In Shenyang, Beijing Opera has been called Spring Opera, Pi Opera, Chu Opera, Old Opera, Grand Opera, National Opera and Pingju Opera, and finally it is collectively called Beijing Opera.
In the early years of Guangxu, Wanshou Festival was performed in Shengjinggong Theater. In the 13th year of Guangxu (1887), some actors from Baodi Yongsheng and Bangzi classes went to Lushun Navy Camp to perform Hebei Bangzi and Pi Huang at the same time. /kloc-At the end of 0/9, Pihuang Opera was officially introduced from Shanhaiguan to Yingkou, Dalian, Jinzhou and Anton (now Dandong) in Liaoning, and then to Shenyang. At that time, there were actors such as Gui Ting, Shunqing, Fu Bao and Xiang Ling. In the thirty-first year of Guangxu (1905), after the opening of the Beijing-Fengjing Railway, actors from the customs came in droves, such as Ma and Xiao. At that time, most of these actors played both Bang and Huang. Peking Opera and Bangzi often perform "Two People in the Water". Also known as "Erguotou", Peking Opera, Luozi Opera and Bangzi are performed on the same stage, which is called "Sanjiang". Sometimes in the same drama, singing with the voices of two operas is called "wind stirring snow"
In the Qing Dynasty, Shen Rongpu painted the portrait (copy) of "Thirteen Musts of Tongguang". Thirteen famous artists in Tongzhi and Guangxu years were painted into costumes according to their representative costumes. From left to right: Hao Lantian (on the road, Kang,), Zhang Shengkui (a pinch of snow, Mo Cheng, an old student), Yanmenguan in Mei Qiaoling, Dan), (visiting relatives, Hu Mama, ugly), Yu Ziyun (colorful house matching, Dan), (flowers are ugly), Lu Shengkui (Empty City Plan)
There is a folk poem "Embroidering Eight Plays" in Northeast China, in which four bangzi plays, five thunder arrays, firewood picking, fighting Hongzhou, walking on the snowy mountains, four Peking Opera plays, two visits to the palace, a visit to the thatched cottage, Li Sanniang and Qin Qiong selling horses are sung. It just reflected the situation that Bangzi and Peking Opera performed on the same stage at that time. According to the Shengjing Times and the History of Chrysanthemum in Shenyang, from the thirty-second year of Guangxu (1906) to the early years of the Republic of China, the actors who came to perform in Shenyang were: (Wang Hongmou), Lu, Tang Yongchang, Liu Sanchang, Fan Yongzai, Huang Yueshan, He Yueshan, Wang and Xiao. Especially around 1906, since the government allowed actresses to take the stage, Hannah Quinlivan gathered and became famous. Over the past few years, there have been hundreds of Shen's actors (including Bangzi). There are more than 20 performance venues, and the business is very prosperous. Therefore, in the history of chrysanthemum in Shenyang, there are sayings such as "Song and Dance in the East Province is the best in the world …" and "Chrysanthemum Department in China, in its heyday, was really in its development …". According to the article "Hannah Quinlivan Qunfangpu in Shenyang" published in Shengjing Times on March 19 17, 2002, among the many Hannah Quinlivan musicians at that time, 30 musicians with deep artistic attainments were selected (there were 10 in the fascicle), among which Chu and Yue Mingzhu were specialized in performing Chu operas. At this time, on the stage of drama in Shenyang, Peking Opera and Bangzi have been equally divided. Most of the plays are passbook plays, and the arrangement of each play is still the order of "Old Seven Plays". The opening scenes are auspicious "Da Xian Rui" and "Knowing the Rise of the Sun", with the drama of Sheng and Dan interspersed in the middle, and the main axis is martial arts.
Play Xue (right) in Fenhe Bay.
In the early 1920s. Warlord Zhang ruled the three northeastern provinces. The political situation is relatively stable, the economy is recovering, the pear garden industry is revived, and Peking Opera is gradually becoming active. With the opening of the North-South market and the industrial open-air market, Daguan Tea Garden, Fengtian Grand Stage, Qiyi Stage and Zhongshan Grand Theatre have been built one after another. Peking Opera actors Cheng Yonglong, Zhou, Liu, Cheng, Qing Mudan (), Bai Yukun, Wang Huichuan, Yang Ruiting, Tang, Furong, Wei Lianfang, Gao Baisui, Hou Xirui, Jia Runxian, Wang Yalun, Zhou Zhiwei, Liu Yunting, Miao Xinru and Shi Ruilou were invited to perform in Shen successively. In addition, Jin Ziyu, a Peking Opera actress (she studied Peking Opera in Shenyang and worked in Tsing Yi) was a smash hit, but was forced to quit the stage by warlords. At that time, due to the prosperity of Peking Opera and the abundance of talents, the audience's interest in appreciating opera gradually shifted from bangzi to Peking Opera, and the fan club came into being. Famous candidates such as Ren Yuzhu, Ding Jifu, Mu, Jia Puzhi, Zhou Dawen and Lu Ruoyu took the stage and organized three societies, namely, Shangbu and Dadong, and the Beijing-Beijing Opera Troupe. Northeastern University has also set up an amateur Peking Opera Troupe, which often performs.
193 1 After the September 18th Incident, Shenyang became a Japanese imperialist colony (renamed as Fengtian City), and Peking Opera was in a state of stagnation and depression.
In the mid-1930s, Peking Opera actor Tang was invited by Shenyang Art Stage to perform in Shenyang for a long time. Since then, based on the interest stage of * * *, it has been active in the northeast. Over the past ten years, it has begun to form its own unique style. This book introduces Don in another article.
During the Puppet Manchuria, Peking Opera actors who often performed in Shenyang included Zhou Yachuan, Zhang Yunchen, Wang Guiting, Zhou Shaolou and Zhang Chunshan. , and Jin Biyu, Hu, Tian Xiangyu, etc. Are very famous. Due to the colonial cultural policy of Japanese imperialism, it is difficult for theater owners to maintain their commercial performances, even though they have their own teams and even excellent artistic talents. In order to attract the audience, the wind of inviting "Beijing Corner" once arose. Wang, Shi, Yan, Xu Biyun, Li Shengzao, Yang, Ma, Zheng Bingru and others have been invited to perform in Shen. However, the arrival of "Beijing suburbs" in Shenyang can only be a short-term performance, not a long-term solution. In pursuit of box office value, theaters and artists make a living, and some unhealthy dramas, such as Bitch Bone, Clever Newspaper and Black and White Meeting, are all over the stage.
In the early 1940s, two Peking Opera classes, Shandong Fulian City and Tianjin Rongyushe, successively came to Shenyang to perform traditional operas, which were well received by the audience. But it didn't take long for them to lose the "box office" situation, and finally to attract audiences to make a living with the institutional scenery of Liantai local opera. Zhou Jiaban, presided over by Zhou Kaiting, came to Shenyang earlier than the above two classes. They have been performing in Shenyang for a long time, and occasionally they are active in the northeast, which has trained many talents for the cause of Beijing opera.
Painted Peking Opera "Erjinguan"
During this period, there were successors in Shenyang Peking Opera ticket number industry, and ticket number clubs were formed one after another: Shenshui National Theatre (also known as Shenshui Club) and National Drama Department of Concord Hall. The performing arts of Fan, Yuan and Feng Lingge have been widely praised. After the founding of New China, most of them went to the sea to join local professional theatrical troupes, and became the backbone of their business or engaged in teaching.
1945 After the victory of "93", Shenyang was under the rule of the Kuomintang. Social order is chaotic, prices are soaring, people are struggling, and the situation of opera artists is also very miserable. Cheng Yonglong, a famous actress, died of hunger and cold backstage at Zhongshan Grand Theatre (now Shenyang Grand Theatre). Some actors switched to small businesses, while others made a living by juggling or singing in teahouses. Later, the Kuomintang army accepted some Peking Opera artists and organized them into "Fourteen", "Sea Breeze" and "Revenge" troupes, which were under the jurisdiction of the army. In addition to performing for the army, they occasionally perform at the Zhongshan Grand Theatre and the * * * Post Stage.
In Beijing Opera Farewell My Concubine, Mei Lanfang plays Yu Ji and Yang Xiaolou plays Xiang Yu.
During this period, there were only more than 20 students in Fulian City, Shandong Province, who were incorporated into the "14th" Troupe, and Rongyushe was reorganized into the second branch of Siwei Drama School, and began to perform new historical dramas such as Jianghan Fishing Song and Ge Nenniang, which were popular.
At that time, there were many Beijing operas in Shenyang. Here are just a few plays that were performed earlier and caused repercussions. Biography of Opera Fans tells that Wu Yin, an opera fan, loves opera very much and imitates Beijing Opera in his daily life, which eventually leads to many thrilling stories. Although the play is a cartoon, the plot is incomplete, and it is generally handled flexibly according to the conditions of the actors. In the early 1920s, Zhang Chunshan played in Shenyang. Zhang Chunshan has a clear voice and excellent performance, which is very popular with the audience. The play was originally recorded and spread as an ugly act. Jiujiangkou tells the tortuous story of Chen Youliang, the northern Hanwang, marrying Zhang Shicheng, the king of Wu, and meeting to divide their forces to attack Zhu Yuanzhang in Jinling. The main actors Cheng Yonglong 19 12 performed in Shenyang, which was very popular. Gu Chenghui, also known as Chop Cai Yang, is a drama of the Three Kingdoms, and its theme comes from a solitary drama "A Thousand Miles Alone" in the Yuan and Ming Dynasties, the legend of the ancient city in the Ming Dynasty and the 28th chapter of the Romance of the Three Kingdoms. 19 19 Cheng Yonglong performed in Shenyang and was later adapted by Tang, which was innovative. There are sixteen plays in The Iron Rooster, and the first four are often performed. The theme originated from the story of the Taiping Heavenly Kingdom. The ruling class in the Qing Dynasty changed the biography of Hong Yang, which praised the peasant uprising, into The Iron Rooster, and Cheng Yonglong adapted it according to Tongzhou Bangzi. 19 12 was implemented in Shenyang. Cheng Yonglong performed the play and passed it on to his colleagues in Tianjin. Since then, the play has been staged in many places.