Warm colors give birth to "fragrance" —— Kunqu Opera actor Shen Guofang

The first "spring fragrance" in the world

In 2004, the youth version of Peony Pavilion premiered in the village hall of Suzhou University. It was not a professional theater, and the facilities were simple, but the audience was deeply moved by the actors' wonderful interpretation of the plot. The refreshing image and unique arrangement are unforgettable.

? Shen Guofang, Yu Jiulin and Shen Fengying are classmates of Xiaolan Class in Kunqu Opera. They have lived together for decades. The youth version of Peony Pavilion is elaborately crafted and popular for hundreds of years, so full, three-dimensional and transparent. The youth version of Peony Pavilion inherits the classics, but not completely. Make use of modernity, but never abuse modernity ",and successfully realize the docking of classical and modern. Tang Xianzu said to himself, "I have four dreams all my life, and I am proud of peony." Wang Siren of Ming Dynasty once summarized it as: "Handan is immortal; Conan, Buddha also; "The Purple Hairpin", chivalrous; "Peony Pavilion", love also.

? Bai Xianyong personally manipulated the knife, cut it in half, and concentrated the plot. No matter the original works of Tang Xianzu or the adapted works of Bai Xianyong, Du Liniang is the object of concentrated description, but this intention is particularly prominent in the adapted works.

There is not much room left for the actor Chunxiang. How to serve the theme, the Chinese side goes deep into the role, tries to figure it out with heart and interprets it with heart. In Kunqu Opera, Chunxiang belongs to the iron egg, commonly known as Little Maid. Although this role is a supporting role, it has very high requirements for actors. Body, singing, eyes, one can't be less. The country is petite and handsome. In junior high school, she was seen by the teacher who came to the school to choose seedlings, and was regarded as a rare little Dan. Master-servant collocation and master-servant contrast are common artistic expressions in classical operas. Chunxiang is a supporting role, but it has an indispensable stage charm. In the Peony Pavilion, Chunxiang said as soon as she stepped into the garden, "Stepping on grass is afraid of mud embroidery socks, and cherishing flowers hurts the little Jinling." The beautiful scenery in front of us is exciting. The grass was muddy after the rain, and brand-new shoes and socks were reluctant to step on it. I can't help feeling pity when I look at the fallen flowers that have been hit by the rain. Chunxiang's proposal of going to the garden triggered Du Liniang's feelings of hurting spring, and triggered the sad story of his death for love and born to love. Li Niang and Chunxiang are both young and energetic. Li Niang is a big lady, well-behaved and restrained in the boudoir. Chunxiang is a servant, such as the messenger of spring, who brings the outside world and breaks the lady's heart. Chunxiang's simple ignorance sets off Du Liniang's infatuation, and Chunxiang is puzzled. "I miss him very much in my dream!" Little sister, this is just a dream, don't think about it. Full of youth, completely a child. Du Liniang's "twelve pavilions in vain" is full of worries and has nowhere to tell. Chunxiang didn't notice the young lady's mood change until Du Liniang became more and more haggard. She suggested that Du Liniang "never walk in the garden again". After Du Liniang died, she accompanied the old lady to worship in the garden. She looked down and saw that she was wearing a skirt presented by the young lady. "Chunxiang or Lao Luo skirt." Seeing things and thinking of people, Chunxiang thought that Du Liniang had always been like a brother and sister before her death. She felt sad, affectionate and grateful. The Chinese side portrayed Chunxiang as flesh and blood, which profoundly showed Chunxiang's unique personal charm in The Peony Pavilion and promoted the in-depth development of the plot. Du Liniang and Chunxiang are independent, but they are the same image. Chunxiang is smart, outspoken, witty, provocative and reckless, which is exactly what Du Liniang wants to be. Du Liniang is elegant, reserved and reserved, with beautiful spring scenery, and spring fragrance is the embodiment of another personality of Du Liniang. On the stage, both are indispensable. With its superb acting skills, skillful Kunqu opera skills and unique performance style, the Chinese side shines Chunxiang, a small Dan image with unique artistic value, on the long corridor of opera characters.

"Peony Pavilion" caused a sensation in the world with the exquisite interpretation of the famous Kunqu Opera actor Zhang. In 2004, the youth version of Peony Pavilion, carefully created by Mr. Bai Xianyong, once again set off a frenzy of Kunqu opera. In 2007, TAMASABURO BANDO, a national treasure kabuki actor from Japan, went to China to study, skillfully blended the quintessence of the two countries and created a Chinese-Japanese version of Peony Pavilion, which shocked the world again. Shen Guofang was invited by Mr. Yusaburo Bando to be the spring fragrance of the Chinese and Japanese version of Peony Pavilion. Shen Guofang learned a lot from this experience. The process of cooperation is also a process of learning. TAMASABURO BANDO is an aristocratic hereditary title in Japanese kabuki circles. Today, Yusaburo Bando is the fifth generation descendant of this title, originally named Shinichi Yuyuan, 1950 was born in a kabuki family in Japan. At first, Yuyuan Garden visited Suzhou Kunqu Opera Theatre and proposed to learn Kunqu Opera. Everyone thought it was incredible, but Su Kun's team cooperated fully. Yuyuan Garden touched everyone with persistence and sincerity, and learned the Peony Pavilion under the personal training of Teacher Zhang.

? The Chinese saw with their own eyes that he could not speak Chinese, so Yuyuan re-voiced alto with Japanese vowels. As long as he has time, he will recite the vernacular and learn to sing, so that he can later realize the subtle differences between Suzhou suburbs and urban areas. Yu was originally a polio patient and needed to wear special shoes to perform. This is the way to be strict with yourself and be extremely dedicated, which deeply touched Shen Guofang. In the process of cooperation, Shen Guofang deeply understood the true meaning of the stage. As a Japanese who can't speak Chinese, he can also sing and play an ancient China family, one by one. How can he do his own thing without spending 120 thousand spirit? Kunqu opera is his innate destiny, so he does his duty, goes deep into the role and plays it with his life.

? The Chinese and Japanese version of Peony Pavilion premiered in Tokyo. Away from the soul is a group of distinguished guests, and the dome shines. As soon as Mr. Bandong's "Journey to the Sea" was opened, she burst into tears and everything around her seemed to disappear. She thinks that people in the universe are too small, and Shen Guofang is indifferent to this. At the end of the performance, the Japanese audience knelt on the edge of the stage. At that time, she deeply understood her responsibility, which was a kind of responsibility and happiness. On the stage, when she put on makeup, it was Chunxiang. Yuyuan told her that on the stage, he was Du Liniang and Guofang was Chunxiang. At that moment, China felt that its soul was possessed. She thinks that the spring in Du Liniang will always be in my heart, and she misses Du Liniang. She is looking forward to the rebirth of the young lady. "But at the beginning, we missed each other, and the Peony Pavilion took the lead." At the end of the song, the soul of the audience seems to be divorced from the physical experience and has experienced a rebirth. This is the charm of Kunqu Opera.

? Shen Guofang affirmed the successful shaping of the role of Chunxiang. She sincerely thanks Bai Xianyong, Zhao Guozhen and teachers such as Chen Bei, Wang Fang, Tao Hongzhen and Wang Rudan for their careful guidance. She remembers that in that cold winter, Bai Xianyong took her, Shen Fengying and Yu Jiulin to Canglang Pavilion for a field trip to figure out the plot. When I was performing in Guangzhou, I was worried that they couldn't adapt to the weather, so I locked the actors in the hotel and drank chicken soup to protect my voice. I thank "towel master" Wang Shiyu for personally demonstrating Chunxiang's big eyes "goo goo" like a bird in the boudoir. I also sincerely thank Zhang for giving her and explaining every movement, every expression and every detail of the soap robe demonstration in the garden. Later, Shen Guofang played Pinger in Su Ju's Drunk Home, and Jingniang in A Thousand Miles. She is a professional in the sixth grade, and she has constantly broken through and created a brand-new role, which is surprising. A national first-class actor, he has won the National Outstanding Young Kunqu Opera Actor Performance Award, the First Kunqu Opera Art Festival Performance Award, and the Provincial Drama Festival Performance Award. In her opinion, actors should let the audience remember your role, not you. She never shows off her dramatic achievements. Many times, she prefers to be a plant, where there is sunshine and rain, and she strives to grow. Is Kunqu Opera ancient? Ancient, because it has a history of hundreds of years. Is Kunqu Opera new? The relay, inheritance, creation and innovation of artists from generation to generation make them full of vitality.