Talking about the "Two Tigers" of Jinmen: Li Huiliang and Zhang Shilin

Under the Peking Opera fans, more fans of Peking Opera Wusheng Opera. In the 1950s and 1960s, I had the privilege of seeing Gao Shenglin, He Yuqin, Guo Yukun, Ni Haitian, Li Wanchun, Li Xiaochun, Li Huiliang, Xiao Gai Tiantian, Xiao Wang Guiqing and other famous characters many times, and I had no chance to see Li Shaochun, Wang Jinlu, Zhang Shilin, and Liang Huichao, and I could only appreciate them on TV. Among them, Li Huiliang and Zhang Shilin, two major martial artists, realized their own life value in Tianjin.

Playwright Wu Zuguang called Li Huiliang the "Emperor of Oriental Dance". Li's high reputation in the literary and art circles can be seen from this. However, Zhang Shilin actually took root like a big tree next to this "Dance Emperor", and also won his own audience, and stayed for more than thirty years. It is rare for two martial artists to perform on the same stage and write down their own records of scenery and scenery.

Mr. Zhang Shilin was a martial artist in his early years, and his congenital conditions were poor, and he laughed at himself as a three-no-martial artist with no "legs" and no "voice" and no appearance. But he relied on his 200% hard work, hard work, diligent study and hard work, and created a miracle in his peers, and finally became a famous Peking Opera martial artist and formed a unique performance style.

Li and Zhang are in the same group, and although their artistic styles are different, they also have similar ideas about art. Li advocated that "art is not one sect"; Zhang said that it is not limited to "the transmission of one master", but should "absorb the strengths of all". Li Huiliang, who entered Jin from Sichuan, devoted himself to the integration of the southern and northern schools of Peking Opera, and called it "Southern Gongbei Opera"; Zhang Shilin grew up in the northeast, and he combined the tough Kanto style with the generous and standardized Beijing school weather. Therefore, the art of Li and Zhang is both solid and free. They also have the ability to think deeply about artistic phenomena.

Li Huiliang arranges wonderful skills in almost every play, such as "cross-fork down the table" of "Zhong Kui's Marrying Sister", "Flying Feet Over the Table" of "Golden Leopard", "Thick Bottom Spinter" of "One Arrow Vengeance", etc., leaving an unforgettable impression. Zhang Shilin's many skills such as "wrestling and snatching backs", "wrestling stiffening", "rubbing steps", "bumping steps" and so on used in "Lu'an Prefecture", "Walking Maicheng", "Zhan Jizhou" and other plays can also be called to achieve that no one has me, and people have my superiority, and their exquisiteness is difficult for people to reach. Li and Zhang have a strong winning mentality, which can be described as having their own advantages, but Li has a trick and Zhang has Zhang's doorway. "Pick a Scooter", "Walking Maicheng", "Iron Cage Mountain" and other dramas all say "that's my play", but the performance will come out with their own styles.

"Changsaka Slope" and "One Arrow Vengeance" are all the big martial arts dramas that all the great martial arts have, and they are also Li's masterpieces, zhang of course also has these two plays, but later Zhang Shilin seems to have not acted in Tianjin, on the contrary, "Evil Tiger Village" and "Centipede Ridge" are Zhang's masterpieces, and Li Zaijin has not moved. It seems that there is also a tacit understanding in this, which indirectly reflects the sympathy of this pair of artistic "fierce enemies".

However, the exclusivity of art is probably also a law. The more one is among actors of the same industry, of the same level, and of different styles, the easier it is for this artistic exclusivity to arise. There is no denying that. Tan Xinpei to Wang Guifen, Yu Shuyan to Yan Jupeng, Zhou Xinfang to Ma Lianliang... Probably, they will all say some artistic words to each other to varying degrees. This is actually a kind of artist's frankness, and should not be equated with deliberately belittling others.

In the 1950s and 1960s, Goldman Sachs Lin was in Wuhan, Li Huiliang Zhang Shilin was in Tianjin, the three of them were like fish in the water, if Gao was still in Shanghai and did not stay in Wuhan, if Li turned to Beijing and did not stay in Jinmen, such as Zhang Shilin was in the northeast, with the "Nanqi North Horse" in Shanghai and Beijing, and the cover called Tianyan Huizhu Li Wanchun Li Shaochun and so on Crouching Tiger, It is estimated that Gao and Li also lamented that they could only hang a second or third card, and they did not necessarily have the extremely high artistic achievements and artistic status in Han zaijin!

At the end of the 1960s, Li Huiliang was imprisoned, Goldman Sachs Lin was controlled for teaching use, and Zhang Shilin was arrested. During this period, in order to engage in a model play, the Gang of Four asked Gao Shenglin to enter Beijing to design Guo Jianguang's movements and warrior martial arts for Tan Yuanshou in Shajiabin, and asked Zhang Shilin to go to Beijing to demonstrate Li Yuhe's martial arts actions of stepping out of prison for Qian Haoliang. Fortunately, at the end of the Cultural Revolution, the three artists were worried about the death, and the high-profile Beijing was appointed as the vice president of the China Opera Academy, and Li and Zhang returned to the Tianjin Peking Opera Troupe to perform and teach separately.

In the 1980s, someone wanted to invite Mr. Li Huiliang and Mr. Zhang Shilin to sit together to discuss their common masterpiece "Pick a Scooter", but Li did not explicitly disagree, but only calmly replied: "Then we should quarrel." At the same time, Zhang rarely commented on Li's performance, and I remember only once inadvertently revealing doubts about Li's "drunken beating" in "Yanyang Lou", he thought that Gordon was drunk like that, how to fight? Li and Zhang both have a deep understanding of each other's advantages, but it seems inappropriate to say more; at the same time, they both use their own aesthetic concepts as the basis to find some negotiable points of the other party, but it seems that it is not convenient to tell them directly. So their relationship is somewhat delicate. Nevertheless, in September 1994, the two performed the drama "Zhan Wancheng" on the same stage for the first time, playing Zhang Xiu, Zhang Dianwei, and the two ancient and rare old men were equal, all of them performed their own past glory. Zhang Shilin, who had just recovered from a long illness and was seventy-six years old at the time, had just appeared on the scene of "Starting Hegemony" and was full of energy. The audience immediately responded with warm applause. The opening in the back was even more steady, the handlebars were neat, and the cooperation with Li Huiliang was tightly sewn, and the cheers in the theater were endless. A good story of two artists working together!

Nevertheless, after all, they have jointly completed a good story in the art world - let the flowers of their Different Colors peking Opera Wusheng art bloom in the same flower garden, compete with each other, and contrast with each other. Their difference may be exactly what they are, that is, they have devoted their lives to creating a unique art style of their own. Li Huiliang, handsome and dashing; Zhang Shilin, Gu Ya Gangjian. Relatively speaking, Li's fame is of course greater, and Zhang Shilin's artistic strength has made Li Huiliang unable to replace him. This is also a rare phenomenon in the National Peking Opera circle where two tigers compete and two stars shine.