Many people may say that old classmates include Chen Shaoyun, Zhang Ke, Zhang Jianguo, Tan Yuanshou, Ren Dechuan and Zhang Xuejin. Including Li Jun, Wang Peiyu, Zhu Baoguang, Ma Changli, Yang Naipeng and so on. Single religion also includes Zhang and Chi Xiaoqiu of Mei School, Shi Min and Cheng School. I don't know much about Dan Jiao, so I won't say much. Lao Dan, everyone Li Yanming, Wang Yumin. Famous artists such as Yuan Huiqin and Kang Jing. Meng Guanglu, Kang Wansheng and so on. There are so many famous actors, why not?
In fact, the problem is very big. A good actor, compared with the public, is really well-fed and well-paid. This has also caused many actors to be busy with all kinds of entertainment and performances after becoming famous, and there is very little time to really engage in art. At the end of the road, it is really far away to leave school. However, many actors in the poor Peking Opera Theatre are really in a worrying situation and have no stable income, which makes many powerful actors unable to persist. They have time to study Peking Opera, but they have no income security. In order to support their families, many people have to give up this profession and find another job. The Peking Opera industry, which is not particularly prosperous, has lost too many talents.
In this case, the vicious circle, the more money, the fewer people to learn, the more talents, the more plays, the worse the market. In the long run, really, there will be big problems. Not to mention carrying forward, it is estimated that even the foundation will gradually decline.
Fortunately, the state has started to establish foundations to train actors from an early age and support and protect this art. It is hoped that through a certain period of rest and training, more glories can be created, some real masters can be produced and new schools can be derived.
And now, like Pei Yanling, they are preparing for the box office of Shang Yan. Pei Lao is the real master of Peking Opera. Although she was born in Bangzi, her Peking Opera is absolutely unambiguous, handsome and tight, and her artistic requirements are really strict. I think choosing a shift will have a good effect. It is not impossible to expect more and more troupes to be self-financing, motivated and pressured to become masters.
Come on, Beijing Opera! ! !
Before answering this question, we must understand two questions. First, what is "contemporary"? That is, contemporary refers to that period. Refers to the Peking Opera performing artists who are alive now, or after the founding of the People's Republic of China or after the reform and opening up. Different definitions will have different contents. Second, what is a "master"? Different definitions will have different results.
Say "master" first. Nowadays, many people are called masters. More, it is worthless. What is a master? I'm afraid no one has a definite definition. We can compare dramas according to their genre characteristics. Generally speaking, an actor must meet three conditions to form a genre. First, they have different personality characteristics from others. Second, these characteristics are generally recognized by the audience. Third, it was handed down by others. For example, the Mei school in Beijing Opera is characterized by elegance, dignity and peace. This has been widely recognized by the audience. Meipai has many descendants. Such as Du Jinfang, Yan Huizhu and Mei Baojiu.
The formation of schools is the result of innovation and development on the basis of inheritance. From this point of view, a person who can be called a master of Peking Opera must have contributed to the development of Peking Opera. They must have superb artistic skills, in addition, they must innovate the artistic forms and expressions of Beijing opera. Their innovative achievements will be accepted by the audience and become a new artistic expression. Only such a person can be called a master.
Peking Opera has a history of more than 200 years since Huiban entered Beijing. In the process of its development, there is a stage in which great masters come forth in large numbers. Cheng Changgeng, Tan Xinpei and other famous artists can become masters, in addition to inheriting the art of their predecessors, what is more important is artistic innovation. In the era of Yu Shuyan, four disciples appeared, first "Yu Yan Gao Ma" and then "Ma Tan Xi Yang", which was the era when many masters emerged in the history of Peking Opera. The figures who form a genre are all masters. Before and after the "Four Beards", Mr. seven old was a master.
After the "Four Bears", there are also "Four Bears". The reason why we should be born in the first place and be famous in the last reflects the situation of social development from the side. Traditional society is a patriarchal society, and the protagonists in drama stories are mainly men. So, there are four beards. After entering the modern society, women's power has gradually improved. Female roles play an increasingly important role in drama, which is also the reason why Beijing Opera has "four famous roles".
The reason why Mei Lanfang can become a great master and the first of the four gifted scholars is directly related to his spirit of reform and innovation. In the past, the form of drama was that the male actor sang and the female actor sat still. Qi Rushan, Mei Lanfang's collaborator, is a scholar who has studied abroad. He has seen western dramas and suggested that Mei Lanfang learn the expressive techniques of western dramas. Therefore, when Xue Pinggui sang outside the kiln in Mei Lanfang's Wujiapo, he added some movements to show Wang Baochuan's inner activities. At that time, it caused a great good response. This is innovation. It is with this innovative spirit that Peking Opera has a richer form of expression and a more complete system.
Mei Lanfang's "four famous artists" in the same period were all people with exquisite artistic accomplishment and innovative spirit.
After the four famous Dan, it is also known as the "Four Little Famous Dan". They were also outstanding actors in Peking Opera at that time. But in the end, it formed its own genre, and the only one that kept pace with the four famous artists was Zhang Painting School.
Schools formed after the founding of the People's Republic of China, besides Zhang School, include Zhao School and Guan School. However, the influence of these two factions seems to be much worse than that of Zhang Pai.
The formation of Zhang Zhaoguan's schools is related to innovation. Zhang School was formed by combining the advantages of the other four schools on the basis of Mei. Guan He are both talented artists. They all enriched Dandan's forms of expression through their own artistic practice. For example, Tsing Yi, who used to play the role of Dan, can only play people with relatively calm personality. Hua Dan is a lively figure, while Wu Dan is a spirited woman with a single character. Mei Lanfang started the flower shirt business, in fact, it was to combine great friendship with Wu Dan. For example, Mu Guiying in Command is like this.
In Guan's Iron Bow, the heroine appeared as Hua Dan, went to war as Wu Dan, and overseas Chinese disguised as Wu. In this way, a character embodies the diversity of personality and identity. Therefore, a play like Iron Bow Edge can't be performed without various artistic talents. Perhaps this is one of the reasons why the official faction and the recruiting faction are not as prosperous as the Zhangpai faction.
Closed iron bow edge
Xin Anyi.
Today, there are still many Beijing opera practitioners who are inheriting our national quintessence culture. Among contemporary Peking Opera performers, there are many people with exquisite art and high artistic morality, such as Mei School, Ma School's Stone, Ma School, Tan School, Tan Xiaozeng, Qiu School and Yuan School. They are all excellent Beijing opera actors and performing artists, but when it comes to masters, I'm afraid it's hard to be called.
No master can understand contemporary Peking Opera. Because the development of a thing will not be infinite. The era from Peking Opera to Mei Lanfang and Zhang Junqiu has basically reached its peak. His artistic form is so complete that it is difficult to innovate. It is good that artists can pass on the master's art now. It is extremely difficult to surpass it.
We hope that there will be masters of Peking Opera in the future.
Oriental drama has a long history and many plays. In the development process of nearly three thousand years, it can be described as "three thousand in Tang Dynasty and eight hundred in Song Dynasty".
However, only the short 229-year-old Peking Opera really broke through this position, making the number of Peking Opera plays as high as 5,000! So there are many masters and schools.
The master of Peking Opera, "Thirteen Masters with the Same Light", belongs to the master. Due to the limitation of personal level, there is also a lack of information reference. I dare not talk nonsense, but Tan Xinpei and Cheng Changgeng deserve it.
The second generation of,,, Hao, and so on should be called masters.
The third generation of great artists, such as Tan Ma in Yanzhou. Mei Shangcheng and Zhang Xun are both masters of art! They started their own school, which pushed the art of Peking Opera to a peak. Of course, Yang, Li, Qiu and He should all be masters.
There are also some famous artists in the fourth generation, such as Heguan, but their popularity is not as good as that of more than three generations of masters. I don't know the artistic features, but Mr. Guan's achievements in Beijing opera can't be underestimated!
She participated in the organization and creation of Yunnan Peking Opera Theatre. Take root in Yunnan, and blend into the performing arts and music arts of Peking Opera with Yunnan minority style! Among the geographical schools of Peking Opera, Yunnan School was established, which actually coexisted with Beijing School and Shanghai School, making Yunnan one of the five wharves of Chinese Peking Opera (Beijing, Tianjin, Shanghai, Nanjing and Yunnan).
The performance is more chaotic and the students are excellent. Known as an "all-round artist" in the industry, Yunnan people call it "Guan Shenxian". Masterpieces such as Dai Nuo, Zhan Hongzhou, Legend of the White Snake, White Gate Tower and Iron Bow Edge are very influential! Some of them have become models of Peking Opera teaching materials, such as the wudan Opera "Playing the Flag" presented by Guan, which has become the highest standard pursued by wudan students!
Guan pai disciple Xiong lives in the northeast and southwest. Looking at Beijing opera, local opera, radio, film and television. Famous artists include Xing Meizhu, Hou Danmei, Li Peihong, Li Jingwen, Li Xiaoyu and Yucun (USA). Disciples of local operas, Wang Runmei, Wu Lan, He (Radio and Television).
Mr. Guan's artistic achievements in Beijing, Tianjin and Shanghai can be compared with those of several people! Call it a master, even more!
After reading it, I want to say a few words: Since the birth of the four famous dancers, there has only been one master Zhang Junqiu. To become a master of this school, we must first know hundreds of plays, adapt or transplant other brothers' plays, change them into Peking Opera, spread them widely, and form our own school. The rest are famous Peking Opera actors, such as Zhao Yanxia Tan Yuanshou. They just inherited and developed the cause of Peking Opera, but they are far from the influence of masters, so in recent decades, masters have emerged one after another. Say you can act in a dozen or dozens of plays, that's the guy you eat. If you don't have the guts to say that you are a Beijing opera actor, all opera fans will sing dozens of paragraphs.
Tell me my opinion.
China has the title of "master" of chess, provided that he has won the top 16 in the national individual group A. Peking Opera is a performing art, not a competitive sport, so it is difficult to define the qualification of "Peking Opera Master". Everyone's judgment standards are different, and it is inevitable that personal likes and dislikes will be mixed. In fact, in the history of Peking Opera for more than 200 years, only Tan Xinpei, Yu Shuyan, Yang Xiaolou and Mei Lanfang are real "masters", but only a few people. Most of the rest are "one white covers all the ugliness", so it is enough to call them "artists".
A master must make an epoch-making and landmark creative contribution to Peking Opera, or at least make a contribution to his own career, in order to be "well-deserved". Throughout the current Peking Opera circle, it can be arbitrarily said that there are no masters in Peking Opera.
There are several reasons for this conclusion:
1: There is no new genre.
In the past 60 years, there has been no new school of Peking Opera. Mr. Zhang's school seems to be the last recognized influential school. Other schools such as "Zhao School" and "Guan School" of Guan are barely called "schools" in terms of influence, art and inheritance. Without factions, in fact, actors do not have their own artistic characteristics. How can they be masters?
2. "One trick is fresh" is not a master.
Zhang school has a great influence, which can be regarded as the first after the "four famous poets", but it seems more appropriate to call it "singing master" with attributes. In all fairness, Mr. Zhang's "reading, doing and typing" is very general, and the level of "doing and typing" is almost negligible. Similarly, there is Master Li Duoye in Lao Dan. Nowadays, it is rare for an actor's skill to reach one tenth of that of Zhang and Li. How can he be a master?
3. Impetuous atmosphere
Art has always been a "liar", and "Taoists" are rare. The former is rich and famous, while the latter is struggling up and down. You can make a splash by hype. Who wants to get up early and practice in the dark? In the atmosphere of quick success and speculation, where are the masters?
4. Ease loses self-motivation.
Being in a state-owned troupe, whether it is performance or innovation, it is by no means an actor who can have the final say. Under the invisible constraints of a series of arts such as leadership arrangement, superior review, background support and seniority. It is helpless and human nature for actors to choose a more comfortable life of "promotion at the beginning of the year and salary at the end of the year". Self-motivation has long since disappeared after hitting the wall countless times. Where is the master?
5: Sweat can't accumulate, Master.
You can't be a master by hard work alone. In addition to talent, opportunity is also very important. Behind every successful person, there are a group of people who support him silently. As far as Master Mei Lanfang is concerned, the strong support of Qi Rushan and other "Mei Party" in financial, material and diplomatic aspects is absolutely indispensable. Now, who is willing to put on a wedding dress for other girls just because of artistic hobbies? One tree doesn't make a forest, where is the master?
Masters are made by history, and touting hype can only be noisy for a while. Not only is there no master in Peking Opera at present, but it is also impossible to produce a master for quite some time to come.
Yang Ming 5 1, my humble opinion, welcome to correct me and look forward to your attention.
Now it is not only the Beijing Opera circle, but also many fields are casually positioned and called, which is not rigorous. Those who are called masters of Peking Opera should have made outstanding contributions to the development of Peking Opera, such as Cheng Changgeng, Yu Sansheng and Zhang Erkui, the "three outstanding figures" at the beginning of the formation of Peking Opera. Tan Xinpei, Sun Juxian, Wang Xiaonong. Wang Yaoqing, known as the "Tian Tong leader" in Dan Jiao; Before and after the formation of the school, the old students came into being in four ways: Yan, Yan, Ma. Tan, Yang, Xi Xiaobo; Kirin, and Tang. Mei Lanfang, Shang Xiaoyun and Cheng, the "four Danish celebrities", formed their school. Hao and Hou who do face painting business; Xiao Changhua, a famous clown Peking Opera educator; Jiang Miaoxiang, founder of Xiaojiang School, and Ye Shenglan, founder of Yepai School; Gong Yunpu, founder of Gong School, and Li School. After the founding of New China, only Qiu with a long face and the founder of Dan Jiao Zhang School formed a genre. In addition, Li, an outstanding descendant of the old school, created and performed Wild Pig Forest and White-haired Girl, especially Wild Pig Forest, which became an unprecedented classic with far-reaching influence and was widely sung. Although he does not have the basic conditions to form a school of thought, his artistic achievements can be called' masters'. In addition, some successful actors in New China, such as Zhao School, are totally unqualified. As for Guan, the situation remains the same. Those who have made great achievements below the master can be called famous Peking Opera performers, such as outstanding successors of some schools, and then called Peking Opera masters and popular stars. Arbitrary naming is not allowed. I hope the industry and the host community will take this seriously.
Beijing opera master? Stop it! Artists of the older generation, even Li, Li, Zhang Chunhua, etc., can only say that they have just glimpsed the path of the master. Nowadays, young and middle-aged Peking Opera actors don't even have a "big horn", not to mention the word "master"! A real master must first be both civil and military, and can perform more than one or two hundred plays. He must also have his own characteristics and unique innovation. Traditional drama must have several unique ways of playing that others can't match. I want to ask, are there any young and middle-aged actors who meet the above conditions? Can imitation, chaos and grandstanding be considered masters? Just kidding!
The only contemporary Peking Opera master is Yu Huiyong, former Minister of Culture of China. He has made great contributions to the development of modern Peking Opera! Representative composers include Taking Tiger Mountain Out, Harbor, Ode to Long Jiang, Dufu Mountain, Rock Bay, Trial Chair and so on.
After the liberation of Peking Opera, all previous political movements, especially after the Cultural Revolution, were dying. There are six or seven thousand traditional plays, and only a few dozen can be seen on the stage at present. Actors are sitting on the imperial salary, doing nothing, not performing Beijing opera, singing Beijing songs. The ancestral business was destroyed, and pear blossoms still sang across the bank. So, only the black sheep, where is the owner? !
First of all, please find out what is a "master"? What is the "xx family"? Understand the concept first; 2. As far as all Peking Opera actors in China are concerned, which one has become a "sect"? Who has his own "works" and his own "masterpieces"? At present, only Zhang's Jiang Jie is sung in the fan circle. ) I would like to ask the current "Peking Opera Masters", if there is no state subsidy and "self-financing", which one of you can support the "troupe"? Who can support themselves? At best, the present "Peking Opera Masters" are workers who sing (preach) Peking Opera. Hundreds of old plays created by our ancestors are repeated today. According to Zong Shang, a singer or setter can also be called a "master"? No wonder Mr. Huang Yongyu said with a smile, "Professors walk all over the street, and there are as many masters as dogs"! 6. The root cause is impetuous society and people's "quick success and instant benefit". In the past, there were only three "Peking Opera Theatre" in China: China Peking Opera Theatre, Shanghai Peking Opera Theatre and Yunnan Peking Opera Theatre. Now even the small county (city) level Peking Opera Troupe is called "Peking Opera Theatre" for nothing. I can't help laughing and sneering! 7. At present, the highest and best living Peking Opera actors in China (except those over 80 years old) are enough to be called "Peking Opera Masters".