How to evaluate Li Shujian's Yu opera?

As a pioneer in the art of Yu opera performance, Li Shu Jian, while adhering to the programmatic and pictorial norms of Chinese opera, creatively puts forward the idea of "creating a voice with emotion, and creating a process with emotion", and reveals the psychological and emotional singing of the characters, The performance of the play is a perfect combination of inner experience and outer program to create a typical image of distinctive character and flesh and blood, allowing Chinese and foreign audiences to feel and appreciate the charm of the main character of the play as the epitome of the spirituality of the Chinese nation.

In contrast to traditional opera characters, which are characterized by a single personality and a face, Li Shujian, in the process of creating a typical stage character, y understands and grasps the spirituality of the protagonist of the drama, and most of the protagonists he plays show a gradual and abrupt change in the development of their psychological character until the grand finale, when the richness of the protagonist's character is highlighted in a focused manner.

For example, Zhang Yuanxiu, the tragic hero of Clear Wind Pavilion, is a simple and honest farmer who is happy to live in poverty and puts all his hopes on his adopted son, and he uses refreshing and mellow singing voice and brisk and spontaneous dance to see his generous and simple character.

When he had no choice but to return his adopted son to his birth mother, he was so tender that it was hard for him to part with him, but in order for his child to be free from hunger and cold and to excel in the rich and noble family, he finally endured his grief and pushed his adopted son back to his birth mother. Li Shujian used a large part of the tearing of the liver and intestines of the singing and based on the plot of the programmed movements created by the circling and staggering, the main character of the drama of the pathos of the loss of the state of mind and the independence of bearing the pain of the blows of the open-hearted feelings displayed in front of the audience.

Begging along the door of the gray-haired people heard that devoted their efforts to raise the adult foster son high school gold list, the official back to his hometown, mixed feelings of sadness and joy, eager to find see, did not expect Zhang Jibao ashamed of its poverty, fear of losing decency, refused to recognize each other, repentance and despair of the old man hit the pillar and died, grief and hatred of Zhang Yuanshiu head into the arms of the old man weeping and wailing, full of anger spewed out the audience off the stage, all weeping! The audience is weeping.

The weather-beaten, simple and resilient village elders, in the cold world of bullying and coercion to cut off the last ray of hope for the reality of life, in an instant by the willingness to withstand all the labor and suffering of the old ox, turned into a strong roar of the lion, to the power to abuse the evil of the society of the fall of God to launch a righteous denunciation.

Also in "Cheng Ying Saves an Orphan", Mr. Li Shujian, who can be called the personification of Cheng Ying, accompanied by the ups and downs of the dramatic conflict, upgraded the original doctor of Kusawa, who knew how to repay kindness and fulfill righteousness, into a generous and righteous man who gave up his son to save his orphanage, and a tactful and experienced strategist who tolerated insults and humiliation, and finally sculpted into a god of loyalty and righteousness, who ignored power and riches, and who willingly spilled his blood and kept his innocence. The God of Loyalty and Righteousness.

In Su Wu Shepherds the Sheep, Mr. Li Shu Jian brings the programmed stage style, the imaginative choreography, and the tear-jerking singing to its fullest extent, allowing the audience to stand in awe of the hero's open and honest character and righteousness, and to y admire his heroic spirit as he stays true to his beliefs and integrity with his heart, blood, and life, and fights the forces of violence and evil to the bitter end. The heroism is y admired.

Li Shujian focuses on absorbing the strengths of various schools of Yu Opera singing performance, forging the cool and tragic Li School of singing, and conveying the great beauty and goodness of the world with the simple and thick, subdued and melodious sound of Zhongzhou, guiding Chinese and foreign audiences to reach the communication of the heart by the emotion of the ****sing, and to transcend the boundaries of language, culture and even religious beliefs, breaking down the boundaries of language, culture and even religious beliefs. The show is a great way to break down the barriers between various ethnic art forms, allowing the unique Yu Opera performing arts to enter the global cultural landscape without any obstacles.

No matter in the north and south of the Yellow River, or inside and outside of the country, watching Mr. Li Shujian's stage performances, all of them applauded his grasp of the character's temperament and personality, and listening to his hearty, controlled and emotional singing and his resonant and melodious recitations, the Chinese and foreign audiences were intoxicated and moved, sometimes applauding thunderously, and sometimes weeping and tearing up.

Industry insiders generally say that Mr. Dao Shujian wide range, pure tone, voice, voice, mellow, in the singing of the control of the rhythm of the light and heavy, to the mood with the cavity, to the cavity to pass on the characteristics of the cavity, to the play of the cool and mournful style of singing, have reached the point of pure fire, subtle and brilliant. As Mr. Xu Peicheng of the China Academy of Art praised:

"He used the rhythmic mastery in his singing in a way that made people applaud. He has practiced many skills in singing to a high level of doing whatever he wants, at will."

It is well known that Li Shujian is a master of the singing style of the western Yu tune, he was born in Luoyang, Ruzhou, since childhood, like Yu opera, since childhood, he has been pondering the characteristics of the voice of the famous Yu tune Wang Ershun, imitating the Wang's pronunciation skills and spitting, rhyme, study and savor the singing style of the western Yu tune, after a long period of rehearsal and practice, and continue to create a self-contained, cool and somber, rich and gravity, The singing style of the tune is simple and clumsy, but it is also refined.

Li Shujian's style of singing, both the Yu West key real voice singing, but also pay attention to absorb the pronunciation of other Yu Opera genre cavity characteristics, in the rhythm of grasp and the use of skills repeatedly rehearsed, "singing is not amazing death". In this regard, the famous theater critic Mr. Xu Peicheng had a precise praise:

"His singing in the light voice, heavy voice, true voice, false voice, crying, sobbing, sad voice are combined with the transition of a very natural, pleasant to the ear, he is in the lyrical pay special attention to the rounded beauty of the cavity, he is in the dumping of the cavity, pay special attention to the impact of the breath, coupled with his unique voice, and then with his dedicated practice and training, he is a good person, he is a good person, and he is a good person. With his unique voice and the slightly raspy vibrato singing technique he has developed, he is uniquely charming."

With his superb singing art, Li Shu Jian's Bin Bai art has also reached a high level of conveying feelings with his voice. His dialogues and monologues are in the authentic western Yu dialect, with occasional insertions of Jingbai and Rhymebai, and whether they are straight and straightforward dialogues or choked and muffled sob stories, they are all very clear and refreshing, and they make the audience's heart move. Suwu Shepherd's Sheep" is especially the final scene of the conversation with the great Shan Yu, from soothing to high-pitched to tell the cultural connotation of the Han Festival, the spirit of the nation and its symbolic significance, the ups and downs, staccato and low, sometimes running clouds and water, sometimes mountains and seas. The interplay of "spouting and slurring" techniques, and the grasp of weight and speed, are all handled accurately and appropriately. The last sentence "I want to go home, I want to return to the Han" cry, surging, can be described as "sound vibration forests, loud clouds", the rhyme breath in the people's hearts for a long time to reverberate.

In the long-term stage practice, Li Shujian turned to many masters, taking advantage of various opportunities to observe and learn outside the province, devoutly to the various types of theater connoisseurs to seek advice, and to worship the Peking Opera master Ma Changli and drama leader Li Fazeng as a teacher, and strive to open up the classical and modern, opera and drama performance art between the boundaries between the conscious use of the drama realism performance techniques to the process of theater performances,in


CHENG YING SAVES AN ORPHAN," "ON THE PAVILION OF THE CLEAR BREEZE," "SU WU PASTORY," and "SU WU SHEEP," all of which created a refreshingly new effect on the audience, and the successful example of "creating a program with emotion.

A good actor should not only sing out the emotions of the characters and his own emotions, but also sing out the collective emotions of the local community that are abstracted and fixed by the sound and music programs of the play. Musical programming is highly correlated with the typology and formalization of emotions. Mr. Li sings y, thickly, and distantly, partly because he has a genius for comprehending and understanding the music of the genre, and is a person who has been transformed by the genre, and is able to follow the music of the genre to the depths of the group's emotions, which cannot be reached by his own individual experience and talent, and partly because he sings with his own heart and his own life.

He always tries his best to awaken and call out the deepest emotions of his heart, including the emotions and power below the level of personal consciousness. Especially in some of the whispered passages, the sobs are stirred and rolled from his heart, suppressed and agitated, before finally pouring out and bursting forth, truly from the bottom of his heart. Sometimes he seems to be the character who is dialoguing with his own heart, pursuing and searching for something deeper in his soul.

So his singing can break through and penetrate our level of consciousness, causing ****songs. Mr. Lee's singing has a sense of winding around the beams, and his voice seems to have a sense of shape and quality. He seems to weave the atmosphere and mood of the stage with his singing, which is thick and unbroken.

His singing became another inner structure of the play, of the stage. Even when he was not on stage, or when only others were singing, the audience felt that his singing did not stop, but only temporarily disappeared, and then came back as expected, just lurking, becoming a silent presence, waiting for the next wave of climax, responding to the next wave of climax. So not only does his singing have structural power, but it is also dramatic in itself, constantly generating anticipation, and the surprise of anticipation coming as expected, unexpected, creating another kind of drama and inner rhythm.