Yang Zhenxiong

Yang Zhenxiong

Yang Zhenxiong (1920.4-1998.8), Suzhou Tanci actor, was born in Suzhou, Jiangsu Province. Member of China Democratic League. The eldest son of Yang binkui. At the age of 9, he studied Dahongpao and portraying Jinfeng with his father. At the age of 11, he performed on the stage. At the age of 14, he sang on the radio. After 1944, he performed in Jiangsu and Zhejiang. He fell back for a while, and his voice turned bright after recovery. During the period, he devoted himself to adapting the Qing legend "Changsheng Palace" into Tanci and learning from Kunqu Opera in performance to form a unique style. He entered Shanghai in 1948 and became famous with the palace of eternal life.

Life of the characters

Yang Zhenxiong was 9 years old. After finishing his first grade, because of his poor family, he studied arts with his father and went on stage to sing the opening story.

At the age of 14, he was led by his father Yang binkui to become an artist in Suzhou Guangyu society.

In order to get more exercise, also in order to let the younger brother can learn with his father. At the age of 19, he left his father to run alone to a small town in Jiangsu and Zhejiang. During the six years, he contracted tuberculosis due to overwork and malnutrition, and soon he lost his voice again. Poor and sick, he took advantage of this opportunity to study hard and study in the library every day.

Suffering from the Japanese invasion, he was very interested in Tang culture, so he pinned his patriotic enthusiasm on the change of Changsheng palace. Based on his father's taizhenzhuan and Hong Sheng's Changsheng palace, he spent four years to complete the first draft script of Changsheng palace.

In the 1940s, she met Fei Yiwei (Shen Yuezhen), a confidant of beauty. Later, she cooperated with her to adapt the story of Wu Song in Shuihu to Tanci Wu Song. In 57, they cooperated to adapt the middle Tanci Wang Zuo's broken arm. In 61, they cooperated to compile the Tanci Xixiangji. She also participated in the text processing of Changsheng palace.

After that, Yang Zhenxiong performed "Changsheng Palace" in Shanghai xinxianlin bookstore, which was appreciated by Xu Lingyun, a famous Kunqu opera singer, Yu Zhenfei, who introduced Mei Lanfang, and Gai called Tiandeng artists to listen to the book. He was able to communicate with the masters and improve his calligraphy. In 1948, he performed in Cangzhou bookstore, and was broadcast live on amelin radio station. "Hall of eternal life" was popular in the south of the Yangtze River.

Around 1948, when he was playing and singing "changshengdian. Burying jade", he melted Kunqu tune into "xiadiao", forming a "yangdiao" tune with strong Kunqu flavor, which was strong and straight, vigorous and depressing, tightly playing and singing, combining real and fake voices.

In 1949, he cooperated with Fei Yiwei (Shen Yuezhen) to adapt the story of Wusong in Shuihu into Tanci Wusong, and he looked like Gai jiaotian who had "living Wusong" with an open mind. Gai jiaotian also listened to his two month work Wusong without missing, and gave a high evaluation.

In 1953, he took Huang Yi'an as his teacher, learned to write the romance of the Western chamber and reorganized it.

In 1954, he joined the Shanghai Pingtan troupe with his father and younger brother, playing and singing "Romance of the West Chamber", "Wusong" and "palace of eternal life" with his younger brother, which became popular in Jiangnan. During the production of Wusong, he developed the personality of "Haiqu" and "chendiao". When playing and singing the romance of the Western chamber, he also put himself into thinking about the "Yu tune", forming the "Yang School Yu tune" with his own characteristics.

In 1961, he performed in Beijing with his younger brother, and was praised by people's daily and quyi magazine. The first record of "Gongyuan" was awarded the "golden Record Award". In 1962, he went to Hong Kong to perform and was warmly welcomed.

When Wen Ge was in turmoil, he was listed as one of the "top ten ghosts of Shanghai Pingtan Troupe" and hit in the cowshed. He burned the script of the palace of eternal life, which he had exhausted all his life, making him want to cry without tears.

After the cultural revolution, he regained his power and recorded many Tanci videos. The romance of the Western chamber was also sent to Zhongnanhai for Chen yunlao's appreciation. With astonishing perseverance, he sorted out millions of words in the script of the palace of eternal life, which was burned in the cultural revolution, leading to cerebral infarction, small stroke, and then oral cancer.

In 1996, he took part in the performance of his brother's 60th anniversary as an artist and rehearsed "changshengdian. Xuge". Due to stroke, Sanxian was played by others. A "farewell, reunion, more beautiful" applause thunderous. This is also his last performance.

In 1998, Changsheng palace was finally published, and soon Yang Zhenxiong took his Changsheng palace to the West. A generation of famous artists completed their life course of 78 years old.

In 1949, he cooperated with Fei Yiwei. According to the story of Wu Song in Water Margin, he compiled it into Wu Song. In the performance, the art of storytelling and characters developed. In 1953, he learned from Huang Yi'an the long Tanci "Romance of the Western Chamber" and put it together with Huang Yi'an, which enriched and improved the bibliography and calligraphy. In 1954, he joined the Shanghai People's Pingtan Troupe (now Shanghai Pingtan Troupe) and sang Wusong and Xixiangji with his younger brother Yang Zhenyan. He also took part in the middle part of "tiger hunting", "shentanzi", "butterfly dream" and the selected back part of "changing prison to save brother", "Xuge competing for favor", "Xianyang offering rice" and "beating stick out of box". After 1958, he edited and performed the middle volume of Wang Zuo's broken arm (adapted in cooperation with Fei Yiwei), the short volume of heroes on the Xin'an River, the long volume of railway guerrillas, Dr. Bethune, and the middle volume of Qingwen. He toured Wuhan, Xi'an, Chengdu and other places in 1959 and visited the historical sites of the palace of eternal life; toured Beijing, Tianjin and Guangdong in the spring of 1961; and performed in Hong Kong in the summer of 1962. After 1976, he took part in the performances of "unjust case", "Dan Xin Pu" and so on. It's elegant, sophisticated and full of passion. The characters were taught by Yu Zhenfei and Xu Lingyun, and the Kunqu performance program was integrated into the Tanci, which was vivid and delicate. Characters such as Zhang Sheng, Ying Ying, Emperor Ming of Tang Dynasty, Li Taibai, Lu Wenlong, Wu Song, etc. are natural and unrestrained; others such as Ximen Qing, Wu Dalang, FA Cong, and Gao Lishi are also distinctive. The performance pays attention to the hands and body, and the fan skill is also accomplished. The modern bibliography of the performance has made a breakthrough in both expression and character. It depicts the old intellectuals, railway workers and Bethune. In his early years, playing and singing was mainly based on "Yu Diao", with a profound foundation. When singing the romance of the west chamber, he developed the "Yu tune" in combination with the character and emotion of the characters, which is euphemistic and emotional, and has a personal style. It is called "Yang Pai Yu Diao". On the basis of "Xia Diao", Yang Diao (also known as "long Diao" by Yang Xiaoming, a long Diao ") developed and formed a school of singing, which was characterized by intense and deep. His representative works include "hearing the bell in the sword Pavilion", "Zhaojun leaving the fortress" and so on. Have certain writing ability. In 1961, he cooperated with Fei Yiwei to compile the performance edition of Tanci "Romance of the West Chamber", which was published by Shanghai Literature and Art Publishing House in 1983. In the late 1980s, Chang Sheng Dian was sorted out as a reading book. He won the second golden Record Award of China in 1992. He zhanchun (Chinese Pingtan theorist) has a friendship for decades.

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Yang Zhenxiong

Male, born in June 1941 in Jiujiang City, Jiangxi Province. Professor of Jiangxi Jiujiang teachers college. He graduated from the Chinese Department of Jiangxi Normal University in July 1962. He is now the Secretary of the Party branch of the Chinese Department of Jiujiang Teachers College, the executive director of the national writing teaching research center of China writing society, and the vice president of Jiangxi writing society. He has been engaged in the teaching of writing, applied writing, introduction to aesthetics, secretarial science and other courses in Colleges and universities for a long time, as well as teaching management. He once served as the deputy director and director of the Academic Affairs Office of Jiujiang Teachers College and the head of the Chinese department. He has published monograph collection of essays (China United industry and Commerce Press), textbook 35 years of college entrance examination composition (associate editor, China United industry and Commerce Press), writing course (associate editor, Jiangxi University Press), writing (editorial board member, East China Normal University Press), practical writing in China (editorial board member, Liaoning People's Publishing House), etc. He published more than 200000 words of research papers on works and creative psychology of contemporary prose writers.

Inscription by Chen Yun

On January 5, 1988, Comrade Chen Yun wrote to he zhanchun and sent four banners to Wu Zongxi, he zhanchun and Yang Zhenxiong. Two banners were given to Yang Zhenxiong, one is Zhang Ji's "Night Mooring on the maple bridge": "the moon is setting, the crow is crowing, the frost is all over the sky, and the river maple is fishing and the fire is sleeping. Hanshan Temple outside the city of Gusu, the bell rings at midnight to the passenger ship. " One is Li Bai's "song of the moon on Mount Emei": "the moon on Mount Emei turns in autumn, and the shadow flows into the pingqiang river. At night, the clear stream flows to the Three Gorges, but I miss you and don't see Yuzhou. " He said: Yang Zhenxiong drew a fan for me in 1962, which is a reward. After listening to more than 50 recordings of the romance of the Western chamber, Yang Zhenxiong's calligraphy is excellent.

Art evaluation

1. Yang Zhenxiong

Among the contemporary Pingtan artists, Yang Zhenxiong is the only one who really promotes Pingtan as a performing art. Among the artists of the same period, it is difficult to find anyone who can be close to Yang Zhenxiong's performance style. His investment in the performance process is also higher than that of other artists. Listening to Yang Zhenxiong's books gives me the feeling that I enjoy the comprehensive charm of Kun Opera, Peking Opera and Pingtan at the same time. I want to combine these three arts It's easy to talk about long melting as a whole, and he's the only one who really does it

Let's talk and sing first. His yangdiao is developed on the basis of Xia Hesheng's xiadiao. Because Yang Zhenxiong pays attention to the expression of characters' personality when playing and singing, he uses high and low voice, pause and long voice sometimes, and uses full charm at the end of each sentence, which makes each sentence slow. Therefore, he uses fast and powerful playing in the accompaniment of Sanxian to resolve the slow singing, and plays tight and slow singing The use of Yang Zhenxiong's small voice is unparalleled, and his Yu tune skill is particularly profound, during which the voice conversion can be said to be seamless. I prefer male singing Yu tune, because the voice converted from the true voice to the false voice in the middle can't be sung by female singing Yu tune. Yang Zhenxiong's small voice performs the best when he sings Yu tune, which is only the beginning of the song The word "Gong" shows that the outlet is extraordinary, and the sound is not floating on the ground, bright and beautiful

Chinese PinYin : Yang Zhen Xiong