Jin Shaoshan

essential information

Life of the characters

When he was young, he learned from his father and worked with bronze hammers. At the same time, he learned martial arts tricks from Han Leqing, and learned a lot of opening plays such as Qingyang and Taihang Mountain from he Tonghai after he changed his position. He also learned some humorous plays such as Qinhuai River and Shuangsha River from Qu Zhaokui to meet the needs of taking classes. During this period, he acted with his father in Beijing's theatres. He was officially worshipped by dejunru, a singer of Xiaosheng. Because his father had a deep friendship with de, and the latter recommended him to the acting world as a regular actor, he became a "Daoist". Jin Shaoshan first appeared on the stage in baoshenghe class hosted by Yang Xiangcui, which starred Wu Sheng, Huang Yueshan and others. In 1911, he joined Shuangqing class. In 1914, he joined Hongqing and Yongqing classes to perform Yuejiazhuang with Mei Lanfang, Zhu Suyun and Xie Baoyun, jinmengguan with Wang Yaoqing, qinhuaihe with Cheng Jixian and Rong Diexian, shenassassin with Wei Jiufeng, bailiangguan, hongyangdong and mukezhai with his father. At that time, there were many famous actors in Beijing's Jutan. As a young young man like him, it was not easy for him to get the chance to show his talents. At that time, Jin Shaoshan was still a bright pearl in the earth.

When he was young, Jin Shaoshan learned drama from his father and performed with him. In 1912, he first went to Shanghai to perform on Xinxin stage. He came with his father, Tan xinpeinan. In the first performance on November 14, Tan Xinpei performed "lost · empty · cut", in which Jin Xiushan played Sima Yi and Jin Shaoshan played Ma su. At that time, Jin's father and son played weichi's father and son in bailiangguan, Meng Liang's and Jiao Zan's in Hongyang cave, both of which left a good talk in Peking Opera circles. Jin Shaoshan also received many biographies from his teacher he Guishan. In particular, his exquisite and generous facial makeup mainly imitates he Guishan.

After his father Xie Shihou, Jin Shaoshan could hardly stand on his own in Beijing, so he performed in Yantai and other places. As soon as his voice turned better, he arrived in Shanghai in 1922 and worked as a long-term troupe actor (acting as a supporting actor for foreign invited actors, commonly known as "Troupe" rather than "Troupe") successively in Dangui and other Taiwan and gongwutai. Here, he met many outstanding collaborators, such as Lin Shusen and Bai Yukun. Because of this opportunity, he learned and arranged a lot of new plays, which greatly enriched his belly and broadened the way of play. During this period, Liu Yongchun became one of his representative works. In the winter of 1922, Mei Lanfang was invited to Shanghai for a public performance. It is difficult to find a seat for the overlord in farewell my concubine. Just when he was in a dilemma, Wang Yaoqing just returned to Beijing from Shanghai, so he recommended Jin Shaoshan. Li Chunlin, the chief manager of Jin Shaoshan's play, told him how to supervise the rehearsal. Once on the stage, he reappeared the style of the overlord of the Western Chu Dynasty on the stage and made a sensation on the Shanghai beach. Since then, his reputation has grown. In 1937, he returned to Beijing and organized his own "song and Zhu society" to perform music. On February 14, he performed "lianhuantao" for the first time in Huale opera garden, which caused a huge sensation. This is a major event in the history of Beijing opera, which marks the development of Jingxing art into a new period. Assisted by famous actors such as Zhou Ruian, Zhang Rongkui, Chen Shaolin, Li Duokui, Jiang Miaoxiang and Wang Fushan, the pine and bamboo club has been going on for many years. And performed in cooperation with Mei Lanfang, Meng Xiaodong, Ma Lianliang, Tan Fuying, etc. In 1943, he went to Shanghai to play in the Queen's Grand Theater, but he couldn't take off the "Ke man" card for six months. Until his death, Jin Shaoshan was the chief of Jingxing and was famous in the whole country. He is known as "perfect and pure" for his outstanding skills. Because he has successfully shaped Xiang Yu's artistic image, he is also known as "golden overlord".

Acting experience

Jingxing Jin school appeared in the late Qing Dynasty and matured in the 1920s. It is one of the three major schools of modern Jingxing. It is further developed and created by Jin Xiushan and Jin Shaoshan's father and son, who are famous for their outstanding achievements and craftsmanship in singing and reciting.

Jingxing Peking Opera has made great progress since the Tongguang period of Qing Dynasty. He Guishan and Mu Fengshan have made different rules and innovations in the singing and performance of bronze hammers and scaffolds. They have formed the he (Guishan) School of Huang zhongdalu and the plain and unsophisticated he (Guishan) school and the mu (Fengshan) School of euphemism, fluency and flexibility. At the end of the Qing Dynasty, Jin Xiushan, a disciple of he Guishan, had both the advantages of the two schools. The singer mainly absorbed the nasal sound and part of the beautiful tune of Mu school, retained he's powerful and simple, eliminated Mu's vulgar flower tip, and made his singing have the characteristics of mellow and mellow, more powerful and solemn charm. In the aspect of recitation, he Guishan's style is retained, especially in Jingbai. Jin Xiushan is good at performing eunuch drama and Shuai drama. He can outline the different identities and personalities of the characters in the drama with different singing, recitation and footwork. In his later years, his singing became more refined, and his performance also emphasized dignified and dignified. His style tended to be implicit and sophisticated. The representative plays include ciwangliao, caoqiaoguan, Muhuguan, kongchengji (SIMA Yi), mukezhai, yuguoyuan, bailiangguan, feihushan, shoujiangwei, erjingong, gaopingguan and eunuch plays Famen Temple, zhongxiaoquan, huangjintai, etc. Shaoshan, his third son, completed and perfected the art of the Jin school.

Jin Shaoshan has excellent natural conditions. His voice is more loud than Jin Xiushan's. He not only sounds like a big bell, but also has a wide range of voice. Every time he sings, he has the idea of flowing out of the gorge, waterfall and cliff. Shaoshan's singing method was passed down by his father and directly inherited the grandeur of he Guishan. He made full use of his voice, not only to maximize the essence of he and Jin, but also to enrich and perfect it. For example, "caoqiaoguan" and other dramas, when they come on stage to make a big introduction, and "lianhuantao" when they come on stage to sing, they often sing with the octave turned high, with the sound over the sea flute and keeping the sound full and mellow. In Da Hui Chao and other dramas, according to what school, they sing suona Er Huang, which is powerful throughout the audience. The sound of the opera shakes four seats, and the tail cavity can still be turned up again. Every time he Pai's flat singing method is used in the aria, the melody is extremely simple, and it can still convey the characters' feelings of resentment and resentment with great boldness. The flowing water board and Allegro are mostly sung according to Jin Xiushan's singing style. They are simple and fresh, and do not drag mud and water. Jin Shaoshan's recitation skill is profound, and his pronunciation is also mellow and tasteful. The rhyme is white and strong, and the Jingbai is sweet and crisp. When Jingbai and Yunbai are mixed together, the transition is natural. Some plays, such as Da Yan Song, also use voice changing skills, which is more excellent.

Jin Shaoshan's craftsmanship has a great breakthrough compared with Jin Xiushan's. He creates characters with large-scale body movements, vivid facial expressions and fierce eyes, combined with footwork or with the help of props (flag, whip, etc.), and is best at depicting fierce, honest and funny characters, such as Qin can, Sima Shi, Yao Qi, Li Kui, Zhang Fei, etc. His facial makeup is simple and natural, vivid, coupled with a great body, which is quite powerful and simple. Jin Shaoshan has a wide range of operas. He often performs Bao Zheng's operas, such as tanyinshan, qimeian, dalongpao, Suo Wulong, duanmijian, Qu Luoyang, Huang Yidao, Taihang Mountain, dragon and tiger fight, Wutai Mountain, Qu Xingyang, Huanghelou, xiahedong, qingfengzhai, Dingjiashan, naojiangzhou, Da Yansong, Qingyang painting, Li qichangting, and Gu'an Cheng Hui (Zhang Fei) and so on, are very brilliant. In addition, Jingxing plays Xiang Yu in farewell my concubine, which starts from Jin Shaoshan and has a unique style in addition to the overlord image created by Yang Xiaolou. Because of the high voice requirements, there are not many successors who can fully inherit their art. Their disciples include Zhao Bingxiao and Wu Songyan. Wang quankui and Lou zhenkui also learn their art.

artistic characteristics

Singing

As a Hualian actor, Jin Shaoshan has unique conditions. Weng Chuang Hong, his former friend and dramatist, once said: "some people praise Jin Shaoshan for his high voice over he Guishan. Huang Runfu is not as refined as his works. He is bigger than Li Shoushan in stature and more skillful in martial arts than qingchunpu. These four are all the great masters of pure travel. They say that Jin Shaoshan is worthy of the beauty of all the families. " Shang He Yu, the elder of Wu Sheng, once said with admiration: "Jin Shaoshan's big face is really a rare talent. It's unprecedented!" Jin Shaoshan is indeed a talented and comprehensive person. His voice is so loud that it is deafening. High, medium, low, wide, thick, bright, all available. He also has his own characteristics in the use of nasal sounds. The head cavity, chest cavity and nasal cavity resonate skillfully and harmoniously without dull and monotonous feeling. Such as tiger sound, rifling sound, standing sound and explosive sound, they are all available and can be used at will. Jin Shaoshan's singing is simple and unadorned. It seems to be plain, but in fact it is steep and thick, showing momentum in the smooth nature. He is the most skillful singer. He can control his words, breath and size freely, fast but not disorderly. He is fluent and clear, and his words are in the ear. For example, Shan xiongxin denounces Li Shimin, Xu MaoGong and Luo Cheng in Suo wu long; Li Mi and Wang bodang's counterparts in Duan Mi Jian are representative. In the singing, he is good at learning and absorbing some singing methods from other lines to enrich the Hualian singing, which is appropriate, ingenious and traceless. On the basis of inheriting Jin Xiushan's and he Guishan's singing methods, his singing has developed into a whole.

Recitation

Chinese PinYin : Jin Shao Shan