Overview of Performance When Yu Shuyan was a child, he once appeared in Tianxian Theater in Tianjin Gorge under the stage name of "Little Yu Sansheng". He was very popular and returned to Beijing to recuperate after his voice changed. Later, he returned to Beijing because of illness. With the help of his father-in-law, Yao Zenglu awarded him the Kunqu Opera Shi Xiu Tanzhuang. At the same time, he also learned Tan Pai's singing from Aisingiorro Pudong (owner of Red Bean Restaurant) and Tan Pai. During this period, he attentively watched the performance, and humbly consulted all the drummers, pianists, inspectors and walk-on actors who had worked with the Tan family, so that their skills improved greatly. And attend the Chunyang Friends' Meeting, study in many ways and work hard. After 19 18, her voice recovered and she returned to the stage in the name of Yan Shu. He gave full play to Tan's experience and his own specialty, staged a lot of old-fashioned plays and became famous in one fell swoop. He stood side by side with Yang Xiaolou and Mei Lanfang in Peking Opera at that time, and was known as the "Three Sages", representing the highest artistic level of the roles of old-fashioned students, martial arts students and Dan in the 1920s and 1930s.
1On August 22nd, 923, Shu Fangzhai, the Forbidden City, Peking Opera celebrities gathered to perform on stage 16 repertoire. Among them, Dingjun Mountain is Yu Shuyan. In addition to his frequent performances in Beijing, he has also performed in Hankou, Shanghai and Tianjin many times, enjoying a high reputation throughout the country. After 1928, due to illness, commercial dramas will no longer be performed except for voluntary performances and church performances. Although Yu Shuyan's stage career was not long, he left a far-reaching influence on the old Peking Opera circle. Many of the plays performed in ten years have become models for later study. Tan Pai's standard plays, such as Banquet in Qionglin, Eight Hammer, Hide and Seek, Pirates of Zongjuan, Dingjun Mountain, etc. I appreciate his singing most. He strives for perfection in every play, and an ordinary play can pass through after polishing. After his performances, such as looking for the lonely and saving the lonely, it has become a masterpiece. Although "Changing Courts" has never been staged on the stage, it is only sung at ordinary times, but its [anti-Huang Er] singing method is very creative and has become a model work.
Although she is different from Yang and Mei in her public performances, her cooperation has never stopped. Their cooperation has played an important role in demonstrating the development of Beijing Opera. From 65438 to 0920, Yu Shuyan began to cooperate with Yang Xiaolou and formed Zhongxing Society with Yang He. Their co-productions include Eight Hammers, Dingjun Mountain Yangpingguan and Lian Yingzhai, all of which are excellent works of knowing ourselves and ourselves. Mei He's The Prince and the Geisha and Yu, Yang and Mei Zhi's The Fisherman Killed the Family are all the swan songs of the Kuang Dynasty, which can be used after learning.
Yu Shuyan, an artistic activity, stopped his commercial performance after 1928, but this did not interrupt his Peking Opera career. He has always attached importance to the theoretical research, social activities and apprenticeship of Peking Opera. 193 1 year, with Mei Lanfang as the initiator, China Opera Society was established in Beiping. He took the Summary of Random Rhythm, co-edited by him and Zhang Boju, as the textbook of the phonology course of the affiliated institute of the Institute, and wrote the article "The Old Eight Boards of Peking Opera and Huqin", which was published in the 1932 issue of National Opera Illustrated. 1932, Yu Shuyan publicly delivered a speech on the singing method of the old Peking Opera in the National Opera Society (the news and part of this speech were published in the 28th and 29th issues of the National Opera Illustrated in 1932), which summarized the singing method of the old Peking Opera advocated by Yu Shuyan from many aspects and was an important reference for learning Yu Shuyan's singing theory.
The representative plays of Yu School are basically the same as those of Tan School. Representative works include Searching for the Lonely and Saving the Lonely, Wang Zuo Brokeback, War of Peace, Chasing the Head and Stabbing the Soup, Official History, Asking for a Cudgel in the Cabin, Out of the Box and Beating the Clubs, Stealing the Zongjuan, Nanyang Pass, Ning Wuguan, Zhentanzhou, Dingjun Mountain and Dingjun Mountain. Empty city plan, Wujiapo, Fenhe Bay, selling horses for hemp, Julien Village, Sangyuan Songzi, Zhao Zhao touching the monument, Hongyang Cave, Shiro visiting his mother, fisherman killing, imperial monument pavilion, nephew burying, etc.
Formed the only remaining art school, he and Ma, and called it the "three outstanding figures of the older generation" of the third generation of Beijing Opera. He fully inherited the rich traditions of his grandfather (one of the first generation "Three Masters of Old Students") and his teacher (one of the second generation "Three Masters of Old Students"), and especially studied the Tan School art, which is a masterpiece of predecessors' skills. He studied poetry, calligraphy and painting from many scholars, and also systematically studied the knowledge of four tones. With his own cultural attainments, on the basis of fully grasping the characteristics and laws of Tan School, he sought development from the depths of liberal arts, reached the realm of re-creation, and founded his own new art school, which is called Yu School in the world.
Because of his poor health, Yu Shuyan's active time on the stage is not long, only 19 17 to 1928, but his artistic influence is far-reaching. He cooperated with Mei Lanfang, Cheng, Xun Huisheng and Shang Xiaoyun respectively, and processed and performed a large number of outstanding traditional repertoires, which pushed the art of Peking Opera to a new peak. He is a master of all-round development of singing, reading and playing, and his singing art is particularly popular.
Singing characteristics: Yun Zheyue is often used in Beijing Opera to appreciate the beauty of Yu Shuyan's voice, which means that his voice is not mainly based on brightness, but has thickness and "charm". His vocal style is full of twists and turns, cadences and melodies, and he is also good at using decorative factors such as "falling tone" to touch the color of his vocal style. Meticulous in artistic treatment, careful in wording, concise and profound.
The aria of Yu School embodies the spiritual law and aesthetic ideal of China traditional opera in many aspects, and is famous for its clear pronunciation and mellow voice and full charm. The music image he created is dignified, generous, deep and dignified, with strong personality and refined temperament.
On the basis of fully inheriting the art of the new Tan School, he made great development and innovation with rich singing skills, and became the representative of the "New Tan School", known as the "Yu School" internationally. The singing art of Yu School was formed in the 1920s, which had a great influence on all the established schools since the 1930s. The strong lasting appeal and elegant style are the main characteristics of Yu School's art. Through hard practice, she overcame the weakness of low volume and weak breath, making her voice sweet and rich, crisp and refreshing without stagnation. Coupled with superb breath application skills, especially the method of lifting breath, she achieved a clear high note, a deep bass, a mellow voice behind her head, and a swaying vibrato. Use your voice as freely as possible. In terms of singing methods, we should give full play to our strengths, choose and adjust the singing methods, turn Tan's simplicity into simplicity, and turn elegance into strength, which contains profound bookishness in the heroic martial arts. He has excellent performance ability to the characters he plays, especially good at singing sad plays.
The feature of the work is to link the Huang Er guidepost, which is famous for singing "The White Tiger Hall is Destined" in "Seeking Loneliness", with Huilongguan. It is sung in a simple way, without any deliberate modification, and Cheng Ying's complex feelings of tension, anxiety, resentment and regret naturally come out. The Huilong tune in "Wang Zuo Brokeback" also uses the method of singing by hand, but there is no urgent component, which is implicit and calm. The arias "Fighting for Peace" and "Wearing Purple Helmets, Qi Mei Topping" are full of heroism, expressing the unswerving determination for the general. He used the rising to handle the ending of the big and small cavities, and used a soft voice in his singing, which was clear and ethereal, and the use of flashing and overlapping was very natural, without traces of carving. These cavity moistening techniques are unique to Yu School. Yu Shuyan studied melody carefully, paid attention to pronunciation, and skillfully used the law of "three-level rhyme", which added cadence to his singing. Five tones and four tones are accurate and appropriate, pay attention to tone and rhythm; Make good use of function words, vivid personality, and finally show the beauty of free and easy. His representative works include Tang Poetry and Song Poetry, Historical Records and Wang Zuo's Brokeback. Exquisite workmanship, refined figure, and attention to the inner activities of the characters, such as "chopping wood to cause trouble, beating out the box" and "stealing books", are not inferior to Tan Xinpei. His martial arts skills are solid, and he staged a large number of martial arts dramas in his early days. Therefore, his tricks, such as Zhan Taiping, Nanyang Pass, Ning Wuguan, Zhentanzhou, Dingjun Mountain and Zhan Wancheng, are all wonderful and unique, and they will never show off. He has a deep cultural accomplishment, and he polished the words and rhymes of the script smoothly and reasonably. Yu Shuyan is a representative of the development different from other schools. His plays, whether singing, acting, reading, acting or even dressing up, are completely inherited from Tan Xinpei, but they are innovative everywhere and have their own characteristics. They don't rely on starting a new stove to redesign their performances and create new tunes. However, compared with Tan School, they did have great changes and were more difficult, which is why Yu School almost replaced Tan School as the dominant factor in life after 1930s.
The success of Yu Shuyan, a famous co-actor, is due to his high artistic accomplishment and the assistance of many excellent collaborators. Li Shunting, Qian, Cheng Jixian,, Qiu Guixian and Bao Jixiang all played important supporting roles in the performance. Zeng He, Qian and Cheng Jixian took many photos of ancient costumes at their home in Beijing, such as Wang's Qionglin Banquet and Cuiping Mountain, Yu Qian's With Dingjun Mountain, with Cheng's Zhentanzhou, and Ning Wuguan, Dingjun Mountain and Washing Water Gone with the Wind. From this, we can not only study the image of Yu himself, but also understand the image, makeup and cooperation of Wang, Qian and Cheng. Yu Shuyan also has many photos of costumes and acrobatics, which are also valuable for studying his figure. From these photos, we can see the essentials of his figure and handle, such as meridian image, waist, T-step, lunge, front and back hands, arms and eyes, as well as the actual situation of holding a knife, gun and whip and the energy of the whole body.
After Yu Shuyan became famous, he released 37 records in EMI (1920), Gaoting (1924), Great Wall (1932), Guo Le (1940) and other record companies. These records include all kinds of aria except [anti-Huang Er], which are recited in Broken Arm Ballad and A Handful of Snow. These chants are elegant in style and pure in charm, which can be used to study Yu Shuyan's mastery of four tones, sharp ball, frog mouth, catchy mouth, three-level rhyme, voice, pronunciation and air mouth. In addition, the Hanggu, White Drum, Li Drum, Zhu Drum and Drum in these documents are also outstanding. With their accompaniment, Yu Shuyan's singing effect is more complete. Because of his superb old-fashioned art, the society recognized him as the chief of the old-fashioned circle of Peking Opera, calling his old-fashioned art Yu School. But I never showed off my skills, and I always claimed to learn Tan until my later years. Yu Shuyan's art has been introduced to China all his life. This can be clearly reflected in his previous records. To sum up, EMI's record is a work that he studied hard after changing his voice and tried to reach the highest artistic level of Tan Pai's old students. His efforts made him recognized by Tan Pai's successors. The Record of Gaoting Company is generally regarded as the pinnacle of Yu Shuyan's works, and it is also an important basis for the art of reciting words circulating in the society, which shows his achievements in the further creation and development of art after 19 18 re-entered the stage. The Great Wall Company was written by Yu Shuyan when he was sick at home in 1932. At this time, although his voice is not as good as before, his singing skills and charm have reached a perfect level. Guo Le Company's records are 1938, some unconventional products of Li Mengxiao Dong's later years after his apprenticeship.
Research and Inheritance From 19 18, Yu Shuyan re-entered the stage until his later years, and people devoted themselves to studying the other art schools in an endless stream, including Zhu, Wu Tiean, Yang, Tan, Wang Shaolou, Li Shike, Zhang Boju, Li Shaochun, Xiaodong Meng, Zhao Guanyi, Zou Gongfu and Chen Da. I personally taught only seven disciples, that is, the so-called "three little ones and four little ones": Meng Xiaodong, Tan, Li, Wang Shaolou, Wu Yanheng, but was handed down by fans. Among them, his favorite disciple Meng Xiaodong is the first among the actors, and his good friend Zhang Boju is the first among the researchers. Li Shike (Zhi 'an) is the most famous person. He personally observed Yu Shuyan's performance and was able to make use of nature in art. In particular, it is Xiaodong Meng who should write a great book. She has played an extremely important role in inheriting, developing and teaching Yu Lao's students' art. She once formally accepted Peirong, Zhao Peixin and others as apprentices, and kept precious artistic materials of many old students of the Feather School. Sun Yangnong wrote "Talking about Yu Shuyan" with Meng Xiaodong as the preface, which is of great help to understand Yu Shuyan's family background, teachers and friends, disciples, performances, stage collaborators and filming process, and can be used as a reference for studying Yu Shuyan's artistic life.
Disciple introduced Meng Xiaodong. Among his main disciples, except Wu Yanheng, who changed to martial arts, other people's artistic careers are very stable and have their own characteristics. The highest achievement is Meng Xiaodong. He is eloquent and gestures, all of which are indifferent and tangible. He shows his skill in the rules and has a mellow and elegant charm. His plays, Seeking and Saving the Lonely, Lost Street Pavilion, Empty City Strategy, Killing Horse Races, Arresting Cao Fang, Strange Unjust Cases, Hongyangdong, Famen Temple, Huang Jintai, Imperial Monument Pavilion and Wujiapo are all excellent.
Tan, Tan, used Tan Pai's voice to sing the residual cavity with ease, singing is simple and pure, dripping and hearty, and Allegro is crisp, powerful and sick. It is better to rely on tricks. It's just that the workmanship is not exquisite His style changed greatly in his later years. Capable dramas include Strange Uneven, Touching the Monument, Julien Village, Shiro's Visit to Mother, Dingjun Mountain, War of Peace, Nanyang Pass and so on.
Yang Baozhong in Yang Baozhong had a rich amateur life in his early years. After he switched to a pianist, he used his spare time to help Yang set up a new school.
Li, Li, both civil and military, sang and performed well, played widely and had many unique creations. When I was young, I learned a lot from imitating the art of staying in school. Plays such as Fighting for Peace, Washing Fushan Mountain, Dingjun Mountain, Yangpingguan, Drumming Cao, Eight Hammers and Killing a Family by Fishing can all reflect the style of the remnant school. After middle age, he absorbed the singing characteristics of Ma (Lian Liang) School and Qi (Lin Tong) School, and made a breakthrough in characterization. He also rehearsed a large number of new plays, such as Yun Luoshan and Xiang Ma Zhuan, and performed modern plays earlier, such as White-haired Girl and The Red Lantern. His singing, recitation and performance are all very innovative.
In addition, there are private painting artists all over the north and south, such as Chen Daxie in the south and Zhu and Xi Xiaobo in the north. There are many amateurs, such as,, Liu Zengfu, Wang Duanpu, Zhao, etc., with deep attainments.
The main relative was originally her daughter, who gave birth to Yu Huiqing, then Yao and Yu.
Chronology of activities 1904, 30th year of Guangxu (Chen Jia): Yu Sansheng Jr. recorded in Becca Company.
1907, thirty-three years of Guangxu, autumn: Zhou and the same stage.
Lunar New Year: Church gathering in Li Zhisheng.
19 14, lunar calendar: Chunyang Friendship Association established box office.
1965438+February 5, 2005, the evening of December 22 of the lunar calendar: Yu Shuyan returned to the stage.
19181kloc-0/9, the 15th day of the ninth lunar month: Yu Shuyan and Mei Lanfang performed together for the first time.
1965438+April 2009, the last year of the lunar calendar: Grandma Mei's 80th birthday.
1965438+In September 2009, the Lunar New Year is not over yet: Yu Shuyan's 60th birthday party.
191910/month, the lunar calendar is not yet year: the three sages of Beijing Opera perform in Wuhan in turn.
1920 165438+ October of Chen Geng lunar calendar: Hankou Red Cross Society held a benefit performance for disaster relief in North China.
1922 10 Lunar New Year: Cheng performed in Shanghai for the first time.
1925, The Ugly Year of the Lunar New Year: Yu Shuyan recorded records in EMI.
1925, the second ugly year of the lunar calendar, autumn: Yao Yufu invited Ju Peng and Mei Lanfang to cooperate unsuccessfully.
1925 March of the ugly year of the lunar calendar: Zhang Shoutang.
1925 10.02, August 15th, the year of the Chinese Lunar New Year: Xun Huisheng changed his stage name "Bai Mudan" to Xun Huisheng.
1926, Lunar New Year: Yu Shuyan recorded a record in Gaoting Company.
1February, 926, the ugly year of the lunar calendar: Yang Xiaolou reorganized the China Youth Society.
1927, the year of Ding Mao in the lunar calendar: Yu Shuyan sang "Going to the Tiantai" for the first time.
193 1 Lunar New Year's Day: In the first stage, a charity performance was held to raise money for flood control and disaster relief in Jiangxi.
193 1 May, Xin Wei Lunar New Year: National Drama Society was established.
193 1 year 1 1 month, Xin Weinian of the lunar calendar: opening performance of the National Drama Society.
1932, Ren Shen Lunar New Year: Yu Shuyan recorded a record at Great Wall Company.
1On July 4th, 932, Shen Nian was appointed on the first day of June according to the lunar calendar. 19: 00, Yu Shuyan gave a speech when the "National Drama Club" was founded in Beiping.
September 24th, 2000: Yu Shuyan's last performance.
1937, the 40th birthday of Zhang Boju.
On August 26th of the lunar calendar, Li studied with his teacher.
1938101October 2 1, the 28th day of the eighth lunar month: Meng Xiaodong took Yu Shuyan as his teacher.
193865438+February 3rd1October12nd Lunar New Year: Li premiered The War of Peace.
1940, Lunar New Year in Chen Geng: Yu Shuyan recorded a record in Guo Le Company.