Ma Shizeng
essential information
Acting experience
Learning from teachers
"Scholarly family". Since he was a poor child, he studied four books and five classics with his great uncle Ma Zhenyu. At the age of 15, he was admitted to "dedicated middle school". When I was a student, I played a civilized play. After graduating from high school, he worked as an apprentice in a steel shop in Hong Kong. Ma Shizeng was gifted and intelligent. He loved music and drama. He often went to the theatre secretly and admired the singing and acting skills of famous actors at that time, such as Zhou Yulin, Liang Yuanheng and Xin Baicai. In the end, regardless of his parents' opposition, he studied Cantonese opera as a teacher and went to the theater to learn opera.
Nanyang Performing Arts
Later, in order to make a living, he went to Nanyang alone and came to Singapore, where he became the third student in the "Yao Tiancai" troupe. During that time in Nanyang, the horse master lived a very hard life. At that time, because of his poor performing arts and his ignorance of the traditional Cantonese opera, he made a lot of jokes on the stage. The frustration inspired young ma Shizeng. He was determined to study hard and practice hard. He repeatedly studied the traditional Cantonese Opera "river lake 18 books". He carefully pondered the plot, character, lyrics, music score and stage steps of each play, and often learned from others' strengths to enrich himself. Therefore, his stage art and accomplishments are constantly improving.
Dominating the art world
Ma Shizeng was very fond of clown's performance, so he made a special research on clown's performance art, and finally created a unique style of "horse tune", commonly known as "Qier tune", a new audience. But his clown image is gradually loved by people. In kufengyinglian, Ma Shizeng once played the role of qierzai alive, which was highly praised by the audience. Therefore, he laid the foundation for his hegemony in Cantonese opera.
Later, he joined Changchun opera company and changed his stage name to Ma Shizeng. After returning to Hong Kong, he joined the "life year" troupe and shared the stage with Bai Ju Rong and Qian Li Ju. He is good at clown play, which is different from Xue juexian's gentle play and welcomed by the audience. After joining the "Da Luo Tian" troupe, the troupe has broadened its repertoire. Chou, Sheng, Dan and Jing have all performed in the troupe, and led the screenwriting Department of the troupe. The dramas compiled by the troupe include historical and contemporary themes, as well as gifted scholars and beautiful ladies' Dramas and adaptations of foreign films, including ancient clothes, fashion and suits. It took two years to perform in San Francisco in 1931. Later, he returned to Hong Kong to organize Taiping troupe, which promoted the development of Cantonese Opera when competing with Jue Xiansheng troupe. Later, he founded the "global film company" and made films such as the fragrance of wild flowers, the heart of an unpredictable woman and the second generation ancestor, which were very popular with the audience. When the Japanese army occupied Hong Kong in 1941, they returned to the mainland and went from Guangzhou to Guangxi to form the Anti Japanese Cantonese Opera Troupe. After the victory of the Anti Japanese War, he co starred with Xue juexian in the famous dramas "Madame Butterfly" and "Qing palace hate history" in Hong Kong. He returned to Guangzhou from Hong Kong in 1956 and served as vice chairman of Guangdong Branch of the Drama Association and President of Guangdong opera academy.
Banned
Guangzhou is the center of Cantonese Opera activities. It should be natural and normal for Ma Shi to work and perform in Guangzhou. In fact, in his 40 years of stage life, he couldn't perform in Guangzhou for more than 20 years. In those days, it was such a strange thing that masters of Cantonese opera could not perform in the activity center of Cantonese opera.
In 1929, Ma Shizeng was already a famous Cantonese Opera "Hong Ling", and his annual salary was the highest in the whole industry. In the autumn of this year, after the night play ended, he walked out of the door of Haizhu theater and was wounded in his right foot by a bomb thrown by a gangster. On the contrary, the Guangzhou Police Bureau ordered his "Guofeng Troupe" to stop performing for six months, which is tantamount to forcing the troupe to disband. Ma Shizeng and his family moved to Hong Kong in a hurry. Another troupe performed in Hong Kong, Macao, Southeast Asia and America, and sometimes in small and medium-sized towns in the Pearl River Delta. Guangzhou is his "forbidden zone". The Pacific War broke out and Hong Kong fell. He escaped from Hukou and entered Guangxi to reorganize the troupe until the victory of the Anti Japanese war in 1945. Ma Shi once thought that after the baptism of the Anti Japanese War, the officialdom situation in Guangzhou would be better. He led him to return to Guangzhou full of joy after many years of exile, making a living by acting while fleeing and losing more than half of the box. I don't want to see that only a few months later, "fragrance of wild flowers" was banned.
In the fragrance of wild flowers, Yao Qichen, a university professor, is full of courtesy, righteousness and shame, and takes maintaining social weathering as his own responsibility. I was infuriated to learn that my son was infatuated with a socialite. Unexpectedly, when he saw this social flower, the coat of a gentleman was peeled off layer by layer, revealing the true face of a hypocrite and a hypocrite. Finally, he gave up his wife and son, and was ruined. This was originally a "fashion play" written and performed by Ma Shizeng in Hong Kong in the 1930s. It was still performed frequently during the Anti Japanese war. Why was it banned at this time? It is said that at that time, there was a senior official surnamed Yao in Guangdong who was also a professor. Ma Shizeng's play was "intended to allude to and slander the officer". A play written and performed in Hong Kong more than 10 years ago can allude to and slander the senior officials in Guangzhou more than 10 years later. Isn't the reason why it's banned ridiculous? However, there was no reason in that year? Mr. Ma once again said goodbye to Guangzhou and brought the troupe to Hong Kong.
Guangzhou was liberated in October 1949, and Hainan Island was liberated in May 1950. Kuomintang planes could no longer bomb and harass Guangzhou, and performances in major cinemas returned to normal. In the second half of this year, Ma Shizeng and hongxiannv led the "Red Star Troupe" back to Guangzhou to perform. This performance lasted nearly half a year. In addition to the "horse faction" drama, with the help of the South China Federation of literary and art circles, it also produced a modern drama "Pearl River tears", which showed that after the victory of the Anti Japanese War, the peasants in the Pearl River Delta resisted the oppression and exploitation of bureaucrats and tyrants, and opposed the Kuomintang's capture of strong men and fighting against the civil war. On January 5 and 6, 1951, Ma Shizeng and hongxiannu also took part in the "charity performance of the Cantonese Opera assembly for resisting U.S. aggression and aiding Korea" and performed the short play "jeans", which criticized the idea of advocating beauty.
In this performance, Ma Shizeng left with a good impression of Guangzhou after liberation. I didn't want to go back to Hong Kong, but I was attacked by waves. First, the person in charge of the Bahe guild hall, a Cantonese Opera organization in Hong Kong at that time, held a meeting attended by many Cantonese Opera colleagues in Hong Kong, denounced Ma and Hong for "red" in Guangzhou, and warned them that if they had any more "red" behavior, they would be "expelled" (expelled). At the meeting, there were also some people who clamored to "chop the chicken head and burn yellow paper" in front of the statue of "Huaguang emperor" (the God of Cantonese Opera) and vowed not to be "red". Then the Political Department of the Hong Kong British government "subpoenaed" Ma and Hong to trace their activities in Guangzhou. Ma Shizeng was hit hard one after another, and the troupe was dissolved again. In addition, being over 50 years old means "box office devaluation" in that society, and the side show can only be accepted as "taking care of the seniors". In those years, the situation was very difficult.
Return to the motherland
At this time, the socialist motherland extended a warm hand to the artist: in 1955, he and hongxiannv were invited to attend the National Day ceremony in Beijing on the sixth anniversary of the founding of the people's Republic of China. Ma Shi once saw the leaders of the party and the state headed by Chairman Mao Zedong in the Tiananmen tower and the magnificent scene of the procession on Chang'an Street. The majestic people's Liberation Army, energetic workers, peasants and people from all walks of life all show the high spirited and enterprising face of new China. Premier Zhou Enlai hosted a banquet at the Beijing hotel for the audience. He had a cordial talk with Ma Shizeng and invited him to visit all parts of the country. During the ceremony, Ma Shizeng met with Mao Dun, Xia Yan, Mei Lanfang, Cheng Yanqiu, Tian Han, Ouyang Yuqian, Cao Yu and other famous writers and dramatists. They all warmly and sincerely hoped that Ma Shizeng would return to work in New China. In Beijing and Guangzhou, he watched a lot of opera performances and learned about the organization and performance of domestic opera troupes, especially Guangdong opera troupes. At last, when he was interviewed by Tao Zhu, governor of Guangdong Province, Ma Shizeng expressed his determination to come back to work. After more than a month, he took care of everything in Hong Kong and returned to Guangzhou.
On December 19, 1955, more than 150 people from the cultural and art circles of Guangdong Province and Guangzhou City gathered to welcome Ma Shizeng and hongxiannv back to Guangzhou from Hong Kong to participate in Guangdong Cantonese Opera Troupe. The master of Cantonese Opera finally returned to the center of Cantonese Opera activities and worked all his life.
After returning to new China, Ma Shizeng served successively as head of Guangdong Cantonese Opera Troupe and President of Guangdong Cantonese Opera Theater. He was elected member of the National Committee of the Chinese Federation of literary and art circles and vice chairman of Guangdong Provincial Federation of literary and art circles, executive director of the Chinese Dramatists Association and vice chairman of Guangdong branch. He was also elected deputy to the people's Congress of Guangdong Province, member of the National Committee of the Chinese people's Political Consultative Conference and member of Guangdong Provincial Committee Member of the Standing Committee of the Chinese people's Political Consultative Conference. Shouldering heavy administrative work and social work, his artistic creation also gained a great harvest.
Youth
His grandfather Ma Zhaomei ran a tea house in Guangzhou. Ma Shizeng lived in Guangzhou with his father Ma Gongquan and his mother Wang Wenyu when he was young. In 1907, when his family failed in business, he went to Wuchang with his grandfather and parents and took refuge with his great uncle Ma Zhenyu, who was the curator of the Confucian classics School of Lianghu Academy. As a result, he had the opportunity to study four books and five classics and practice calligraphy, thus laying a certain foundation of Chinese culture.
In 1911, the revolution of 1911 broke out in Wuhan. He fled Wuhan with his family and returned to Guangzhou. When Ma Shizeng was in primary and middle school, he became interested in drama. He took part in the performance of "civilized drama" organized by the school, and sometimes secretly went to watch the Cantonese Opera performed by famous actors such as Xinhua and Zhu Cibo. Before graduating from high school, he was ordered by his parents to work as an apprentice in a copper and iron shop in Hong Kong. Because he could not bear the bullying of the shop owner and other clerks, he ran back to Guangzhou to study drama in Chen Kuang Nan's Taiping Chunjiao theater. He established a relationship of apprenticeship with the old artist Jia. Since his stage name Guan Shichang, he began to live as an apprentice in Cantonese opera.
Youth
In 1917, Ma Shi studied drama in Taiping Chunjiao theater in Guangzhou, and was soon employed by Singapore to celebrate the reform
Chinese PinYin : Ma Shi Ceng
Ma Shizeng
