The Wang Peiyu I know.

Master Fan of Peking University Law School, pen name Fan Xiuxuan.

On the Mid-Autumn Festival in 2000, the evening performance of Chang 'an Grand Theater was a famous concert, on which was written "pass the parcel Cao". I had long wanted to see Emperor Xiao Dong in the audience, so I bought tickets early, had a casual meal on the evening of August 15, and hurried to the theater with a classmate who liked Cheng Pai.

According to the practice for many years, when Wang Peiyu is on the stage with middle-aged and famous artists, he always sings the opening song. I was very excited at the scene that day. I only remember that she was as good as ever and her voice was as full and loud as ever. When she sang "Zhang Walking on the Bridge", she cut the word "rudder". To be precise, I know nothing else. Looking at the idol backstage, it seems that the excitement has subsided by more than half after the opening ten minutes. I left the theater and walked halfway to the second floor of Chang 'an, and found Wang Peiyu drinking coke in the teahouse. I was introduced and sat down to chat for a while. She gave me a business card, took a photo and left. Now that I think about it, the scene at that time is vivid, because this is the beginning of our becoming friends who will never look back.

I have always been partial to Yu Shuyan's operas. I listened to Wang Peiyu on TV from 65438 to 0995. I remember that three of her plays were often shown on TV. One was Wen Zhaoguan, which was her most famous work at that time, and One Moon sang Thirteen Eleven. Whether you accept it or not, this is well known. One is "Catch and Leave the Lodging Shop" in Kyushu Theater, and the other is "Wu Pen Ji" by Sun Zhengyang. I had a good impression at that time. Especially "Wen Zhaoguan", I think her appearance is very delicate, and her voice is clear and intoxicating. There are several aspects of her play that are different from those of Yang School, which I still remember clearly. For example, "I'm as good as a lost dog" is slippery and "cock crow" is too high. These are not common ways to deal with it. The costumes of "Catch and Play" and "Wu Bi" are still so handsome, but the memory of singing is not very clear, except that the singing is very simple and the rhythm is very compact, and I don't feel the procrastination of adagio at all. Unfortunately, however, her play seems to be rarely performed later.

After meeting Pei, we often correspond and make phone calls. Two years ago, I watched almost every performance she came to Beijing. I remember one night in the winter of 2000, we came back from Mr. Liu Zengfu's house and chatted on the subway. She said that her school would send her to the National Appraisal Exhibition of Outstanding Young Peking Opera Actors, and asked me whether to sing "Searching for the Quiet" or "Hide and Seek". At that time, it was better for me to rap "Seeking Solitude" because Meng Xiaodong was the most popular one. But she has her own opinion, and she will graduate soon. She can't be satisfied with the imitation honor of "Xiao Moumou", so she must show her real strength. It turns out that she is right. On a Sunday afternoon shortly after New Year's Day in 200 1 2000, she took part in the competition with catching and releasing Cao in Chang 'an. I took the final exam of criminal law the next day, but I went there with great interest on Sunday. The game time is limited to 20 minutes, so the drama cuts to the end, but it is still wonderful. After Zhuang was killed, Cao Zhichang went to the stage with a hammer and went to the lodge to "release the tiger to the mountain and arrest people", and all the scattered boards at the back fell off. Shanghai Normal University has put a lot of effort into this competition, and the newly-made sapphire pleats and black square towels have a special spirit. Yu Pei's performance on the court was very "leftover". She came straight with a long hammer without any platitudes. Chen Gong Heart Feels Like a Knife sings the anti-Xipi Sanban very tastefully, but it seems to be a bit procrastinating, not as high as the realm in her tape. However, after Cao Cao killed Lu, his words were scattered and he sang too thoroughly, which is extremely valuable. Most people also know that they need to be quick when singing, so they made a quick button, adding the scattered board through the door to the gongs and drums at most, but it was obviously relaxed. Yu Pei's handling of this point is really teaching and learning, and gong, drum, door and singing are almost simultaneous. Ga was tuned very high and did not procrastinate, and the tension at the scene was suddenly set off. There is still a difficulty in these words: the gong in the crying head of "A Family under the Shadow of Sword and Sword" is sung compactly in the first few sentences, and the gongs and drums are also broken. And it is the gong of "home", and it is the gong of "size". The words "Xia" and "Lao Zhang" are very common. Although the later "Listen to Him" is familiar, she and pianist Chen Pingyi refer to Meng's recording and carefully study the door, pad and size of this piece, which truly achieves a perfect fit, comparable to the general singing method. The three eyes in the boarding shop are relatively fast in size, so it can be seen that they are copying Meng Xiaodong's recording. The rhythm of the whole play is well grasped, flowing, and there is a pleasure of "urging people to play", which is endless.

Wang Peiyu won the first prize in this competition, which laid a solid foundation for her to evolve from a "children's play" to a mature actress. In May of the same year, the National Young Peking Opera Actors TV Contest was held, which undoubtedly made the word "Wang Peiyu" deeply rooted in people's hearts. This time, she took out the killer weapon of "looking for orphans to save them", from court to court. Needless to say, the beauty of this play itself is a wonderful classic after the interpretation of famous artists such as Xiaodong Meng. Relatively speaking, I have listened to Wang Peiyu's plays more, especially in various concerts of White Tiger Hall. But to be fair, this is the most perfect film I have ever seen. On the one hand, it is convenient to rehearse with pianist and drummer for many times, and more importantly, as a complete opera, actors and audiences can easily get into the state, and they are hearty in one go. In this competition, Wang Peiyu cut a dash, not only ranked first in the total score of all actors, but also played the role of Feng Fu again, showing his childhood expertise in pingtan. A "Detective" made her often asked where she bought that red evening dress years later.

I think 200 1 is the year in which I watched Pei's plays the most, and it is also the year in which her art made the greatest progress. Shortly after the TV contest in May, she called me and said that I was about to graduate and wanted to learn something new. Do you know what I'm learning recently? Knock the stick out of the box Of course, I was very excited when I heard it. I wanted to talk to her. Who knows she said I haven't seen the play yet? A month later, she gave a special performance on the Shanghai Toad Stage. In addition to singing many famous passages, Da Zhou and Kou Chunhua performed "The Banquet in Qionglin", which was remarkable, and her ice snow cleverness and mind were also evident. Later, after graduating from Beijing, she acted in two plays, and I went to both. I don't think this kind of drama with simple plot and complicated procedures is very attractive, but when I invited a classmate who didn't like it to watch it, she was full of praise. Obviously, real art has its own charm.

Although some predecessors thought her play was not perfect, I still think the performance of this play is one of the artistic milestones of Wang Peiyu in the past five years. On the one hand, this is the last play she learned before graduation, which is often performed and won great popularity and peace. Secondly, singing, reading and doing this drama are all very hard work, which is a comprehensive display of Wang Peiyu's artistic level. Moreover, this is a classic masterpiece of Tan School and Yu School, which is circulated in many aspects and rarely seen on the stage for many years. This also shows Wang Peiyu's determination to carry forward Gu Zi's old drama, so the symbolic significance of this matter is far greater than itself.

That summer, Yu Pei and her classmates went to Beijing to hold a graduation performance, which was very hard. On the first day, there were two performances day and night. In the afternoon, she performed Ergong, and in the evening, she sang the blue robes of Dojo-changing and Yutangchun. The evening performances on the second and third days were Orphan of Zhao and Banquet in Qionglin respectively. See the end from beginning to end these three days. I think the best one is Second Palace. The play can be said to be difficult or not. If you don't have a voice, you will definitely be exhausted and bored, so most people regard it as a fear road. But if you have a good voice, singing so many sentences is the best choice to quench your thirst. In addition, it has no complicated psychological and dramatic conflicts, and is basically a singer. In his early years, Lao Tan dismissed him on the grounds that "the living don't sing the dead", so he can be said to be unpretentious. And this play, just like sitting in a palace, has become a must-have for almost every large and small party and all kinds of opera fans. On the stinky street, there are countless singers who can sing a little, and it is difficult to stand out from everyone's eyes. What is commendable is that Yu Pei's play is very refined and unique, and it doesn't make everyone feel bored. This play was recorded by Meng Xiaodong and advertised by Yu Pai. At that time, many fans of Yu and Meng in the seat all came from the "dish track". Yu Pei's explanation is completely in accordance with the pattern, but she is too angry to speak, and her tone of voice is still very unique. In addition to the well-known "fishing and ploughing, the four seasons are famous for their flowers", the word "hands" in "Solitaire with Two Hands" is loud, silent and swaying. And "taking this opportunity to make a living skillfully" avoids the repetition of the word "you" after "all depends on you", which is indeed a way for everyone. Qionglin banquet was a sensation, and Mr. Zhu Jiajin was also the guest of honor that night. I think her "Ask the Wood" is the best, the roundhouse and hem are edgy, and it is impeccable to spell double digits with Teacher Kou. Making a mistake is a bit weak, especially when it is out of line. I'm afraid it's because there are too many repetitive characters and voices, and some coloratura and coloratura works will affect the overall effect. Strangely enough, I like Henan Opera best, and The Orphan of Zhao played the most. 200 1 year is the centenary of Mr. Ma's birth. That year, I misread The Orphan of Zhao seven times, four of which were performed by Yu Pei. On the whole, I think it is wrong for her to sing this. First, she is famous for "seeking solitude". When people listen to her, they will inevitably have associations standardized by the standards of the remaining factions. Besides, there are too many duets in this play, so it is not convenient to change the tune. She needs to accommodate other actors to sing in a falling tone many times, and her tone is relatively flat. Moreover, in the second half of the film, Cheng Ying's vicissitudes, grief and indignation are difficult to interpret for an actor of her age and character. So, I don't particularly appreciate her performance.

Like Wen Zhaoguan, the Dojo-changing seems to belong to the era of "Children's Wang Peiyu" which has been sung repeatedly in those years, but now it has been shelved. This anti-period is the epitome of creative spirit, and many of its accents are very different from those of the early remaining schools. However, this drama is also incompetent for people with bad voices. This passage by Yu Pei is wonderful, but it is estimated that her pianist Chen Pingyi is even more wonderful. I usually draw eighteen and a half cards, so I can show my talents this time.

There are three things worth mentioning about Yu Pei's career after graduation. First, he competed for the post of head of a troupe of Shanghai Peking Opera Theatre and became the youngest head of Beijing. At that time, various media publicized it for some time. Second, she entered the third China Young Peking Opera Actor Postgraduate Class. Third, the studio was established in 2004 and officially became the "Yu Boss". Although the graduate class, as the so-called academic flaunt of Peking Opera, has been criticized by all parties for paying too much attention to theory and neglecting the study of new dramas, especially old ones, it is still like a routine every year to recruit new ones. Yu Pei's choice to join should be said to be a correct choice, because after all, it marks that she has taken another step in the direction of integrating into the mainstream Peking Opera, and at least obtained a pass that may not be practical but is necessary. Just as the Spring Festival Evening is almost a thousand fingers, actors who want to become famous overnight still flock to it. As an actor, if you want to be famous, you must grasp your future rationally. In vain, relying on the smell of wine, the alley is not deep and soon disappears into the vast night.

She told me a long time ago that she wanted to have her own "Wang Peiyu Opera Troupe", as famous as in the past, running around the pier. As young people, she and I deeply understand that the existing system imprisons actors and even the art of Peking Opera, but how easy is it to travel alone in the bleak market? But the first person to eat crabs is respectable after all. She took this step today and didn't fall. Maybe thousands of people will follow in her footsteps and continue to explore tomorrow. It is the general trend for Beijing opera to be put on the market. Go your own way. I wish her all the best.

People often ask me, what kind of person is Wang Peiyu? Just like knowing what anyone will say, I will say, "She is a complicated person." Although she is not famous in the world, she is more or less a famous actress. Coupled with her calmness, many people are a little scared and even have all kinds of false denials. "Friends have a thousand glasses of wine, and lovers have more than half a sentence." In fact, when meeting bosom friends, she is cheerful and easy-going, but not close. She is very properly restricted, which makes people feel that "making friends with gentlemen is nothing more than that."

We belong to the type of meeting each other late. At the beginning, we met suddenly in the theater and found that we hit it off very well. We kept in touch through letters. Every time she comes to Beijing, we have to have a chat, especially for Yu Pai. She is really a smart person with amazing insight into the grasp of artistic principles. She understands and loves Yu School, pursues Yu School, and "believes in the past", even many old actors can't reach it. Of course, this also depends on the teaching of many famous teachers inside and outside the industry, but her understanding and artistic taste can not be said to be innate.

Wang Peiyu is very conservative about art, but his thoughts are not backward. She has talked about her views on the Beijing Opera market many times. She believes that with the efforts of many parties, the Beijing Opera market can be fully explored, and she has been making various successful or unsuccessful attempts since she joined the League, which is full of vitality.

Yu Pei's calligraphy is well known to many people, and we happen to have other hobbies besides Peking Opera. She likes playing snooker in private, and I like it very much, so I spend quite a lot of time chatting with her online to discuss billiards every weekend in my undergraduate stage. She likes Ken in Ireland? Dougherty, I worship Stephen of Scotland? Haendly. We all like watching movies, and we will recommend each other when we see any good movies. Besides, we are all attracted by Leslie Cheung's melancholy temperament. I remember calling her for the first time when I first met her at 200 1. My classmate told me that she went to a concert in Leslie Cheung. 2003 is an eventful year, and the SARS epidemic in Beijing has just arrived. On April 1 day, the bad news of Leslie Cheung's death came. We comforted each other in our closed rooms and texted each other by cell phone.

As a result of long-term contact, most Peking Opera actors engaged in art in childhood are cheerful and clever, and Wang Peiyu is no exception, but few of them are glib and vulgar. Before she became the head of the team, she was very decent. When she was in a group, she talked condescendingly. She was sincere, but she didn't say anything wrong. This is not a day's work. She is very independent. When making a decision, you will often listen to the opinions of others, especially the opinions of laymen, listen respectfully, and then make up your own mind, which is often proved to be correct afterwards. She is friendly to others, even with a hint of cunning sometimes. For example, my mother only had dinner with her once, but when she talked to me, she praised her for being easy-going. Another time we ate pizza at Pizza Hut. She saw a beggar outside through the glass window, so she asked the waiter to take a piece of tin foil and wrap it for him. She made fun of him, too. None of this will keep others' reconciled views away from Wang Peiyu. At the same time, she is not weak, and she is not polite to dissatisfied people and things. Combine kindness with kindness, and he is the real "boss".

I have known Yupei for five years and listened to her plays for ten years, so it is worthwhile to write something at this moment. It is also a great blessing in life that I can become her bosom friend from a "fan" in these five years. Diligent in art, sensitive and eager to learn, the future is limitless, and the "Yu Dang" naturally rejoices. Perhaps it is because of her delicate face, smart clothes and extraordinary conversation, or perhaps it is the "bookish spirit" of Yu School that is highly valued by later generations. People always like to call her a "scholar actress", and even some busybodies call her a "scholar". In fact, this is a misunderstanding of the school of harmony and redundancy. In fact, Yu Shuyan doesn't talk like a book when he sings a play. He has some celebrities and some hypocrisy. Although Wang Peiyu is calmer and gentler than ordinary actresses, she has neither the knowledge of scholars nor the so-called childish and sour taste of scholars. Is her open-minded and worldly-minded, her Ren Xia generous, and even a little Jianghu spirit in her a word of Confucianism? "The world is full of knowledge, and human feelings are articles." Yu Pei's acting skills are all about pursuing peace in Chiang Kai-shek, and he does not deliberately stick to the past. This is the real redundancy.

There is another one that should be earlier.

Wang Peiyu impression

At about 1 1 on Tuesday night, I called the underwater fish brother and said that I wanted to write an article about Wang Peiyu. Let's talk. Brother Fish said it doesn't matter. So we began to talk about the future of Peking Opera, saying that Yu Shuyan said that Xiaodong Meng said that there were three rhymes in the back of his head, and that Wang Peiyu's art was the future of Peking Opera. The dark dormitory was quiet, only we mumbled something in a low voice, just like the white-haired ladies-in-waiting in front of the steps of the Palace of Eternal Life gossiping. Brother Yu caught a cold, spoke with a little difficulty, coughed a few times, and concluded in a calm voice as usual: "Well, the heyday of Mei Yuyang is gone." I passively promised Brother Fish that you should pay attention to your health, so please have a rest and then hung up the phone. Climb to the upper bunk and lie down in the dark, feeling that the article has no clue, but my heart is full of sadness.

I don't know why I like Beijing opera. In fact, I like everything ethereal and elegant. I like Jiang Kui's ci, Meng Xiaodong's Peking Opera, Yu Shuyan's and Liu Baoquan's drums, the ethereal "Leng Xiang flies up to the poem" and the hazy "a bright moon shines under the window". The rest of my life is too late, and I will never have a chance to see the masters on the red flag again. I can only trace the auspicious feathers of sages from the records handed down from generation to generation. Late at night, I always plug in my headphones and hear the reporter's deep and familiar voice from the noisy noise: "EMI invited the boss Tan Xinpei to sing" Selling Horses. " At the end of the song, the impetuous soul feels a little comfort, of course, there is also the loneliness that "the wind and rain will always blow away" and the sadness that cannot be avoided after all.

Today's Beijing opera has always been full of undisguised commercial vulgarity. Kiss up if you can, kiss up if you can't. So I am very grateful to Pi Huang and Hong for making such a place for us old people and young people, and pieced together the fragmentary impression of that song and dance era with each other's hearsay and vague voices in the drill records.

Mr. Liu said that the Yu School art is like a goldfish in Zhongshan Park, and it is very picky about living conditions. What grass to put, what vegetables to feed, when to change water and when to shade are all carefully served by special tricks. Therefore, after all, it can only be a plaything of literati. The Yumeng couple have no worries about food and clothing. Naturally, they can take great pains to elaborate. How many people like Yang "don't worry, although they have died nine times, they still have no regrets"? It is an indisputable fact that Peking Opera has declined. Let today's famous actors try their best to catch up with the legacy of the past. For us, I'm afraid it can only be a demanding or extravagant hope.

I heard that Wang Peiyu was five years ago. A very delicate little girl sang "Wen Zhaoguan" with clear pronunciation and mellow voice. I just thought it was very nice when I was in junior high school, and I don't know the so-called "13 November" case in the future. In my ignorant youth, I still don't know what the charm of singing is, but her voice left an initial impression on my eardrum.

Mr. Qi Rushan said that to be a famous actor, six conditions must be met. So far, I only remember two things: looks and voices. Wang Peiyu's length is worthy of a "show". Sitting in the palace, Liulang's eyebrows and eyelids are slightly painted red, which is in harmony with Jinlong and Red Python, showing a graceful and quiet temperament. Liu Shichang in Wu Bi Ji is a ghost. She can't wear rouge, and her head is covered with a black net. Many people look pale and weak, but she does not spare a simple and elegant charm in her sadness. Generally, this is called "Grandfather enjoys food".

Wang Peiyu's voice condition is very good. She is just like Ming Che, except for the inevitable slight female voice of the old female students, which is somewhat similar to the prime of life of Teacher Yu. She is well dressed. Whenever my roommates and I hear the word "myself" in the sentence "I did my own errand" in "Market Road", we can't help clapping our hands and sighing. She has a good feeling for music. Once I went to Liyuan Bookstore, my boss showed me the anti-Huang Er version of "Changing Dojo". I feel that her voice is not only bright, but also full of strength, and she handles cadence very well. It is commendable that a little girl can do this, and the note with the word "ice snow cleverness" given to her in the jar is by no means a ridiculous prize. Her singing skills are also very regular. Nowadays, people always like to sing the word "De", which means "I'll hold my heart for a while", but she always sings according to Yu Shuyan's original song. Now, when singing "Let the tiger go back to the mountain to catch people", it is customary to stop. The huqin dance started first, and slowly entered the last slow part, but she sang it all at once. Now it is popular to sing adagio with the first sentence down, preferring to burst into a full house, but she always treats every cavity with the spirit of a vegetable, making Gu Zhuo look cute. In this era when the elegant Beijing opera art is inevitably contaminated with vulgarity and glitz, it is enough for me, an old-school opera fan, to have such a generous, concise and not gaudy actor.

I'm afraid all rational choices are unacceptable. The soil on which Peking Opera depends is withering day by day, and people are no longer willing to find a post station among silk and bamboo to set their hearts free. In the face of the remnants of Beijing opera dance, I can't accept this fact calmly. It is said that after Lao Tan's death, people called listening to Yu Shuyan "swallowing mud". Generally speaking, when there is no tobacco smoke, you have to chew the soil to entertain yourself. Over time, Yu has become an unprecedented generation, and as Mr. Chen Yunjun said, this art has come to an end with its mother Peking Opera-or "old Peking Opera" as Hongdou said. The grand occasion of "a hundred schools of thought contend in the whole city to call Tianer" has passed like a smoke cloud. On a sunny afternoon, when we reminisced about Eighteen and a Half Pictures alone, we could only bear the sadness of I'm Alone, and my tears fell. I think this may be the reason why I admire Wang Peiyu so much. On the evening of Mid-Autumn Festival, I went to Chang 'an to watch a famous Peking Opera concert. The opening is "pass the parcel scolds Cao", and he got off the stage in less than ten minutes. I said to a girl next to me, "I've lost half my ticket." She smiled at me. In fact, I know that Wang Peiyu is mortal after all, and some people have different views on her. Her failures can also be found in her recordings, but I prefer to appreciate her as always. Because from her voice, I can always enjoy a moment of "swallowing the earth" pleasure, see a glimmer of hope in the darkness, and find spiritual sustenance in this era of lack of simplicity, perfection and all elegant and frank things. Maybe many years later, I finally can't get rid of the fetters of the world, and Beijing Opera has finally become the inspiration of Ludian Temple above the dance pavilion and singing platform. Looking back, I found that Wang Peiyu, Yu Shuyan and even Peking Opera were just an ethereal dream when I was away from the noise. But even so, it will always be a colorful period in my life.

On the afternoon of June 7th, 2000, 165438+ was frozen in a humble room in Beijing.

Thanks to the original author for sharing.

The picture comes from the official fan base (falling in love with music pictures) 202165438+February 26th.