As a local drama genre, Qin Cavity is rooted in the five northwestern provinces, with a long history, a long history, and is deeply loved by the masses.
Shaanxi writer Mao Qi said in one of his essays, "Trivia of Rural Drama", that the three of us embarked on the road of literature first of all thanks to the cultivation and nourishment of the Qin cavity since childhood. I don't know how good the famous writer Jia Pingwa's Qin Cavity singing skills are, he named his award-winning work "Qin Cavity", and often commented on qin cavity, when people debated the revitalization of Qin cavity, he issued a high theory of "watching over The Qin cavity", which pointed to the core of inheritance and reform.
To keep is to stick to the tradition. In recent years, people have talked about the inheritance of the Qin Cavity, and the cultural department has also set up a famous inheritance master. What to keep? Shou is to follow the performance characteristics, unique skills, and singing characteristics created by famous artists such as Liu Yuzhong, Su Yumin, Li Zhengmin and other older generations, and cannot be discarded rashly. Ma Jianling said in her adaptation of "You Gui Shan" that heritage must be treated with the same caution as if it were a classical masterpiece, and the words should be concise and profound. Hope is to keep pace with the times and reform and develop on the basis of treating tradition with prudence, otherwise, it is to stick to the past. Keeping and watching are mutually reinforcing. Neither a rigid set, nor an arbitrary package, throw away the classics of the Qin Cavity, in recent years, the qin cavity slippery slope has been an indisputable fact, there are many reasons, but to a large extent, it is easy to lose the tradition, no wonder many fans issued a Qin cavity is not surnamed Qin sigh!
Seeing that Wei was in favor of performing "Zhou Ren's Return to the House", I suddenly remembered that a fan of lanzhou once said to me, "You Shaanxi have another good way to play Zhou Ren." It can be seen that the local performance is grand. This is what he told me a year ago. After watching the pro-performance (Zhou Ren's Return to the House), I deeply felt that I had made great progress, and it also evoked my memories of many past events. Si Qian, secretary of the Weinan Prefectural Party Committee, was an old leader when I was working in Hanzhong, and he took me from Yaoxian County to the Propaganda Department of the Prefectural Party Committee, and when I arrived in Weinan, I was in favor of the Meihu Theater Troupe in Huayin. Since then, between creative meetings and rehearsal halls, we often talked on our knees, and at this time I realized that he had long had a deep understanding of Zhou Ren, a chivalrous character, and admired him very much. After he set foot in the drama world as a teenager, he concentrated on learning and understanding the singing characteristics of famous artists, feeling the character of the character, absorbing the essence and strengths of famous artists, and humbly seeking advice. Ren Zhezhong rehearsed "Repentance Road" and "Crying Tomb" for him, and since then he has decided to recreate Zhou Ren's stage art image. The degree of education is not high, but the understanding is strong, the character's ideological context and personality characteristics are painstakingly studied in the singing, sometimes for a detail of a sentence of singing words painstakingly conceived to the point of intoxication, often for the chivalry of the characters, grievances and sadness, sometimes bitter meditation to the cold tea, sleepless night. His hard work and dedication have made his performance step by step, and he often said, "Eating other people's chewed steamed buns has no taste." When performing "Repentance Road", when singing "He pushed me into a dilemma", Zhou Ren was full of sorrow and helpless, sometimes looking up at the sky and sighing, sometimes bowing his head and beating his chest, using his hat to flash, using water sleeves to grasp and throw, and the bitter feelings of entering things were vividly expressed. Then, when there was nothing to do, he suddenly remembered the idea of replacing his wife with his sister-in-law, which made the contradictions and conflicts of the drama higher than the waves, and the theme of "Repentance Road" was further deepened. He said to me many times: "Generations of famous people, so famous, have their own strengths and unique skills." And if I stand still, do not know my weaknesses, can not humbly seek advice, learn the strengths of people, work hard to recreate, learn like again, can only follow the gourd to paint the scoop, will achieve nothing. Qi Baishi once said to his disciples, "Those who imitate me die," and this is the truth. To use your own moves to play live characters and impress the audience, you must know that the audience enters the theater to see that you are in favor of playing Zhou Ren, and no personal move is characterized by the fact that you can never move the audience. The reason why "Zhou Ren Huifu" is often performed is because it has both a complete set of programming skills and the inheritance styles of famous artists in the past, which makes the inheritance more vital. The last wave of "The Road of Repentance" is when Li Lanying stepped forward as a sister-in-law to go to the trouble, he eagerly pounced on his wife, clasped his hands, shouted "The lady is really a chivalrous person, turn up and accept my worship", and cry loudly, "Sister-in-law is not kneeling!" Both fell to the ground and prostrated. Every time the play is performed at this moment, the audience gives warm applause and pushes the plot to a climax. "Crying Tomb" is the last climax of the whole play, and when I talk about my creative experience endlessly, I said with deep emotion that years of singing have been appreciated by the audience. In the process of conceiving the performance, he wanted to inherit the tradition, but also did not want to fall into the cliché, both wanted to absorb the strengths of each family, but also did not want to copy the set, he used the contradictions of the event to develop ups and downs, to find the appropriate form of expression, after Zhou Ren was beaten by Du Gongzi, in the tight drum, a scream "wife", a scream of "wife", a step on the field, continuous turn, shake a little, throw back and forth, this series of large-scale slightly zi gong and shouting to the earth to drink, like a river breaking the embankment, a thousand miles. In favor of this performance, clean and neat, not a show of skill, but into the role, in Zhou Ren's difficult and slow steps, he used a bump to grab his back, rolled over to the tombstone, held the monument with both hands, and cried loudly. Here he does not use the real crying in life, but skillfully uses the artistic technique of opera (rolling white), singing in the middle, singing in the middle, clearly distinguishing the setbacks, and truly and tragically expressing the characters. When singing "I only say that you are dead, the love is exhausted, the righteousness is also complete, who knows that the brother is back, it is not allowed to say, it is a full beating", the word "full beating" is used in a high-pitched and agitated big drag cavity, and the character's full grievances are strongly displayed in front of the audience, no wonder the fans in Lanzhou and other places issued a surprise that "Shaanxi has another good style of playing Zhou Ren"!
Shaanxi Television station has a wonderful comment on the singing of the approval: "Wei Yi is a self-contained artist who is diligent in research and good at absorbing the strengths of all the families for my use, and his performance and singing skills have been praised by the audience. His basic skills are good, the singing voice is more important than the portrayal of the inner world of the characters, the rhythm contrast is strong, and the explosive force is strong. At the same time, it pays attention to the skill of spitting out words, paying attention to the beginning, belly and end of the word, so its pronunciation is clear and round, forming a personal performance style. When Zhou Ren woke up crying in the "weeping tomb", he suddenly saw Du Gongzi kneeling beside him, and he pushed him down in horror, and then saw his sister-in-law also kneeling next to him, thinking about what was happening around him, how did you know nothing, and then you threw yourself into the arms of your sister-in-law, thinking, My behavior is only known to you! Although this push and throw is a detail, it is commendable because he has been pondering the inner world of the characters for many years. Therefore, it should be well-deserved to approve of being a Qin Cavity inheritor. At this point, I would like to say a few more words, and everyone says that his basic skills are good. As far as I know, he is seventy-three years old, but he still insists on practicing every morning and evening, never stopping, and humbly learns from many famous masters and asks for advice, enriching and improving, which is valuable.
The 2nd issue of "Contemporary Drama" contained the article "Su Pai MingSheng Wei Yi", saying that he had revered the art of the Su School since childhood and was a descendant of the Su School, which caused strong repercussions at that time. Recently, the famous drama critic Yang Wenying wrote an article entitled "Wei Yi of the Late Formation of the Great Instrument", saying that he "pursued the Su faction" and "returned to the Su faction", and hoped that "the sword is not old" and "the general of the Qingqi". He said that his performance of "Zhou Ren Huifu" not only inherits the ancestors of the predecessors, but also boldly innovates, "out of a different path from Ren Zhezhong, showing the persistence and boldness of his artistic pursuit." These Yu all sincerely agree and congratulate them on their approval! Yes, there is still a long way to go! (Text/Cheng Du)
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