Ma Lianliang

Ma Lianliang

Ma Lianliang (February 28, 1901 - December 16, 1966), born in Beijing, is a famous Peking Opera artist. Member of China Democratic League. He is one of the representatives of Laosheng's profession, the founder of the "horse school" art, the first of the "four Xusheng" in Peking Opera, one of the three masters of Peking Opera in the period of the Republic of China, and the signboard figure of Fufeng society. Representative plays include "borrow Dongfeng", "Ganlu Temple", "qingfengting", "sijinshi", "lost empty chop" and so on. His father Ma Xiyuan was familiar with the famous Peking Opera actor Tan Xiaopei, and his third uncle Ma Kunshan sang opera in Shanghai. Influenced by his family, Ma Lianliang loved Peking Opera from childhood. At the age of 8, he joined Beijing xiliancheng science class, and at the age of 26, he organized his own class, which developed into a unique "horse school" performance style, which was popular from 1920s to 1960s. In the 20th century, he and Yu Shuyan, Gao Qingkui and Yan Jupeng were called the former "four great Xusheng"; when the latter three died, he and Tan Fuying, Xi Xiaobo and Yang Baosen were called the latter "four great Xusheng". In 1933, Ma Lianliang performed with Zhou Xinfang in Tianjin. Because of their superb skills and elegant demeanor, they were known as "South Qi and North Ma".

During the "Cultural Revolution" period in 1966, he was persecuted to death for starring in Hai Rui's dismissal.

Early experience

Ma Lianliang is as famous as Mei Lanfang as the most influential master of Peking Opera in the 20th century and the first of the famous "four Xusheng". The art of Ma school created by him has far-reaching influence and even transcends the boundaries of Peking Opera. He is a landmark representative of Peking Opera in China.

At the age of 8, he joined the Xi Liancheng (later changed to fuliancheng Society) class. He first learned martial arts from Ru Laiqing, then from ye Chunshan, Cai Ronggui and Xiao Changhua. A year later, he performed on the stage.

At the age of 11, he learned to play laodan, Chou and Xiaosheng at the same time, and sometimes played the role of Longtao.

At the age of 14, he began to play Lao Sheng. After changing his voice at the age of 15, he learned to reread the plays "Shen Pan Hong", "Shi Dao Ben", "Yan Zhi fold" and "Lei Zong Juan". He often watched Tan Xinpei's masterpieces such as lianyingzhai, Tianlei Bao, catching and releasing Cao, Nanyang pass and so on, and gained a lot from them.

At the age of 17, he graduated after ten years of art studies. He was invited to Fuzhou to play the leading role, and was named as Tan Pai Xusheng.

At the age of 18, he returned to the north and became famous. After going south to Fujian, he was eager to continue his further study and had been studying for more than three years. Every morning, I went to xibian door to shout and practice speaking. I went home to sing. I kept on smoking and drinking. I was strict with myself. Fu Liancheng's social science class performs every day. In order to learn from his predecessors' artistic achievements, he goes to the theatre in the evening.

He made his debut in Shanghai at the age of 21. At that time, the voice change had not yet been restored, and the voice was low, but it had been praised everywhere. Several records were made and became popular all over the world. During the performance of Fu Lian Cheng society, Wang Yaoqing often came to ask for advice in order to pursue the art of Tan school.

Ma Lianliang is not tired of studying art and is open-minded. After graduation, I am eager for art. He once paid homage to his predecessor Jia Honglin; he often watched famous actors; before and after choosing classes, he constantly asked Qian Jinfu, Wang Changlin, and Wang Yaoqing for advice; at the age of 30, he went to Tianjin to pay homage to the famous Sun Juxian as his teacher; at the age of 37, he learned from Zhang Baoxi and Gao Wenhan, the old artists of Shanxi Bangzi, about "changing the lantern shed" and "changing the official to kill the post" in the drama "spring and autumn pen". It shows that he keeps improving and is not arrogant and dissatisfied.

Art career

The arduous extensive collection and constant stage practice make his performing arts constantly improve.

At the age of 25, he began to organize, adapt and perform traditional plays. In 1927, when he was 26 years old, he chose a class to perform.

At the age of 26, he performed "dadengzhou", "baimangtai" and other dramas, which gave off innovative brilliance and was praised as unique by the audience.

Fufeng society was formed in 1930. In 1933, he and Zhou Xinfang performed together in Tianjin, with exquisite skills and elegant demeanor, known as "South Qi and North horse".

He performed in Wuhan in 1934. In 1936, for the reform of Peking Opera, a new theater (now Capital Cinema of West Chang'an Street in Beijing) was built.

In 1938, he was given the script of "anti Xuzhou" by Ding Guoxian, which was changed into "string of dragon balls" to show resistance to alien oppression and premiered in Xinxin theater. Fang intended to perform again and was ordered to stop by the puppet authorities.

In 1942, he was coerced by the Japanese puppets to perform in Manchuria, and Su Wu Yang Yang was also banned. Because of the oppression of the enemy and the puppets, Xinxin theater was forced to sell. After the victory of the Anti Japanese War, he took part in many benefit performances in Beiping.

In the spring of 1946, she went to Shanghai to perform for the children's Welfare Foundation sponsored by Soong Ching Ling. Later, he was falsely accused of performing in puppet Manchuria and returned to Beiping for sick leave.

In 1947, the scandal was cleared up and more than ten benefit performances were held in Peking. In the autumn of the same year, he went to Shanghai until the spring of 1948 and performed for four consecutive months.

In the winter of 1948, he went to perform in Hong Kong from Shanghai and stayed in Hong Kong due to illness.

On October 1, 1951, Ma Lianliang refused Taiwan's invitation because he was eager to return to the mainland as soon as possible. He secretly drove to Luohu (Hong Kong) and arrived in Guangzhou via Shenzhen. Then he went to Wuhan to perform with Zhang Junqiu in the Central South friendship Peking Opera Troupe, and then returned North.

On July 1, 1952, Premier Zhou Enlai received him. He loved the motherland and socialism, and resolutely returned to the mainland, which was praised by Zhou Enlai.

In August of the same year, Ma Lianliang troupe was established. First performed in Qingdao, then returned to Beijing before the end of the performance period, took the initiative to participate in the third delegation to North Korea, and performed "Si Jin Shi" and other dramas in North Korea. The next year, when he returned home, he took part in the celebration performance of the completion ceremony of the three major projects in Anshan. After returning to Beijing, he took part in a performance of condolence to the Chinese people's Liberation Army.

In 1955, Ma Lianliang's Beijing Opera Troupe, together with Tan Fuying and Qiu Shengrong's Beijing Opera Troupe No.2, was incorporated into Beijing Opera Troupe. Ma Lianliang was the head of the troupe. At the end of the next year, Zhang Junqiu's Beijing Opera Troupe No.3 was incorporated into Beijing Opera Troupe.

Since then, the troupe has performed the battle of Chibi in cooperation with Peking Opera House of China, Qin Xianglian, Zhao's orphan, Qingxia Danxue, battle of Guandu, Hai Rui's dismissal and number one media with Tan Fuying, Zhang Junqiu and Qiu Shengrong.

In 1961, Yanming Peking Opera Troupe, led by Zhao Yanxia, was incorporated into the troupe. He co starred with Zhao Yanxia in "sitting on the floor killing regret".

In 1962, he also served as the president of Beijing Academy of drama. In 1963, he performed in Hong Kong and Macao for nearly three months.

In 1964, at the age of 64, he took part in the modern play azalea mountain.

The next year, he sent out "letters from the South" to participate in the performance of modern drama in North China, and the acting drama "more than a year" appeared.

At the beginning of the cultural revolution, Ma Lianliang was persecuted for his performance Hai Rui dismissed from office and died on December 16, 1966.

Artistic achievements

Representative plays

Yangjiaoai, yaolishiqingji, Chunqiu Bi, Lintong mountain, chuanlongzhu, shilaoanliu, Ganlu temple, qunyinghui, jiedongfeng, qingguanzhuan, yipengxue, jiugengtian, sijinshi, Meilong Town, yubeiting, shidaoben, zuolou Shaxi, qingfengting, Sanniang jiaozi, SanZiJing, fenhewan, wujiapo, sangaojing Yuanhui, fan Zhongyu, baimangtai, huoniuzhen, yanzhibaoplea, burning Mianshan, Weishui River, zhuangyuanpu, jiaozongjuan, Shuoshu with broken arms, baoliandeng, zhulianzhai, tielianhua, dayansong, guangtaizhuang, Sangu Maolu, Famen Temple, dadengzhou, Nanyang pass, Dingjunshan, Yangping pass, suwu Yangyang pass, jiangxianghe 》"Hai Rui's dismissal", "Zhao's orphan", "ten old Anliu" and "cuckoo mountain" and "more than a year". Movie materials:

Segment of "San Jia Dian" in Shanghai Xuyuan hall movie

In the 1940s, Ma Lianliang made films in Hong Kong, such as "borrow the east wind", "kill the fisherman", "swim the dragon and play the Phoenix"

After 1950's, he made "the meeting of heroes by the east wind", "Qin Xianglian" and "by the east wind"

Calligraphy and painting works

1. Ma Lianliang's flowers and birds (Album)

2. Ma Lianliang's paintings

Personal story

To be falsely accused

In the autumn of 1942, Ma Lianliang was invited to perform in Fengtian (now Shenyang City, Liaoning Province) to raise funds for his father's friends to run a school for Hui people. After the victory of the Anti Japanese war in 1945, this volunteer work was blackmailed by the receiving officers of the Kuomintang, who saw that Ma Lianliang had some savings, so they tried to collect them. In order to convict Ma Lianliang of the traitor case, the materials of Ma Lianliang's performance in Fengtian in 1942 were changed into the performance mission of the North China Government Affairs Committee, which was the signboard of Ma Lianliang's Fufeng society's charity performance. The charity performance for the purpose of donating money to help students was described as the official mission of the North China Government Affairs Committee To celebrate the 10th anniversary of the founding of Manchukuo.

The truth of charity performance

Zhang Ziwen, a friend of Ma Xiyuan, Ma Lianliang's father, wanted to build a private Fengtian culture school (later changed into a Hui middle school). Ma Lianliang is a Hui nationality. With his father's relationship, he is duty bound to attend the performance in Fengtian to raise funds for the Fengtian cultural school organized by Zhang Ziwen. During the period of the Japanese puppet regime, due to the occupation of the three northeast provinces by the Japanese army, Ma Lianliang had to obtain the "exit permit" and "entry permit" to go out and enter the customs. It was not easy for Ma Lianliang to go out of the customs. As a result, Zhang Ziwen found Hamada, the head of the secret service of the Japanese Kwantung Army, to apply for an "exit permit". Hamada at first disagreed, but later proposed that Ma Lianliang should be the head of the delegation to form a cultural mission in North China to attend the 10th anniversary celebration of the founding of the people's Republic of China. Obviously, it was a conspiracy. Due to the lack of time, Zhang Ziwen agreed without much consideration at that time.

When the Japanese heard about Ma Lianliang's performance in Mukden, they were very happy. They immediately ordered Ma Lianliang to go to Xinjing before March 1 to participate in the performance commemorating the 10th anniversary of the "Manchukuo" in the name of the North China diplomatic corps. Ma Lianliang played patriotic drama of loyalty, filial piety and righteousness for half of his life, but at this time he had to go against his conscience to Japan

Chinese PinYin : Ma Lian Liang