Yang Baosen, a veteran of Peking Opera, also known as Zhongxiu. Originally from Hefei, Anhui, his ancestral home is Beijing.
My great-grandfather Yang Guiqing was a skilled swordsman. Grandfather Yang Guiyun was a famous Peking Opera actor at the same time as Tan Xinpei in the late Qing Dynasty. He was a famous Hua Dan in the "Four Happiness Troupe". His eldest son Yang Xiaoting, whose stage name was Xiaoduo, also performed Hua Dan; his second son Yang Xiaofang (Yulin), whose stage name was Youduo, was born in Wusheng. , worked part-time as a bronze hammer painter, and retired from the stage due to illness in his middle age. Yang Baosen is Xiaofang's eldest son, and his cousin Yang Baozhong (son of Xiaoting) later became a famous luthier.
Yang Baosen is elegant, elegant, modest, studious, and willing to study. His calligraphy and painting are both skillful. He loved the role of laosheng in Peking Opera since he was a child, but he could not comply with his grandfather's wish for him to continue learning the role of dandan. Yang Baosen studied under Qiu Guixian when he was young, and started to learn opera and practice blanket skills. Later, he studied under Bao Jixiang and studied with Lao Sheng, and became a member of the Yu sect. When he was about 10 years old, he began to "lead the art class" and have been seeking art and performing in Yu Zhenting's Binqing Club for a long time.
Yang Baosen had a bright voice in his childhood. He specialized in Yu Pai when he was 12 or 13 years old. When he was 16 years old, he performed "Fishing and Killing the Family" with good results. He also played Liu Xiu in "Up to the Rooftop" and Wang Bodang in "Duan Mi Jian". In "Zhulian Village", he was meticulous in his performance during the "reduction of power". Occasionally performed plays such as "Dingjun Mountain", "Yangping Pass", and "War on Peace" have also won praise from audiences in Beijing, Shanghai and other places. During this period, he performed "Capture and Release Cao", "Beating Drums and Scolding Cao", "Hongyang Cave", "Lost Street Pavilion, Empty City Strategy, Killing Horse Su", "Send a Son in the Mulberry Garden", "Selling Horses", " Dramas such as "Bangbei" and "Fenhewan" have gained good reputations and are known as "Little Yu Shuyan". In his childhood, he was good at performing in the play "Wenzhaoguan". He collaborated with Yu Lianquan for a long time, and also performed with Cheng Yanqiu and Xun Huisheng. In his youth, Yang Baosen's voice change period was prolonged due to physical problems, so he had a long period of recuperation and did not appear on the stage. During this period, he persisted in practicing martial arts, singing, calligraphy, painting, and piano with an optimistic attitude and diligent spirit. He even hummed and sang while walking in the evening, pondering every word, pondering every line, and studying with great concentration. Pai’s singing skills. Although Yang Baosen did not formally worship Yu Shuyan, he came to ask for advice whenever he had the opportunity. He sought out teachers and friends in many ways to broaden his learning path. He received a lot of guidance from the famous teacher Chen Xiuhua and his cousin Yang Baozhong. He also sought advice from Mr. Zhang Boju, a researcher of Mingping and Yu Schools, and also sought advice from Wang Fengqing and Wang Yaoqing, striving to continuously improve. own artistic accomplishment. When his health recovered and he returned to the stage, he made significant progress in singing, reading and performing. On the basis of inheriting the art of the Yu School, he created a new singing method based on his voice condition after the bankruptcy and combined with his many years of artistic practice. He became the founder of the Yang School of art. In the late 1930s, he, together with Ma Lianliang, Tan Fuying, and Xi Xiaobo, were known as the "Four Greatest Students". In 1939, he organized the Baoxing Society to select classes for performances. In the 1950s, his artistic attainments became increasingly perfect, and Yang School art gradually became popular.
Yang Baosen’s singing has the characteristics of the Yu School’s steady, subtle and mellow charm. His skills in spitting (biting) words, vocalization, and accents also reflect the Yu School’s “hardness and softness” and “qu. It has the artistic characteristics of "straight in the middle", "round but not smooth", and "unusual in the ordinary". However, after reversing his position, his singing voice was not able to stand upright. When the voice came out, the breaking point was low and had a hoarse sound. It could not express the back of the head voice of Yu style. It sounded more generous but not sharp enough, and it lacked the sharpness. Crisp, bright sound. In this regard, Yang Baosen was able to use his strengths and avoid weaknesses by shaping his body, making full use of his low voice, wide vocal range, toughness and durability, and good chest rumble, and tried his best to mobilize his nasal voice so that his voice did not sound dry and dry. The cries of the head cavity are used properly, and the use of weeping sounds also achieves good results. As for the "stretched sound", "lining sound", "muffled sound", "laying sound" and large-scale "sounding sound", they are also very obvious in his singing, especially "Shui Lao" and "Liao Tune" ", the use of "crying tone" is very clever. The proper coordination of various singing techniques makes the voice sweet and timeless, soft and round, broad and full.
He uses his mellow charm, low and gentle melody and steady rhythm to express desolate, sad, miserable and depressed emotions, which has a very good artistic effect. Yang Baosen attaches great importance to the use of the four tones and the display of the nozzle, as well as the processing of the beginning, abdomen and ending of polysyllabic characters. He is very particular about the collection of sounds and the return of rhyme. His articulation is solid and powerful, with a hint of reality but not frivolity, making every word and sound sound full and mellow. He is even more innovative in the treatment of singing: although the range of changes in high and low notes is not large, he expresses various relationships such as circumference, strength, virtual reality, size, etc. in a well-proportioned manner, with firmness in softness. His melody and rhythm are stretched and smooth, and his breath management It's clever and appropriate, and sometimes it's all done in one breath, with both sound and emotion, and it's inspiring.
Yang Baosen’s singing focuses on the personality of the characters. In his masterpieces, many characters in the play have outstanding musical and stage images, such as: the sad, angry and downtrodden Wu Yuan in "Wu Zixu"; The righteous Yang Jiye and the upright and witty Kou Zhun in "The Generals of the Yang Family", the resourceful Zhuge Liang in "The Lost Street Pavilion, the Empty City Strategy, and the Beheading of Horses", the proud and unyielding Mi Heng in "Beating Drums and Scolding Cao", and the "Hongyang Cave" Yang Yanzhao, who is loyal to the country, and Chen Gong, who is full of regrets in "Catch and Release", etc., have left a deep impression on people. The great achievements of Yang School art are inseparable from its close cooperation in the civil and military scenes: Hang Zi, who often played drums for Yu Shuyan, and Yang Baozhong, a famous luthier, were both close collaborators of Baosen.
Yang Baosen was the leader of Tianjin Peking Opera Troupe, and his disciples and followers include Wang Zhenghua, Liang Qingyun, Ma Changli, Li Mingsheng, Jiang Muping, Cheng Zhengtai, Zhu Yunpeng, Ye Peng and others.
Birthday: October 9, 1909, August 26, the first year of Xuantong (Jiyou)
Died: February 10, 1958, December of the Dingyou year of the lunar calendar 22nd, 2:00
Science and Technology Colleges
Binqingshe takes classes to learn art roles