Who are the four famous Peking Opera actors in China?

The four famous Peking Opera artists in China are Mei Lanfang, Shang Xiaoyun, Cheng and Xun Huisheng.

The titles of the four famous Dan were first put forward by Sha Dafeng in the first issue of Tianjin Dafeng newspaper in 192 1. The four famous Dan in Beijing Opera are the most famous. They refer to Mei Lanfang, Cheng, Shang Xiaoyun and Xun Huisheng.

Mei Lanfang

Beijing opera is the leading role, the first of the four famous talents, and the creation of Mei school art.

Mei Lanfang (1894.10.22-1961.8.8), whose real name is Lan, also known as He Ming, whose real name is Sister Skirt, whose real name is Hua, is also the owner of Yuxuan, with a stage name. Beijinger, ancestral home in Taizhou, Jiangsu. Master of Chinese Peking Opera Performing Arts.

Mei Lanfang was born in a family in Liyuan. She studied drama at the age of 8, studied Tsing Yi with Wu Lingxian at the age of 9, and took to the stage at the age of 10. Later, he asked Qin Zhifen and Hu Ergeng to learn from Hua Dan. 1965438+April, 2005 to1965438+September, 20061/official tide, Yuanyang in prison, Fanfan, etc. Before 1949, he performed in Japan, the United States and the Soviet Union, and received honorary doctorates in literature from Pomona College and the University of Southern California. 1950 was the president of China Peking Opera Theatre, 195 1 year was the president of China Opera Research Institute, 1953 was the vice chairman of Chinese Dramatists Association, 1959 joined the China * * * production party,1965433. At the age of 67.

Mei Lanfang has developed and perfected the singing and performing arts of Beijing Opera actress in her stage life for more than 50 years, and formed a unique artistic school, which is internationally known as "Mei School". Representative works include Drunk Maids, Goddess Scattering Flowers, Cosmic Front, Fisherman Killing Family, etc. He has trained and taught more than 65,438+000 students.

Major achievements

Create a beautiful shot

At the early stage of Mei School's formation

In the early stage of Peking Opera, a generation of old artists, represented by Mei Qiaoling, opened a chapter in the art of Peking Opera. The Mei School art initiated by Mei Qiaoling has made outstanding contributions to the perfection and development of Peking Opera performance art, and has also become an important founder of Mei School. Mei Zhufen, the son of Mei Qiaoling, the second generation successor of Mei School, inherited Mei Qiaoling's singing style well, and he made great contributions to the inheritance of Mei School art.

The establishment of meipai

In the 1920s and 1930s, Mei Lanfang, the grandson of Mei Qiaoling, inherited and developed the Mei School art. At that time, there appeared four famous artists in the history of Peking Opera, namely "Sung Hoon who is still beautiful", which made the development of Peking Opera, which was equally famous by the four famous artists, enter a peak period and was an important symbol of Peking Opera's prosperity.

Mei Lanfang founded the Dan School from the Mei School, and the best performance of Mei Lanfang in Peking Opera is Dan, so Mei Lanfang is the first person to establish an art institution in China.

In Beijing opera, women are collectively called "Dan", which can be subdivided into many occupations according to the age and personality of the role. The woman who plays a well-off family and has status is called "Zheng Dan", and Zheng Dan is commonly known as "Tsing Yi" in Peking Opera, which is named after Zheng Dan's character often wears a blue robe. Dou E, the heroine in the Peking Opera Dou E Yuan, is a typical Tsing Yi character. Tsing Yi's performance is solemn and demure, beautiful, elegant and gentle, and mainly focuses on singing. Generally speaking, Tsing Yi's singing is beautiful and delicate.

Through continuous efforts, Mei Lanfang finally merged the fine arts of Beijing Opera, and merged the industries of Tsing Yi, Hua Dan and Beijing Opera Blues into one furnace, creating a unique performance form and singing style, which is known as the "Mei School" internationally and has a great influence.

Innovation of American School

Mei Lanfang's innovative Peking Opera Mei School art is not only the pinnacle of Chinese Peking Opera and even the whole China opera art, but also one of the three major performance systems in the world. The development of Mei school art naturally benefits from the opportunities of the times. At that time, elites gathered in Beijing, theaters and teahouses, and Mei Lanfang's "Mei Party" gathered in Yu Xuan also showed their magical powers, which made great contributions to Mei Lanfang's Mei School art at that time.

The fusion of art and drama

China's plays can be said to be active ink paintings in terms of costumes, props, makeup and performances. Mei Lanfang knows to learn from paintings to help the drama. So he studied painting and asked some famous painters, including Qi Baishi, who loved Mei Lanfang's plays very much. Qi Baishi is Mei Lanfang's teacher and friend. Mei Lanfang integrated art, life and interest, which allowed China traditional calligraphy and painting to enter drama, expanded the art field, broke the original art barrier, opened up a new way, and spread this new thing abroad.

American school inheritance

Mei Lanfang's life embodies the professionalism of continuous innovation and Excellence. He integrated creative ideas in many artistic fields into the stage performance of Beijing Opera, making the singing and performing arts of Beijing Opera perfect and becoming a far-reaching school. Form a unique artistic style. Among them, the representative plays that can best embody the art of Mei school are Farewell My Concubine, Drunk Imperial Lady, Mu and so on.

Therefore, Mei Baojiu, Mei Lanfang's son, received his father's instruction and guidance in the inheritance of Mei Pai art. As a leading figure of Mei school art and an important actor in Peking Opera, Mei Baojiu deeply felt the importance and urgency of the inheritance of Mei school art, and made positive efforts for it.

Among the outstanding successors of Mei School art, Hu Wenge is regarded as a rising star of Mei School. He studied under artists such as Mei Baojiu and worshipped Mei Baojiu. In the process of learning from Mei Baojiu, he inherited the Mei school art well, showed the charm of the male Dan art, and contributed his own strength to the inheritance and development of the Mei school art and the male Dan art.

Drama theory

Mei Lanfang mainly performed in Beijing and Kunming all his life, creating many fashion dramas and costume dramas, and processing many traditional dramas, such as Mandarin Duck in Prison, Official Tide, Deng, A wisp of hemp and the Goddess Chang'e flying to the moon. His contribution to China's traditional operas is various, and his contribution to the theory of traditional operas is just one of them.

Mei Lanfang put forward "Three Points of China's Plays". First, it can break the gap between western drama and China drama. Secondly, all the movements and music in China's plays are totally postures. The so-called posturing means that all movements and music have a fixed way. For example, action has its way, and music also has its way. All these ways can be used as artistic letters, and a play can be made by piecing together different letters. However, the actor in China's plays is not bound by this letter, and he can still exert his artistic talent and creation, among which Drunkenness of the Imperial Lady is one of the masterpieces. Thirdly, the future trend of China (drama) must be modernization, not necessarily the modernization of drama and ontology, but the modernization of artistic conception and ethics in drama, such as background and lighting, which can also make it gesture and make it have a fixed way to express various emotions in drama. This is an experimental way of China's drama in the future.

These three points have important theoretical significance and practical value, and can provide beneficial enlightenment for the inheritance and development of Beijing Opera in China. Mr Mei Lanfang's rational exposition, rooted in the fertile soil of China's literary theory, is simple and easy to understand. This is a rare theoretical heritage of China's traditional opera, which is not only very important for summarizing Mei Lanfang's theoretical system of Peking Opera performance, but also enriches the theoretical system of China's opera performance, and is worthy of in-depth summary and research.

Artistic influence

Mei Lanfang, born in a family of Liyuan, studied drama at the age of 8, studied Tsing Yi with Wu Lingxian at the age of 9, and took to the stage at the age of1/kloc-0. Gong Qingyi also plays Beijing opera blues. Later, he asked Qin Zhifen and Hu Ergeng to learn from Hua Dan. He studied Kunqu opera hard, practiced martial arts and acrobatics, and extensively observed the performances of local operas and other characters in Danjiao. After long-term stage practice, he studied hard and was brave in innovation. He created many beautiful artistic images, accumulated a large number of excellent tracks, developed and improved the singing and performing arts of Peking Opera, and created and developed the singing, reading, dancing, music, clothing and makeup of Peking Opera. Mei Lanfang's artistic achievements have played a connecting role in the development of modern opera art in China.

Main work

Keywords Zhan Puguan, Jiugengtian, Erdumei, Yue Jiazhuang, seeking solitude, matching spring and autumn,

Keywords empty valley fan, tassel picking, Fenhe Bay, Biegong, Famen Temple, golden needle, red python,

Red-maned spirited horse, offering sacrifices to the river, Nantianmen, Yanmenguan, Cailoupi, Changbanpo, catching three passes, headlight hall, Lianghongguan, Shiro visiting mother, female release, Touben Hongguan,

Shang Xiaoyun

Shang Xiaoyun (190065438+1October 7-1976 April19), whose real name is Dequan, is from Qixia. My ancestral home is Nangong City, Xingtai City, Hebei Province. 1900 65438+1Born on October 7th. A famous Peking Opera performing artist, a famous Peking Opera actress and a famous Peking Opera actor, he is a master of Peking Opera performing arts with far-reaching influence in China, one of the representatives of modern Peking Opera in China, and the founder of Shangpai Art. It is one of the "four famous dances" of Peking Opera.

During the nearly sixty years of stage practice, Shang Xiaoyun created the Peking Opera genre art of "paying equal attention to civil and military, singing and dancing, being fresh and free and easy", which had a far-reaching influence on later generations.

Shangpai art

Shang Xiaoyun is one of the representatives of modern Peking Opera in China. His life's artistic experience coincided with the heyday of Chinese Peking Opera, and he was a witness and participant in the middle and late history of Peking Opera.

Shang Xiaoyun studied under Sun, Sun, Sun and Sun. Learn from Hua Dan and Lu, and learn from Kunqu Opera and Lu Jingui. The teachers are all typical of the times. Therefore, in the chaos of Wu Wen Kunqu Opera in his early years, he was an outstanding character, especially his Tsing Yi opera was recognized by the audience and was recognized as "authentic Tsing Yi".

Shang Xiaoyun is gifted. He has a broad and bright voice, handsome appearance and suitable figure. In particular, the enthusiasm is full, the voice is high, and the singing skills are lasting and commendable. Because of its high-pitched, powerful and bright voice, it is very suitable for traditional singing in Tsing Yi. It is famous for its "two sacrifices"-singing opera "Sacrifice to the River", "Sacrifice to the Tower", "Jade Tang Chun" and "Visiting Mother", so it has the reputation of "iron throat".

Traditionally, Tsing Yi and his entourage performed "chastity girls", and the singing method required not only clarity and crispness, but also a masculine voice. Since Hu Xilu initiated feminine singing, masculinity has gradually lost. Sun He is both quasi-old-school and masculine. Chen Delin, in particular, inherited the advantages of masculinity, and at the same time paid attention to both rigidity and softness, creating a new singing style in Tsing Yi.

In singing, Shang Xiaoyun directly inherited the tradition of masculinity and the traditional singing method of "keeping one's mouth shut and one's words loose" in early Tsing Yi. Later, influenced by Chen Delin, he supplemented his strength with elegance and formed his own style. His pronunciation is resistant to falling, which forms a sharp contrast, pays attention to momentum and gives people a strong and powerful beauty. The traditional singing method of "Climbing higher and higher" in Tsing Yi is that he lifts weights as easily as possible. When Tang Xiaoyun sang, he not only didn't reduce the lyrics as often as Dandan did later, but sometimes added the lyrics according to the old-school singing method. For example, in Yu Tang Chun, it is usually followed by "disturbing rural agreements and local public security", that is, "catering to the court", but it is followed by "two officials are on the edge, one is pulling, the other is pulling", and then "catering" is added.

Like the other four famous artists, Shang Xiaoyun has dabbled in all fields of Peking Opera, whether it is Tsing Yi, Hua Dan, Daoma or even Wudan. But his difference is that he is not committed to breaking the performance boundaries of these industries, but to adapt to the performance needs of different industries in each special environment. In Visiting Mother, Shang Xiaoyun played the princess in her early years, and then the queen mother. He abides by professional norms. The princess wore a flowered shirt with a flag, while the queen mother was completely typical of Tsing Yi. Another example is a fierce horse with red mane. Shang Xiaoyun plays Wang Baochuan in Wu Jiapo and Dai Zhan in Da Deng Dian. It is also clear and unambiguous about Tsing Yi and colorful shirts.

Main repertoire

Erjin Palace, Sacrifice Tower, Journey to Zhao Jun, Liang Hongyu, Han, Liang Hongyu, Gankun Fushou Mirror, Princess Silverscreen, Imperial Monument Pavilion, Rainbow Pass, Fisherman's Family, Wujiapo and Dai Mo.

journey

Cheng (1904 65438+ 10/-June1March 9, 958) is a famous Peking Opera performer, a famous Peking Opera master, a famous Peking Opera actor, one of the four famous artists, and the founder of Cheng School Art, male. Cheng was originally named Colin. Beijingers, later changed to Han nationality, surnamed Cheng, first named Cheng Junong, later changed to "Jade Frost". From 1932, it was renamed as Qiu Yan and changed to Yu Shuang.

Artistic feature

Cheng Pai's singing skills are unique. He strictly abides by the rules of phonology. With the development and change of drama plot and characters' emotions, his singing is ups and downs, and the rhythm is changeable, which requires a high combination of "sound, emotion, beauty and eternity". His performance is very meticulous and profound, paying attention to the integrity and beauty of stage expression, and at the same time paying attention to being close to the truth of life.

In artistic creation, Cheng is brave in innovation and creation, and pays attention to four tones in stage performance. According to his unique voice characteristics, he created an indirect and intermittent singing style and formed a unique feature. The characters he created are elegant and dignified, just like white chrysanthemums in frosty days, with a sober beauty, and later became one of the "Four Famous Hunters in Denmark". Cheng also has a series of distinctive creative features in his performance, including his eyes, figure, footwork, fingering, sleeves, fencing and so on. As a complete art school, he has been fully displayed on the stage of Peking Opera. Cheng pays attention to drawing lessons from the art of brothers and sisters and integrating them into his own artistic creation. He is an outstanding master among many artists.

representative works

Cheng's repertoire is very rich, and the traditional repertoires are; Tsing Yi operas, such as Greeting the Queen and Scolding the Hall, Three High-fives, Jade Hall Spring, Fenhe Bay, etc., mainly focus on singing, while Hua Dan and Peking Opera such as The Prince and the Geisha, Rainbow Pass and Gong Yanyuan flirt with each other, mainly performing Bai Yin and martial arts. His Kunqu Opera "Snow", "Dream in the Garden" and "Thinking of the Fan" are also very skillful. With the assistance of Luo Yinggong, Jin, Weng Ouhong and others, he composed and performed The Legend of Red Stroke, The Edge of Flower Boat, The Tomb of Yuanyang, The Green Frost Sword, The Dream of Spring, The Tears of the Barren Mountain, The Moon Return to Han, The Lock Forest Capsule, The Wounded of Shu, and The Jade Hairpin.

Xun shenghui

Xun Huisheng (1900 65438+10.5-1968 65438+February 26th), whose real name is Sheng Hui and his stage name is Bai Mudan, is a famous Peking Opera performer in China and one of the "Four Famous Dancers". Xun Huisheng was born in Dongguang, Hebei. His first name was Bing Chao, and later he changed his name to Bing Yi. He co-starred with Yu Shuyan in The Fisherman Killed the Son and changed his name to Xun Huisheng. Xun Huisheng has a deep foundation and a wide range of plays. He combines the performances of Beijing Opera Tsing Yi, Hua Dan, Gui Mendan and Beijing Opera Blues in one furnace, and also absorbs the skills of Beijing Opera Xiao Sheng and Wu Sheng. By the 1930s, a novel and unique "Xun School" art was gradually formed. Xun Huisheng performed more than 300 plays in his life, including masterpieces such as Lantern Enigma and Qipanshan, which were called "three small and one white" with Yang Xiaolou and Shang Xiaoyun, and had the reputation of "no Dan and no Xun".

Artistic feature

He is very strict about singing. He believes that singing should "express complex feelings with a limited accent", while chanting is "more direct and powerful than singing" when communicating with the audience. To this end, he advocates the combination of life sense and artistry when singing and reading aloud, which is harmonious and consistent with the truth and nature of expressions and characters and mutual appearances. This is the unique style of Xunpai's performance. On the basis of inheriting the tradition, he carried out innovative practice and exploration in script, singing, performance, chanting and clothing. In the aspect of singing art, Xun Huisheng boldly broke the traditional limitations, exerted his personal voice specialty, absorbed the melodies of Kunqu, Bangbang, Han and Sichuan, and made bold innovations. This is not a simple multi-purpose, but starting from life, starting from the feelings and moods of the characters. The pronunciation is clear and round, and the cavity is charming.

He is good at using decorative sounds that slide up and down. It sounds beautiful, light and humorous, and has a special charm. He also attaches great importance to the art of Daobai, enunciating clearly and vividly. He created Ode to Bai, which combines rhyme and white, Beijing and white, with unique rhyme and expression. In terms of performance, he emphasized that "actors don't perform" and are not subject to professional restrictions. He made the necessary breakthrough according to the need. The artistic images of many young girls and young women he created have the characteristics of popularization and life. Elegant and charming, handsome and handsome, with different styles.

Xun Huisheng's performance is a mixture of Tsing Yi, Hua Dan, Boudoir Dan and Peking Opera blues. According to the development of the plot and the needs of the characters, he absorbed professional performance skills such as Wu and even incorporated foreign dance footwork. According to his natural conditions, he made bold innovations in singing, figure, clothing and makeup. He attaches great importance to describing the psychological state of the characters, attaches great importance to the movements of the characters, and advocates that the movements of the horns should be beautiful, charming and crisp. He emphasized that every action of an actress should give people a sense of beauty, and asked the actor to flash the charm of women in joy, anger, sadness, joy and posture. At the same time, the body movements are also varied, especially the use of eyes. Every move of the role, every look should have a sense of rhythm, so that the audience can shine at the moment. As soon as the actor appeared, he was radiant and radiant. Therefore, his performance is delicate, vivid and colorful, with both civil and military skills, and both singing and doing are excellent.

His singing is famous for its gentleness and grace, and there are many wonderful aria, which has become a compulsory course for Xunzi's disciples. His singing is euphemistic, beautiful and colorful, and his voice is touching and touching. He dares to be unconventional and open up a new cavity; Draw on the strengths of others and design new music. For example, everyone knows the "anti-four-level tone" in "Matchmaker". He is good at using decorative sounds that slide up and down. It sounds beautiful, light and humorous, and has a special charm. Xun Huisheng's arrangement of New Tune adheres to three principles: first, it makes people happy; The second is to make people understand; The third is to make people emotional.

Xun Huisheng's chanting style is unique, soft and mellow, full of rhythmic beauty. He doesn't copy the traditional rhyme and Jing Bai, but starts from the feelings of the characters, enriches their thoughts and feelings, fully shows their inner world, and is just right, fluent and touching, and has a good voice. It has both musical beauty and life beauty.

Representative repertoire

Xun Huisheng cooperated with Chen Moxiang and Chen Shuizhong for many years, and directed and performed a large number of new plays, which was greatly helped by Wang Yaoqing in the rehearsal. There are more than 300 plays he performed, which can be roughly divided into the following three categories: First, newly edited plays such as Embroidered Mother, Yima, Introduction to Dan Qing, Matchmaker, Jade Sword Survey, Hairpin Phoenix, Yu Zaogong, Two Lovers in a Dream of Red Mansions and Looking for an Official Mother. Second, traditional plays such as The Horse Dealer, Yu Tang Chun, Thirteen Sisters and tell it to the judge; Thirdly, there are nearly 40 repertoires transplanted from Bangzi to Beijing Opera, such as Hua Tian Cuo, Yuanxiao Mystery, Xin Anyi and Luo Xiang Dai. Other plays include Du Shiniang, Yu Jinnu, Zhuo Wenjun, Rouge Tiger and Huo Xiaoyu.