Yang Baosen

essential information

Character experience

On October 9, 1909, Yang Baosen was born in a pear garden family in Beijing. In 1915, at the age of 6, Yang Baosen was tutored by his mother, Wang's family, and then went to a private school. In 1917, he began to learn martial arts with his father Yang Xiaofang, and then with Mingjing Qiu Guixian to practice blanket skills. At the same time, he also learned Peking Opera wenzhaoguan from Chen Xiuhua.

In 1920, under the introduction of Mengshi Qiu Guixian, Yang Baosen joined the binqing social science class run by Wu Sheng Yu Zhenting. In 1922, when Yang Baosen was studying in binqing social science class, he was taught Tan opera by Chen Xiuhua, a teacher. He made great progress in performing while learning. His first public performance was singing Beijing Opera "cinnabar mole" in the auspicious opera garden. During his stay in binqing society, he also performed such plays as shangtiantai, duanmijian and nanyangguan.

In May 1924, he went south to Shanghai for the first time to perform on the new stage. He performed 28 different plays in March, including Dingjunshan, fenhewan, youlongxifeng, Sibang Tanmu and so on. In 1925, Yang Baosen's voice was extremely tired because he played in Shanghai for three months. Soon after he returned to Beijing, he lost his position and even couldn't say a word. He had to stop playing and continue to study.

In 1929, after five years of falling out of business, Yang Baosen's voice gradually recovered, but it was still not ideal. With the support of his friends, he hired Hu Qin player Sun zuochen to play the piano. He recorded four records such as "Seven Star lantern" and "Ma'anshan" in beikai company, and then produced ten records such as "pick Ying club" and "zhanwancheng" in Greater China company. In April of the same year, he took Zhang Yeyun class and went to heaven for the first time Tianjin performance, hang two cards. From April 5 to May 25, 1933, Peking Opera such as "beating the BRICs" was performed on Tianchan stage in Shanghai for 50 days, with the cooperation of Zhang Yanqing, Jin Shaoshan, Chen Hefeng, etc. In 1934, he formally took a class in Beijing to perform; in February, he took part in Xun Huisheng's class, went to Shanghai to perform on Tianchan stage, and made 4 records of "going to the roof" in Baota company, including 18 in total.

In 1935, at the invitation of Wu suqiu, he performed a cooperative performance in Beijing, including a dream of Li Zhu, etc. In May 1936, he went to Tianjin with Lu Sujuan to perform in Cathay Grand Theater; in November, he went to Jinan with Mei Lanfang to perform in Jinde Huijing theater. In February 1937, at the invitation of Jin Shaoshan, he performed in Huale opera garden in Beijing. In 1938, with Nanjing Cheng Pai famous ticket Gao Hua, he made a record of "sangyuan Hui" in Bai Dai company, including three pieces, played by Li qiujue and Geng Shaofeng.

In February 1932, he went to the Grand Theater in Shanghai. The performance lasted for nearly three months, and attracted a lot of attention in cooperation with Peking opera group "Yanmenguan"; in September, he went south to Shanghai with song Dezhu and performed in the Golden Grand Theater, holding the second card; in November, he joined Wang Yurong's class to perform in Shanghai, and the performance lasted for one and a half months. In 1940, after returning to Beijing from Shanghai, Baohua society of the group class became the number one. He first performed in Guangde building in Beijing, and received attention with the call of Peking Opera "lost empty chop" and "Hongyang cave". Later, he led Zhang Lijun, Wang quankui and others to tour Qingdao, Tianjin and northeast Fengtian (Shenyang).

In April 1941, he staged a new rehearsal "pick Ying Hui" in Beijing. In September, he participated in "Qiusheng society" at the invitation of Cheng Yanqiu troupe and performed with Cheng Yanqiu. In October, he went to Shanghai with Cheng Yanqiu troupe and performed in Golden Grand Theater for one and a half months. He cooperated with Yang Baozhong to perform "red bristle horse" and "exploring mother of Si Lang". In the same year, he was planned by Yang Baozhong and Li Huating, The Baohua club, which was founded by the Chinese opera "Si Lang Tan Mu", was starred by Yang Baosen. However, due to the low attention of Dan actors and main actors, there were only more than 100 audience members, who were not popular.

In 1942, sponsored by Li Huating, Baohua society invited Hou Yulan, ye Shenglan, Li Duokui, Ru Fuhui, ha Baoshan and other actors to participate in the play. The play is still "Si Lang Tan Mu". After the performance, it was watched by many audiences, and Yang Baosen was selected as one of the "four Xusheng". In November of the same year, Baohua society went to Shanghai to perform on Tianchan stage with Zheng bingru for one and a half months.

In January 1943, he performed Beijing Opera Wu Zixu for the first time in Shanghai. In July, he organized a class in Beijing called Ruiyi society and went to Tianjin to perform in China's Grand Theater. His plays included lost sky chop, Sibang exploring his mother, scolding Cao and Hongyang cave. In August, he went south again to Shanghai to perform in Golden Grand Theater, cooperating with Li Yuru and Zhang Yeyun.

In January 1944, he went to Tianjin to perform the Peking Opera "Wu Zixu"; in April, he went to Shanghai to perform in the Golden Grand Theater, with the number one collaborators including Li Yuzhi, Jiang Miaoxiang, Liang Huichao, Wang quankui, etc. the repertoire includes "Wu Zixu", "heishuiguo" and "Da Mian Gang".

In 1946, at the invitation of the preparatory foundation of Qingdao Hui people's organization, Zhang eryun, Li Duokui, Liang Huichao and others performed in Qingdao Yong'an Grand Theater; on October 31, they performed in Shanghai Tianchan stage in the grand Beijing Opera show of Shanghai famous actors, with the repertoire of "double good luck" and others, on the same stage with Mei Lanfang, Zhou Xinfang, Yan Huizhu and others; in November, they performed in Shanghai China Grand Theater with Mei Lanfang troupe Although it's plum saber, sometimes it's ranked side by side, and it's double top.

In January 1947, he continued to perform with Mei Lanfang in Shanghai China Grand Theater; on January 13, he performed with Mei Lanfang in Tianchan stage "yubeiting"; on January 15, he performed with Cheng Yanqiu in "zhusheji"; in September, he performed in Shanghai China Grand Theater for Du Yuesheng's 60th birthday in "Famen Temple", with Zhang Junqiu, Qiu Shengrong, furongcao, etc.; in October, he performed in the second stage He took part in Mei Opera Troupe for the first time and performed on Tianchan stage in Shanghai.

In April 1948, he took part in Mei Lanfang's third performance in Shanghai Tianchan stage for 50 days. In August 1949, he cooperated with Shang Xiaoyun to perform in Tianjin. From July to August 1950, he went to Hong Kong to perform on the Yuli stage and cooperated with Ma Lianliang and Zhang Junqiu. In November 1951, Yang Baosen troupe performed in China Grand Theater in Shanghai for 40 days. From December 24 to 25, Yang Baosen troupe cooperated with Zhou Xinfang to perform Beijing Opera "searching for and rescuing the orphans" for the purpose of resisting US aggression and aiding Korea on Tianchan stage in Shanghai.

In March 1953, Yang Baosen troupe performed in Nanjing Zhonghua theater; in September, Yang Baosen troupe transferred from Shandong to Shanghai to perform on the people's stage, premiering the Peking Opera Qin Qiong. In May 1954, he performed in Shanghai Hongdu theater for 40 days, 45 times in total, but his attendance was poor. In June 1955, Yang Baosen led Baohua Peking Opera Troupe to Shanghai to perform on the people's stage with Yang Baozhong, hang Zi and his accompaniment; on July 15, he performed Peking Opera Dingjunshan and Yangpingguan for the last time in Shanghai.

In March 1956, after the founding of Tianjin Peking Opera Troupe, Yang Baosen was invited to join the troupe, and all the more than 70 people from Baohua society, including handyman, were recruited into the troupe, with Yang Baosen and Li Huiliang as the head of the troupe. In June, the troupe held a three-day performance, and then went to Beijing, Wuhan, Shanghai and other places to perform.

In February 1957, Tianjin Peking Opera Troupe returned from Shanghai to perform in Tianjin. Yang Baosen performed the last Peking Opera "strange injustice" in Tianjin. In the same year, due to the conflict between Yang Baosen and Li Huiliang, Tianjin Peking Opera Troupe was divided into two groups, and Yang Baosen led a troupe to tour Shandong. On July 7, Yang Baosen asked his superior to withdraw from the troupe for a long-term rest, and was allowed to leave Tianjin and return to Beijing for recuperation. In November, he co recorded wujiapo with Cheng Yanqiu in Beijing.

On January 28, 1958, Yang Baosen absorbed other singers and recorded the last version of Beijing Opera wenzhaoguan in China record company. On February 8, Yang Baosen began to catch a cold. On the afternoon of February 9, he began to have a high fever. At 2 a.m. on February 10, Yang Baosen died of acute pneumonia caused by high fever. He was 49 years old. On February 17, the literary and art circles in the capital held a public memorial ceremony for Yang Baosen. Mei Lanfang, Ma Shaobo and others were members of the funeral Committee. The ashes were placed in Beijing's Futian cemetery.

Personal life

family

Yang Baosen's grandfather, Yang Guiyun, was a Peking Opera actor of the same age as Tan Xinpei. He was a Huadan of the "four Xi class". His eldest son, Yang Xiaoting, also played Huadan; his second son, Yang Xiaofang, was good at wusheng and worked as a bronze hammer face. Yang Baosen is the eldest son of Yang Xiaofang. His uncle Yang Baozhong (the son of Yang Xiaoting) used to be a Peking Opera actor and later became a zither player.

marriage

In 1931, Yang Baosen married Zhao Xiazhang, the daughter of traditional Chinese medicine in Changzhou. In 1939, because his wife Zhao Xiazhang had been married for eight years and had not given birth, the couple adopted a daughter in Beijing, named Yang Wenhui and Xiao Ling. In 1953, his wife Zhao Xiazhang died of illness.

In 1954, Yang Baosen married Xie Hongwen, a Peking Opera actor. They had a son named Yang min.

Heirs

Yang Baosen's descendants include Cheng Zhengtai, Ma Changli, Liang Qingyun, Wang Zhenghua, Wu Zhenghao, Zhu Yunpeng, etc.

Main works

Representative plays

Record works

artistic characteristics

sound

Yang Baosen's voice is broad, mellow and vigorous, with strong charm. Although not good at treble, but in the bass tone is very thick, very loud. Yang Baosen tried to achieve the artistic effect that Yu Shuyan had achieved according to his voice conditions. Because of the limitation of the high pitch, he was not easy to produce the "standing tone" like Yu Pai, but he used various technical means, but in the middle and low part of the gyration, produced a new strong effect, and gradually formed the style of Yang Pai. His singing is full of flexibility and toughness, and he is good at controlling the sound reception and playback. Therefore, his voice is wide, thick, loud but not bulky, and he can sing some delicate tunes quite flexibly.

cavity

Yang Baosen's singing style is tortuous and profound. For a tragic atmosphere of singing, of course, especially good at, and some Huan

Chinese PinYin : Yang Bao Sen