That was a long time ago. At that time, Wu Meimei had been on the stage for 76 years. Many people and things seem to have been forgotten by her, but some things she remembers clearly, as if they happened yesterday.
It's a long story about how she studied drama. She used to be in Suzhou, and her father was a blacksmith. There is a fan shop across the street. There is a girl named Wu in the fan shop, who is her first teacher. He said to her father, you have a beautiful daughter. Why not let her study drama? Her father doesn't know where she wants to study drama. Later, he said, in the past, this kind of civilized drama was divided into big stage and small stage, if you like. The small stage is now a farce, and the big stage is a civilized drama, such as the Pearl Tower and the Double Pearl Phoenix. So when she went, she began to learn burlesque, that is, short plays.
At the beginning of the 20th century, a group of students studying in Japan, such as Li Shutong and Ou Yangyuqian, praised Japanese "New Drama", improved it and introduced it to China. This drama style is to copy the western realistic drama and become the predecessor of China's drama. At that time, the performance of civilized drama made the audience in China feel refreshed, which narrowed the distance between stage performance and life. At the same time, it also made many social news become the content of dance performance, which made the spectators in the city tend to. Xu Weixin said, "After the development of civilized drama to her age, in fact, civilized drama was diverted and became an early drama in China, like Ou Yangyuqian who was purely engaged in drama; Another school and a more civilized drama appeared, and Mandarin was not spoken long ago. For example, in the south, more civilized dramas are mixed with Mandarin, Suzhou dialect and Southern dialect. At that time, after one school arrived at the opera, another school set up a dialect troupe, which was also called a popular troupe at that time. After joining Civilized Drama Club, Ms. Wu Meimei worked in Dialect Drama Club and Pop Drama Club successively.
On the stage, she and Chen performed a career of crying and laughing. It turns out that Chen and Luo are partners. This play needs to beat the board and sing drums. Chen called him michel platini, and Chen said, Call the little girl, and she will play the drums. That's when she co-starred in Karma in Laughter. She cooperated with Chen and went on stage together, very early, really early.
Wu Meimei took the leadership post after finishing his teaching career. /kloc-at the age of 0/6, she became famous for playing two different roles, Shen Fengxi and He Lina, in the comic series "Cry and Laugh" adapted from Zhang Henshui's masterpiece. At that time, the performance of civilized dramas still adopted the single-act system, and the performance venues were concentrated in busy places such as "big world" and "small world", and they were changed every three days. In order to satisfy the audience's taste, she has no time and no time of her own. Shanghai, which grew up on the stage of Wu Meimei, also entered the troubled times of the 1940s. At that time, there were already burlesque troupes and troupes specializing in burlesque performances in Shanghai. The first troupe is called Xiaoxiao Troupe, which consists of Xiaoxiaojiang. Since then, Xiaoxiao Troupe has influenced the first batch of comedians, and Wu Meimei is also an actor of Xiaoxiao Troupe. At that time, Jiang Xiaoxiao and Bao Lele were working with her. The first play she sang was From Little Shandong to Shanghai. At that time, she worked with Miss Yao. At that time, Zhou Baichun wanted to talk about a love affair with her in the play. He is afraid of being embarrassed on the stage. He turned his head when she pulled him over. He turned his head when she pulled him over. 1942, Zhou Baichun began to perform with her. He just came out. He was born in a former radio station and can't perform in other places. Sometimes he plays with her, and he is afraid of embarrassment. Zhou Baichun said, turning his head and turning his head in. She often wants to talk to him and pull his head over. She performed with others. At that time, she was with her two predecessors, Cheng Xiaoting and Pei.
Time goes by like running water. After that, Wu Meimei got married and started a family. For a time, she stayed away from the stage. However, she later recalled that she was still thinking about the stage and always wanted to indulge in performance. Later, after liberation, Wu Meimei performed again. Wu Meimei's memory of that period is vague. It seems that she can't remember which private and state-owned troupes she went to before and after, but she remembers the actors she worked with, such as Pei. It was a happy and carefree day. Shuangchun said that when I (he) worked together, it was 1957, and the district-level troupe and collective ownership were changed to the new state-owned troupe. Then this time it is already a new state-run troupe, and some troupes are going to merge. At that time, Wu Meimei was in the Art Troupe, namely Yang Xiaofeng, Yuan Yiling and Bao Yifei. At this time, Wu Meimei is the heroine of this film. Wang Shuangqing said that he remembered that the art troupe had a play called "Shooting Yan Shengrui" at that time, probably in the 1950s. She is still young, about 20 years old, and she is about 34 years old. Teacher Wu Meimei is radiant on the stage. Yuan Yiling acted "Shoot Yan". She played Lianying Wang, and one of her teeth was broken. She threw herself at him and he wanted to kill himself. He jumped at him and stretched out his arm. One of her teeth was knocked out and she couldn't speak. She has a tooth in her mouth. From 65438 to 0960, Yifeng Crosstalk Troupe was merged into Shanghai People's Art Theatre, which was the idea of President Huang. He wants to establish a comprehensive comedy performance group in Shanghai. After entering the humanities, Mr. Huang thanked him for looking up to himself and cultivating himself (her). Until now, people still remember Wu Meimei as the assistant director in A Gentleman on the Beam. In this rehearsal, Mr. Huang is quite bold and has a unique vision. He invited Wu Meimei as deputy director and Wu Meimei as deputy director. According to Tong Shuangchun's knowledge at that time, it seemed to be the first time. The gentleman on the beam, Gong Bokang here, get it. What happened? He can't read. He wrote her a yellow letter. What should she do? She can't understand that Ling Rong is also a director. She asked, Miss Ling, what should I do? Teacher Huang wrote it to me. I don't understand. Miss Ling said that it doesn't matter, it doesn't matter, teacher.
Stealing to play, so Gong Bokang is familiar with the gentleman on the beam. He (I) went to the arts by himself. Indeed, I (he) learned a lot from people's art. The good things in the troupe are not learned, but stolen, to be honest. Gong Bokang said that from Yifeng, one is Yuan Yiling and the other is Wu Meimei. Huang Zuolin is a world-famous director and drama master, so he really has higher requirements in the process of choosing actors. After entering the humanities in practice, two teachers and director Huang also became the focus. Therefore, after Wu Meimei entered the humanities, he played a big role in many plays, not only as an actor, but also as an actor.
Later, Wu Meimei also participated in the performances of Farewell to Yesterday with a Smile and All Love, and was received by Premier Zhou. In Farewell to Yesterday with a Smile, Mr. Yao plays Hua Zukang, a Chinese medicine practitioner. She plays a woman of traditional Chinese medicine, that is, a wife, and is a typical virtuous and good mother. She is very timid. Wang Shuangqing plays a rogue with a bad nose, tearing up and smashing the signboard. She protected Mr. Yao from dragging around on the stage and blocking the front. It seems that this woman is very virtuous and a good wife and mother. Xu Weixin said, "Judging from Wu Meimei's performance, at this stage, she has also greatly improved her portrayal of the role, and raised it to a higher rational level to analyze how she should perform and shape the role. Therefore, in depicting characters, from Wu Meimei's point of view, she also has a process from perceptual knowledge to rational knowledge. Therefore, in the 1960s, among people,
During the ten-year Cultural Revolution, Wu Meimei first worked in the People's Art Management Reference Room and then went to see the concierge. Shanghainese are no strangers to this voice. This is Wang Xiaomao and her mother. Wu Meimei was over 70 years old when the radio drama Funny Wang Xiaomao spread all over the streets. Young people know that she is the mother of interesting Wang Xiaomao, a kind old lady from northern Jiangsu. Ge Mingming said: "Teacher Wu Meimei created such a kind, kind and funny mother in her sketches. In addition, she sometimes seems a bit pedantic in her sketches, which is precisely her lovely place, so she is very popular with the audience. Why did they choose Mr. Wu to play such a role? Because at that time, Ge Mingming often went to Shanghai Comic Troupe to get in touch with work and often saw them rehearse. When she sees him, she always greets him kindly. He has ideas. If we want to create a role or an old mother role in the future, we think she is the most suitable. Later 1987, Ge Mingming founded Funny Wang Xiaomao and naturally thought of her. She is also the only candidate. At the beginning, Wang Xiaomao was a young man from northern Jiangsu to Shanghai, and his mother must be Su Beiren. But after setting, they feel that their setting direction is right. Why? Teacher Wu Meimei's Subei dialect is very good. Although she is not everyone in northern Jiangsu, she is from Suzhou, and Suzhou dialect is also very good, but her northern Jiangsu dialect is very special, and Shanghai dialect is soft and soft. Zhou Baichun said that her Suzhou dialect is very good, Changzhou dialect is also very good, and Yangzhou dialect. Her dialect is very similar and accurate. Xu Weixin: He thinks that Wu Meimei is a rare funny actress who portrays characters, and she is a very successful actress. This has something to do with her previous artistic experience, including her persistent pursuit of art. She is very serious about art and is old. Every time she gets a script, she is very serious about finding jokes from portraying characters. There is absolutely no funny "hard stunt" we used to talk about. She doesn't have any gimmicks, but she digs from her personality, such as playing an old lady.
At the end of the interview, Wu Meimei hurriedly took out something that had been treasured for many years, which was an ornament used in the performance before liberation. She said that she wanted to give these things to Shanghai Funny Troupe as a souvenir. She said, I don't know if they will accept it.