Yu Sansheng

Yu Sansheng

Yu Sansheng, born in Jiuzihe Town, Luotian County, Hubei Province (1802-1866), is a famous veteran actor of Beijing opera. Yu Sansheng is good at many plays, such as Ding Junshan and Qin Qiong selling horses.

Profile

Yu Sansheng (1802-1866), formerly known as Kailong, was born in shangyuwan, qiniangshan village, Tiantangzhai, Luotian County, Hubei Province. He studied Han Opera at a young age, and then changed to Beijing opera. At the end of Jiaqing's reign in the Qing Dynasty, he went to Tianjin to join the "qunyaxian" box office. In the early years of Daoguang, he entered Beijing and became a member of "chuntaiban". In the middle period of Daoguang, he became famous in Liyuan and was one of the founders of "Peking Opera".

Yu is good at writing and ink, good at eloquence, good at both culture and martial arts, and full of innovation. In the process of the combination of Hui opera and Han Opera to form Peking Opera, we first combined the Han Opera and Hui opera, absorbed the singing characteristics of Kunqu Opera, and created PI Huang's aria; then combined xipi, Erhuang and Huaqiang to create Erhuang's antiphony. In the aspect of recitation, it combines the Basic Phonetics of handiao with those of Beijing and Huizhou. He is good at expressing people's thoughts and feelings by singing, and dissolves Qingyi tune into old students' singing, forming a unique style, which is imitated by later generations. There is a poem in Du men Za Yong: "the fashionable yellow tune is like shouting thunder. At that time, there was no medium for Kun Yi's words, but now it relies on Yu Sansheng and strives for Zhang Erkui as a young man.". Zhang Mingshan, the first clay sculptor in Tianjin, created a clay sculpture of Liu Bei in the Yellow Crane Tower by Yu Sansheng, which was respected as the "grandmaster" in Peking Opera circles.

Artistic experience

He was originally an actor at the end of Hubei Han Opera. In the early Qing Dynasty, he went to Beijing to sing in huiban. He changed to Laosheng. He led Chuntai troupe and joined guanghecheng troupe in 1863.

artistic characteristics

It was originally sung in Han Dynasty, and was one of the four Hui troupes in Qing Dynasty. He is fluent in writing and ink, eloquence is convenient, and he often innovates his own tune. His voice is mellow and beautiful. On the basis of the Han mischievous Huang and the Erhuang tune of Hui opera, he absorbed the artistic characteristics of Kunqu Opera and Qinqiang, and created a melodious and fluent Beijing opera. At that time, Yu Sansheng was famous for his "coloratura". The so-called coloratura is actually a melody rich singing. Yu Sansheng's creation of Peking Opera Aria lies in enriching the sound color of Peking opera singing and strengthening the melody of Peking opera aria. According to records, the anti Erhuang tunes in Peking Opera, such as the stele of Li Ling, the story of Wu pen and the story of Zhu Fu, are all created by Yu Sansheng. Yu Sansheng not only combined Hui opera and Han Opera into one, but also created a Beijing opera aria with rich melody and unique style. In terms of the pronunciation and tone of the stage language, he also combined the language characteristics of Han Opera with that of Beijing, creating a kind of pronunciation and tone that can make Beijing audience understand without losing the style characteristics of Beijing opera. Yu Sansheng's performance is also very delicate. He pays attention to depicting the feelings and expressions of the characters.

Artistic status

During the reign of Daoguang and Xianfeng, together with Cheng Changgeng and Zhang Erkui, they were called Laosheng Sanjie or Liyuan sandingjia. His son, Yu Ziyun, is one of the "Thirteen great actresses of Tongguang". His grandson Yu Shuyan is the founder of the "Yu school" of Peking Opera.

Representative plays

He is good at many plays, such as Dingjunshan, qinqiong selling horses, zhanfancheng, yuchangjian, beating drums and scolding Cao, sirang exploring his mother, shuangjinzhong, catching and releasing Cao, lilingbei, qionglinyan, zhuchenji, wupenji, qiyinghui, etc. Yu Sansheng is rich in plays, such as Shatuo, let Chengdu, Yangpingguan, conquering the eastern Wu, Baidi City, Panhe battle, Taipingqiao, empty city plan, jinshuiqiao, jinshataan, steal zongjuan, huangjintai, zhuangyuanpu, zaobaipao, zhuoshuayin, sangyuanhui, wucaiyu, nanyangguan, Huanghelou, etc It was imitated and sung by later generations.

significant contribution

establish

Anhui Opera

The basis of life

From the early Qing Dynasty to Daoguang, no matter Kun Opera, Beijing opera or Qin opera, the main repertoire is Dan opera. As far as Huabu opera is concerned, the titles of Yanlan Xiaopu are as follows: roast fire, selling cakes, Huagu, guaimor, little widow's grave, prodigal son's kicking ball, Aunt Wang's mending jar, sanyingji, arm sewing, dragon and snake array, fan Lihua's pillow, daotingmen, gunlou, jixingtai, Pan Jinlian's grape trellis, Damen's jealousy and fox's yearning for spring 》There are 24 dramas, such as farewell wife's spring, Princess Baihua, wedding ceremony in challenge arena, watching lamp, diaoxiao, beiwazi and daizaowang, almost all of which are Dan roles mainly based on performance. The first Sanqing Hui troupe to enter Beijing was led by Gao langting, a famous Dan actor. In zhuibaijiao, which was published during the reign of Emperor Qianlong, the popular operas of Huabu at that time, such as "buy Rouge", "Huagu", "move the yard to abduct his wife", "think of others", "leave the frontier", "visit relatives to scold each other", "pass the customs", "go to the street to connect the prime minister", "borrow the wife", "watch the lamp", "play Phoenix", "bid farewell to the wife", "block the horse" and "face jar", were all based on Dan roles.

However, since the Han Opera came to Beijing, the situation has gradually changed. There are more and more plays for male roles, especially for Laosheng. As a result, Hui opera has rapidly evolved from Dan actor to Yi Sheng actor. In the 25th year of Daoguang (1845), seven troupes, including Sanqing, Sixi, Hechun, Chuntai, Songzhu, Xinxing Jinyu and dajinghe, dominated Beijing Opera circles at that time. Except for dajinghe, who took Jingxing renhualian as the leader, there were six troupes, such as Cheng Changgeng of Sanqing, Yu Sansheng and li Liu of Chuntai, Zhang Erkui of Sixi, Wang Honggui of Hechun and Zhang Rulin of Songzhu (also known as "Zhang Rulin") Lin) and Xue Yinxuan of Xinxing Jinyu all acted as foremen. In dajinghe class, Mei Dong was also such a famous veteran actor at that time. There are more than 80 plays of the above seven classes in "a brief account of the capital gate", and more than half of them are mainly old students. They are more than 40 books, such as Famen Temple, Jiejian, wenzhaoguan, let Chengdu, Sanban, puqin, baimangtai, Dingjunshan, dangmace selling horse and shuangjinzhong. Yu Sansheng's performances are recorded in Dingjunshan (decorated with Huang Zhong), dangmace selling horse (decorated with Qin Qiong), zhanfancheng (decorated with Wu Yuan), yuchangjian (decorated with Wu Yuan), beating drums and scolding Cao (decorated with MI Heng), Tan mu (decorated with Yang Yanhui), shuangjinzhong (decorated with Li Guang), catching and releasing Cao (decorated with Chen Gong), touching stele (decorated with Yang linggong), and so on《 There are 13 kinds, such as qionglinyan (decorated with fan Zhongyu), yangyangjuan (decorated with Zhu Chundeng), wupenji (decorated with Liu Shichang), qiyinghui (decorated with King Zhuang of Chu). Among the six veteran foremen, Yu Sansheng is much better at Laosheng's plays than the other five. "Peking Opera" in Encyclopedia of China - volume of opera and quyi says: "in the later period of Daoguang, the atmosphere of Liyuan suddenly changed again As a result, the repertoire of the performances was changed to focus on Laosheng, and they all focused on both singing and acting, such as wenzhaoguan, let Chengdu, Famen Temple, caochuanjiejian, Sibang Tanmu, Dingjunshan, catching and releasing Cao, touching stele, qionglinyan, beating BRICs, zhanfancheng, beating fishermen and murderers, and so on. Most of these repertoires are still kept in Beijing opera. " Among the 12 plays listed in this paper, six are starred by Yu Sansheng or are good at acting. This shows that Yu Sansheng played the most important role in the change of Anhui opera from Dan role to Lao Sheng.

In terms of content, the appearance of the situation of students as the main body has improved the ability of drama stage to reflect life. From the artistic point of view, it shows that the tune and performance skills of Hui opera have been further improved and developed. The reasons for this change are various. First of all, the development of art has its own law, that is, it always goes from low-level to high-level, from naive to mature. Yu Sansheng and others are the practitioners who follow the law of art. Secondly, the intervention of rulers is one of the reasons. The Qianlong, Jiaqing and Daoguang dynasties repeatedly banned Bangzi and "Luantan". Although these plays have the flavor of life, fresh and lively, they are mainly Dan roles, and the content is often vulgar and frivolous. Laosheng drama is more solemn and serious. At that time, in the name of birthday and celebration, Gong yannei often called actors into the palace. The troupe had to pay attention to the innocuousness, so Laosheng opera was used to do it. Therefore, Laosheng opera took this opportunity to make great progress. Third, social life has changed. The formation of Peking Opera is in the period of China's transformation from a feudal society to a semi feudal and semi colonial society. At this time, the national and class contradictions are more acute than ever. The actors have to face this reality and reflect or allude to this kind of life. The Laosheng opera shows more important themes than children's feelings, which is more suitable to show this kind of real life. From the existing Peking Opera repertoire, Lao Sheng's plays mostly focus on major themes, but rarely on love. In fact, they are permeated with the actors' attention to the changes of the times, more or less patriotic feelings, and their longing for a new era and a new life. From this point of view, Yu Sansheng's innovation and creation not only conform to the law of artistic creation, but also conform to the requirements of the times and social progress.

Leather spring

The main reformers of tune

Han Opera, also known as handiao or chudiao, is the predecessor of today's Han Opera, mainly singing xipi and Erhuang. Han Opera also has a long history. Ye Diaoyuan, a native of Yuyao, Zhejiang Province, wrote a poem about the performance of Han Opera in Hankou during the reign of Daoguang. There are two of them

In the middle of the song, the antipoint is the most desolate, the most urgent is xipi slow Erhuang.

The sound must be round and bright, and the air must be long.

Xiao Jin's name is fragrant, his throat is like a Sheng, and his tongue is like a reed.

In the past 20 years, Hu Lang has been the one who has been successful in the past 20 years.

It can be seen from the above poem that Han tune was loved by Wuhan audience in Daoguang period, with strong artistic expression and actor skills

Chinese PinYin : Yu San Sheng