Qiu Shengrong

essential information

Qiu's Peking Opera

My father is Mingjing

Qiu Guixian

It is a well-known bronze hammer face in the late Qing Dynasty and the early Republic of China. It pays attention to the singing method, full and powerful enunciation, and meticulous pronunciation. It is also a well-known master of Jinghu. He once played piano for Tan Xinpei and his son for many years.

Mr. Qiu's brother

Qiu Shirong

Since childhood, he was influenced by his father and elder brother. With the careful cultivation of old gentlemen and the help of Qiu Shengrong, he has made rapid progress. He can not only sing the bronze hammer Hualian opera, but also perform the shelf Hualian opera. He is the leading Hualian in the "world" class. The frequently performed plays include "dragon and Phoenix Pavilion", "caoqiaoguan", "Suo Wulong", "evil tiger village" and "battle of Wancheng". His singing, reading, acting, appearance and demeanor are similar to his brother, but his voice is slightly inferior to that of Sheng Rong. Together with his father and brother, he is known as the "three heroes of qiumen". After liberation, he worked in Yunnan Peking Opera Troupe for a long time and has now passed away.

Qiu Ming, the eldest son of Qiu Shengrong

Later, he changed his name to Qiu Shaorong. He graduated from the Chinese opera school and studied with sun Shengwen and other teachers. His stage image and voice are similar to his father's. He once cooperated with Tan Yuanshou, Wang Yumin and other famous artists in such dramas as "missing the sky" and "beating the Dragon Robe". In the activity of "commemorating the 80th anniversary of Qiu Shengrong's birth", he took part in the performance with illness and was highly praised. In 1996, he died of lung cancer in Beijing at the age of 39.

Son of Shaorong

Qiu Jirong

Gong tongchui Hualian, graduated from Beijing opera school, is often active in Beijing opera stage.

Qiu Shengrong's eldest daughter

Qiu Hong

He worked as a teacher in Beijing opera academy.

Qiu Shengrong five girls

Rhyme of Qiu Yun's stepfather

He has loved Peking Opera since he was a child. In recent years, he often appeared as a fan of the ticket industry. He is active in today's ticket industry and is well received.

Artistic experience

Qiu Shengrong began to learn drama from his father at the age of eight. His father's strict requirements laid a solid foundation for his later artistic development. At the age of 12, he learned more than 20 plays. When he entered fuliancheng class, he was supposed to take the turn of "Shi". Because he took art into the class, he was promoted to a higher level and arranged according to "Sheng". In Koli, taught by Xiao Changhua, sun Shengwen and Wang Lian, his art was more advanced, and soon many audiences liked his plays. At that time, according to the rules of drama in the class, the main axis was martial arts drama, and the second was Shengdan drama. His plays such as "exploring Yinshan" often made an exception at the end.

After his graduation in 1933, he took a group to perform under the doors of Yang Xiaolou and Jin Shaoshan. He also performed on the same stage with four famous Dan, four Xusheng, master Meng Xiaodong, Zhou Xinfang, Gai jiaotian, and four famous Dan, ye Shengzhang, ye Shenglan, Li Shaochun, Gao Jinglin, Li Yuru, and Yan Huizhu. During this period, he once collapsed, and his father's death made him depressed. He worked as a team member in Tianchan, Huangjin and other theatres in Shanghai. Despite this, his talent and attainments are still appreciated by people inside and outside the industry and the audience. In the mid-1940s, Jin Shaoshan performed in Shanghai and invited him to cooperate with caoqiaoguan, ciwangliao and bailiangguan. Jin Shaoshan encouraged him to "work hard and have a bright future" and made a record of true and false Li Kui with him. During this period, he also worked with Zhou Xinfang for a long time to draw artistic nutrition from the performance of Qi school and enrich his Hualian performance skills.

In 1947, Qiu Shengrong founded the "Rong society", which premiered in Beijing Sanqing theater. The first two books of "caoqiaoguan" were renamed "Yao Qi". Although it is an old play, he has made a new treatment in singing, reading and acting. During the performance, the audience's colorful voice continued and achieved complete success. Since then, the "Rong society" often performed in Beijing and Tianjin such as "qimeian", "zhanwancheng", "dalongpao", "lianhuantao", "Muhuguan" and "datianer", and reformed "Yaoqi" for many times to become Qiu Shengrong's most representative high-quality play.

After the founding of new China, the art of Qiu school was carried forward under the guidance of the party's policy of "a hundred schools of thought contend and a hundred flowers blossom". He used to say: "without the Communist Party, I would not be Qiu Shengrong today.". After liberation, Qiu Shengrong and Tan Fuying jointly set up the "Taiping Peking Opera Society" (later renamed as the second Beijing Opera Troupe), and they played the leading roles in the new plays "Jiang Xianghe", "Zhengqi song" and "Chusan Hui". In 1953, he went to Korea to express his sympathy and performed in Hong Kong in 1955. In the mid-1950s, Qiu Shengrong's performing art reached its peak.

In order to unite with the powerful, he ran among Ma Lianliang, Tan Fuying, Zhang Junqiu, Zhao Yanxia and other artists, and actively promoted the most powerful art group at that time - "Beijing Opera Troupe". In 1956, he joined the Beijing Opera Troupe, which is known as "Ma Tan Zhang Qiu", the best partner in the country, and served as the deputy head of the troupe. In this group, Ma, Tan, Zhang and Qiu sometimes take turns to sing the opening play or on the main axis. Once, Qiu sang the main axis "sitting in a stockade stealing a horse". The opening play was Zhang Junqiu's "nvqijie", the second one was Tan Fuying's "touching a monument", and the second one was ma Lianliang's "borrowing Zhao Yun", which was a good talk for a while. With great enthusiasm, they adapted and created a large number of handed down works, such as Qin Xianglian, Zhao's orphan, the battle of Guandu, Hai Rui's dismissal, chisang Town, Yao Qi, Qimei case, the battle of Guandu, jiangxianghe, chusanhe, Nanfang Xinxin, Zhuangbei, Linzexu, shemingquanjiao, etc., which left precious wealth for the art of opera. In 1964, Qiu Shengrong participated in the creation and performance of the modern drama "azalea mountain", in which he created a successful artistic image - Wu Dou. At the same time, he also created another generation of drama "snowflake floating".

In 1966, Qiu Shengrong was labeled as a "reactionary art authority", isolated and censored, and was copied. Gao Zhiyang was only allowed to play the role of b-corner in Haigang by Beijing Opera Troupe, so whenever the play was performed by b-corner, the audience flocked to see Mr. Qiu in the hard times. Qiu Shengrong deeply loved his career. Two years before his death, he was still in the process of "controlling use", and he went to Hunan, Hubei and Jiangxi to experience life with the crew of "azalea mountain". Soon after, he was diagnosed with lung cancer, which spread to the brain in 1971.

Mr. Qiu left a large number of recording materials during his lifetime, and his precious performing art image was preserved in the color films "Qin Xianglian" and "the meeting of heroes by the east wind".

Character evaluation

Qiu Shengrong was jokingly called "a fool". He is introverted and honest. People who get along with him all use two words to evaluate him as a "good man". Even for those who have hurt him, he is generous and tolerant. People not only like his art, but also praise his noble character.

He was cordially cared by Party and state leaders Mao Zedong, Liu Shaoqi, Dong Biwu, Zhou Enlai and Peng Zhen. Lao She, Cao Yu, Xie Tian, Zhao Dan, Nian Weisi, Zhang Junxiu, Shi Wanchun, sun Fucheng, Zhuang Zedong, Qiu Zhonghui, taxi driver, dung digger and hotel attendant are all his friends. Among his peers, he respected the old and loved the young, helped the young and respected the cooperators. He loved the motherland, the people and the opera art all his life. Especially after the founding of new China, he enthusiastically devoted himself to socialist construction. He went deep into factories, mines, rural areas and troops. He went to positions and tunnels and actively participated in the volunteer army to resist US aggression and aid Korea. The party and people have also given him due honor. He has successively served as deputy head of the former Beijing Opera Troupe, member of the National Committee of the Chinese people's Political Consultative Conference, and deputy to the Beijing Municipal People's Congress.

Mei Baojiu: Mr. Qiu Shengrong inherits the tradition and has the courage to innovate. In more than 40 years of stage practice, he has constantly enriched and improved his performing arts, learned from others' strong points, developed his strong points and avoided his weak points, combined with his own conditions, and dares to make breakthroughs, pushing the Hualian art of Beijing opera to a new peak and stage that has never been seen before.

Representative plays

Qiu Shengrong is an all rounder of Peking Opera. He can sing, read, do and fight. In addition to the well-known copper hammer play and Baogong play, he can also perform the ostentatious Hualian play.

At the age of 16, he performed "Changbanpo" with Yang Xiaolou, the martial arts champion, playing Cao Cao.

Li Qi in Li Qi Changting, Ma Wu in Taking Luoyang, dou Erdun in stealing a horse, Liu Jin in Famen Temple and Yan Song in beating Yan Song are also frequently performed. Such as Zhang Fei in luhuadang, Li Pei in Luomahu and Chi Fushou in qujinling.

artistic characteristics

He inherits the tradition and has the courage to innovate. In more than 40 years of stage practice, he has constantly enriched and transformed his performing arts, learned from others' strong points, developed his strong points and avoided his weak points, combined with his own conditions, he has the courage to break through, and kept up with the pulse of the times, pushing the Beijing Opera Hualian performing arts to an unprecedented new stage. After Jin Shaoshan, he is the second Hualian actor in the history of Peking Opera to choose a class by Jingxing.

Singing skills

Singing is the most important part of the art of Qiu school. His voice is bright and mellow, his singing skills are superb, and his singing is pleasant. He changed the old straight tune singing method of Hualian, and made a lot of innovations, which greatly enriched the expressive force of Hualian's voice and made a great contribution to Peking Opera. For example, (Erhuang 26) in chusanwu, (Erhuang three eyes) (anti Erhuang) in Lin Zexu, (Erhuang fast three eyes) in Zhao's orphan, (Erhuang fast three eyes) in chisang Town, (Erhuang three eyes) in snowflake gone with the wind, and (Erhuang Allegro) in Nanfang Xinxin have really reached the realm of conveying feelings with sound and emotion. Mr. Weng Dianhong commented that "although the cavity is old, it is new because of Qiu"; "dry melon - another flavor". Qiu Shengrong's singing is not only in the treatment of the four tone trend of words, but also in the vocal method and resonance of "song, Kong and Tong", as well as in the rhyme skills of "lift, pick, play, jump, slide..." And so on are natural, beautiful. meanwhile

Chinese PinYin : Qiu Sheng Rong