Stepping into Liyuan Gate at the age of nine
Tang is not surnamed Tang, it is a stage name. His real name is Shi Binkui. In the 29th year of Guangxu reign in Qing Dynasty (1903), the 10th day of November in the lunar calendar. Shi Binkui was born in a big family in Hedong Street, a prosperous business district in Fuzhou. His ancestors belonged to Zhenghongqi, one of the Eight Banners outside the Manchu Dynasty, and his ancestral home was Shenyang. His grandfather was sent to Fujian as a policeman when he was young, and settled in Fuzhou after he retired. Father Shi is a scholar, and mother Lang Huilan is a good family. Outside this door is a large family with the brand of "Shenyang Shiyu", who lives on official salaries and is rich and comfortable. Xiao Bin Kui showed his talent when he entered a private school at the age of six.
Peking Opera Performance Artist Tang
People are doomed to misfortune. That year, his father, Shi, who was in his early forties, suddenly fell ill. Unable to treat, unfortunately passed away. The stone family lost its pillar, borrowed money and moved out of the old house, and the family was ruined from then on. 19 1 1 When the Revolution of 1911 broke out, the Shi family was deprived of their salary by the Qing court, making life even more difficult. That is, in this year, a troupe led by Shanghai Hebei Bangzi actor Tang Jingyun came to Fuzhou to perform. According to reports, seven or eight people, including Tang Jingyun and his wife, live in a wooden house in Shi Jia.
Tang is the biological mother Lang Huilan.
Tang Jingyun and others lived in a stone house, and they fell in love with the clever and lovely Xiao Bin Kui. Tang Jingyun was in his thirties at that time. He graduated from Yongsheng Harmony Class in Baodi County, Hebei Province, majoring in civil and military Hua Dan. They practiced in Si Tong's living room every day, which deeply attracted Xiao Bin, who was only seven or eight years old. The troupe activities in the tea garden (that is, the theater) also planted the seeds of drama in his young mind. A year later, Tang Jiaban will return to Shanghai. Before leaving, Tang Jingyun asked Xiao Bin Kui, "Would you like to study drama with us?" Bin Kui readily replied, "I do!" Finally, Tang Jingyun persuaded Binkui's mother and grandfather on the grounds that "children can be made and the future is bright". Tang and Shi signed the written evidence of "eight-year apprentice, who can go home after the expiration". In this way, nine-year-old Kui said goodbye to his relatives and hometown, followed Tang Jiaban to Shanghai, and began a worldwide career in pear orchards.
Nine-year-old Xiao Bin Kui has good facial features and a clear and pleasant voice, which is deeply loved by Tang Jingyun and his wife. They taught him to practice, and invited teachers and friends to invite a famous tutor to teach Bin Kui's old Peking Opera. He was industrious and wise, and soon learned the plays of Three Chops and One Touch by Liu (Hongsheng), namely, Cut the Yellow Robe, Cut Ma Su, Cut the Son at Yuanmen, Touch the Monument, and Wang (Xiaonong)' s traditional old plays, such as The Picture of Zhang Song, Sprinkling Water on the Horse, Fishing and Killing the Family. Colleagues also praised Xiao Bin for his guilt. Mr. and Mrs. Tang decided to let Xiao Bin Kui try it on the stage. They specially made a small children's dress for him. Xiao Bin Kui tried it on, and sure enough, she looked very sexy!
19 13, 11-year-old Shi Binkui made his debut on the stage of Shanghai Tianchan, playing Yang in Yuanmen Chop Zi. The child was steady as soon as he appeared, which immediately aroused the interest of the audience. After a few moves, he began to sing "I suddenly heard the old mother's account (ah, er)", and a string of silvery children's voices "knocked" on the audience's eardrums, which immediately won a full house of applause. Xiao Bin Kui's "drama with a curtain" was a success, and the three-day performance was full of cheers.
Master Tang Jingyun was overjoyed, so he renamed Shi Binkui "Tang Yunsheng", which means "the sound is like a flute, the bagpipes are melodious and full of charm". Since then, this name has become more and more popular in the field of traditional drama in China.
19 16 years, 14-year-old Tang went north with his teacher to study art and performed in Shandong, Hebei and Northeast China. That summer, they went to Harbin to perform and met the famous Hebei Bangzi actor Xi Cai Feng and the Pingju actor Yue Mingzhu. These two prestigious artists happily performed on the same stage with Tang, a 4-year-old boy with braids, which not only reflected the care of the older generation of artists for the newcomers, but also showed that Tang did have some strength at that time.
Harbin is a city with strong international characteristics. Many people are curious about Peking Opera. I heard that a handsome guy with braids will play an old man with a beard, and his appetite naturally hangs up. The attendance rate of "Qingfeng Opera Garden" soared and people were crowded. The Far East newspaper published in Harbin on June 20th of that year commented: "The business of Le Tong tea garden at our port was sluggish ... so we specially invited some interested new Kunming celebrities, so the garden was slightly improved. Qingfeng Opera Garden does not recruit new roles, so it raises the salaries of pure actors, such as Tang, Cai Feng and Yue Mingzhu, so that all actresses and others are interested in finding jobs for their plays to boost their spirits. Therefore, the comparison between the two gardens still belongs to Qingfeng. " It can be seen that the 14-year-old Tang has become a "pure horn".
19 19, Tang moved to Shanghai with his teacher. At this time, Shang Xiaoyun and ("the old three good students" and the son of the founder of Tan School) in the suburbs of Beijing have signed a contract and immediately invited Tang to continue his performance. At that time, the Tianchan Stage gathered celebrities from all walks of life in China, and the top performer was Xiao Dazi (whose real name was Li Guichun), an old student and martial artist. Yang Ruiting, a famous martial artist, and Zhao, a famous Dan, who is known as "Southern Mei Lanfang", all praised Tang's talent at the age of 17 and were willing to perform with him. Li Lingbei, Yuanmen Chopping Son, Hongyang Cave, Empty City Plan, Sacrifice to Xichuan by Tang Dynasty, The New Eighteen Chapters and Mulian Saving Mother, which were performed in collaboration with Xiao Dazi and Yang Ruiting, are all very popular. At that time, the title of Drama Newspaper published as the crown of Tang Dynasty was "Inviting the best and most famous workers and students". Tang and others became popular for two months in a row. After the contract expired, they helped perform for five days. On the one hand, Tang left a good impression on the Shanghai audience and laid the foundation for going to Shanghai again in the future. On the other hand, he met many famous predecessors and gained great artistic experience, which made his skills more mature.
Since June 19 19, Tang Jingyun and his wife have led Tang to Dalian and Jilin to perform highlights such as The White House, Three Rivers Crossing the Tiger City and Mu Huguan. In August, he arrived in Vladivostok (now Vladivostok, Russia) via Harbin. Tang Yunsheng starred in Nanyuan Garden (Yongxian Tea Garden), and his partners were all "big names". Such as male Yunqing, "nine-year-old boy" Zhao, old student Gao Sankui and so on. Tang not only performed the highlights of Liupai and Wangpai singers, but also performed Wu Laosheng's Dingjun Mountain, Pingyang Pass and other plays, and co-edited the Golden Whip with Zhao. Zhao plays Hu Yanqing and Tang plays Meng Qiang. In The Jade Bracelet Found in Famen Temple, Tang struck a chord with the matchmaker Liu and caused a sensation. The matchmaker lit a cigarette with a pipe bag more than two feet long, sang "Go to Sun's house to fix it" and ran around the field. At the same time, the rod of the pipe turned smoothly on the middle finger of his right hand for a few minutes. Liu Hongniang's humor, wit, joy and self-confidence are all vividly displayed. Every time I play here, the applause thunders. In fact, the matchmaker Liu's Playing with a Tobacco Bag was handed down by Master Tang Jingyun, and it was polished and painstakingly managed by him. This has also become a great stunt of Tang, which has been performed repeatedly. The performances of Tang and others are regarded as novel by the audience in Vladivostok, and have maintained the momentum of continuous performances. They lingered in this cold town for a year because of the repeated detention of the theater owner.
Don Yun Sheng plays Yu Jianping in Twelve Money Darts.
In those years when Tang left his hometown to study art performance. I miss my hometown and relatives all the time. In those years, he also took time to go home for a few days and visit his grandfather and mother, but he still couldn't understand the feelings of missing. That year, it was time to honor the written evidence signed by Tang Heshi that "you can go home after eight years of apprenticeship". Tang's grandfather found Tang Jingyun and wanted to take his grandson back to Fuzhou. Under the persuasion of Tang Jingyun and his wife, especially Tang's true confession of "being a Peking Opera artist and being at home in the world", Grandpa had to accept it. On the night when grandparents and grandchildren left, Tang chose a song from "Four Lang Visiting Mother": "... I am like a flock of geese flying away from the south, ... I want to go out and see my mother, but I am far away. Thinking about my mother is deeply grieved ... "Seeing the old man off, I expressed my thoughts for my loved ones and my hometown. Tang Jingyun also formally accepted Tang as his adopted son in front of the old man. Unfortunately, it didn't take long for Tang Jingyun to die in Dalian. Tang, who has grown up, and his foster mother are in charge of the troupe. He led a delegation to earn a living by performing arts.
Lead the troupe to sing north and south
1920 One night in early winter, Tang was performing on the stage of Dangui Tea Garden in Jilin. When he sang "Baqiao Picking the Robe" to the last sentence "Baqiao Picking the Dahongpao with a knife", his voice suddenly became hoarse and he couldn't get rid of his high voice. Tang entered the "warehouse inclination", also known as "sound inclination". In the pear garden, the actor's voice is compared to a granary full of rice. The hoarse voice during the voice change period indicates that the rice barn has fallen down and people are going hungry. During this time, he can't be very anxious. The foster mother and a dozen people in the troupe depend on him for their livelihood. When will their voices be restored? Therefore, Tang, who was opinionated and regarded art as his life, was determined to practice hard and shouted out his voice with the encouragement of his colleagues in the troupe and tea garden owners. He trotted straight to Beishan every morning. At the foot of the mountain, I put on three-inch thick boots, tied sandbags on my legs and climbed to the top of the mountain along the rugged mountain road. Then he squatted on the top of the mountain and began to shout. He blew into the ice with his mouth wide open until the air blew it out of the hole. At first, I couldn't shout it out at all, but then it gradually became a little noisy. In this way, he insisted on practicing his voice every day, went back to the theater dormitory to drink some boiled water and eat some wowotou, and then practiced his body and martial arts. During this period, he studied the martial arts drama Kill Four Men, Tie Longshan, Riding a Hundred Horses to Robbery Wei Ying, Changbanpo, Eight Hammer, and the drama Guan Sheng, which is both civil and military. Two years later, Tang's voice recovered. He is not only an excellent veteran actor, but also an all-around actor who combines veteran and martial arts and becomes a small voice and can cross talk. It is almost inconceivable for a literary and opera actor to complete an almost thoroughly remoulded transformation in less than two years without exceeding ordinary people's perseverance and understanding. This also counts as death and afterlife!
Don Yun Sheng in his youth.
During the "warehouse dumping" period, Tang Yun Sheng met monk Wu Che, the abbot of Huangyuge, in Beishan, Jilin. Wu Che used to be an actor in Hebei Bangzi. He became a monk halfway and converted to Buddhism. Understand the abdomen, knowledgeable, generous, talkative; Don is smart and eager to learn. The two met each other after a brief encounter, and they hit it off very well, so they forgot the alternation of that year. Whenever Tang is free, he visits Wu Che in the Duoyun Hall of the Jade Emperor Pavilion. Every time we meet, Wu Che chats with him, plays chess, talks about Zen, poems, paintings, talks about the past and the present, reviews novels and analyzes scripts, and explores the secret of success for famous artists to create their own artistic styles according to their own conditions.
Tang's artistic career was mainly spent in Shanghai. From the Revolution of 1911 to the May 4th Movement, Peking Opera reformers represented by Wang Xiaonong, Pan, Xia Yuerun and Feng were active on the new stage in Shanghai and staged a large number of improved Peking Opera and new fashion dramas. In his initial stage, Wang Xiaonong's drama "Opening with Blank Space" includes his representative works, such as Offering a Picture, Crying for the Ancestral Temple, Sprinkling Water before the Horse, etc. The reformists put forward the ideas of "attacking the disadvantages of old operas, improving the status of operas", "teaching operas to read shallow books every day, instilling common sense, inspiring patriotic enthusiasm, ensuring that personality will not be degraded by famous artists", "compiling new operas, benefiting customs", "enlightening the people" and "calling back the soul of the motherland", which left a deep imprint on Tang's heart when he first entered the art world.
However, in Tang's immature mind, the concepts of "democracy", "patriotism" and "improving the quality and status of artists" are just vague concepts. Under the impact of these new drama thoughts, Tang realized that he should not only perform the traditional dramas taught by others well, but also form his own performance characteristics, create his own characteristic dramas, and integrate his progressive ideas and concepts into artistic practice to make more beneficial contributions to the country and the people. With the guidance and help of Wu Che, a monk, Tang began to write the script Inspirational. Later, the representative works of Tang Peking Opera, such as "Catch the Mountain", "Zheng Boke Duan", "Lu Tai Hate", "Chen" and "Juelongling" were all created during this period.
The difficulty of Inversion not only failed to defeat Tang, but also made him make a qualitative leap in art, which is inseparable from the concern and guidance of monk Wu Che. After two years of close contact, their friendship is close. Every time Tang comes to Jilin to perform, he will go to Yuhuang Pavilion again and have a night talk with this bosom friend and mentor. The old Wu Che goes to the edge of the stage to watch Tang's performance every day. When Tang rehearses a new play, Wu Che often sits by and makes suggestions enthusiastically. Their cordial communication continued until 1945. The sincere friendship between the two was passed down as a much-told story by the opera circle. At the same time, it also made Tang Ming understand that you can't sing well without cultural drama. Therefore, these days, he eagerly bought books, read books, and asked her husband to tell books. He read novels such as The Romance of the Sui and Tang Dynasties, The Water Margin, The Journey to the West, The History of the Eastern Zhou Dynasty and The Romance of the Three Kingdoms with relish, and made a great wish to present the stories and characters in the book on the stage. This laid the foundation for him to become a versatile actor and an excellent screenwriter in the future.
Don Yun Sheng plays Yinjiao in Twelve True Stories.
Three years later, his voice became broad, bright and crisp, and there was a strong * * * sound in the back of his head, like a copper voice and an iron voice, which turned into a truly earth-shaking kung fu sound, which was so shocking that Kun Gan; Coupled with a solid dragon leaning, arrow clothing and colorful flag kung fu, Tang "reborn" began a new course. At the beginning of 1922, 20-year-old Tang returned to Geerling beautiful tea garden to perform, which was a great success. In addition to the traditional dramas of old students and Wu Sheng, he began to paste the "National Drama" edited by him and monk Wu Che. Among them, Driving Warrior is particularly popular. During the Spring and Autumn Period, Song Mingong satirized Nangong Changwan General, who became angry after drinking and killed Gong Min. Nangong Changwan, played by Tang, combines old biotechnology, martial arts skills and facial painting in one furnace, paying equal attention to both civil and military. He sings, does, reads and acts well, which makes the audience feel refreshed and full of praise. Later, this drama became a housekeeping drama of the Tang school.
In the spring of the same year, Tang Jiaban moved to a new stage in Harbin. Tang was handsome and beautiful, and the audience praised him as "Pink Nezha", which was very popular. In March, Hebei Bangzi Mingjiao Xiao (Wei Liansheng) was killed by the rogue Yao Xijiu while performing on a new stage, which aroused public outrage. In April, Tang stepped forward and signed a letter with Hebei Bangzi actor Cai Feng, Pingju actor Yue Mingzhu and Jin, who were also performing in Harbin, to the Chief Executive's Office of Northeast Special Zone, accusing Yao Xijiu of his crimes. For a time, the wave of condemnation swept across the country. Under the pressure of public opinion, the authorities had to lock Yao Xijiu up. This is the first victory of young Don Yun Sheng in the struggle for justice.
1923, Wang Hongshou, an old actor who is known as "the living Guan Gong", was invited to board the first issue of Fairy, and Shang He Yu and Yang Ruiting cooperated with him, causing a sensation in Harbin. Faced with the fierce competition in various theaters, the new stage owner pondered hard and formulated the strategy of "treating the elderly with small ones". The eldest brother used 2 1 year-old "Pink Nezha" Tang, and let him and the younger (Cao Yibin) who was only 12 years old deal with the 73-year-old Sanma. As a result, the audience received rave reviews After Tong, Cao Yibin and Shi Yueming sang red songs, there was a "psychic fever" in Heilongjiang Province. Since then, Li Wanchun, a martial artist at the age of 13, and Wang Shaolu, a female martial artist at the age of 14, have come to the fore, creating a situation in which Tong Ling occupies an important position in the Northeast Peking Opera stage.
1April, 925, Tang Jiaban came to Tianjin. At that time, famous singers who sang red in Beijing had to go to Tianjin first if they wanted to perform in other places to make money. Only from Tianjin can it become popular in other places. On the other hand, celebrities from all walks of life in China want to win honors in Beijing. Only by singing red in Tianjin can they hope to gain a foothold in Beijing. It is in order to enter Beijing and Shanghai in the future that Tang came here to do his best, even to occupy a place on the famous Peking Opera stage. In Guanghelou, Tianjin, he collaborated with Zhang Pinqing to perform three to ten copies of Five-Star Couplet, Three Levels of Sword and Gun, Seven Capture of Meng Huo, Horse Dealer, Red Skeleton, Crossing the Tiger City in Three Rivers, Ji, and the Lotus Theatre received good response. On May 2 1 day, Tang was invited to perform with Shang Xiaoyun and Yan at the Grand Theatre. He was arranged to perform the martial arts drama "Fighting Jizhou" starring Yang (). Ma Chao, played by him, was handsome and powerful, and the audience responded "full house". On May 26th, Mei Lanfang and Wang Fengqing performed plays such as "Daiyu Buries Flowers" and "Lotus Lantern" in the Palace Cinema, and Tang got a godsend opportunity to observe and learn.
During this period, the May 30th Movement broke out in Shanghai, which shocked China and foreign countries. Hearing the news that Shanghai workers and students were killed by foreign powers, Tang was deeply moved by the patriotic spirit of workers and students and ran around with his best friends. We urge the manager of Dongtianxian Tea Garden and colleagues in Liyuan, such as Deng, Xian Peony, to raise money for the strikers' charity performance.
In the second half of the year, Tang rented a house in Tianjin and settled her down in order to let her foster mother live a relatively stable life. Although Tang didn't go to school for a few years, he didn't attend formal science and art classes, but because he was diligent and eager to learn skills and culture under various conditions, the speed of his artistic career was beyond the reach of ordinary people. During this activity in Tianjin and Shanghai, while carefully observing the performances of famous artists from various schools, he learned all the plays such as Iron Dragon, Shang Sun Room, Yan Yan Song, Yue Fei Biography, Mu Lian Save Mother, Eighteen La and so on.
During 1927, Tang Jiaban returned to the new stage in Harbin in winter after touring Qingdao, Yantai and Tianjin all the way. "Driving Warriors" became an instant hit, and "Eight Hundred Death Squads Ride Wei Ying" became more and more popular. In addition, the wrath and cutting of the bully in Ji' an lasted for more than half a year.
/kloc-in the summer of 0/928, the foster mother took charge, and Tang married. Three months later, he married Guo Shujun, whom he knew and loved deeply. After returning to Tianjin, he began to perform with Liang Yiming and Meng Lijun at the newly-built Tianhuajing Theater on the fourth floor of Tianjin Quanyechang. After the performance, he devoted himself to writing the script. Soon, Shi Binxian, his younger brother, came to look for his brother at the orders of his mother. When Tang learned that his grandfather had died, he cried bitterly. He decided to keep his brother around and help the troupe with the housework.
1929, in cooperation with Lei Xifu, Luo Lianxiang, Liang Yiwu and Meng Lijun, Tang performed The Warrior Who Drives Armor, Borrowing Zhao Yun, Receiving Guan Sheng, Receiving Qin Ming, Xiangyang Building and Tielongshan in Tianhuajing Theater.
In the 1920s, Japanese imperialism stepped up its occupation and plunder of China, and the anti-Japanese patriotic struggles such as boycotting Japanese goods and striking classes in Northeast China and North China became increasingly high. During his tour, Tang witnessed various acts of the Japanese in various parts of China and was deeply worried about the national disaster. In order to express his inner feelings of anti-Japanese patriotism, he decided to write a series based on the story of "Houyi shooting at the sun" in ancient times, with the title of "Sweeping the Sun". In ancient times, on the tenth day, a play was written in the sky, and the seedlings were withered and scorched, and the people were miserable; Archer Hou Yi bravely shot down for nine days, killing pests for the people, assisting Emperor Yao to rule the world, and the people lived and worked in peace and contentment. After the script was written, Tang personally directed and decorated the protagonist Hou Yi. It premiered in Tianhuajing Theater on September 1929, with more than 30 performances, and the venue was full. The play skillfully uses spoken language as a metaphor for current events, which is full of fun and the stage atmosphere is extremely active. In Shooting the Sun, the protagonist shouted angrily: "Without the sun, the country can't have peace!" I shouted out the voice of all the people in China. Every time Hou Yi photographed a sun, the audience gave thunderous applause. Tang's anti-Japanese patriotic feelings can be seen everywhere. For example, when performing the traditional drama "The Prince in the Tomb", he added "boycott Japanese goods, return to Qingdao, and resolutely oppose Article 21!" At the historical juncture when the country and the nation were in deep crisis, Tang consciously and automatically expressed the voice of the people, issued a voice of justice, and showed a strong patriotic spirit through creative and performance activities, which is very commendable. During this period, he also staged "Zhang Married" and adapted plays such as "Three Invitations".
Accommodate all rivers, shape the stage, and live off Guan Gong.
1930 In the summer, Tang Jiaban was invited by Zhou (Kirin Tong) Troupe to perform on the same stage in Qingdao. Tang regards this cooperative performance as a rare opportunity to learn from Mr. Zhou. The two of them hung up the top cards and sang their own specialties, such as Zhou's anti-Five Customs and Hongmen Banquet, Tang's hatred of Lutai and driving heroes away. At the same time, he also co-starred in a series of dramas such as Han Liubang, Sweeping Sun Harm and Eight Immortals Realizing Tao. As far as artistic and cultural accomplishment is concerned, Tang appreciates Zhou very much. Zhou also appreciates Tang's talent. Mr. Zhou once said, "Brother has the ability to lead hundreds of rivers into the East China Sea on stage, and he is also good at painters. What a genius! " A few months later, Tang went to the Chrysanthemum Theater in Jinan Entertainment Park to perform. As the theater invited Zhou again, two old friends reunited and cooperated for some time. Zhou's sex scene is "Xiao He chasing Han Xin under the moon"; In the same performance, Tang boldly launched a new historical drama "Good Crane Lost Politics". "Good" is the story of Wei Yigong's love for cranes in the Spring and Autumn Period, which led to the invasion of the Northern Emperor, Gong Yi's flight, and the loyal minister Hongzhi's failure to save Gong Yi. "Good Crane Lost Politics" fully shows Tang's talent and charm in artistic treatment, skill application and singing style. In the first half, he performed a drama of exhortation regardless of life and death, and Tang designed a wonderful singing performance. In the second half, the drama of chasing Gong Yi was staged. He used a series of difficult skills such as boots, beard and falling, and graceful figure dancing movements. After watching the performance, Zhou excitedly said to Tang, "My dear brother, you played this play well, and the young man will not become a climate in the future!" " Weng Ouhong, a famous playwright, said in an article recalling the performance: "We are both chasing each other, and there is no interest in singing. There was once a story of "Zhou chasing Tang chasing". The audience in Quancheng who watched the performance were full of praise for Xiao and Hao, and thought that the two plays had similar effects and each had its own advantages.
/kloc-in the spring of 0/932, more than 60 people from Tang and his party went to Guangde Building in Beiping (now Beijing) to perform. On the first day, I had a relationship with a chivalrous driver, followed by the drama of a good crane losing politics, a bully wrapping Ji, Chen, Ju Longling and several Guan Yu. Before the first performance, Tang specially told everyone: "We are Waijiang School, whether it is Beijing School, Shanghai School or any other school, we will play whatever we learn and sing whatever we sing." As a result, the performance was a success. After a period of time, Yang Xiaolou, known as "master of traditional Chinese opera" and "master of martial arts", and Li Wanchun, his favorite pupil, performed their own masterpieces in Hua Paradise and Qing Paradise next to Guangde Building respectively. In the face of severe challenges, Tang thought that when he first entered the capital, he had to compete with the famous players and compete for a limited audience. Once he plays "black", it will be a major setback for his way out. If he can stand firm in front of a generation of masters, the future will be easy. According to the situation, he decisively adjusted the drama and began to participate.
The artistic image of Guan Yu created by Tang Yun Sheng.
On sundays, he performs talking about the ancient times in China Paradise, performing the Iron Dragon in Qingyuan Paradise, and Tang performing the Nine Ways of the Central Plains in Guangde Building. Although the three plays have different names, they all play the same protagonist, Jiang Wei, and they are all long plays embraced by Jason Wu and Wu Sheng. Three famous artists competed to show their skills, which aroused great interest of Beijing opera fans. They took turns watching to see who was long and who was short and who was tall and who was low. As a result, three cinemas were full at the same time. Tang became an instant hit in Beijing.
/kloc-in the summer of 0/932, He Yuman, the owner of the stage of Fengtian (now Shenyang), went to Beijing to invite Tang. Because the Japanese turned the Northeast into a puppet Manchukuo, they set up checkpoints in various fortresses to strictly investigate China people who "transited". When the Tang Troupe and his party landed at Yingkou Wharf, because the Japanese army discovered Tang's play "Sweep the Evil of the Sun" and saw the words "If the evil of the Sun is not removed, the country will not be peaceful", they immediately knocked down more than ten actors, followers and bags and tied them up. Because Tang went to Fengtian by train from Tianjin, he survived. After interrogation, the enemy found that the playwright was not among them, so they took the troupe members to the police station and reported to the relevant parties, demanding that Tang and others be arrested in Fengtian as soon as possible.
Hearing the news that Yingkou Wharf had an accident and was coming to Fengtian to arrest people, Tang said that the Japanese said I was anti-Japanese, and I was not wronged. I wrote "Sweeping the Sun", which is aimed at him. As long as my brothers in Yingkou are safe, I am not afraid of anything. I insisted that I was playing an old fairy tale to see what he could do to me. Faced with the threat of imprisonment and beheading. The awe-inspiring integrity and lofty national integrity of Tang Dynasty made He Yuman, the owner of Yi Stage, sincerely admire him and worried about the fate of Tang Dynasty. After some persuasion, Tang hid in Tiancheng Hotel in the north city and became the boss. He promised to send someone to Yingkou to dredge the joints immediately. At the end of 1932, through the mediation of He Yuman, the members of the Tang Opera Troupe were finally released on bail, but the Japanese and puppet authorities ordered them all to leave the country. Members of the Tang troupe returned to Tianjin by boat, and the troupe dispersed, leaving Tang in Shenyang. After the storm in Yingkou gradually subsided, Tang cooperated with the charity performance team to publicly perform his new plays "Beating Dogs" and "Two Sons in a Boat". These two dramas are generous and tragic patriotic dramas created by Tang when he escaped from Japanese and puppet rule in Shenyang. The drama "Fighting Dogs" (renamed "Fighting Dogs" during the performance) tells the story that Jin Linggong's pet mastiff hurt people wantonly in the Spring and Autumn Period, and Shangqing Zhao Dun bluntly remonstrated with each other. Gong Ling wouldn't listen. He set the dog free and hurt people. Shield fought with the evil dog. Zhao Shuo and Zhao Chuan killed the king to save their father. When the play premiered, Don played it. In the scene of "jumping the dog", he grabbed the belt with his left hand, held Yugui with his right hand, put on three-and-a-half inch thick-soled boots, walked half a circle with small steps in the sound of drums and drums, and knelt in front of Gong Ling. Suddenly, the mastiff came at him, and he retreated with one leg and fell on the "butt seat" to chase the dog. He even took three "big scrolls" on the spot. Python, belt, gauze cap wing, mouth, sleeves and jade laurel all followed him around without any confusion. This long-term performance of singing, dancing and fighting with mastiff was extremely beautiful and superb in skills, so the performance was warmly welcomed. Since then, when Tang performed in other places, he often had sex with the play, thus becoming one of his masterpieces. "One Boat with Two Children" was written in the Spring and Autumn Period. Wei's father married his son's wife, Xuan Jiang, and his later sons, Shuo and Shou, also married him. Sixteen years later, Zishuo decided to kill him, and Shouwen heard about it. He got ji zi drunk on the boat and then went to die on behalf of his brother. After waking up, I was eager to catch up and was killed by Shuo. The play was staged on 1933 in Shenyang * * * Easy Stage, which caused a strong response and was called "Shakespeare's Four Tragedy-like China Classical Tragedy".
Tang was very popular on the stage of Shen * * * Post. After he left * * Easy, He Yuman often invited him to * * Easy for a few days. Later, He Yuman simply listed Tang as one of the shareholders of the * * * stage. Soon, Tang thought that the base, in Shenyang * * * post stage, all over the northeast performance.
After performing in Shenyang * * * Post Stage for a period of time, in order to avoid the scrutiny of Japanese and puppet authorities, Tang renamed Sweeping the Sun as Yao Shunyu Tang Jian, and took it to various places to continue performing, even directly to the puppet capital "Xinjing" (Changchun). At the same time, we will continue to process, temper and perform patriotic and passionate dramas such as Good Crane Lost Politics, Dog Fighting, Driving Heroes, Knife Split Three Passes, Two Sons Boating a Boat, Zheng Boke Duan, Lu Tai Hate, Chen and Jue Long Ling. And set out to create a series of Guan Gong dramas, such as Trapping Earth Mountain, Chopping Hua Xiong, Chopping Yan Liang, Giving a robe to a horse, Passing through the Five Customs, Gu Chenghui, Hanjinkou, Huarong Road, Zhanchangsha, Scraping Bone to Treat Poison, Walking in Maicheng, etc.
Don Yun Sheng was called the living Duke Guan by the audience.
"Pick the essence of flowers and brew your own sweetness." This is a couplet inscribed to Tang by Huang Runfu, a Peking Opera artist who is known as "the living Cao Cao", when he entered the Shanghai Pear Garden. In his artistic career of more than 50 years, this couplet is not only Tang's motto, but also a true portrayal of his pioneering spirit. The sweetness of Tang school art is based on the "flower essence" created by predecessors and contemporaries. Tang's plays combine the strengths of various schools, give full play to their own advantages and form their own style. His processing and adaptation of Guan Yu's plays began with strengthening the rationality of the story and improving the ideological and literary nature of the script. For example, when dealing with Gu Chenghui. On the basis of the original Romance of the Three Kingdoms, he deleted the section "Liu Bei and Xun Yu". Because the setting of this plot is completely unreasonable, the two sisters-in-law came forward to persuade Zhang Fei instead. He also made necessary changes to the lyrics of the play. For example, when Guan Yu first met Zhang Fei at the city gate, the last sentence of [Xipi Erliu] was changed from "Brothers turned against each other" to "Liu Sheng's compatriots with different surnames, don't use swords and guns!" Comparing the two, naturally the latter is more in line with the mood of the protagonist Guan Yu at this moment. Tang's adaptation of Chanting for the Moon and Losing His Heart fully embodies his bold innovation.