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Hou's resume.
Hou, male, Peking Opera actor. The word Ai Ru is from Hengshui, Hebei, and Beijing. Hui nationality. The father's name is Jingui, and he has two sons. The eldest son is Hou and the second is Diankui.

At the age of 5, my mother died, and my father and son lived alone, and life was very bleak. At the age of 9, he was introduced by Gou Shunliang and entered Xi Liancheng class. At that time, Xi Liancheng was only in the preparatory stage, with only 20 students. The social place is located in the home of President Ye Chunshan of Xuannan Southwest Park. Hou Lao was named "Xi Rui" after he joined the company. At first, he studied under Gou Shunliang, a veteran of Shaanxi Opera, and Xiao Changhua. In more than half a year, I learned more than a dozen plays, such as Killing the Temple, Killing the Imperial Street, Three Doubts, and more than 30 plays, such as Playing the Casserole, Playing the Kitchen God and The Bauhinia Tree. Finally, the work is ugly. Learn from Han Yueqing and Luo Chunyou and lay a solid foundation. When Fu Liancheng performed in Guanghe Building, Hou Xirui quickly emerged. At that time, the name "Hou" had been printed on the program. Among Fu Liancheng's net performers, Hou was the first to be recognized by the public at home and abroad. When he 16 left the department, it coincided with the "post reversal" and he stayed in the department to teach for 7 years.

After leaving the department, he encountered the reversal of his position and returned to work, but he still worked hard and diligently. With the support and recommendation of Xiao Changhua, he also worshipped Huang Runfu as a teacher. One day, Xiao Laute took him to Zhonghe Garden to see "Taking Luo Yang" co-starred by Huang Runfu and Dezanru. At that time, he didn't understand its meaning, thinking that the play was performed by himself and was highly praised by the audience. I've seen other people's performances many times. Why go to see this play today? There must be a reason. When I got there, Ma Wu, played by Huang Runfu, began to appear. I was deeply attracted by him and I was intoxicated. Xiao Lao stole a look at his expression and nodded with a smile. After reading it, he opened his eyes. He has never seen such a superb performance and will never be able to compare with it. Only then did he realize that Xiao Lao's intentions were good. After the play, Xiao Lao took him backstage to see Mr. Huang San. After meeting, he was dumbfounded. Just now, the mighty Ma Wu on the stage was played by a short and fat old man, an elder in his forties, and I have to admire him. This observation is by no means ordinary, but it can be said to be a key milestone in the later period, which played a decisive role in his later appreciation of famous plays. From then on, he was deeply fascinated by the yellow school art, which prompted him to study hard and practice hard, and he was selfish about Mr. Huang's performance skills. Every time Huang Runfu performs, he always tries his best to watch Stealing Class and memorize it. After coming back, I repeatedly imitated Huang Lao's tricks and tried to be similar. Later, I had the opportunity to serve Huang Lao's performance. Because Huang's eyesight declined in his later years, he often asked to write ghost faces, which benefited Hou a lot. How eager he is to be a disciple of Huang Lao, who enjoys the reputation of "living Cao Cao", while Mr. Huang San never accepts disciples. Hou Xirui's mood, Mr. Xiao Changhua, he tried to deal with it. This time, I specially invited Huang Lao to watch Hao in Hou's Dongchangfu. Huang nodded while watching, and the more he watched, the happier he became. I also saw through Huang's mind and quickly asked, "Do you think he learns like it?" Huang smiled and said, "I like it! I really like it! " Xiao Lao added while the iron is hot: "Good! I think you like him very much, so open the mountain gate and accept this apprentice! " Although Mr. Huang San had this intention, he didn't make a statement at that time for further investigation. Later, Xiao Lao took Xi Rui to visit Fu Huang in Songzhu Temple for six times in a row. Huang Lao was finally moved and accepted this apprentice as an exception.

Hou is like a duck to water. Since then, he has had a little leisure time beside Master Huang. He not only learned singing, expression, catwalk, figure, facial makeup and clothing, but also learned to use long spirit, long waist muscles and narrow belly gluteus muscles to increase and enlarge his figure and make up for his lack of talent. He not only learned a considerable number of representative dramas of the Yellow School on the stage, but also reached the artistic realm of being a teacher. Even his daily private remarks, living habits, handling things, etc. He tried to imitate them to show how much he admired his teacher. Because he is honest and steady, and he is very enterprising, especially his persistent pursuit of Huangpai art deeply touched Huang. He thinks that this apprentice has collected it correctly and well, and the master and apprentice get along well. Huang not only taught his art to each other, but also gave it to his lover. At that time, Hou was moved to tears, and involuntarily fell to the ground and kowtowed to Master three times. On the basis of strict education, Hou Lao developed and enriched the artistic style of Huang School and formed a new artistic style, which was called "Hou School" by the world. Together with burly Jin Shaoshan and Hao, they have the reputation of "Old Hao Gong in northern Shanxi". Among the Hui Peking Opera actors, Ma and Xue Yanqin are also called "the three outstanding Hui people".

There are not many singers in Houpai's plays, and they are only "stealing horses from the village". Most of the plays belong to people who pay equal attention to reading and acting.

He has cooperated with many famous artists such as Mei Lanfang, Xun Huisheng, Cheng, Shang Xiaoyun, Meng Xiaodong and Ma. There are green leaves lined with red flowers, and all classes compete for employment.

After 1949, he was employed by Beijing Opera Research Institute and taught at China Theatre Academy and Beijing Theatre Academy successively. Many students listened to his class, but not many people understood the real meaning. Show it once in a while. At the age of 70, I can still play such a complicated drama as A Little Horse. 1960 oral artistic experience, compiled by Zhang Yinde into a book "Learning Drama and Performance".

Hou has no bad habit of "corner". He often went to Chongwai's "Qingshanju Teahouse" in those days, and after singing, he often humbly asked for the opinions of tea customers. In art, we always maintain the noble sentiment of being knowledgeable and not ashamed to ask questions. There is a "Mude Primary School" in Donghuashi Street, Chongwai, which is a Hui school. At Hou's initiative, Ma and other famous Hui people responded positively and became the directors of the school, holding benefit performances of Famen Temple and other plays for the school. Hou also personally sent a "Hanging Curtain" to the local mosque, expressing the voice of a Hui actor.

Hou performed hundreds of plays in his life. He is loyal to art and responsible to the audience. No matter what role he plays, he never slacks off. The scene of the traitor is extremely profound, and the performance of the hero is more heroic. Zhang Fei, Ma Wu, Liu Jin, Doulton and other famous people in the entertainment industry, such as Li Ren in The Fisherman Killed the Son, Zhu Hate Collection, Qin Can in Lotus Lantern, Deng Jiuhong in Gong Yanyuan, Shi in Feng Yue Stick, and Tears in the Barren Mountain, are wonderful. He also played a small role from the bottom bag to the bottom bag. In Yu's Visiting Friends, he plays a silly boy, wearing red trousers, a thick coat with red backlight and a white felt hat with pigtails. Rubbing his black nose and two white faces, he seems not to wash his face, often has a runny nose, and has to show the temperament of a silly boy. In this play, Bai Jing with a face painted is used to catch people. I also played a "tobacco pouch" in Xue Yanqin's "Lotus Pearl Match". There was no performance, just sitting on the court with an iron square beam as a crutch, but that strange face made people laugh. A big white cross was drawn on the blue face. At that time, Wang Zhao once said to Zhu Binxian, "Hey! Isn't this a church? " He plays Yang Xiong in Cuiping Mountain, which can be said to be unparalleled. It should have been played by a second-class old man, but he responded with a face painted. It turns out that Yang Xiong in the early Bangzi class was played by Hua Lian. Sometimes rhyme is used in the play, sometimes Beijing white is read, and Hualien's nasal sound is also used.

There are not many audio-visual materials left by Hou. In the early years, there was a record of Cao Cao's Changbanpo, chanting and singing at the same time. Kowloon cup, Huang Santai and Hongfu Biography are all semi-printed, and there is no one else in these two records. Although they have only half, they are extremely precious. In addition, Dou Erdun in "Stealing the Horse" and Cao Cao in "Yangpingguan" hold up half the sky. Huang Gai, Douyan Song and Hero recorded with Lei Xifu and others are also treasures. The film is only the color film Tears of the Barren Mountain, which was shot by Cheng in 1956, and specially invited the duke to play it. This is the only image left. In his life, Hou Lao only wrote Learning to Play and Acting, which was edited by the Beijing Opera Editorial Committee and published by Beijing Publishing House 196 1, arranged by Zhang Yinde and prefaced by Mei Lanfang. This book is a valuable experience of the performing arts. Hou Lao has been acting and teaching all his life, and the peaches and plums are all over the world. His disciples are Guan Hongbin, Yuan Yuanlin, Xu Defu, Li, Ma Mingqun, Zhang Guanzheng, Qi Xiaoyun, Liu Dachang,,, Shang, He, Qiu Rongsheng, Yuan Shihai, Liu Lianrong, Sun Shengwen and so on, all of whom have benefited from it. Apprentices vary from person to person, each with his own strengths. For example, Ma Chongren has appeared in plays such as Taking Luo Yang, Lost Street Pavilion and Chopping Ma Su. Shang's "Take Luoyang" was taught by an Hou Lao. Guolin Yuan is the person who benefits the most. Maybe it is the fate of father and son. Knowing that Guo Linsheng was a miserable child, he was treated differently. Especially after the "Cultural Revolution", feelings deepened further, and even to the point of being reluctant to leave, Guo Lin changed her name to "Mom". Teacher Niang also affectionately called him "the Woods", so that his family nicknamed Guo Lin "the flower in front of us". Every time Hou Lao has a performance, he will take Guo Lin with him. In 196 1 year, Guo Lin lived in Hou Shi's home for three months, and Hou Shi taught him everything. Guo Lin studied as a teacher for 29 years, and has acted in such plays as Occupy Wancheng, Take Luo Yang, Comics, Famen Temple, Changbanpo, Yangpingguan and Zhangbanpo. Among them, "Rouge Tiger" Guo Lin once performed with Liu Changyu. When Hou Lao told Li Guang about "Lianhuan", Hou Lao taught Li because he had worked with him many times in those years. In fact, he borrowed Yang's singing to describe Tianba's scenes.

Later, she married Xiao Fang, the elder sister of Hua-faced Jiang Shaokui, and gave birth to four women and one man. The eldest daughter died young. The second daughter, Yu Rong, 1986 died of breast cancer: the third daughter, Yu Hua; Little girl Yu Qing; Son Hou Yingshan, ranked fourth, is also a good worker, and got the biography of his father. Later, he left the stage to take care of Hou Lao's performance. Yingshan was originally Li Xiangyun's sister, born with Hou Menglan and Gong Danxing. She is the first graduate of Beijing Opera School. She used to learn from Hua Dan by practicing boxing. Because of her qualifications, although she is a mentor, she is called a "master". His lover Wei Zhongqian is also a graduate of Peking Opera School. He used to be an old student, but later he changed to a younger one. After the death of Menglan's mother, Yingshan Continuing Room gave birth to three women and one man, none of whom followed the art.

Hou Lao's apartment is located at Handkerchief Hutong 14 outside Chongwenmen (later changed to No.56, now demolished). The mansion faces south and has three courtyards. The front yard is large and can be used for singing. Ma and others have performed here. There are three rooms in the north room, which are the bedrooms of Mrs. Hou and her second daughter; Three rooms in the south room are Yingshan dwellings; There are four women in the east room, kitchen and bathroom; Three rooms in the West Room are "Confucian Classrooms". There is a hall door in the north room of the front yard and an aisle in the east, all of which can pass through the Intermediate People's Court. The decoration is extremely exquisite. There are only three north houses in the Intermediate People's Court, and the pillars in front of the houses are all wrapped in iron sheets. Hou Lao lives in this hospital. Because it is quiet, it is convenient to tell stories and meet people. There are not only seven south rooms in the backyard, but also clothes and props.

1983 died of illness in the apartment at the age of 92. Before he died, Qian exhorted, "Don't bother the leader. After death, the funeral should be simple, save money, don't have to hold a memorial service, live at home in the future and support yourself by labor." After Hou Lao died, he stayed at his house for three days. Hundreds of relatives, friends, disciples, students and leaders of relevant units from this city, other places and even Hong Kong came to pay tribute to Hou Lao's remains. On the morning of February 24th, Hou Lao's body was sent to the nearby Xihuashi Mosque. Hou Lao's body was washed by the oldest imam in the temple, buried according to the funeral custom of the Hui nationality, and then sent to the Hui cemetery by hearse for burial. A generation of celebrities have rested in Wollongong, Jingxi.

Born: 25th day of the first month in the 18th year of Guangxu (Renchen),123rd February, 892.

Death:1February 22, 983, the tenth day of the first month of the first lunar month.