Xin Nuhong (1927 ~), a native of Xiguan, Guangzhou, was originally named Kuang Jianlian. /kloc-studied drama with his aunt when he was 0/3 years old, and made his debut under the stage name of "Xiaoyan Hong". From 65438 to 0942, he joined the Taiping Troupe in Ma Shiceng and gradually became famous. 1946, Cantonese opera "I'm Crazy for You" was staged in Hong Kong for one month in a row, causing a sensation in Hong Kong. 1947 made three films including "I'm crazy about you", and then * * * made more than 70 films. 1955 returned to China to participate in the celebration of the 6th National Day, was received by Premier Zhou Enlai, and joined Guangdong Cantonese Opera Troupe at the end of the year. 1957 Participated in the 6th World Youth Students' Peace and Friendship Festival, and won the gold medal in the classical music competition with "The Picture of Zhao Jun on the Top" and "Ode to Li Ji". From 1967 to 1980, he was unfairly treated and sent to work in Yingde Tea Farm. 1984 held a solo concert at Zhongshan Memorial Hall in Guangzhou, which was warmly welcomed by all walks of life. 1990 as the head and artistic director of Hongdu Cantonese Opera Troupe. In 2002, he was awarded the first "Research Achievement Award of Modeling and Performing Arts Creation" by the Ministry of Culture.
Sin Nui Hung: He has been engaged in art for more than 60 years and has been popular for more than half a century.
After more than 60 years of art and more than half a century of popularity, few people in Cantonese opera, Chinese opera and foreign vocal cavity can do this.
As a genius in the history of Cantonese opera, Xian Nvhong's artistic life has lasted for more than 60 years. So far, she has performed nearly 200 plays and made more than 70 films. Audiences and experts at home and abroad spoke highly of her artistic achievements, which are rare not only in Cantonese opera circle, but also in the whole drama circle. Some experts believe that Cantonese opera in recent decades is the Sinuhong era in the history of modern Cantonese opera. Objectively speaking, this evaluation is not excessive, because its influence has gone beyond the scope of Cantonese opera art, and it has become a moving landscape of Lingnan culture and a bright pearl in the history of China opera.
From a national perspective, Cantonese opera may not be the largest audience, but the name of Xian Nvhong is almost a household name, and many people even know Cantonese opera because of the name Xian Nvhong. Among the many dramatic actors, the reason why Xian Nvhong can reach her height is naturally because of her innate conditions such as voice and understanding, but more importantly, I am afraid that because of her obsession with Cantonese opera, she can constantly challenge herself, constantly explore and innovate, and constantly gain the motivation to move forward.
When he studied with his predecessors such as Ma Shiceng in the early days, although he was only the third Hua Dan in the troupe, Sinuhong won the praise of his predecessors for his diligence and eagerness to learn, and washed away the gorgeous lead China in the long-term life training, without contaminating the bad habits of the pear garden. Even when Hong Kong was very popular, Sinuhong never lost himself. On the contrary, he took advantage of the improvement of his economic situation to learn the characteristics of classical literature, English and other operas in many ways, which is beyond the reach of ordinary dramatists. Later, he resolutely returned to the mainland for development because he hated the shoddy environment of Cantonese opera in Hong Kong. Facts have also proved that her choice to return to the mainland is correct. After her return to China, she appeared in her most satisfactory and representative novels, poems and literary works, such as Searching for the Academy, Guan Hanqing and The Wind and Cloud of the Mountain Country, which kept her artistic career to this day.
It is precisely because of her love and obsession with Cantonese opera that she has created a "red school" art with a unique artistic style, which has enabled her art to reach the realm of "controlling sound with objects and emotions". It is this obsession that makes us understand that even when she was in the bullpen during the Cultural Revolution, she had to practice her voice by shouting chickens. By the time she was in her seventies, she was still working hard for the development of Cantonese opera. She wants to create an animated film of Cantonese opera to promote Cantonese opera, and insists on dubbing the film herself. ...
Xiannvhong can leave a brilliant page in the history of Cantonese opera development, which is certainly related to her own constant pursuit and innovation, but precisely speaking, it also embodies the efforts of many people: for example, Ma Shiceng has played an unparalleled role in her artistic career; For example, Xue Juexian's support and help on her artistic path; For example, Zhou Enlai's ardent expectation and guidance for the new actress has always been the driving force for the new actress to forge ahead; For example, Mei Lanfang, Cheng and other predecessors, their guidance and help to Xian Nvhong also made the artistic exploration of Xian Nvhong more possible.
If we don't look at the appearance of a person or a phenomenon in isolation, then if we look at it in a social background, it may be said that the appearance of Xiannvhong is closely related to the atmosphere of Lingnan culture.
In 1930s, when Xian Nvhong appeared on the stage of Cantonese Opera, China society was facing drastic changes, and the political and military chaos accelerated the replacement of old and new cultures. Lingnan culture not only pays attention to practical and secular life, but also has an open and avant-garde side because it is one of the earliest places to contact western civilization. The openness and compatibility of Lingnan culture has opened the door for Cantonese opera to the general public, which inevitably requires Cantonese opera actors to be more mature in performance and make changes in form, so innovation becomes inevitable. Ma Shiceng, Xue Juexian and others have carried out many pioneering reforms, borrowed and integrated some practices of western literature and art, and it is on the road pioneered by their predecessors that "Xing Nvhong" continues to go on, gradually surpassing the simple framework of women's flattery, forming a graceful and solemn style and reaching another peak in the development of Cantonese opera. Nowadays, Cantonese Opera, Lingnan School of Painting and Guangdong Music are also called "Lingnan Three Shows".
Fairy red phenomenon is a beautiful and moving landscape in Lingnan culture in the 20th century.
Character dictionary
When Xian Nvhong first wanted to learn drama, her father opposed it on the grounds that "successful drama is not an adult", which has always been the case, but Xian Nvhong insisted that "successful drama is an adult". As a result, she fulfilled her promise and became famous in one fell swoop, one drama and one person, becoming the most iconic figure in the history of Cantonese opera and one of the most famous artists overseas among contemporary opera actors.
Cheng Mingxin Nuhong
Sin Nui Hung followed her mother to Haizhu, Taiping and other theaters to watch big plays since she was a child. When he was eight or nine years old, he learned to sing Cantonese operas in Bai Jurong and Xue Juexian on the phonograph. It can be said that he was influenced by Cantonese opera since he was a child.
Although she first stepped onto the stage of Cantonese opera to make a living, in fact, the family atmosphere of Xiannuhong has a deep relationship with Cantonese opera. Her uncle, Kuang Xinhua, is a famous martial artist in Cantonese opera and a leader among his peers. Grandfather Sheng Jian 'an is a famous martial artist. My uncle Jing Shaojia is the official seal of Shounian, Shengnian and other provinces and ports. My aunt He Fulian is a famous Hua Dan and an artistic enlightener of Sinuhong.
From 65438 to 0938, Sinuhong, led by his mother, went from Macao to Hong Kong, where he studied under his aunt He Fulian. At first, under the stage name of "Little Hong Yan", she performed on the same stage with Shengshounian Class, one of the provincial and Hong Kong classes hosted by Liang Shaojia, and later joined the troupe hosted by Liang Shaofeng with He Fulian. Jing is a famous Cantonese opera student. He likes Sinuhong, who is smart, obedient and studious. Teach her vocal skills and articulation skills when she has time, so as to lay a good foundation for her singing in the future. Jing is also the creator of Xin Nvhong-he thinks that the stage name of Xiaoyan Hong is not good, and advocates taking the meaning of Xin Nvhong stealing the box and changing the stage name to Xin Nvhong. I'm afraid he never thought that the name would be so dazzling later.
He Fulian played an important role in the early development of Sinuhong. She also led Sinuhong to meet Ma Shiceng, one of the most important people in her life. Taiping Troupe, founded in Ma Shiceng, was the most appealing troupe in the province and port at that time. Since the third Hua Dan, Xian Nvhong has performed many horse-drawn operas in Zhanjiang, Guangxi and other places, and has grown rapidly under the example of Ma Shiceng.
1943 In "The Soft-skinned Snake Recruits the County Horse", Xin Nahong made her first appearance in Hua Dan, Andrew, because she was temporarily unable to play Hua Dan, Andrew. However, her real name was used on the poster at that time (she had been using her real name before performing in the mainland). The performance that night was very successful, and the poster the next day officially named her Sin Nui Hung. Since then, she has become the official Hua Dan of Ma Shiceng Repertory Theatre.
1946 is an important year in Sinuhong's artistic career. This spring, she and Ma Shiceng co-starred in the first new drama "Give Me Back My Country" in Guangzhou. Before that, she had been printing Hua Dan in mainland China for more than two years, but this was the first time that she took the stage in Guangzhou, the activity center of Cantonese Opera, as Hua Dan. At that time, experts and audience commented on her: her voice, young age, good looks, careless work and unlimited future. In the second half of the year, Xin Nahong performed a new fashion drama "I am crazy for you" in Hong Kong. The play has a strong lineup such as Jing and Jing, and the plot is close to people's lives. The performance for more than a month caused a sensation in Hong Kong. The audience became more and more familiar with Sinuhong, who was less than 20 years old at that time.
In addition to being active in the Cantonese opera stage, Xian Nihong began to contact two fields: movies and records. 1947, she made three films, including "I am crazy about you", and recorded two records, which kicked off her entry into the field of movies and records and became a popular star. This experience not only made Sin Nui Hung famous, but also made her richer economically. She also found a broader world of exhibition, constantly getting surprises in new artistic creation, and also making her pay more attention to the improvement of artistic literacy.
Cheng Xi red card
In 1950s, there was a rush of shoddy Cantonese opera in Hong Kong. Many plays don't pay attention to stage design at all, even without directors and scripts. Sinuhong is very dissatisfied with this phenomenon. 195 1 joined baofeng cantonese opera troupe and performed "generation of tianjiao", which was deeply loved by the audience because of its movements and expressions. Since then, the word "female voice" has appeared in Hong Kong newspapers and gradually spread among the audience. Since then, Xian Nvhong was deeply troubled by the development of art, unwilling to go with the flow and waste her artistic life, so she invited two Cantonese opera masters, Ma Shiceng and Xue Juexian, to form the Zhenshanmei Cantonese Opera Troupe spontaneously.
1955, after she was invited back to China to attend the National Day ceremony, she called on Premier Zhou Enlai and met some masters such as Mei Lanfang. Deeply touched by the booming domestic situation, she resolutely gave up her reputation and made up her mind. Returning to China for development has opened a new chapter in the development of art.
Although he was treated unfairly during the Cultural Revolution and did not perform on stage for thirteen years, it became a pain in his life, but Sinuhong never regretted his original choice. Indeed, after returning to China, Xian Nvhong has created a series of excellent novels, poems and literary works, such as Searching for the Academy, Guan Hanqing, Showing Your Majesty on the Plug, The Wind and Cloud of the Mountain Country, Liu Hulan and Spring Festival in Bai Yan, which are well known to the audience.
Sin Nui Hung has a wide range and has the characteristics of crisp, round, bright and round voice. On the basis of inheriting the traditional singing method of Cantonese opera, she also absorbed the singing methods of other operas, even Quyi and western vocal music, and formed a unique "red cavity (also known as female cavity)". There are many tone sandhi in Cantonese opera, and she can make a decorative sliding transition without entering the door, which is refreshing. The tone of Cantonese is twice that of four tones, with more closed words, throat sounds and nasal sounds, and more tones but less space for singing words. She can skillfully use the rules of Cantonese phonology and the characteristics of Cantonese opera, and give full play to her singing skills of light articulation, smooth articulation and clear rhyme. Even when she comes across closed words classified as nasal, she can make her singing full of ups and downs and express her true feelings in the aftersound. Because of its full voice and consistency, it is known as "the head voice and the tail of the wind", forming a unique "female voice", which is the most widely spread singing genre on the stage of contemporary Cantonese opera.
From "red tone" to "red school" is the process of Sinuhong's art maturity and perfection. Xin Nahong is good at portraying delicate roles in her performances. The female images she created, such as Zhu in Guan Hanqing, Ada looking for an academy and Liu Qin in The Wind and Cloud in the Mountains, have great influence. She created a series of distinctive images on the stage, which made her artistic career reach an unprecedented height, and also made the "red school" art flower bloom on the land of South Guangdong.
Perhaps, at first, Xian Nvhong didn't consciously want to create a genre. She just wanted to act in a down-to-earth way, feel the characters in the play with her heart, and learn from and absorb other plays and even western art forms with her heart. As a result, she achieved a unique "red school" art. What is rare is that Xian Nvhong can always adhere to the principle of taking me as the mainstay and achieve the harmonious unity of innovation and tradition through bold absorption and transformation.
The formation of "red fans" from generation to generation can be regarded as a full recognition of Sinuhong's artistic charm.
Adult hongdu
The formation of a genre, in addition to the distinctive characteristics of the genre itself, should also have representative plays that can stand the test of time and be recognized by the audience; Another factor that cannot be ignored is the descendants of art schools.