"In order to save Li Lang from home, who expected the emperor to be in the list." Zhongzhuangyuan, wearing a red robe, hat insert palace flowers are good and fresh. ”
"The birds in the trees are in pairs, and the green water and green mountains are smiling. Picking a flower casually, I wore a hair room with my mother-in-law. ”
These two fresh and lively, widely circulated lyrics are from the Huangmei opera "Female Pony" and "Heavenly Immortal Match" respectively.
The famous Chinese Huangmei opera performance artist Yan Fengying once performed these two plays.
She played Feng Suzhen in "Female Pony" and the Seven Fairies in "Heavenly Immortals".
With his own unique understanding and solid skills, he gave these two plays soul and life.
Yan Fengying not only created the classic Huangmei drama repertoire, but also made the Huangmei opera more widely disseminated through his decades of efforts.
She is also known as the "grandmaster of a generation" of Huangmei opera and the pioneer of Huangmei opera.
Yan Fengying
<h1 class= "pgc-h-arrow-right" >, and has been associated with Huangmei opera since childhood</h1>
Yan Fengying, formerly known as Yan Hongliu, has lived in Luojialing since he was a child.
Huangmei Village is small, but life is also peaceful.
The grandparents also took good care of Yan Fengying, and Yan Fengying spent a very leisurely time in her hometown.
There are many folk songs in the area, and the sound of babbling and babbling reverberates in the fields and the countryside.
Yan Fengying was fascinated, and came into contact with and learned many folk songs.
Her father, Yan Siming, had a solid foundation in Peking Opera, and yan Siming saw that his daughter liked to sing folk songs, so he deliberately trained her to sing opera, and often taught her to sing some simple Peking Opera lyrics in his spare time.
Yan Fengying also became acquainted with the opera and grew up peacefully in the sound of the opera.
Although she has not yet received systematic and formal training, the seeds of opera have been quietly planted in her heart.
Straight to the Bó Lè, you can take root.
When Yan Fengying was ten years old, she encountered this opportunity and met the teacher who changed her life's fate from then on.
Yan Yungao, one of his kind, had received intensive training in the drama class and was an outstanding Huangmei opera artist.
Returning to his hometown this time, he decided to publicize the Huangmei opera he had learned in his hometown and carry forward the opera he loved in his hometown.
He opened a drama class in his hometown and expressed a message of thirst for talents, attracting many people who were interested in opera to become his apprentices.
This includes Yan Fengying.
In China in the 1940s, the social atmosphere was not yet civilized.
People's thinking still tends to be conservative.
Whether it is the recognition of women's roles or the artistic cognition of opera, there are deviations.
Women's singing is not considered to be an act of inheriting classic art, but is regarded as a form of entertainment that is out of the ordinary and offensive.
Therefore, when Yan Fengying, with chichen enthusiasm, wanted to go to Yan Yungao to learn the art, she had many unavoidable concerns.
But fortunately, the old gentleman Yan Yungao is very open-minded, and when he saw that Yan Fengying had a high artistic enthusiasm and good rhythmic ability, he was willing to quietly accept her as a student.
Since then, Yan Fengying has been under the leadership of the old man and has seriously studied singing in the drama team.
It was also at this time that she changed her name to Feng Ying.
"My lady, she is an amorous person, and she ordered me to go to the church to deliver the silver examination. Gently I put the garden door in, hurriedly flashed through the Hundred Flowers Hall, bypassed the lotus pond and through the flower path, so that the staff would not be able to know, standing outside the door and listening. ”
This "Chunxiang Noisy Learning" is the lyrics she first learned with Mr. Yan.
This script is very simple and transparent, the theme and character image of the work are easier to grasp, and the singing method is also partial to the basics.
This kind of repertoire, Yan Fengying learned to sing a lot in the initial stage of learning, which laid a solid foundation for her future acting career.
Later, Yan Fengying was gradually unable to be satisfied with singing in such a sneaky way.
She wanted to try to stand on stage and really feel the surprise that opera brought her.
In 1945, she won a small role in "Erlongshan".
It is said that "the horns have no size".
Although it is only an inconspicuous small supporting role, in yan Fengying's eyes, this character has its own unique and vivid life, and has a wonderful life.
Just like herself, even if she can only secretly learn opera and take on such a small role, she still enjoys it.
There is joy in the heart that no one else can know.
In the play, she plays the yahuan of the female village lord She Suzhen.
Outside of the play, she regarded this as a breakthrough node in her opera career.
Yan Fengying is very humble in personality and very solid in strength.
She just thought it was a precious opportunity and she had to take the show seriously.
So she kept practicing morning and evening, repeating it many times, as if tirelessly, just to make sure that the performance was foolproof.
A few monotonous lyrics, in her mouth, seem to be more meaningful and more interesting the more they are sung.
In just a few words, Yan Fengying has portrayed a vivid image,
On the day of the performance, happiness and disaster ensued.
Living up to her expectations, the show was exceptionally exciting, causing a sensation and the audience loved it.
At that moment, people's love and favor for opera were real.
At that moment, people's prejudice and disdain for women were also true.
When the applause came to an end, people gradually woke up and turned:
The woman on the stage, who is not at home with her husband and children, is really out of style when she shows up and sings like this.
Feudal thought and family rules were like a sword hanging over Yan Fengying's shoulder, pressing down on her breathlessly.
Even more frightening was the clamor to soak her in a pig cage.
Yan Fengying felt sad and ridiculous.
The cheers of the performance just now, and the shouts of the pig cage at this moment, I don't know which sound is higher and which voice is more sincere.
Yan Fengying was almost drowned in the sinking pond amid shouting.
In the end, with the help of her relatives, she was fortunate to be able to escape from her hometown.
Luo Jialing, raise her, nurture her.
Here, she became acquainted with opera; it was also here that she was deprived of the opportunity to learn opera, and even her life was almost ended.
< h1 class = "pgc-h-arrow-right" > second, to a broader stage</h1>
Although Yan Fengying almost died in her hometown because of opera, she did not give up Huangmei opera because of it.
She did not succumb to the prejudices of the townspeople, and she did not doubt the artistry of Huangmei opera and the correctness of women's learning to sing.
It was a cause she had loved and put into practice since she was a child, and no one could stop her except herself, and no one could force her to give up.
Escorted by her grandfather, she fled her hometown, passing Akiura on the way.
In 1947, she was only 17 years old and was an untrained female doll.
But the story of her singing Huangmei opera on both sides of the Qiupu River has been passed down forever and has influenced generations of people.
Akiura has many old artists who sing Huangmei opera.
For example, Gui Yue'e, Gui Tianci, Song Zaichun, Hong Lianzi and others.
They not only have great skills in singing Huangmei opera, but also provide convenient and ready-made stage venues.
And the old artists are very amiable, not only providing Yan Fengying with guidance on ability, but also giving her companionship and encouragement.
Yan Fengying learned a lot from the old artists.
With the accumulation of the number of performances on stage, Yan Fengying is no longer afraid of the stage.
After getting along and running with the old artists, the doubts and uncertainties that Yan Fengying had hidden gradually dissipated.
At that time, she was not only an excellent Huangmei opera singer with a solid foundation, but also an artist who was confident and determined and wanted to carry forward Huangmei opera.
From the back garden of the landlord of Gaotan, to the ancestral hall of Irrigation, to the Su family pawnshop.
Sing from one side to another.
Everywhere you go, there are countless enthusiastic spectators who come to cheer.
The audience was happy to watch, and Yan Fengying sang happily.
She has never enjoyed Huangmei opera so immersively as she does now, and unreservedly conveyed the charm of Huangmei opera to people.
At that time, the ticket price was also very cheap, only a triangle.
But you can buy Yan Fengying's novel performance of "Beifu to Heaven", and buy pure hilarity and laughter.
It can also witness people's appreciation of art and the spirit of an ordinary woman bravely pursuing art and breaking the prejudices of the world.
Akiura's time was short, and Yan Fengying only stayed here for three months.
But in the past three months, the plays she has sung, her new understanding of opera, and the joy she has felt, are fresher and more real than in the past decade or so.
She also brought joy to the people of Akiura and met many aunts and mothers, and people liked her very much.
Later, social unrest, Yan Fengying ran to Shanghai, and then to Nanjing.
She met Gan Luzhi in the dance hall, who was born into the Jingkun family.
During that time, she learned some of the famous singing and vocal techniques of Kunqu Opera, which laid a solid foundation for her unique Huangmei opera art in the future.
Art should be inclusive and eclectic.
Although this life is turbulent and displaced, constantly changing the destination of the journey.
But her love for opera is getting stronger and stronger day by day, and the destination in her heart is becoming clearer.
When I arrived in Anqing, I wanted to act well, so I studied hard.
At that time, when I was studying acting, I mainly relied on observation, watching how the elders did every move on the stage, I remembered it bit by bit, and then moved it to the stage according to the gourd painting scoop.
Because I am a woman, the action of acting in danjiao is more delicate, like that, the audience looks very interesting, reflecting that Yan Fengying's 'small work' is very good.
Whether in Anqing, Qiupu, Shanghai or Nanjing, she has only one belief, that is, to seize the opportunity to contact with old artists.
Learn from them the basics, performance skills, and the spirit of the mind buried deep in their behavior.
She not only deeply absorbed the experience of her predecessors, but also improved it in her own way.
As a result, she has developed a delicate and nuanced performance style.
<h1 class= "pgc-h-arrow-right" > three or one generation of masters</h1>
In the 1950s, Yan Fengying returned to Anqing and participated in many plays at the Qunle Theater.
Art comes from life and reflects social reality.
Every practitioner is also inseparable from his time.
In the 1950s, China experienced a series of major events such as land reform, the War to Resist US Aggression and Aid Korea, and the promotion of the Marriage Law.
Yan Fengying's repertoire is closely related to such events, and she breaks through the limitations of traditional Huangmei drama.
In addition, some new literary and art workers also helped Yan Fengying to contact new literary and artistic ideas.
Yan Fengying also consciously studied the people's government's "Instructions on the Reform of Opera."
"The old society treated me as grass, and the new society regarded me as a treasure."
The prejudice he received since childhood, the tragedy of sinking into the pond when he was young, he has always loved art but has not been free... The pain of the past spread out in front of her.
It is the sharp contrast between the present and the past that makes her realize the greatness of new China.
The new China under the leadership of the Communist Party gave the individual a completely new meaning.
The people's thinking is gradually enlightened, the prejudices of the old society are gradually dissolving, and Huangmei opera has become a popular art form for the people.
For Yan Fengying, the most valuable thing is that she can be treated equally and enter the Huangmei Drama Troupe in Anhui Province with her own efforts and strength.
She can justifiably walk in the sun, and like other old predecessors, sing the Huangmei opera like this for a lifetime, affecting more people.
After entering the Huangmei Theater Troupe, Yan Fengying's artistic career reached its peak.
The 1950s were the glorious years of Yan Fengying's acting career, and also the era of rapid development and maturity of Chinese Huangmei opera.
Yan Fengying's growth has played a pivotal role in the development of Huangmei opera.
She has successively starred in important plays such as "Heavenly Immortal Match" and "Female Pony", and created distinct character images such as The Seven Fairies and Feng Suzhen.
These plays have become indispensable precious materials in the historical evolution of Huangmei opera.
The feminine feminine voice makes her singing voice more euphemistic and clear.
The tragic life of the past upheaval and displacement allows her to better appreciate the emotions of the characters in the play and express a rich layer of delicate emotions.
The folk songs she was exposed to since childhood, and the diverse art forms she came into contact with later, gave her a more common understanding of art.
It can be easily integrated into the Huangmei opera, and thus form its own unique performance style.
After years of precipitation, Yan Fengying finally became a family of his own, known as the "Yan Pai".
She also had the opportunity to perform for Mao Zedong, Zhou Enlai and other national leaders, and was even praised by Tian Han as "Mei Lanfang in the Huangmei Opera".
<h1 class="pgc-h-arrow-right" data-track="3" > fourth, short life</h1>
The construction of New China is not always a smooth road, and it has also taken some detours.
Although the people's minds have experienced liberation, they have also encountered unfortunate clamps later.
Yan Fengying has played a variety of roles in her long theater career.
Some of these characters are from pure literary works, some are formed in folk traditional stories, and some are related to politics.
Later, Yan Fengying was slandered as a "literary black line figure" because of a special role played in the past.
Once again, she suffered intense mental devastation and physical torture.
In this life, success is also opera, and defeat is also opera.
She has been praised and sought after by everyone because of the Huangmei opera, and has also been subjected to unbearable slander and torture because of the Huangmei opera many times.
She deeply loved Huangmei Opera, dedicated her life to Huangmei Opera, and also used Huangmei Opera to complete her short life.
In 1968, Yan Fengying committed suicide by taking sleeping pills late at night.
Ten years later, the Anhui Provincial Party Committee held a ceremony to place the ashes in his hometown.
In front of Yan Fengying's former residence, people repaired a white jade statue.
People also rethinked and faced up to her influence on Huangmei Opera.
To this day, Huangmei opera is widely circulated in China.
Men, women and children alike, are willing to learn or understand such an art form that is appreciated by both customs and customs.
Yan Fengying did not grow up in an era of artistic freedom, but she still stubbornly struggled and firmly determined, opening up a broad path for Huangmei opera in the difficult years.
She reluctantly came to the end of her life, but more and more people followed the path she had opened up to the depths.
They continued the dream of a generation of Grandmaster Yan Fengying and carried forward the Huangmei opera.