Qianjiang Evening News Hourly News Reporter Ma Li
In 2012, I interviewed Mr. Lodi, who wrote a biography for Zhou Chuanying. Mr. Lodi passed away in 2015, and I have compiled the text of the interview that year to see Mr. Zhou Chuanying in his eyes.
Los Angeles Is a researcher and researcher of ethnic literature and art. Born in Shanghai in 1930. He began his career in 1949, studied composition theory in the Shanghai Conservatory of Music from 1951 to 1953, and worked in various business units under the Department of Culture (Division, Bureau, and Department) of Zhejiang Province; in 1990, he retired from the Zhejiang Institute of Arts. In the early years, he was mainly engaged in literary and artistic creation, and in the past 40 years, he has mainly engaged in the research of national literary and artistic theory. He explores the aspects of national poetry, drama, music, literature and history, with his personal views, and explores the unknown of his predecessors. In 2009, Loti was awarded the title of "Outstanding Theoretical Researcher of Kunqu Opera in the National Kunqu Rescue, Protection and Support Project" by the Central Ministry of Culture.
Kunqu Characters: I'm Sorry for the "Chuanzi Generation"
Luo Di and Zhou Chuanying, the predecessor of the Kunjie community, and other "chuanzi generations" have been in contact for decades. He wrote a book for Zhou Chuanying, "Sixty Years of (Zhou Chuanying)Kunju Career", through Zhou Chuanying's experience, reflecting how the "Chuanzi generation" transmitted the endangered Kunqu opera to the new society and was "saved", which was widely circulated in the Kunji community. But, Mr. Lowley said, "I didn't do a good job of that. I'm sorry Mr. Chuanying, I'm sorry to all of you. ”
Reporter: You once wrote a book "Sixty Years of Kunqu Opera Career" for Zhou Chuanying, an old predecessor of the Kunqu industry, and you have a deep relationship with Kunqu opera and are very familiar with the teachers of the Chuanzi generation.
Luo: Speaking of which, it was quite early to know Teacher Chuanying. In 1952, when I was studying at the Shanghai Conservatory of Music, Dean He Luting heard that there were Kuntai performances in Hangzhou, came to see, and asked me to accompany him. However, I didn't have any substantial contact with them afterwards. It was a long time before I wrote him a biography.
In 1978, I was transferred to the Zhejiang Kun Opera Troupe, and in 1979, the troupe went to the Pearl River Film Studio in Guangzhou to shoot "The Tale of the West Garden", and I lived in the same room with Teacher Chuanying, in addition to filming, work is to chat. Heaven and earth are yellow, chicken and garlic, talk about everything, talk all the time, of course, mainly the legend of miscellaneous opera, Kuntai opera. These 100 days have helped me a lot and I have learned a lot.
Reporter: For example, can you be specific?
Luo: "Chuanzi Generation" is the best drama actor in China, in the era of painting paper for robes, bundles of grass for belts, and hunger on stage, still insisted that "poverty is their own, drama is the master's, ancestors; starvation can not memorize the master, forget the ancestors."
It is precisely with this sense of mission that Chuanying and his teachers and brothers have passed on the endangered Kunqu opera to the new society and "saved" the Kunqu opera, so that this world cultural heritage can be glorious today.
Reporter: Then why don't you seem to be satisfied with the "Sixty Years of Kun opera career" that you wrote for him?
Luo: Well, this happened from 1980 to 1981, when I was transferred back to the re-established Zhejiang Institute of Arts, accepted the leadership task and wrote a biography for Teacher Chuanying, which was published in the inaugural issue of "Art Research" of the Institute of Art Research, and later included in "Biography of Chinese Drama and Film Artists".
Subsequently, the China Drama Publishing House and the Shanghai Literature and Art Publishing House simultaneously came to the manuscript, and the latter proposed to publish the book in the name of "Zhou Chuanying's Oral Narrative".
I did not agree with their approach, but a chuanying teacher and his wife had already agreed, and then, at that time, teacher Chuanying's body had been diseased, feeling that teacher Chuanying's person and trust in me, I tried to do it, but I had a request: the book should be published quickly, so that teacher Chuanying could see it.
But, in fact, nearly a year after The death of Teacher Chuanying, I only got the book. I didn't do a good job of this, sorry Teacher Chuanying. This is one.
The title of the book is "Sixty Years", and the book that was printed was only thirty-five years until 1956, when it was "sung all over the city", that is, only thirty-five years. The part of the original manuscript after 1956 and the part of the "old 'national style'" have all been deleted, and the manuscript is no longer available. I didn't do a good job of that.
Third, what is more particularly important is that because of the obstruction of "Zhou Chuanying's dictation", not only is it difficult to present the historical background and historical significance of what happened during this process, but there are many important facts that cannot be written, so that it is biased and mutilated. Therefore, I did not do a good job in this matter, I am sorry to all the generations of people, many Kunjie composers, sorry Kunqu.
Mistakes have been made, and regrets are hard to make up. Take advantage of this opportunity to express my apologies.
Zhou Shiqun on his father Zhou Chuanying "Three Scarves, Three Plumes" "Fifteen Consecutive"
Zhou Shiqun: Vice President of Kun Opera House in Jiangsu Province, National First Class Director
(i)
My father, Zhou Chuanying, has been self-reliant since he was a child because of family difficulties. At that time, Kunqu opera was gradually declining, just when Pei Jinmei, Xu Jingqing, Zhang Zidong, and Mu Rongchu established the Suzhou Kunqu Opera Transmission Institute, my father entered the Kunqu Opera Transmission Institute, and the purpose of the Kunqu Opera Transmission Institute was to let these students pass on Kunqu opera and Kunqu opera, so they all had a word in the middle of their names.
At the beginning of my father's studies, because of his poor voice, it was difficult to pass during the examination period because of the conditions. However, the teachers did not dissuade him from taking into account his family situation; and because he remembered the play accurately and realistically, based on this advantage, the teacher changed him into the scene and learned to play the small gong. Later, this also became a special skill of the father.
Zhou Chuanying's "Golden Sparrow • Qiao Vinegar" stills
Opportunities are all prepared for those who are prepared, and soon when "Mr. Big" Shen Yuequan teaches drama, my father is keeping in mind his martial arts gongs and drums, while other students are studying, he is also silently working hard. Once, when Mr. Shen got up at night, he bumped into the figure of a boy who was practicing in the courtyard, and when he looked through the moonlight, he recognized that it was Zhou Chuanying, who was playing a small gong. At that time, the husband was very surprised and thought that this child could be very productive. Therefore, my father was dialed into Mr. Shen's "table" and formally learned to be a primary student.
"Daisen" Izumi Shentsuki
My father's gratitude to Mr. Shen can really be said to be unforgettable. After the outbreak of the Cultural Revolution, many things in the home were copied, and even the passbook was gone. But my father kept Mr. Shen's photos very well. Every year when our family Chinese New Year's Eve, he would shut himself in his room for a quarter of an hour, wait for the family to be full and set up, and finally come out of the house. Every year, I don't know what the old man is doing in the house alone.
At that time, my daughter Zhou Haolu was still very young, and once she went to ask my grandfather to eat, and I happened to see the photo of Mr. Shen enshrined on the table, and Haolu, like my grandfather, belonged to the kind of person who didn't talk much, but was very smart, and I understood it at a glance. When we came back and talked to us, we suddenly realized.
Zhou Shiqun Zhou Chuanying
In terms of voice alone, my father is indeed not satisfactory, but he is good at using it. For example, the "Fifteen Consecutive" situation clock first appeared on the scene of "Dotted Lips" "strict law enforcement, Dulwich parallel". The tone is not high and does not sound like a whole word, not very good to sing, but he can sing very tastefully. He used the traditional "anti-cut" method of biting words to emphasize the beginning of the word, and sang "sentence reading" and semantic changes in the sudden setback. Mr. Zhu Jiaxuan laughed and said, "I love to listen to his singing, there is a taste; this voice has been listening to for a long time, and a good voice does not like to listen." ”
I studied drama with my father, and I had several major regrets, and there was a play "Cuiping Mountain", and my father was very famous for acting. Originally, he wanted to teach me, but my father didn't teach it later when he was not in good health. I went to the hospital to see my father, and my father said from his hospital bed, "I can't teach this 'Cuiping Mountain' and 'Yaguan Lou'." This is one thing I really regret. Although I sang The Little Flower Face, my father wanted to teach me these two plays, and I later thought to myself that he was trying to strengthen my basic skills by learning these two plays. Although these two plays are not small flower face plays, the basic skills are used there.
(ii)
My father also taught me the scarf to be born, and he spoke with the name "Three Tops of the Towel". He told me that I must pay attention to the role when acting, and now I talk about the character, and my father's generation loves to talk about the role. Pan Bizheng, Zhang Sheng, and Liu Mengmei are all towel students, but there is also a difference between them and towel students. He told me that the role of Liu Mengmei is very polite and polite, the water sleeves should be hanging, and the water sleeves should not be over the waist. Even the look in his eyes when he looked at Du Liniang was implicit, not released. Pan Bizheng's role, the water sleeve can be over the waist, he is larger than Liu Mengmei's amplitude. When looking at Chen Miaochang, the gaze can put a little brilliance, but it can't be enough.
Fragment of "Peony Pavilion Frightening Dream", Zhou Chuanying as Liu Mengmei
[Mountain peach] is like a beautiful flower for you like a flow of water, is it a question of idle search? Self-pity in the shadows. (Read: Sister, go talk to you there.) [Mountain Peach] turned over this peony bar, close to the edge of the lake and mountain. And you put the collar button loose, the width of the coat, the sleeve tips of the teeth, also. Then wait for you to endure and warm sleep. - Lyric reference
Among these "three tops", the craziest is Zhang Sheng. Compared with the first two characters, Zhang Sheng has more gags in the play. Therefore, the techniques of "hanging sleeves", "throwing sleeves", "hitting sleeves", "flying sleeves", "putting sleeves" and "folding sleeves" in the water sleeves can be used. My father and Teacher Wang Chuansong's "Nanxi Xiang Ji Youdian", I was very impressed when I was a child, in 1958 Premier Zhou went to Hangzhou to see the performance, I remember Mr. Gai called Mr. Tianlao to perform "Wash the Floating Mountain", my father and Teacher Wang performed this "Youdian", the monk and Zhang Sheng two people joked with each other, very interesting.
(iii)
In addition to the "three scarves", he also has "three pairs of plumes". At that time, there was a saying that "the three sons were only passed on", but what about the three sons? Pleats, fans, plumes. My father's Plume Gong was quite famous, and I remember that my father used to show me the skills of "catching the plume", "catching the plume", "plucking the plume", and "biting the plume", which are still vividly remembered after so many years.
Zhou Chuanying's "Serial Counting Small Feast" fragment ↑↑↑↑
The first pair was Lü Bu, and when he told me about "Serial Counting And Small Feast", he told me that Lü Bu's character had four characters, the first word was "pride", before he met Wang Yun, his eyes were "taking the tip of his nose" to see, and the eyes were from top to bottom. The feathers on his head should swing from side to side to show his pride.
"Serial Counting Small Feast" Zhang Xian Zheng Chuanjian Zhou Chuanying
When Wang Yun came on the scene to ask him about the battle of Tiger Prison Pass, he rose from "pride" to "madness", and the performance of madness was to dance with his hands, and at this time his plume was very beautiful. By the time the mink cicada came on, he was the word "color". The look in his eyes when he looked at the cicada was not obscene, but like a cat and a mouse, and his eyes were sufficient, and his expression was more than his form. When he and the mink cicada made a secret appointment, Wang Yun suddenly broke out, and he became "instigated", to what extent? I didn't even have the strength to do it, the water sleeves were hanging down, and with the gong, the steps were shaking. He pretended to be drunk by wine, but in fact it was instigation.
"Eight Sledgehammers" drama painting
My father concluded that the performance of Peking Opera is wonderful, and the performance of Kunqu Opera is exquisite. Peking Opera's "Eight Sledgehammers" is a martial arts performance, if this play is Kun opera performance, it should reflect the characteristics of Lu Wenlong's age, although this character is excellent in martial arts, but after all, he is still a doll. My father told me that he would put Lu Wenlong's innocence and pride to the show.
The second plume is the bite of the navel in "The Tale of the White Rabbit". This plume is similar to Lu Wenlong, and is a doll who wants to highlight the childishness of the character. This character is also twelve or thirteen years old, if there is no doll's childishness, singing the same as Takeshi, it is not right. This role is to be "upside down", why "upside down"? Children's expression ability is not as good as adults, many times he wants to say but can't express, the mouth is faster than the head, so sometimes it will be like this when you are in a hurry.
Zhou Chuanying stills
Zhou Chuanying's "three sons" are famous does not mean that his skills are better than others, and there are too many people who practice Lingzi gong well. But his Lingzi gong is not only good, but also can be used, and the skills are all for the role to serve. Some people asked: "Zhou Chuanying's "Little Feast" skills are not much, how is it good?" "I summarize his goodness not because of how many flowers he has played with, but because he uses it accurately, which means that he fits the role."
The third plume is Zhou Yu, Zhou Yu's plume does not move much, "Hua Dang" Zhang Fei ridiculed him, he turned his back on the audience, with the plume on his head to shake out the amplitude, to tell the audience the mentality of this character at this time. Zhang Fei ridiculed him as the cause, he trembled and was angry as a result, the two characters wanted to form a cooperation, if Zhou Yu would not cooperate, Zhang Fei's play would be in vain.
(iv)
"Fifteen Consecutive" movie clips ("Judgment Chop", "See Capital", "Measuring Words") ↑↑↑↑
"Judgment Chop"
Zhou Chuanying as Guan Zhong
Xu Guanchun as Xiong Youlan
Li Qianying as Su Shujuan
Gong Shikui as a doorman
"See the Capital"
Bao Chuanduo as Zhou Chen
Shen Chuankun as Zhongjun
Zhou Chuancang as Night Watchman
《Word Measurement》
Wang Chuansong as Lou A-rat
The old "Fifteen Guan" is similar to the Peking Opera's liantai ben play, which takes a long time to perform, and there are two lines in it, and later in order to make a movie, it was changed. The plot of the dream double bear in "Su Temple" was deleted, and when I was a child, I still watched the old acting. The content of this play is very good, and the script was later changed very cleanly, one link after another, and the main purpose is to attack the phenomenon of unjust, false and wrongly decided cases. Since my father made a movie, it has had a great influence in the whole country, and the state also advocates the transplantation of other dramas, and Premier Zhou said at that time: "A drama saves a drama."
1956 People's Daily
In the play "Fifteen Consecutive", my father played the situation clock. The situation clock is played by the old students, my father is a small student, they pass on the word generation this is very powerful, will be a lot. In his performance of the old student, there are many official things. If this play is played by Teacher Zheng Chuanjian or Teacher Ni Chuanyu, it is definitely not his style.
"Judgment and beheading" is a prominent word of "strictness". The state of the characters in the first half of the play is loose, and slowly he realizes that this case is not as simple as he saw, and the state is tight. When he sang "This pen weighs a thousand pounds", he thought in his heart: "When this pen falls, two lives will be gone!" His inner conscience was fighting. The two prisoners were wronged, their faces full of concern, and the door next to them was also looking at the situation with a nervous look. At this time, from the characters on the stage to the audience offstage, the eyes are stuck on this pen. This is a very wonderful place for this play.
"Seeing the capital", Guan Zhong went to the capital to ask for a probation. Re-examine the case. What stands out here is the word "urgent", because a little later, two lives may be lost. However, although the situation clock is in a hurry, it is also necessary to pay attention to the number of etiquette. After the briefing, he sometimes showed an anxious mood in the process of waiting. But you have to restrain yourself. In the past, the ranks were very strict, and the official level crushed people to death. Here he uses performances such as "rubbing his hair", "rubbing his hands", "shaking his head", "rubbing his hands with his back", etc., to tell the audience to explain the fidgeting mood of the character at this time.
He told me that it was a pity that when making the movie, he did not reflect his steps. Because opera is a stage art, film has limitations after all. His steps are very famous, and here his steps also have levels. Neither light nor heavy, heavy walking is out of the sound, what is this place? You have to carry the gas away, but you also have to leave a three-point official shelf, and the scale is very difficult to grasp.
When Singing "Pomegranate Flower", the figure is very beautiful. Kunqu opera is very disciplined, but when he sang "more drumming upset", he told me: "How to make the audience understand the upset?" To be reflected in the performance of water sleeves, water sleeves should be thrown with emotions. Don't be too rigid, or you'll die. This is the value of art, not to say that if you look at the "recording teacher" (video), you can learn it. This "pomegranate flower" figure, Mr. Ma Lianliang looked at it and admired it.
After Zhou Chen came out, it was up to The White Mouth Kung Fu of the Condition Clock. Many young actors do not act brilliantly, often because of the lack of kung fu of the white mouth. One is that the mouth is weak, and the other is too single to read the level. Different scenes should use different white mouths, and in the dialogue with Zhou Chen, he used techniques such as "grabbing white", "clipping white", and "covering white". Grab and clip well understood, what is a cover? Not only am I going to snatch this word up, but I'm going to cover you!" In the dispute with Zhou Chen, we must take a good measure and not be too tough. However, when it comes to "human life is closed to heaven", the weight of the white mouth should be increased here, and he used the "heavy white" here. The image of the character's righteous and awe-inspiring character came out at once.
When he went to You Hulu's house to search for evidence, there was a very beautiful figure, the beam fell down to the ash, he used a fan and water sleeves to block the ash, very beautiful. In this play, he changed his clothes three times, in front of which were official clothes and plain clothes, and when he reached the back of "Visiting rats to measure words", Guan Zhong dressed as Mr. Word Surveyor and changed to wearing pleats. What kind of performance he wears, it's all different. In "Word Measurement", Lou Ah Rat killed people and begged God to bless him in the temple, and Mr. Word Measurement, played by Guan Zhong, gave him ideas on how to get out. In fact, at this time, The Situation Clock had already arranged for someone outside to arrest him.
Lou Ah Rat sang at the end, which was used to express his inner excitement and pride. When the song was sung "Flying High like the end of the world", Lou A Rat's hand just went out, and The situation clock used a fan in time to hook Lou A Rat's hand back. It was designed by my father, and I think it was very clever, which means "you can't run out." Few people will pay attention to this small detail, but it just happens that these small places are the most interesting.
Jingkun is not divided into families, and the relationship between the Kunqu opera circle and the Peking Opera circle is very close. Take our family, my lover sings Peking Opera, she is Peking Opera, Kun Opera two doors hug. My father had a very good relationship with Xiao Changhua, Mei Lanfang, Ye Shenglan, and other old gentlemen in the Peking Opera circle. Mr. Wang Yaoqing even entrusted his grandson Wang Rongzeng to my father to teach, and I have always called him Brother Shi.
Mr. Li Yanzhi, with the "Five Tigers of the Li Family", once visited my father and wanted them to learn more About Kun opera. My father also liked them very much, once I watched Teacher Li Huilan perform Lu Su in "Heroes of the Crowd", his body was really beautiful, and when he saw that there were Kun things on his body, I admired her very much.
I watched Peking Opera in Jiangsu and admired Zhao Yunhe's performance. How good is Zhao Yunhe? Teacher Zhao's Erlang God hooked Jin Yuanbao's face, and it came out very beautifully. I describe it as "steaming steamed buns, steamed buns, when the cage drawer is lifted." That artistic impact is too strong. It was created entirely by himself, and few people on the same stage with him could suppress him.
"Pick a Scooter" He played Yue Fei in front, and yue Fei had nothing to do in this play, but he acted differently. There is yue fei in front of him, and if he plays a high pet in the back, it is not easy to sing in the back, which is the charm of the horn. I know Teacher Zhao very well, I miss him very much, and the old man is also good. My wife Zhu Ya and Teacher Zhao also have a still of "Butterfly Cup", which was taken during the performance in Shenyang. The old man of his "Ancient City Society" is also very good and very atmospheric.
I have heard that Mr. Liu Wuli is very famous for his "Shou Ronghua Night Watch", but unfortunately I have never seen it. In the 1980s, my father asked Mr. Liu to rehearse this play for the Zhejiang Kun Opera Troupe, and I finally saw it. From the appearance to the end, the stage is very quiet. I watched Mr. Liu Wuli demonstrate, and I really enjoyed it. I heard of an incident, Liu Wuli and Mr. Goldman Sachs Lin went to the bathhouse to take a bath, and Mr. Gao and Mr. Liu said: "Fifth Master, if Beijing wants to say that it is the two of us who want to act in a drama." I have asked many teachers about this matter, like Teacher Zhou Yunliang listened to it and replied: "Not too much." It is amazing to be admired by peers.
My master, Mr. Li Zigui, is very diligent. Their Li family is a big family in the southern Peking opera circle, so he loves to talk about southern opera. He said to me Hangjia Lake, this place is very honed people. He said: "You have to sing in Hangjia Lake, you are not afraid on the stage." I admire Mr. Zhou Xinfang very much, and his performances are both wonderful and exquisite. His stuff makes you want to learn, but you can't learn it. If you want to learn the Qipai with a video recorder, it is impossible! Some people have prejudices against Qilin Tong and think that it is the Waijiang Sect, which is very vulgar. In fact, many of Mr. Zhou Xinfang's things are Kunqu things.
Teacher Zigui was the Qi Sect, and when I was studying directing, I wanted to worship Teacher Li Zigui. At that time, I asked Teacher Shang Changchun to help me say it, and I asked Teacher Shang not to tell Teacher Li that my father was Zhou Chuanying. When he came to Nanjing in 1982, Mr. Tian Han's son-in-law, Mr. Zhang Hui, called me and said, "Shi Chun, director Li Zigui went to rehearse the play, and you went to accompany me." Teacher Li asked me, "I heard that you want to worship me, but the opera director must be able to act, can you walk around and see what plays?" I was young at the time, and Teacher Li said you point, which was probably the wildest sentence in my life.
Teacher Zhou Shiqun practiced photos
Teacher Li ordered five plays, including the Lingzi play, the small flower face play, the crown life play, the doll life play, and the Hua Dan play, and I walked through it all at that time. Teacher Li was quite surprised and asked me: "Your family is doing this, right?" Because I told Teacher Li before that I was the curtain puller of the Kun Opera Troupe, Teacher Li did not expect me to. I said that my father was Zhou Chuanying, and Teacher Li said, "Why didn't you say it earlier, your father can edit, act, and direct is the object of my admiration."! I said I was going to tell you in advance, and it was difficult for you to see that you had taken me in my father's face.
When I said this, Teacher Li was very happy and said at the time that he would accept me. I was also very happy, immediately gave him three heads, at that time I was not sure that Teacher Li would definitely accept me, so I did not take the camera, just Song Changrong teacher with other friends to see Teacher Zigui, some of the people in the same company carried a camera, at that time they took a picture for us, I think about it now. Teacher Zigui has always stressed to me that opera directors must know things on stage.
In the 1980s, it was necessary to leave materials for the teachers of the Chuanzi generation. At that time, the teachers' health was not very good, after all, they were all old people, and the quality of the performance certainly could not reflect the level of the heyday. For example, my father's 1985 "Too White Drunk Writing", which was the last video of his life.
At that time, there were not many people studying directing, so I was asked to supervise the production of the drama catalog of the old artists behind the scenes. Looking at the "monitor" I also learned now, in fact, these materials I only saw little by little today, and I also recalled the scene at that time. According to the picture, it can also be recalled which are the "Chaotian Palace" in Suzhou and which are recorded in other theaters.
Zhou Chuanying's "Amazing Hongji Drunken Writing"
By then my father's health was already very bad. From his hospital bed, he said to me, "Actually, from a personal point of view, I really don't want to record it again." Now wear a pleat, feel very heavy. I certainly can't perform at a level I'm satisfied with. But the country attaches so much importance to it, so many people work for us here, Kunqu colleagues need... I have to record! "Later when I saw the footage, my eyes were moist. Wearing a pleated piece of himself felt heavy, to satisfy the heavy performance on the wings, the official clothes, and the water sleeves, I knew that he had endured great pain to complete this mission. (Zhou Shiqun dictated by Chuan page LCP)
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Source: Qianjiang Evening News