Fu Quanxiang, formerly known as Sun Quanxiang, was born on August 30, 1923 (the 19th day of the seventh lunar month) in Houzhuang Village, Shengxian County, Zhejiang Province. He is a national first-class actor, a representative inheritor of the national intangible cultural heritage project "Yue Opera", the founder of Yue Opera "Fu Pai", and a director of the Chinese Dramatists Association. She is widely learned and courageous; On the basis of the new Yue opera, it expanded the style of "freehand", and created a Fu Pai singing voice with perfect integration of true and false sounds, gorgeous and colorful, and swinging intestines, known as "Yue opera flower cavity soprano". His representative works include "Liang Zhu" and "Emotional Detective".
In August 1923, Fu Quanxiang was born in a poor peasant family in Shengxian County, Zhejiang Province, and at the age of 9, he left his parents and went to a nunnery in a near village to learn art, and followed the "Spring Class of Four Seasons" to embark on a career as an artist who traveled all over the world. On October 18, 1986, in the "Liberation Daily", Fu Quanxiang wrote an article entitled "The Master Kicked Me to the Front Desk", recalling his own artistic experience, which made people can't help but be funny.
"It was a lot of fun to talk about my first time on stage. At that time, I was only ten years old, and Yuan Xuefen was in the small class of the 'Four Seasons Spring' women's Yue opera class in Shengxian County, which was really pitiful: our 'Four Seasons Spring', the large class and sixty sisters, Yuan Xuefen was literate alone, and everything else was illiterate, and even his own name could not be written. When I began to learn drama, in addition to oral teaching, the manager of the class also wrote everyone's lines on a piece of cloth and handed them to everyone. I couldn't understand it at all, but I still kept it in a matchbox of my own (you know, poor children in the ravine, even matchboxes are hard to pick up.) I found one by chance and hid it around like a baby as a toy.) Later, I saw that everyone was illiterate, and even this small cloth strip was not issued, and all the lyrics were taught orally. Some have poor memory, can't remember well, and sing badly, so they have to 'eat the palm of their hands'.
Among the sisters in the same class, I and Shen Airen were the youngest, I had a good memory, the master could remember it as soon as he taught me, and he had never eaten the "palm of his hand" because of this. But I was naughty since I was a child, and I was hit by the 'palm of my hand', and I suffered the most in this regard. Shen Ailian is not naughty, has poor memorability, can't memorize lines, and often asks me to remember them for her. Her family was rich, and her mother often brought peanuts, dried potatoes, pumpkin seeds and other things to see her. She "exchanged" these things with me: I gave her a line, and she gave me five peanuts, or ten melon seeds. The two sisters get along very well.
The first time on stage was in Liu'an Village, Shengxian County. In the play "Three Immortal Furnaces", I played the handmaiden of Miss Bai Saihua. Miss's fiancé Feng Ming slashed through the door, and he escaped alone. The second elder of the Bai family will get married. When the little girl heard this, she hurried upstairs to report to Miss Zhi. Before I took the stage, it was not dark, and the master had already put on makeup for me and tied a big bag. Ten-year-old doll, a big bag head, dizzy; Over time, it is more sad, and in addition to the headache, there is also a strong vomit. Hold on hard, hold on to the tears of water. His face was covered with rouge pollen, drenched in tears, and someone scolded when he saw it: 'Nong can make it look like a hanging ghost!' It was time to take the stage, and the master hurried to help me tidy up and lift the curtain. I just took a step, a glance, only to see the black pressure on the stage pressed a piece of human head, a panic in my heart, a wow cry out, a shrinking head, and backstage. Who knew that the heel was not yet stable, and the master did not hit one, so he kicked me hard on the ass and kicked me from the backstage to the front desk. After taking this foot, as soon as he arrived at the center of the platform, he was naturally dizzy and confused, and he was originally in a hurry to go upstairs to report the news, but he did not expect that his footsteps and body would become downstairs.
hi! This mistake, the stage can open the pot: 'This little monkey, dizzy turning upstairs and downstairs is also wrong!'" Nong this little monkey, the wrong tune, the wrong tune! Upstairs! Go upstairs!' This shout from the audience woke me up: instead of being in a hurry, I retreated to the upper door again, and sang while running the round field: 'Hateful lady black conscience, to marry Miss Turai, to send my aunt to the official office, I hurried upstairs to report it.' After singing, go upstairs to report the message. Along the way, I actually stopped looking out of the ocean. Especially because of the good voice and desperate singing, these four singing words came out, and the stage came to a full hall. Some of the audience immediately commented: 'I can't see this little monkey, I fainted on the scene, and I sang quite beautifully!'" I think this little monkey will come out of the mountain. My father Sun Qinxin (my original name was Sun Quanxiang), was the drummer of the 'Four Seasons Spring', that day the 'String Red Stage', it was also the drum he played, from the beginning to the end, the beginning for me to pinch a handful of sweat, after reading it is also very happy.
Backstage, I myself was worried that Master Bao Jinlong would not kick me again, and the bag head would not be dismantled, and the tuk tuk sat there without a sound. The master looked at it and only said, "Why didn't Nong take off his head?" I listened to the amnesty and quickly took my head off. After dismantling his head, the master still did not scold a word, but only cared for one sentence: 'Singing opera must always be shown to everyone, from now on to any place, do not be afraid!'
Master's words greatly strengthened my courage. After singing, I will not be afraid. And I like to steal the scene. As long as I am on stage, running dragon sets, flipping and fighting, I am more energetic than anyone. However, until I grew up, as soon as I touched a large bag, I had "conditioned reflexes", dizziness, headaches, and vomiting. When I was in the corner myself, I simply scrapped it. ”
In 1941, Fu Quanxiang performed in a class with Yin Guifang and Zhu Shuizhao, co-starring in "Panfu Sov", "The Legend of the White Snake", "Jade Dragonfly" and so on.
In the spring of 1943, she went to the "Four Seasons Spring" to hang the first card, the drama class was renamed quanxiang troupe, and invited Fan Ruijuan to cooperate for the first time, performing "Little Sister Dying" and "Wu Jia Po".
In August 1944, he partnered with Xu Yulan to perform "Six Memories of Floating Life", "Gold and Beauty", "Red Tears in the Iron Window" and so on.
In 1947, Fu Quanxiang participated in the joint charity performance held by the "Ten Sisters" of the Shanghai Yue Opera Circle to organize the Shanghai Yue Opera School and the Experimental Theater, and played the palace maid Dai Ying in the play "Love of Mountains and Rivers"; In the same year, she cooperated with Fan Ruijuan to form the Dongshan Yue Art Society, performing the newly compiled costume dramas "Tianya Dream", "Li Chuang Wang" and the traditional dramas "The History of Liang Zhu Lamentations" and "Four Beauties".
In 1948, Fu Quanxiang joined the Fanghua Theater Troupe and performed "Peach Blossom Fan", "Lu Man" and "Gone with the Wind" with Yin Guifang.
In 1949, Fu Quanxiang cooperated with Fan Ruijuan three times to reorganize the Dongshan Yue Art Society, performing "Ten Thousand Households Renewal" and "Peacock Southeast Flying" in the theaters such as Stars and Lido.
In August 1950, the two led a troupe to Beijing for a public performance, and Chairman Mao Zedong watched their performance of "Liang Shanbo and Zhu Yingtai" for the first time.
In 1952, Fu Quanxiang participated in the First National Opera Observation and Performance Conference and won the first prize for actors with "Liang Shanbo and Zhu Yingtai".
In 1954, she participated in the East China Opera Observation and Performance Conference, and won the first prize for performance for "The Red Lady of the West Chamber".
In 1957, Fu Quanxiang starred in Tian Han's drama "Love Detective", and in 1958, he made a movie, and later starred in modern dramas such as "Sister Jiang" and "Two Pieces of Six".
Fu Quanxiang does not care about fame and fortune, and in the Yue opera "Imperial Relatives and Relatives of the State", her name ranks behind many young actors. In the eight scenes, Empress Dou, played by Fu Quanxiang, has only two scenes, one of which has only a few lines. She said: An old actor like her, who is nearly a flower, has not performed on stage for a long time, and in order to prosper the cause of Yue opera, a group of middle-aged and young actors who have developed in art are needed to pick up the successors. Cultivating the next generation depends on passing on, helping, and leading. Sometimes it is also necessary to "support" on the stage, which is not only an encouragement and support for the next generation, but also helps to improve the quality of the performance. Fu Quanxiang does not spend less effort because of the lack of drama. As always, she took rehearsals as seriously as she did in the whole play, and even without her play, she came to the rehearsal hall early to tutor the youth and advise the whole play.
When it comes to the inheritance and development of the Yue opera genre, Fu Quanxiang's words are still deafening, "First, no matter how to reform, we must maintain, enrich, and carry forward the inherent characteristics of Yue opera, and we must not lose this characteristic." What we want is 'pushing out the old and innovating', not 'tearing down and starting over'! Second, it is precisely from this fundamental requirement that in cultivating new forces, it is necessary to strictly train the basic skills of Yue opera and strive to cultivate successors of different schools. Third, to study the genre, we must first practice what Mr. Lu Xun called 'take-ism', pay attention to a 'like' word and a 'quasi' word: first be honest, conscientious, word by word, one move, one style, the original original to learn, learn the image, learn accurately, learn well, learn well, learn fine; Then, on this basis, it is possible to innovate the old, enrich and improve it in continuous practice, and gradually develop into a new genre. ”
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