Tong Xiangling's sister Tong is a famous Peking Opera Kundan.

Tong, a famous Kundan Peking Opera performer, was born in Tianjin, grew up in Tianjin, was trained by Tianjin audience and went to the whole country. Like many famous Peking Opera actors such as Li Zongyi and Zhang Chunhua, she is the son and pride of Tianjin.

Accurately speaking, Tong is a big star in film, drama and opera.

Her grandfather Tong Siquan, her father is a child of a middle school Chinese teacher, and her mother is a middle school foreign language teacher. Both of them love Peking Opera and often go to box office activities and performances. Influenced and edified by them, the children of the Tong family later engaged in the Peking Opera industry. When Tong was 65,438+00 years old, her parents studied drama for her at home and taught Muke Zhai, Drunk Maid-in-waiting and The Edge of the Horse. 1 1 years old, with the cooperation of the famous ugly woman Jin henian, she performed "The Interpretation of Women" at He Chun Theatre in Tianjin, "Wu Jiapo" at Beiyang Theatre with her brother Shou Ling, and "Rainbow Pass" at Tianjin amateur concert, which showed her artistic talent. She then studied Yu Tang Chun, Thirteen Sisters and other plays under the guidance of Tianjin Famous Ticket Jinyun Pavilion (decorated by Yang Mulan) and Zhang Manjun's master.

Children are very talented in acting and are the material for singing. He has been a professional actor since 14 years old. First of all, he opened a show for the famous ladies-in-waiting and Er Dan in various theaters in Tianjin, and participated in the performances of civilized dramas such as La Traviata and Thunderstorm. /kloc-When he was 0/5 years old, he was invited to enter the Kunban class of the famous "Kuide Society" to replace Li Guiyun, a famous actor in Hebei Bangzi, as Shen Fengxi and He Lina in "Ridiculous" and became famous overnight. Her parents invited Bai Jialin, Gao Shenglin, Li Shengbin and other famous Peking Opera performers to perform on the same stage, which made her famous for a while.

On April 1939, Mr. and Mrs. Tong set up their own troupe, which was named "Public Welfare Society" and later named "Ling Society" after the last word of their children's names. People used to call it "Tongjiaban". Tong is the chairman, and the backbone members of this troupe are his five daughters:

The eldest son (Xia Shi) studied drama with a famous soldier, and then he mainly directed it;

The second son, Tong Shouling, learned from the old students. At first, he performed plays by Wu Jiapo and other students with his sister Tong. Later, because of the change of voice, I changed to a minority. He also studied under the school, and often cooperated with children to perform plays such as Matchmaker, Thirteen Sisters, Huatiancuo and Proud Edge, and became a master of Ling society.

The older girls and children, who are 17 years old at this time, work in Tsing Yi and Hua Dan, and are the pillars of the government.

Two girls and children, who studied Hua Dan and Peking Opera blues under Shang Xiaoyun, won drama awards such as Han, Mu and She Saihua.

The youngest son, Tong Xiangling, was an old worker, and later he was appreciated and guided by the Peking Opera master Ma Hezhou. However, in his later years, Tong Xiangling admitted that he was a disciple of Ma, but he was not a horse brand actor.

The five brothers and sisters coincided with the "Li Jia Wu Hu" in southern Sichuan, and the north and south echoed, and the five brothers and sisters became the "five tigers" in Jinmen in the north. In addition to the five brothers and sisters, Tong Jiaban also invited famous actors such as Bai Jialin, Zhao Huanan, Gai Chunlai, Sanjixian, Jin and so on to perform. They performed Hua Tian Cuo, Face Peach Blossom, Strange Double Meeting and Great Britain Festival at the New Central Theater in binjiang road, Tianjin, which made a good start and was very popular.

1On May 3, 939, Tong, as the leading actor of Ling Society, was recommended by Sha Dafeng, editor-in-chief of Tianjin Dafeng Newspaper, and became one of the early disciples of Tianjin Xunmen. Matchmaker, Incense Ribbon, Lantern riddle, Huo Xiaoyu, Hairpin Phoenix and Hairpin Phoenix were all handed down by Xun. She often goes back and forth between Tianjin, Beijing and Shanghai, and thus becomes famous. 1940, "Lingshe" invited Li Shengzao to perform in Shanghai. It is said that when he first arrived in Shanghai, his performance was mediocre because he was a stranger. Later, Liu Binkun, a famous local clown, was invited to co-star in "Big Fist Coffin" and "Spinning Cotton", which became an instant hit. Some people even call children "Hua Dan", and there are different opinions about it. In fact, in the old society, what an actor wanted to perform was not completely independent, and he was often bound by his boss. In order to pursue economic benefits, bosses often ask for conditions that actors are unwilling to do, but actors have to endure the pain to survive. Later, Tong and Liu Zai co-starred in Eighteen Pulls, and two extraordinary mixed school singers said that they would definitely go to Shanghai. Later, Tong performed with Lin Shusen, Tang, Gao Baisui, Qiu and Heji. When she returned to Tianjin from Shanghai, she was not what she used to be, just like a famous actress.

September 1942 returned to Tianjin to perform Matchmaker, Great Britain Festival, Embroidery, Wang Baochuan, Mu and Miss Opera Fan. It is very popular in China Grand Theatre and Beiyang Theatre. In the mid-1940s, Peking Opera was popular, Xun School was popular, and Hua Dan actors mushroomed. Tongsheng is at the right time and is popular all over the country. In order to broaden her artistic development path, in 1945 (another 1947), she became an apprentice again and founded Xue Meimen. 1948 Performing with Master Zhao and Pan Jinlian. In the early days of liberation, she led a delegation to perform in Xi 'an Xinsheng Theatre, which was very popular. 195 1 year, she and the famous martial artist Li Zhonglin returned from Hong Kong, went to Shanghai and settled here, and then joined the Shanghai Peking Opera Theatre. In a charity performance during the War to Resist US Aggression and Aid Korea, Tong starred in Princess Hamming with Hibiscus, Wang Shaolou, Wang Guiqing, and the red flowers and green leaves set each other off. In the 1960s, she was sent to France and other countries to perform.

She has a natural talent for acting. Together with Yan Huizhu and Li Yuru, she is known as the "Three Hannah Quinlivan" in Shanghai. She and Yan Huizhu are big stars in Beijing Opera, movies and plays. In his early years, Tong co-produced many films with Tianjin film celebrities Huang, Zhang, and Zhang, such as Nightclub 1947, BLACKPINK Zhengpa 1948 with Wei Heling, Female Tycoon 1949 with Qiao Qi, and. She is really talented and dazzling, and her career path is bright.

Tong has made great efforts in the art of Peking Opera. His artistic ideas are open, and he has absorbed the strengths of various artistic categories and factions to enrich himself. In addition to Xun School, she also asked for benefits, and studied and performed Mei School's Drunk Imperial concubine, Cosmic Front, Farewell My Concubine, School's Han and Modern Jia Nv, as well as Cheng School's Sorin Capsule, Six Chapters in the Snow and Legend of the Red Buddha. Therefore, her acting path is very wide, combining the art of the "four famous artists", with delicate performances, profound descriptions and vivid characters.

After the founding of New China, she gradually formed her own unique artistic style. For example, in singing, there are both "Xunpai" bright and handsome, "Meipai" elegant and generous, and "Chengpai" delicate and euphemistic. In performance, she does not stick to rules and regulations, and is good at using traditional techniques flexibly to shape characters and portray personality, thus making her role different. Some people have commented that she has formed the "Tong Ling Zhi Phenomenon" of "Xun Opera Singing" and "Mei Opera Xunhua". She processed and innovated the traditional famous dramas of Xun School, such as Matchmaker, Prince and Geisha, and Today's Daughter, and enriched the performance methods and contents of the old dramas on the basis of predecessors. Because of her rich experience in film and television drama performance, she has studied and innovated Bai Jing and Bai Yun in Beijing Opera, such as The Matchmaker, Entering the Palace, You Sanjie, Wang Xifeng Disturbs Ningguo Mansion and Wu Zetian, which has formed a unique charm and style. According to the needs of the plot development, she boldly proposed to change the recitation of "Da" in "Today's Woman" into singing, and created a long aria with "Huang Er's original board" and "Stamping board", which formed the children's own characteristics. The seventh episode of Peking Opera Music Score Integration published by Literature and Art Publishing House was included in Tong Ben and Yu Jin Nv. 1984 Mrs. Xun Huisheng prefaced it, affirming Tong's practices and achievements in inheriting the tradition, "I hope more people like Tong will devote themselves to it", saying that "to learn from predecessors and inherit the tradition, we must give full play to creativity and establish an independent artistic style". In the 1960s, her "Today's Daughter", starring Yu Zhenfei and Liu Binkun, became a rare classic. Tong's "drinking" scene in "You Sanjie" is very exciting and touching. 1963, Tian Han specially rewrote the lyrics for her, and "You Sanjie" starring him was made into a color film of Chinese opera art, which is one of his masterpieces.

196 1 At the end of the year, Tong went to Beijing to star in the new drama Wu Zetian, which received rave reviews. Since then, the play has become another masterpiece of hers. In addition, he also newly rehearsed Fan Lihua, Meng Lijun, Durham, Liu Yichuan, Wang Xifeng Disrupting Ningguo Mansion, Modern Zhao Yiman, The Story of Feeding Fats, etc. Zhao Yiman was adapted by Heilongjiang Peking Opera Theatre and participated in the performance of 20 1 1 Peking Opera Festival. In view of the success of the creation and performance of Wang Xifeng's Disrupting Ningguo Mansion, in 2004, someone commented that "the cultural significance of Cao Xueqin, Chen Xiting and Tong in the history of literature and Peking Opera is reflected in front of us layer by layer." Cao is the author of the novel A Dream of Red Mansions, Chen is the screenwriter of the Peking Opera Wang Xifeng's Disrupting Ningguo Mansion, and Tong is the protagonist of the play. ) Li Jing, a fellow student and a famous Hua Dan actor in Tianjin Peking Opera Theatre, inherited and rehearsed the play "Wang Xifeng Disrupting Ningguo Mansion", and the performance effect was excellent. 1956, Tong played Wan, the wife of the Song Dynasty, in the drama film Song Shijie. She didn't follow the colorful women's way, nor did she follow Lao Dan's business way. Instead, she found a new way, broke the business restrictions, and performed vivid characters, which was not unrelated to her involvement in the performance art of film and television dramas. 1964, she and Shen Jinbo participated in the national drama performance in Beijing, and the performance of "Give Fat" was well received and made into a record, which was moved by many drama groups across the country. 1976, she and Liu Binkun performed "Eighteen Chapters" and made it into a film, which was kept by the China Film Archive. 1977, she resumed the stage performance, and revised and processed the well-known old dramas such as Watching the Biography of Fishing and Meilong Town again, which made the repertoire more reasonable and compact, paid more attention to singing skills, performed more delicately and vividly, and grasped the characters more accurately.

Tong published an article entitled "Strive for More Audiences for Beijing Opera" on pages 4-6 of Drama Newspaper 1980, No.6 (No.277). In view of the phenomenon of "old drama fever" when traditional Peking Opera operas are resumed, the article says: "How to change this situation? The most important thing is to innovate traditional Peking Opera to meet the needs of the current era and the audience. " He believes: "We should not regard traditional opera as an antique, but add something new to it that meets the requirements of the audience in the new era through the efforts of our generation. If you are satisfied with the original level of the old audience and maintain the status quo, it will only be loved by a small number of old audiences, which is very difficult for the amateur audience, especially the young audience. " She put forward some suggestions on improving the director, scenery and music of Beijing Opera, and introduced her own experience and experience in combination with her attempts to reform in performances such as Yu Jinnv, Cosmic Frontline, Fan Jiangguan and Matchmaker. At the same time, she pointed out: "It is not easy to make a dramatic change. In particular, some influential famous dramas must be treated with caution. To maintain their essence, you can't recognize them at once. " She proposed: "To win the audience for our Peking Opera, another important issue is to attach importance to and improve the performance quality. To improve the quality of performance, we must work hard and study hard. " She said: "Some actors pursue singing unilaterally and do one-on-one appearance imitation. You can learn appearance like this, but it will always make people feel that you are almost something. What's the difference between being in a good mood and being almost' human'? Although the old dramas are all programs, in fact, the programs created by the predecessors are also based on characters. " "The old gentleman also pays attention to people." At the end of the article, she has high hopes for the future of Peking Opera and young Peking Opera actors. She said, "I think as long as we are willing to work as hard as our predecessors, new celebrities, famous students, celebrities and ugly people will certainly appear and win more audiences."

1981August 12, a memorial week performance was held at Lincoln Art Center, New York, USA. At the invitation of the Mel Pomena Foundation in the United States, Tong He led the Shanghai Peking Opera Troupe to the United States to assist Zhou Shaolin in performing. The repertoire * * * includes Liu Tang's writing a book, sitting on a building to kill pity, stopping a horse, stealing a royal horse, and Cosmic Front, as well as excerpts from three repertoires, Chasing Han Xin, Four Sons and Picking a Chinese Car. In the last scene on August 23, some stole horses, some had children's cosmic front, and some had Zhou Shaolin, Tong and four scholars. 1982, Tong held a series of personal representative plays in Hong Kong, which caused a sensation and won the world reputation. Some people have commented that she is an outstanding representative of Xun school art, and art has "gone from Xun school to Zi school", showing that "Mei school is full of Xun school bones" and is "an original Peking Opera star". These are all extremely high comments on the art of Tong Peking Opera. 1983, Tong was invited to participate in the Spring Festival Opera Evening of Beijing TV Station, gave a singing performance, and performed "Sitting on the Building to Kill Cherish" with Song Yuchun, which caused a sensation in Beijing. On April 2nd, 1985, Tong spoke at the conference commemorating the 90th anniversary of Zhou's birth. In the commemorative performance, she and Zhou Shaolin co-starred in Wulongyuan, Zhou Shaolin played Song Jiang, Sun Zhengyang played Yan's wife, and she co-starred with Zhou Shaolin and Xia Lian in Song Shijie. In the same year, a special performance of Xun School was held in Tianjin. Children over 60 years old and their peers performed "Today's Daughter", "Matchmaker", "Lovers in the Red Chamber" and "Fan Jiangguan", which were warmly welcomed by their hometown folks. He also collaborated with Yan Xingpeng on The Prince and the Dancers of Beijing Chang 'an Grand Theatre. She co-starred with Yan, Yan and Yan Xingpeng in different periods, which became a story in Liyuan. 65438-0987 won the Asian Artist Award during his stay in the United States. 1On July 6th, 994, a child who was over 70 years old was invited to perform "You Sanjie" and "Shiro Visiting Mother" in Taiwan, which marked the end of her stage career.

1In July, 1995, a generation of superstar children passed away in an apartment in new york, USA, which was a pity. Fortunately, there are rich audio-visual materials such as the "audio-visual" of Sun Zhengyang's "Eighteen Chapters" and other plays for future study.

Tong's road to success once again proves that studying hard and extensively, and then establishing the spirit of innovation and enterprising on the basis of solid inheritance, is a very effective experience in cultivating artists, and people today should be inspired and valued.

"The running water keeps scouring the sand, and the waves will make waves before they are extinguished." (Liu Yuxi's "Nine Poems of Langtaosha") has high hopes for newcomers.

(Author Zhao: Member of China Translators Association, Tianjin Branch of Chinese Writers Association, Tianjin Branch of Chinese Dramatists Association, Society of Dramatic Literature, Tianjin Federation of Social Sciences)