Shang Xiaoyun (1900- 1976), male, the heroine of Beijing Opera, 1927, 193 1 was elected as one of the four famous artists twice and founded Shang School. Mingdequan, the word Qixia; Line two. Born in Nangong County, Hebei Province, 1900 65438+ October 7th in the 24th year of Guangxu (Reform Movement of 1898), born in Fatong Temple Grassland Courtyard in Andingmen, Beijing. Prince Shangkexi, the 12th Sun of Pingnan, was attached to the Han Army and Blue Flag. Father Shang Yuan gave birth to three sons: the eldest son Shang Dehai, the second son Shang Dequan (Xiaoyun) and the third son Shang Delu (Xiaoyun). 1966 "cultural revolution" began and was persecuted. 1April, 976 19, died in the First People's Hospital of Xi City on March 20th of the lunar calendar at the age of 76.
[Edit this paragraph] Biography
When I was young, I studied with Li Chunfu as an old student, in order to "manage my apprentice". /kloc-in 0/907, he entered the class of "Sanle Society" (later renamed as "Lezheng Society") with the stage name "Sanxi". He learned martial arts first, then face. Later, because the teachers saw his beautiful and handsome appearance, they urged him to change his studies and learn from the famous young Sun Yiyun, so he changed his stage name to "Xiaoyun". 19 12 was performed in Guanghe Building, and Shang Xiaoyun's plays were very popular. 19 13 Li sanle club, renamed as she, performed on the folk music stage. 19 14 winter, together with sun Juxian, won the title of "first child shine" with "San Niang Jiao Zi" and "Zhan Puguan". The world calls Shang Xiaoyun, Bai Mudan (Xun Huisheng) and Furong (Zhao Tongshan) "three outstanding men who enjoy happiness". /kloc-After graduating from school at the age of 0/6, he co-starred with Sun Juxian in Three Mothers' Godsons and Battle of Puguan, cooperated with Gankun Fushou Mirror, cooperated with Xiang and Chu Hanzheng, and cooperated with,, Wang and.
He has studied under famous artists such as Dai, Dai, Lu and so on, and his artistic career has advanced by leaps and bounds. His Kunqu Opera is taught by Shoushan Li, especially Zhao Jun's Riverbank and Kite Wrong. Shang Xiaoyun was an art admired by martial arts students in his early years. Later, he absorbed and melted the exquisite performances of the "Yang School" martial arts students and applied them to his own Dandan drama, making the performance vigorous and straight, and seeing the masculine beauty in Dandan's charm. Especially suitable for playing the heroine. At this point, Shang Xiaoyun has become a leader among her peers, featuring the heroine. 19 18, Shang Xiaoyun organized his own "Chongqing Society" and constantly rehearsed new plays, most of which were female heroes. Such as Zhuo Wenjun, Lin Siniang, Qin Liangyu, Dai Mo, Princess Shuangyang, Modern Jia Nv, Xiangsi Village, Nineteen Heroes of Qingcheng Mountain, Legend of Flying Fairy with Tiger Milk, Red Dragonfly, Emei Sword, etc., are all his first creations. The representative works of "Shang School" are mostly heroines and chivalrous women who need martial arts. Even if there is no martial arts role, Mr. Shang adopts the way of "literary play and martial arts singing" according to the needs of the plot, in order to be popular and enhance the visual beauty. For example, Wang Zhaojun in "Boarding Zhao Jun" used a series of martial arts moves such as "kite turning over", "galloping the horse" and diving "circus" when he changed into a fierce horse after leaving the fort. These are all in line with the characteristic scenes of the characters and improve their popularity.
Mr. Shang Xiaoyun's Shang School style is famous for its masculinity, which is manifested in two aspects. On the one hand, in his performance, he emphasized a kind of strength, openness, ups and downs, and an angular performance.
His singing is vigorous and powerful, full of strength, in one go. He is good at using standing tone, vibrato, intonation and a "rising" singing method in singing, forming a unique style of Shang school. His performance is full of passion and emphasizes momentum, which is also a major feature of Shangpai.
1927, Beijing Shuntian Times initiated the selection of famous actresses, and Shang Xiaoyun and her new screenwriter Modern Jia were selected as one of the "Four Famous Actresses". 193 1, re-elected as the top four.
1937, "Rongchun Society" was established. He spared no expense in running a school and trained two students, Rong, Chun, Chang and Xi, and three sons. When training the younger generation, he tried to be both professional and knowledgeable. Shang Xiaoyun is strict with himself and others in art, but he is enthusiastic and generous in life. "Rongchun Society" has trained more than 200 students all over the country and played an important role in Peking Opera performance and Peking Opera education.
1962 filmed the art film "Shang Xiaoyun Stage Art", and recorded two films, the loss of children and the embarrassment of Zhao Jun.
[Edit this paragraph] Shangpai Art
Shang Xiaoyun is one of the representatives of modern Peking Opera in China, and he is also known as the "Four Famous Dancers" with Mei Lanfang, Cheng and Xun Huisheng. His life's artistic experience coincided with the heyday of Chinese Peking Opera, and he was a witness and participant in the middle and late history of Peking Opera. This book comprehensively records Shang Xiaoyun's life experience, artistic achievements and personal accomplishment. Iron throat and steel throat, high strength and bright. Shang Xiaoyun studied under Sun, Sun, Sun and Sun. Learn from Hua Dan and Lu, and learn from Kunqu Opera and Lu Jingui. The teachers are all typical of the times. Therefore, in the chaos of Wu Wen Kunqu Opera in his early years, he was an outstanding character, especially his Tsing Yi opera was recognized by the audience and was recognized as "authentic Tsing Yi".
Shang Xiaoyun is gifted. He has a broad and bright voice, handsome appearance and suitable figure. In particular, the enthusiasm is full, the voice is high, and the singing skills are lasting and commendable. Because of its high-pitched, powerful and bright voice, it is very suitable for traditional singing in Tsing Yi. It is famous for its "two sacrifices"-singing opera "Sacrifice to the River", "Sacrifice to the Tower", "Jade Tang Chun" and "Visiting Mother", so it has the reputation of "iron throat".
Traditionally, Tsing Yi and his entourage performed "chastity girls", and the singing method required not only clarity and crispness, but also a masculine voice. Since Hu Xilu initiated feminine singing, masculinity has gradually lost. Sun He is both quasi-old-school and masculine. Chen Delin, in particular, inherited the advantages of masculinity, and at the same time paid attention to both rigidity and softness, creating a new singing style in Tsing Yi.
In singing, Shang Xiaoyun directly inherited the tradition of masculinity and the traditional singing method of "keeping one's mouth shut and one's words loose" in early Tsing Yi. Later, influenced by Chen Delin, he supplemented his strength with elegance and formed his own style. His pronunciation is resistant to falling, which forms a sharp contrast, pays attention to momentum and gives people a strong and powerful beauty. The traditional singing method of "Climbing higher and higher" in Tsing Yi is that he lifts weights as easily as possible. When Tang Xiaoyun sang, he not only didn't reduce the lyrics as often as Dandan did later, but sometimes added the lyrics according to the old-school singing method. For example, in Yu Tang Chun, it is usually followed by "disturbing rural agreements and local public security", that is, "catering to the court", but it is followed by "two officials are on the edge, one is pulling, the other is pulling", and then "catering" is added.
Like the other four famous artists, Shang Xiaoyun has dabbled in all fields of Peking Opera, whether it is Tsing Yi, Hua Dan, Daoma or even Wudan. But his difference is that he is not committed to breaking the performance boundaries of these industries, but to adapt to the performance needs of different industries in each special environment. In Visiting Mother, Shang Xiaoyun played the princess in her early years, and then the queen mother. He abides by professional norms. The princess wore a flowered shirt with a flag, while the queen mother was completely typical of Tsing Yi. Another example is a fierce horse with red mane. Shang Xiaoyun plays Wang Baochuan in Wu Jiapo and Dai Zhan in Da Deng Dian. It is also clear and unambiguous about Tsing Yi and colorful shirts.
The characteristics of Shangpai singing are that they pay attention to tackling difficulties and overcoming difficulties. When encountering difficulties, they all turn around with true voice strength and never slack off; At the same time, it broke the fixed rhythm of singing, and showed the rich connotation of singing with the change and application of the bantou; With resolute breaking and intricate frustration, the vocals are patchy, often presenting a steep place in simplicity, solidity and neatness, as if penetrating the paper. Allegro, running water and scattered boards are all cigarettes and paper, which are different from those thin people.
Shang Xiaoyun was a beginner, followed by Wu Sheng and Hua Lian, and finally changed roles. Wu Sheng, in particular, not only has the foundation of ordinary classes, but also has the experience of being in the same class and stage as Yang Xiaolou, which is very profound. Therefore, in his stage career of nearly 60 years, Shang Xiaoyun is famous for being both civil and military.
The working posture of Shangpai, such as running a circus, can run more and more roundly, and there is a tendency to be excited before swinging. The ups and downs are accurate and the pace is not lost. Dance pictures such as "Imperial Monument Pavilion" show that Meng Yuehua was caught in the rain and muddy on his way home. Shang Xiaoyun used three sliding steps: first, planting in advance, showing that it is difficult to stand firm in the mud; Then he leaned back, slipped and almost sat on the ground; Finally, I lost my balance and my legs slipped from one corner of the stage to the other. The three steps are closely linked, which is called "Shang San Slip". There is a feeling of real life in dance art, which is well known so far.
Shang Xiaoyun's martial arts is unique among the four famous artists and is highly respected. Every time you raise your hand, you are very vigorous. The opening parts of Xiang, Jin Zhanshan and Qin Liangyu were edited and performed later, which have a strong aesthetic spirit. Its reliance on drama has the same advantages as money: the flag is not chaotic, the flag is not lifted, and the feathers are not falling, which is a model in Beijing opera martial arts performance. In his later years, his performance "Princess Shuangyang" is typical of these places.
The cooperation between Shang Xiaoyun and Yang Xiaolou in Xiangjiang Club has brought out the best in each other, which shows his skill. Dan Jiao's martial arts figures, unlike jing xing and Wu Sheng, stand in a "squatting hip style", just a "female riding style" with slightly bowed legs. Squat posture is small, easy to shake or stand. And Shang Xiaoyun's riding appearance after "sweeping the glass lamp" in Xiangjiang Club is like icing on the cake? Huadun, motionless, is extremely wonderful.
In Qin Liangyu, Fan Baoting plays the role of crashing into the sky. After being picked off the horse, he rolled on the spot and moved quickly. Qin Liangyu, played by Shang Xiaoyun, will be stabbed to death immediately in the sound of gongs and drums. This number should not only be fast, but also distinguish between one who was riding a horse and the other who fell off the horse. It is difficult to grasp the discretion during this period. The businessmen and the fans here are scared and excited.
Dance is a performance method developed in the early 1930s. Shang Xiaoyun also made valuable explorations in his new play. For example, the sword dance in Hong Gan and Lin Siniang, the fan dance in Jieyu is a bear, and the cloud? Improvisation and composition in "Niang" are both. In particular, Scottish dance and Hawaiian hula dance were used for the first time in modern girls and girls, which made great contributions to expanding the means of Peking Opera performance.
Shang Xiaoyun not only plays a leading role in his own field, but also shows his all-round artistic skills in cross-dressing and cross-dressing. For example, Huang Tianba, the anti-cross of Bala Temple, is meticulous in performing martial arts. Another example is Shi Xiu's performance in Cuiping Mountain, playing with knives in restaurants and killing monks. This face is suffocating with alcohol. Playing Liu He and Dao in "Flower Bangzi" is extremely enthusiastic. Jumping into several "jumping objects" and chopping under the knife are so quick that even people who specialize in hitting primary school students should avoid them.
Shang Xiaoyun broke the moral evaluation standard of paying special attention to "chastity and chastity" in the previous Peking Opera (Tsing Yi) dance, initiated the connotations of "chivalry", "righteousness", "rigidity" and "health" from one end of "chastity", and paid attention to women's survival and life value from a broader level, which actually implied a criticism of traditional women's concepts, which was of great significance to the times. Shang Xiaoyun's attempt greatly enhanced the expressive force of Dan Jiao (Tsing Yi) and his party, and expanded the expressive space of Dan Jiao in Beijing Opera. This is the main reason why Shang Xiaoyun can become one of the four famous artists, and it is also his spiritual foundation as a master of modern Peking Opera. In addition, he boldly took ethnic minorities and overseas life as the background, which was also the first in the history of Peking Opera and made a valuable exploration for expanding the expressive force of Peking Opera. In the rehearsal of the new drama, he used the scenery on a large scale, and reformed the stage costumes and makeup with reference to history and national costumes, which is also an attempt to reform the overall image of the stage.
Shang Xiaoyun followed the law of art and developed the processing of traditional plays and the creation of new plays. For traditional drama, Shang Xiaoyun either adds the head and tail, or adds drama in series, or cuts down the complexity and redundancy, so that the theme is prominent, the plot is complete and the characters are vivid. He has adapted and performed dozens of traditional plays such as Yu Tang Chun, Thirteen Sisters, Mei Yupei, Zhan Shujuan, Tianhe Pei, Leifeng Pagoda, Chunqiu Pei and Gankun Fushou Mirror. As for the rehearsal for the new screenwriter, Shang Xiaoyun has made a series of explorations and creations in singing, dressing, performance and scenery, which greatly enriched the stage of Peking Opera.
Liang Hongyu is a famous drama of the Shang school. In the late 1930s, Shang Xiaoyun edited and adapted the traditional opera The Battle of Jinshan, from Yu Linglong to The Battle of Jinshan, and named it Mrs. Liang. 1950 or so, renamed Liang Hongyu. Among them, the aria of "Married to the Army" and the drumming performance of "Drumming to Help Out" are particularly exquisite. Later, Shang Xiaoyun improved the traditional female prone position according to the bust military portrait of ChristianRandPhillips painted by Italian painter Lang Shining in Qing Dynasty, making Liang Hongyu's image more delicate and upright.
In order to strengthen the singing and dancing features of China traditional operas, Shang Xiaoyun often uses Kunqu opera in his plays, and some performances are completely performed according to Kunqu opera. Some Kunqu opera "Zhezi" plays have become famous dramas of Shang school after his great processing, such as "Fighting Jinshan" in the second half of "Liang Hongyu" and "Showing Your Majesty to the Fortress" in the second half of Han Dynasty, which are all the most famous works of art.
1962, Shang Xiaoyun went to Shandong to give a lecture, and asked him to leave the lecture notes of my teaching in Shandong. Among them, the basic principles of Beijing opera art are analyzed and summarized, and there are many incisive theories. For example, in the performance of the four techniques and five methods, Shang Xiaoyun clearly pointed out that the five methods are "mouth, hand, eye, body and step", and put the oral method at the top of the five methods in Beijing opera performance. Shang Xiaoyun is the only Peking Opera master outside Cheng who has made a clear and systematic exposition on this issue.
1935, all the adapted "Han" premiered in Beijing. The play was developed from the Kunqu opera Embankment. Fortress is a 10% discount on all Zhong Qing Ji. Shang Xiaoyun plays Wang Zhaojun. In "Out of the Fortress", he boldly adopted the method of "singing in martial arts", singing and dancing, full of sound and emotion, organized almost all the footwork of Beijing opera, and absorbed Wu Sheng's body movements. The whole drama fully embodies the full, strong, clean and bold style of Shangpai. Its performance means are endless, and a series of dynamic pictures are created through various stylized dances. He described Wang Zhaojun's parting feelings and the desolation of frontier fortress in detail by crossing his legs, bowing his legs, whipping his horse, pedaling, jumping on one foot, piling mud and going to the circus. He created the artistic image of Wang Zhaojun with a tune in his mouth, feathers on his helmet, a whip in his hand and a cloak, and rendered the performance effect of "taking the lead and being heroic". This kind of "showing your majesty at one time" is known as the lively "beauty and fierce horse"
In this play, Shang Xiaoyun deliberately distinguishes the difference between "being king at one time" and "being king at one time", and pays attention to the formal changes of "being king at once" and "being king at one time". "Right away, Zhaojun needs both people and horses. Horses are fierce horses, and people are beautiful. " "Two functions, both form and spirit" truly embodies the spiritual essence of China's freehand brushwork drama. At present, the performance of "Zhaojun Riverbank" on the stage of Kunqu Opera and Peking Opera is basically performed according to the number of people from the upper school.
The drama Gan Kun Fu Shoujing, which Shang Xiaoyun learned from Wang Yaoqing in his early years, is Shang Xiaoyun's favorite. Originally a secret book of Sixi Class in the late Qing Dynasty. In earlier years, this play was composed of four consecutive plays, while Wang Yaoqing performed two and ended in two days. Shang Xiaoyun changed the complexity into a one-day performance. Shang Xiaoyun plays Shouchun. From the late 1930 s, the first half was decorated with Hu, and the second half was decorated with Shouchun. Losing a child is the highlight of the play. Shang Xiaoyun has been honed for decades, combining crazy steps, sleeves and crazy eyes. The portrayal of the psychological changes of the characters is even more nuanced. There was a big scene in the mulberry garden, and Hu's madness appeared. After some nonsense, Shouchun stopped him. Shouchun explained to Lin He that this was the madness of the hostess. At this time, although Shouchun and both stood in Taichung performing, Hu just stood there in a daze, but Shang Xiaoyun's figure was motionless, his expression was dull, and he just showed a trace of yearning and longing when his eyes were empty. In the long conversation between Shouchun and Hu, Hu always maintained a posture, his whole body was cast of iron and copper, but his heart was like a wave with callous eyes. Although there is not a word in his mouth, Taiwan Province's spirit is everywhere. A master is a master. Just be a master.
After 1950s, Shang Xiaoyun's artistic by going up one flight of stairs refined and improved his plays, such as Princess Hamming, Liang Hongyu, The Mirror of Gankun Fushou, Princess Silverscreen and Dai Mo. At the same time, traditional plays such as Imperial Monument Pavilion, Rainbow Pass, Fisherman's Family and Wujiapo have been painstakingly pondered. These plays not only represent the style characteristics of Shang school art, but also represent the highest level of Beijing opera art, just like the masterpieces handed down from generation to generation by Mei, Cheng and Xun.
[Edit this paragraph] Employment status
He used to be a consultant of Fulian City Society. 1950, Shang Xiaoyun Peking Opera Troupe was established, with its head and protagonist. 65438-0955 was elected as the first Committee member of China People's Political Consultative Conference, and was re-elected for the second, third and fourth terms. 1956 member of the standing Committee of Beijing Federation of Literary and Art Circles, vice chairman of Beijing Peking Opera Workers' Federation, director of Chinese Dramatists Association and consultant of China Opera Academy. From 65438 to 0959, he moved to Xi 'an, and served as the chief artistic director of Shaanxi Art School and the executive director of Shaanxi Dramatists Association. He also served as the head of the performance group celebrating the tenth anniversary of the founding of the People's Republic of China in Beijing. From 65438 to 0960, he served as the director of Shaanxi Branch of Sino-Soviet Friendship Association. Deputy head of Shaanxi delegation of the National Association of Culture and Education in Beijing. 1964 was hired as the first dean by Shaanxi Peking Opera Theatre (Shaanxi Peking Opera Theatre was one of the top five Peking Opera groups in China at that time).
[Edit this paragraph] Hands-on disciple
The more famous disciples are Zhang Diefen, Xue Yanqin, Sun (Tianjin), (Tianjin), Shang Changlin (the second son), Li Xihong (Beijing), Sun Mingzhu (a student in Shaanxi, not an apprentice), Wang (Tianjin, mainly Xun School, but less Shang School) and Dong Yuling (Beijing).
Liu, Liu, Liu, Liu, Liu and others all benefited a lot from his theory.
[Edit this paragraph] has trained famous artists from other industries.
He founded Rongchun Society, and trained a group of talents such as Xu Rongkui, Li Fuchun, Wu Sheng, Shang Changchun, Sun Ruichun, Jing and Shang. Xie Ruiqing and Bao Qiyu of China Opera Academy and Xiang Li of Beijing Opera Academy have all received his personal biographies.
[Edit this paragraph] and pass it on to the disciples.
There are Ma Bomin (Shanghai), Li Li (Tianjin), Ju (Shandong), Zhou Li (Chongqing), Wang Lingyu and Wang Changjun (Tianjin).
[Edit this paragraph] Major relatives
Shang Xiaoyun, formerly known as Li Shuqing, is the eldest daughter of Peking Opera actor Shoushan Li and the biological mother of Shang Changchun.
Mr Shang Xiaoyun has a daughter and three sons. Daughter Shang Xiuqin was married to a Peking Opera actor. Shang Xiuqin did not follow the art, and served as a famous Peking Opera veteran Mr. Tan for a long time. She made some achievements in inheriting the "Shang School" art and has now passed away. Ren's daughter Ren Erjuan is also an actress and now works in Beijing Peking Opera Theatre. The three boys are Shang Changchun and Shang Changlin. Shang Changchun was a martial artist and Shang Changlin was an excellent worker. Now both of them have passed away. Shang, a worker's face, is currently starring in Shanghai Peking Opera Theatre. Mr. Chang Chun has three sons and three daughters: the eldest son Shang, currently starring in Shanxi Peking Opera Theatre, is an old worker and civil servant; The third son, Shang Donghui, is now accompanying China Peking Opera Theatre; The second son did not enter the theater. The eldest daughter, Shang Huimin, is currently starring in Jiamusi Peking Opera Troupe. She has achieved fruitful results in inheriting the art of "Shang School". To commemorate the 95th birthday of Shang Xiaoyun, Xun Huisheng and Xiao Cuihua, she performed Wujiapo. It is recognized at home and abroad that her singing and acting skills are elegant. The second daughter, Shang, is now a middle school physics teacher; The third daughter, Shang Huiping, now works in the middle school attached to the Chinese Opera Academy. Monk Shang Changlin has three sons each. Except for Shang Dayuan, the eldest son of Evergreen Tree, who graduated from Peking Opera School and is an old worker, no one has entered the opera world. Even though he is still in Dayuan, he has now retired from opera and turned to business.
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