Xun Huisheng performed on stage in Tianjin at the age of eight, and then went to Beijing with his teacher, learned Qingyi Huadan, and worshiped famous masters as teachers. Xun's performance characters are round, the cavity is turned with emotion, the voice is full of emotion, the appearance is handsome, absorbing the melodies of Kun Zi Han Chuan and other tunes, and innovating the recitation of white that integrates rhyme white and Beijing white, with unique rhyme and special expressiveness. In terms of performance, he emphasizes that the performer does not act, is not restricted by the industry, and makes necessary breakthroughs according to needs, and the image of the young girl and young woman he shapes has the characteristics of popularization and life, delicate and feminine and beautiful, and the wind is good and graceful.
Xun Huisheng's performance melts Qingyi, Hua Dan, Boudoir Dan, Dao Ma Dan in one furnace, according to the development of the plot and the needs of the character, absorbs the acting skills of Xiaosheng, Wu Xiaosheng and other professions, and even integrates foreign dance footwork into it, and according to his own talent, he has improved his singing voice, body, costumes, makeup and other aspects. The characters he performs care about the portrayal of psychology, attach importance to the role action, emphasize that each action of the Dan corner should give people a sense of beauty, require the actor to flash the feminine charm of the woman in the mood, anger, sorrow, speech and behavior, and at the same time, the body movements are varied, especially the use of eyes, the role's finger and work should be rhythmic, so that people are eye-catching, his performance is delicate, lively and colorful, both literary and martial arts, singing and doing well.
Chen Moxiang is a prince of the family, a family origin, a lifetime of not seeking merit, willing to be indifferent. Watching performances, writing plays, and having an indissoluble relationship with opera all my life. He wrote dozens of scripts in his lifetime, most of which were written for Xun Huisheng.
Since 1924, Chen Moxiang began to write books for Xun Huisheng, creating, sorting out and adapting more than 40 plays, and his "Yutang Chun", "Chaotou Feng", "Danqing Yin", "Buried Xiang Illusion", "Liu Ruyi", "Embroidery Notes", and "Xiangluo Belt" later became the representative repertoire of the Xun School. Xun Huisheng also had great respect for Chen Moxiang, calling him "Brother Yu" in his diary, but in life he was very close, and Chen Moxiang could even go straight into Xun Huisheng's bedroom during his lunch break to wake him up. All this is enough to explain Chen Moxiang's screenwriting level and Xun Huisheng's importance to it.
But when we look back at history, we see more clearly the essence of the problem. Xun Huisheng therefore formed his own artistic style and formed his own genre. To show his artistic personality to the fullest is not only the support of his taishi teacher Thirteen Dan, Meng Shi Pang, Yang Xiaolou, Wang Yaoqing, Yu Shuyan, Chen Delin, Sun Yiyun and many teachers and friends including Chen Moxiang, Wu Changshuo and many other teachers and friends in the north and south of the "White Society", but most importantly, he can grasp himself on the art stage, dare to adhere to his artistic opinions, and be good at playing his own strengths. Every rehearsal of a play, from the script to the singing voice, from the performance to the makeup, dare to establish their own personality. In particular, in the creation and performance system, he was established as the center, and the former "four great Kongs" Zhang Chunyan, Zhao Tongshan, Jin Zhongren, and Ma Fulu, and the last four kongs, Chen Xixing, Fei Wenzhi, Zhu Binxian, and Shen Manhua, assisted by the Chunsheng Society and the Liuxiang Society, created a solid foundation for the formation and development of the Xun Sect.