In the history of Peking Opera, how did Chen Shaoyun grow into a master of Peking Opera?

Mr. Chen Shaoyun is a famous Peking Opera performer, a famous master of seven schools, a famous veteran of seven schools, the only surviving head of seven schools, a national first-class actor and a national Peking Opera master. 202 1 Visit Mr. Wang at the first stop, Mr. Liang at the second stop, Mr. Shi Jihua at the third stop, Mr. He at the fourth stop and Mr. He at the fifth stop.

1975 In March, Mr. Zhou, a master of Peking Opera, was buried in Shanghai. His successor erected a statue in the place where Mr. Zhou worked and lived before his death to commemorate Mr. Zhou's outstanding contribution to Peking Opera. This day is neither Mr. Zhou's birthday, nor a commemorative ceremony, nor a special day. As usual, Chen Shaoyun dedicated his piety to the master of Qiqi School in the simplest way.

Chen Shaoyun, a famous Qiqi Peking Opera actor, was originally the pillar of Hunan Peking Opera Troupe. During his artistic career of more than 40 years in 2000, he performed hundreds of traditional and modern dramas and created hundreds of different stage artistic images. At the age of twelve, he played Lu Wenlong in Eight Hammers, Wu Han in Jiejingtang and Xue Bao in Three Mothers. 1992, at the invitation of Shanghai Zhou Art Research Association, he made his debut in Shanghai, and performed the famous exotic traditional plays "Sitting on the Building" and "Chasing Han Xin". With his exquisite and vivid performance and charming singing, he immediately attracted hundreds of audiences, and the drama critics also spoke highly of him. Since then, Chen Shaoyun and Shanghai have forged an indissoluble bond. Shanghai is the birthplace of Qi school art, which is a wonderful flower in the hundred gardens of Beijing Opera, and its performance style is famous for its boldness. Some critics say that Qi School art is one of the schools of Peking Opera with modern spirit. Due to the age gap, I missed the opportunity to listen to Mr. Zhou's teachings and even failed to catch up with the original unicorn children's stage style. Chen Shaoyun is deeply sorry for this. To this end, he revered Mr. Zhou from the heart, collected all the information of Mr. Zhou in more detail, and appreciated and studied his performing arts. Perhaps because of these reasons, Chen Shaoyun paid attention to his own understanding and creativity while learning the exotic art through films, characters, pictures and other ways, thus winning the favor and technical guidance of the late famous drama theorist and practitioner A Jia. Mr. Ma, another master of traditional Chinese opera, even praised him as the best inheritor of the young people of Chinese Peking Opera. At that time, all kinds of praise and praise flooded into Chen Shaoyun.

The edge of the sword comes from sharpening, and the fragrance of plum blossoms comes from bitter cold. Chen Shaoyun deservedly won the Plum Blossom Award of Chinese Drama, Wenhua Award of the Ministry of Culture, Magnolia Award of Shanghai Opera and other awards which marked the highest achievement of contemporary drama performance, and attracted the attention of adults. What is valuable is that Chen Shaoyun himself is not tired of his reputation. He always kept a clear head, did not dare to slack off, persisted in practicing kungfu as always, and trudged tirelessly on the road of Peking Opera. Almost everyone who comes to Shanghai will strongly feel the heroic, fresh and graceful style of Shanghai cultural tradition, thus generating a heartfelt sense of identity and belonging. From 65438 to 0996, Chen Shaoyun officially joined the Shanghai Peking Opera Theatre. Thanks to the nourishment of local customs and the edification of Shanghai culture, Chen Shaoyun has reached a new height in the performing arts space of Qiqi School of Peking Opera. The newly edited Peking Opera "Civet Cats for Prince" is the beginning of the cooperation between Chen Shaoyun and Shanghai Peking Opera Theatre. In the play, he inherited the performance spirit of Qiqi school art and successfully shaped the role of Chen Lin. The success of the first civet drama brought great glory to Chen Shaoyun himself, and also became the source for Chen Shaoyun and his artistic partners to strive for better results. They fought day and night. On the basis of modifying the first "Civet Cat" for the prince, they also released the second part of the play. Chen Shaoyun opened up a blue sky in the field of creating and shaping characters. The successful rehearsal of the newly edited Beijing Opera "Fifteen Passes" is undoubtedly the best way to inherit the artistic spirit of the July 7th School, and it is also the best memorial to Mr. Zhou with "Half Yin". The first performance of Beijing Opera series "Prime Minister Liu" dominated Beijing Chang 'an Theater for more than 20 days, and as the leading actor, he was regarded as a wrist star by the more enthusiastic capital media. In such a Peking Opera, Chen Shaoyun gave full play to the artistic charm of Qiqi School. His wonderful performance is like a fresh sea breeze, adding some beautiful colors to the stage. He asked where the canal was so clear that it could have flowing water. From civet cats to princes to fifteen passes, and then from Zhenguan to Prime Minister Liu, every step taken by Chen Shaoyun is so solid. In the process of recasting the glory of Peking Opera, Chen Shaoyun explored and realized the value and goal of life with his own efforts.

Because of his family background in Liyuan, his father is a martial artist, and he likes watching plays since he was a child. When he was seven or eight years old, his father practiced for him. Anyway, when he was at school, his father wouldn't let him go to the theatre, so he went to the theatre secretly. His wife, Yang, said, yes, I just heard from her parents-in-law that he loved going to the theatre since he was a child, and that was when his parents refused to let him go for fear of affecting his study. When he was in the second grade of primary school, his parents said that they went backstage with their front feet and he followed with his back feet. After reading it, he hurried home before his father took off his makeup, afraid of him. So at that time, he just watched a lot of dramas, so he said what dramas. His father said that he could sing at that time, but he didn't know the words and content. Anyway, he will never sing wrong, but he likes it since he was a child and is particularly fascinated by Beijing opera. It is said that Beijing opera actors suffer a lot when they are young, isn't it? Chen Shaoyun said, yes, especially the skill of blanket, which is the most basic skill of an actor. You should practice leg and waist skills as their father did when he was a child, and both of them are indispensable. Because this is the foundation, you should practice leg and waist skills from an early age, no matter whether you sing a literary drama or a martial arts drama. Let's talk specifically about the development of Peking Opera at that time. This opera will develop in different times. Similarly, their old dean, Mr. Zhou, has been constantly reforming. He inherited the things of the older generation, and he must develop in his generation. They learn from the old dean and then combine their own conditions. "We must digest them." Beijing opera should advance with the development of the times and cannot stay in one place all the time. There is a photo at home, which he said was taken when he was twelve years old. What is this? When he was a child, he also learned eight hammers and dry kunquan. He was basically an old school student, but he didn't seem to be there at that time, because his age may be related to Mr. Zhou, the master of art, and he didn't have the opportunity to learn from him. When he was in Hunan, he heard that there was a teacher, Zhang Xinzhong, who taught Qigong very well. Moreover, Mr. Zhang also performed in Hengyang, which was quite excellent, because he couldn't catch up with the teacher's performance last week and didn't see his old man's performance. He had to watch it on film and TV, and then learn from Mr. Zhang about this drama, so that he could better understand the spirit of this concerted effort. Zhang Xinzhong and Chen Shaoyun are strangers. The first time I saw him was on the screen, watching his performance of "sitting on the floor and killing pity". At that time, people felt clean and dedicated. It seems that he not only plays the Qijia School there, but also portrays characters and plays Song Jiang in the style of Qijia School there. In other words, there is a possible deviation in the genre we often learn, that is, we don't learn roles and don't play roles. Later, he was introduced to Shanghai, where it was cloudy and came to him for lessons or other colleagues came to him for lessons. He just introduced what he saw to them, so we tried to get started according to our own experience, starting with characters and roles as much as possible. Chen Shaoyun said that in addition, Teacher Zhang has a thorough understanding of Pai's performance, and he knows where the camera should shoot, where the eyes and emotions should converge and erupt. So, you see, he learned from his teacher, chased Han Xin from him, including Feng Qingting, and there were many plays. Moreover, Mr. Zhang is tireless in teaching and educating people and is very enthusiastic about teaching you. He will teach you as much as you are willing to learn from him, selfless and enthusiastic. In fact, this kind of teaching is just learning, and teaching and learning complement each other. Not that I feel like teaching you, but that he feels like learning from me. In fact, I (he) is the dean of a school week. This strange art is profound and boundless. That is to say, it is never too old to learn, so Zhang Xinzhong, whether he is with Chen Shaoyun or learning from them, actually came together, and they * * * continued to discuss and experience the terms school. It has been said that Shanghai is the birthplace of the July 7th School, so there are many teachers here who perform and cooperate with Mr. Zhou on the same stage like Mr. Zhang. Many people who watched his plays, such as Zhang and Sun Zhengyang, have cooperated with Mr. Zhou and Mr. Wang Guiqing, so they should listen to their opinions and suggestions. So for him, this aspect is a great advantage. Schools of learning should be based on their own conditions and should not be imitated deliberately. In other words, students must have this imitation stage from the beginning, and at a certain stage, they must learn according to their own conditions. Because people's conditions are different, you have to learn according to your own conditions, and you may not be able to learn it completely, so learn as much as you can according to your own conditions.