Or in 2001 when I was in college, I just got the audio of Geng Qichang's version of "Xiaoyaojin", such as getting the treasure, rushing to the drama club to share it with other fans, everyone was used to listening to Gaopai's "Xiaoyaojin", and I heard Geng Qichang's "Father and son in the palace sad and weeping", all of them were surprised and amazed. Everyone's mouths and tongues of evaluation, what a hundred voices, high-pitched pharynx, through the clouds and cracked stones, tearing brocade cracks, beautiful, afterglow around the beam, a time idioms flying around.
A classmate suddenly came to a sentence of "mesmerizing sound", when everyone laughed and did not care, the matter passed.
Since then, I have become a loyal fan of Geng Qichang, but the "mesmerizing sound" of my classmates has always remained deeply in my mind. I don't know if the classmate said it casually or after thinking about it, but I felt more and more reasonable, because Geng Qichang's voice and singing voice were so beautiful.
I don't know whether it is appropriate to use "beauty" to describe the old student's singing voice, but I feel this way when I listen to Geng Qichang's singing voice, and I feel that not only singing, but also other reading, doing, playing, and dancing are all beautiful.
On the current Peking Opera stage, Geng Qichang's temperament is heroic and martial, and his singing style is strong, which is incomparable to other old students.
When he was in the drama school, the owner of Xiashan Lou had taught Geng Qichang Tan to sing, and Wang Ruizhi, the violinist of Yu Shuyan, had long been speaking for Geng Qichang, Wang Lianping had taught him "Lotus Lake", and Wang Jinlu had taught him "Exploring zhuang" and "Night Running". This is an important reason for the formation of Geng Qichang's unique performance style.
However, in the ticket session, Geng Qichang and even his wife Li Weikang's singing voice was not popular. The main point is that their singing voice is unique, and it is not like any school.
Li Weikang often said: Eating other people's chewed buns is not fragrant, and she even said bluntly: I am not a fixed sect of a certain genre.
To say such things, it is necessary to have both strength and courage. Husband and wife, Li Weikang and Geng Qichang and his wife walked their own path in this way, but this road was doomed to be too difficult.
The formation and development of Peking Opera itself comes from continuous innovation and reform, but innovation and reform have always been difficult. At the beginning, Tan Xinpei changed the singing method of Huang Zhong Dalu, an old student of Peking Opera, and created the "Tan Cavity" according to the characteristics of his own voice, which was also criticized by the people of the times as a mesmerizing sound. Below it, on the basis of the Tan school, laosheng art has been continuously innovated, and the old schools such as Yu yan gaoma Tan Yang Xiqi have been born. But all the genres of all trades are actively explored and painstakingly obtained by artists according to their own conditions. Among them, the Yan School, the Yang School, and the Qi School in the Old Life Line, and the Cheng School in the Dan Xing, the hardships and sufferings experienced in the formation of their genres are well known to their fans and friends.
The so-called innovation is just a counter-attack in a desperate situation. Because if you don't innovate, you won't have enough to eat.
The formation of art genres is an inevitable trend in the development of art, and the formation of genres has a very positive effect on the development and inheritance of art. But at the same time, the formation of art genres also naturally produces genre disputes and portal differences.
In the opera world, and even among opera audiences, a habit and atmosphere have gradually formed: if you do not worship a famous teacher, or do not advertise it with the descendants of a certain genre, it is difficult to be recognized, and it is difficult to "take the tip".
After liberation, traditional arts began to be valued and protected by the state, and the innovation of Peking Opera has never stopped, but the driving force of Peking Opera innovation seems to have slowly disappeared. After the Cultural Revolution, under the guidance of policies and the call of mission, as the opera elite cultivated in New China, Geng Qichang and his wife naturally had to walk at the forefront of the road of innovation and reform of Peking Opera. But the road has been unusually bumpy, and although many attempts have been made, the results are often not satisfactory.
The most important thing is that in the golden period of their art, they are also catching up with the lowest period of Peking Opera, and we cannot but regret it. Although they are both virtuous and artistic, although they have gained fame and fortune, they should have been able to achieve higher artistic achievements.
Tan Yuanshou once said that he could play more than three hundred plays, and according to online information, Geng Qichang was only thirty or forty. Geng Qichang once felt this, and many opera audiences also regretted it. This is not a problem of the actor's ability, but a problem of the times, a problem of the system, and the most prominent problem that Peking Opera has to face and solve in inheritance, reform and innovation.
At present, the old artists of Peking Opera are at the top of the seniority ranking, and it is observed that they must meet three conditions:
One; who has worshiped the famous teachers of the Founding Sect;
Both, there is a resounding family origin;
The three have participated in the model play of the movie version.
Geng Qichang once served as the B corner of "Wise Tiger Mountain", and Li Weikang once served as the B corner of "Red Lantern", history has no assumptions and ifs, can only sigh: time also, fate also, luck also!