Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun and Xun Huisheng are the founders of the four major art schools in the field of Dan roles in Peking Opera. Their excellent art has left an indelible impression on people. But why are the four famous dans all men? Let's talk about why the four famous dans are all men for you to read!
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Why are the four famous dans all men
Singing opera is regarded as a lower class business. It has a very low social status and can't enter the ancestral grave after death. No one sent girls to learn drama at home. After the four famous dans, with the progress of the times and the opening of the concept, only girls learn to play. Girls sing Dan roles, which are called 'Kundan', have also appeared 'female old students',' female Hualian 'and so on.
Introduction to the four famous dans
Mei Lanfang
Mei Lanfang (1894 ~ 1961) was born in Taizhou, Jiangsu Province. His name is LAN, also known as Heming. His characters are Wanhua and Huanhua. He is also the master of Yuxuan, and his stage name is Lanfang. Beijinger, born in Beijing in 1894, was born into a family of Peking Opera. At the age of 10, he appeared on the stage in guanghelou, Beijing, where he performed "Tian Xian Pei". In 1908, he set up a Xi Lian Cheng class. In 1911, all circles in Beijing held a Peking opera actor selection activity and posted chrysanthemum lists. Mei Lanfang ranked third in the flower exploration. In 1913, he performed in Shanghai for the first time. He performed "cailoupei", "yutangchun" and "mukezhai" on the first stage of Dangui at the Daxin intersection of Sima road. When he first came to Shanghai, he became popular all over the south of the Yangtze River. At that time, there was a saying in the alleys: "if you want a wife, you should be like Mei Lanfang, and if you want a son, you should be like Zhou Xinfang.". After returning to Beijing, he created a new fashion play "waves of the evil sea". The next year, he came to Shanghai again and performed such masterpieces as "four or five flower cave", "true or false Pan Jinlian", "drunken Concubine" for 34 consecutive days.
After returning to Beijing, Mei Lanfang continued to rehearse new plays such as Chang'e to the moon, spring fragrance to school and Dai Yu to bury flowers. In 1916, he came to Shanghai for the third time and sang for 45 days in succession. After 1918, he moved to Shanghai, which was the peak of his perfect dramatic art. He performed on Tianchan stage many times. It combines the performing styles of Qingyi, Huadan and daomadian to create a mellow and flowing singing style and form a unique Mei school. In 1915, Mei Lanfang rehearsed a large number of new plays, and made unique artistic innovations in Beijing opera singing, recitation, dance, music, and clothing, known as the master of Mei school.
In April 1919, Mei Lanfang went to Japan to perform at the invitation of the Imperial Theater in Tokyo, Japan, and performed tiannu Sanhua, jade hairpin, etc. I'll be back in a month. In 1921, he edited and performed the new play farewell my concubine. He presided over Chenghua society in 1922.
In 1927, Beijing Shun Tian Shi Bao held the first selection of China's famous Dan actors. Mei Lanfang, together with Cheng Yanqiu, Shang Xiaoyun and Xun Huisheng, was selected as the four most famous actors in Beijing opera for her deep foundation, mellow voice and beautiful appearance.
In the spring of 1930, Mei Lanfang led a delegation to the United States to perform Peking Opera in New York, Chicago, San Francisco, Los Angeles and other cities, and achieved great success. The newspaper commented that Chinese opera is not realistic, but artistic. It is a regular way of performing, which is more profound than life. During this period, he was awarded a doctorate in literature by Pomona University and the University of Southern California.
After the September 18th Incident in 1931, Mei Lanfang moved to Shanghai, first to Cangzhou Hotel, and then to No. 121, South Masi road. He rehearsed "anti Jin Bing", "life and death hate" and other dramas to promote patriotism. In 1935, he led a delegation to the Soviet Union and Europe to perform and investigate foreign dramas. Among the Peking opera artists, Mei Lanfang is the one who has the most visits and receives the most foreign artists in China. He introduced the Chinese Peking opera performing art and the excellent qualities of modesty and simplicity of the artists to the people of all countries. Therefore, people call him the cultural envoy of the Chinese Peking Opera art from the 1920s to the 1950s.
After the outbreak of the Anti Japanese War, the puppets wanted to borrow Mei Lanfang to buy people's hearts and embellish Taiping. Several times, he was rejected. Mei Lanfang considered that she could not stay in Shanghai for a long time, so she went to Hong Kong in 1938. In Hong Kong, he performed "Liang Hongyu" and other dramas to inspire people's Anti Japanese fighting spirit. After the fall of Hong Kong in 1941, he arranged for his two children to study in the rear area and returned to Shanghai in 1942.
During the war of resistance against Japan, Zeng "had a clear mind and a long beard" and refused to perform under the rule of the Japanese puppets, which showed his valuable national integrity. After the founding of the people's Republic of China, he served as the president of the Chinese Academy of opera, the president of the Chinese Peking opera academy, the vice chairman of the Chinese Federation of literary and artistic circles, and the vice chairman of the Chinese Dramatist Association. He joined the Communist Party of China in 1959.
He learned "Zhenggong Qingyi" from kindergarten teachers and performed in Xilian Chengke class. At the beginning of the Republic of China, he began to write and play new plays. He was good at depicting the appearance and manners of the upper class women in feudal society.
After the victory of the Anti Japanese War, Mei Lanfang made a comeback in Shanghai and often performed in Kunqu Opera. In 1948, he shot the color film "hate for life and death", which is the first color drama in China. After liberation, Shanghai was invited to Beiping in June 1949 to attend the first National Congress of literary and artistic workers, and was elected as a member of the Standing Committee of the National Committee of the Chinese people's Political Consultative Conference. He returned to Beijing to settle down in 1950 and served as the president of the Peking Opera Research Institute of the Ministry of culture. In 1951, he served as the president of the Chinese Opera Research Institute. In 1952, he served as the president of the Chinese Peking Opera Research Institute and was successively elected as a deputy to the National People's Congress. In 1955, he filmed the stage art of Mei Lanfang, including his representative works of various periods, such as cosmofront and broken bridge, his life fragments, and his performance in factories and stages, such as Chunxiang farce. In 1956, he led a Chinese Peking Opera delegation to perform in Japan. In June 1959, he performed "Mu Guiying in command" in Beijing as a gift program for the 10th anniversary of the national day. He died in Beijing on August 8, 1961. His works include Anthology of Mei Lanfang, selected plays of Mei Lanfang's performance, forty years of stage life, etc. The representative plays include "drunken Concubine", "tiannu Sanhua", "cosmofront", "killing fishermen", etc., which have trained and taught more than 100 students. Mei Lanfang integrated the performance characteristics of Qingyi, Huadan and daomadian, and created his own unique performance form and singing style Mei school.
Descendants of Mei School:
Wei Lianfang, Li Feishu, Li Shifang, Zhang Junqiu, Yan Huizhu, Du JinFang, Ding Zhiyun, Luo Huilan, Yang Ronghuan, etc.
Mei Baojiu, the ninth son of Mei Lanfang, is the leader of Mei school.
Beijing opera star second only to Mei Lanfang in popularity
Cheng Yanqiu (1904-1958), a native of Beijing, is of Manchu nationality. Since childhood, he studied drama, performed in Qingyi, and was taught by Mei Lanfang. He has the courage to innovate and create in art. He pays attention to the rhyme, pays attention to the four tones, and pursues the high combination of sound, emotion, beauty and eternity. According to his own voice characteristics, he creates a kind of singing which is quiet and graceful, ups and downs, continuous and changeable in rhythm, forming a unique artistic style, which is known as Cheng School in the world. Cheng Yanqiu is good at acting tragedies. He has written many plays, such as yuanyangzhong, tears of barren mountain, qingshuangjian, Yingtai anti marriage and Dou'e yuan. Most of them perform the tragic fate of women in feudal society.
In his later years, Cheng Yanqiu devoted himself to teaching and summing up his experience in stage art. In 1949, he participated in the first session of the National Committee of the Chinese people's Political Consultative Conference as a specially invited representative. In 1950, he was elected a deputy to the National People's Congress and a member of the presidium of the Council of the Chinese Drama Association. In 1953, he served as the vice president of the Chinese drama Research Institute. In 1957, Premier Zhou Enlai introduced him to join the Communist Party of China. Cheng Yanqiu devoted his whole life to the cause of Peking opera art. His outstanding achievements are one of the peaks of Peking Opera Art in the past 100 years. He not only has a profound and significant influence on the Dan roles of Peking Opera, but also on the development of Peking Opera and traditional opera.
On March 9, 1958, his heart disease was aggravated by a sudden infarction, which took the life of the artist in just a few minutes. He was only 54 years old.
Representative repertoire: traditional repertoire with unique style of Cheng school includes "Si Lang Tan Mu", "he Hou scold Dian", "San Gao Gao", "Fen he Wan", "Zhu Zhi Ji", "Yu Tang Chun", "Wu Jia Po", "San Niang Jiao Zi" and so on. The new plays include qingshuangjian, Wenji Guihan, Meifei, Hongfu, chunguimeng, suolinao and daughter's heart.
Cheng Pai's successor:
Cheng Yanqiu's disciples include Xun Lingxiang, Chen Lifang, Zhang eryun, Zhao Rongchen, Wang Yinqiu, Li Danlin, Xin Yanqiu, Hou Yulan, Jiang Xinrong, Li Shiji, Li Qianghua, etc.
The retransmitted disciples are Li Haiyan, Zhang Huoding, Chi Xiaoqiu, Li Peihong, Liu Guijuan (Li Haiyan, Zhang Huoding, Chi Xiaoqiu, Li Peihong, Liu Guijuan are collectively called five small Chengdan), Zhang manling, LV Yang, Zhou Qian, Wang Xiaoyan, Guo Wei, Zhao Huan, Pu Xueqing, Zhou haolu, etc.
Shang Xiaoyun
Shang Xiaoyun (1900-1976), who studied art at an early age, was named the first child actor at the age of 14. He began to learn martial arts, and later changed to Zhengdan, and played daoma Dan. He has a deep foundation, a broad voice, and is famous for his strong singing style. His masterpieces include Er Jin Gong, Ji TA, Zhao Jun's leaving the fortress, Liang Hongyu, etc., which have created a number of heroines and heroines.
In 1966, when the Cultural Revolution began, he was attacked by persecution. He died in Xi'an on April 19, 1976 at the age of 76.
Singing characteristics: his voice is loud and powerful, with a wide range, high, medium and low voice. He is good at using tremolo, and has a deep and lasting breath. The singing skills of "sacrifice to the river" and "sacrifice to the tower" are very heavy, and he can use high voice and hard voice continuously, without any signs of exhaustion. The tune is often steep and dangerous, with rich melody and distinct setbacks. Read Bai Shuanglang and emotional, Jingbai's hard, energetic, spicy is particularly outstanding.
The more famous disciples are:
Zhang diefen, Zhao Xiaolan, Xue Yanqin, Zhang Junqiu, sun Ronghui, Yang Ronghuan, Shang Changlin, Li Xihong, sun Mingzhu, Dong Yuling, Li Xiang, Bao Qiyu, Zhou Baisui, Tong Baoling, Shang Huimin and Duan Lijun.
Second disciple:
Ma Bomin (Shanghai), Li Li (Tianjin), Ju Xiaosu (Shandong), Zhou Li (Chongqing), Wang Lingyu, etc.
The eldest son Shang Changchun attacked wusheng, the younger son Shang Changrong attacked Hualian, and the son-in-law Ren Zhiqiu attacked Dan. She was not in the arts.
Xun Huisheng
Xun Huisheng (1900-1968) studied in Hebei Bangzi class when he was young. At the age of 19, he changed to Peking Opera, playing Huadan and daomadian. He has a deep foundation, can draw on the advantages of Dan role art of Bangzi opera, melt Huadan performance of Beijing Opera into a furnace, form a unique artistic style, known as Xun school. She is good at playing innocent, lively and gentle women's roles, and is famous for her plays such as "Hongniang", "jinyunu", "Eryou of Red Mansions", "chaitoufeng" and "Xun guanniang".
Singing features: the singing, singing and performing essence of Hebei Bangzi is one of his artistic features. Xun Huisheng changed his role from Hebei Bangzi to Peking Opera. Later, he paid homage to Wang Yaoqing as a teacher. He was also educated by Wu Lingxian, Chen Delin and Lu Sanbao. On the basis of inheriting the art of Wang School and Chen school, he made great innovations. His voice is sweet and charming. He has special skills in using his voice. He is good at using small tremolo, semitone and gorgeous decorative voice, and often uses nasal voice to add charm to his singing.
Representative repertoire: the repertoire of Xunzi school is rich, and the traditional repertoire includes jinyunu, huatiancuo, yingjielie, etc