Zhejiang Song & Dance Troupe 浙江歌舞团(十)

Zhejiang Song & Dance Troupe 浙江歌舞团

Eighteen Butterflies 《十八蝴蝶》

In 1959, I transferred from Shanghai and came to Zhejiang Song and Dance Ensemble.

In China’s system, after the army’s cultural and industrial troupe entered the city, they were reorganized and transformed into local provincial and municipal song and dance troupes. The only exception was the cultural work troupe of the Zhejiang army after entering the city: experimenting with male and female co-stars to transform Yue Opera, so they did not transform into a song and dance troupe, but turned into the “Cultural Yue Opera Troupe” (the name of the troupe at the time), which was the only exception. In 1957, the first music week was held across the country. Because there was no song and dance troupe, Zhejiang had to temporarily recruit folk artists from the province to form a group to participate. From this, it turns out that there is no “new literary and artistic group” such as a professional song and dance troupe in Zhejiang, which seems incompatible with the situation of “has already entered socialism.”

It spurred the Provincial Party Committee to make up its mind to quickly form a professional song and dance troupe based on the team participating in the Music Week, under the name of the “Zhejiang Folk Song and Dance Troupe”. The site of the regiment was chosen in a small bungalow near Yuquan, near the picturesque West Lake, in Hongchunqiao. Liu Shikun, who led the team to participate in the music week, was temporarily in charge of Gu Zixiu, and then Xie Yinan was transferred from the army to take the lead. Based on the members who participated in the “Music Week” and the inherent “gene” decision, this team excels in folk music, with many national super masters such as Zhao Songting, Yang Zhongru, Zhang Liang, etc.; folk songs are also good, in order to participate in the national competition, from the whole The province transferred a group of young girls, simple and fresh, very likable, not to mention that on the basis of going deep into the folks, they have created and excavated such outstanding and distinctive songs as “Girls’ Wish”; only the dance is completely blank. Xie Yinan loved performing arts since he was a child, and has a good voice, can sing Peking opera, but knows nothing about the art of dance. So he personally rushed to Shanghai, painstakingly single-handedly, poached me, with the aim of choosing him as the burden of building a professional dance team in Zhejiang from scratch.

His primary goal is to have a pillar, so since joining the Zhejiang Folk Song and Dance Ensemble, the responsibilities of the main actors have naturally fallen on my shoulders. But in fact, to perform requires a repertoire, so while completing the heavy performance tasks by myself, I also serve as a coach. On the one hand, I discharge the dances I master in the opera house one by one, and try to make up for the Zhejiang Folk Song and Dance Troupe’s lack of dance programs. This short board. On the other hand, we also need to give everyone a basic training course, two-pronged approach, and bring out a professional team as soon as possible. In this way, the time for my own training is squeezed out, so I get up two hours early every day for self-study, and when others wake up, I have finished practicing. Persist in this way for seven years without interruption. I also take Guan Yi as an example. No matter where I go, no matter how tight the time is, I would rather give up eating and sleep, and I must first go straight to the stage. Others set up the shop. I am familiar with the venue, practice difficulties, and know how to do it, so I don’t care. Extremely heavy, but my performances are always of stable quality with few errors.

Xie Yinan gave me the greatest trust. He even took dance magazines to ask me for advice. Only then did he know that he specially subscribed to a dance magazine and read each issue carefully to make up for his lack of professional knowledge as a leader of a literary and artistic group. He regularly discusses with me every week. And most of them are only a few days away, and some of my suggestions will be reflected in his administrative measures and implemented. It is him that allows me to give full play to all aspects of performance, teaching, mentoring, editing, and leadership of art organizations (I am a member of the art committee), and I have room for a full-scale take-off in my career. Let me usher in the peak of my acting career. “When books are used, they hate less.” At that time, I was famous for my hard work. The daily schedule is densely packed, and no matter how tired or sleepy, I still clenched my teeth. This way, day after day, great gains have been made. Become mature.

At the end of 1959, the dance drama “Stealing the Immortal Grass” by the China Opera and Dance Theater caused a huge sensation. “Stealing the Immortal Grass” is based on the White Snake Biography, and the White Snake Biography is a story that happened in Hangzhou. It is a household name, so the regiment decided to send me and Jiang Yupei to Beijing to learn this program. With the greatest enthusiasm, we quickly learned well and brought it back to Hangzhou. Guan Jihua played the Antarctic Immortal Weng, Jiang Yupei, Zhu Yaorong played the Flower Deer Boy, and I played Bai Suzhen and went into rehearsal. The troupe attaches great importance to it as a main battle, and the band’s stage art is fully dedicated. An outstanding example is the special invitation to the full-time makeup artist of the troupe (our troupe does not have this organization.) Sun Mingchang to model me and observe the whole troupe. Don’t underestimate this class, this is unprecedented in the history of Zhejiang Song and Dance Troupe! I remember that after putting on my makeup that day, everyone (including myself) exclaimed “It’s so beautiful!” All of this created good conditions for me and helped me to devote myself to the character creation.

In fact, I have always liked shows with characters and plots, such as “The Big Tea Mountain”, “Donkey Running”, and duet dance “The Police and Wife”, but this is the first time I have performed a serious dance drama. “Stealing the Immortal Grass” is an early successful dance drama in our country. Its character plot, music composition, and dance arrangement are not the same as those small programs I performed before. At this time, I have no burden on the technical level. More importantly, my life experience is completely different from before. I can feel the same with the white snake and have a profound experience. Although I learned this role, I experienced it carefully and portrayed it with my heart. Where it should be strengthened, where it should be simple, and prioritized, carefully study and deal with it. After all the hardships in the performance, I finally got sympathy from the Antarctic Xianweng. I personally donated Ganoderma lucidum to the time. Following the chorus’s “Love is heavy, …,”, I threw down on my knees and fell from the peak. The abyss, full of slander, full of grievances and nowhere to tell, is superimposed with the characters, and mixed feelings for a while, it is really tearful, crying, and completely integrated into it.

At that time, the stage conditions were very poor, and some were even concrete. Every time I put myself in a performance like this, I even hurt my knees. Since then, “Stealing the Immortal Grass” has become the most popular finale of the Zhejiang Song and Dance Troupe. Bai Suzhen, played by Shen Bei, is also well-known, and even the actors of this group are eagerly rushing. Jiang Youmei of the song team told me that despite the strict ban, they all prepared in advance. From the beginning of “Stealing the Immortal Grass”, everyone showed their magical powers. From the lighting stage to the seam on the side of the curtain, I tried every means to watch, to the emotional place, on and off the stage, a sigh, the form of the dance drama was generally accepted and recognized by the audience, and I became a practitioner of “head three feet”. In the earliest experiment, he contributed his own strength to the construction of Chinese dance drama. “Stealing the Immortal Grass” created the pinnacle of my acting career and left a story that can be recalled to future generations.

Speaking of this, there is another episode: In order to express the urgency of the White Lady to fight back to save Xu Xian after getting the fairy grass, the choreographer arranged a tumbling and spinning followed by a big jump from a high platform such a large combination of skills. Push the whole play to the climax, and make the end of the whole dance drama wonderful and simple. Due to the difficulty of this series of actions, the characters are in a high level of excitement, and the actors are jumping from the bright part of the stage to the dark backstage, and they can’t see anything at all, so there is a certain degree of danger. Comrades who usually work in the backstage They were very careful and laid a mat under the platform to ensure my safety. Unexpectedly, one day, with such a violent action, it was not the usual cushion when it landed, but it was actually a high raised item box. Not only did the landing height completely differ from the usual, but with the momentum, the whole person fell to the left. The left foot is still on the box, that is to say, the body is pressed down on the left calf, and the weight can be imagined.

Fortunately, “Stealing the Immortal Grass” has always been the finale. The curtain fell, and the audience was still applauding. People have carried me to a famous local traditional Chinese doctor who specializes in traumatic injuries. At this time, my ankle was swollen. The old man looked at the calf level, and the old man was amazed and said that fortunately you are a man of skill. If you change one, you will have broken a few knots a long time ago. He immediately found several herbs he had collected, mashed them and mixed them into a paste with eggs, and wrapped them in three layers inside and outside. The swelling would disappear within three days. However, if the muscles and bones are injured for a hundred days, within a hundred days, you must not move, and you can heal without leaving any sequelae. It’s really amazing. After three days of such a serious injury, the swelling completely subsided. I met the “noble person” again, but this time, I failed the noble person. How could it be possible not to move for a hundred days? This round of the tour has just begun and the tickets have been sold out. Among them, “Stealing the Immortal Grass” is the main selling point, and many audiences are here for this show. Moreover, the role of Bai Suzhen does not have a B card, and no one can match it. What can I do?

We have been educated since childhood: the stage is the battlefield. Rescue is like fighting a fire. Gai told the sky to break his leg and went on stage. He was slightly injured and couldn’t get off the line of fire. The problem was that his left foot couldn’t stand at all, so we discussed it. As I changed the original white lady chasing two grass guards all over the world to the grass guards, she surrounded Bai Suzhen and beat her. I stood in the middle of the stage and could still be agile without moving my feet. In this way, after dozens of consecutive performances, the entire tour, “Stealing the Immortal Grass” just didn’t pull it off. But to be honest, no matter how you change it, it is impossible for the first protagonist of a dance drama to stay still. No matter how careful you are, I twisted it a few times in the middle. And somehow, my feet are usually very stable, but now it seems that the rubber band is loose. , Walking on a flat road will also suffer. After a few consecutive times, it will swell up again, and since then, the ankle will change shape, and it will be more painful on rainy days, and even worse in old age. Conversely, I don’t know why, “Stealing the Immortal Grass” was so heavy in the repertoire at the time that there was not even a still picture, let alone a video. The brilliance of my career as an actor, except for the lifelong imprint of deformed ankles. , The others are submerged in the dust of history, there is no trace to be found.

Note: “Stealing the Immortal Grass” was the first three experimental small dance dramas created by the Chinese Dance Drama Research Group. The so-called “three-legged folk dance drama”: “Green Lotus Pond”, “Liu Hai Opera Golden Toad”, “Stealing Fairy Grass” “One of”. The audience at the time was still very unfamiliar with the form of dance dramas, so the selection of dance dramas was generally adapted dramas or literary works and myths and legends. They made “pre-experiments” for future large-scale dance dramas based on drama, literature and performance techniques. At the beginning of 1957, he appeared on the stage of the first national professional group music and dance performance, which caused a strong response. Among them, “Stealing the Immortal Grass” was the most successful.

In the summer of 1962, I was once again sent to the Beijing Chinese Opera and Dance Theater to study. The content talks about carrying a sedan chair to pick up the bride. The story is very traditional and grounded. Besides, dance has never performed such a comedy theme, so once it was launched, it became popular all over the country. The technique is not difficult. The Central Opera and Dance Theater is also familiar. There are many old friends such as Zhao Qing. It is only four months after I gave birth to my son, Xiaohu. I have not practiced for more than a year, and my mother gave me trotters and crucian carp. Yeah, it’s not as fat as it looks.

I think the colleagues in the opera and dance theater would think, how to send such a person here. I was very embarrassed. They gritted their teeth and followed the class every day for training. Besides, they also added indicators to themselves. In addition to “Snatching Relatives”, I also learned Mongolian “Top Bowl Dance” and Indian “Blapping Ball Dance”. These two solo dances were very popular at the time, and they also occupy a place in the history of Chinese dance, especially “Blapping Ball Dance”. To use it together, it is necessary to show that there is a “ball” in hand, both virtual and real, and to maintain the charm and rhythm of Indian dance. The difficulty is very high. At that time, except for the performance by Zhang Junneng, an expert specializing in oriental dance, I was probably from China. The only second person. After half a month, kung fu and body shape have completely recovered to their previous state. If there is no opportunity to go to Beijing, I will probably not be able to do it, at least not so fast and perfect.

Although I not only fulfilled the required tasks in Beijing, but also added the materials myself, in reality, my heart gradually changed at this time. Returning from school, according to the original arrangement of the leader, there was no suspense. I was the first protagonist of the play, but this time I suggested that Song Shuqun, a young and beautiful Chengdu girl from the dance team, should take the post. There are six or seven roles in the play, all of which I learned by myself. I taught others one by one. I didn’t play any of the roles myself. I only acted as the director for the whole time. I only acted as a matchmaker a few times when needed.




Tea Picking Dance 《采茶舞》


谢逸南给了我最大的信任,他甚至常常拿了舞蹈杂志来向我讨教。这才知道,他专门订了舞蹈杂志,每期认真阅读,弥补自己作为文艺团体的领导在专业知识方面的不足。他每周定期与我深入探讨。而且大部分不过几天,我的一些建议就会在他的施政举措中体现出来,落到实处。是他,让我在 表、教 、导、编以及艺术组织领导等(我是艺术委员会成员)各方面充份发挥,有了在事业上全面起飞的空间。让我得以迎来演艺生涯的高峰期。“书到用时方恨少”。 那时我的刻苦勤奋是出了名的。每天的时间表,排得密密麻麻,再困再累也咬牙坚持。如此日复一日,大有所获。变得成熟起来。

Stealing the Immortal Grass 《盗仙草》
Note: this pushed me to the pinnacle of my career as an actor. (注)把我推向了演员生涯的巅峰








Stealing a Kiss (Role: Matchmaker)