performance Artist of Pingliang City". It is very regrettable that Elder Yuan did not catch up with the opportunity to evaluate the title in his lifetime, and in the 1980s, when the literary and art circles evaluated the title, Elder Yuan had retired and missed the opportunity, so he still did not have any title in art, which cannot but be said to be a great regret. Fortunately, Elder Yuan took this matter very lightly, and felt that as an old artist, he could be so loved by the party and the people all his life, especially now that he can get a pension of more than 1300 yuan per month, he feels very satisfied. As the saying goes, "Contented people are always happy". Elder Yuan is now more than 80 years old, still deaf and clear-sighted, and his spirit is strong, and he is spending his old age in peace. Although he has become an elderly man, he still has a special love for the art of Qin Cavity, and whenever he talks to people about the drama, he is still full of excitement and excitement. If a young actor comes to the door to ask for advice, he will teach by example, demonstrate the action, unambiguous, and the enthusiasm will not diminish that year.
The video materials left by Elder Yuan include the traditional folding drama "Splitting The Door to Sell Paintings", "Walking snow", "Bowl Counting" recorded by Gansu Television Station in the 1980s, and fragments of "Catching the Slope" recorded by Pingliang Television Station, which have left us valuable artistic materials. It is not difficult to see that Yuan Xingmin is based on life in the portrayal of characters, strives for excellence, is implicitly affectionate, and does not stick to the rules; he shows his strengths in singing, avoids his shortcomings, and becomes his own style. This is an important sign that he enjoyed the "King of Longdong" and "the old and the old in decline". Looking closely at his performance, it is indeed a must for the old students of the decline, And Elder Yuan is not only the pride of our Pingliang Qin cavity, but also a famous old artist and performance artist in the northwest.
On September 17, 2017, Mr. Yuan Xingmin, a famous Qin performance artist, passed away at the age of 96.