Ouyang Yuqian
essential information
Character experience
On May 12, 1889, Ouyang Yuqian was born in a scholarly family in Liuyang County, Hunan Province. In 1901, he went to Beijing to study with his grandfather and studied English with Mr. Zeng Zonggong. In 1902, he entered Changsha Jingzheng middle school; in winter, he went to Tokyo, Japan, and entered Chengcheng middle school. He graduated from Chengcheng middle school in 1903.
In 1905, the Qing government colluded with the Japanese government to strictly control the foreign students, and Ouyang Yuqian returned home with some foreign students. In 1906, he returned to Japan to study business in Meiji University, and then transferred to Waseda University to study liberal arts. In 1907, he joined the Chunliu society and played two roles in the play "the black slave calls on the heaven". They are the son of nuchou and Pei, George junior. This is his first performance on stage. In the same year, he took part in the one act drama "love for each other"; in addition, he took part in the one act drama "the painter and his sister".
In 1908, he took part in the drama Ming bu. In 1909, he took part in the drama tears. In 1912, he was invited to Shanghai to participate in the "new drama comrades' meeting" organized by Lu Jingruo; in the same year, he took part in the drama "family gratitude and resentment"; in addition, he took part in the drama "social clock". In 1913, he created the five act drama "power of movement", which exposed and satirized all kinds of political ugliness in Hunan after the 1911 Revolution. This was his first script. In the same year, he created the drama "Yuanyang sword", which was based on a "Red Chamber drama" in a dream of Red Mansions.
In 1914, he created the drama "havoc in ningguofu", which was performed by Zheng Zhengqiu and Zhang Shichuan in Tianxian tea garden. In 1915, he created three acts of tragedy "sacred love", which was co performed by Lu Jingruo, Wu wuzun, Ma Jiangshi and him. In the same year, at the invitation of the west lake stage, he performed Peking Opera such as "sleeping on fuel and tasting gall" in Hangzhou, starting his career as a professional Peking Opera actor. In 1916, he began to devote himself to the inheritance and reform of traditional opera.
In 1919, he published the novel "breaking hands" in the journal "new trends"; in the same year, he served as the director of Nantong linggong society; in addition, the construction of Gengshu theater was started, and the design of the stage was approved by him and completed on November 1; he personally drafted 12 theater rules, including the old rules and bad habits of the theater.
In 1921, he and Shen Yanbing, Zheng Zhenduo, Xiong Foxi, Chen Dabei organized the "popular drama society"; on May 31, the Publishing House published drama magazine. In 1922, introduced by Wang Zhongxian, he met Ying Yunwei and joined the "Drama Association"; in the same year, he created the one act drama "Shrew", which was put on the stage by director Hong Shen. In 1924, he published the one act drama after going home in the journal Oriental Magazine. In 1925, he published wagra, the revolutionary of musical drama, in the journal Guowen weekly; in the same year, he co starred with Zhou Xinfang in the drama Han Liubang; in addition, he joined the newly established Minxin film company after Bu wancang's introduction.
In 1926, he wrote his first screenplay "Yujie Bingqing", which was directed by Bu wancang. This was the beginning of his entering the film world and formally engaging in film work. In August, he was employed as a director by Minxin film company. In the same year, he wrote and directed his first film "three years later". In 1927, he wrote and directed the love story film Tianya singer; in the same year, he left Minxin film company; in addition, he cooperated with Zhou Xinfang, Gao Baisui and Zhou Wubao in Peking Opera Pan Jinlian, which is his last Peking Opera.
On January 26, 1928, he served as the director of the drama department of Nanguo Academy of Arts; in the same year, he published the play Pan Jinlian in the journal Crescent; in addition, his one act play after returning home was included in the journal script collection published by the commercial press.
On February 16, 1929, Guangdong Drama Institute was founded in Guangzhou, with drama school and music school attached. In 1931, the Institute was abolished; in October, it joined the Chinese left-wing dramatists' Union and organized the "modern drama company".
In 1932, he created a living newspaper play don't forget, which exposed the crime of collusion between imperialists and Kuomintang reactionaries to strangle the people's Anti Japanese patriotic movement; in the same year, he published a one act play three families living together in the magazine Modern. In 1933, he published "from Han Opera to Huagu opera" and one act eight scene drama "battle of Shanghai" in the monthly "contradiction".
In 1934, he published the latest Japanese propaganda drama in the weekly drama; in the same year, he joined Xinhua film company and created the screenplay new peach blossom fan; on October 16, he published Paris theater in the magazine Oriental Magazine; on November 18, he published how to organize new drama troupe in the weekly drama.
On February 26, 1935, he published "creation, translation and Gaize drama" in the weekly drama; on May 1, he published "why realism" in the monthly literature and art monthly. Ouyang Yuqian was one of the main promoters of the founding of the Shanghai film industry in 1936. In the same year, he edited and directed the films Qingming Festival, xiaolingzi and haitanghong. On October 19, he published in the journal film drama, don't mourn the death of Lu Xun.
On February 26, 1937, he and 121 progressive literary, film, comedy and music workers, such as Zhou Yang and Xia Yan, jointly published the Declaration against Italian Navy atrocities; in the same year, he published "Fisherman hate" in the magazine Oriental Magazine; in spring, he transferred from star film company to Lianhua film company, and edited and directed the comedy film "so prosperous"; on June 9, he joined Ying Yunwei and other 370 people On July 30, the film workers' Association was established in Shanghai and elected as its Standing Committee. After the outbreak of the August 13 Anti Japanese war in Shanghai, it formed the Shanghai Drama Salvation Association with Guo Moruo, Tian Han, Xia Yan and Zhou Xinfang, and participated in the cultural salvation Association and was elected as its director. In November, it organized the Chinese Peking Opera Troupe.
In 1938, he went to Guilin to carry out the reform of GUI opera, and directed the drama "the leader of the bandits" and "the imperial envoy". In 1941, he created the historical play "loyal King Li Xiucheng".
In 1944, he held the first southwest drama exhibition with Tian Han. After the victory of the Anti Japanese War, Ouyang Yuqian worked as the director of the new China drama club and Hong Kong Yonghua film company, and adapted the Peking Opera "Peach Blossom Fan" into a drama. On February 15, with the support of the underground Party of the Communist Party of China, Ouyang Yuqian and Tian Han jointly organized and hosted the southwest drama exhibition in the newly completed Guangxi Art Museum. Guangxi Art Gallery drama troupe performed Ouyang Yuqian's "old home" and "three families living together", the GUI opera troupe performed Ouyang Yuqian's "Mulan joins the army" and "peach blossom with human face", the new China drama society performed Tian Han's early creation "tragedy on the lake" and Xia Yan's "drama spring and Autumn", and Guilin Siwei drama society performed Tian Han's "death of famous actor".
In 1946, he created the Peking Opera Peacock Flying Southeast. In 1947, he directed the drama peach blossom fan, which was premiered by the new China drama society. In 1955, Ouyang Yuqian joined the Communist Party of China. In 1957, he directed the drama Peach Blossom Fan for the experimental theatre of Central Academy of drama. In 1959, based on Uncle Tom's cabin, he created nine plays "black slave hate". On September 21, 1962, Ouyang Yuqian died of illness.
His works include Ouyang Yuqian's selected dramas, since my acting, yideyuchao, a story of being a monk in the middle of the movie, dance in the Tang Dynasty, drama, new opera and the artistic tradition of Chinese drama, etc.
After 1949, Ouyang Yuqian successively served as the president of the Central Academy of drama, the first standing committee member and the second and third vice chairman of the Chinese Federation of literary and art circles, the first and second vice chairman of the Chinese Dramatists Association, the first and second chairman of the Chinese Dancers Association, the first member of the CPPCC National Committee and the first and second NPC deputy.
Personal life
Ouyang Zhonghu, his grandfather, was a scholar with democratic thought in the late Qing Dynasty. He once served as the magistrate of Guilin, Guangxi. Tan Sitong and Tang Caichang are his students. His father, Ouyang, worked hard and lived at home all the year round. My mother, Liu Yixia, is educated and can draw. Ouyang shanzun, the son of Ouyang Yuqian, was the vice president of Beijing People's art.
In 1906, Ouyang Yuqian, 17, married Liu Yunqiu. In 1910, his father Ouyang Ziyun died of illness. In 1911, his grandfather Ouyang Zhonghu died. On September 21, 1962, Ouyang Yuqian died of illness at the age of 73.
Ouyang Yuqian's former residence is No. 5, Zhangzizhong Road, Dongcheng District, Beijing. In 1949, Ouyang Yuqian returned to Beijing from Hong Kong. In November of the same year, his family moved to the hospital. Guo Moruo, Tian Han, Cao Yu and Lao She often gather here. In 1986, the house was designated as a key cultural relic in Dongcheng District. There are two rooms in front of the house and one in the West.
Main works
literary works
Screenwriter's works
Directing works
Character evaluation
Ouyang Yuqian is diligent and studious, and keeps improving on art. Most of the works truly reflect the real life, and are closely combined with the real struggle, with a strong sense of the times and fighting. Because he is familiar with modern drama art and traditional drama art, and has long-term practical experience in stage performance (including drama and Drama), and can consciously combine these in his creation, his works often have the characteristics of strong storytelling, paying attention to rhythm, distinctive national characteristics and suitable for stage performance
Chinese PinYin : Ou Yang Yu Qian
Ouyang Yuqian
