#长文创作激励计划#豫剧演员的苦, today I'm going to disclose it and talk to them about it.
I have listened to Henan opera for decades, and I am a senior opera fan, so I especially like to pay attention to information related to Henan opera.
Now with Douyin, many Henan Opera actors have opened live broadcast rooms, so everyone can communicate and communicate directly with them face-to-face. In the past, this was simply impossible, maybe we will never see our favorite actors and stars in our lives, after all, we are separated by time and space, and by industry.
So through Douyin, I followed a lot of favorite Henan Opera actors, and also added a lot of actors' WeChat, and occasionally chatted with them.
Through the mouths of those actors, I learned that they have too much sadness and difficulty. It seems that the bowl of rice in singing opera is very difficult to eat, and the profession of opera actors is so hard that some people can't hold on and change careers halfway, and some are on the way to change careers. Even if some actors seem to be content with the status quo, they actually have ideas in their hearts, but they just don't want to toss for various reasons.
To sum up, the sufferings of Henan opera actors (including actors in other dramas) mainly include the following:
1. Physical suffering, although it is a direct physical pain, is actually the easiest suffering to overcome
I heard many actors say that physical suffering is actually the best to overcome, as long as you can endure hardships, can persevere, and are psychologically prepared to endure hardships, plus after developing the habit of enduring hardships over the years, you feel that it is not so bitter. Because, people are very easy to get used to. Physical suffering basically includes the following:
1. The suffering when practicing in the drama school. The physical correction training and daily practice I received when I first entered the drama school were perverted torture of the body, which was really unbearable to look back on, not a human life, many children gritted their teeth and persevered, and many ran away.
2. The hardships encountered when performing on stage are basically scorching heat, cold winter, strong winds, torrential rain, flying sand and rocks, etc. Among them, the scorching heat is the most uncomfortable, I heard some actors say that they would rather be frozen in the cold wind of winter, rather than be watered by heavy rain, would rather be ravaged by the wind, would rather be blinded by the wind and sand, than suffer the unbearable heat! We can imagine: under the scorching sun of more than 40 degrees, the wind is hot, they are still wearing thick, breathable python robes, and wearing thick makeup, and sometimes they have to be motionless under the sun for half a day, who can stand it? Therefore, there are often actors who faint from heat stroke, and there are also very few who fall on the stage and lose their lives directly.
3, the bumps and bumps of the martial arts actors during the performance, the bleeding of the head, and the sudden illness fell to the ground on the spot. But what can be done? That's what you do.
2. Inner suffering is a kind of irreparable indebtedness
The inner suffering of opera actors is mainly due to the fact that they owe too much to their families and their families.
1. Some actors perform in other places all year round, and it is inevitable that they will accompany their children less and take care of the elderly less.
2. Some actors are dual-income workers in the troupe, although they are more financially relaxed, but as soon as they go out to perform, there is no one to take care of the young children, which is a big problem. Therefore, some can only be taken care of by grandparents and grandparents, or entrusted to other relatives, and some even bring their children directly to the troupe.
can't accompany the children to grow up, the elderly can't deliver tea and medicine at the front of the sickbed when they are sick, and the old man happens to be performing in other places when he dies and can't rush back to see the last one in time, all of which are the most painful places in the hearts of the actors.
Third, the suffering of evaluating professional titles is the biggest suffering of actors, and it is indescribable suffering
Listening to a few Henan opera actors, they were annoyed to death when they mentioned their professional titles. It seems that evaluating job titles is a big topic, but it is a topic that cannot be seen through and not explained thoroughly, but it is a topic that makes people speechless.
We see that this is a national first-class actor, that is a national second-level actor, and that is a national third-level actor, etc., and basically doesn't feel anything, but do you know how these first-, second-, and third-level titles are evaluated? I asked quite a few actors, and it seems like this:
1. Level 3 title: You must first obtain the qualification of a Level 4 actor, and then publish more than one high-quality professional paper in newspapers and periodicals at or above the municipal level, and you must have won at least one third prize in a provincial performance competition (of course, the first prize and the second prize are better);
2. Second-level professional title: You must first obtain the third-level actor qualification, and then publish more than three high-quality professional papers in newspapers and periodicals at or above the provincial level, and you must also win at least two second prizes in provincial performance competitions (of course, the first prize is better);
3. First-level title: You must first obtain the qualification of a second-level actor, and then publish more than five high-quality professional papers in newspapers and periodicals at or above the provincial level, and also have won at least two first prizes in provincial performance competitions (or at least two second prizes for national performances), and the repertoire must be a big play.
I heard that there are also requirements for art age and years, but the specifics are not clear. After all the requirements are met, apply by yourself and be recommended by the group, and it is possible to be evaluated.
For actors who want to evaluate first-class titles, the years are good, the papers are relatively easy to write, and they can also be recommended by the group, but how can those two awards be awarded? First of all, you have to have a chance to participate, right? It has to be a big drama, and it has to be the starring role, right? But there are many excellent actors in the troupe, why do you have to be the leading actors, why can't you arrange others? So, the competition is definitely fierce. So some actors want to pay out of their own pockets to tailor a new drama for themselves, so that they can definitely become the leading actors, and then they can participate in the competition, and only after participating in the competition can they win the grand prize, and only after winning the grand prize can they be rated as first-class actors. However, the cost of buying scripts, hiring people to compose music, hiring directors, purchasing costumes, orchestration, etc. is very huge, and most of the actors are ordinary people, and their income is so limited, where can they raise funds?
Therefore, the matter of evaluating the title is a lifelong pain in the hearts of many actors, which makes many actors who originally had ideas shy away and retreat in the face of difficulties. So some of them simply lay flat, Buddhism, and were content with the status quo, making do with it day by day, and what about love is nothing more than a low income.
Fourth, the suffering of martial arts actors is the suffering of facing unemployment and changing careers in the second half of their lives
Don't look at those martial arts actors who are very happy when they turn heels on stage, and they fight very fiercely during the fight, we are quite enjoyable to watch, but their profession has the limitations of age: that is, they are basically unable to turn, jump, or jump when they are generally in their thirties or forties, and they are basically full of injuries.
What will happen to them for the rest of their lives? I heard that most of them changed careers, some went to drama schools to become instructors, and some did other jobs. Some affectionate troupes are better, seeing that you have dedicated so many years to the troupe, they will arrange work for you to the best of your ability, so that you can mix until retirement.
Therefore, after communicating with a large number of opera actors, I realized that this industry turned out to be like this! This is also an industry where the fittest survives. (Note: The following pictures are all network pictures)
