Zizi listens to "Vigor", and Peking Opera listens to "Taste".
"Wei'er" is the most fascinating thing about Peking Opera, but the word "wei'er" is very wonderful, just like the "freshness" of food, which can only be understood ineffable, and it is difficult to say it in one word.
In his later years, when Tan Yuanshou sang on stage to sing "Selling Horses" and "Mulberry Garden Sending Son", he had no strength and sound like gossamer, but "Wei'er" was still many times stronger than his son and grandson who were rich and powerful.
Tan Yuanshou
In high school, I bought a tape of "Three Niangs and Godsons" cooperated by Ma Lianliang and Li Shiji, among which was Zhang Kerang's Xue Yige, when Zhang Kerang's voice was very young and sweet, and he was a very standard doll student, even if those students who did not like opera always shouted to listen to "Little Xue Yi". Later, when I saw the adult version of Zhang Kerang, I couldn't help but be disappointed, and at that time, my voice was completely defeated, the taste was completely empty, and people couldn't bear to look at it directly.
There is a throat that the grandmaster appreciates rice to eat, there is a good voice that the grandmaster gave a pair of iron rice bowls, if there is a good voice with a "taste", then the grandmaster gave a pair of golden rice bowls.
There are many examples like Zhang Kerang, and the grandfather is really harsh.
The early Peking opera also emphasized Huang Zhong Da Lu, gao agitation, and later turned to the pursuit of "taste". Reducing the requirements of the voice and pursuing "taste" meets the aesthetic requirements of the times, improves the aesthetic height of Peking Opera, and greatly improves the target audience of Peking Opera, and it is logical that Peking Opera stands out as a national opera.
Yu Kuizhi
For Peking Opera audiences, having a taste largely means being good and enduring, in other words, being both pleasant and pleasant.
For Peking Opera actors, "flavorful" is an important criterion for judging their artistic level.
"Tasteful" may be the biggest praise for a Peking Opera actor, and "tasteless" may be the biggest depreciation of a Peking Opera actor.
"Tasteless" is also known as "light mouth", commonly known as "water".
The word "water" now seems to refer exclusively to Kuizhi.
Zeng was puzzled by this, because whether it was from the popularity, box office appeal, or the number of views and downloads on the Internet, Yu Kuizhi was far beyond his peers, was there a problem with the aesthetics of so many people?
Later, I suddenly realized that it was like evaluating a girl, such as praising her good figure, and the implication seemed to be that she was not beautiful. If it is said that it has no temperament, it has a beautiful meaning.
Zhang Ke
Calling Yu Kuizhi's singing voice "water" actually has another meaning, that is, although Yu Kuizhi's singing is not difficult to hear, it is good.
As for the fact that someone tastes mellow, it seems that the voice is not good enough, or it does not move.
Yu Kuizhi does have a good voice that is unique and enviable, and whether he likes him or not, he cannot deny this.
Guo Degang once said: Crosstalk must be funny first, and it is too funny not to be funny. This is even a famous saying.
For opera, of course, it must be good first, and if it is not good, nothing else can be discussed.
Wen Wu is the first, Wu Wu is the second, and so is the opera, naturally it is the benevolent who sees the benevolent, the wise see the wise, and there are more turnips and cabbages that have their own love, and the mouths are difficult to reconcile.
Li Jun
Yu Kuizhi's "water" is related to the high expectations of people who were too high in the beginning, and it is not only due to his artistic ability and artistic insights, but should also be swayed by more and more complex reasons.
If Yu Kuizhi's "taste" is better, the other peers will have no food to eat. But then again, even if Yang Baosen is regenerated, he will certainly not be better mixed on the stage of Peking Opera today than he was then.
In fact, normal artistic confrontation and competition are conducive to the progress of art, but the current art dispute is mixed with more non-artistic things, and the negative impact on the development and survival of art cannot be ignored. Art should still be pure as well.
I know an eighty-year-old Peking Opera veteran, Gong Xiaosheng, who once leaned on Xi Xiaobo, who once spoke very euphemistically about not very much recognizing the "Ye Pai" statement, but recognizing the "Jiang Pai". It is not that he does not agree with Ye Shenglan's art, on the contrary, he admires Ye Shenglan very much, but believes that Ye Shenglan has not produced Jiang Miaoxiang's life, although the two have not been taught.
As a layman, I am not qualified to judge this, but this is obviously just a family statement at the moment. After all, Ye Shenglan is 24 years younger than Jiang Miaoxiang, closer to modern times, and his fame and achievements are also more than Jiang Miaoxiang's, not to mention that Ye Pai's saying has long been deeply rooted in the hearts of the people.
Zhang Jianguo
The mentality of thick past and thin present, which has existed in ancient times, is very common. Two thousand years ago, Confucius began to shout out the collapse of the liturgy, and thousands of years later, people are still saying that people's hearts are not ancient and the world is getting worse.
I always feel that the artists of the previous generation are stronger than the contemporary artists, and it is common for a generation to feel that it is not as good as a generation. It's normal and makes sense, but it's not necessarily correct, or it can be beneficial. While erecting a monument, it often covers more scenery.
Yu Kuizhi, Zhang Ke, Du Zhenjie, Zhang Jianguo, Li Jun, and Zhu Qiang are some of the leading figures in the Peking Opera stage in the past thirty years, with their own artistic characteristics, but it is difficult to say that they are deeply respected. In the expectations and emotions of everyone, now that they are nearly sixty years old, the title of artist is about to hang an "old" word before it, and it is tired in art, and it is difficult to have a breakthrough.
alack! They're old, and I'm old. I have no desires or desires, so why should I be harsh on others?