What kinds of art forms are used by Wushu students in Beijing Opera?

As the saying goes, "Fiona Fang can't be made without rules", and Peking Opera performance is no exception. Take Wu Sheng's lines in Beijing Opera as an example. From learning basic training such as footwork, rounder, lunge and horse stance just look, to learning a complete play, mastering it, and then moving onto the stage, this series of processes must be gradual and step by step, and we should not be eager to achieve success. There is no shortcut to this process. Recently, some martial arts actors and their martial arts dramas often broadcast on TV always make the audience feel less exciting. The reason is that some of these actors have not broken the foundation of porcelain, and some have just learned a play and are busy on the stage before they have time to practice. My grandfather (Li Hongchun) used to say that "to be a good actor, the first is excellent teaching, and the second is personal artistic attainments. If you tell a play to a child, there is nothing wrong with you, and you must be a person who can sing and understand the play. If Jiajia can talk to Jin Lu or Jade Acoustics, it can't be destroyed. " Grandpa said that the teacher of Zoroastrianism is extremely important. Because he is very open-minded, my grandfather said to his family, "Don't let him learn from Jin Lu." So I gave my enlightenment to Sanbo. The enlightenment drama that Sanbo chose for me is "Shang Xiao He", which is my Sanbo's masterpiece. The main purposes of his choosing this drama to enlighten me are as follows: first, it is difficult to portray characters in this drama, and there are many actions and shapes such as acting alone and whipping; Second, there are many skills, and various kites turn over; Third, the requirements for footwork are high, requiring roundness, walking, rubbing and stable feet, and there can be no steps. If the last step is necessary, there must be a reason to take it. If you can master these points, you can lay a solid foundation for becoming a qualified Wushu student in the future. After learning such a drama, it is relatively easy to learn other martial arts dramas. Up to now, every play I have successfully performed on the stage has benefited from this "small business river". Sanbo devoted himself to teaching drama. Every movement, how the upper body moves, how the hand is slow, where to look when the hand is slow, where the hand is slow, which step the foot moves, how to rely on the flag, how to make the gong, and how to smash the pit. Sanbo also pays great attention to skill design and arrangement. On the surface, the "three-legged turn" in Three Faces by He seems to be a skill, but when Sanbo uses it on the stage, it is completely arranged to show the environment. If Sanbo teaches clearly, I will naturally understand. This "small business river" has laid a very deep foundation for me. When I was studying drama with Sibo (played by Li Runsheng), Sibo often taught me that Wu Sheng's performance in Beijing opera should be "faithful and lifelike." The characteristic of cyber teaching is that it requires the coordination of face and body. When teaching me the scene of "car picking", Gao Chong's inner activities are different every time he picks a car, and his eyes can't be the same. Seeing the first car, Gao Chong didn't know what it was. At this time, there was a "play" of watching big guns. This performance is to let the audience see Gao Chong's inner language "With this gun, I am fearless". When I performed "Pick a Car in China", he focused on the performance of the scene of picking a car, and his eyes and figure matched perfectly. Nowadays, many actors don't pay attention to body language when singing this scene, just want to wait for the fork. These actors are not playing Gao Chong, they are just performing on the stage. So watching these actors' performances will not leave a deep impression on people. Seeing the performances of these actors always reminds me of an old artist's saying, "Follow or not". In fact, this sentence is rough but not rough, because an actor is performing on the stage, and the audience can see whether his play has been guided by experts, whether he has learned (taught by the teacher, not watching videos) and whether he has acted. I have been educated by Sanbo, Sibo and all the teachers since I was a child, and I know clearly where the performance of the characters on the stage should be focused and what skills should be used to cooperate with the performance reasonably. If actors win applause from the audience only by showing off their skills on the stage, they will only perform acrobatics but not drama, let alone any role. At present, the actors of acrobatic troupe are practicing their figure and expression, but Peking Opera actors should pay attention to this point. Regardless of the performance of the characters in the play, the figure of martial arts is not standardized now. In the past, even if it was a "mountain arm" action, there were strict requirements for where the hands of all walks of life were placed when they were "opened"-chest high; Shoulder level; Thick milk; Ugly to the navel. Now, watching some actors "pull their arms" on the stage and test their bodies with traditional norms, I don't even know what "business" they are. Another procedural action of "starting a bully" Nowadays, when many actors are "domineering" on the stage, their positions are not accurate. Where should the "four batters" stand, where should the "three splits" fall, where should the left and right hands be placed when retreating, where should the eyes look, where should the tiger's mouth face, and where should the two "four batters" shine? As can be seen from the above two points, there are strict rules for the performance of Peking Opera. Body movements and stage positions should be extremely accurate. Beijing opera performance is extremely difficult, so it is difficult to master. I think Peking Opera is now in such a bleak period, and it is even more necessary to strictly regulate the performances of actors. Always ask experts for advice and ask them to give directions. You can't grope around on the stage. You can give full play to your skills on the stage while you are young, but if you want to accumulate experience and achieve perfection, you must start with the performance of portraying characters, and you can't sing silly plays all your life. Beijing opera is in recession now. Now that you are in this industry, you can't be willing to die with it. Although it can't be carried forward, we must try our best to save it. I hope all our martial arts actors will learn the play before performing it, and then "ripen" it before putting it on the stage. Every play should have something memorable. Only in this way can we be worthy of ourselves and the audience who spend money to buy tickets to see the play. Li Note: Li was born in a family of Peking Opera, the grandson of Master Hong Sheng, and an outstanding young martial arts actor in Beijing Peking Opera Theatre.