Eight model theater actually refers to which eight?

The eight model operas are the Peking Opera "Wisdom of the Tiger Mountain", "Harbor", "The Story of the Red Lanterns", "Shajiabang", "The Strange Attack on the White Tiger Regiment", the ballet "Red Detachment of Women", "The White-haired Girl", and the symphonic music "Shajiabang".

1. The Tale of the Red Lanterns

One of the revolutionary modern Peking Operas; the story of The Tale of the Red Lanterns is taken from the movie, The Man Who Came After Me, whose original creator was Huang Yongjiang. Our Own People is a movie reflecting the anti-Japanese struggle of the northeastern people against the Northeastern Anti-Japanese Allied Forces (NJAF). In the 1960s, the movie was released nationwide, and the play was soon adapted into a Shanghai opera by the Shanghai Shanghai Opera Troupe, and then put on the Peking Opera stage by the Harbin Peking Opera Theater, which was called "The Revolution Has Its Own Later Generations".

The play is an excellent repertoire of the Chinese Peking Opera Theater, and from the 1960s to the present, many artists such as Li Shaochun, Yuan Shihai, Du Jinfang, Gao Yuqian, Qian Haoliang, Liu Changyu, Li Weikang, Feng Zhixiao, Sun Yue, Wang Jinghua, Du Fuzhen, and Zhang Lan have participated in the performances one after another. In recent years, the Youth Troupe has rehearsed the play, receiving guidance from veteran artists, and the performance has been a success.

2. "Taking Tiger Mountain by Wisdom"

Screenwriters Tao Xiong, Li Tongsen, Huang Zhengqin, Cao Shouchun, and Shen Yangsheng (wrote the play); director Tao Xiong, assisted by Li Zhonglin and Li Tong; orchestra members Wang Xieyuan and Zhao Jijiang; stage art designers Xingxi and Zhou Fan; and the main actors are Li Zhonglin (as Yang Zirong), Ji Yuliang (as Shao Jianbo), and Wang Zhengping (as Li Yongqi), He Shuihua (as Sitting Mountain Eagle) and others.

The play was first performed in August 1958 at the China Theater in Nanjing, and then in Suzhou and Shanghai, where it was well received by the audience. This script was published in 1959 by the Shanghai People's Publishing House in a single volume. In the Shanghai Peking Theater later performances, by Shen Jinbo as Shao Jianbo, Tong Xiangling as Yang Zirong, singing and doing heavy.

3. Harbor

In 1963, Jiang Qing intervened in the creation of modern Peking Opera in Shanghai, and decided to adapt the Huai Opera "Morning at the Harbor" written by Li Xiaomin into a Peking Opera on the grounds of the need for a play on workers' themes.1964, Shi Ximin, the secretary of the secretariat of the Shanghai Municipal Committee of the People's Congress of the People's Republic of China (P.R.C.C.), and Li Taicheng, the deputy director of the municipal Bureau of Cultural Affairs of the P.R.C.C., took specific responsibility for the play. Guo Yansheng, He slow, Yang Chunbin script, named "seaport morning", Yang also director, choreography Kou Xi and so on.

Tong Zhiling as Jin Shuying, Wang Guiqing Jr. as Liu Dajiang, Zhao Wenkui as Old Maiden's Uncle, Tong Xiangling as Yu Baochang.

The play is mainly about the internal conflicts of the people, and there is no hidden enemy.

The play premiered on February 1, 1965 at the People's Stage.

Jiang Qing, after reading the play, thought that the play emphasized the intermediate characters, and requested that it be revised to emphasize the heroes and the internationalist spirit of the seaport workers, and was disgusted with the use of the movie montage technique of "chasing a boat in the wind and rain," and decided to reorganize the creative team, and replaced it with five people, namely, Weng Jie, Zheng Ziufeng, Li Xiaomin, Guo Yansheng, and He Hou, to take part in the adaptation, and requested that a new poem be used for the play. They were asked to replace the old lyrics with a new poetic style.

The pilot was completed on April 2, 1965, replacing Tong Zhiling with Cai Yaomou, directing Zhang Qin and designing the music for Yu Huiyong. Jiang Qing read it and accused "no conflict theory". After that, the play was revised repeatedly and a draft was completed in May 1966, which was named Harbor. The names of all the characters in the play were changed, directed by Ma Ke, and played by Li Lifang as Fang Haizhen, which was performed on October 1, 1966 at the Hudong Workers' Cultural Palace.

In the spring of 1967, the play went to Beijing to take part in the 25th anniversary of the speech at the Yan'an Literary and Artistic Symposium, and on June 22nd it was presented to the central leadership at Zhongnanhai. After reading it, Mao Zedong said, "The Harbor can become a model play, but it should be changed into a conflict between the enemy and us." The creative team then transferred Zhang Shimin, Wang Lian, Lai Zhongcheng, and Liu Mengde to further revise it over and over again, emphasizing the class struggle and portraying the class enemy Qian Shouwei.

Directed by Zhang Mingyi and accompanied by a mixed Chinese and Western orchestra, the play was finalized in December 1971 in Beijing. The second issue of Red Flag magazine in 1972 published the January 1972 performance version of the play. The Central People's Broadcasting Station (CPB) then broadcast a recording of the play, which was filmed twice in color by the Beijing Film Studio from 1971 to 1973.

Directed by Fu Chaowu, Xie Jin and Xie Tieli. Li Lifang as Fang Haizhen, Zhao Wenkui as Gao Zhiyang (dubbed by Li Changchun), Zhu Wenhu as Ma Hongliang, Guo Zhongqin as Zhao Zhenshan, Zhou Zhuoran as Han Xiaoqiang, and Ai Shiju as Qian Shouwei. The People's Publishing House published the main melody score and general score of the play in October 1975.

4. "Strange Attack on the White Tiger Regiment"

The play was written by Li Shibin, Fang Rongxiang, and Li Guihua based on the heroic deeds of Yang Yucai, a deputy platoon leader of the scouts of the People's Volunteer Army, during the Battle of Jincheng, with reference to the article "Strange Attack" in the Biography of Heroes of the Volunteer Army, which was later processed with the pen of Sun Qiuzhao. The play was first created on the Korean battlefield and premiered by the Peking Opera Troupe of the Chinese People's Volunteer Army as early as 1955, and then revised for staging after the Volunteer Army returned to China in 1958, when the troupe merged with the Peking Opera Troupe of Shandong Province.

In 1964, the play was revived for the Peking Opera Modern Drama Observation and Performance Conference, directed by Shang Zhi Si, with stage design by Sun Zhang and Qu Zhigang. Song Yuqing played Yan Weicai, Xing Yumin played Han Dainian, Fang Rongxiang played the head of the volunteer army, Yin Baozhong played the political commissar of the volunteer army, Yu Yanxia played Cui Daqiao, and Li Min played Cui Daniang. During the Cultural Revolution, "Attack on the White Tiger Regiment" was labeled as a "model play", while the play's director, Shang Zhisi, and one of the playwrights, Sun Qiuchao, became "reactionary academic authorities", The play's director, Shang Zhisi, and one of its writers, Sun Qiuchao, were criticized for being "reactionary academic authorities" and "cow ghosts and snakes".

The Shandong Peking Opera Troupe was once transferred to Beijing and integrated into the Chinese Peking Opera Troupe. 1972, the play was filmed by the Changchun Film Studio as an art film, which basically preserved the play's style. Recently, Liu Jianjie and other members of the youth troupe of the Shandong Peking Opera Theater revived the play, which was also very successful.

5. The Red Detachment of Women

This drama was created and performed under the direct care of Premier Zhou Enlai in the 1960s; it was the first attempt to reform ballet in China according to Premier Zhou's instruction of "revolutionization, nationalization and massification". In September 1964, when the show premiered in the auditorium of the Great Hall of the People, Premier Zhou attended the show and invited the Cambodian head of state, Prince Sihanouk, to watch.

On October 8, 1964, Chairman Mao watched and praised the reform of the "Red" play: "The revolution is successful, the direction is right, and the art is good." Since then, Liu Shaoqi, Zhu De, Deng Xiaoping and other party and state leaders have watched, and repeatedly entertained visiting foreign heads of state, heads of government, etc. In 1964 by the choreographer and director Jiang Zuhui, etc. went to Albania for the Tirana Opera and Dance Theatre rehearsal of the play.

Premier Zhou watched the performance there.

The ballet troupe of Matsuyama, Japan, also rehearsed the play, with Yoko Matsushita playing the role of Qionghua.

The central ballet troupe went to Britain in 1986, the Soviet Union, and the Chinese Art Troupe visited the U.S.A. in 1979, and performed the first scene of the play, Red.

The ballet troupe of Matsuyama, Japan, also rehearsed the play, with Yoko Matsushita as Qionghua.

The art units that perform "Red" in China are all over the country. Red" theater in the Central Ballet Theatre has been rehearsed many times. Those who have played Qionghua include Bai Shuxiang, Zhong Runliang, Zhao Ruheng, Xue Jinghua, Yu Leidi, Zhang Dandan, Feng Ying, Wang Shan, etc.; those who have played Hong Changqing include Liu Qingtang, Wang Guohua, Sun Zhengyan, Wang Caijun and Sun Jie.

6. The White-haired Girl

In 1964, the Shanghai Dance School adapted the play from the opera of the same name. Artistic director Huang Zuolin, choreographer Hu Rongrong and others. The main actors were Gu Xiaomei, Cai Guoying and Ling Guiming. It was later developed into a large-scale dance drama and premiered in 1965. The dance drama portrays Xier, Dachun, Yang Bailao, etc. Based on the basic skills of ballet, it is a combination of ballet and folk dance. It is a good example of the combination of ballet and folk dance.

7. "Shajiabang"

The predecessor of "Shajiabang" is the Shanghai Opera "Ludang Spark". Ludang Fire Seed" is an anti-Japanese legend created by Shanghai People's Shanghai Troupe in 1958 based on a true story. It tells the story that in the fall of 1939, in the battle against the "Loyalist Salvation Army" in Gushan Town, Jiangyin County, Liu Fei, the director of the political department of the Jiangnan Anti-Japanese Volunteer Army of the New Fourth Army at the second road, led the security guards to charge the enemy and fought against the enemy in the critical moment of the battle. He personally led the guards to charge the enemy and repelled the enemy attack, but he was also seriously wounded.

After the battle, Liu Fei, in the face of the treacherous environment of Japanese, counterfeit, and bandit collusion, and "sweeping" in the countryside, led dozens of wounded soldiers to rebuild their arms and persist in the struggle against the Japanese, despite the difficulties and dangers, with the support and help of the local Party organizations and the masses. After the Shanghai opera "Ludang Sparks" was staged, it aroused widespread interest and strong reaction in the theater industry and the audience, only in Shanghai alone, there are 9 troupes of different kinds of theater to "Ludang Sparks" transplantation, and in the national performance of the "Ludang" drama there are 31 troupes as many.

In 1963, the Beijing Peking Opera Troupe accepted the task of adapting the Shanghai opera "Sparks in the Reeds", and the creative team consisted of four people: Wang Zengqi, Yang Yuming, Xiao Jia, and Xue Enhou. Wang Zengqi, as the main writer, put his efforts on the literary aspects of the script in the process of adapting it. The adapted Peking Opera of "Sparks in the Reeds" was initially titled "Underground Liaison" and featured Zhao Yanyan as Ah Qing Sister-in-law and Tan Yuanshou as Guo Jianguang.

The play was later reviewed by state leaders and approved for public performance. The title of the play was finally decided by Chairman Mao Zedong, who humorously said, "How can a revolutionary fire start a prairie fire when the reeds are full of water? Besides, at that time, the anti-Japanese revolutionary situation is not a spark but a flame. ...... The play is good, the name of the play can be called "Shajiabang", the story happened here." So the name of the play is "Shajiabang".

Expanded Information

"Eight Model Plays" mistake

It is incredible that, although the model plays are very popular and highly regarded, people generally do not know that there are actually at least twenty of them. Because, "eight model theater" and "eight model theater" and other words, even more popular than the word "model theater". The two verbal words of the year have finally evolved into pseudo-historical terms that have been used for a long time.

In other words, from the beginning of the Cultural Revolution period, many people, including some high-level people, have circulated the "eight model operas" or "eight model operas", and its specific reference or not very clear, or different understanding. For example, some people, including some model theater crew members, that only the earliest eight model theater is model theater.

More people believe that only the eight most influential model operas, including "Ode to the Dragon River" or "Cuckoo Mountain," are model operas.

There are several reasons for the easy circulation of the "eight model operas" theory:

From May 1967 to the first half of 1970, there were only five Peking operas and two ballets in the model theater. At this stage, the titles of Peking Opera plays were prefixed with "Revolutionary Modern Peking Opera (since 1966)" "Revolutionary Modern Peking Opera Sample Plays", and the titles of ballet plays were prefixed with "Revolutionary Ballet Opera (since 1966) ", "Revolutionary Modern Ballet", "Revolutionary Modern Dance Drama (since 1969)".

Additionally, the general term "revolutionary model theater" was often used as a prefix to the title of the play, especially in the Peking Opera, which appeared in newspaper articles.

In the second half of 1970, the model theater was really popularized, and the name naturally became standardized. From then on, as a prefix to the name of the play, only "revolutionary modern Peking Opera" "revolutionary modern dance drama", such as "(revolutionary modern Peking Opera) Zhiqi Weihu Mountain" "(revolutionary modern dance drama) Red Detachment of Women".

(In addition, "revolutionary modern" is also the attribute of the non-model repertoire of the Cultural Revolution period, so there are "revolutionary modern Yueju Opera "Half a Basket of Peanuts"" "revolutionary modern Peking Opera "Iron Stream Warriors". " and so on.) In short, the name "model play" was not emphasized at that time, and some works were never even called "model plays".

So, in fact, people generally do not know clearly what are the model operas, not to mention the musical works such as "(Revolutionary Symphonic Music) Shajiabang" are also model "operas".

Except for those who are interested in literature and art, people are actually not familiar with all the model operas. For example, many people who lived through the Cultural Revolution actually don't even know that the five-year-old "(Peking Opera) Red Detachment of Women" exists.

The model operas that people are generally familiar with and can easily recall are, at most, the best of the eight or so Peking Opera productions of "The Red Lantern," "Outwitting Weihu Mountain," "Shajiabang," "Seaport," "The Strange Attack on the White Tiger Regiment," "Ode to the Dragon River," and "Cuckoo Mountain," as well as ballets such as "The Red Mother's Soldiers," and "The White-haired Girl.

During the Cultural Revolution, most of the model operas were made into movies, while none of the non-model Peking Opera repertoire was filmed. Drama programs broadcast by radio stations were mainly model operas, and it was only at the end of the Cultural Revolution that some of the local opera repertoire and non-model Peking opera repertoire were aired.

The imbalance in publicity made most people unaware of the existence of a large number of non-model Peking Opera plays written and performed by non-model troupes during the Cultural Revolution period, such as Iron Stream Warriors, Luhuadian, and Yaoshan Spring. In this way, even those who are familiar with more repertoire can easily mistake some of the Peking Opera repertoire for non-Peking Opera repertoire.