When talking about Peking Opera performances, people in the industry often say, "This is so-and-so's", which means that when creating a certain character, a certain artist took the lead in using a certain program. Technique, and this artistic treatment becomes what distinguishes this artist from others. Every Peking Opera play has suspense and attractions, which largely benefit from the many "this moment". Today, when we still talk about it, we often have this confusion: If the founder of the genre did not use "this time", but a later descendant did, then we should regard it as Inherit it for the artistic enrichment of the genre, or reject it as a distraction? In the post-master era when the concept of genre has been deeply rooted in the hearts of the people, this is indeed a question worthy of in-depth consideration.

Program is gradually formed and fixed after thousands of years of accumulation. It is the artistic vocabulary of Peking Opera. Just like literary style is the process and result of writers choosing words and sentences, Peking Opera art can present various forms. His personal style and genre characteristics also stem from the ingenuity of previous artists in arranging and using programs. Stylization gives Peking Opera a dazzling brilliance, but showing stylized skills is not all of Peking Opera. Telling stories and acting characters have always been the mission that Peking Opera must undertake as a drama style. So instead of debating whether that "lower" is true to genre, let's look at whether it's true to story and characters.

In the Peking Opera "The Orphan of Zhao", Tu Anjia brutally killed Gongsun Chujiu and Cheng Ying's son, and happily ordered Cheng Ying to accompany him. At this time, Mr. Ma Lianliang, who played Cheng Ying, deliberately moved slowly to avoid Tu Anjia's attention and cast a sad glance at the corpses of his old friend and son. Upon hearing Tu Anjia's greeting, he immediately suppressed his sadness, pretended to be nothing, waited for Tu Anjia to walk away, and turned around to stare at the body again. His facial muscles twitched and his shoulders shook slightly, showing the tremendous pressure on his soul and the suppressed grief and indignation. It was almost impossible to hold up, and finally the body was shaking and the steps were dragging and he slowly came off the stage. In the twelfth scene, Cheng Ying was getting old. He was drawing a picture scroll alone and was about to tell the truth to the orphan. Suddenly he heard a knock on the door. He couldn't help being shocked. He protected the picture album and couldn't help but tremble. Jia Honglin, the famous senior Laosheng artist, once used this figure in the traditional play "Cinnabar Mole" to express the frightened mood of a frail patient who suddenly heard a knock on the door. The use of these two procedural techniques did not originally have distinctive genre characteristics. However, Mr. Ma Lianliang used them exquisitely and appropriately, and was accepted by the audience, and naturally became the "now" of Ma School.

In Zhang School’s famous drama "Wangjiang Pavilion", Mr. Zhang Junqiu delicately depicts the emotional development of the protagonist Tan Ji'er through a novel and unique Nanbangzi singing tune, in which "I am so ashamed that I am humbled" The sentence "I wear a robe with my head and hands" is adapted from the melody of the traditional opera "Nu Qi Jie", but it conveys a completely different voice. Mr. Zhang believes that singing forms are not isolated. They must always be based on emotions and serve to express the thoughts and feelings of the characters. New plays do not necessarily use new tunes. As long as they are good at changing priorities, traditional singing tunes can fully express new plots and plots. mood.

It can be seen that when the founders of the genre arrange and use programming techniques, they always follow the needs of the plot and characters as the starting point. Being eclectic and having the courage to create is the prerequisite for the formation of genre characteristics. So, for the successors of the genre, does it count as completing the task if they faithfully complete the programming techniques assigned by the masters? Of course not. If you can't control the program based on your own conditions based on perception, feeling and understanding, and are just satisfied with imitation, even if you present "this moment", the effect and style will probably be very different, and it will become easier over time. Liuyu can only get the fur and imitate others.

When Mr. Zhang Yunxi, a famous martial artist, talked about Shangpai art, he once said that Mr. Shang Xiaoyun's hurried steps were like the wind, fast and steady, but "the slow steps when playing the role of a weak woman were different." She walked gracefully and gracefully. Some actors of the Shang School did not master Shang Lao's exquisite skills. They only learned his vibrato singing and undulating steps from the surface. In addition, they did not know how to control the proportion, and sometimes they were exaggerated. His voice seemed to be weird and trembling when he sang, and his steps seemed to be jumping. It is really infuriating to waste the genre of art like this!" He clearly affirmed the inheritance of Shangpai art by Mr. Yang Ronghuan, a famous Dan actor, and believed that "his singing, acting, reading and playing are all very impressive. The essence of Shangpai art. The same vibrato singing method and undulating steps, he uses it with great control and restrains it appropriately, making it more beautiful and perfect."

At the beginning of learning, you must have a solid grasp of every "understanding" taught by the teacher, just like learning pinyin, learning Chinese characters, and learning grammar as a child. This is necessary for communicating with others in the future. skills, but as character and art mature, new creations must be made based on learning and practice combined with one's own conditions and perceptions, so as to say what one wants to say and obtain new growth points in art. The master's performance is indeed perfect, but there is no limit to art. From the perspective of the process of artistic development, personal perfection is only a stage of perfection. For a play and a character, there is always room for processing and creation. Mr. Mei Lanfang's "Universal Frontier" and "Farewell My Concubine" are perfect. Mr. Yang Ronghuan, as a direct disciple of the Mei School and the Shang School, has added a lot of expressive formulaic vocabulary according to his own conditions and the development of the times. The movements and music are closely linked, achieving an artistic effect of ups and downs, singing and sighing, and arousing strong emotional resonance from the audience.

In his performance, there are many "here and there" that the teacher has never used. However, if it is not from Mei Lanfang, it does not necessarily mean that it is not from the Mei School of art. Just as Mr. Zhang Yunxi said: "He not only studied Shang, but also Mei Mei, and was able to integrate them into one furnace, innovate and develop them, thus enriching the performances of the male and female roles. This is how Peking Opera has been inherited and developed throughout history, which has made the art of Peking Opera continue to evolve. It is enriched and perfected from generation to generation."

Schools in other art categories are mostly art groups formed by artists with the same or similar ideological tendencies, creative methods, artistic styles, etc., and Peking Opera as a Actor-centered performing arts, its genre is formed by the unique creation and artistic personality of an artist. But this does not mean that the creative achievements of the founder of the genre are equivalent to the entire art of the genre. Especially today when the masters are gradually drifting away, if we still ask people to "understand" more under the banner of "maintaining purity" "No, without "Xia'er", it will inevitably turn the programming skills into cold parts and the genre style into a rigid dogma. Any viable culture is a dynamic culture. As a cultural phenomenon, the Peking Opera genre should also be passed on through dynamic inheritance. The founder and successors should be regarded as an art group, put aside sectarian opinions, and use artistic standards to evaluate the creations of successors. Through analysis and identification, good creative achievements can be passed down through resource integration, thereby increasing and expanding the performance methods of genre art, and also enabling the development of Peking Opera art to adapt to changes in the times.

Don’t ask who owns “this moment”. “This moment” only exists for the plot and characters. Moving people with emotion and moving people with drama. If every successor of the school has this original intention, I believe that the art of Peking Opera will have a colorful tomorrow. Just as Mr. Ma Lianliang wrote in his poem in memory of Master Mei Lanfang: "Red The plum blossoms are old and their branches have not withered, and I believe there are gorgeous new flowers waiting to compete for their beauty.

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