If I sang it into a song, it would be really weird in Tianjin dialect. Listening to Luo Yusheng, the author of the opening music of "Four Generations Under One Roof" and the founder of the Luo School of Jingyun Dagu, used his singing to remember Mr. Lao She's more than 30 years of stage career.
Everything related to I don’t even act in dramas about life in old Beijing. Because I'm from the south and can't speak Beijing dialect well. But why did he pretend to be like that again? Listen to Shao Hua, the actor who plays Mr. Qi in "Four Generations Under One Roof", tell the story behind it.
In the script, it is written that Poet Qian loves to drink Yinchen wine. Yinchen is a wild plant. What does Yinchen wine taste like? Listen to Du Peng, played by Qian Moyin, talk about how he tried to figure out the character's character by writing poems and drinking wine.
The 1985 version of the TV series "Four Generations Under One Roof" is now being aired on the Classic Channel again!
From classic masterpieces to classic TV series, let us dig out the old almanac and see how they performed "Four Generations Under One Roof" 40 years ago~~~
Remembering Mr. Lao She with singing
Founder of Jingyun Dagu Luo School, China Luo Yusheng, Honorary Chairman of the Music Association
It is indeed a new thing for me to accept the task of singing the opening music of "Four Generations Under One Roof". I took a look and found that the rhythm and speed didn't match the Beijing-style drum I sang. The rhythm and bass drum are always on point, and the speed is so fast. I just thought, "Four Generations Under One Roof" is a masterpiece by Mr. Lao She, and it is indeed good. If I could sing it into a song, it would be really muddled in Tianjin dialect. I was greatly educated and inspired by watching the samples of the TV series, and I accepted new things, especially in terms of music and singing, which did not deviate from my Beijing-yun drum style. I thought, the script is good, the actors are good, and how realistic their acting is! These eight lyrics summarize the content of the entire twenty-eight episodes. I sang this title well because I missed Mr. Lao She because he wrote many folk songs. After the
play was aired, viewers in Beijing, Shanghai, Nanjing and other places wrote letters one after another. An audience member from Nanjing wrote in the letter, "You are the most eloquent in speaking and speaking, but why did you sing the first line of the first line "Thousand Miles of Knife" as "daoguang" (yíng), and the second line "sing the snowy country's shame as chengguo" (chí)? In fact, I knew I had sung it wrong. But I was so nervous at the time that I didn’t even care. A big band of more than 40 people surrounded me. The band were all young people in their twenties and thirties. After I sang the first time, wow, they clapped. I was so nervous that my legs were shaking. Just when I was wondering, Lin Ruwei, the director, came in from outside. Old lady, they are applauding you! Why are you applauding me? They all thought you couldn't sing at first, but they didn't expect you had such a good voice. They applauded you!
How I played Old Man Qi
Old Man Qi is played by Shao Hua
With a stage career of more than thirty years, I will not act in any drama about life in old Beijing. Because I’m from the south and can’t speak old Beijing dialect. Here is an episode. In 1942, Comrade Hou Baolin saw me perform in a play at the Tianjin Beiyang Theater. He has a cross talk joke called "Drama and Dialect". There is a section that mentions that there is a southern actor who speaks Mandarin (which is today’s Mandarin) and has a good accent and a good tune. Later, I consciously overcame my speaking problem. After more than thirty years of performing dramas, I can basically speak Mandarin. However, to be honest, this is the first time in more than thirty years that I have played such an important role in Mr. Lao She’s work, and I feel a little nervous.
I joined the film crew a month later than others. Due to lack of time, I only read the original novel twice and a half. The first time is to understand the overall situation; the second time is to focus on what is the main highlight of this play? I analyze the character of the old man from the following aspects: first, the old man’s family rules, that is, his outlook on life; second, from the evaluation of the old man by others; third, from the evaluation of the old man by the villain; Fourth, judging from the attitude of the neighbors and people in the small sheepfold towards the old man.
I have determined that Mr. Qi’s changes can be divided into several stages: the first stage is that he is bound by conservative feudal ideas and has not changed for decades, and he conscientiously maintains the four generations living under one roof; the second stage is that he wants to live in peace and harmony. To live a peaceful life, this subjective wish cannot be realized, and contradictions arise. Although he still has illusions, it has begun to change; the third stage is complete change, which is the awakening of the people in the Little Sheep Sheep that Mr. Lao She wrote in his novel. So, as an old man, he already has a clear attitude towards enemies and spies, with clear likes and dislikes, right and wrong.
I would like to illustrate the changes in the old man’s thoughts through examples. Until Yunmei beat the Japanese children, he was basically subjective and confident. He has this idea that he should not offend others because of his children. In a word, don't suffer immediate losses. You have to be patient and patient, harmony is the most precious, and patience is the highest. If you don't cause trouble, you can be at peace. This is the characteristic of the old man's thinking. The reality of the Anti-Japanese War at that time stimulated changes in the old man's thinking. He understood that if he still had illusions and tried to get any benefits from the enemy, he would not be able to do so. He would have to fight against Japan like Xiao San.
As an actor, in order to create a good character, in addition to understanding him, he must also love him and the people around him like the author.
It is my wish to play the Qian Poet
Qian Moyin played by Du Peng
Originally, the director asked me to play Mrs. Qi, but I felt it was inappropriate. I have a wish, that is, I want to play a money poet. Although there are not many plays about Poet Qian, the image of the old intellectual who goes from awakening to struggle in the face of complex national contradictions is the first in Mr. Lao She's writing. To play this character well, you really need to put in some effort.
For example: It is written in the script that Poet Qian loves to drink Yinchen wine. Yinchen is a wild plant. What does Yinchen wine taste like? I remember when I was filming a movie at Beijing Film Academy, there was arborescens on an open ground in front of the guest house. So, I took advantage of the time when the leaves just sprouted in spring to pick some and brew them into wine. Hey, I find it has a bit of a fresh scent. From here I thought that Poet Qian might not drink much, but he loved to drink. He likes to be dizzy with wine and evoke poetic feelings. Therefore, he likes to taste wine and use wine to add to the fun. Once I understand the character's temperament, in my daily life, I also write a few lines of ancient poetry to get a feel for the character, and at the same time I also imagine something for the character.
There must be a lot of calligraphy and painting in the Qian poet's room. Based on his personality, we chose the eight words "Sushi Shihsi" and "Weiwu Dexin". In his nave, I used two sentences from Lu You to express his integrity.
After the July 7th Incident, it was not accidental that he had such uprightness and firmness. He felt that the destiny of the country and his personal destiny were inseparable. In the face of sharp national contradictions, he was at a loss for good strategies. He tried his best to solve the problem in this way and in the west, and tried to find gangsters and red gangs, but the result was no good. Finally he understood that he could only get up on his own. Therefore, he supported his son in resisting Japan and rescued Platoon Leader Wang. He had his own specific way of resisting Japan. First, he did not rise up and organize guerrillas; second, he did not kill the rich and help the poor, and build underground armed forces. He is a man of letters. Mr. Lao She wrote a man who was used to writing ancient poetry and wrote a new poem, that passionate song. This is the true voice of poet Qian.
The TV series "Four Generations Under One Roof" (1985 version), written and directed by Lin Ruwei, is currently being broadcast on the Classic Classics Channel. The play was adapted from the novel of the same name by Mr. Lao She. It was broadcast on the occasion of commemorating the 40th anniversary of the victory of the Anti-Japanese War and the World Anti-Fascist War, and generated huge social repercussions.
This version of the work has conquered the hearts of hundreds of millions of TV viewers with its deep patriotic enthusiasm, strong national characteristics, distinctive characters, and exquisite performing arts. It has won high praise from all walks of life and won the 6th National TV Drama Award. Feitian Award Special Award for Drama Series. The classic images created by performing artists such as Shao Hua, Du Peng, Li Weikang, and the theme song "Rebuilding the River and Mountains for Future Generations" sung by Luo Yusheng, a master of Beijing Yun Dagu, have become bright pearls in the Chinese TV Art Gallery.
In recognition of the play's outstanding artistic practice, the China Youth Art Theater held a seminar on "Four Generations Under One Roof" in September 1985, inviting ten participants including Shao Hua, Du Peng and Zhou Guozhi to speak. Relevant content of the conference was published in the 1985 issue 6 of "Chinese and Foreign Television" (the predecessor of "China Television").
original manuscript is more exciting!
Attached: The original text of some actors' talks about the TV series "Four Generations Under One Roof" (1985 version) (originally published in "Chinese and Foreign Television" Issue 6, 1985)
