"The Past of Peking Opera", edited by Niu Biao and Zhang Yifan, Beijing Publishing House, March 2021.
Synopsis
The series of books is a project of the 13th Five-Year Plan, which was revised and expanded on the basis of the "Peking Opera Talks on the Past" (a total of four editions) published by Beijing Publishing House in 1985.
The editorial board of the series of books, led by Chi Jinsheng, Niu Biao, and other Peking opera masters, organized three generations of scholars from the old, middle, and young generations to systematically sort out the oral, interview, and research works of the older generation of Peking opera artists and Peking opera historians in accordance with the principle of "personal experience, personal experience, and personal hearing" and from the perspective of academic research on the history of the development of Peking Opera, expanding the scope of authors, selecting important famous artists and relevant articles on events, combining theory with practice, and systematically sorting out the oral, interviewed, and researched works of the older generation of Peking Opera artists and Peking Opera historians.
The series is divided into ten volumes, and each volume contains three major sections: "Yiyuan Firewood" (introducing important Peking Opera educational institutions), "Kikube Qunying" (including the self-descriptions of famous Peking Opera masters and his narration), and "Liyuan Old Stories" (reproducing the research results of the history of Peking Opera of the predecessors), which basically includes important academies, characters and important genres in the history of the development of Peking Opera.
The series of books is the first large-scale work in China to protect, publicize and inherit the culture of Peking Opera, and the articles included include both out-of-print articles by famous artists, as well as the sealed works of predecessors, as well as some manuscripts that have been published for the first time, and the degree of preciousness is self-evident, which can be described as a "history of Peking Opera oral history".
Contents
Volume I
The Art Garden is on fire
Hi (Fu) Liancheng the beginning and end of the class - Ye Longzhang
Kikube Qunying
Cheng Changgeng specializes in ——- Cao Xinquan, Chen Moxiang, Wang Yaoqing, Liu Shouhe, and cooperates
Tan Men Art Language - Tan Yuanshou
Sun Juxian's performing arts and others - Xu Ji's biography
Say Yang Longshou - Niu Biao
Wang Fengqing's self-description - a reporter for Liyan Pictorial
The three generations of Shimen Pear Garden have their own strengths and weaknesses - Chen Zhiming
Chen Delin and Chen Shaolin - Chen Zhiming
Wang Yaoqing's stage career - Guo Yongjiang
Mr. Hao Shouchen's face-hooking art - Wu Xiaoling
The life of Mr. Xiao Changhua - when Xi
Remembering his father, the owner of the red bean restaurant, Ai XinJue Luo YuLai
I know Mr. Qi Rushan - Zhang Daxia
Sketch of the life of the drama (excerpt) - Chen Moxiang
Old smell of pear orchards
The Relationship between the Yamen of the Qing Dynasty and the Pear Garden Guild, the Opera Class, and the Opera Garden— Wang Zhizhang
Attached: Profile of Mr. Wang Zhizhang
Thirty Years of Fu Lian Cheng
Volume II
Recall the Chinese Opera College - Wang Jinlu
Let's talk about Wang Lengxian, a giant master of Peking Opera, Niu Biao
The teacher I know about Chen Yanheng - Xu Jichuan
Shang Heyu's self-description - flying
I studied drama with Mr. Shang and Yu, Zheng Xingyuan
National Treasure: Wusheng Grandmaster Shang He Lao- Niu Biao
Recall Yang Xiaolou's performance - Liu Zengfu
Yi Wusheng Taidou Yang Xiaolou - Xu Yuanshan
Shi Huibao's self-description - a reporter for Liyan Pictorial
The performing arts of Chinese opera - Mei Lanfang
The Mei Lanfang I know - Qi Rushan
The Yijing Dynasty sent Wu Dan to represent Zhu Guifang, Chen Zhiming
I am with Jin Shaoshan, Weng Yihong
Guo Chunshan's self-description - flying
Mei Lanfang's first east crossing documentary - Ma Baoming
Remember to shoot "Dream of Visiting the Garden" - Xu Ji's biography
Memories of several volunteer scenes - Weng Yihong
Liyan Pictorial
Volume III
Shang Xiaoyun and Rongchun Society - Shang Changchun
Attached: List of teachers of Rongchun Society
I miss my father Yan Jupeng - Yan Huizhu manuscript
Yan Jupeng's Artistic Life: Interview with Comrade Yan Huizhu - Zhijiang
Attached: Afterword to reading The Two Texts of Huizhu and Zhijiang - Zhang Yinde
Gao Qingkui, who remains in the world, Liu Naichong
Fragment of Yu Shuyan's life reminiscences - Chen Weilin
Recall yu Shuyan's church play and volunteer play - Liu Zengfu
Remembering Jiang Miaoxiang - Liu Yingqiu
Female artist Liu Xikui of Chiku bone ice heart - Wang Dengshan
Comparison of the four famous modern dans - Su Shaoqing
Learning drama and acting - Hou Xirui Oral Account Zhang Yinde Finishing
Attached: Reminiscing about the days spent with Mr. Hou Xirui - Zhang Yinde
The famous violinist and drum master of the late Qing Dynasty and the early Ming Dynasty - Xu Lanyuan
In memory of the composer Yuan Hanyun - Xu Lingxiao
The historical material in Beijing opera - Xu Lingxiao
Jingzhong Temple's first trivia - Jing Lonely Blood
From the beginning of the Four Great Emblems To the founding of New China, the peking opera choreography and performance of new dramas is overview - Jing Lonely Blood
Read the "Memoirs of The Predecessor Artists of Peking Opera" Notes - Jing Lonely Blood
Memoirs of Peking Opera Veteran Artists
Volume IV
Memories of the Mingchun Society - Li Qingchun
Lei Xifu self-described - Lei Xifu
This sentiment has become a remembrance of seeking truth and not forgetting the teacher- Chen Guoqing
Zhou Xinfang, a performance artist of Peking Opera and founder of the Qi School, wu Shijian
I asked Mr. Guan Dayuan about the beginning and end of the business - Wu Xiaoru
How I delved into the "Wukong Drama" - Zheng Faxiang dictated Liu Mengde's records
Biography of Xun Huisheng - Zhang Weijun
Recall a few things about Mr. Xun Huisheng - Zhang Yinde
Three points of life - Xun Huisheng
My teacher Yu Lianquan – Zou Huilan
My academic life - Yu Lianquan dictated by Liu Yizhen recorded
A generation of famous qin Yang Baozhong - Bai Baohua
Su Shaoqing's contribution to Peking Opera - Yu Lu
Mr. Zhang Boju on drama - Ma Mingjie
Church play - Fu Gengye
Mr. Luo Liangsheng's posthumous work "History of Opera Records" is supplemented - Wu Xiaoru
Attached: The History of Opera Records - Luo Liangsheng's Li Mingzheng Sorting
Drama records
Volume V
Review of Shanghai Drama School - Zhang Zhengfang
Attached: Shanghai Drama School "Zheng" character students list (according to the performance list of that year, a total of 149 people)
Celebrity Interview - Li Hongchun, Editor of Liyan Pictorial
Ma Lianliang and Ma Pai - Chi Jinsheng
Remembering my teacher Tang Yunsheng - Li Lintong
My father Tang Yunsheng and Tang Pai art - Tang Yuwei
The performance style of "Odd Double Society" - Yu Zhenfei
Southern Xiaosheng Trivia - Yu Zhenfei
The autobiography of Hibiscus (Zhao Tongshan) - Zhao Tongshan's posthumous manuscript
Remember the famous Lao Dan actor Li Duokui - Yan Chang
Liang Lianzhu spent his life in the pear garden - Liu Lianlun
Zhou Xinfang's old record - Chai Junwei
Appendix: Zhou Xinfang's Discography
Gao Pingqing and his Peking Opera record , Liu Dingxun
Yan Meihua painted a portrait of Zhou Xinfang
Volume VI
Li Jiaban Entrepreneurship Record - Li Huisen
Biography of Tan Fuying - Zhou Huan
Rely on the performance of Lao Sheng and Guan Gong opera - Li Hongchun
Review myself - Cheng Yanqiu
Outline on the "Four Skills and Five Methods" of Opera Performance and the Problem of "Art Disease" - Cheng Yanqiu
I am with Cheng Yanqiu - Weng Yihong
Some things about Mr. Cheng Yanqiu – Xu Lingxiao
Teacher Huang Guiqiu and his Huangpai art - Zhu Yongkang
Ye Shengzhang's Interview - Kong Zhang
Remember Mr. Jin Zhongsun - Cheng Yongjiang
Introduction to "Preliminary Investigation of Peking Opera Repertoire" - Tao Junqi
A Preliminary Study of Peking Opera Repertoire
Volume VII
The Origin of the Founding of the Beijing Chinese Opera Society - Notes by Zhang Boju and Liu Yu
Liu Zhongqiu and Xia Sheng Drama School - Liu Ruoyi
Talk about what I know about Meng Xiaodong - Xu Ji's biography
Remember the first teacher Meng Xiaodong's wife - Qian Peirong
Mr. Yang Baosen and his artist - Yang Xiaoxiong
Forty Years of Artistic Path - Xi Xiaobo Dictated by Ouyang Zhongshi Finishing Lu Zhongshi Green Supplement
Peking Opera artist Mr. Xi Xiaobo's art history - Ouyang Zhongshi
How I played Wu Song and Guan Yu - Li Wanchun Dictated Ma Tiehan Record Collation
Martens's Five Constants? Baimei is the best: Remember the Peking Opera artist Mr. Ma Zhiliang - Wang Chunli
The Life of Wang Shaolou - The Editor of Liyan Pictorial
Li Shengbin's Interview Record - Kong Zhang
Interview with Li Shengzao - Editor of Liyan Pictorial
Yang Shengchun's Interview - Kong Zhang
Interview with Wang Yurong - Editor of Liyan Pictorial
Guan Sheng Xi's Interview - Kong Zhang
Learning to act recall the year - Sun Shengyun
Teacher Xu Biyun's stage career - Bi Guyun Zhu Yongkang
Sheng Ping's last acceptance play - Zhu Jiaxuan
Mei Lanfang talks about opera stage art - Zhu Jiayun
Remembrance of listening to drama and learning drama - Liu Zengfu
Listening to drama and learning drama - when to xi
Talking with Li Shaochun - Shi Hua
Catalogue of The Exhibition Hall of The Peking National Opera Society
Volume VIII
From the Four-Dimensional Drama School to the Chinese Drama School - Niu Biao
I play the traditional play, Song Baoluo
Art goes on and on – Goldman Sachs
How Song Dezhu became a Song sect - Weng Yihong
Qiu Shengrong and his stage art , Zhang Yinde
Talking about the revision and performance of Cao Cao and Guan Yu in "Qun, Borrowing, Burning, and Hua" - Yuan Shihai
Quan Lai Absolute Ringing Pure Zhongkui: Remembering a generation of famous Pure Wang Quankui - Wang Chunli
Haipai Peking Opera famous corner point will be recorded - up the river
Recalling the career of Mr. Wang Ruizhi, a famous violinist of the Yu Sect- Wang Shicheng dictated by Chen Zhiming
Some of the old peking opera supporting actors I have seen , Liu Zengfu
The singing art of famous Peking opera actors - Chen Funian
Sun Juxian Record Research - Liu Dingxun
Sixty years ago negatives: photo stories (excerpts) from the film "Mei Lanfang's Stage Art" - Wu Gang
Mei Lanfang's Stage Art
Volume IX
Historical Memorandum: Fifty Years of Beijing Drama School - Liu Jichang
I am with Li Shaochun - Weng Yihong
Meimen disciple Yan Huizhu - Xu Jichuan
Yan Huizhu's self-description - a reporter for Liyan Pictorial
Hou Yulan's self-description - a reporter for Liyan Pictorial
The impression of listening to Li Shifang's drama - Zhu Jiayun
Xiaomei Liufang: Recalling Li Shifang's artistic career - Song Peiyu Yao Baolian
My acting career – Li Huifang
Frost Leaf Red in February Flower: Ye Shengzhang and Ye Shenglan's Artistic Achievements - Weng Yihong
The small palm of the drama world - Qi Rushan
I rehearsed my own Beijing opera - Ouyang Yuqian
Gu Maoxuan's observations and records - Yao Baoxuan
Selected and Research of Ouyang Yuqian Drama Journals
Volume X
Taiwan's Fu Liancheng teacher - Liu Huifen
Gu Xiyi performed "Bailiang Lou": Recalling The Peking Opera Wusheng Ma Decheng - Li Kefei
The Liang Xiaoluan I know - Liu Yingqiu
Li Yuzhi's interview record -- reporter of Liyan Pictorial
Bai Yuwei's interview - a reporter of Liyan Pictorial
I was before and after the Chinese Drama School - Bai Yuwei
Huang Yuhua's interview record - reporter of Liyan Pictorial
Zhao Yanxia, who rejuvenated after the catastrophe, Liu Xinyuan
Chen Yongling's Interview - Kong Zhang
My Pear Garden family lineage and art mentor - Liu BinKun
Remembering mr. Ding Yongli, Wang Jinlu
The Fan Disheng I know - Bai Baohua
Shi Qiyuan, the "pop" leader of Beijing's Peking opera circle, Pan Zhiwu
Liu Tianhua and "Mei Lanfang Song Score" - Liu Beimao
Talk about the "thirteen absolutes" - Weng Yihong
Appendix 1 Preface to the Peking Opera Chronicle
Appendix II Timeline of the protagonist and author of the book
Appendix III: The Past of Peking Opera
"Mei Lanfang Song Score"
Preface
Niu Biao Zhang Yifan
Peking opera art, since its gradual formation around 1840, has a history of nearly 180 years. A history of Peking Opera art, linked to the changes in Chinese social life in the past 180 years, is worth writing about covering all aspects, but its performance history should obviously be the top priority.
Don't forget the past, when the teacher of future generations, Peking Opera art in today and even tomorrow, if you can continue to move forward sustainably, in addition to taking every step, it is very necessary to often review the road traveled by the ancestors, the things that have passed; pay attention to the audience and readers in front of and behind the Peking Opera art stage, past and present lives, naturally will not let go of those Peking Opera past events that are strange in peace, or can be sung and wept.
Forty Years of Stage Life
The writing of history requires first-hand materials to be solid and reliable; the writing of art history, if there is an equally vivid language for artistic expression, is of course ideal. In this regard, Mr. Mei Lanfang's oral "Forty Years of Stage Life" completed in the early days of the founding of New China and the series of books "Peking Opera Talks about the Past" published successively with the reform and opening up period can be described as classic models of individual and collective memories. Although there was no mention of oral history and intangible cultural heritage protection that is still in the ascendant at that time.
Peking Opera Talks about the Past Records[1] Peking Opera Talks about the Past Records of the Continuation[2] Peking Opera Talks about the Past Records of the Three Editions[3] The Four Editions of the Peking Opera Talks about the Past Records[4] is a set of Peking Opera historical materials that were carefully compiled and published by Ye Zufu (1928-1998), Zhu Jiafu (1914-2003), Liu Zengfu (1914-2012) and other predecessors from 1985 to 1997, most of which were carefully compiled and published by ye Zufu (1928-1998), Zhu Jiafu (1914-2003), Liu Zengfu (1914-2012) and other predecessors. The authors or oral and collators of the heard are written in the attitude of being responsible for history and art, and many of the contents are the first source and authoritative statements published publicly, so the social impact after publication is extremely large, and its readership is wide, surpassing Peking Opera artists and Peking Opera art researchers horizontally, and has been more than one generation longitudinally, although the first edition has been reprinted many times, it is still in short supply, and the gap between the needs, interests and book distribution status of this kind of reader has been noticed by Mr. Feng Mu more than thirty years ago [5].
At present, 20 years have passed since the publication of the "Four Series", and it is said that it is not easy to find the whole set of "Talking about the Past". Today, when the whole country is carrying forward the excellent traditional culture of the Chinese nation and vigorously inheriting and developing the art of opera, the relevant comrades of the Beijing Publishing House can judge the hour and size up the situation, plan and publish ten editions of "The Past of Peking Opera", as an updated version of "Peking Opera Talks about the Past", which is opportune.
"Peking Opera Talks about the Past"
As mentioned above, the art of Peking Opera has grown and matured rapidly in a short period of time, which has a great relationship with a large number of performing artists created by the times, and the fruits of their creative labor throughout their lives (the work of artists is often consistent with life, and the sense of responsibility of opera performing artists to learn, dedicate and pass on art) has built the main body of the brilliant edifice of Peking Opera art.
However, the more alive and comprehensive the artistic ontology, the less likely it is to record, especially the parts that are not the same as the prevailing discourse system. The main carrier of the past of Peking Opera is the memory of living people, especially in the past, due to the lack of advanced audio-visual technology recording means, valuable artistic experience and wealth if there is no longer a written record, it will have to face the helplessness of people's death and art loss; "Peking Opera Talks about the Past" adheres to the fine tradition of "Forty Years of Stage Life", truthfully, vividly and rescuely records many precious memories, and many articles have even become the masterpieces of some predecessors; and twenty or thirty years have passed, and the predecessors who were very active in the desk field in that year were very active. Nor can it go against the laws of nature and leave us.
Reading these words written with life, it seems that you can also travel through time and space, return to history, and ask the predecessors who have long passed away to face their lives and solve their doubts. However, one thing that needs to be explained is that due to the limitations of the conditions for retrieving information by previous artists and experts, coupled with the age of age, it is inevitable that errors will occur in their accounts based on memory alone. Through the most advanced digital and network means, the use of data has more convenient conditions than those of predecessors, and it is reasonable to make further progress on the basis of predecessors.
Mr. Niu's manuscript
Entrusted by the Beijing Publishing House, we organized an updated team that combined the old, the middle school, and the youth, and combined theory and practice, with the original four-part content framework as the mainstay, expanding the scope of authors (the authors of "Talking about the Past" were mainly those who were still alive in the 1980s), and selecting important famous artists and important events, such as the art and art reviews of the representative figures of Peking Opera Monkey Opera, Such as Zheng Faxiang, the martial arts master Ye Shengzhang, and the Wudan grandmaster Song Dezhu, such as the works of the older generation of opera historians Xu Lingxiao and Su Shaoqing. For example, film artist Shi Hui and Li Shaochun talk about drama, such as the inheritance and education of Peking Opera in Taiwan, which have not been included before for various reasons.
Under the premise of respecting the language and thinking habits of our predecessors, we revise and annotate relevant historical facts according to reliable documents and oral materials. Mr. Wu Xiaoru has taken it as his duty to make false accusations and pass on letters in his lifetime, and the work we accept now can be said to be continuing the unfinished business of his predecessors, and it can also be said that he is taking stock of ideological treasures, guarding the spiritual homeland, and enhancing cultural self-confidence.
The original four editions were not in a very uniform order when compiling and publishing, but according to the content of the manuscript, they were roughly divided into educational institutions, famous genres, anecdotes and other units, and the revised edition respected and agreed with this general classification, and clearly divided each part into "Yiyuan Firewood" (each edition introduced an important Peking Opera educational institution), "Kikube Qunying" (including the self-description of peking opera masters and his narration) and "old news of Pear Garden", and the directory of the original four parts of "Peking Opera Talks about the Past". According to the sequence of the events described and the year of birth and death of the characters, the order is supplemented by different divisions of labor such as actors, musicians, teachers, screenwriters, critics, etc., taking into account the length of each part. The writing of personal names and drama names should be as consistent as possible. The specific selection principles identified are as follows:
"Gu Mao Xuan Drama Tan"
1. Taking historical narration as the main part, retaining the tradition of "talking about the past", taking narrative as the mainstay and reasoning as a supplement, and fully expressing the spirit of the previous generation of artists as artists, therefore, the whole book was renamed "Peking Opera Past".
2. Based on the original four-part content framework, comb through the newly discovered Peking Opera historical materials in the past twenty years, select relevant articles of important famous artists, and some also invite relevant experts, predecessors and descendants of famous artists to provide new content that has never been published before for the updated version of this book according to reliable information, and ten compilations are currently planned.
3. Try to maintain the "three parents" principle as much as possible, and appropriately select some rare articles to replace some common articles.
4. Find a balance between the time period, the industry, and the north and south as much as possible
5. The original text is wrong, wrongly planted, and hard wounds are changed, and historical facts and views can be discussed to make page bets.
6. Do not seek complete blame. As a "past", the ten parts are not the end of closure. With the progress of the times, new historical materials are still being excavated and published, and more suitable content can be continued in the future.
Regardless of whether the articles are newly selected or not, on the one hand, the necessary technical processing must be carried out according to the modern Chinese norms when editing, on the other hand, the editors are also required to keep the original, original and original taste of the text content and style as much as possible.
A Course in the History of Chinese Opera
Peking opera art has its own unique, vivid and interesting terminology system, but for the general reader, it will also form a little acceptance threshold, we in the selection work, try to maintain the unique style of the artistic language system, at the same time, try to remove the obstacles brought by peking opera terminology to the reader's reading, in short, we will do our best to find a balance between the two.
The tenth part of the last appendix is a chronology of major events related to the characters of this book, providing some convenience for readers to make historical positioning.
Limited to our knowledge, there will certainly be many problems in the work of compiling and selecting "The Past of Peking Opera", and I hope that readers will be able to point them out to us unceremoniously after discovering it. The development and progress of Peking Opera art is inseparable from talent training and experience summary, which should also include the cultivation of a new generation of audiences, and we look forward to "Peking Opera Past" to attract a new generation of payelers for all fields of Peking Opera art.
April 28
Editorial Board of "Peking Opera Past"
Chief Planner: Zhang Qing Qu Zhong
Gu Q: Chi Jinsheng
Editor-in-Chief: Niu Biao, Zhang Yifan
Editorial Board: (in alphabetical order of surname)
Wang Peifu Liu Zhen Zhang Yifan Chen Zhiming Shang Yuan Zhou Huabin Niu Biao Jiang Siyi Mei Wei
Group photo of some members of the editorial board of "Peking Opera Past"
The series is compiled by the Literature, History and Study Committee of the Beijing Municipal Committee of the Chinese People's Political Consultative Conference, which is mainly responsible for copyright granting and the guidance of the editorial board. The Beijing Municipal Committee for Literature, History and Study is one of the nine special committees set up by the Beijing Municipal Committee of the Chinese People's Political Consultative Conference, which is responsible for organizing CPPCC members and people from all walks of life they contact to write historical materials of the "three relatives" (personal experience, personal witness, and personal hearing).
The editorial board of the series is edited by Niu Biao and Zhang Yifan, and is mainly responsible for the compilation and collation of manuscripts.
Niu Biao (1933-), a representative inheritor of Peking Opera, a national intangible cultural heritage project. He graduated from the Chinese Opera School in 1956. Gongwen Ugly, studied under Xiao Changhua, Gao Fuyuan, Xiao Shengxuan, Wang Chuansong and so on. He was a professor, editor and supervisor of the China Academy of Performing Arts. After retiring, he continued to engage in opera research and teaching.
Zhang Yifan (1980-), Doctor of Literature, Director of the Department of Drama and Opera Studies, Chinese Min University, mainly researches the academic history of Chinese drama and the theory of Chinese opera stage art.
exegesis:
[1] First edition, February 1985.
[2] First edition, June 1988.
[3] First edition, September 1990.
[4] First edition, October 1997.
[5] See Continuation and Preface to the Peking Opera Talks on the Past.