Interview Transcript:
Li Yuexian: My master actually taught me a "Guan Zhen", a "Killing House, Walking a Side", a "Shed Rice" and also taught a "Walking Mountain".
Wang Jing: "Walking the Mountain".
Li Yuexian: This is what My Master taught at once. The rest in the troupe is to look at people, which one. My eldest sister was often sick at that time, and the illness could not be played.
Wang Jing: You're on top.
Li Yuexian: Oh. Go and ask my little apprentice to act. Just like that on top. Usually, I can see it almost. After it is finished, Master will sue again. Therefore, the plays of such a general troupe, in the past, our traditional plays, were performed in this way. So at that time, it was called following the trend. It's how the teachers act, how I act. At that time, I always had a feeling that I didn't want to talk to people about it, and if people acted like this, you couldn't change it. There is such an idea, for example, you are acting in this "Luhua" with my eldest sister. "Lu Hua" staged Min Ziqian, but Min Ziqian, I am just like others they acted differently. People play it, it is ordinary, supporting roles of supporting roles. Just sing it. I thought, this Min Ziqian should not be like this. He must have been at home, always looking into people's eyes. Look at the eyes of the stepmother, see if the people are happy or unhappy. Right. That's how he survived at home. So whenever he encountered this time, he felt that he could not ruin the family, the doll was small, thirteen years old, min Ziqian was only thirteen years old at the time. So this can not put this pain in the heart, sometimes also suppressed outbreaks. Wow, although I don't want to, I also broke out, making this family even more noisy and noisy, and it is impossible to have sex. But he is also, although the little doll, is also a little angry, but also has a feeling of depression. So in that singing voice I was, there was this depressing thing, singing out. Hey, the audience is still welcome. You say that a Min Zi Qian, others sing Min Zi Qian can not be applauded, but I sing Min Zi Qian, at least two to three places can be called good. After this tried, after I tried it myself, I felt that this was also, and the audience liked to watch this.
Wang Jing: Just dare to try again.
Li Yuexian: I feel that the audience likes it, you can sing it according to the heart of the character, so the audience likes it, so then there is the "Life and Death Card".
Wang Jing: Teacher Li, I still think, just now you have seen and said so much. Little drama. In fact, although you may usually grow up, because of the family environment, or this environment of growth, do not dare to talk more, but in fact, you are thinking about things in your heart, including when you were watching the old artists performing these plays, you had ideas at that time, you wanted to put some of them, some of what you saw, the so-called can change, even unreasonable places, want to become another way of singing, which may be more in line with the characters.
Li Yuexian: Right.
Wang Jing: Just mentioned that Min Ziqian in "Lu Hua", originally this character was not a major character in the whole play, but through your own ideas, you changed the singing voice, after singing,
Li Yuexian: After the end, people are still quite impressed.
Wang Jing: It's quite deep. But you just said so much, my thinking is empty, including those who watch our program. Can you just sing me a couple of sentences right here? At that time, you adapted this Min Ziqian singing.
Li Yuexian: At that time, you said, it was different from the current word. It was as if it turned out to be "Min Lost Court, looking at it with my eyes, and my family made it difficult for me."
Wang Jing: My family has made a big deal out of me.
Li Yuexian: But I just put that sentence down. Raised the first sentence. "Min Lost court before the court with eyes, the whole family made a difficult for me" A high and a low audience applauded you. I said at the time, this is not a high-pitched singing, this is the audience like you this kind of feelings.
Wang Jing: Right. It can better express the mood of him and the character at that time.
Li Yuexian: Well, yes. So singing in this way inspires yourself, and when you sing it in the back, you can slowly think about it yourself. The throat is also not good. Just think about it.
Wang Jing: You always say that your voice is not good. In fact, from our so-called layman's listening, listening to your voice is not a problem at all.
Li Yuexian: You are listening to it now. I gave myself a set of my singing rules in the singing method, at least I am, for example, you say yes, I want to think slowly later, that is, first fast. If you want to be fast, you must be slow. Slow first fast. It's about what it's going to be, it's going to be the contrast between the two.
Wang Jing: If you want to suppress it, you want to suppress it first.
Li Yuexian: Right. It is this dialectic, which is how it is applied, you want to think slowly in the back, for example, we sing that "clearly yes, be the stepmother you have a wrong heart, the clear is" the front is very fast, the front is a fast splint, the splint is four or two, and it turns into a slow stomping board. The stomp plate is Four-One. In this way, the contrast between the two is quite large. "It is clear that you are a stepmother, and you have a wrong heart for the front room." You see the contrast between the rhythms of the two. Such a contrasting result, the audience's reaction is relatively strong.
Wang Jing: He will always follow the feeling of your singing voice, walking and watching.
Li Yuexian: It will just take you as an audience
Wang Jing: I can catch it.
Li Yuexian: I caught it at once. Don't tell your audience to go away. This is from this rhythm, you say sometimes a singing voice, I have analyzed a lot, people may, people's voices are good and do not need to analyze, I will analyze more. In a singing voice, it must be fast and slow, it is not a rhythm, just like we talk you see, some will be fast, some it will be slower. It is a language that comes out according to your feelings, and it is also a rhythm. The singing voice is the same, because after the character's feelings come out, it is needed in the singing cavity, there are fast and slow,
Wang Jing: There are light and heavy.
Li Yuexian: For example, you say "Three Levels point handsome" "Eight thousand years old" you look fast. Slow down. It is also controlled from the melody, that is, the height of the tone, its sound is also controlled, and the rhythm is also fast and slow. It is easier for people to hear it when it is sung in this way. If you are "..."
Wang Jing: It's too ordinary.
Li Yuexian: It's flat.
Wang Jing: Actually, do you know, Teacher Li? I just heard you talk about this passage, and I have a special feeling. What you just said is that in the opera, in the singing voice, what you call fast and slow, light and heavy. In fact, in our language, this is called language skills, and I think this, the set you summarized, should also be the skills of opera singing. We say that in fact, whether it is a singing voice or a good language, there is no technical expression, it must not be a high-level expression, so I feel that in your singing voice, the whole of your own thinking, including your research, invisibly formed a skillful singing voice, so that you can more grasp the audience's heart, let him follow your singing voice.
Wang Jing: In fact, in our previous chat, I can also feel that Teacher Li, although he may not talk much, but you are very attentive. According to your language, every play I sing I want the audience to remember, especially the few sentences in my singing voice.
Li Yuexian: Yes.
Wang Jing: This is what you ask of yourself. In fact, you did. You have watched so many years of stage career, I know a lot of your representative plays, such as this "Kill Station", such as this "Three Levels point marshal", and then like this "Crouching Tiger Order", and then like this.
Li Yuexian: "Qi Wang Rama".
Wang Jing: Yes, Qi Wang Rama. There are so many plays, in fact, other actors are also acting, but many audiences, including experts in the industry, still remember these plays you played. Probably these memories are still fresh, the main reason is because you have designed, you have specially designed your singing voice, in your performance, you have a bottom in your heart when singing.
Li Yuexian: I generally want to get the script, we generally get the script, when creating this character, the director is to give you that you can say that it is too far-fetched. Where are you going, right? Which part of you should be in this part, but how do you get to this part, what are you going to do when you get to this part, what is your psychology to this part, that is the actor's business.
Wang Jing: Right.
Li Yuexian: Actor thing. Actor then you mean, creating characters is the same thing. For example, if I am in this "Three Levels of Shuai", "Three Passes of Shuai", you see a lot of play in front, holding the barrel of a gun, this fight that fight, how much more, its characteristics of this play is singing. It is to sing, and singing is the first. It is a singing drama, it does not belong to what kind of body drama, martial arts drama, it does not belong, it belongs to singing gong drama. Then sing a gong play, you have to sing and sing well. Can't rap kung fu drama I fight very well.
Wang Jing: That would be the case.
Li Yuexian: This is not right. So to sing well, you have to work singing. This director can't do this for you. The actors work on their own. So the feelings you sing this sentence with, how you should sing it, how your rhythm is handled. Which place in a play is the focus, which place is the focus of how you should sing, how the key singing section should be played, how to sing, that is the actor, you are like me in the "three levels of the point of handsome", it is very simple two-sentence splint, but I also spent a lot of hard work. It's a very simple splint, because it's very simple, it's sung in the past, and we used to be "a dispute with Chitose in a dream, and I lost my monarchy for Sohobo" This is the ordinary soul singing method. We call it soul singing, splint rhythm. But when I sing these two sentences, the words have changed, but its feelings will also change, and I will sing what it is, "The golden phoenix falls in front of my eyes" It sings out the joy of Liu Lang's heart, please succeed, "Full of accounts and dazzling" This moves from the rhythm, we generally sing "dazzling", I don't sing like this, I just move it, why move, it is happy, the mood of self-satisfaction in the heart. Give the audience such a feeling. After it was over, it was "temporarily hiding the joy to ask each other, Miss Mu" changed the tone, and the front was what was in his heart. I was complacent in my heart, please succeed, I have a good plan, and finally invited her. Satisfaction and joy at the success of his own invitation to the sage, and after coming down is to ask, he pretends that I don't know what you are here for. Pretending to be a marshal, the two of us are people who don't know each other. Yes, Mu Guiying, what did you come to me for? "Why miss Mu came here" You see here used two places of movement, the meaning of its movement is different. In this way, it is ordinary, just like the ordinary splint singing method of our Shanxi Zizi, through your use of this breath, by using this method of depression and frustration, you deal with it, you have a new feeling. There is a sense of novelty. So on this point, it is all traditional singing, basically the new singing method is one or two points, not much. But it's all handled by this rhythm.
Wang Jing: Teacher Li is like you at that time, after this rhythm processing, whether it is fast or slow, when there is a change in rhythm, can the band keep up?
Li Yuexian: You see, the actor has a premonition in his mouth.
Wang Jing: Well, yes.
Li Yuexian: Let's say that it is good to suppress the yang and the setback, and the Shanxi Zizi is called the drumming method. It has a premonition, it doesn't mean yes, you can move if you want to. Right. "Why miss Mu came here"
Wang Jing: It was before this.
Li Yuexian: There is a different one in front, he is the band, I have to move here.
Wang Jing: Let's communicate before, or say that when this song is sung, the band can follow this feeling.
Li Yuexian: Generally speaking, if the band knows how to blow, there is no need for communication.
Wang Jing: Oh.
Li Yuexian: He knows you here, you are like saying, the front "clearly is to be a stepmother you have a heart" This is a pre-order, sue him, I move, "the heart is not true, it is clear that" the front one sued him, that is called the pre-order, the board has learned this, understand this, he knows that this actor is going to move behind.
Wang Jing: Then I think your singing voice, Teacher Li, not only is the audience looking at it with vigor, but it has been holding the audience, and the band also has to follow your rhythm, and it can't relax at all.
Li Yuexian: Yes, we play the board of the band, Zhang Buchang pulls Hu Hu, to sweat a few times, sometimes he can pull this string can be broken. He has to keep up, to be fast-paced, to be slow and slow.
Wang Jing: Have you communicated with each other, is it not that the band follows your singing style, and it is also particularly energetic, have you communicated?
Li Yuexian: He thinks, actually, this is a kind of catalytic method of Shanxi Zizi.
Wang Jing: The catalytic method.
Li Yuexian: The urging method is, and the change to that official language is to suppress the yang and the setback. It's a shock. It's this law, it's a law.
Wang Jing: The law.
Li Yuexian: No matter where it goes, I'm going to be fast, I'm recording something, it's going to be slow, this band he should learn this thing when he learns.