Fu Liancheng died young and became a net corner of the Golden Sect Guo Yuanfen

Author: Kawa page LCP

Fu Liancheng Yuanzi family flower face, who died young, represented Guo Yuanfen

A thousand lives are hard to find

"Thousands of lives, a net is difficult to find", this is a proverb widely spread in the theater industry, net is the flower face, there are copper hammers, shelves, Wu Jing, Mao Jing and other classifications, of which the copper hammer is known for singing, singing has a special important position in Peking Opera, and the flower face industry has a particularly strict requirement for singing, if there is no talent and good throat is difficult to do, and this also caused the dilemma of low rate of flower face line as a material.

In the old days, the amplification equipment was rudimentary, and the actors sang all by their flesh voices, in addition to talent, they also needed to have superior skills and skills to be able to control freely, so as to cope with heavy performance tasks. At the end of the Qing Dynasty, he Guishan, a flower-faced Taidou, used a thick bamboo tube to practice Dantian Jin, and in the old days, some people recalled meeting friends in Taifeng Lou, when He Guishan and Cheng Changgeng performed "Dragon and Tiger Fighting" in Guangde Lou, and the erling sang The erling Erhuang could be transmitted from Guanghe Lou to Taifeng Lou, still sounding in the ears, and the depth of its skills was evident.

Inheritance and innovation

Nowadays, most people are beautiful with flower cavity and clever cavity, and they can often hear some demeaning words for old-school art, such as: "can't keep up with the aesthetics of the times", "the sound cavity is too straight and backward", "lack of charm, low artistry" and other words, I personally think that most of these voices are one-sided words of people. Inheritance and innovation itself are not contradictory, only under the premise of fully inheriting the tradition, can we better innovate and develop, such as blindly pursuing innovation and ignoring inheritance, it is inevitable to become the passive water of wild fox ginseng Zen. Although it is not good to eat the ancient, it is not necessarily so clever to blindly tout the new and the new.

First of all, aesthetic problems vary from person to person, the subjective component is heavier, the past singing method may not conform to the appreciation habits of today's people, but for the predecessors of the kung fu or to admit, singing in addition to the musical attributes, but also played a role in shaping the role of the character, generally can be attributed to the flower face of this line of characters, most of the temperament is rough and strong, it is not easy to use too many flower cavity, clever cavity, and in the past for the singing volume and tone have strict requirements, each liter of a key, each increase in volume, invisibly increase the difficulty of the singer, There are no conditions for too much trickery.

This is like carrying a weight forward, the same journey, carrying seventy pounds and carrying seven pounds, must be different in the degree of difficulty, such as a person with seven pounds, running in front of the person who is riding back to ridicule the person with seventy pounds of weight is backward and stupid, it is inevitable that it is unfair. Innovation is not a bear to break the stick, if innovation to give up the advantages as the premise, whether this innovation can be called progress, itself is also debatable.

The Ten Perfections of purity carry forward the past and the future

When it comes to flower face talents, it has to be mentioned that Jin Shaoshan, the first person in the flower face picking class. Jin Shaoshan inherits the art of Master He Guishan, father Jin Xiushan, Master Liu Yongchun and other people, in addition to the copper hammer flower face, the shelf, face, size, and appearance are all superior, and it is known as "Ten Perfections and Great Purity" in the Peking Opera circle, and Hao Shouchen, Hou Xirui and other names are pure and three. In particular, an iron voice and a steel throat are enjoyable. According to Mr. Hui Jichuan, Mei Lanfang's secretary, Mei Tongjin once went to Hong Kong to perform "Farewell to the King", when Hong Kong had listened to the play in the box, Jin Shaoshan sang on the stage, and a mouth surprised the Governor of Hong Kong, shouting "China has such a good tenor!" ”。

The author has asked Mr. Bi Guyun and other old artists who have personally experienced Jin Shaoshan's performances on this kind of rumor, and all of them have marveled at Jin's singing, and Bi Lao recalls that when Jin sang, his voice was wide and bright, and the effect was not lost to the sound equipment on the stage. At that time, there was no shortage of followers of Jin Shaoshan's art, in addition to the "three kuis" represented by Wang Quankui, Lou Zhenkui, and Zhao Wenkui, there were also Wu Songyan, Zhang Zhesheng, Zhao Bingxiao, Xu Shiguang, Zhu Yuliang, Guo Yuanfen, Li Huibin, and other descendants and scholars, who played an important role in inheriting the past and the future in Hua Face's line.

In the above-mentioned Jinpai post-study, although Mr. Guo Yuanfen was highly praised before and after his graduation, since joining the Peking Opera Troupe of the General Political Department of the Central Military Commission in 1952, he mainly served the troops to perform and go abroad for missions, rarely performed in the society, and then transferred to the Fourth Troupe of the China Peking Opera House with the troupe, and was transferred to Ningxia in 1958, so many audiences were relatively unfamiliar with it, so they introduced it slightly. Mr. Guo is the eldest son of the ugly Guo Chunshan, who has been sitting in the Fulian Chengke class since childhood, ranking yuanzi, and is one of the representative talents of the fulian chengyuan character family. When sitting in the department, he studied art from Mr. Shen Chunkui, Liu Xiyi, Song Futing, Sun Shengwen, etc. After leaving the department, he took Ma Lianliang, Yang Baosen, Tan Fuying, Xi Xiaobo and other famous actors to perform in the class, and the plays of the shelf, copper hammer and other professions were competent, and they did not fall behind in the drama with their predecessors, and were regarded as "rising stars" by many drama critics at that time.

Hua Face and his party attach great importance to appearance, especially face masks, and Mr. Guo is a master in this. The Dragon King Face in the original "Haunted Dragon Palace" drama is different from the conventional white three-piece tile hook method, but with a golden face to support the bottom, hook the dragon horn and dragon whiskers, and the layout is novel and commendable. In 1963, the Ningxia People's Art Publishing House compiled 63 faces for publication, and the author once gave the face collection to Mr. Yao Zongru, a famous flower face artist, who loved it and praised the face collection.

Guo Yuanfen has both culture and martial arts, and his body and performance have been taught by Hou Xirui, and his movements are beautiful. The voice is in excellent condition, and the sound is like a flood of bells. In terms of singing, the old-school flower-faced singing methods such as patriarchal Jin Shaoshan have mellow charm and magnificent momentum, and are known as "Little Jin Shaoshan" (one of them). But he does not deliberately show off his skills, but takes the drama as the basis, and better shapes the characters through the sound cavity and infects the audience. Now take the two surviving recordings of Mr. Guo as an example to talk about some of my personal feelings.

"Catch and Release Cao" is one of the traditional children's plays of Shengjing, and the acting in the old years pays attention to cooperation and pursues the overall beauty of art. High-quality performances, whether starring, supporting roles, or band accompaniment, are fully attentive when performing, which is called the spirit of "one vegetable" in industry terminology. Some viewers watch the play and listen to the work, one-sidedly believing that this play is the main play of Chen Gong, and it is a pity that They do not pay attention to Cao Cao's performance. In fact, Cao Cao's importance in the play is no less than that of Chen Gong, Chen Gong is basically in a passive position in the play, all behaviors are touched by Cao Cao, if Cao Cao's character image does not stand, How Chen Gong works hard is not GOOD. Mr. Guo Yuanfen and Mr. Li Mingsheng once left a version of the recording of "Catching and Releasing Cao", which was very tacit and could be called a model of post-learning.

The play tells that Cao Cao attempted to assassinate Dong Zhuo and fled to Zhongmu County and was captured, Cao Cao declared his righteousness to Chen Palace in Zhongmuzhi County above the court, Chen Gong was moved by his resignation and accompanied Cao Cao to Lü Bo's home, Lü was Cao's father's old friend, and in order to entertain the two people, he killed pigs and sold wine, Cao Cao suspected that the Lü family intended to betray and killed his entire family, Chen Gong was remorseful, and stayed overnight in the inn to write poems and escape. Mr. Guo Yuanfen played by Mr. Cao Cao, after accidentally killing Lü Bohao's entire family, and then killed Lü Bohao, who returned from selling wine, when asked by Chen Gong: "Are you not afraid of the world cursing you", Cao Cao, played by Mr. Guo, knew that he was in a loss, but he had enough courage to read out: "Cao Cao would rather bear the world's people in his life than let the people of the world bear me", showing Cao Cao's hot palm black, seemingly strong, but in fact it is still a treacherous word. In contrast, in his performance of deep understanding of righteousness in the public court, the image of a loyal and righteous soldier suddenly collapsed, which made Chen Gong terrified, and Shunshi sang a famous passage: "Listening to his words frightened my heart."

( 1948 Drama World [ No. 385 , p. 6 ])

Chen Gong's singing, the mood is very high, if the actor who plays Cao Cao is perfunctory, the understatement played in the front, the reaction of Chen Gong in the back will inevitably have a sense of fuss, making the audience difficult to believe. The author once consulted the republic of China newspapers and found that Mr. Guo had suffered from a small intestinal hernia in 1949, but listening to his recordings, he was still meticulous, portraying Cao Cao's cunning and cunning to the fullest, paving the way for the performance of Mr. Li Mingsheng's back shop, listening to the whole play, such as drinking old wine, which is deeply thought-provoking.

Good actor acting is not a thousand people, Mr. Guo in the "Empty City Plan" played by Sima Yi, and Cao Cao in "Catch and Release Cao" personality is very different, focusing on the characteristics of Sima Yi's old and heavy character, and does not please the audience by scandalizing Sima Yi, in the play Zhuge Liang and Sima Yi fighting wisdom, the two sides are opponents, if Sima Yi is too frivolous, it is a kind of depreciation of Zhuge Liang's strength.

Sima Yi, played by Mr. Guo, sang under the city tower, stated the situation he saw in front of him, and the overall style was decent, and he increased the intensity of singing in sentences such as "watching the movements" and "drinking and playing the piano" and "cleaning the street" to show surprise. After a moment of thinking, he came to the conclusion that the other party designed an ambush, and sang "Xipi Flowing Water" to Zhuge Liang with confidence, quite proud and contemptuous, did you know that the cleverness was mistaken by the clever, and was narrowly won by Zhuge Liang, reflecting Zhuge Liang's wit and courage, invisibly achieving a comedic effect, without destroying the identity of the character, the fire is pinched, just right.

After the liberation of Mr. Guo Yuanfen, he successively joined the Peking Opera Troupe of the General Political Department of the Chinese People's Liberation Army, the Fourth Troupe of the Peking Opera House of China, and the Peking Opera Troupe of Ningxia as the main actor, and in 1954 he accompanied Chinese art to perform in five Eastern European countries, and in 1958 he devoted himself to the cause of Peking Opera in Ningxia, entering middle age, but he was plagued by illness, and died of illness in Yinchuan in August 1962 at the age of 39. Gao Changqing, Yao Zongru, Liang Jiahe and other gentlemen all asked him about his art.