<h1 class="pgc-h-arrow-right" >- Ma Zijun, vice chairman of Anqing Dramatists Association, "Top Ten" actors of Huangmei Opera in China, and vice president of Huangmei Art Theater in Anqing Zaifen</h1>
With the second degree plum winner, Han Zaifen, the director of the Zaifen Theater
"Ma Dashuai" is the screen name of Huangmei opera actor Ma Zijun, and indeed has a lot to do with his handsome and dashing appearance. Many times in the spring, summer and autumn, I can always see him in casual clothes, and sometimes the cotton fabric top is rarely buttoned up, allowing it to flow up, making him more and more young and fashionable at half a hundred years old. Some people say that Ma Dashuai is both cool and fierce, fierce in art, cool in both inside and outside.
Played the emperor in the play "Female Pony"
Ma Zijun is a national first-class actor, a member of the Anhui Provincial Committee of the Chinese People's Political Consultative Conference, a member of the Chinese Dramatists Association, the vice chairman of the Anqing Dramatists Association, a member of the Standing Committee of the Anqing Islamic Association, the "Top Ten" actors of the National Huangmei Opera, an expert subsidized by the Anhui Provincial Government, an academic and technical leader of Anhui Province, a shuangxin artist of Virtue and Art in Anhui Province, and the vice president of Anqing Zaifen Huangmei Art Theatre.
Ma Zijun, vice president of Anqing Zaifen Art Theater
From decades of impressive achievements, he has played Gao Xiang in the TV series "Eight Monsters of Yangzhou", Dong Yong in "Seven Fairies and Dong Yong", He Laoliu in "Xianglin Sister-in-law", Mu Gen in "Flower Picking Girl", Qian Zhengxing in "February", "Husband" and "Father-in-law" in the stage drama "Huizhou Woman", Guo Chunhai in "Company", Fan Li in "Xi Shi", Ni Jun in "Fuguitu", Lao Xiucai in "Mother of Slaves", Ah Niu in "Spring River Moon", "Beauty Canna" Playing the revolutionary, the secretary in "Jiang Huai'er Male", Luo Youguang in "Huizhou Past", the father-in-law in "Huizhou Woman", and the husband have been fully affirmed by leaders, experts and the audience. His personal art introduction was included in the "Who's Who in The Chinese Contemporary Art Circle" and "Dictionary of Chinese Experts", and was interviewed several times by CCTV, Radio Television Hong Kong, Anhui Radio and Television station and other media.
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In the past 40 years, he has won a series of major national and provincial professional awards, such as the "Top Ten Actors" of the First National Huangmei Opera Young Actors Television Grand Prix, the "Little Hundred Flowers Silver Award" of the China Xiaobaihuayue Opera Festival, the "Excellent Performance Award" of the First Peony Cup Chinese Local Opera Masters Exhibition, the First Prize of the 7th Anhui Provincial Arts Festival Performance, the "Best Performance Award" of the 6th Huangmei Opera Art Festival of Hubei Province, the "Excellent Member" of Anhui Province in 2007-2008, and the "Golden Plum Award" of the Anqing Huangmei Opera Art Festival in China.
Willing to be a stepping stone for young actors to grow. Familiar audiences are often surprised to see Ma Zijun's figure of a serious dragon running suit. In order to cheer up the young actors in the theater, he did not hesitate to carry the flagpole and seriously ran the dragon set in a "Pi Xiuying Four Confessions" that was all young people. He said, "Whoever thinks that the dragon is good at running is a big mistake." Running dragon set has a variety of exquisite, do not care, not serious, it is likely to stand in the wrong position, take the wrong step, I took the initiative to ask for the dragon set, is to give everyone a look, tell the young actors if even the dragon set can not run well, how can you pick the beam to play the protagonist? On the contrary, if you are really a qualified good actor, even a small role will not overwhelm you, and you can still shine. This is called no small roles, only small actors. ”
With the new generation of xiaosheng Xie Jun
Most of Ma Zijun's early roles on the stage and screen were genuine xiaosheng, such as Fan Li in "Xi Shi", Dong Yong in "Tianxian Matching", Wang Xiaoliu in "Husband and Wife Watching lights", MuGen in "Picking Flowers", Cai Mingfeng in "Little Ci Shop", Ni Jun in "Rich and Noble Figure", Selling Oil Lang in "Selling Oil Lang Exclusive Flower Kui", Xiang Lin in "XiangLin Sister-in-law", etc., these characters are either mercurial, or indecisive, or romantic and affectionate, or industrious and loyal.
Art comes from life, Ma Zijun attaches great importance to the prior research of various types of characters, according to the content of the script to mobilize the usual observation of life, add his own understanding of the characters, drill into the hearts of the characters, with love to bring drama, with the unique form of opera to shape the image of stage art. While using opera stylized performances relatively skillfully and freely, Ma Zijun pays attention to analyzing the background of each work and speculating on the internal attributes of different characters. In the troupe's new Huang Mei play "For the Slave Mother". When assigning roles, he took the initiative to pick the role of the rich man Lao Xiucai, who was almost an old ugly in the industry. When I took over the play, I didn't have a clear creative idea, but I instinctively felt that this character "had a play" to dig. In those days, he was thinking all the time about this character, what kind of body he used, what actions he did, the tone of his speech, his eyes, his expressions, how to appear, how to play, and he was almost suffocated. Until the rehearsal put on makeup, put on all the lines of "Old Show Cai", looked at the character modeling in the mirror, the inspiration burst out instantly, and suddenly knew how to act.
Directs young actors to rehearse plays
In that "cave room" scene, Lao Xiucai and his "bride" who came with money "canon" two people have their own thoughts, one has a big heart, one is nervous and dodges, with a tight "counting board" sound, he creatively uses the robe on his body, and the fan in his hand invents a series of incredible steps and strange singing, reading, and laughing, and performs the rich man Lao Xiucai's arrogance in the face of the female color. He uses small broken steps to show the ugly state of the old show around the woman's joy and waves, from the eyes to the body language, portraying the hypocrisy under the appearance of this character, the suppressed desire under the false Swen, greedy and at the same time to worry about the obscenity of the original supervision outside the window, a little sour, a little frivolous, a little pity for the jade, but can not hide the essence of incorruptibility and shame in the bones.
Study the script before rehearsing a new play
After becoming a member of Zaifen Huangmei Art Theatre, Ma Zijun successively participated in the creation and rehearsal of a series of big plays and small plays, and joined some of the performances of the repertoire. Because of his cultivation of both culture and martial arts, the old and the young "eat all", the roles arranged for him in each play are different, in "Tears and Lovesickness", he tried an ugly official; in "Beauty Cannabis", he was a nameless and nameless revolutionary, taking the Xiaosheng route; in "The Past of Huizhou", he was a gentle and elegant Old Master Luo, who was tepid; in "Promoting Officials by Virtue", he became a powerful Hou Ye, and he chose the technique of flowering faces to play this character into a majestic and imposing; in "Five Daughters Worship Shou", he was a kind and upright father who fell into distress. Sing and do parallel, work for the old students.
Over the years, no matter what kind of works are interpreted, especially in the plays that press young actors, the old drama bone Ma Zijun is undoubtedly a needle in the sea. Inspired by Han Zaifen's artistic ideals, for the inheritance and development of Huangmei opera, he and other old actors in the theater worked together to pass on the artistic accumulation they had learned in their lives and their personal uniqueness to the young generation of young people in the troupe without reservation, and he hoped that young actors could study and learn carefully, and the more good things passed down from the older generation, the better, and better devote themselves to the sustainable development of the performing arts.