First of all, "material" is the foundation of art, and here "material" is raw materials and talent. In the past quite a period of history, some of us did not recognize talent and thought that everything of human beings was acquired through the efforts of the day after tomorrow. Actually, this is not materialism. Xun Huisheng is very handsome and has a nice voice. He plays the role of "a fairy" and has a special "understanding" of drama, but someone needs to discover and develop his talent.
Diligence is the ladder of art. Like most children, Xun Huisheng was playful in his childhood and lost his self-control ability. However, learning drama needs to lay a foundation from an early age, and it will be difficult to "debut" when his physical condition is mature. Therefore, since ancient times, there has been a saying of "drama" in the pear garden, and there is a saying of "practicing three or nine in winter and three volts in summer". Xun Huisheng was beaten by the master and the teacher's mother, and he was also very resentful. But when he matured and was named as one of the "Four Famous Hunters in Denmark", his first thought was to visit the master who had beaten him and his mother to repay his kindness. I have heard Pei Yanling say many times that her kung fu was also "beaten" by her father when she was a child. Now, of course, we can no longer advocate "beating", but it is necessary to strictly control children. Even after becoming famous, Xun Huisheng did not forget his diligence and hard work. He studied drama hard and was called a "drama idiot". Studying hard for culture, from being illiterate at seventeen or eighteen to writing dozens of diaries, not only recorded his life experience truthfully, but also recorded his experience in creating Xun school art; He also studied calligraphy and painting very hard. He was the first person to integrate calligraphy and painting into the traditional drama performance in China. His repertoire for the "Four Famous Danes" activity is Dan Qing Yin. Diligence and bitterness, like the shadow of success, always go hand in hand.
"Creation" is the foundation of art, and this one is the most critical and important. If the first two items need both a famous actor and a master (a famous actor also needs talent and diligence), then whether he can innovate and create is the most fundamental difference between a famous actor and a master. As an actor, if he can only imitate and perform, then at best he can only be an actor, not a master. From the drama Xun, we can see that Xun Huisheng's life is a life of inheriting the art of his ancestors and also a life of innovation and creation. From the Xun school principle of "understanding drama, understanding drama, acting characters and not acting in business" that he has always followed, to the careful design of a dress, an action, a aria and a recitation, all of them are full of innovative spirit. He integrated the singing of Hebei Bangzi into Beijing Opera. He introduced western drama, fashion drama, film illustrations, makeup and costumes into Beijing Opera. To this end, he is willing to take the risk of "no discussion in the world" and lead to siege, abuse, ridicule and even beating by some conservative forces, but he "died nine times without regret" and did not change his original intention. He did have a lesson of innovation failure, but he didn't give up innovation. Instead, according to the different performance fields, the innovation principle of "step by step" is adopted, which is actually the principle of paying equal attention to inheritance and innovation. He finally succeeded and created a brand-new and popular art of Xun School.
Virtue is the soul of art, and moral character includes not only national integrity and integrity, but also the principle of dealing with others. The performance of older artists such as Xun Huisheng in this respect is very admirable. When the Japanese invaded China, Mei Lanfang's ambition was obvious. Shang Xiaoyun bid farewell to the stage and taught students to run schools; Xun Huisheng braved the bullets to express his condolences to the China army fighting against the Japanese devils, and donated money to buy a plane for the benefit performance of the anti-Japanese soldiers; Yang Xiaolou lambasted the Japanese puppet traitors and vomited blood on the stage and died! Although they have different tempers and personalities, they are all righteous and arrogant. In dealing with people and making friends, Xun Huisheng also abides by the family motto: kindness is not a gentleman, kindness is a villain. He let bygones be bygones for the master of enlightenment and the teacher's mother, and he wants to repay the kindness; He gave generously to poor friends and ordinary actors; He strongly supports and helps rising stars; For the audience, he is serious and responsible, practicing the professionalism of "drama is bigger than the sky", and shining with the brilliance of the noble morality of the masters everywhere.
Here, I want to talk about how Xun Huisheng handled the relationship between Joule and Ben Er, which also embodies the moral realm of the master and has strong practical significance. When "Tianshi" Wang Yaoqing gave him a script, he regarded Wang as a teacher, regarded the script as a treasure, and wrapped it in silk. When Chen Moxiang wrote books for him, he and Chen Jieyi were brothers; When his youngest son Ling Xiang said that Chen's script was "buttering up" Xun, it aroused Chen's anger. After tearing up the script, Xun Huisheng took his father and youngest son to the door of Chen's house to apologize in person and ordered his son to kneel down to Chen! When the performance of William Chan's adaptation of Yu Tang Chun was a great success, Xun took the initiative to bring Chen to the stage to meet the audience, and presented the flowers that the audience gave him to Chen Moxiang! I would like to ask, which of the famous actors and directors can treat behind-the-scenes screenwriters like Xun Huisheng? I remember "Be kind to playwrights" was published in Literary and Art Newspaper, China Culture Newspaper and Script Magazine.
Some people can call it a master, while most people call it a famous actor. So, what's the difference between a famous actor and a master? How can we cultivate and bring up literary masters? Why do the older generation of literary and art masters "get together"?
Looking at the era when Xun Huisheng grew up and became famous, that is, in the middle and early last century, first the warlords scuffled, then the Japanese invaders invaded, and then the opposition and struggle between the two parties, which was roughly the same as that in the late Han, Wei, Jin, Southern and Northern Dynasties. At the end of Han Dynasty, Wei, Jin, Southern and Northern Dynasties, three men, Cao and his son, seven sons of Jian 'an, Cai Yong and Cai Yan, seven sages of bamboo forest, Tao Yuanming, Xie Lingyun, Liu Xie and Zhong Rong appeared in the literary world. Painters appeared, such as Gu Kaizhi. Calligraphers like Wang Xizhi and Wang Xianzhi appeared. From the beginning of the 20th century to the middle of the 20th century, Lu Xun, Guo Moruo, Mao Dun, Ba Jin, Lao She and Cao Yu appeared in China literary world. Wu Changshuo, Zhang Daqian, Qi Baishi and Xu Beihong appeared in the art world. There have been "four great talents" and "four great students" in the drama world. Why did the masters of literary and art circles "get together" in these two times? By watching the TV series Xun, I understand some truth:
1. At the end of the Han Dynasty, due to the disintegration of the Han Dynasty, the ideological system of "exclusive respect for Confucianism" was broken, and the gentry politics replaced it promoted the personality of the literati class and brought about "human awakening" and "literary consciousness". At the beginning of last century, the May 4th Movement broke the ideological rule of feudal dynasties for thousands of years and spread science and democracy. However, the warlord scuffle and social unrest made the rulers ignore the control of ideology and culture, which made the literary and art workers at that time relatively liberated. This is the ideological basis of the master "cluster". Xun fully shows the friendship and communication between Xun and Wu Changshuo, Lao She, Zheng Zhenduo, Mei Lanfang, Shang Xiaoyun and other masters, and shows their unity and struggle against various conservative forces, dark forces and reactionary forces. For example, the struggle against stubborn conservative forces in Beijing opera; Fight against those forces in Beijing Opera who are self-centered and despise and exclude local operas such as Hebei Bangzi; Fight against the evil forces of the green and red gangs represented by Huang; Struggle with Japanese Puppet Peiping and Puppet Manchu Emperor in Changchun; And the struggle with the Kuomintang reactionaries represented by the female secretary of the spy chief Dai Li. These struggles not only honed the lofty integrity and integrity of the masters, but also promoted the development and perfection of their respective ideological and artistic personalities.
Second, the experts support and help each other in communication, and improve together. Xun Huisheng took a class in Hebei Bangzi, and later changed to Beijing Opera. In his artistic career, he received the help, guidance and support from the above-mentioned masters, among which Yang Xiaolou helped the most. When Xun became increasingly decadent and depressed due to marital changes, it was a punch that woke him up; When the "three small and one white" (Yang Xiaolou, Tan Xiaopei, Shang Xiaoyun and Bai Mudan) group invaded Shanghai, it was strongly opposed by the conservative forces in Beiping, and it was Yang Xiaolou who insisted on supporting Xun Huisheng by his own fame and strength. Xun was persecuted by the Green Red Gang when he stayed in Shanghai for development. Wu Changshuo, Lao She, Zheng Zhenduo and other friends saved him. Similarly, Xun Huisheng helped and supported Ma with his insight and sincerity. Whether in Beiping, Shanghai or Tianjin, these masters communicate with each other, communicate sincerely, meet each other frankly and support each other, but they don't give in, let alone envy each other. This is an important environmental atmosphere for the "gathering" of the masters.
Third, promoting the free association and class setting of North-South exchanges is the institutional condition for the "cluster" of masters. Xun Huisheng stepped onto the stage at the age of 8, and then joined Lezheng class. After singing Peking Opera, he studied under Shang Xiaoyun and Yu, Mei Lanfang and Hou, Yu and Shang Xiaoyun, Zhou and so on. In the course of class, Xun Huisheng constantly draws artistic nutrition from other masters and colleagues. At the same time, they crisscrossed the north and south, which promoted the great exchange of art between the north and the south. Actors are not attached to a certain place or group, but form temporary associations to set up classes according to the needs of performance, and implement strong alliances.