Information about Wu Shuang's father.

biography

Works review

A brief collection of past events

The concept of life

Bibliographic chronology

( 19 17—2003)

[Edit this paragraph] Biography

Wu Zuguang, also known as Wu and Wu Shao, is a famous playwright and director in modern China. Born in Wujin, Jiangsu, 1965438+2 1, born in a big house in Xiaocao factory in Dongcheng, Beijing in April 2007. His family provided a literary environment for Wu Zuguang. His father, Wu Ying, participated in the establishment of the Palace Museum and was good at poetry, calligraphy, seal cutting and appreciation of ancient cultural relics, which had a far-reaching influence on Wu Zuguang's literary career. In the same year, Wu Zuguang graduated from Beijing Comte School. After studying in the Literature Department of China-France University for one year, I want to hire the secretary of the president's office of Nanjing Theatre Academy. 1934 published the novel "Gong E Complain", which is his first novel. After the July 7th Incident, he went to Hunan and Sichuan with the drama school to teach Chinese and Chinese drama history. 1936 graduated from the liberal arts department of China-France University. From 65438 to 0937, Wu Zuguang served as the secretary of the president's office of Nanjing National Theatre Academy. In the same year, he created the anti-Japanese drama Phoenix, which became a powerful weapon for the national theater to fight against Japanese invaders. Later, he wrote Song Zhengqi, Return on a Snowy Night, Lin Chong Running at Night, Cowherd and Weaver Girl, Journey of Youth and other plays, which were included in Selected Plays of Wu Zuguang. 1945, the supplement of Xinmin Evening News, edited by him, first published Mao Zedong's poem "Qinyuanchun Snow". 1946 founded the supplement of Xinmin Evening News, Night Cup and Qingming Magazine in Shanghai, and also created Ghost Hunting and a new drama, the Goddess Chang'e flying to the moon, denouncing the reactionary rule of the Kuomintang, and then fled to Hong Kong after being persecuted by the Kuomintang reactionaries. From 65438 to 0947, he directed and directed films such as Soul of China, Don't Ignore Youth, Tears of Mountains and Rivers, Spring Breeze and Autumn Rain, Return on a Snowy Night, etc. After the founding of New China, Wu Zuguang created the film "Red Flag Song" and the children's drama "Apart from the Four Seas" which reflected the spinning women workers. After 1954, Wu Zuguang directed films such as Mei Lanfang's Stage Art, Luoshen, and Tears in the Barren Mountains, which left extremely precious materials for Mei Lanfang and Cheng, two Peking Opera masters. 1963 cooperated with his wife Xin to adapt the Pingju "Flower as Media", which became a successful masterpiece on the Pingju stage. In addition, he also created a large number of works, such as Wu Zetian, Three Taos and Three Springs, The Wandering Son, The New Legend, The Three Customs Banquet and so on.

1937 to 1948, Wu Zuguang was a lecturer at Nanjing National Theatre Academy, director of Chongqing Central Youth Theatre Society and China Theatre Art Society, editor of Xinmin Evening News Supplement, editor of Qingming Magazine, director of Hong Kong Greater China Film Company and director of Hong Kong Yonghua Film Company. After 1949, Wu Zuguang successively served as director of the Central Film Bureau and Beijing Film Studio, head of Mudanjiang Art Troupe, screenwriter of China Opera Academy, China Opera Research Institute and Beijing Peking Opera Theatre, professional creator of the Art Bureau of the Ministry of Culture, member of China Federation of Literary and Art Circles, executive director and vice chairman of China Dramatists Association, and honorary chairman of Friendship Publishing Company. 1957 was wrongly classified as the Rightists, and the labor in the Great Northern Wilderness was decentralized. 1960 returned to Beijing, and worked as a screenwriter in the Experimental Peking Opera Troupe and Beijing Peking Opera Troupe successively, creating plays such as Wu Zetian, Feng Qiu Huang, Three Taos and Three Springs. 65438-0979 The Art Bureau of the Ministry of Culture is engaged in professional creation. After the downfall of the Gang of Four, he wrote the Peking Opera "Matchmaker" and the drama "Wandering the Jianghu", both of which were very popular. He is a member of the Fifth to Eighth China People's Political Consultative Conference. After the founding of New China, Wu Zuguang published the drama collection Snow Collection and the prose collection Flower of Art, and also directed many art films, among which Mei Lanfang's Stage Art, Luoshen and Tears in the Barren Mountains left precious materials for Peking Opera masters Mei Lanfang and Cheng. From 65438 to 0960, he returned to Beijing Experimental Peking Opera Troupe and China Opera Research Institute as screenwriters, and created Peking Opera scripts such as Three Taos and Three Springs and Three Popular Banquets. The screenplay adapted from Pingju "Taking Flowers as Media" can be regarded as a model of opera innovation. After the "Cultural Revolution", Wu Zuguang wrote the drama "The Wandering Son" based on his wife's new life experience. On April 9, 2003, he died of coronary heart disease in Beijing at the age of 86.

[Edit this paragraph] Works Review

▲ "Three Taos and Three Springs"

In 1960s, Wu Zuguang's work 1983 was made into a colorful stage art feature film by changchun film studio.

In the Five Dynasties, Zheng En, a hero who wandered the rivers and lakes, passed by pucheng county and was severely beaten by Tao Sanchun, a melon-watching woman, for stealing watermelons. Zhao Kuangyin saw her outstanding talent and appearance, so she set up a couple. Zheng En and Tao Sanchun got married.

After Zhou Shizong and Chai Rong succeeded to the throne, Zhao Kuangyin was named King of Nanping, Zheng En was named King of Beiping, and Zheng En was allowed to marry Sanchun. Miss Zheng En day and night after Sanchun's parting, and an imperial envoy asked her to get married in Beijing. She didn't wear feather clothes, rode a donkey and took her brother Hu Tao to Beijing.

They came to Shilibao outside Bianjing and met Gao Huaide, the general sent by Zhao Kuangyin and Zheng En. Gao Huaide disguised himself as a red beard and threatened to make Tao Sanchun his wife. Tao Sanchun was furious and got into a fight with him. After a fierce battle, Tao Sanchun defeated Xiangma. Gao Huaide in desperation, spit out the truth. After hearing the news, Tao Sanchun stormed into the palace and wanted to settle accounts with Zheng En.

Zheng En saw Tao Sanchun break into the golden hall and quietly hid. Chai Rong saw that Sanchun didn't respect the platform, so he ordered the body-guard to take her down. The body guard was beaten out of the water by Sanchun again, and the general Gao Huailiang was also beaten out of the water. Chai Rong had to order Zhao Kuangyin to find Zheng En overnight and marry them.

Zheng En asked how Shilibao was realized. Gao Huaide lied that he shot an arrow and shot Sanchun down the mountain. Upon hearing this, Zheng En thought that Sanchun's prestige had been ruined, so he went back to the office and got married. In order to put on airs, Zheng En even said that he was thirsty in his new house and asked Sanchun to pour him tea. Sanchun suppressed his anger and ignored it. When he found the oil sausage on the table, he thought Trident had deliberately humiliated him and asked the maid to punish Trident by taking it home. Sanchun couldn't bear it. He teamed up with Zheng En and knocked Zheng En down in a few rounds. Knowing that he was defeated, Zheng En ran out of the bridal chamber and even called Gao Huaide for help. Gao Huaide has escaped.

Chai Rong and Zhao Kuangyin rushed to stop the fight. In front of them, Tao Sanchun took selling oil as the family law of the Zheng family to show that he did not forget his roots. Zheng En knelt down to apologize and the couple made up. Chai Rong named Tao Sanchun as a brave lady and was allowed to participate in politics.

▲ "Flowers as Media"

This screenplay was produced by changchun film studio 1963 and written by Wu Zuguang, which is regarded as a model of traditional drama innovation.

Wang Junqing and his cousin Li Yuee, childhood friends, loved each other deeply, and they vowed to get married for a hundred years. The Queen Mother longed for her grandson and asked Ruan Ma to act as a matchmaker for Jun Qing. Ruan Ma married Zhang Wuke, who is both talented and attractive, but Jun Qing refused. After being heckled by the Queen Mother, Jun Qing revealed her true feelings, and she never empathized with others unless Yuee didn't marry. The queen mother was helpless and asked Ruan Ma to go to Yuee's house to act as matchmaker.

Yuee's father, Li Maolin, thinks that men and women have an affair that is shady and resolutely forbids marriage. Jun Qing's illness became more and more serious after learning this situation. The Queen Mother was very worried, and Ruan Ma put forward a plan to encourage Jun Qing to go to Zhangjia Garden for blind date. She thinks that as long as Jun Qing sees Wu Ke, she will fall in love with Wu Ke, which is a success. But Jun Qing is too ill to go. Ruan Ma gave birth to another plan, asking her cousin Jia to go on a blind date. Ying Jun and Wu Ke met in the garden, which showed that he was handsome and gave a red rose as a token of love. Everyone gave the red roses to Jun Qing, but Jun Qing refused to accept them. Ruan Ma advised the Queen Mother that it would be better to marry Wu Ke first. Jun Qing is bound to give in, and the Queen Mother will meet and get married regularly.

Yue E was very sad when she heard the news. Yuee's mother knew her daughter's worry and sent her daughter away under a pseudonym while her father was away. Yuee was first sent to the Wangs to marry Jun Qing, and they were already married when the sedan chair arrived. Five can see it and be furious. She made a scene in the drawing room, then immediately broke into the bridal chamber and severely questioned Jun Qing, who was speechless. Ruan Ma didn't know what to do when she saw this. Suddenly I saw Jia standing by, pulling him into the bridal chamber. So, the lovers, smiling, got what they wanted.

Excerpts from Wonderful Lyrics of Flowers as Media

Send you a rose. Don't laugh.

(Zhang Wuke sings) Call Wang Junqing. You came at the right time, despite the girl's fever. My heart can't stop beating. There is something I want to ask you. Listen carefully. Should I worry about marriage? Should I say I'm worthless? You said I was weak-hearted, unlucky, ugly and incompetent, and my figure was not slim. Let's meet in the garden today. I'll show you the flowers carefully. Look at the red roses, the mimosa, the vines, the bent willows, the orchids, the hibiscus and the beautiful flowers in my garden. Take a step, the phoenix spreads its wings; Take two steps, colorful clouds float; Five can walk step by step, and the hairpin ring is bright, laughing at your little scholar's upside down for the flowers, hanging his eyes and scattering his soul.

This is my lady and gentleman.

(Zhang Wuke sings) Zhang carefully looks at this girl from top to bottom; Why is her hair so black? Why do you dress so well? Why do you want to use osmanthus oil when your temples are fluffy and bare? Wan Gao-Feng's code is neither forward nor backward, and there is also a name called Fairy Collection. The silver silk thread wears a pearl phoenix in the sideburns, and it walks like a golden rooster nodding. Lotus face, eyebrows like a distant mountain show, almond eyes are penetrating, her nose is very high, with a small cherry mouth, teeth like jade, lips like Zhu, neither thin nor thick, and she wears something called a red gold hook on her ear. I was wearing a red embroidered shirt, and the clouds were buttoned in Phnom Penh, surrounded by thousands of words. A lion took off his belt and rolled out an embroidered ball. There is a small shirt inside, and her cuffs are a little thin; She adjusted her makeup, raised her hand, and with a little force, she penetrated the sleeve; Fingers like bamboo shoots, wrists like white lotus roots. People are born with dexterous hands, and Qiao Niang gave birth to this beautiful girl? Wearing eight skirts, the clouds are wrinkled, and they are all splendid satin. Red shoe dew under the skirt, flower cover, gold thread lock and five-color velvet rope closure. Skillful hands are hard to describe, but the painting is not good. Handsome, romantic, romantic, romantic, romantic, romantic. I can't guess who this good girl is. The beautiful fairy is uglier than her, and Chang 'e is shy when she sees it. Young people don't love enough, that is, you, seventy-seven, eighty-eight, ninety-nine ... When the old man saw her, he smiled and nodded his approval. Such a woman is really rare in the world. This is my fair lady and a gentleman is good.

▲ "Snowstorm Night Return"

This play is Wu Zuguang's masterpiece, which was completed on 1942, made into a film by Wu Zuguang himself on 1948, and produced by Hong Kong Greater China Film Company.

In the late 1940s, on a cold snowy night, a man stumbled into Su Hongji's garden, holding the withered begonia tree in his hand, as if looking for the shadow he had left here in the past.

Twenty years ago, Wei Liansheng, a Peking Opera actor from a poor family, played Hua Dan in this big city. Dignitaries, young men and women, and even the general public were fascinated by his voice and emotions. He has a wide network of contacts and is often admired for helping poor neighbors.

Su Hongji, a court minister, started as a smuggler of opium and lived a life of drunkenness. His fourth aunt Yuchun, originally a fireworks girl, was later redeemed as a concubine by Su Hongji. Yuchun, with a fiery heart longing for freedom and happiness, is not willing to live a cage-like rich life. She got to know Wei Liansheng by studying drama, told him about her tragic life experience, and invited him to her own small building. Then she went to see Fu Su's birthday performance. They had similar experiences in the past, and both of them became toys for the rich to relieve their worries and lose their dignity. So, out of pity, they agreed to elope and move towards freedom. At this time, Lotus picked a begonia flower from the window and gave it to Yuchun. Unexpectedly, all this was recommended by Lian Sheng to Wang Xingui, the steward of Su Family.

The sycophant reported it to Su Hongji ungrateful. When Yuchun left as promised, Wang Xingui led several thugs to take Yuchun back, while Liansheng was deported. Two people say goodbye, from now on. Twenty years later, Lian Sheng dragged his premature aging body back to his native land, but things have changed. Yuchun is Su Hongji's concubine to Xu Fu, the envoy of Tiannan Salt Transportation. Lotus was filled with emotion, and died quietly under the begonia tree on that snowy night.

[Edit this paragraph] A brief summary of the past

▲ "Second-rate Pavilion" is very strange.

For his own destiny, Wu Zuguang also had a review and memories before his death. The "second-rate pavilion" is a traumatic memory that he can't get rid of.

Huang Miaozi, a painter born in 19 13, lived in Australia for nearly ten years in the late 1980s, and served as a visiting professor at Griffith University in Queensland. He is a witness to the second-rate hall. In an interview with reporters in his apartment in Beijing, he said: The second-rate pavilion is an absurd farce.

The initial formation of the second-rate clubhouse was related to a man named Tang Yu. Tang Yu, an overseas Chinese in Yangon, was active in the Shanghai film industry in the early 1960s. It is said that he fled to Shanghai because he opposed arranged marriage, and later moved to Chongqing. Tang Yu has a brother in Yangon who is a wealthy businessman. A rich brother is a brother and cares about his brother. Tang Yu's brother gave him a gold comb and told him that if he had no money, he could exchange a comb tooth for money. Tang Yu had a whim with this comb, sold the gold comb and built a house with the money he got.

New houses are constantly being built, all of which are made of local materials. Most of them are made of huge bamboos that are easily available locally, and tied up to make roof frames, doors and windows. Then plaster the inside and outside and cover the roof, and it becomes the living room. This kind of building, which is collectively called "tied house" in the local area, can be turned into a beautiful western-style house after careful processing. Tang Yu built more than two or three houses for his friends. His first house, Lu Yi, was for the Xia Yan family.

Wu Zuguang wrote in Memories of the Second Class: The biggest house that Tang Yu finally built was in the side village, which was downhill from Zhongdi Road to Sidi. It has a spacious living room and three bedrooms. It is well decorated and named "Bilu". "Bilu" is homophonic with "fireplace". Tang Yu especially likes fireplaces, and a beautiful fireplace has been built in the living room.

Huang Miaozi said that Tang Yu's Bilu is an attractive place in Chongqing's literary and art circles, and friends are willing to come here to get together. Bilu is like a salon or a club now. During that time, Wu Zuguang was an active figure in Bilu, and his years in Chongqing were the heyday of Wu Zuguang's life. In Chongqing, drama has become the most popular and fashionable cultural activity, and Wu Zuguang's Song of Righteousness, Journey of Youth and Cowherd and Weaving Girl have all become popular dramas.

In the heyday of green, there were more than a dozen tenants. One day, Bing Xu (Bing Xu was the Minister of United Front after liberation, who was in charge of literature and art in Chongqing at that time) and Guo Moruo came to Bilu, and the people who lived there had not got up yet. Bing Xu said that these slackers are really lazy. In fact, everyone took part in the performance at that time, and it was already three or four o'clock in the middle of the night when it ended. At that time, everyone had just learned a northern Shaanxi word "loafer", so Lao Guo said he would give them a name "second-rate hall". The name of "second-rate club" came from this.

But Wu Zuguang doesn't like this name. He has been diligent in writing and doesn't like chatting in groups.

After the victory of the Anti-Japanese War, everyone went their separate ways. From 65438 to 0947, Wu Zuguang went to Hongkong. After arriving in Hong Kong, he became a film director, which brought him new popularity and rich income.

Wu Zuguang returned to Beijing in September 1949. In front of him is a new country and a happy marriage waiting for him.

At that time, actors Dai Hao and Yu and his wife rented an old-fashioned villa at No.34, Dongdan West Kannonji. The entrance is a row of six bungalows connected to a building. They sublet a building to Sheng Lun Jia. Wu Xiling, a musician, lives in a big room downstairs. In addition, two bungalows across the courtyard were rented by Huang Miaozi and Ryan. Old friends gather here again, or the old people in Bilu. So it immediately spread that the "second-rate pavilion" was rebuilt in Beijing.

Wu Zuguang rented a row of bungalows and six rooms. He and Xin got married here.

Xin was sold to Tianjin as a child and grew up in a slum in Tianjin. My father sells candied haws, my mother can't read, and my family lives by singing. She studied drama at the age of 6 and became the heroine at the age of 14. 1949, when Xin was 22 years old, she began to go to Beijing to break into the world. She met Wu Zuguang in Beijing. In Beijing, Wu Zuguang and Xin's marriage became famous for a while.

Wu Zuguang is an active figure in the "second-rate pavilion", and young artists often visit him. Du Gao, banks and Ye Tao often gather around him. These people are regarded as "small families" of "second-rate clubs".

1954, Wu Zuguang, deeply influenced by the interpersonal relationship of the "second-rate guild hall", bought a new quadrangle with room 18 at No.9 Majiamiao in Shuaifuyuan. He came to live in Beijing with his parents who lived in Shanghai. At that time, his father had been ill for many years after a stroke.

During the movement of "eliminating counter-revolutionaries" at that time, something happened in the "Second-rate Pavilion". Some people thought this place was very strange, why many artists went in and out there. Old Qi Baishi and Mei Lanfang, young Du Gao and Granci, people from the art and music circles, so many people get together. Many people began to doubt. Subsequently, the "small family" members of the "second-rate pavilion" were identified as members of the "Hu Feng Counter-revolutionary Group", and the people who came and went to the "second-rate pavilion" were considered as the peripheral organizations of the "Hu Feng Group" and were censored.

1957, the "second-rate hall" was investigated again, and a task force came over and asked: What are you doing here? Actually, I didn't do anything Just talked about literature and art, talked. The task force doesn't believe it. Painter Zhang Ding wants to start a magazine at the beginning of 1957, and he is waiting for the approval of his application. This matter was also put on file by the task force, saying that the "second-rate pavilion" would run an organ publication.

Many people asked why the organization "second-rate pavilion" was established, and those who were asked said that there was no such organization at all. However, some people deliberately hit people when they are down, saying that the "second-rate pavilion" has a seal. Because Sheng Jialun asked Wang's brother to carve a "second-rate hall", he said it was a hall seal at that time. Wu Zuguang bought some New Year pictures, which were painted by several children. The topic is "Never tire of playing". Wu Zuguang liked the song "Never tire of playing" and sent a copy to every friend. He hung "Never tire of playing" on the wall, and no one else hung it. That kind of "never tired of playing" is regarded as a sign of "second-rate pavilion" At that time, the "Petofi Club" incident occurred in Hungary. "Second-rate Pavilion" is regarded as "petofi Club" in China.

1957 after the anti-rightist movement began, many "second-rate churches" were classified as "Rightists".

In May this year, the CPC Central Committee called on everyone to help the Party in the rectification movement. "You know everything, you can say anything; The speaker is innocent and the listener is warned. " Wu Zuguang has stopped his film work, which he has never been interested in, and is eager to write a new script named Blowing a Pool of Spring Water. However, people kept coming from home and interrupted his writing. Many journalists from newspapers and magazines, many friends who talk about the current political situation, and even some old-timers who are cultural leaders all asked Wu Zuguang to accompany them to a small folk troupe to "set fire". More specifically, they were ordered to ask Wu Zuguang to express his opinions and write articles to give advice to the leaders. And Wu Zuguang's leadership of the literary and art circles is indeed quite a lot of opinions; But Wu Zuguang met with resistance in his home.

This boycott came from his wife, New Xia Feng. When she heard some opinions from Wu Zuguang, she felt disgusted and even scared. She believes that in the old society, she suffered a lot, thanks to the * * * production party saved her; Although there are problems with today's leadership style, it is much better than the old society. Wu Zuguang said: "This time, the * * * production party invited everyone to make suggestions. In order to improve the work, it was requested by Chairman Mao." She said, "You mustn't mention it either!"

On May 3 1 day, Zhou Yang and Yang Hansheng invited Wu Zuguang to attend a meeting of the All-China Federation of Literary and Art Circles and sent someone to pick him up. The car honked at the gate, and the person who picked him up urged him, but his docile wife was uncharacteristically unwilling to let him go. New Xia Feng stood astride the door, forbidding Wu Zuguang to go out. There is no room to reverse Gankun, so Wu Zuguang pushed his wife away and left. He heard his wife crying, but he didn't look back. He ran out of the yard, out of the gate and got on the bus.

Wu Zuguang recalled: "This is the first time in my life that I have been so rude to women, and I really regret it all my life."

From the consequences, the wife's obstruction is right. Only five or six people, including Ma Sicong and Jinshan, attended the meeting that day. Later, Wu Zuguang's speech at that meeting was published in the newspaper by his predecessor, Mr. Tian Han, under the title "The Party's Mending the Art Work after It's Dead", which became the irrefutable evidence of Wu Zuguang's anti-Party.

Wu Zuguang was labeled as a "Rightist" and a counter-revolutionary Rightist.

1958 One morning in early spring, it snowed heavily. Wu Zuguang went to his parents' room to say goodbye to the old man. He will take a huge right-wing brigade of 500 people to the Great Northern Wilderness for labor reform. As early as a few months ago, when Wu Zuguang began to be criticized, he took away all relevant newspapers and periodicals from his father, so the sick father didn't know what had happened or where his son was going. He broke up with a smile. At that time, Wu Zuguang didn't know it was a farewell to his father. In the second year, my father died, and it has been half a month since Wu Zuguang received a telegram from the funeral home when he was working in the spring ploughing field.

1966, the "cultural revolution" began. At first, the storm did not spread to Wu Zuguang. When the "capitalist roaders" and the establishment were caught out, the old Rightists were caught out again. The problem of "second-rate pavilion" has been raised again. This time, the master is no longer Wu Zuguang, Xia Yan has become the backstage boss, and the actual struggle is directed at Zhou Enlai.

The "second-rate hall" has been politicized. At first, it was an ideological problem. During the Cultural Revolution, it was criticized as an "anti-Party, counter-revolutionary and anti-socialist group". This is a big deal. Jiang Qing personally arrested the case. The people in the "second-rate pavilion" were locked up. Wu Zuguang once again decentralized labor, Ryan was put into prison, and Dai Hao was reeducated through labor.

1979 June19 The Office of the Review Committee of the Ministry of Culture issued a notice to cancel the activity report of the Second Yuan Hall. At this time, Wang Ming, the playwright of "Second-rate Pavilion" and "Small Family", died of torture in Anhui reform-through-labour camp. Granci, a dramatist, couldn't stand the suffering every year and died young. Huang Miaozi and Ryan were imprisoned for seven years.

▲ The last years

Shortly after his wife's recent death, Wu Zuguang was hospitalized for three times because of depression, old age and cerebral vascular embolism caused by arteriosclerosis. But he still maintains an optimistic attitude towards life.

On weekdays, he often stands on his balcony, watching the traffic and crowds coming and going, with a smile on his face ... He often sits in a wheelchair, accompanied by a nanny to go downstairs for a walk or go to the barber shop to shave and wash his hair. This is his happiest time.

Wu Zuguang had an indissoluble bond with books since he was a child. A few years ago, although he donated himself and his new books to the Peking Opera School, his collection of books was piled up with bookcases at home.

Wu Zuguang also likes to watch football matches, almost every game. His daughter Wu Shuang said with a smile, "Dad is old and often dozes off while watching TV, but this has never happened in football, boxing and Beijing Opera. Especially when watching football games, he looks like a young man in his twenties, muttering' foul' from time to time ... Although he is old and weak, his brain is not as good as before, but his expression is very rich when watching the ball. "

Wu Zuguang is partial to sweets, especially hamburgers. In order to make the old people laugh, he also specially raised a pair of small pets-Bao Bao and PP, and Wu likes PP best. Whenever he sees PP running around the house, he always has a comfortable smile on his face. These two cute little animals became his "darlings". Wu Zuguang often contacts them, and Doby said humorously that his family has "eight mouths"-himself, his daughter, his son-in-law, his grandson, two nannies, his baby and PP.

[Edit this paragraph] The concept of life

Wu Zuguang was born in 19 17. At that time, warlords were fighting, and the country was in a period of poverty and weakness, internal troubles and foreign invasion. As an adult, it happened that the Japanese invaders invaded China and the nation was in danger; Until the founding of New China, Wu Zuguang was in his prime, which was the golden age of his creation. It is obvious that he became famous when he was a teenager. At that time, one of the few outstanding playwrights in China literary world should have written more dramatic works that could reveal the face of the times. Unfortunately, it didn't take long to push the whole country to a state where only talking in sleep and telling the truth were forbidden, and then there was the well-known ten-year catastrophe. It is only a little sad luck to finally survive after the robbery and enter old age; I always think that people like Mr. Wu Zuguang are really out of place. I think, like Wu Zuguang, there are many people who have experienced those times and lamented the untimely life. Huang Miaozi, Wu Zuguang's good friend and painter, once sent a message to Wu Zuguang: "Being born at an untimely time is brilliant." These eight words, on the one hand, naturally comment on Wu Zuguang, praise his talent and lament his experience, on the other hand, why can't they be aimed at Huang Miaozi's own situation?

But Wu Zuguang disagreed with his friend's message and concluded: "I didn't mind dying when I was born." Wu Zuguang often expresses such a meaning with his friends: The most wonderful 60 years of the 20th century have been caught up, so how can it be said that it is "untimely"? In his later years, Wu Zuguang's calligraphy was a school of its own, elegant and dignified, generous, and there was an endless stream of book seekers. It is said that Wu Zuguang has been giving away the four-character book "Born at the Right Time" and has written thousands of books back and forth. Whether it is a powerful person or a king, they are all these four words. But this one I saw, though elegant, was not written with a brush, but with a hard pen, which should have been written when twilight was unable to write. This also shows Mr Wu Zuguang's open mind.

Wu Zuguang's life experience is not smooth, on the contrary, it can be said to be bumpy and tempered. After entering the new society, like most intellectuals at that time, they all suffered an overwhelming disaster. He should have enjoyed retirement in his later years, but he got into a lawsuit because of a paper on International Trade Case, which lasted for several years and was restless. But why did Wu Canzuguang repeatedly tell people that he was "born at the right time"? My understanding is that an honest man like Wu Zuguang, who dares to tell the truth, has a spirit of "scholar" that we often say in traditional culture and a mighty integrity. Because of this "scholar" spirit, this mighty character, they are not limited to one person and one thing at a time, not based on personal details, but based on the scenery, focusing on the overall situation, focusing on the whole era, and individuals are comfortable with mustard seeds. The mountains of the five mountains in An Ru are as quiet as the autumn moon in Pinghu, and gentlemen view the world. This shows that Wu Zuguang was open-minded in his later years.

[Edit this paragraph] Bibliographic chronology

▲ bibliography of works

Phoenix (Script) 1939, Life

Song Zhengqi (Script) 1942, Scholarship Management Committee of the Ministry of Publishing.

Cowherd and Weaver Girl (Script) 1943, Wen Qi Bookstore.

Running at night (script) 1944, Lin Wei publishing house.

Scout (Children's Script) 1944, Xinlian Publishing Company.

Return on a Snowstorm Night (script) 1944, Xinlian Publishing Company.

Youth travel (script) 1945, Wu.

Friends in the background (essays) 1946, Shanghai Publishing Company.

Goddess of the Goddess Chang'e flying to the moon (Script) 1947, Enlightenment.

Lin chong runs at night (script) 1947, Wu

Ghost Hunting (Script) 1947, Wu.

Flower of Art (Prose Collection) 1955, New Literature and Art.

Snow Collection (Script) 1955, Humanities

Painter Qi Baishi (Report) 1956, Beijing.

Tears of barren hills (Peking Opera) rewritten, 1957, drama.

Walking through the Castle Peak (drama book) 1979, the masses

Feng Xun Ji (script) 1980, Sichuanese.

A world in the distance (script) 1980, Sichuanese.

Adventure in Jianghu (script) 1980, plot

Selected plays of Wu Zuguang 198 1, drama.

Tong Tong (script) 198 1, from Shaanxi.

Flower as the medium (movie literary script) 198 1, Hebei native.

Collection under the pillow (poetry anthology) 198 1, from Shanxi.

Wu Zuguang on Drama (Paper) 1982, Drama.

Selected Prose of Wu Zuguang 1982, Jiangsu native.

Niu Nvji (handwriting) 1982, from Ningxia.

Wu Zuguang's Sorrow (Biography) 1986, Sichuan Literature and Art.

▲ Bibliography of research materials

Night Return in a Snowstorm (edited by Wang Zheng, etc.) Stage Art 1984, Drama.

Wu Zuguang Sorrow (Xu, Jason) 1986, Sichuan Literature and Art.