Happy to see the new plum blossoms, do not forget the old plum fragrance, and today let us look back at the winner of the second Chinese Drama Plum Blossom Award - Zhang Xuejin.
Born into a family, the teacher inherits the famous door
Born in 1941, Zhang Xuejin is the eldest son of the famous Peking Opera performance artist Mr. Zhang Junqiu. Someone said: "The Zhang Men family is a troupe and a drama class." "It is true that father and son, brothers and sisters, uncles and nephews, are really Qingyi, Laosheng, Wusheng, and Xiaosheng. Zhang Xuejin is undoubtedly also a very dazzling member of this door from the artist, and his love for Peking Opera also comes from hearing and seeing from childhood, and the good opera atmosphere at home can be said to have created a unique learning environment for him.
In 1949, Zhang Xuejin was admitted to the Beijing Art Training School (that is, the Beijing Opera School) as he wished, and studied under Wang Shaolou, Chen Shaowu, and Zong Yu (Shuyan) School. Throughout the 1950s, he spent almost all his time in the drama school, studying a large number of Yupai plays such as "Catch and Release Cao", "Lost • Empty • Chop", "Dingjun Mountain" and so on. The solid foundation laid here also provided excellent conditions for him to achieve great success in the art of Peking Opera in the future.
Stills of Zhang Xuejin's "Four Soldiers"
The 1950s were also the era of frequent cooperation between Mr. Zhang Junqiu and Mr. Ma Lianliang. In the drama "Three Niangs And godsons" co-starring the two of them, Zhang Xuejin also played the role of Xue Yi for it. In 1959, after graduating, Zhang Xuejin entered the Xun Huisheng Peking Opera Troupe as an actor, and two years later transferred to the Beijing Municipal Opera School Experimental Peking Opera Troupe, at which time the troupe proposed to let these young actors go to the teacher and inherit the genre. Under the advice and guidance of his father Zhang Junqiu, Zhang Xuejin threw himself into Mr. Ma Lianliang's disciple and became the inheritor of the Ma (Lianliang) school of art.
Unfortunately, Mr. Ma Lianliang died suddenly after a few years. According to Zhang Xuejin's recollection, he actually only studied five plays with Mr. Ma, namely "Qing Guan Book", "Orphan of Zhao", "Dragon and Phoenix Chengxiang", "Borrowing the East Wind" and "Huaihe Camp", and "Huaihe Camp" was still taught to him when he was beating his teacher's legs. Fortunately, Zhang Xuejin is brilliant and can take one corner and can oppose with three corners. In 1963, when the Peking Opera modern drama "Arrow Pole Riverside" was created, Zhang Xuejin's self-created [anti-Erhuang] singing voice "persuasion leper" in the play can be described as popular among the population, which is even more rare in the modern Peking Opera drama known as [Xipi Flowing Water], and he actually flexibly used Mr. Ma's "Old Cheng Baby Lifting Pen And Tears Unbearable" in "The Orphans of Zhao" [Anti-Erhuang Scattered Board].
Mr. Ma Lianliang played for Zhang Xuejin
Zhang Xuejin's ability to use this flexibility has since won him a great reputation. He is deeply impressed by Mr. Ma Lianliang in his performance, and the typhoon has both Mr. Ma's dashing elegance and extra vitality; the singing voice can integrate the two factions of "Yu" and "Ma" in one, and form a more intense personal singing flavor. In the new period of reform and opening up, he ushered in the peak of his own creation, and became the leader of Peking Opera in this period.
Don't forget the legacy
His father, Zhang Junqiu, helped Zhang Xuejin make an excellent choice in terms of learning art, and he was always remembered and cared for in his later artistic creation path. In 1989, after Zhang Junqiu watched the performance of lü opera "The Finishing Touch", he felt that this script was very suitable for the performance of the eldest son Zhang Xuejin, so he took the initiative to contact the Lü opera troupe and the screenwriter to "ask" for his son to come to the script, and prompted the play to be moved to the Peking Opera stage the following year.
The success of the performance of "Finishing Touch" has given Zhang Xuejin a new screenplay that can retain his own heritage. And he boldly launched a new style of costume in the play, which is a unique way for the opera costume and leads the "new trend" of the opera stage. This is not a random innovation, but a creation based on inheritance, and he never forgets the inheritance of classics, especially for the "audio and video" project of Peking Opera. He is well aware of the far-reaching significance of this project, and he also deeply regrets that he has not been able to learn more plays with Mr. Ma Lianliang, and through the "audio and video" project, he has taken the opportunity to learn many "raw dramas" that he has never touched.
Stills of Zhang Xuejin's "Borrowing the East Wind"
Fans and friends who are familiar with Zhang Xuejin may know that his physical condition in his later years has always been poor, but in order to better inherit these fine works of previous artists, Mr. Ma Lianliang's fifty-two drama sound arrangements, he alone undertook forty-six plays, of which 13 were for mr. Ma's old records produced in the eighteenth year of the Republic of China, during which he also accompanied Mr. Li Shaochun's "Mu Guiying Hanging Commander" and Mr. Li Shengzao's "Yellow Crane Tower". In some scenes, there are many difficult actions, such as back grabbing, rolling nail board, etc., he is also personally on the battlefield, leaving all the illness on his body behind. Art, just for art! During his illness, he also insisted on speaking opera for students, and for the inheritance of Peking Opera art, it can be said that he has put on a liver and gallbladder.
On December 21, 2012, Teacher Zhang Xuejin died of illness, and the opera circle was full of sorrow, with a bang joint inscription: "The rest of the son will be passed on, the first person after the horse." This is not a compliment, but the best evaluation of his art!
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