Zhou Xinfang (January 14, 1895 - March 8, 1975), famous scholar Chu, with the character of Xinfang, stage nameUnicorn child, native place: Cicheng, Zhejiang (now Jiangbei District, Ningbo, Zhejiang), born in Qingjiang, Jiangsu.Founder of the "Qi School" of Peking Opera.[1]Born in an artist family.
Six year old living in Zhejiang with his fatherHangzhou, learned from Chen Changxing's practice of martial arts, and performed on the stage at the age of seven as a child of seven.Later, they performed in Hankou, Wuhu and the Shanghai Nanjing line, and changed their stage name to "Seven Lingtong".In 1907, he came to Shanghai to perform under the stage name of "Kirin Boy".The next year, we went to Beijing, and joined the Jinxi Liancheng SectionMei LanfangPerformed in Yantai, Tianjin, Vladivostok and other places.Returned to Shanghai in 1912, andTan XinpeiThe acting skills are becoming more and more mature.Entered Shanghai in 1915Dan Gui No.1And then went to Peiping twice.In 1924, he returned to Shanghai and performed on the first stage of Dangui, the updated stage, Daxin stage and Tianchan stage to try to reform the art of Peking Opera.AndWang Hongshou、Wang Xiaonong、Pan YueqiaoAnd so on to compile, perform and transplant many plays.In art, they have the courage to create, inherit and develop the realistic expression methods of national operas, shape typical characters with distinctive characters, and form a unique "Qi School" performing art style.After the founding of the People's Republic of China, it was elected as the first, second and third termNational People's CongressRepresentative, SuccessiveChinese Academy of Traditional OperaVice PresidentShanghai Peking Opera TheaterPresidentChinese Dramatists Association Chairman of Shanghai Branch, etc.[1]
On March 8, 1975, Zhou Xinfang died in Shanghai.Representative plays include Xu Ce Running to the City, Wu Long Yuan, Xiao He Chasing Han Xin under the Moon, Xiang Fei, Dong Xiaowan, etc.
Zhou Xinfang was born in Jiangsu on January 14, 1895Qingjiangpu(Today Huai'anQingpu）。
Zhou Xinfang Follows Her Father at the Age of SixZhou Weitang(acting in Qingyi, stage nameLyra Immortal）Living in Hangzhou, I learned from Chen Changxing.Acting at the age of seven《Iron Lotus》Ding Sheng, stage name“Seven year olds”。
Returned to Shanghai in 1912New StageAnd Tan XinpeiLi Jirui、Jinxiushan、Feng ZihePeople are on the same stage, and they are greatly influenced. Their acting skills are becoming mature.
From 1915 to 1926, successively in ShanghaiDan Gui No.1、Update the stage、Daxin Stage, Tianchan stage performance, rehearsed the consecutive dramas Han Liu Bang, Sky Rain Flower, Goddess List, etc.During this period, he went to Beijing and Tianjin twice to perform, and he played "Xiao He Chases Han Xin Under the Moon" and "Hongmen Feast"《Lutai Hate》"Anti Five Passes" and other plays were introduced to northern audiences, known as“Qi Sect"。
In 1925, he was the first director of Peking Opera to use the technique of drama directing in Peking Opera, and became the first artist to apply the "directing system" to Chinese opera.
Joined in 1927Nanguo Society, on《thunderstorm》MedallionZhou Puyuan。After the outbreak of the Anti Japanese War, he took an active part in national salvation activities and performed such plays as Emperor Huiqin, Wen Tianxiang and Shi Kefa, arousing the audience's strong patriotic enthusiasm.Later, he continued to perform such plays with national consciousness as "Fragrance Annals", "Dong Xiaowan", and "Death to Shu".
In the same year, it was founded in Yantai, Shandong Province, the northern Peking Opera TerminalLiyuan Guild, Liyuan Guild was founded for prosperityYantaiPeking Opera has made historic contributions toPear orchardThe world has run many public welfare undertakings.After Zhou Xinfang left Yantai, he came from the north of the riverHualianWang Haichen succeeded as president.
In 1928, Zhou Xinfang performed "Dragon and Phoenix Pagoda" on the Tianchan stage, which was highly praised by both insiders and amateurs. Enthusiastic ticket goers established the "Qi Society". Since then, the Qi School has been recognized.[2]
On January 23, 1940, in order to help the victims of the disaster, Zhou Xinfang, the master of Peking Opera, and people from the cultural circle jointly performed the drama Thunderstorm, which Zhou Xinfang playedZhou PuyuanOther actorsJin Suwen、One hundred years old, Sang Arc, Hu Tiwei, Ma Qilan, etc,Zhu DuanjunDirector.Newspapers all published articles praising Zhou Xinfang's versatility.
In 1943, Zhou Xinfang was elected as the president of the Shanghai Federation of the Performing Arts Circles, supporting the progressive organization of the Peking Opera Circles and organizing the activities of the forum for artists, and was connected with the underground organizations of the Communist Party of China.
In 1944, he took over the Golden Theater and served as its director. After the victory of the Anti Japanese War, the theater was once a meeting place for progressive people in the literary and art circles.
In early 1948, he studied drama theory and classical opera.
In September 1949, Zhou Xinfang was invited to Beijing to attend the first plenary session of the Chinese People's Political Consultative Conference.He has successively served as Director of the Drama Improvement Division of the Cultural Bureau of the Shanghai Military Control Commission, President of the East China Drama Research InstituteShanghai Peking Opera TheaterPresidentChinese Dramatists Association Vice Chairman, Chairman of Shanghai Branch, etc.
In October 1952, he participated in the first national opera watching performance conference, performed "Xu Ce Running City", and won the honorary award.
In April 1955 and December 1961, the Ministry of Culture, the All China Federation of Literary and Art Circles, the Chinese Drama Association, etc. jointly held“Mei Lanfang、Zhou Xinfang"Celebration of the 50th Anniversary of Stage Life" and "Celebration of the 60th Anniversary of Zhou Xinfang's Stage Life".In the 1950s and 1960s, he led delegations to perform in East China, Central South China, Southwest China, Northwest China, North China, South China and other places for many times, with footprints almost all over the country.
In 1956, led a delegation to MoscowLeningradWait for 9 cities to perform.
In 1965, Jiang Qing went to the Shanghai Peking Opera Theater to "catch up with modern drama", so that the Shanghai Peking Opera Theater would stop playing drums and drums and work on "Winning Tiger Mountain" and "Harbor" alone.Zhou Xinfang seriously pointed out that this was a waste of money, delaying the youth of actors.Since then, he has been persecuted because "Hai Rui Shang Shu" was slandered as a "big poisonous herb".
On March 8, 1975, Zhou Xinfang died in Shanghai Huashan Hospital due to long-term persecution.
First wife Liu Fengjiao;The second wife, Qiu Lilin, was Zhou Xinfang's lifelong love, as well as his bosom friend, agent and all-round assistant.In the turbulent years, Qiu Lilin died early because of righteousness. She died on March 27, 1968 and left alone quietly.
member of family
Former Residence of Zhou Xinfang
First wife Liu Fengjiao (one man and two women)
The eldest son Zhou Picheng
First Daughter Zhou Caiyi
Second Daughter Zhou Caiping
Second wifeQiu Lilin(Having two men and four women)
"Xu Ce Runs to the City", "Wulong Yard", "Xiao He Chases Han Xin Under the Moon", "Four Scholars"《Sweep the Book》Qingfeng Pavilion《To kill by sitting on the floor》《Righteous Responsibility Wang Kui》"Beat Yan Song", "Song Jiaoren", "Thunder Rain", "Learn to Punch King Kong", "Hong Chengchou", "Hui and Qin Emperors", "Shi Kefa", "Xiang Fei", "Dong Xiaowan", "Death of Shu", "Fifteen Guan", "Hai Ruishang Shu"[3]Etc.
Film and television works
Song Shijie, Chop Sutra Hall, Little Overlord Zhang Chong, Pipa
artistic characteristics
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music for voices in a Chinese opera
He absorbedTan Xinpei、Sun Juxian、Wang Guifen、Wang XiaonongXia BrothersPan Yueqiao、Wang HongshouShen YunqiuLi Chunlai、Feng ZiheLiu Yongchun, Su Tingkui and other predecessors often cooperate with many famous peers to learn from each other and create a unique style.The voice is sandy but full of air, just formingQi SectThe basic characteristics of his singing are close to spoken language, sound and simple;The recitation is full and powerful, full of strong flavor of life, and forms the unique style of Qi school singing by "turning short into long";Pay attention to work, perform from the heart of the characters to mobilize singing, reading, doing and playing to fully display, which is true and vivid due to internal and external harmony.Be good at using mouth, clothes and props to shape characters;He has made innovations and creations in music composition, gongs and drums, clothing, makeup and other aspects, which is also the foundation of the Qi school art, making the characters reach the stage art in shaping character and expressing feelingsThe highest realm。
Enunciation
Zhou Xinfang'sEnunciationHave heavierZhejiangphonetic aspect of a dialect, Cangjin, Bangman, pay attention to the spout, rich in strength, sharp, hot and musical, good at using modal particles, sometimes close to spoken language, strong flavor of life.No matter how funny, solemn, resentful or sad the mood is, the tone is extremely natural and vivid.Use in performanceWater sleeve、Body length、footwork, combined with his eyes and facial expressions, they can match the plot and the specific situation and thoughts of the characters, showing his deep ability to refine and reproduce life.The application of some special techniques has a strong effect, such asarmour flags、Pass, hair flickCap finAll kinds of Kung Fu are skilled and free.
perform
Zhou Xinfang in Beijing Operatheater artAnother outstanding point is that he will never be alone on the stage, and will never focus on his own personal prominence, but attaches great importance to the artistic integrity on the stage.Zhou Xinfang's performance not only expresses the tradition of Beijing Opera in an all-round way, but also absorbs local operas, movies, dramasBallet、waltz、TangoThe essence of various performance methods, such as the innovation of traditional Beijing Opera, is recognized as the representative figure of Shanghai School of Beijing Opera.
Zhou Xinfang
Zhou Xinfang's outstanding performance is that he attaches great importance to the rolePersonificationNot only one or two roles try to live, but almost all of his representative roles are alive.He playsXiao He Chases Han XinThe horse riding at that time is Xiao He's horse riding at that time. Xu Ce's running in the city can only be Xu Ce's running,Song JiangkillYan PoxiThe action of pulling out a knife and inserting a knife can only be Song Jiang's unique action.Zhou Xinfang puts the emphasis of role creation on characterization, and what he focuses on most in characterization is the expression and catharsis of the character's feelings.Through action and singing, Shawn's indignation and determination of revenge,Zhang YuanxiuWith grief and indignation and grief that there is no place to seek justice,Song ShijieWith righteous indignation and cunning, enthusiasm and calm,Hai RuiHis fortitude, perseverance and bravery... He gave full display, truly moving with emotion, and "inspiring the audience with the will in the play" through emotion, in order to reflect the "real value of the play"（Jun Zhou Xinfang）。
Character evaluation
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Comrade Zhou Xinfang is such an outstanding performing artist who cares for young people with enthusiasm.（Zhou Jizhangreview）
Anyone who can be called a great actor is not only a loyal successor of the art of this drama, but also a brave breakthrough and innovator of the art of this drama.Zhou Xinfang's valuable spirit is the innovative and creative spirit that does not adhere to the ancestral law and does not stick to the rules.[4]（Comments on Zhang Geng's Preface to the Series of Leading Books of Peking Opera）
On the stage, he never saw it have a "laughing platform", never played a joke with his co performers, and never increased or decreased his efforts due to the number of audiences. He always performed the play with great energy and meticulously.Before liberation, this style of work was really rare.（Liu Houshengreview）
In artistic creation, he is more meticulous and progressive.We have seen a lot of his plays, so I don't need to talk more about it here.We young people should deeply understand and learn from the serious attitude of engaging in art work and the spirit of striving for perfection and perseverance.Each of his plays has been repeatedly revised, and he has been constantly revising while performing.Many days after the performance of "Lord Xinling", he was still writing and rewriting late at night after the performance.Art is endless, and so is his efforts.
Zhou Xinfang has the courage to create. On the basis of inheritance, he has added a lot of reform and innovation. In addition to sorting out and changing the traditional repertoire, whether singing, reading, doing, playing and repertoire, libretto, clothing, appearance, etc., all have unique designs that are suitable for his own style.For example, the absorption of new performance means in modern drama art, the use of exaggerated means to shape characters with external images and actions, resulting in a strong artistic appeal.（Chinanetreview）
In Zhou Xinfang's plays, more characters are distinguished at critical moments in history, and their fates are revealed in the ups and downs of history.Although his dramatics have also made contributions to the "running" of Xu Ce's running city and the "chasing" of Han Xin, they are generally not concentrated in the moment, and then spread, infiltrate, expand and complete like slow shots, but like long shots, in the flow of time, like bamboo knots growing higher and higher, and finally the branches and leaves towering above the sky.[5]（Xiao Fuxingreview）
Zhou Xinfang is not only proficient in performing arts, but also editor and directorAll round talent。There are no less than 120 plays edited by ourselves and co edited with others, and the plays they have compiled and performed are shining with the glory of the times to varying degrees.From the beginning of Han Liu Bang, the plays he starred were basically directed by himself until after liberation《Righteous Responsibility Wang Kui》、《Chanyuan Treaty》Some traditional plays have also been processed by him.As a director, he constantly revised the repertoire, which is his pursuit of the overall perfection of the art of editing, directing and acting.（Dongfang.comreview）
Zhou Xinfang's singing skills are basically similar to those of Sun Juxian, Wang Guifen, Wang Xiaonong, Wang Hongshou, Pan Yueqiao and other predecessors. Although his voice is hoarse, his singing is full of emotion, strong and vigorous, and his breath is out of the elixir.His speech is clear, he pays attention to the spout, and his speech falters musically. In particular, his skills of enunciating, closing the voice and moistening the cavity are beyond the reach of ordinary actors.Therefore, his singing is not only not harmful to words, but also wonderful to convey feelings by voice.Listening to his singing, it is very clear that he is hearty, simple, vigorous and vigorous. In addition, his ups and downs, orderly spoken words are pleasing to the eyes.（Oriental Online Review）
Zhou Xinfang's basic skills are superb. His voice is wide and loud, with sand but no hiss. In his later years, he turned to a mellow tone. When he pulled up, he felt mellow, and his bass showed a rich feature.His singing is characterized by bleakness and forcefulness. It is simple but not straighttortuousUps and downsEspecially pay attention to expressing the feelings of the characters,plectrum、opera popular in HubeiAnd other vocals have unique charm.（Readable Networkreview）
After watching Mr. Zhou Xinfang's plays, I always feel a heartache.It seems to have a force that forces you to enter the artistic situation to care for and sympathize with the fate of these characters, forcing you to be moved.（Comments of Zhang Geng）
