I really envy her after reading her artistic resume. She was admitted to Hubei Theatre Academy on 1980, and studied with Li Jinquan three years later. Li Jinquan is a leading figure in Lao Dan since Li Duokui. Really, she is very lucky. She is really a lucky person, because she studied with Li Jinquan at the age of 65,438+07, and was admitted to China Theatre Academy from Hubei in 1987. In the Opera Academy, she met very good teachers, such as Yang Yunqing and Kong Yan. After arriving at China Peking Opera Theatre, she met Gao Yuqian and Wang Jinghua. She has many teachers. Come to think of it, they gave her the biggest one. She thinks that they first laid a very good foundation for their traditional drama. Then while laying a good foundation, they gave her a very good one, that is, a desire and pursuit to create new roles. The teacher can give her a desire to create, which others have never thought of. She thinks she is very lucky. She met Li Jinquan. She thinks that her teacher, because his own artistic path came here in this way, is also constantly innovating. So when he was teaching her, he once told her, Qin Hui, I don't think your general situation is quite the same as other old Dan actors. He said, I will lay a good foundation for you now and miss you later. You must create and shape the role that suits you according to your own conditions. In the whole teaching process, he was never conservative. For example, Yuan Huiqin went to learn Gao Yuqian's "Raise the Red Lantern", and he said that you must learn from Gao Yuqian, especially the long recitation of "Revolutionary History". He said she had her own uniqueness. The teacher's mentality is very open, and it can also be said that teaching students in accordance with their aptitude. It should be said that the teacher gave her two wings, one is inheritance and the other is innovation. If you abandon one, you can't fly well or high, because there is no solid foundation of traditional drama, so let's talk about innovation, which she thinks is passive. However, from the teacher's point of view, it is probably not a good teaching method, especially for young actors who have grown up in a new era, if they just let students stick to tradition and not innovate.
When it comes to the basis of traditional drama, what impressed her most was that she learned a special traditional drama from teacher Li Jinquan, which is the well-known Scarabs. However, when she was studying this drama, she studied with her teacher for a whole year, and she fished for a gold scarf for a year. Maybe everyone didn't understand at that time, saying that you could learn a gold scarf. She said that I studied for a year, and I gave her a lot of efforts in singing and recitation, as well as performance and figure. At that time, Mr. Li said, don't think that gold scarf. There is a story in "Fishing for Scarves". After seeing her son off, she walked into the kiln alone, with a sleeve, a gesture and a figure. She practiced this gesture for more than three months. How can it be? Because the kiln door was short at first, I bowed my legs when I went in. After you go in, with the change and entry of sleeve flowers, the whole body will change. The sleeves were thrown over first, then finished, and the body collapsed. Here are the sleeves. Then there are sleeves here, flowers here, and one of them is spent, and the legs are like this. Come here, enter the kiln door like this and finally close the kiln door. This is such an action. It takes a lot of effort. In this film "Fishing with a Golden Scarf", the old mother went into the broken tile cold kiln, knowing that she had also played She Taijun and Young Woman, and entered the Shuaifu. She is an old woman who used to be called an old woman, so I'm afraid she is different. Yes, this role is very different from theirs, and so is her status. Because I remember it was also very passionate, with great ups and downs. Its first design was Shoutang, but it was called Shoutang mutation. Shoutang finally became a mourning hall, which really gives people a very big contrast in real life. As for the play, in fact, she still likes the role very much, because first of all, the role is strange to them. Think about it, in real life, it is impossible for a centenarian to go to war and legend in person. She is a legend, so in this play, the actors are given a lot of room to give up. Moreover, when playing this role, it also needs to learn from many occupations, such as some things of the elderly, that is to say, things of other occupations learn from this role, so as to reshape the image of such a centenarian, it and the Kang family. Kang in The Scarab Fishing is different from Liu's mother in The Night Banquet and Li's mother in Visiting Mother in Jian 'an. She is such an image, a passionate and caring mother, because in this role, she is a daughter-in-law and a granddaughter-in-law. It was in Shoutang that she celebrated her grandson's 50th birthday, but just as she celebrated his birthday, a report suddenly came from the front, that is, he died in the front. This contrast will certainly bring difficulties to the actors' performance, but at the same time, she thinks it will make the actors particularly enjoyable and create more space for the first-class actors.
Is there one or more chanting or singing that can explain her feelings? When Shoutang was shocked by this scene, there was a long white sacrifice to commemorate her grandson. When dealing with this long white sacrifice, because the teachers had taught her before, she had some ideas about it when she rehearsed it again in the theater. When she called the person in charge, "There is a five-hammer, and she was thinking, I want to use this [five-hammer]. When she was dealing with it, she was like a "grandson", with her head down, because she was a centenarian after all. She felt very sad when she met such a blow. At this point, she paused. After a pause, she looked up. Why would she do this to one? She can understand this degree, which is really beyond others' imagination. Some old actors and artists in the past may have inherited a lot from their teachers, but from the inner experience, I'm afraid the younger generation like her had an advantage in modern times. For example, when the camera is facing her, that kind of look, that kind of subtle things to say, intentionally or unintentionally borrowed a lot of things from film and television performances.
When she was in her twenties, she also performed some programs, including Young Women and Firearms. After the performance, many viewers and friends chatted with her, thinking that Qin Hui, I think when we watched your performance in recent years, we felt that we could see things in your eyes, which was not available before. The play "Flower Gun" is quite special. I heard it was very popular after the performance, but there used to be an old saying in Beijing opera, what was it called? "A monkey has a beard and never comes out again." Lao Dan is a bit eccentric. "This play was written by their teacher Kui Sheng in the 1980s, composed by their famous composer Guan Yanong, conducted by their teacher Yang Yunqing and rehearsed in the 1980s. At that time, this drama was also popular all over the country, and now it has become the reserved repertoire of their teaching in China Theatre Academy. Why is it so popular? Because she misses it, it is in its arrangement. Very consistent with the laws of our traditional opera creation. First of all, in this drama, it designed a large-scale anti-Huang Er aria with more than 100 sentences for the main character, which was acceptable and even liked by the audience, because the large-scale anti-Huang Er aria was very scientific in the whole aria setting, and the large-scale adagio, [original board], [almost 26] and [Allegro] were all designed. There will be a very difficult tail after that. This is a difficult play for the actors. She thinks everything is relative. Although this play is very difficult for the actors, it also gives them a very good space to display their artistic talents. Does she think she can play? She thinks she can do it well, because there is a passage in the play called [Fast 26]. The audience will definitely think, witness directly here, how she acted and how she realized the girl's feelings with an old Dan. A few lines or a few songs are ok. She has a song [almost 26], which is what she sang when she recalled her. "One day, my parents let me sit in front of that hall and mentioned marriage to me. I was so ashamed that my face turned red and my head lowered that I couldn't wait to let go. What's so difficult about her martial arts? She didn't start to resist. After she finally defeated Luo Yi, she got a gun. The gun finally turned around, took it away and turned it over. Think about it, it is difficult for an old Dan actor to insist on sitting in a big chair and taking these difficult technical moves.
Teacher Yuan Huiqin is one of the best singers of our time! ! !