<h1 class="pgc-h-arrow-right" data-track="1" > Nanyue "Left Lian" Group Ying Xiaoji (4).</h1>
Source: Hanjiang River Basin Management Bureau, Guangdong Province
Editor's Note:
Chen Bo'er, a young man of "Left Alliance" literature in Southern Guangdong, a native of Chaozhou, Guangdong, a proletarian literary and art warrior, a famous film actor and director, and a leader and founder of the people's film industry. In 2021, the Hanjiang River Basin Management Bureau of Guangdong Province will build the second phase of the "Zuolian" tour project in Southern Guangdong to build a tea park on the bank of the Hanjiang Embankment in Guanlu Village, Anbu Town, Chao'an District, to commemorate Chen Bo'er.
The picture shows Chen Bo'er.
The first female master of progressive literature and art in the Republic of China
Chen Bo'er, formerly known as Chen Shunhua, was born on July 15, 1907 in Anbu Town, Haiyang (now Chao'an) County. In 1929, while studying at Shanghai University of the Arts, he began to engage in left-wing theater activities. In 1934, he starred in the movies "Peach and Plum Robbery" and "Youth Line" and became famous in one fell swoop. In 1936, he starred in "Life and Death Together" and became famous in the film world. After the "July 7" Incident in 1937, he joined the Anti-Japanese Drama Team, joined the Communist Party of China in the same year, and participated in the premiere of the famous anti-Japanese drama "Defending Lugou Bridge". In the following year, he served as a director of the All-China Film Anti-Enemy Association, starring In the film "Eight Hundred Heroes" with the theme of Shanghai's "August 13" Anti-Japanese War, Yang Huimin, who was famous throughout the country. In 1940, he went to Yan'an to study at the Marxist-Leninist Academy, directed foreign famous dramas such as "Professor Mamen" and "New Trojan Horse Plan", and became the core figure of the film and drama art in the Shaanxi-Gansu-Ningxia Border Region. In 1945, he and Yao Zhongming created the drama "Comrade, You Went the Wrong Way" and served as a director, because of the distinct ideological connotation and superb artistic techniques of the play, Chen Bo'er's name spread throughout the Yan'an revolutionary base area. Since then, she has also organized the editing and filming of the documentary "Defending Yan'an" and Yan'an's first feature film "Labor Heroes in the Border Area", becoming the first female screenwriter in China's history. In the spring of 1946, he led the Yan'an Film Troupe to xingshan (now Hegang City) in the northeast through difficulties and obstacles, participated in the establishment of the northeast film studio, and served as the general secretary of the party branch and the director of the art department of the factory. In 1947, she choreographed and directed China's first puppet film "Emperor's Dream" and became the first female director in China. In November 1951, he died of a sudden heart attack while speaking at a symposium of literary and art circles in Shanghai.
The picture shows the stills of "Peach and Plum Robbery".
As a member of China's progressive literature and art during the Republic of China period, Chen Bo'er's literary and artistic activities and achievements are numerous. In her decades of literary and artistic career, she has adhered to the persistent pursuit of progressive literature and art, actively responded to the revolutionary work called for and put into action by the party in various periods; her contribution to the cause of film and drama art in the Liberated Areas under the leadership of the party is unparalleled by other female artists.
The Chinese film and drama that arose in the 1930s, while the business cards were repeated, also rose up a large number of female stars in the film and drama. The path taken by this group of actresses is roughly divided into four categories. First, there are high-ranking officials who become famous and become the wives of officials while acting, such as Xu Lai, the acting commander of the Eighth Army of the National Government and the wife of Tang Shengming (Tang Shengzhi's brother) who joined the army in the Presidential Office, and Hu Die, the secret wife of Dai Kasa, the head of the military; second, they committed suicide because of "fearful words" or for love; third, they were active in the film and drama circles for a long time, and they were also involved in progressive literary and artistic activities but did not participate in the CCP or rarely participated in revolutionary social activities, such as Bai Yang, Zhang Ruifang, Wang Renmei, Shu Xiuwen, and Xuan Jinglin Fourth, he joined the CCP in the 1930s, and was not only a person in the performing arts, but more often participated in social activities and revolutionary work under the leadership of the party, of which there were three famous figures: Wang Ying, Lan Ping, and Chen Bo'er.
Wang Ying, a native of Wuhu, Anhui Province, was born in 1913, the earliest jun joined the party (1930), famous for starring in Yang Hansheng's "Iron Plate Red Tears" and "Freedom God", and after the outbreak of the Anti-Japanese War, she also actively participated in the salvation movement and participated in the Shanghai Salvation Drama Team. But she went to the United States to study in 1942 and did not return until 1955. Obviously, its performance is far inferior to Chen Bo'er. Therefore, the latest (2002) edition of the "Encyclopedia of China (Quintessence)" includes female film stars and artists surnamed Wang, including Wang Renmei and Wang Ping, but no Name of Wang Ying.
Lan Ping, a native of Zhucheng, Shandong, also known as Jiang Qing, was born in 1914 and was the second female star to join the party earlier (1933). In his early years, he worked as an actor in Shanghai's "Dentsu" and "Lianhua" film companies to stardom by starring in the drama "Nala", but at that time, the fame of the Shanghai Beach performing arts industry was under Chen Bo'er. In 1936, when Chen Bo'er presided over the establishment of the Shanghai Youth Women's Club, Lan Ping often followed Chen Bo'er around, and was called the "little sister" in the club together with Yu Dafu's niece Yu Feng. Lan Ping entered Yan'an in 1937, married Mao Zedong the following year, and has since gone behind the scenes from the front desk. In 1963, he began to meddle in the literary and art circles, and during the "Cultural Revolution", the crimes were even more prominent. Whether it is political virtue or artistic achievement or compared with Chen Bo'er's position during his lifetime, Jiang can hardly hope that Chen Zhixiang will look back.
The most active female social activist in the literary and artistic world
Chen Bo'er is the most active female star in social revolutionary activities. In October 1929, she joined the "Chinese Relief Society" founded by communists Yun Daiying, Guo Moruo and Yang Xianjiang. The following year, together with Lu Xun and Tian Han, she initiated the establishment of the "Great Alliance of The Chinese Freedom Movement". In 1936, with the support of Song Qingling and He Xiangning, she, together with Shi Liang, Shen Zijiu, hu zibao, etc., established the "Shanghai Women's Salvation Association". In these organizations, Chen Bo'er gave full play to his literary talents and artistic expertise, wrote articles in newspapers and periodicals, gave speeches at rallies, played a role on the screen of the theater to actively propagate the idea of resisting Japan and saving the country, attacked the dictatorship of the Kuomintang, fought for freedom of speech, publication, assembly, and association, and rescued revolutionaries arrested by reactionaries. In June 1936, she and 16 others, including Song Qingling and Hu Yuzhi, jointly submitted to the Jiangsu Provincial High Court, demanding the release of the "Seven Gentlemen" arrested for propaganda against Japan and the salvation of the country, otherwise, they would be "punished for the same crime" as the "Seven Gentlemen".
Chen Bo'er's outstanding performance was praised by women leaders Song Qingling and He Xiangning. Song He once told people that among the many actresses in the literary and art circles, the most appreciative is Chen Bo'er, who is enthusiastic, courageous, selfless, and talented. He Xiangning also specially consulted chen Bo'er and asked her to preside over the organization of the "Shanghai Youth Women's Club" to unite people in the women's circles of Shanghai and strengthen the anti-Japanese forces.
In November 1936, Fu Zuoyi's troops stationed on the Suiyuan front conquered the Lark Temple occupied by Japan, and the news of the victory in this battle reached the rear and made the broad masses of the people rejoice. In order to expand its influence, the CCP's Shanghai underground organization mobilized people from all walks of life to comfort frontline soldiers, and Chen Bo'er was the first social activist to respond to this call. In the name of the "Youth Women's Club," she formed the Shanghai Women's and Children's Consolation Labor Group and went to the anti-Japanese front line to meet with Nie Rongyao, He Long, Fu Zuoyi, Tang Enbo, Song Zheyuan, and other Kuomintang generals. In front of the Lark Temple, he personally performed "Put Down Your Whip" with the famous actor Cui Wei, which was warmly welcomed by the soldiers in front.
The picture shows Chen Bo'er performing "Put Down Your Whip" for the anti-Japanese soldiers.
"Put Down Your Whip" describes that after "918", a pair of fathers and daughters who fled to the customs made a living selling art, the daughter fainted from hunger and fainted to the ground, and the old father whipped her with a leather whip to force her to sell songs. A worker in the audience was so angry that he took the whip from his father's hand and rebuked him. The old father said bitterly about the difficult years of being a slave to the country, and the whole audience was moved. Chen Bo'er plays the daughter, and Cui Wei plays the old father. Their performance feelings are sincere and delicate, so that the audience can not feel that this is a performance, but something happening around them. This drama is a street drama, which has not been performed on the front line since it was written, and Chen Bo'er brought it to the anti-Japanese front for the first time, causing a sensation throughout the country and having extraordinary significance. Since then, progressive literary and art workers throughout the country have moved this drama to the streets and frontlines, which has stimulated the hatred of the military and the people against the Japanese invaders and enhanced their confidence in the War of Resistance. Among them, after Chen and Cui performed for a year, the famous actors Jin Shan and Wang Ying also performed this play in Wuhan, which also caused a sensation.
The founder of new Chinese film education
Chen Bo'er joined the party in 1937 and was introduced by the famous Communist generals Ye Jianying and Li Kenong. She had expressed her desire to join the party to the party organization a few years earlier, but Pan Hannian, the head of the Shanghai underground party at the time, told her that she was asked to stay outside the party because of the needs of her work. In this way, Chen joined the party a few years later than Wang Ying and Lan Ping in the same period. When the War of Resistance Against Japanese Aggression broke out, Chen Bo'er obeyed the party's instructions and ran between Nanjing, Wuhan, Yan'an, and Chongqing, devoting himself to the cause of literature and art. In 1940, she entered Yan'an for the second time and became a stalwart of the art scene in the Shaanxi-Gansu-Ningxia Border Region. At that time, every time Yan'an staged a drama, you can see Chen Bo'er's figure, among which the more famous ones are the "Yan'an Life Trilogy", "Professor Mamen", "New Trojan Horse Plan" starring or choreographed by her, and the most influential works that have become the representative works of the Liberated Areas are "Comrade, You Have Taken the Wrong Road" and "Labor Heroes in the Border Areas".
"Comrade, You're On the Wrong Path" is a drama adapted by Chen Bo'er in collaboration with other comrades, with her as the main director. The drama is adapted from the true story of the Shandong Column, depicting the fact that the liaison minister of a certain unit of the Eighth Route Army only talked about unity and did not talk about struggle against the right wing of the Kuomintang, causing serious harm to the revolutionary cause, and most of the cadres and fighters of the Eighth Route Army resisted and fought with the liaison minister, saving the party's cause at a critical moment, and also saving the life of the liaison minister. In the process of choreographing and directing, Chen Bo'er fully followed the mass line, boldly reformed, and sought excellence. Lü Zhengcao, a northeastern general who was studying at the Central Party School in Yan'an, took the initiative to ask for help and played the role of the chief of staff of the Kuomintang in the play, and because of his combat experience, he played a wonderful role, which made the drama more colorful. After the performance of the play, it caused a sensation in the entire Shaanxi-Gansu-Ningxia Border Region, and Zhou Enlai, Chen Yun, and Peng Zhen all personally watched the performance and gave Chen Bo'er a lot of encouragement, and at the same time listed the play as an auxiliary teaching material for the rectification of the wind in Yan'an. The leaders believe that the performance of the play played a great role in opposing Wang Ming's surrender line on the united front issue.
The picture shows Zhou Enlai's handwritten letter to Chen Bo'er on the issue of script revision.
"Heroes of Labor in the Border Region" is based on a heroic and exemplary figure commended at the Border Region Heroes Conference, depicting the protagonist's early escape from other places to northern Shaanxi and his turnaround under the leadership of the new regime. In the Yan'an large-scale production movement, the protagonist was able to produce and become rich by responding to the party's call. Chen Bo'er was ingenious in the process of writing this script, and she strived to reflect the vivid revolutionary course of the agrarian revolution in northern Shaanxi under the leadership of the Communist Party, the Red Army's northward anti-Japanese movement, and the large-scale production movement in the border areas through the protagonist's long life experience. At that time, when the central leading comrades learned of the creative process of this work, they all gave warm support and full affirmation. Although due to the shortage of film equipment and hu Zongnan's troops attacking Yan'an, the film was not completed. However, this work became the first film script in the Liberated Areas, and Chen Bo'er became the first female screenwriter of a film in China and was recorded in history.
The first official film studio formed by the Communist Party was the Northeast Film Studio (the predecessor of the Changchun Film Studio), which was established by our Party on the basis of receiving the "full screening" of the Japanese army. On October 1, 1946, the factory was officially established, and Chen Bo'er served as the first secretary of the party branch and the director of the art department.
The representative work of the early days of the establishment of Dongying is the film "Democratic Northeast" filmed by Chen Bo'er's specific organization and leadership. This is an epoch-making work of China's documentary, not only grand in scale, but also produced quickly. From May 1947 to July 1949, more than 300,000 feet of news footage were shot, edited into more than 10 films, an average of one every two months. With Chen Bo'er as the mainstay, yuan muzhi, Qian Xiaozhang (Qian Xing estate's younger brother), Xu Xiaobing, and more than a dozen other comrades participating in the choreography and photography also participated in the choreography and photography, and their revolutionary enthusiasm and strong sense of responsibility for the times stemmed from the baptism of blood and fire that Chen Bo'er and his comrades-in-arms experienced during the war years.
"Democratic Northeast" is a true record of those scenes in the war years. Films such as "Four Lower Jiangnan", "East Manchuria Front", and "Recovering Siping" show that Chen Bo'er and other choreographers are good at choosing the most expressive angles, and objectively showing the changes in the battlefield and the victory scenes of the righteous forces. Films such as "The Last Battle to Liberate Northeast China" and "Chairman Mao's Military Parade" are not only the sublimation of the revolutionary spirit, but also the frozen pictures with precious historical moments, showing Chen Bo'er's extraordinary ability to deal with spectacular and magnificent scenes.
Chen Bo'er has a tireless passion for china's film industry. According to the needs of the development of the situation, she has made active explorations in shooting other films. She directed China's first puppet film "The Emperor's Dream", which was said by film critics to be the production of the film, making Chen Bo'er the first female director in China.
In the autumn of 1949, Chen Bo'er was transferred to Beijing. Under her organization and mobilization, 26 feature films and a number of news documentaries such as "Zhao Yiman", "Iron Warrior" and "Cuigang Red Flag" were made in only one year, showing the vigorous vitality of the new Chinese revolutionary literature and art.
In 1950, at her initiative, on the basis of the Film Research Institute of which she was the director, the first film art cadre school in China was established, which was the predecessor of the Beijing Film Academy, and it is undeniable that Chen Bo'er was the founder of the new Chinese film education.
What is worthy of Chaoshan's pride is that in the early days of liberation, the director of the Central Film Bureau was Yuan Muzhi, the husband of Chen Bo'er, the son-in-law of Chaoshan Province, the deputy director and director of the Art Committee was Cai Chusheng of Chaoyang (the Art Committee was the highest film art institution in the country at that time), and the deputy director of the Art Committee and the director of the Arts Office was Chen Bo'er.
In February 1995, an event in memory of Chen Bo'er was held in her hometown of Chaozhou City. Chen Bo'er's extraordinary life experience and her contribution to the cause of Chinese people's progress are a precious legacy left to the people of Chaoshan Province.
The picture shows the portrait of Chen Bo'er in Chaozhou West Lake Park.
(The article is excerpted from Huang Xianzhang: "Commentary on The Characters of the Chaoshan Republic of China", slightly changed)
(Source: Han Jiang Bureau)
(All rights reserved, please indicate that the reprint is from the Nanyue Ancient Yidao Network, welcome to reprint.) ）