Opera
In the last issue, "Xiqu Opera Art" talked about "Meizha, Teenager" on the Peking Opera Stage"
Drama writing life, of course, is indispensable to female roles, as long as there are opera performances, even if it is "two small" plays, there will be female characters to join. Originally, the Beijing audience welcomed Danjiao the most, the Qing Dynasty performed "Jingzhong Su Chongdan Color", because the Qing Dynasty banned women in Beijing from taking the stage, there are Qing generations are "Qiandan", come and learn about it with the cultural tourism jun
-Chen Delin-
At the end of the Qing Dynasty and the beginning of the People's Republic, Chen Delin was a remarkable figure in Danxing. At the age of twelve, he entered the Quanfu Kunlu Class to study art, and was a brother with Qian Jinfu and other teachers, Gongdan. After the class broke up, he transferred to the "Four Proverbs" to learn sword and Ma Dan, and learned Kunqu opera from Zhu Lianfen, and studied art with Lu Xinglin, Zhang Qilin, Li Chenglin, Li Shoushan, and others. After completing the division, he entered the ChangGeng Sanqing class, and at the age of forty-five, he took Tan Xinpei to the same Qing class, Yizong Hu Xilu, Shi Xiaofu, and Yu Ziyun, and had the reputation of "Tsing Yi Taidou". There are many disciples under him, Wang Yaoqing (half teacher and half friend), Wang Qinnong, Mei Lanfang, Wang Huifang, Jiang Miaoxiang, and Yao Yufu are the six major disciples.
-Wang Yaoqing-
Wang Yaoqing, father Wang Xuanyun is the famous Kundan. At the age of nine, he was trained by Tian Baolin (Chen Delin's teacher) to learn Tsing Yi. At the age of twelve, he studied with Xie Shuangshou, and learned Qingyi and Dao Ma Dan from Zhang Zhiquan and Du Dieyun, and learned from Qian Jinfu to lay a comprehensive foundation for Dan Xingwen, Wu, Kun, and Chaos. At the age of fourteen, he debuted "Sacrifice Tower" on stage with the Sanqing class. Although he quit acting at the age of sixteen because of "inverted warehouse", he often asked Shi Xiaofu, Li Zishan (Ten Thousand Lights), Chen Delin and so on for help. His voice has resumed and he has re-entered the Fushou class and has been included in the list of famous actors. At the age of twenty-two, he entered the Fushou class three times, and performed twice in Qingyi and Dao Ma Dan, and made innovative attempts at this drama such as "The Legend of the Children's Hero", "Yanmen Guan", and "Mixed Yuan Box". In 1906, he entered the Tongqing class and cooperated with Tan Xinpei for a long time, "Fenhe Bay is in the county Longmen, and the co-performance of Tan Wang has a conclusion". In 1909, he picked his own class to perform, changed the situation led by Shengxing, and formed a fresh style of "Wang Pai" art, when people called him "Liyuan Tangwu" together with Tan Xinpei. Wang Yaoqing broke through the restrictions of the profession, changed the old rule of singing, reading, doing, and playing only one end in the previous Danxing performances, and took the strengths of Qingyi, Daoma, Boudomen, Huadan, and Kunqu Danxing, and made new creations in singing, reading, doing, and playing, "non-Qingyi, non-Huadan, outstanding and self-contained", opening up a broad road for the development of Peking Opera Danxing art. Mei Lanfang once said that he had "completed his unfinished work according to his path." Cheng Yanqiu's creation of the "Cheng Cavity" was accomplished under his direct guidance. In his later years, Wang Yaoqing devoted himself to his disciples, with countless disciples, known as the "Master of the Tongtian Sect", and the "Four Great Famous Dans" were all under his disciples, which could be called peach and plum all over the world.
"Silang Visits Mother", co-starring Wang Yaoqing and Wang Fengqing
-Yan Lanqiu-
Yan Lanqiu, stage name Nine Gusts of Wind (formerly known as Fei Lai Feng), Gong Wu Dan, Dao Ma Dan, can play Qing Yi, Hua Dan, and can also reverse the string of Xiaosheng. In his childhood, he sat in the Xiaotianxian Class presided over by Yang Longshou, and once served as a martial artist in the Fushou class, and was taught by Fang Erqun to specialize in Wudan. During the late Qing Dynasty and early Ming Dynasty in Beijing, he cooperated with Tan Xinpei, Yang Xiaolou, Yu Zhenting, Gao Qingkui, Shang Xiaoyun, Yu Shuyan, Cheng Yanqiu, etc. He was taught artistically by his father-in-law Zhu Wenying (stage name Zhu Forty, who had been selected for the Shengping Bureau), and his martial arts were deeply rooted, and he was known for his bravery and rigor in fighting, and for his swiftness. There were nine gusts of wind that "blew down a flag and blew out a lamp", which was famous for shaking all over Beijing, Tianjin and Shanghai. He is good at "one finger twisting whip, upright rotation" and "crotch gun pulling, turning over" and other skills, martial arts are more innovative, performance is its own school, and promotes the development of Wudan performing arts. Song Dezhu, Li Jinhong, Chen Jinbiao, and their nephew Yan Shishan all received his lessons.
-Mei Lanfang-
Mei Lanfang, Gongdan. He began to learn drama at the age of eight, and learned to sing Qingyi from Wu Lingxian at the age of nine. In 1904, the ten-year-old Mei Lanfang debuted on stage. In 1908, Dai Xi Lian performed in a class, and while continuing to teach Wu Lingxian, he learned Hua Dan performance from Qin Zhifen and the clown Hu Ergeng. In 1913, Mei Lanfang was invited to Shanghai for the first time to perform, and was promoted by Wang Fengqing to star in the big axis drama "Mu Ke Zhai", which was appreciated by the Shanghai audience. After returning to Beijing in the same year, he took the YiWen Society and discharged his first new fashion drama "Waves of Evil Sea". In the autumn of 1914, he was invited to perform in Shanghai again, and the attendance lasted for a long time, and at the end of the year, he was able to return to Beijing. In 1919 and 1924, he was invited to perform in Japan twice, and was warmly welcomed. At the end of 1929, Mei Lanfang was invited to perform in the United States and was warmly welcomed and highly praised by all walks of life. Pomona College and the University of Southern California both awarded Mei Lanfang an honorary doctorate in literature. After the "918" incident, he moved to Shanghai and rehearsed dramas such as "Anti-Golden Soldier" and "Life and Death Hate". In 1935, Mei Lanfang was invited to perform in the Soviet Union, which was warmly welcomed and highly praised by the audience and the literary and artistic circles. After the outbreak of the War of Resistance Against Japanese Aggression in 1937, Mei Lanfang, living in the occupied area, resolutely grew a beard and refused to perform, and persisted until the victory of the War of Resistance. Mei Lanfang's lofty national integrity has been praised by the people of the whole country. In 1956, when he went to Japan for the third time, he wrote "Don't Fuji Honki Lake": "May people's hearts be like green waves, and the reflection of Yuxiang Hibiscus is clear." The song of Jia'an sheng poured out of the country, and Beijing sang through Tokyo. "It is touching to wish the two countries friendship and pray for peace. In more than 50 years of stage life, Mei Lanfang has created many beautiful artistic images, accumulated a large number of excellent repertoire, developed and improved the singing and performing arts of Peking Opera Danjiao, and formed a "Mei Pai" with a unique style, which is the most representative figure of Peking Opera in the world.
-Cheng Yanqiu-
Cheng Yanqiu (back row left), Luo Luo Gong (front row right)
Cheng Yanqiu, Gong Qingyi. Manchu, originally known as Chenglin, later changed "Cheng" to "Cheng" surname. In his early years, his stage name was Cheng Junong, and later changed his name to Yanqiu, and since 1932, he has changed his name to Yanqiu. At the age of six, he worshiped Rong Diexian as a teacher, first learned martial arts, then learned Hua Dan from Chen Tongyun, and then attacked Qingyi from Chen Xiaoyun. He began to appear on stage at the age of eleven, and officially participated in business performances at the age of twelve. Because of his inverted absence from acting, with the help of Luo Luogong, he had to learn martial arts from Yan Lanqiu, Qiao Huilan, Xie Kunquan, Zhang Yunqing, and other kunqu masters, as well as kunqu figures and singing methods, and later worshiped Mei Lanfang as a teacher, and was even taught by Wang Yaoqing. Three years later, he reappeared and played for Gao Qingkui and Yu Shuyan, and his reputation grew day by day. Soon, independent groups were formed, performed in the Beijing, Shanghai and Hangzhou areas, and gradually formed a personal artistic style in continuous artistic practice and innovation, and founded the "Cheng School". Since the 1930s, Cheng Yanqiu has been known for his ability to perform tragedies, and his unique style of Cheng Cavity is an important part of Cheng Pai art. The cavity is meticulous and continuous, low and gentle, ups and downs, and the rhythm is changeable. The singing voice he created is good at drawing nourishment from other trades, even other dramas, genres and folk music, and skillfully integrates into the singing voice without showing traces. He created ten kinds of water sleeve techniques of "hooking, picking, supporting, punching, dialing, lifting, shanking, throwing, playing, and shaking", which can be freely combined into ever-changing dance styles according to the plot, which greatly enriches the expression of Danjiao water sleeves. In 1932, Cheng Yanqiu went to Europe to study opera. After the fall of Peiping after the "Lugou Bridge Incident" in 1937, he withdrew from the stage and went to the outskirts of Beijing to work as a farmer until the victory of the War of Resistance, and his integrity won wide praise and respect. The actors who studied the Cheng school and achieved achievements are: Xin Yanqiu, Zhao Rongchen, Wang Yinqiu, Li Shiji, Li Qihua, etc.
-Shang Xiaoyun-
Shang Xiaoyun, Gongdan. He entered the Sanle Class (later renamed Zhengle) at an early age to learn art, with the stage name Sanxi, and first learned martial arts, and then corrected Dan. Because of his resemblance to that of Master Sun Yiyun, he changed his name to Xiaoyun and mainly acted in Qingyi opera. Together with white peony and hibiscus grass, it is called "Zhengle Sanjie". In 1914, he was named "The First Tongling" in the "Tongling Campaign", in 1918 he was named "Tongling King", and in 1927 he was listed as one of the "Four Famous Dans", which shows that his roots are solid and his skills are profound. He is also the head of Qingyi, Daoma, Wudan and Wusheng, singing Yuancheng Shi Xiaofu, close to Chen Delin, known for his toughness. Jingbai master Fa Wang Yaoqing, Yun Bai borrowed from Yang Xiaolou, and benefited from the steep and high-pitched singing voice designed by Wang Yaoqing. His meritorious figure is stronger than That of Grace. Shang Xiaoyun has rehearsed a large number of new plays, and also sorted out and processed some traditional plays, shaping a number of artistic images of heroes and heroines, and his unique performances are called "Shang Pai". In 1937, he opened the "Rongchun Society" class, and trained more than 200 students ranked as "Spring, Rong, Chang and Xi", such as Shang Changchun, Li Fuchun, Xu Rongkui, Yang Ronghuan, Jing Rongqing, Ma Changli and so on. Disciples such as Xue Yanqin (Huang Yongni), Zhao Xiaolan, Huang Yuhua, Liang Xiujuan, etc., Li Shifang, Mao Shilai, Zhang Junqiu and Xie Ruiqing were all taught by him, and the second son, Shang Changlin, was able to inherit the salary.
-Xun Huisheng-
Xun Huisheng, Gonghua Dan, Boumen Dan. The original noun, the word Huisheng, the number of Liuxiang, the early stage name of White Peony, and later used Huisheng. In his childhood, he learned from Pang Qiqi (Hou Junshan's disciple) Hua Dan in Yishun and Zizi class, and premiered in Tianjin in 1909 under the stage name of "White Peony", and entered Beijing in 1910, where Hou Junshan personally taught "Xin An Yi" and "Huatian Mistake" and other plays. Later, he entered the Sanle Social Science Class with his teacher, and Zhao Tongshan, who was one year older, and Shang Xiaoyun, who was the same age, were known for their ability to play a lot. Later, he learned Peking Opera Hua Dan from Chen Tongyun, asked Yi Yu Lu Sanbao, Wu Lingxian, Chen Delin, Wang Yaoqing, etc., and learned Kunqu opera from Qiao Huilan, Cao Xinquan, Li Shoushan, etc. In 1917, he officially changed to Peking Opera, and in 1919, he went to Shanghai with Yang Xiaolou, Tan Xiaopei and Shang Xiaoyun to perform, and the "three small and one white" was famous for a while. In 1925, he returned to Beijing and cooperated with Yang Xiaolou, Yu Shuyan, Chen Delin, Mei Lanfang, Cheng Jixian, Gao Qingkui and so on. Since the 1920s, he has been committed to the exploration of Peking Opera innovation, due to the profound foundation, the broad path of drama, and can absorb the length of the Zidan horn, the performance integrates Qingyi, Huadan, Boumen Dan, Dao Ma Dan in one furnace, and combines the skills of Peking Opera Xiaosheng and Wusheng, from singing, reading white, body to makeup and clothing, etc. to carry out reform and innovation that meets his own conditions, and gradually formed a novel style of "Xun School" art in the 1930s. He cooperated with Chen Moxiang and others, choreographed a variety of plays, and there were thirty or forty works that were popular and reflected the artistic characteristics of the Xun School, although the characters were very different and the performance requirements were different, but they could be vivid and vivid through his performance. Among the more prominent xuexun are Tong Zhiling, Wu Suqiu, Liu Changyu and so on.
In this issue, we will introduce the Danjiao of Peking Opera here! In the next issue, let's learn about the "four famous Dans" on the Peking Opera stage.
Source: The book "Old Beijing Narrative - Opera and Opera Art" organized by the Beijing Municipal Committee of the Chinese Political Consultative Conference, if reprinted, please leave a message in the background.