What does Ma Shiceng do?

Ma Shiceng (1April 2, 900-1April 22, 964) was born in Shunde, Guangdong. Shunde County, Guangdong Province (now Rong Gui, Shunde District, Foshan City), a native of Madiqiao, Guizhou Province, is a famous Cantonese opera performer.

He studied under the famous Xiao Wuliang Yuan Heng and has been performing and making films in Hongkong, Macau, Guangzhou and Southeast Asia. /kloc-returned to Guangzhou to join Guangdong Cantonese Opera Troupe at the end of 0/955. He is good at playing ugly students, primary school students, young martial artists, students with faces and beards, etc., and has created a unique "beggar's throat", which is half-sung and half-white, cadenced and sometimes mixed with dialects, lively and funny, and has become a well-known horse cavity.

In his later years, he changed to sing old songs. The more refined his skills, the more desolate and vigorous he played, and he was quite skilled.

Chinese name: Ma Shiceng.

Mbth: MaSiTsang

Nationality: China.

Place of birth: Shunde, Guangdong

Date of birth:1April 2, 900

Date of death:1April 2, 9641.

Occupation: Master of Cantonese Opera

Representative works: Pity of Bitter Phoenix and Ingrid, Prince Thief, Soldiers of My Couple, Sister-in-law of Naughty Princess.

Performance experience

Learn from the teacher

Scholarly family. From a poor family, I studied the Four Books and Five Classics with my great uncle Zuma Jin Woo. At the age of fifteen, he was admitted to a "special middle school". I acted in a civilized drama when I was a student. After graduating from high school, I worked as an apprentice in a steel factory in Hong Kong. Ma Shiceng is very talented and likes music and drama. I often watch these plays secretly, and I admire the singing skills of famous singers, Jing and Xin Bai Cai at that time. In the end, despite her parents' opposition, Fu Jia studied Cantonese opera for the teacher and entered the theater to study opera.

Nanyang Xian Yi

Later, in order to make a living, he went to Nanyang alone and came to Singapore to be a third-year student in the "Yao Tiancai" troupe. During that time in Nanyang, Ma Shiceng lived a very hard life. At that time, his acting skills were poor and he didn't understand the traditional performance methods of Cantonese opera, so he made a lot of jokes on the stage. Frustration inspired young Ma Shiceng. He is determined to study hard, practice hard, study the traditional Cantonese opera Eighteen Chapters repeatedly, carefully consider the plot, characters, music and catwalk of each drama, and often learn from the strengths of others to enrich himself. Therefore, his stage art and self-cultivation are constantly improving.

Xiongba art world

Ma Shiceng was particularly fond of the clown's performance, so he made a special study on the clown's performance art, and finally created a unique "horse accent", commonly known as "beggar accent", which made the audience feel refreshed. And his clown image is gradually loved by people. In Bitter Phoenix Pathetique, Ma Shiceng brought the beggar to life, which was highly praised by the audience, thus laying the foundation for him to dominate the Cantonese opera art scene.

After joining Changchun Opera Troupe, he changed his name to Ma Shiceng. After returning to Hong Kong, he joined the "Year of Life" Troupe and performed with Heju. He is good at clown performance, which is different from Xue Juexian's sven performance and is welcomed by the audience. After participating in the "Da Luotian" Troupe, the theater was broadened, with ugly, healthy, beautiful and clean performances, leading the screenwriter department of the troupe. The repertoires compiled include historical themes and contemporary themes, as well as the repertoires of talented people and beautiful women and the adaptation of foreign films, including ancient costumes, fashions and suits. 193 1 performed in San Francisco for two years. Later, Taiping Opera Troupe was established in Hong Kong, which promoted the development of Cantonese opera art in competition with Mr. Jue's troupe. After that, he founded Universal Film Company, and his films include Wild Flowers, Unfeasurable Woman's Heart, and Two-sai-jo, which are deeply loved by the audience. 194 1 year, the Japanese army occupied Hong Kong, returned to the mainland, and set up a Cantonese Opera Troupe from Guangzhou to Guangxi. After the victory of the Anti-Japanese War, he co-starred with Xue Juexian in the famous plays "Madame Butterfly" and "Hate History of Qing Palace". /kloc-returned to Guangzhou from Hong Kong in 0/956, and served as vice chairman of Guangdong Branch of Dramatists Association and dean of Guangdong Cantonese Opera Academy.

Be banned from performing

Guangzhou is the center of Cantonese opera activities. It should be natural and normal for Ma Shiceng to work and perform in Guangzhou. In fact, during his more than 40 years of stage career, he could not perform on the stage in Guangzhou for more than 20 years. It was such a strange thing that the master of Cantonese opera could not perform in the Cantonese opera activity center.

From 65438 to 0929, Ma Shiceng was a famous Cantonese opera, Hong Ling, with the highest annual salary. That autumn, after the evening performance, he walked out of the door of Haizhu Theater and was injured by a gangster throwing a bomb at his right foot. On the contrary, the Guangzhou police ordered the "Guofeng Troupe" which he presided over to stop performing for six months, which was tantamount to forcing the troupe to dissolve. Ma Shiceng moved his family to Hong Kong in a hurry, and another troupe performed in Hong Kong, Macau, 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. Escaped from the jaws of death and entered the Guangxi reorganization troupe until 1945 War of Resistance against Japanese Aggression won. Ma Shiceng thought that after War of Resistance against Japanese Aggression's baptism, Guangzhou's official position would be better, and led him to return to Guangzhou happily after years of exile and acting. I don't want "Wild Flowers" to be banned for several months.

The Fragrance of Wild Flowers was written by Yao Qichen, a university professor. He is full of courtesy, integrity and shame, and takes it as his duty to maintain social dignity. I was furious to learn that my son was infatuated with a social butterfly. Unexpectedly, when he saw this social butterfly, the gentleman's coat was peeled off layer by layer, revealing the true face of hypocrisy and hypocrite, and finally became a separated wife and a broken reputation. This was originally a "fashion play" directed and performed by Ma Shiceng in Hong Kong in the 1930s. War of Resistance against Japanese Aggression still performed frequently. Why is it banned at this time? It is said that there was a senior official surnamed Yao in Guangdong at that time who was a professor. Ma Shiceng's play is "intentionally insinuating and slandering the Chief Executive". A play edited and performed in Hong Kong more than 10 years ago actually insinuated and vilified Guangzhou senior officials more than 10 years later. Isn't the reason for the ban ridiculous? However, what was the reason for that year? Ma Shiceng bid farewell to Guangzhou again and brought the troupe to Hongkong.

In l949, Guangzhou was liberated in June 5438+10, and Hainan Island was liberated in May 65438 +0950. Kuomintang planes can no longer bomb and harass Guangzhou, and the performances of major theaters return to normal. In the second half of the year, Ma Shiceng and Xian Nihong led the "Red Star Troupe" to perform in Guangzhou. The performance lasted nearly half a year. In addition to the "Ma Pai" drama, with the help of the South China Federation of Literary and Art Circles, a modern drama "Tears of the Pearl River" was compiled, which showed that after War of Resistance against Japanese Aggression's victory, farmers in the Pearl River Delta resisted the oppression and exploitation of bureaucratic bullies and opposed the Kuomintang's efforts to seize young people to fight the civil war. 195165438+1On October 5th and 6th, Ma Shiceng and Sin Nuhong also participated in the "Cantonese Opera Rally to Resist US Aggression and Aid Korea" and performed the short play Jeans, criticizing the idea of worshipping beauty.

In this performance, Ma Shiceng left a good impression on Guangzhou after liberation. I don't want to go back to Hong Kong, but I was attacked by waves. First, the person in charge of the Eight Harmony Clubhouse, a trade organization of Hong Kong Cantonese Opera at that time, held a meeting attended by Hong Kong Cantonese Opera colleagues, reprimanded Ma and Hong for being "red" in Guangzhou, and warned them to "go out" (expel from the party) if they were red again. At the meeting, some people booed and shouted that they would "chop off the head of a chicken and burn yellow paper" in front of the statue of "Huaguang Emperor" (the god of Cantonese opera) and swear not to be "red". Later, the Political Department of the British Hong Kong Government "summoned" Ma and Hong to trace their activities in Guangzhou. Ma Shiceng was hit hard one after another, and the troupe was dissolved again. In addition, being over 500 years old means "box office depreciation" in that society, and class performance can only be accepted as "caring for the elders". Things were difficult in those years.

Back to the motherland

At this time, the socialist motherland extended a warm hand to the artist: 1955, he and Sinuhong were invited to attend the National Day ceremony of Beijing on the 6th anniversary of the founding of New China. Ma Shiceng saw the party and state leaders headed by President Mao Zedong at Tiananmen Gate, and saw the grand scene of Chang 'an Avenue military parade at the viewing platform. The mighty and solemn People's Liberation Army, the energetic workers, peasants and soldiers and people from all walks of life all show the high morale and enterprising spirit of the new China. Premier Zhou Enlai hosted a banquet for the delegates at the Beijing Hotel, had a cordial conversation with Ma Shiceng and invited him to visit all parts of the country. At the opening ceremony, Ma Shiceng met with Mao Dun, Mei Lanfang, Cheng, Tian Han, Cao Yu and other famous writers and dramatists. They all warmly and sincerely hope that Ma Shiceng can return to work in New China. In Beijing and Guangzhou, he watched many opera performances and learned about the organization and performance of domestic troupes, especially Guangdong Cantonese Troupe. Finally, when Tao Zhu, the governor of Guangdong Province, received him, Ma Shiceng expressed his determination to return to work. /kloc-After more than 0/month, he took care of everything in Hong Kong and returned to Guangzhou.

1955 19 February 19, Guangdong and Guangzhou cultural and artistic circles 150 people gathered together to welcome Ma Shiceng and Xian Nvhong 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 until the end of his life.

After Ma Shiceng returned to New China, he successively served as the head of Guangdong Cantonese Opera Troupe and the president of Guangdong Cantonese Opera Theatre, and was elected as a member of the National Committee of China Federation of Literary and Art Circles, vice chairman of Guangdong Federation of Literary and Art Circles, executive director of Chinese Dramatists Association and vice chairman of Guangdong Branch. He was also elected as a deputy to Guangdong Provincial People's Congress, a member of Chinese People's Political Consultative Conference, and a member of the Standing Committee of Guangdong Provincial Political Consultative Conference. Taking on heavy administrative work and social work, his artistic creation has also made great gains.

Juvenile period

Grandfather Ma opened a teahouse in Guangzhou, but when he was young, he lived in Guangzhou with his father Ma Gongquan and his mother. 1907, his family business failed. I went to Wuchang with my grandfather and parents, and took refuge in Zeng Shuzuma, who was then the director of the Confucian Classics Museum of Lianghu Academy. As a result, he had the opportunity to learn the Four Books and Five Classics and practice calligraphy, which laid a certain foundation for Chinese studies.

19 1 1 year, the Revolution of 1911 broke out in Wuhan. He and his family fled Wuhan and returned to Guangzhou. In primary and secondary schools, Ma Shiceng became interested in drama, participated in the "civilized drama" performance organized by the school, and sometimes secretly went to see Cantonese operas performed by famous actors Xinhua and Zhu Cibo. I didn't graduate from middle school and was instructed by my parents to be an apprentice in a copper and iron shop in Hong Kong. Because I couldn't stand being bullied by the shopkeeper and other guys, I ran back to Guangzhou to study opera in Taipingchun Theater in Nanchen, established a mentoring relationship with the old artist Master Jia, and started my life as an apprentice in Cantonese opera.

early stage

19 17 Ma Shiceng studied Chinese opera at Taipingchun Theatre in Guangzhou, and was soon employed by the Singapore Qingxin Cantonese Opera Troupe. Later, he transferred to Changchun Cantonese Opera Troupe and studied and performed in Nanyang. During the period, he was dissatisfied with the monitor's bad faith, refused to be an ugly man, and left the class angrily. Later, he switched to the local Yao Tiancai Troupe as a junior high school student and changed his name to Fenghua Zi. During his acting, he happened to have the opportunity to play "Su Wu Shepherd" with the famous actor Xinhua, and his performance was greatly appreciated by Xinhua. Soon after, he went to Qingnan New Troupe to perform Du Shiniang's Angry Box and other plays, and eventually lost his job because of the exclusion of local artists. He makes a living in a wandering troupe, sells plasters, and works as a miner and shopkeeper.

19 19, Ma Shiceng was hired as a third-year student by Pingtian Color Class. He studied hard and worked hard, and got the support of male Hua Dan Xiao Xiangfeng (Liang Shaofeng). Xiao Xiangfeng invited him to co-star in his new fashion drama Epilepsy, Ridiculous and Disdainful. The performance caused a sensation, and Ma Shiceng stood out and was demoted. Later, Xiao Xiangfeng formed a new class with him. He plays Xu Xian in The Legend of the White Snake, and his singing is very unique and popular. Everyone in the troupe said, "Feng Hua Zi Er is a hit!" At that time, he met Jing, a famous actor from China. The two performed plays such as Pirates and Celebrities on the same stage. Ma Baijing, as a teacher, participated in the performance of Changchun Troupe with the scene. Since then, he has been using his real name Ma Shiceng. Although there are some setbacks in the tradition of arranging new dramas and performing, Ma Shiceng can learn from them and study the playwrights and performing arts of Cantonese opera more modestly and diligently.

1923, Ma Shiceng returned to Hong Kong for development, taking over the position of Andrew ugly girl student in life class and Xue Juexian, an ugly girl student in Andrew who just finished class. With the help of Qianliju and other predecessors, he gave full play to his humorous, flexible and popular skills in performance, as well as the singing art of martial arts majors who studied under the master's scene, and successfully performed "Full of Complaints" and "A Girl Student" and their directors in Nanyang. Ma Shiceng repeatedly studied the traditional Cantonese opera "Eighteen Books of Jianghu" and made a lot of research on clowns. In Bitter Phoenix, he plays a beggar and the soul of Yu Xia, creating a unique style of "Ma Qiang" (commonly known as "beggar Qiang"), which is very popular. Four plays were staged in Xiguan and Nanguan, Guangzhou, which lasted nearly half a year and set a box office record at that time.

/kloc-in the summer of 0/925, he left the life class to form Daluotian Troupe with Chen Feinong and others, and hired Chen Tianzong, Feng, Mai as professional screenwriters in the special screenwriter department of the troupe. He also writes his own plays or cooperates with others. Daluotian Troupe has compiled and performed a number of new dramas with ancient and modern Chinese and foreign themes, such as Couple Warrior, Thief Prince, Fool's Birthday, Red Rose and so on. He has made bold innovations in the content of the script and the performing arts. The troupe has a strong cast, and Ma Shiceng's roles in these new plays are all in place, such as liveliness, ugliness, Dan and purity. Therefore, the troupe's performance is excellent, and it can keep pace with life on the stage of Cantonese opera, and Ma Shiceng's reputation is becoming increasingly prominent.

middle age

193 1 in the spring of, Ma Shiceng's artistic career took a major turning point, that is, he was hired to perform in San Francisco for one year (he was forced to stay for two years because of the fraud of the theater owner). Before the trip, he carefully arranged and took the Collection of a Thousand Miles of Strong Travel to the United States to promote the beautiful Cantonese opera art to the American audience. The book also revealed the concept of "new drama" that he gradually formed. On the one hand, he emphasized that the art of drama is of great significance for carrying forward the excellent culture of the Chinese nation, and thought that "no one is unpatriotic, and all patriots should think about preserving the moral culture of their own nation", so he proposed to use drama to "publicize the unique moral culture of our country"; On the other hand, he also stressed that drama should change and innovate with the development of the times, thinking that "in recent years, Chinese and foreign transportation has been so convenient and life has changed so dramatically." Our actors still cling to the old practice of marching on the field and singing on the target. They should never stand up and call themselves art. There is no reason not to fail in the fierce competition between this film and stage play! " Therefore, he proposed to reform Cantonese opera. "One party should be effective to the other, and the other party should retain the essence of Cantonese opera, so that it can be carried forward and effective."

1933, Ma Shiceng returned to Hongkong from the United States and founded the first co-educational Cantonese Opera Troupe "Taiping Opera Troupe" (later renamed "Taiping Opera Troupe"). At that time, the newspaper advertised that Ma Shiceng was "the leading director and artist of the new school of Cantonese opera", just as its name implies, he wanted to make great efforts to reform Cantonese opera in many aspects. At that time, Cantonese opera was extremely prosperous, and he competed with Mr. Jue's troupe led by Xue Juexian in artistic performance, forming a period of "learning from horses for heroes", with many good plays and many opera fans.

Ma Shiceng married Sinuhong on 1944.

old age

1955 12 14, Ma Shiceng and Xian Nvhong returned to Guangzhou to settle down and join the work of Guangdong Cantonese opera, which was warmly welcomed by the party and government departments, Cantonese opera colleagues and the audience who loved Cantonese opera.

1956, Ma Shiceng was appointed as the head of Guangdong Cantonese Opera Troupe, and performed with Xian Nvhong in Zhao Jun's first new play after his return to Guangzhou. Soon after, they co-starred in "Searching for the Academy" based on the traditional repertoire of Qiong Opera with the same name, and reported the performance in Beijing. The National People's Congress Standing Committee (NPCSC) Chairman Liu Shaoqi and the State Council Prime Minister Zhou Enlai watched the performance with the audience in the capital.

On May 1956, Premier Zhou Enlai spoke highly of Ma Shiceng's contribution to the work of Cantonese opera at the symposium on the 15th Pass of Kunqu Opera held by the Ministry of Culture and the Chinese Dramatists Association, saying, "Now that expert Ma Shiceng is back, the weather is even different and better." And give Cantonese opera the reputation of "Southern Red Bean". This year, Ma Shiceng was elected as member of Chinese People's Political Consultative Conference, member of the Standing Committee of Guangdong Provincial Political Consultative Conference, deputy to Guangdong Provincial People's Congress, member of the National Committee of China Federation of Literary and Art Circles, vice chairman of Guangdong Federation of Literary and Art Circles, executive director of Chinese Dramatists Association and vice chairman of Guangzhou Branch of Chinese Dramatists Association. He was also honored to be elected as an advanced cultural worker in Guangdong Province.

1958 1 1 Guangdong Cantonese Opera Troupe 10 was established in October, with Ma Shiceng as the dean, performing the Cantonese opera Guan Hanqing adapted from Tian Han's drama of the same name. At the end of the year, he went to Wuhan to give a special performance for the Sixth Plenary Session of the Eighth Central Committee.

1959 At the invitation of Kim Il Sung, Prime Minister of the Democratic People's Republic of Korea, China Cantonese Opera Troupe headed by Ma Shiceng visited the DPRK with Guan Hanqing and other plays. In June+10 of the same year, Ma Shiceng led a troupe to participate in the tribute drama exhibition in the capital to celebrate the 10th anniversary of the founding of the People's Republic of China, and performed Guan Hanqing and Sou Shen Yuan.

1960 in the first half of the year, Ma Shiceng went to Beijing to be the teacher of China Opera Art Research Class, and Mei Lanfang was the director. During his teaching, he and Sinuhong performed Guan Hanqing in Beijing Zhongshan Park.

196 1 year, the China Cantonese Opera Troupe, with Ma Shiceng and Sin Nu Hong as the general artistic directors, visited the Democratic Republic of Viet Nam and gave performances such as Guan Hanqing and Liu Hulan.

/kloc-in the summer of 0/962, he performed Tian Wen in Quyuan for Premier Zhou Enlai and Vice Premiers He Long, Chen Yi and Nie, which was his last performance on stage.

From 65438 to 0963, Ma Shiceng was diagnosed with tracheal cancer and admitted to the Affiliated Hospital of Sun Yat-sen Medical College for treatment.

1964 was transferred to Beijing Tongren Hospital for treatment and died on April 2 1 day.

Character experience

The years when Ma Shiceng performed in Zhanjiang during the War of Resistance against Japanese Aggression period.

After the outbreak of War of Resistance against Japanese Aggression, the Chinese nation was united as one and set off a nationwide War of Resistance against Japanese Aggression. Everyone is responsible for the disaster of the country. At that time, the "Guangfu Class" artists of Cantonese Opera in various provinces and ports were unwilling to stay in the occupied areas and perform for the Japanese aggressors. They fled the enemy-occupied areas of Hong Kong and Guangzhou. 1899, Zhanjiang was "leased" by France at that time, and its foreign trade was once prosperous. 1943, Guangzhou Bay was occupied by Japanese troops. 1945 After the victory of the Anti-Japanese War, Guangzhou Bay returned and was named "Zhanjiang" from now on. Stop. Some of them came together in the same class, some came to form classes together, and some came to set up the stage alone.

Among them, famous artists are: Xue Juexian, Ma Shiceng, Liang Xingbo, Tan Lanqing, Lang, Sinuhong, etc. Many artists not only make a living by performing, but also organize anti-Japanese troupes, compile anti-Japanese war programs and publicize and save the country. A large number of old Cantonese opera artists came to Zhanjiang, which made Cantonese opera once prosperous in the remote Zhanjiang area. From 65438 to March 0942, the master of art and Cantonese opera fled from Hong Kong to Zhanjiang and performed in Zhanjiang for nearly two months, which wrote an important page for the performance history of Cantonese opera in western Guangdong.

When Ma Shiceng arrived in Zhan, he was 42 years old. He has a long-standing reputation in Cantonese opera and is also very popular in Southeast Asia. Previously, the Taiping Troupe led by him directed and performed plays such as Protecting the Family and Abandoning Children, Qin Gui Going to Hell, Hong Chengchou, Saving the Country and Love Fragrance. , widely welcomed by the audience. When the Japanese invaders approached Hongkong, they sent spies and traitors, forcing Ma Shiceng to organize groups to comfort the Japanese many times, but Ma Shiceng refused because of illness.

On the morning of the third day after the fall of Hong Kong, he ventured to lead eleven family members out of Hong Kong, smuggled into Macau and then moved to Zhanjiang. After arriving in Zhan, Ma Shiceng, Ouyang Jian, Luo Lijuan, Xian Nvhong, Liang Guannan, Maersk Ball and Gan Yanming formed an Anti-Japanese War Troupe and performed in Xiashan and Chikan. There are performances at the Chinese Theater at the East Embankment of Xiashan Mountain and the Central Theater at Chikan South Road. They went all out to perform traditional plays and anti-Japanese programs, which lasted nearly two months and lasted for a long time. Many of them are charitable performances such as helping the army, helping refugees, donating money and raising warm clothes. Some old Zhanjiang people still remember the scene of Ma Shiceng's performance.

Xu, played in Princess Xu, and the Soul, played in Bitter Phoenix, left a deep impression on Zhanjiang audience. At that time, Zhanjiang, a French colony, had not yet built a city. Very backward, poor performance conditions. Almost all the venues are made of bamboo and wood, and there are many mosquitoes and flies. They are not afraid of the harsh environment, take the stage as their home and insist on performing, which has won unanimous praise from the audience. At that time, Ma Shiceng wrote a poem to describe this painful course: "Silver thread winds fireflies, listening to the rain on the railing. Poor Cui's sleeves are wet, and the wind dances and tears. " Ma Shiceng also met Sinuhong in Zhanjiang through the artist Alian (played by He Fulian). They met and got married as Er Dan at first and Zheng Dan later. Since then, Xian Nvhong's Cantonese opera career has been established and she has been fighting for it all her life.

When the Japanese invaders heard that Ma Shiceng was in Zhanjiang, they sent Japanese cultural spies and Tian Chang to track him down and coerced Ma Shiceng to return to Hong Kong. Ma Shiceng righteously, fearless in times of crisis, refused the Japanese invaders' request and decided to perform in Guangxi in the Mainland. He led a team of more than 60 people, together with more than 100 family members, and immediately avoided the border of China with the inch golden bridge. Regardless of his hard work, he walked all the way from Suixi and Lianjiang Shijiao to Yulin, Guangxi. They performed all the way, continued the propaganda of resisting Japan and saving the nation, supported the front-line anti-Japanese fighters with the money and clothes raised by The Romance of Righteousness, and helped the suffering compatriots in the rear, which fully demonstrated their patriotic enthusiasm and national integrity.

During the performance in Zhanjiang, Ma Shiceng and others brought new singing skills, pleasant music, gorgeous costumes, ingenious scenery and superb acting skills to the audience in western Guangdong, which greatly promoted the reform and development of Cantonese opera in the future. Zhanjiang Cantonese Opera transplanted and performed popular repertoires brought by provincial and Hong Kong troupes, learned to sing their popular vocals and adopted their new colorful costumes. The lights, scenery and western musical instruments commonly used by provincial and Hong Kong troupes gradually appeared on the stage in western Guangdong.

English name

Ma Shiceng's English name is "MaSiTsang", which is a transliteration of Cantonese. His wife Sin Nui Hung's English stage name is "HungSin-nui". According to the principle of "depending on the name", all walks of life are not allowed to use the Chinese pinyin "MaSizeng" gradually implemented after 1978 as their English names.

In Guangzhou and Guangdong Guangfu during the Republic of China, place names, road names and names were all transliterated in Cantonese, just like Hong Kong and Macao today. At present, China people are still allowed to choose their own English name spelling schemes in Cantonese or Minnan.

achievements of art

From 1956 to 1962, he not only performed Sou Shen Yuan and Guan Hanqing, but also performed Tell on Zhao Jun (written by Ma Shiceng and played by Emperor Han Yuan). Gui Zhi's Writing (traditional play, arranged by Ma Shiceng and decorated by Zhao Chong); The Bitter Phoenix Warbler Pities (Ma Shiceng's play from 1925, adapted by him, decorated with the ghost of Yu Xia); "bad karma's son-in-law" and "Naughty Princess Riding a Horse" (both scripts created in 1930s and kept on the stage, in which he adapted and played Xiao Huaiya, a dude, and Meng, a son-in-law); Qu Yuan (Ma Shiceng adapted and decorated Qu Yuan according to Guo Moruo's play of the same name); Picking up the Jade Bracelet (based on Peking Opera, Ma Shiceng plays Aunt Liu, which was made into a movie by Hongtu Film Company and renamed as Love as Oxygen); "Three Mothers Teach Children" (traditional play, arranged and decorated by Ma Shiceng, made into a film by Zhujiang Film Studio); "The Return of Zhao Zilong" and "Fengyi Pavilion" (traditional repertoire, arranged by Ma Shiceng, the former decorated with Zhao Zilong and the latter with Lu Bu); Master Qiao gets on the sedan chair ("Ma Shiceng" is adapted from Sichuan Opera and decorated with Joe Xi); Cai Wenji (adapted from Guo Moruo's play of the same name, with Ma Shiceng as Cao Cao). It is particularly worth mentioning that there is no important role suitable for him in the modern drama Liu Hulan. In order to support the performance of the drama, he actively strives for a supporting role, playing Shi Tinghuai, the bully landlord of the Home Returning Group.

In the above plays, Ma Shiceng plays roles that include ugliness of men and women, ugliness of men's feet, lack of feet, complete life, primary school students, little monks and other businesses in Cantonese opera, with a wide range of performances and exquisite skills, which set an example for the younger generation. In particular, the plays created or processed by him and honed by his performances for many years all have distinctive artistic characteristics of "Ma School", with rich flavor of life, meticulous description of human feelings and the world, exaggerated and true characters and humorous language. His performing arts enjoy a high reputation at home and abroad. From 65438 to 0960, the Ministry of Culture entrusted China Theatre Academy to hold a "Drama Performing Arts Research Class" with Mei Lanfang as the head teacher (and teacher), and hired Ma Shiceng as the teacher. The teachers in this class are Xun Huisheng, Liu Huisheng, Liu Huisheng, Liu Huisheng, Liu Huisheng, Liu Huisheng, Liu Huisheng, Liu Huisheng, Liu Huisheng, Liu Huisheng, Liu Huisheng, and so on. They are all well-respected people in the China opera circle.

In the later period, Ma Shiceng was better at playing the role of an old student. He played Qu Yuan in Qu Yuan, Xie Bao in Sou Shen Ji and Guan Hanqing in Sou Shen Ji. He played every role vividly and successfully created characters with different personalities.

1964 April 2 1 died in Beijing.

representative works

Ma Shiceng participated in 429 plays such as Guan Hanqing and Qu Yuan. He wrote and participated in 97 plays and 58 films.

Ma Shiceng 1922 Huisui was hired as an ugly student in Andrew in the "Year of Life" of the provincial and port classes. He became famous for his excellent performance as the soul of Yu Xia in Bitter Phoenix, and his unique "horse voice" (commonly known as "beggar's throat") became a household name and was widely sung.

In 1930s, the Taiping Opera Troupe led by him competed with Mr. Jue Opera Troupe led by him for ten years. Everyone called him "Xue and Ma", which gradually opened up a famous school of horse performing arts at home and abroad, and became a master of the popularization of traditional Chinese opera and a pioneer of Cantonese opera innovation. There are dozens of famous dramas on the stage, such as My Lover Warrior, Prince Thief, Grumpy Uncle, Sister-in-law of Naughty Princess, Second Ancestor and so on. There are hundreds of plays.

194 1 year, Mr. Ma organized the Anti-Japanese War Cantonese Opera Troupe (later renamed Shengli Cantonese Opera Troupe) and performed in Guangdong and Guangxi with Xingnvhong, which was a long-term propaganda of the Anti-Japanese War.

During the War to Resist U.S. Aggression and Aid Korea, I specially returned to Guangzhou from Hong Kong to attend a benefit performance. /kloc-in the winter of 0/955, he returned to Guangzhou from Hong Kong to settle down and joined Guangdong Cantonese Opera Troupe. He is the head of Guangdong Cantonese Opera Troupe and the first chairman of Guangdong Cantonese Opera Troupe. He was elected as a deputy to the Guangdong Provincial People's Congress, a member of the CPPCC, a member of the Standing Committee of the Guangdong Provincial Political Consultative Conference, a member of the Chinese Federation of Literary and Art Circles, the executive director of the China Theatre Association, the vice chairman of the Guangdong Branch of the Theatre Association, and the vice chairman of the Guangdong Federation of Literary and Art Circles. 1956 was awarded as an advanced cultural worker in Guangdong province.

He actively participated in the reform of traditional Chinese opera, and Sinuhong's Searching for the Gods and Guan Hanqing became famous operas at home and abroad. Xie Bao, Guan Hanqing and Mr. Ma play two old roles with distinct images and outstanding personalities. He has a wide range of plays. Besides being ugly, he is also good at playing Xiao Sheng, Xiaowu, Hualian and Xu Sheng. In his later years, he changed to play the old man, and the horse cavity changed from free and lively to desolate and vigorous, and the performing arts reached a new peak.

Personality assessment

Ma Shiceng has performed in Guangzhou, Hongkong, Malaysia, Vietnam and the United States. It mainly plays ugly students unique to Cantonese opera, and also plays pupils, bearded students and draws faces. He is good at absorbing the performance art of civilized new dramas and movies, and dares to try to reform Cantonese opera. He made great efforts to create a new Cantonese opera voice "The Beggar's Throat", and became a blockbuster as the soul of Xia Yu, a righteous beggar, in the drama "Bitter Phoenix Drives Sorrow", and gradually became one of the most famous actors in the modern Cantonese opera art world. It enjoys a high reputation among overseas Chinese in Guangdong, Hong Kong, Australia, Southeast Asia and America.

When Ma Shiceng was young, he played a little soldier, while in middle age, he was famous for his ugly feet. According to the characteristics of his loud but not round voice, he developed his strengths and avoided his weaknesses, and formed a kind of singing with melodic jumping, clear ups and downs, short and powerful articulation and lively and funny lines, which was called "Ma Qiang". For his famous experience, see "Historical Story of Drama" for details. Ma Shiceng is a bold and innovative artist. He not only inherited the tradition, but also dared to change the program to his own use. The most prominent thing is that when singing, Cantonese slang is often skillfully used as lyrics. He is a master who initiated the popularization of Cantonese opera. His singing skills, especially "Medium Plate", are naturally lively and funny. His original "The Beggar's Throat" is half-sung and half-white, novel and peculiar, with distinct ups and downs and distant sound, and has become a popular "horse's throat" for the audience. /kloc-in the 1930 s, he introduced some western musical instruments, which enriched the accompaniment music of Cantonese opera. He also absorbed some film and drama performance skills and integrated them into the performance of Cantonese opera. His performance, bold and unconstrained typhoon, clear and accurate movements, victory and surprise, created vivid characters. During the period of War of Resistance against Japanese Aggression, when Hong Kong fell, he dared to refuse the threat and temptation of the enemy and resolutely returned to the mainland to perform in western Guangdong, Guilin and Liuzhou.

Ma Shiceng is best at performing ugly plays, but in his later period, he plays old plays and young plays. In Guan Hanqing and Search College, he successfully created the vivid image of Guan Hanqing and the vivid image of Xie Bao, the teacher of Search College, both of which were made into movies.