Today's push of "Me and Mei, Zhou, Huang", recorded from Shanghai Drama, No. 12, 2006, dictated by Wang Xichun and written by Zhu Yongkang. Wang Xichun came from a family of Peking opera, and once joined Zhou Xinfang's Fufeng Opera Society in Shanghai, cooperating with Zhou Xinfang to co-perform Peking Opera "Wen Suchen" and other plays, which were well received by the audience. Later, he moved from the stage to the screen and starred in many films.
Mei Lanfang, Zhou Xinfang, and Huang Guiqiu have long passed away, but their stage image and sound and smile have always haunted my mind. My artistic career has gradually grown up under their cultivation, and whenever I think of this, I would rather not be emotional!
I was born in Nanjing in 1919. His mother is a Peking Opera Danjiao actor, his father is a teacher, he has lived with his parents in the Nanjing opera class since childhood, practicing at the age of 8, acting in plays such as "Playing Flower Drums" and "Little Cattle Herding" at the age of 9, and officially taking the team with Zhao Yunsheng at the age of 13, and soon became popular. At that time, Gao Baishi was performing in Nanjing, and when he saw that I had a future for cultivation, he invited me to carry a knife for him. Gao is a great disciple of Qimen, and he is proficient in all The Qi Pai plays, and under his cultivation, my skills have grown rapidly. When performing on the same stage with Uncle Gao, Tian Han often came to see our plays and gave me a nickname of "beautiful little bird", so the newspaper often called me "beautiful little bird".
Photo of Wang Xichun in casual clothes
In 1935, Huang Guiqiu and Ma Lianliang performed together in Nanjing, and became very popular. "Old students want to see Ma Lianliang, and Qingyi wants to listen to Huang Guiqiu" has become the mantra of theater fans. The following year, Mr. Huang was alone in Nanjing, and I watched his performance and admired him. At that time, I was missing a yellow drapery in "Farewell to the Overlord", so I tried to ask the theater owner to borrow from Mr. Huang, not wanting Mr. Huang to agree, saying: "It is okay to borrow a curtain, but please watch the play." ”
I was really worried about that performance, but fortunately nothing went wrong. After the play, the boss hosted a banquet and invited Mr. Huang to attend. At the table, I said to Mr. Huang, "Teacher, you give me guidance," and Mr. Huang said, "Very good, you can grasp the mood of the characters in the play at that time." The boss interjected: "Boss Huang, the girl can admire you!" Take her as an apprentice!" Mr. Huang said happily, "Good! ”
Therefore, the ceremony of worshipping the teacher was held on a chosen day, and the place was selected at the famous "Duyi" Sichuan restaurant in the Confucius Temple, and four tables of wine were placed. The theater owner presided over the ceremony, and the guests attended by Tian Han, Yang Hansheng, Ma Yanxiang, Gao Baishi, Li Yiqing, Zhao Yunsheng and so on. In front of the incense candle I respectfully kowtowed to the teacher. Teacher Huang gave me the yellow drapery, a mirror for makeup, and a painting with begonia flowers and a pair of butterflies, and I became the first disciple of Huangmen. It was midsummer 1936.
After visiting the teacher, the first thing I learned was "Spring and Autumn Match". Mr. Huang taught drama meticulously and seriously, and he said to me: "To sing a good play, you must be able to pinyin, ming four voices, distinguish sharp groups, and understand ruts." "This pointed out the direction for me to improve my acting. Because of the yellow drapery, he also taught me three plays of wearing the yellow drapery: "Erjin Palace", "Wu Zhaoguan", and "He Hou Scolding Hall". At that time, I hung two cards for Gao Baishi's uncle, and he accompanied me to sing Xu Yanzhao in "Erjin Palace"; later, mr. Zhou Xinfang as Xu Yanzhao and Gao Baishi as Yang Bo in the Shift wind society were very popular. Other traditional plays such as "Yutang Spring", "Wang Baojun", "Three Niang Godsons", "Zhu Trace", etc., I also sang according to Mr. Huang's way. The theater let me rehearse "Bow Yan Yuan", I did not learn, the teacher taught me one by one, especially the action of "lifting the stone and extending the finger", which is really beautiful, and it is very pleasing when performing. In the drama of "Triage", the yellow cavity is different, [guide board] "Yutang Chun kneels in the courtyard with a word of advice", not "Yutang Chun kneels to the inspectorate", the teacher said: "[Slow board] is a human rut, and 'courtyard' is a rut; although the first sentence is not a big obstacle, it is still the same rut as well." "This play is not only [slow] singing, but even the "recounting old feelings" in the back is also innovative, and it can be won." Later, I shot the cannon in the first game of "Triage" at the Shift wind club, Mr. Zhou Xinfang as a blue robe, and Mr. Gao Baishi as a red robe, which became a hit. Although they praised me, it was inseparable from the beautiful sound of the yellow cavity.
Huang Guiqiu's "Spring and Autumn Match"
When the War of Resistance Against Japanese Aggression broke out, I took refuge with my family and planned to go to Chongqing, passing through Hankou, and was hired by Tiansheng Stage to cooperate with Zhao Ruquan, An Shuyuan, Zhao Junyu, and Zhao Xiaolou (Zhao Yanxia's father), but I was delayed. At this time, Huang Shi also arrived in Hankou and performed on the big stage. I had the opportunity to study drama again, and at the same time, Li Huimin of the Li family class also learned drama with Mr. Huang. When we practiced singing, if there was a slight mistake, the teacher would "hum" and then sing again; if it was not right, it was called "pondering and pondering". The teacher is like a strict father, which really makes the students stand in awe.
One day, I was performing "Three Tribunes", and Tian Han and Gao Baishi sat down at the same time. It turned out that Zhou Xinfang's Shifting Wind Society wanted to rehearse "Xiangfei Hate", and Uncle Gao recommended me to play the role of Xiangfei and persuaded me to join the Xiangfeng Society. I said that I had received the boss's money package, and I was a little embarrassed. Tian Han said, "It's not easy for Xinfang to invite you!" Opportunities are hard times, and you will regret missing them. Although Xinfang was in the occupied areas, he always insisted on anti-Japanese propaganda and was a patriot. When you go to Chongqing, it is also a manifestation of patriotism, but patriotism does not distinguish between regions, not to mention that this is extremely helpful for the improvement of your artistic level. This remark made me suddenly enlightened, so I returned the package of silver and gladly flew to Hong Kong with my mother and sister to the "isolated island" of Shanghai.
After joining the Wind Shifting Society, Zhou Xinfang and Gao Baishi carefully arranged three days of cannon play for me - "Yutang Spring", "Hong Luan Xi", and "Spring and Autumn Match". Zhou Xinfang as blue robe and Mo Ji, Gao Baishi as red robe and golden pine, all willing to be green leaves.
On the first day on stage, I was really timid. But before I could play, I heard a cheer. Under the peeping, it turned out that the jurors played by Zhou and Gao were saluting the inspectors, kneeling neatly and neatly, free and beautiful. When they gave me a "warm field", my courage suddenly grew, and there was a "bitter wow" in the curtain, which made the yellow cavity, and the stage fried the pot. [Slow] singing voice, novel and beautiful, one sentence and one good, the effect is excellent.
On August 19, 1938, "Xiangfei Hate" was staged, which immediately caused a sensation in Shanghai; on December 9, "Wen Suchen" was even more crazy. The newspaper and periodical even specially produced a special collection of "Wen Su Chen" for me, and the celebrities Tang Dalang and Bao Xiaofei all had poems to give to me, and Tian Han also specially wrote articles for me. Perfume, watch, clothing, cosmetics manufacturers have come to me to advertise, and I really feel overwhelmed for a while.
Wang Xichun's "Fragrant Concubine Hate"
In early 1939, An Shuyuan invited me to perform in Hong Kong. One day when I was performing "Cosmic Front", when I sang [slow board] in "Daddy Fa Ender", just after singing the second sentence, I suddenly caught a glimpse of Mei Lanfang sitting under the stage, my heart was flustered, and I fell off the board when dragging the cavity.
After the play, Mr. and Mrs. Mei accompanied by Feng Liuye and his wife went backstage. I said to Mr. May, "Make you laugh, I'm off the board." Mr. Mei smiled and said: "Acting is inevitable to make mistakes, overall it is not bad, quite enlightened." Madame Feng then said, "Even so, why don't you take him as an apprentice?" Mr. May smiled. Blessed with my soul, I immediately knelt down and prostrated my head. The next day, Feng Liuye set up two tables of wine for me to perform the worship service, and I officially entered the Plum Gate. Teacher Mei asked me who I had learned from, and I said "Teacher Huang". Teacher Mei said, "He is my brother-in-law and sings well. ”
I immediately wrote to Teacher Huang to inform me of Bai Mei Lanfang's experience as a teacher. Teacher Huang wrote back: "Mei Lanfang is my brother-in-law, and it is your blessing to worship him as a teacher." ”
After visiting the teacher, Teacher Mei told me four plays - "Cosmic Front", "Mu Kezhai", "Hongni Guan", and "Three Niangs Godson". These teachings were of decisive significance to my growth. If Teacher Huang led me to the gate of the Jing Dynasty Sect, then Teacher Mei pushed me one step further inside the door. I secretly thought that this time I came to Hong Kong, I really came to the right place.
Wang Xichun and Mei Lanfang
At that time, my acting was smooth sailing, not only did I make a splash on the stage, but the film industry also invited me to make films. First, I filmed four episodes of "Wen Suchen", written and directed by Zhu Shilin, co-starred me and Tu Guangqi, Liu Qiong, etc.; then filmed the feature film "Xiangfei", with me as Xiangfei, Zhang Yi as Huo Jizhan, and Li Ying as Qianlong. Since the actors I worked with were all top stars, I also became a star actor in both movies and dramas.
In October 1938, Teacher Huang also came to Shanghai, first singing a volunteer play for Longshan Hospital on the Tian toad Stage for ten days, officially performing in Tian Toad during the Spring Festival in 1939, and applying twice in 1940 and 1941.
When the Pacific War broke out, the Wind Shifting Society was disbanded, the Japanese army entered the concession, the people were panicked, and the theater was suspended; when the situation was slightly fixed, there was still a curfew, and night dramas could not be performed. If you want to live, you can only perform from afternoon to 8 p.m., called "Yin and Yang Drama", but if there is no good horn, it will not sell seats.
The famous horns in the north did not dare to rush to Shanghai, so everyone paid attention to Mr. Zhou Xinfang. At that time, Teacher Huang happened to have finished performing in the Chinese Grand Theater, and had not returned to the north, through my matchmaking, Zhou and Huang hung up their cards for the first time and performed in the Golden Theater, I hung two cards, Yu Zhenfei hung three cards, and other Yuan Shihai, Furong Grass, Xiao Sanmazi, Gao Xueqiao, Liu Binkun, etc. were all famous characters. Due to the unstable situation, the performance took a lot of risks. Mr. Zhou was very generous, let me and Teacher Huang, Yu Zhenfei, Yuan Shihai all take the package of silver, drought and flood to ensure the harvest, while I and other actors are all split accounts, depending on the seller's share.
They cooperated in many plays, including "Liu Bei and Sun Shangxiang", "Red Maned Horse", "Shilang Visiting Mother", "Zhao Wuniang", "Baolian Lantern", etc., which became very popular, and the 54-day sales were prosperous, and Mr. Zhou also made money contracting. Zhou and Huang have since forged a deep friendship, laying the foundation for future cooperation. Yuan Shihai said: "Zhou Huang cooperated and performed many masterpieces. "Sincerely.
Huang Shi is also popular all over Shanghai, and has been known as the "first in Jiangnan". At this time, the reputation of Huang Shi has directly caught up with the four famous Dan, and there is a saying of "Southern Yellow and Northern Plum". In 1946, when Tian toad and Ma Lianliang cooperated again, a banner praising Huang Shi appeared that read, "Seize the Seat of the Four Famous Dans", which shows the momentary prosperity.
Entering the Wind Shift Society was a turning point in my artistic career. It can be said that without Mr. Zhou's promotion, there would be no me today. Mr. Zhou is not old in the stage program, not conservative in style, and can achieve the realm of the role and the actor. He can vent his emotions, move people with emotion, lead the performance without hair, one shot must be in the middle, the meaning is in the shape, the shape is in the heart, both the tone is gentle, the new lyrics are introduced, and there are ghostly and elegant work, and the places ignored by the general actors can be rationalized and humanized, which is the real skill. I agree with Qian Yingyu's summary of the "Five Methods of the Qi Pai Formula" - trembling gestures, talking eyes, tortuous and affectionate figures, ever-changing dance steps, and the "Law" of linkage operation. This contains artistic laws and scientific principles, reflecting the charm of Qi Pai performances.
In October 1954 after liberation, Huang Shi won the first prize for the play "Farewell to the Palace and Sacrifice the River", and at the East China Opera Observation and Performance Conference presided over by Mayor Chen Yi, Huang Pai was praised as "Du Xiu Qunfang" and performed this play again. I was also fortunate to win the award, and the two masters and apprentices also took a group photo for this, but unfortunately it was confiscated during the "Cultural Revolution". Later, Huang Shi organized his own "Qiusheng Peking Opera Troupe" to tour all over the place, and I was also transferred to Anhui, and the master and apprentice rarely met. On September 11, 1978, Huang Shixian died, and I brought my illness to Shanghai to mourn, and spoke at the memorial service on behalf of my disciples.
Mei Lanfang and Zhou Xinfang were in the same window, and Huang Guiqiu was twelve years younger than them, both belonging to horses. A friend once gave me a picture of three horses, which means "fast horses galloping". Unfortunately, this painting was copied during the Cultural Revolution and its whereabouts are unknown. This year is the Centennial Festival of Teacher Huang, and this article only commemorates Teacher Huang, Teacher Mei and Mr. Zhou.
(Shanghai Drama, No. 12, 2006)