In the history of the development of Kunqu opera, the character "Chuan" deserves to be remembered forever. It is precisely under the careful teaching of the "chuan" generation of artists that New China has the first batch of Kunqu opera actors - "Kun Da Ban", creating a miracle in the history of opera education with the highest success rate, the most complete industry, and the most top actors. The "Kunda Class" and "Kun Second Class" and their teachers have enabled the endangered Kunqu opera art to be re-inherited and developed, and has become an important force for the revival and prosperity of Chinese Kunqu opera.
This year marks the 100th anniversary of Kunqu opera's "transmission" of characters, and it is also the 20th anniversary of Kunqu opera being selected as a world intangible cultural heritage. This morning, more than 10 veteran artists from the "Kunda Class" and "Kun Second Class" gathered at the Shanghai Art Research Center to participate in the symposium on "Me and My 'Chuan' Teachers", reviewing the sincere teachings of the Chuanzi teachers from the bits and pieces of their academic and artistic life, and remembering the deep friendship with their teachers.
"Without the efforts of the 'passing on' characters, there would be no prosperity in Kunqu opera today." Ma Bomin, director of the Shanghai Jingkun Art Development Advisory Committee, said that looking back at the history of the rise and fall of Kunqu opera, from "Huan Sha Ji" to "Linchuan Four Dreams" for more than 600 years, it once had a desirable glory. The Suzhou Kunqu Opera Transmission Institute was born in such a historical background. A group of people of insight stepped forward at a time when Kunqu opera was extremely difficult, paid for it, gathered the artists of the predecessors of the Kunqu opera industry, rescued and integrated a large number of traditional repertoire, repertoire and performance skills of Kunqu opera, and more importantly, cultivated a group of outstanding Kunqu opera people - "chuan" generation.
In 1955, the Shanghai Opera School was established, and the first Kunqu opera class, under the careful teaching of the teachers of the "Chuan" generation, became the first generation of outstanding Kunqu performing talents in New China, known as the Seven Beams and Eight Pillars.
"Kunda Class" students practiced
Subsequently, despite their advanced age, they continued to cultivate the "Kun Second Class". The artists of the "Kunda Class" and the "Kun Second Class" inherited the fine tradition of the "Chuan" generation and continued to cultivate the "Kun Third Class" until the present "Kun Seventh Class". In addition, it has also selflessly cultivated many opera talents for Peking Opera and local opera.
Lu Chuanhong taught drama
In the eyes of the students, the dedication of the teachers of the "chuan" generation, the excellence of the art and the selfless promotion of future generations will benefit them for a lifetime. Cai Zhengren was impressed by two mentors, one was Shen Chuanzhi, who continued to inherit Kunqu opera until he was in his 80s. "I remember that in August one year, when the weather was very hot, Mr. Shen taught us the "Serial Meter , Combing and Throwing", when he was wearing a Han shirt, shorts, and took a stick to demonstrate his body. As we all know, the character of Lü Bu is very complex and intense. We watched the teacher sweat down one by one..." Cai Zhengren said that Shen Chuanzhi not only taught Xiaosheng, but also taught Bomen Dan, and many of his classmates had been taught by Shen Chuanzhi.
Another impressive one was Zhou Chuanying. In 1986, the Ministry of Culture opened a Kunqu opera training class in Suzhou, and Teacher Zhou Chuanying was still teaching students in the last stage of his life. "Taught us three plays, one is "Collecting Firewood", one is "Pavilion Meeting", and the other is "Joe Vinegar". After the first two plays were taught, not long after the "Joe Vinegar" began to teach, Teacher Zhou vomited a lot of blood and was sent to the hospital. The leader told him to rest, but in this case the teacher said to me: 'This play only teaches the beginning, I have to teach it, don't let everyone come in vain.' So I decided that the teacher would teach from the hospital bed, and I would make the movements, and the teacher would nod his head in affirmation, and then go back to teach the other students. Cai Zhengren sighed that this is probably a very rare mode of teaching and learning in the history of opera. During the period, after studying well at Teacher Zhou's side during the day, he also asked Teacher Shen to "open a small stove" at night.
"This play was taught by the two teachers, and we learned it, and later it became a play that Zhang Jingxian and I often performed." Cai Zhengren said that from these two things, we can see that the teachers of the Chuan generation have worked cultivating and learning. Because of them, China's excellent ancient drama genres can continue, inherit and develop. "This year marks the centenary of the founding of the Communist Party of China, and it is also a hundred years since the Kunqu opera 'transmission' generation has been practicing art. In this regard, I find it very honorable to be able to be the first generation of students who are 'passed on' as teachers. ”
"In the life of learning art, my biggest experience is that there is affection for art, and there is love for inheritance." Liang Guyin said that many children in the "Kunda Class" have general family conditions, their parents are not around, and the teachers have given everyone a lot of love. During his studies, Liang Guyin spent his summer vacation at Shen Chuanzhi's house, and in the morning, his children ate green vegetable noodles, while Liang Guyin ate shrimp pot rice. "It's such a treatment, without Teacher Shen, there would be no me today." Hopefully he'll see me on stage at 80. ”
Hua Wenyi, Zhu Chuanming, Liang Guyin
"The centenary of the party and the kunqu opera 'transmission' of the generations from the art for a hundred years seem to be accidental, but in fact it is inevitable. Without the full rescue of the Chinese Communist Party, Kunqu would not be where it is today. Yue Meiti said that Kunqu opera was dying in difficult times, and it was precisely because the party leaders felt that Kunqu opera must be saved, so there was a "Kunda class". "Looking back on this period of history, we are very fortunate." She sighed.
Author: Li Ting
Edit: Jiang Fang
Image source: Shanghai Art Research Center