Feng Yuping: Let the opera culture bloom

■ Oral: Feng Yuping Ratial Performance Artist ■ Record: Huang Ting Chinese Women's Daily All -Media Trainee Reporter

·Biography·

Feng Yuping, vice chairman of the Chinese Drama Association, winner of the Chinese Drama Plum Blossom Award, representatives of the National People's Congress, national first -class actor, and drama director. , I have won the Chinese Cultural and Art Government Performance Award, the Chinese Drama Performance Award, etc. The director's works include Jin Drama, Ji Drama, Commenting Drama "Xiaozhuang Chang Song", poetry and painting musical "Evil · Carving" and the drama "Qian Xian Hand", "Daughter of Daughter" "Wait. He graduated from the Department of Performance of the Central Academy of Drama. He has a generation of masters and Hua Shulan, a master of drama performances.

The fate with the drama is doomed. In 1959, 8 days after the establishment of the Shenyang Review Theater, I was born. 14 years later, I was admitted to the Shenyang Review Theater. By 2023, I was fifty years from the art.

To this day, I have grown more and more that culture is the soul of a country and a nation. At present, it is a rare spring of excellent traditional culture.

As a contemporary artist, there is a responsibility and responsibility. For this great times, the Chinese story is used with affection, hard work, and intention. It is a sacred mission of our blame.

Keep learning and make the feathers of art more plump

Looking back on my artistic path, I shaped many female characters such as Wu Qiuxiang, Han Ying, Xie Yaohuan, Mu Guiying and other female characters on the stage. When shaping these women's images, I am not acting, I am them. From them, I learned the true meaning of being human, and saw the truth, kindness, and beauty. Their responsibility, the rise and fall of the country they practice, the responsibility of the couple, they firmly purify me and lead me to the idea of ​​the country's righteousness and the country's love. People who can realize self -worth.

Among so many works of creation and performance, what impressed me most was the first time I won the plum blossom award "Widow" in 1987. At that time, when I was 28 years old, when I was wearing a small red cotton jacket and a small tiller braid to walk to the stage, people thought I was a seventeen -year -old Xiaoling. Widow Wu Qiuxiang, a widow with a bumpy love experience. After the performance, I passed the full ticket and ranked first in the Fifth China Plum Blossom Award.

At that time, I was still a recruit on the stage of the performing arts. Why did the expert judge give me such a high evaluation? Later, when I summed up and sorted out, I thought the teachers had high hopes for me. When the teachers learned that I was studying in the Chinese Department of Liaoning Radio and Television University, I reported on my applause to me, saying that I was an actor with ideals and pursuits.

In 1997, I applied for the performance department of the Central Academy of Drama. Many people say that you won the Plum Blossom Award at the age of 28. At the age of 28, you are a national first -class actor. Why should you sit in the classroom and study again?

In fact, this is a very important decision in my life. I have been studying from a young age that is the kind of opera style of ears, eloquence, and word of mouth. I cherish the two years of the Central Academy of Drama, which has further experienced the performance of performance arts from experience to reflection and reproduction, and also makes my art feathers fuller.

From actor to director, create more boutique repertoire

Not long ago, I was invited by Heilongjiang Provincial Drama Art Center to directed the drama "Daughter" created by Zhang Guimei as the prototype.

There are many themes of Zhang Guimei, such as musicals, dramas, and operas. Now there is another drama. The name of the drama is "Daughter". I think this meaning is deeper, because Zhang Guimei was born in Mudanjiang. We rehearsed this drama and wanted to pick up his daughter home. The black land in the Northeast nourished her, and the stubbornness and dissatisfaction in her bones -even in the face of so many difficulties and dilemma in life. She is a female teacher, female principal, good mother and daughter who really bowed her education in China.

In 2014, I was transferred to the Federation of Literary Federation of Shenyang City and founded the first Feng Yuping Art Studio named after the name of the dramaist in Liaoning Province. She began to undertake the director of the director. The art career began another stage.

In 2018, I lined up the Jin opera "Xiaozhuang Chang Song". In 2019, I won the National Art Fund's rolling funding and the 16th Shanxi Provincial Cultural and Art Government Award "Xinghua New Act Award", and at the same time created a digital movie version.

In 2019, I directed the modern review drama "Gentian Fiber", which tells the story of Yu Mei, the "first secretary" of the "First Secretary" in the village in Yushu Village, northwestern Liaoning, led the villagers to get rid of poverty and become rich.

At the 100th anniversary of the founding of the Communist Party of China, I directed the poem and painting musical "Eye · Carving", and used the epidemic incision to write the Shengjing University with Shenyang University as the prototype.

In order to present the 20th National Congress of the Communist Party, in addition to "Daughter", this year I also want to directed a "Song of the Country" to tell how the heroic city of Liaoning continues the red blood veins and digs its red foundation. How can it be more? Inheritance.

A good actor is not necessarily a good director. Good directors are not necessarily good actors, but many people have seen the drama of my director and thinks that they are as colorful as the scenes I performed. Why? Because I love, understand and familiarize this stage, know what the audience likes, what kind of stage is suitable for today's audience. In the future, I will also create more boutique dramas to make the innovative inheritance methods of cross -regional and dramas develop.

Do not leave, adhere to and inherit excellent traditional culture

Beijing Rating Yue Yuehuang. From the perspective of opera, the drama was once the second big drama, which was once popular.

I remember that on January 16, 1973, I went to the Shenyang Study Troupe (at that time called the Drama Troupe Shaoyi Class) to report. I was honored to be a student of Teacher Han Shaoyun. Essence

In my impression, at that time, there were two or three performances a day, and there were people in front of the theater door.

When I appeared in "Mu Guiying Handsome" and "White Snake Biography", it was also a day to play several games. But later, the performance market changed a lot. When the people on the stage may be more than the people under the stage, we are truly confused: such a good thing, we have trained three nine in winter, and the summer training is so small. How can there be so few audiences? Is our choice wrong?

I originally had a lot of opportunities to go to other industries. For example, in 2000, Shenzhen University issued a business letter to give me an annual salary of 200,000. After I went to the Central Academy of Drama to learn film and television drama performances, if I stayed in Beijing, I could also receive the drama, and I might even be transferred to the field of film and television drama, and my popular singing was also very good.

However, I have done drama for decades. I know that the talents of the drama are lacking. If I did other industries at that time, the root of the drama may be broken in my child.

At that time, many people thought that Feng Yuping could have a wider audience than doing dramas and made more money than now, but I don’t want to evaluate the art of drama to be sent to my hands. In this way, I still stick to it. In 50 years, just because I always have the sincerity of the drama.

Since 2019, I have been the director of the Shenyang University Research Center.

Someone once said that I was a desperate Saburo, saying that I was regarded as a inheritor of life. Many times, friends and relatives say that you should enjoy the joy of God at this age. Why are you so tired every day? I think I should take a good rest.

At the end of 2019, when I was in the "Global Hand", I fell to the ground. Since then, I feel that I have been picked up every day, and I dare not slack off, reminding myself that I can not take away the ability to accumulate for a lifetime.

During the "Daughter" in Heilongjiang, for more than 40 days, I never took a good rest, and I was working on weekends and Dragon Boat Festival. Every day at 9 am, the actors began to rehearse. I must have arrived first at 8:45. On the day of the performance on July 1, I entered the theater at 3 pm, and I took a rest all morning.

Sometimes I want to rest, but I am not strict with myself. How can I ask others? Just like Zhang Guimei said in the play "Daughter": "Looking at these children around, if you don't set up a platform for them, it will be difficult to help them realize their dreams of life." So, I am willing to let them step on my shoulders Going up, I hope my shoulders can lift them higher.

"The old man, the ambition is in thousands of miles". From 2014, it was transferred to the Shenyang Literary Federation to establish Feng Yuping Studio. In 8 years, I dare not slack off every day. I have a lot of work every day to do it. At present, time is very urgent to me. Most importantly, I have to teach everything I have to be to the next generation and pass to children who love drama art.

This time in Heilongjiang's "Daughter" drama, I saw a group of young people who love opera. When I met them, the first sentence said that I directed this drama with awe and responsibility.

In my mind, I think they are so young and have many choices. For example, they can choose a more popular industry, but they choose opera without looking around, which makes me very moved and relieved.

Today, I have students from Jiji, Jin opera, Cantonese opera, and Liaoning Opera. At least 3 students are about to worship me as a teacher this time in Heilongjiang. These young children have dreams and need such a platform. I am willing to teach them their accumulation of my life without reservation.

When I was a play, I was both a director and a teacher. In this process, I must pay more attention to inheritance, adhere to positive innovation, tell today's Chinese story, and use artistic means to record this great era. This is also my responsibility.

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