Ouyang Shanzun, male, formerly known as Ouyang Shou, was born in Liuyang, Hunan Province in May 2004 and died on July 2, 2009. He is one of the founders of China's drama and the son of Ou Yangyuqian, a famous drama, opera and film artist in China. He is known as the "living fossil" of China's drama circle. After the founding of New China, Ouyang Shanzun participated in the establishment of Beijing People's Art Theatre, and together with Jiao Juyin, Xia Chun and Mei Qian, he created the realistic drama style of Beijing People's Art, and directed more than 50 plays such as Chun Hua Qiu Shi, Sunrise, Gunman, Three Sisters, Yang Kaihui and The Last Bus. In addition to drama, he also directed dozens of stage plays such as Guan Hanqing, Songzan Gambu, Wise Men Sometimes Nod, Red Promoter, In the Silent Place, as well as films such as Sunglow Through the Clouds and TV Series Burning Heart. In 2007, at the centenary of China's drama, Ouyang Shanzun performed for the last time at the age of 93, reciting Passers-by at the People's Liberation Army Opera House.
Chinese name: Ouyang Shanzun.
Nationality: China.
Place of birth: Liuyang, Hunan
Date of birth:1965438+May 24th, 2004.
Date of death: July 2, 2009
Occupation: acting drama director
Main achievements: Known as the "living fossil" of China drama circle.
Representative works: White-haired Girl; Chunhua Qiushi; Sunrise; Three sisters
The life of the character
Ouyang Shanzun (19 14-2009), director of China drama. 1965438+Born in Liuyang, Hunan on May 24th, 2004. Influenced by his father Ou Yangyuqian's patriotism and progressive literary thoughts since childhood, he took part in progressive drama activities as a student. He has won many director awards and successively won the "Dedication Award" from the Ministry of Culture and the whole country.
nonage
Ouyang Shanzun (1914—July 2, 2009) was originally named Ouyang Shou, a native of Liuyang, Hunan. His great-grandfather was Ouyang Zhonggu, a Hunan genius in the late Qing Dynasty. When he was a child, he was adopted by his uncle Ou Yangyuqian and began to be influenced by drama. He took an active part in drama when he was a student. Participated in the filming of "Genv".
After the September 18th Incident, he took part in the left-wing acting movement. After the beginning of the Anti-Japanese War, he joined the Shanghai National Salvation Theatre and went to Yan 'an the following year. Later, he served as the deputy head of the Cultural and Art Troupe of the General School of the Anti-Japanese Military and Political University and the president of the Fighting Drama Club, and attended the Yan 'an Literature and Art Symposium from 65438 to 0942. In the process of moving to Shanxi-Chahar-Hebei, he directed 10 more than one drama reflecting the struggle behind enemy lines, which was praised by President Mao Zedong's letter.
school days
Ouyang Shanzun is seven years younger than a hundred years old. 19 14 A native of Liuyang, Hunan Province, formerly known as Ouyang Shou. Since I was a child, I have lived next to my uncle, Mr. Ou Yangyuqian, who is a drama artist. I am deeply influenced by China's drama art and have a strong interest in it. As early as middle school, I began to participate in various drama creation and performance activities organized by the school. After the outbreak of War of Resistance against Japanese Aggression, enthusiastic Ouyang Shanzun resolutely left school and joined several classmates in the flood of resisting Japan and saving the nation. He first moved to Hangzhou to participate in the drama performance of the "Mayflower" Drama Club, and returned to Shanghai a few months later and was admitted to Zhejiang University. At this time, he was completely obsessed with the pursuit of drama. He and Jinshan and others organized a drama club and performed plays such as Corner of the City, Lightning and Thunder, Wet Paint and so on under extremely simple and difficult circumstances. After the "September 18th Incident", there were more than ten troupes in Shanghai's theatrical circles, film circles, national salvation societies and other literary and artistic groups. Ouyang Shanzun participated in many anti-Japanese war dramas in the First Troupe, which had a great response in the society.
Go to Yan 'an
Like many hot-blooded young people, Yan 'an, a small town in the northwest of China, is calling him all the time. For the dream in his heart, Ouyang Shanzun set out from Shanghai and went to Xi 'an Yan 'an front to carry out anti-Japanese and national salvation activities. After many efforts, I got 100 yuan from the Eighth Route Army Office and bought an old bicycle. It was this "advanced" means of transportation that accompanied him for more than 800 miles and arrived in Yan 'an on 1938. Here, Ouyang Shanzun was deeply attracted by a brand-new life. He devoted himself to the literary and artistic work in the liberated areas with great enthusiasm. 1939, Ouyang Shanzun ended his study in the Anti-Japanese Military and Political University and resolutely went to the front line of the Anti-Japanese War. First, he worked in the Eighth Route Army 120 Division's Combat Drama Club, and then he joined the guerrilla troupe to carry out literary propaganda in the enemy war zone. At that time, they had a *** 1 1 propagandist and seven scouts, each with a gun, 30 bullets, a mimeograph and simple cosmetics. Every time they go to a village, they find a temple or earthen platform, hang up the army as a curtain, and then send people to the village to mobilize the masses to come out to watch the play. When the crowd came, they began to perform. After the performance, they quickly cleaned up their stalls and rushed to the next village. At this time of Ouyang Shanzun completely immersed in memories. He said with infinite emotion: "I was really young at that time. My heart always seems to be burning with a fire, and I am full of inexhaustible energy. At the end of each performance, the people handed me a pot of boiling water and stuffed peanuts or red dates into their hands. I was very satisfied. "
Attend a seminar
1942 In May, Ouyang Shanzun attended the Yan 'an Forum on Literature and Art, which triggered many thoughts on the future of China's literature and art development. Ouyang Shanzun is a man with something on his mind. After some thinking, he and several colleagues wrote a letter to Mao Zedong and talked about their feelings. Soon, Comrade Mao Zedong wrote back to them. Until his later years, Ouyang Shanzun still clearly remembered the contents of this letter. He recalled: "Chairman Mao said in his letter that your letter was received. Thank you! I think your plays are good. Yan' an and the border region need to see plays that reflect the life behind the enemy lines. " This reply undoubtedly gave Ouyang Shanzun great encouragement and spur, and strengthened his enthusiasm against Japanese drama creation.
Yan' an suiyue
In Yan 'an, Ouyang Shanzun successively served as the deputy head of the Art Troupe of the General School of the Anti-Japanese Military and Political University and the president of the Fighting Drama Club. 1943 65438+in February, the propaganda team of the political department of the Shanxi-Gansu-Ningxia Jinsui Joint Defense Army was established, and He Long was named Ouyang Shanzun. During this period, he directed 10 more than one drama reflecting life behind enemy lines. More than 60 years later, Ouyang Shanzun recalled the scene at that time, still vaguely excited. He said: "I often take the troupe to perform in the village. It is hard for people to imagine how simple the conditions were at that time. When we were performing, we poured some rapeseed oil into the unlit drinking tank and put a cotton swab on it to light it. Even so, we worked hard and people liked it. Sometimes it rains suddenly and we don't stop. The people stood in the rain and watched the drama until the end of the performance. "
Chuangren Jianyi
After the founding of New China, Ouyang Shanzun participated in the establishment of Beijing People's Art Theatre. Together with Jiao Juyin, Xia Chun, Mei Qian and others, he created the realistic drama style of Jingren Art. Although he experienced numerous political storms, Ouyang Shanzun never gave up his pursuit and exploration of drama art, and directed Chunhua Qiushi, Sunrise, Gunman, Three Sisters and The Last Bus. No one knows how much effort these works have devoted to him, which has become an indelible memory in the hearts of a generation and an immortal classic in the history of China's drama.
Directing a film and drama
In addition to drama, he also directed dozens of stage plays such as Guan Hanqing, Songzan Gambu, Wise Men Sometimes Nod, Red Promoter, In the Silent Place, as well as films such as Sunglow Through the Clouds and TV Series Burning Heart.
reform and opening-up
From Beijing People's Art Institute to 1978, he served as vice president and deputy director. During this period, he has directed more than ten plays, such as Stone, Sunrise, Man with a Gun, Even a wise man sometimes nods, and Li Guorui.
He claims to be a tireless old horse, and he is still active in the drama front in his eighties. In 1980s and 1990s, he was invited to direct Parisians and The Last Bus. In addition, he also directed many drama companies, directed the film "Sunshine Through Clouds" and the TV series "Burning Heart". His directing style is magnificent, full of emotion, distinct rhythm and full of the spirit of the times.
At 3: 20pm on July 2nd, 2009, Ouyang Shanzun, one of the founders of China drama, a famous director and artist of Beijing People's Art Theatre, died of illness in Peking Union Medical College Hospital at the age of 95. Ouyang Shanzun's death is the grief of China drama circle, and countless dramatists and old audiences will mourn for it.
Historical evaluation
Ouyang Shanzun is one of the founders of China drama and the son of Ou Yangyuqian, a famous drama, opera and film artist in China. Ouyang Shanzun began to engage in performing arts before liberation. After liberation, he participated in the establishment of Beijing People's Art Theatre and served as vice president and deputy director. Together with Jiao Juyin, Xia Chun and Mei Qian, he is also known as the "Four Directors of Beijing People's Arts", and his representative works include White-haired Girl, Chunhua Qiushi, Sunrise, Gunman, Even a wise man sometimes nods, and so on. His directing works and rehearsal plans have become a model for generations of dramatists to learn.
In 2007, at the centenary of China's drama, Ouyang Shanzun performed for the last time at the age of 93, reciting Passers-by at the People's Liberation Army Opera House. Finally, he resolutely got up from his wheelchair and strode forward, which made people cry and witnessed China's "drama soul". 2. Founder of China Drama, one of the founders of Beijing People's Arts.
Commemorate the centenary of drama
After Ouyang Shanzun retired, his heart never left his beloved stage, and he was still thinking hard about the present situation and development of China's plays. In April 2008, Ouyang Shanzun, aged 94, Zhu Lin, aged 85, Zhou Zheng, aged 80, and other older generation drama artists performed "Appreciation of Classic Drama Fragments in Commemoration of the Centennial Drama" on the same stage. In the performance, Ouyang Shanzun was the first actor to perform on stage. He was pushed onto the stage and performed a monologue in the Passer-by written by Mr. Lu Xun. This line is short, but full of passion. Ouyang Shanzun tried his best to recite it vividly, which won the prolonged warm applause from the audience. After the recitation, Ouyang Shanzun could not restrain his inner excitement. He got up from his wheelchair, turned around and stepped off the stage with crutches in people's surprised eyes. The wife smiled and said, "He always needs someone to help him get out of the wheelchair. No one thought that he would do this. My heart was in my throat at that time. I really don't know where he got so much energy. " Ouyang Shanzun, on the other hand, proudly said: "It is really a happy feeling to be able to step down from the stage where you have struggled all your life." Speaking of which, the smile on his face is as happy as a child.
Passion comes from drama.
Talking with Mr. Ouyang Shanzun is often infected by his surging passion for life, which makes people feel that he is not a 90-year-old man, but a man full of vigor. When talking about the way of keeping in good health, he said: "I am over 90 years old and still very strong." People often ask me the secret of longevity. I don't think this question is easy to answer, but it will be misleading to say it badly. When I was young, I liked playing football and swimming very much. I also learned boxing and later practiced health qigong. The main method is to beat the body, that is, beat the body moderately and rhythmically to keep fit and prevent aging. It is best to pat in the morning, and the position of the pat can be determined according to your health. Usually once a day, pat each part for three to five minutes. I feel that this method is very good for my health. It can dredge menstruation, promote blood circulation, eliminate qi stagnation and promote metabolism. "
Regarding his later life, Ouyang Shanzun said: "A few years ago, the doctor and I made a contract, which made me achieve' three noes': no more activity, no more fatigue and no more excitement. It's really hard for me to do it. Time is so precious to me. I always feel that I am racing against time, and I can't stop even if I want to. I often tell people that I was born in sorrow and grew old in happiness, and stayed for more than a year to serve the motherland. "
Looking back on his life course, Ouyang Shanzun was gratified. He said: "Chinese opera was born in 1907, and I was born in 19 14. I can be said to be a colleague of China's drama. My life has experienced countless ups and downs, but I have never left the drama. My life belongs to drama, and I would like to be the most loyal watcher of China's drama.
Career chronicle
Ouyang Shanzun was born on May 24th, 2004 in Liuyang County (now Liuyang City), Hunan Province. 1932 joined the Hangzhou Mayflower Drama Club led by the producer of China * * *, and personally participated in many milestone moments in the hundred-year changes of China's drama. He is not only a renowned drama artist, activist and educator, but also the creator of important documents. The author has interviewed Ouyang Shanzun many times, watching him turn over a lot of information and see records of different pen and ink; Listening to his explanation of the past, the emotional place is often accompanied by expressions, gestures, movements and dialects, which makes people seem to be watching a lively drama.
Chairman's reply
/kloc-in the spring of 0/942, Ouyang Shanzun received an invitation from Yan 'an Forum on Literature and Art, that is, he rushed to Yan 'an from the performance site of the front line of the Northwest Shanxi of the Fighting Drama Club. Mao Zedong's speech on "Who is literature and art" triggered Ouyang Shanzun's thinking on literature and art work. He wrote a letter to Mao Zedong, mainly suggesting that artists from Yan 'an go to the anti-Japanese front, because the front needs literature and art too much. I hope that the CPC Central Committee will strengthen its leadership over literary and art work, organize and help literary and art workers well. A few days later, Mao Zedong wrote back. The letter is written on rice paper with a soft pencil, and the words are very powerful. There is only one sentence and seven words in the text: "Your opinion is right." It says "Buli" (Bolshevik salute) below, and then it is Mao Zedong's handsome signature below.
Chairman Mao's letter gave Ouyang Shanzun great encouragement. So he got up the courage and raised his hand to speak at the second meeting of the forum on May 16. First of all, it is introduced that front-line soldiers and people behind enemy lines have many requirements for "news stories" (soldiers and people call literary and art workers "news stories"): teaching them to sing, act, draw cartoons, edit articles, write calligraphy, decorate national salvation rooms and so on; Then he said that the task of literary and art workers to the front line is to give their hearts and thoughts to soldiers and ordinary people and teach them to do all cultural things, not just for them. What they need, you should give everything you have without reservation, just like Mr. Lu Xun said, "There is a heat, a light", or even two lights. At first glance, it seems that you have paid a lot, but in fact, you have learned much more from them. He also said: At that time, some people were uneasy about doing literary and artistic work in the army, and felt that they would only be platoon-level cadres in the end, so it was better to do other work to improve their level quickly and high. He doesn't think it's meaningful to focus on the question of which level of cadres to be. What kind of cadres are Lu Xun and Gorky? As literary and art workers, we should ask ourselves how much energy we have devoted to the people and the army, and pay attention to how to meet the demands of the masses and do a good job. At the same time, he also suggested that responsible comrades in the army should consider improving the political treatment of propagandists, such as showing them documents that they can't see at this level, which is beneficial to their work. Comrade Zhou Yang later said that Mao Zedong nodded and smiled frequently after listening to Ouyang Shanzun's speech and said with satisfaction, "I came back from the front."
Affectionate memories
Yan 'an Forum on Literature and Art is something that Ouyang Shanzun will never forget. One day in the midsummer of 2006, he pointed to the photos hanging on the wall and excitedly recalled the scene of taking a group photo at that time: the third meeting of the forum was held on the afternoon of May 23rd. After Mao Zedong made a summary, Wu Yinxian invited everyone to take a group photo outdoors as a souvenir. "You see, on Chairman Mao's left are Ding Ling and Commander-in-Chief Zhu, and this is; On the chairman's right, the bearded man is Ren. I stand in the third row with Chairman Mao as the center and the third from the right. At that time, I rushed to Yan 'an from the front to attend the meeting, wearing leggings and a belt. I can't see the photo because it only shows the upper body. You can only see that my discipline is very tight, which is different from other cultural people who have stayed in the base area for a long time. " As he spoke, he pointed horizontally, line by line, one after another. Sure enough, some people in the photo don't wear military uniforms. Even for people in military uniforms, the coat collar is open. They really don't dress as neatly as Ouyang Shanzun. The 104 people in this photo are not all participants in the forum. Due to the war, some comrades who should attend the meeting were not invited; Some received invitations but did not arrive at the venue as scheduled; Some military emergencies failed to attend the meeting; There are also non-participants who temporarily join the group photo.
(of a troupe) a report performance after returning from a tour.
Ouyang Shanzun rushed back to Suide after the symposium and immediately conveyed the spirit of Chairman Mao's speech at the symposium to the Fighting Drama Club. He insisted on not acting big dramas and foreign dramas, and reported to Yan 'an with three small dramas, including four-act drama Harvest, TV series Village of Shanxi-Chahar-Hebei, and children's mini-drama Decadence Night. After watching the performance, Chairman Mao personally wrote to Ouyang Shanzun, Dani and Yin Cheng, heads of the War Drama Club: "I think your play is good. Yan' an and the border region just need dramas that reflect life behind enemy lines. I hope to perform more such good plays. "The manuscript and envelope of this letter are kept in the Central Archives. Chairman Mao's letter greatly stimulated the passion of the War Drama Club to perform for the anti-Japanese soldiers and civilians, and also improved their self-confidence. It turned out that people from the Battle Drama Club dared not enter the gate of Lu Yi, but later dared to walk into Lu Yi with their heads held high.
Ouyang Shanzun believes that although more than 60 years have passed since the Yan 'an Forum on Literature and Art, the direction and fundamental principles of literature and art work put forward by Chairman Mao are still the scientific guide for current literature and art work. Literary and artistic creation should come from life and be higher than life, which does not mean a simple reproduction of real life. There are indeed some backward things among farmers in our country. Literary and art workers can't just be satisfied with showing those backward things intact, but should go deep into life, really understand farmers, serve them enthusiastically, guide and unite farmers to get rid of backwardness and move towards progress, so as to achieve the purpose of revolutionary literature and art and the requirement of the CPC Central Committee to "carry forward the main theme"
"Save information"
Ouyang Shanzun has said many times: To preserve information is to record history. Without historical records, it is difficult to talk about carrying forward the national spirit and inheriting the revolutionary tradition. People who do archival work are worthy of respect.
Ouyang Shanzun attaches great importance to the preservation of accumulated data. During the war years, he often carried a Japanese officer's short gun "turtle box" and hung an empty gas mask tube that captured the enemy, which contained his "Four Treasures of the Study" and other things to avoid getting wet by the rain, thus saving some valuable information. During the period of 1938, Carlson, then the naval counsellor of the US Embassy in China, visited our base area, and the Eighth Route Army General Political Department asked Ouyang Shanzun to act as an interpreter for him. The expedition, which lasted more than 90 days, passed through northwestern Shanxi, Shanxi-Chahar-Hebei, central Hebei, southern Hebei, northwestern Shandong and northwestern Henan, until Zhengzhou, and then returned to Yan 'an from Zhengzhou. Ouyang Shanzun kept a diary of more than 60,000 words. The diary describes in many ways that more than half a century ago, in the face of the arrogant Japanese invaders, China's * * * production party actively advocated and practiced the political proposition of ethnic cooperation, leading the anti-Japanese soldiers and civilians to bravely resist the enemy behind the enemy lines in North China and fight bloody battles; It records the efforts made by the Kuomintang, its troops with lofty ideals and all patriots for national survival; It reflects the profound and precious friendship established by the members of the literary and art working group and Carlson, a sincere friend of the people of China. It also describes the economic situation and customs of the anti-Japanese base areas.
During his stay in Shanghai from 65438 to 0946, Ouyang Shanzun attended the meeting of Shanghai literary and art circles to commemorate the 27th anniversary of the May 4th Movement. He and Lillian performed "Brothers and Sisters Open up Land" in Shanghai Lafayette Theatre. This northern Shaanxi yangko opera is full of strong northern Shaanxi farmers' color and healthy revolutionary literary spirit, just like blowing a breeze to the Huangpu River, which is filled with the smoke of American warships.
195 1 In the spring of, Ouyang Shanzun led a delegation to the Korean battlefield to engage in artistic creation. During his three months in the front line of Korea, he faced the test of life and death every moment, and passed by death several times. In the war-torn battlefield, he marched and fought with the volunteers, took time to learn about the situation from soldiers and the Korean people, collected a lot of creative materials and materials, and insisted on writing in air defense fortifications. He has written poems such as blood out, the eight-act opera Victory, and articles about the heroic deeds of volunteers and Korean customs, which are scattered in newspapers such as Junbao of Volunteers.
After liberation, he paid more attention to the role of archives in drama art, and thought that arranging good plays and cultivating talents depended not only on copywriting, but also on photos, pictures, audio-visual and other materials. When he worked in Beijing People's Arts, he paid attention to the construction of archives, strengthened the management of stills, and advocated that actors and directors learn to use archives to enrich their creation.
The call of the party
In 2007, 93-year-old Ouyang Shanzun participated in a series of commemorative activities. When attending the appreciation activities of classic drama fragments, he only said a few words, but asked to perform the fragments of Lu Xun's drama "Passers-by". The script describes an injured passerby who is indomitable on the difficult road of life. Ouyang Shanzun is playing in a wheelchair, and his wife has emergency medicine in her pocket. He is solemn and solemn, and his voice is Cang Sang's, clear and powerful: "The hateful thing is that my feet have long been rotten, so my blood is not enough, but I don't want to drink anyone's blood casually. Supplementing blood with water may be because there is too much water in the blood. I have no strength. No matter what is ahead, because there is a voice in front, call me! " The lines were full of vigorous fighting will, so Ouyang Shanzun tried his best to make the recitation cadence. After the recitation, he was full of passion. In the applause of the audience, he jumped out of the wheelchair, picked up a crutch, made a beautiful turn and proudly walked off the stage. The audience was dumbfounded, followed by more warm applause. Ouyang Shanzun said that Lu Xun wrote many essays and novels in his life, and the only script was Passers-by, which was written in full accordance with the rules of drama creation, and he was very expert in the writing of characters, costumes, props and scenery in the play. What is the voice in this monologue "A voice is urging me and calling me"? Whose voice is that? China * * * Production Party was founded in 192 1. The "voice" written by Mr. Lu Xun, of course, refers to the advanced voice and is the voice of our party calling for inspiration. When I recited it, I thought to myself, "The people of China have stood up since then!" I come from China, I want to stand up! His wife smiled and said, "He usually gets out of the wheelchair and needs help from others. No one thought that he would do this. My heart was in my throat at that time. I really don't know where he got so much energy. " Ouyang Shanzun, on the other hand, proudly said: "It is really a happy feeling to be able to step down from the stage where you have struggled all your life."
Ouyang Shanzun, a contemporary of China's drama, has experienced numerous ups and downs in his life and created many legends. Although he celebrated the centenary birthday of the drama, he did not celebrate the centenary birthday, but his archives and spiritual wealth are immortal.
Promote the tradition
Drama tradition
Drama has gone through a hundred years, with the people and the times; Accompanied by the battle, it is entrusted with ideals and highlights art; Drama has gone through a hundred years, inspiring generation after generation and cultivating many artists.
On the occasion of the centenary of China's drama, 93-year-old director Ouyang Shanzun will perform again; Looking back on the vicissitudes of life, my heart is surging. Ouyang Shanzun, who is still young in art, described himself as "born in sorrow, old in happiness, staying in years and serving the motherland", and wrote a poem modeled on Yue Fei's "Man Jiang Hong": "The scenery in the north reflects the sunset glow very kindly. Although I am very old, I am ambitious, and my afterglow has not diminished. Fame and fortune, dust and dirt, art and the sea all have their days of making waves. Up to now, I have lived for more than 90 years, and I don't want to rest. Looking at the world, the wind and thunder are urgent, and for peace, it will rise rapidly. Looking forward to cross-strait reunification. A game of chess in the southeast and northwest, a comprehensive well-off society can be expected. Qi Xin works together to build a harmonious new society. " -the childlike innocence of the veteran drama jumped out.
As a famous director of Beijing People's Art and one of the founders of Beijing People's Art's realistic performance style, Ouyang Shanzun, who is almost the same age as China's drama, has formed an indissoluble bond with drama all his life-his father Ou Yangyuqian is one of the founders of China's drama, and in his artistic career of more than 70 years, he has also directed more than 50 plays, most of which have become classics. To celebrate the centenary of China's drama, the old man will once again perform on the stage, earnestly saying that the tradition of China's drama cannot be lost.
militancy
"militancy, nationalization and realism are the fine traditions of China's plays." Ouyang Shanzun explained that China's plays were born with the fate of the country and the rise and fall of the nation, and rose and fell with the wind and rain of the times, and went through a tortuous and extraordinary road. 1907, Li Shutong, Ou Yangyuqian and other students studying in Japan formed the Spring Willow Society to perform "The Record of Black Slaves Calling Days" in Tokyo, advocating freedom and liberation, and propagating the spirit of resistance, which aroused the audience's * * * voice. Later, the Qing dynasty consulate banned the play and sent these international students back to China. The old man clearly recalled: "I participated in the school play when I was a student and mobilized people to resist oppression." At that time, Kuomintang agents stood beside us with guns and refused to carry them out. The audience shouted to continue the performance, and we risked our lives to continue the performance For us, drama is a weapon of battle. Later, War of Resistance against Japanese Aggression's dramas and those in the Liberated Areas all used fighting to mobilize people and publicize the war of resistance. The militancy of China's plays is undeniable. "
Nationalization and popularization
For this reason, on April 7th and 8th, Ouyang Shanzun, honorary president, insisted on taking the stage to perform Lu Xun's combat drama "The Passer-by" in the performance of "Appreciation of Classic Drama Fragments in Commemoration of China's Centennial Drama" sponsored by the Culture and Art Professional Committee of the Chinese Old Professors Association and the China Federation of Literary and Art Circles. "This is a drama created by Mr. Lu Xun and rarely performed. People are familiar with Lu Xun's essays and novels, and they all agree that it is combative, but this drama is also very combative. " The old man told reporters that Mr. Lu Xun's script was written in March 1925, when the China * * * production party was born. Chen Duxiu and Li Dazhao introduced Marxism–Leninism in New Youth. These Luxun knew it. In the play, when he writes about a passerby, there is always a voice calling him forward. "I think this is the voice of the party and the voice of progress." These days, the old man copied his monologues neatly and recited them carefully, hoping that more people would know that there was a work like Lu Xun in the history of China drama in the past hundred years.
Ouyang Shanzun, who attended the Yan 'an Forum on Literature and Art, personally listened to Chairman Mao's speech at the Yan 'an Forum on Literature and Art, and participated in drama performances in the liberated areas, has a profound understanding of the nationalization and popularization of China's dramas. He said: "China's plays have always been rooted in the fertile soil of realism and the lives of people of all ethnic groups in China. Literature and art serve the people, and socialism is the direction we should take. " After liberation, he brought the tradition of art serving the people to Beijing People's Art, explored the mutual integration of China's drama and China's drama together with Jiao Juyin, Mei Qian and Xia Chun, and constructed the realistic performance style of Beijing People's Art. His plays, such as Stone, Sunrise and Gunman, have become the classics of a century-old drama. Beijing People's Art has also become a popular theatrical troupe with Cai Wenji, Teahouse, Thunderstorm by Guo Moruo, Lao She and Cao Yu, as well as many famous artists such as Zhu Lin, Zheng Rong and Yu Shizhi, and established a leading position in the national theater.
Elegant and popular appreciation
Talking about the situation of drama, Ouyang Shanzun pointed out that the mainstream of China's drama, whether in rural or urban areas, has always developed along the road of appealing to both refined and popular tastes, and drama can only grow and develop if it reaches the masses. Treating drama as an elegant art is tantamount to setting up barriers for yourself. Pretending to be "elegant" and deliberately engaging in things that express themselves, get rid of life, get rid of society, get rid of the audience, and even make people unable to understand, is tantamount to tying a stumbling block to the drama and dragging it to the bottom. To this end, he advocated the combination of theater performances of drama majors and performances in the countryside to provide the audience with healthy and upward excellent works with ideological, artistic and ornamental unity. He stressed: "Some people say that it is out of date to talk about harmony before fighting. Fighting is not a class struggle, but it can enlighten the audience and inspire people to work hard and enjoy the beauty. "