Wang Peiyu: It's a man, he has to listen to the drama-what those movies "Farewell My Concubine" taught me

Editor's note: Recently, Wang Peiyu, a famous Peking opera actor and art heir of the Yu School, published a book in CITIC Publishing House, titled "See You on Stage-Wang Peiyu Studying Peking Opera", which is a staged summary of the artistic career. To popularize the meaning of old Peking opera to readers. It is called "See You on Stage", but it records the sweat and tears that the audience has paid for the art of Peking Opera. The book is divided into two parts. The first part is called "Reminiscence of the Nine Years". In this part, Wang Peiyu uses 33 short self-reporting essays to review his academic experience since entering Shanghai Opera School in 1992. Some talk about the old theatrical content, some talk about the interactions with famous teachers, and some talk about Liyuan's chores, from the rules of the troupe to the applause of the theater. The plain words reveal infinite feelings between the lines. Wenhui Daily selects two articles, "Wenzhaoguan" and "Farewell My Concubine", for readers. "Wenzhaoguan" is the beginning of Wang Peiyu's enlightenment and learning drama. From it, you will find that one of the motivations that inspired her to become a horn was actually a pair of stinky and worn-out public beards. Shortly after entering the school, Chen Kaige's "Farewell My Concubine" was screened, in which the joys and sorrows of the old troupe artists in learning operas also left a deep impression in the heart of the young Wang Peiyu, which became a spur and encouragement for her hard work in the future. The first play

(I) entered the school was "Wenzhaoguan". This play has been a swan song of the Yang school for many years, and the teacher of thinking is a model of teaching students in accordance with their aptitude. Based on this, a new approach has been created. The performance version of Mr. Zhang Wenjuan is the main feature, with the high-pitched and ups and downs of the Wang (Guifen) school. Voice processing, the "Thirteen One" of the Erhuang Adagio "under the window of a bright moon" has been finely polished, and it sounds unique. Especially for me as a beginner, breaking the genre framework and "using drama to bring power" laid the foundation for oral and chanting. The "Thirteenth One" singing method was born out of the Manjiang Red Song Pai. According to legend, it was Yu Shuyan's first commonly used singing method in the "Xiao Xiao Yu San Sheng" period. Later, the artistic style gradually matured and he stopped singing. However, the characteristics of this singing voice have been many. Post-scholars have paid attention to it and continue to use it. This edition of "Wenzhaoguan" that I have learned is a highlight. After studying for a semester,

was at the rehearsal rehearsal on the second floor of the Cultural Plaza. Thinking that the teacher would act for me personally, I couldn't even wear colored pants or boots. The costume teacher helped to tie my pants and laces. I just want to play, put on the thick bottom, and put on the beard. Wearing a beard is my dream desire, it is so handsome and beautiful.

At that time, there were no private outfits in the school. The costume teachers arranged uniforms and helmets according to the students' conditions. "Wen Zhaoguan" requires three pairs of beards (black three, red three, and white three), which can be changed three times on stage , Don’t mention how much you look forward to! But what made me unexpected is that everyone can wear the common beard mouth, which is hard to clean over time, and the stale smell makes me almost forget the words when I appear. After I got down, the teacher told me earnestly that if you don't want to wear a stinky beard, you have to learn and practice, and you can customize your private beard when you become a corner. What a dumbfounding and unforgettable memory of ! Years later, I also told my students that only by becoming a horn can they avoid the grievances of those people.

I have a deeper relationship with this drama. One day in November 1993, I followed Mr. Wang Siji to the "International Box Office" event, which was a famous venue in Shanghai's box office that year. The luxury is not because of the venue, but the luxury of the participants: the chairman is Mr. Wang Daohan, the vice-chairmen are Mr. Li Chuwen, Comfort, Cheng Shifa, Cheng Zhi, etc., and the honorary consultants are Mr. Chen Yi, Yu Zhenfei, Chen Congzhou, Lu Wenqin, etc. , Si Ji teacher is the deputy secretary. That day, I practiced the singing and acting of "Wenzhaoguan" which I had learned not long ago, and won the great appreciation of Mr. Cheng Zhi. He especially praised the teacher’s teaching ideas and said that this was what he heard. The best version of "Wenzhaoguan". Mr. Cheng Zhi was planning a performance to commemorate the birthday of his father, Mr. Cheng Junmou (a famous guest in the Tan school, known as "Tan Xinpei" in the ticket industry). As a result, Mr. Mei Baoyue, who originally planned to appear in "Wenzhaoguan", returned to the play due to illness. The husband immediately discussed with Teacher Siji, and let me go up and sing the "Wenzhaoguan". When I was 15 years old at the time of

, ​​I was both delighted and apprehensive when I received such a task to share the stage with many famous seniors. A few days before the performance, Mr. Cheng Zhi hosted a banquet for Mr. Mei Baojiu and his party who had come from afar, and they also called me. As soon as Mr. Baojiu took the seat, he looked at me a few more times. Mr. Cheng Zhi immediately introduced: “This is a second-year student in the opera school, named Wang Peiyu, a girl.I learned from old students and worshipped Brother Fan Shiren. Now I am the student I think about. This time I asked her to act Zhaoguan for Teacher Baoyue temporarily. "After listening, Mr. Mei commented on my appearance with great interest: "Look at how good this child's forehead is, and it's also long among people. It looks good with a beard!" It’s a bit like Meng Xiaodong" . When I was commented by the master, I blushed and turned white with shame.

ushered in the performance a few days later. The Lanxin Theater is located at the Maoming intersection of Changle Road. It is an old theater. There are not many seats, and singing is comfortable. In the afternoon, I came to the theater early that day, walked, put on makeup, and was silent. Mr. Mei also arrived at the theater very early and took his high-end camera and gave me various shots. 7:15 on time When I started the play, I played the gong on the top stage. Although I had rehearsed many times before, it was the first time I performed in public. At this time, I thought that the teacher, besides dressing up for me, had to ask the stage to give me a drink while still using it. Gestures and eyes reminded the vigor of singing. In this way, I appeared in the sledgehammer, one move, one move, and one eye to complete according to the norms of the study. For a kid who has just entered the department, there is no way to portray characters. , But completely imitated the teacher's behavior and fulfilled the teacher's requirements, so the performance at that time was a kind of "completion", especially the completion of "Thirteenth One", which won a lot of praise. The audience at that time Not familiar with this little actor yet, but very familiar with her teacher—Wang Siji. This "Wen Zhaoguan" is more like a public report thinking about the teacher's teaching. It is the public's appreciation of his personal artistic aesthetics and teaching ability. An assessment. The result is of course very successful. This is the first success of our master and apprentice. After the performance, Mr. Mei Baojiu brought back to Beijing the news that “a young student has been born in Shanghai”.

The organizer of the show, Mr. Cheng Zhi, is a big fancier, well-educated, has a deep knowledge of Peking opera, and is enthusiastic about spreading Tan school art. Not only can he sing for old students, but he can also act as a face-to-face, play the violin, and direct opera. However, in order to plan a performance to commemorate Mr. Cheng Junmou’s birthday, I overworked and died of a heart attack during the Spring Festival one year later. My husband’s support and love for me made my stage dreams in my teenage years unforgettable and grateful. And this The fate of forgetting the year was renewed in another appearance twenty years later. At the beginning of 2013, I met Mr. Li Xixiang, the famous ticket of the Tan Yu school, and had the opportunity to devote himself to the art, and became a friend of the year. April 2013 , I premiered the famous Tan-style play "Cinnabar Moles" taught by Mr. Li, and this play is the precious version obtained by Mr. Li’s early advice from Mr. Cheng Junmou, Su Shaoqing, Luo Liangsheng and others. On the day of the performance, I invited Mr. Cheng His family’s presence at the scene also expressed my nostalgia and admiration for Mr. Cheng Zhi. Although

had a lot of trouble to enter the opera school, he was also quite ambitious, but in fact, he was not consciously obsessed with Peking opera at that time, just because Trust the teacher. The teachers said that Yu Shuyan’s art is the best thing in the world, so I believe it, and I will worship and study hard. From this point of view, I am indeed too lucky,

ignorant , But entered a right way.

has followed my six-year-old brother to chase stars since I was young, from Teresa Teng, Alan Tam, to Leslie Cheung, MJ, and then my brother went to chase Klinsmann, leaving behind my deep-rooted obsession with Leslie Cheung. The year does not change. Leslie Cheung bid farewell to the music scene and soon starred in the movie " "Farewell My Concubine", played the famous Dan Cheng Dieyi, the movie was released the second year after we entered school. At that time, it was still a relatively small literary film. Most of the people who went to watch it were fans, and some were opera insiders.

I remember it was a weekend afternoon. I went to see the movie by bike alone. I only remember the whole movie being long and gloomy. Seriously, apart from satisfying my fanatic Leslie Cheung fans, I didn’t understand what the movie was saying. Then I bought the unabridged version of Li Bihua's original work, and read it section by section against the movie until I could play the entire "Farewell My Concubine" with my classmates. The most deep impression on me in the

movie is probably the Master’s sentence: "It’s a man, he has to listen to the drama, this cat or dog, he doesn’t listen to the drama. You are in good time. !" Obviously, my impression is different from that of many movie fans. At first, I was not hit by the classic lines of "Hey, you can make your own oneself" and "One year difference, one hour a month, one hour, and one hour is not a lifetime", but Firmly remember that master's vicious face. In those days, it was the hardest time to practice kung fu in the opera school. Every day before dawn, we would run around the Cultural Square in the morning. After the run, we began to tear our hips and pull back. Teacher Ji Gong divided us into two groups, turning back to back. Sit on the ground and tie your legs together, But I am still the kind of person with a particularly hard crotch. Every time at this moment, the pain of survival and death is still fresh. Why tie up your classmates to practice together? Because no one can bear to harm the person behind him in order to covet his own momentary relaxation. In the cruel game, the brotherhood in the troupe has been established. The little stone helped Xiaodou to be lazy and was beaten by the master. This kindness is worth remembering for a lifetime.

"Farewell My Concubine" has inspired me for a long time. In the face of difficulties, there are two roads before you. Either choose to give up like Xiao Laizi, or grit your teeth to the end, one day you will become a big corner like Naha King-ride a rickshaw and eat a big meal. In the movie, the lives of several artists are condensed in front of us: no matter how hard it is to escape, it is better to love this pain and be with it. If I entered the Peking Opera line as if I was guided by a certain god, and I followed the teachers’ footsteps and believed, then in the most confused and difficult moments of my youth, this movie gave me a conscious power: It is a feeling like "drama assembles the fragments of life and gives it a strong sense of ritual. People get a cleansing of the soul in the sense of ritual." Since then, I have learned some truths: use my own hard work to express the stage. In awe. "No distinction between people and drama" has nothing to do with right or wrong, at least it is beneficial to artistic presentation.

Picture: The performance photos and comics are selected from Yuyin Society; the movie stills are the data pictures

are excerpted from "See You on Stage——Wang Peiyu Peking Opera Studies"

Note: This article has been authorized by the author to reprint