Wang XiuLan

Not true is not a play, too true is not an art

The famous Puju opera artist Wang Xiulan was her “Flower of Puju Opera” in her youth. Among the flowers of the masses in the two provinces of Shanxi, it is said that Qin Liangzhu praised her with a slogan: “Thousands of flowers. Not as good as Wang Xiulan’s water flower.” “”;”Twisting left and right, it is better to walk on stage as Wang Xiulan. “These fully express the masses’ love for her art. Lu Fengfeng, Mei Ying, Matchmaker, Bai Zhen, Yan Yan, Dou E, Zhou Ying, Mu Guiying and many other ancient girls and young women with different environments and different personalities. She also portrayed modern characters such as Li Xiang, Xiaoqin, Li Shuang and so on. She has a deep foundation and is good at teasing the population. Although she is the first celebrity in Pu opera, she has performed dozens of performances on the Pu opera stage. The year begins with her. Development has created tremendous contributions and can be regarded as the pride of Jinnan.

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The life of teacher Wang Xiulan can be summed up in the life of the drama and the life of the stage. She has been associated with the stage and drama for 75 years. In addition to her performance in the early days under the precepts and deeds of her master, in the following decades, she has been observing life, studying life, understanding roles, enriching roles, grasping art, and perfecting and improving her artistic life.

Starting from starring in a small conch at the age of 7, she embarked on the road of art and became a famous drama star all over the country. She has gone through too many ups and downs, hardships and frustrations. However, in the 10-episode narration, she only talked about art, only Puju, but never about her personal suffering. Standing in front of us is a strong artistic old man. When talking about the first appearance in Little Conch and “The Edge of the Cabinet”, the old man seemed so happy and sweet. She was only 8 years old when she played “The Fate in the Cabinet”. She

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was an 8-year-old girl. She didn’t know what shyness was. She couldn’t perform it all the time. Under the repeated enlightenment of her master, she finally got used to it. This detail shows that Wang Xiulan has talent, but the most important thing is acquired hard work.

After listening to Mr. Wang’s narration this time, I feel that her performance is supported by theoretical literacy. She is good at summarizing, and puts the theoretical knowledge learned into practice. Her performance, in her own words, is that it is not true that it is not a play. Taizhen is not an art. It is derived from life and is higher than life. It must have the truth of life, and not simply copy life, but use artistic techniques. After processing and refining, it is both typical and universal. For example, when she talked about the Jiao in “Kill the Dog”, it can explain the problem. Jiao is an unfilial shrew with almost no merit in her body. However, Teacher Wang Xiulan conducted an in-depth analysis of this character, and believed that the strange and weird external movements could not conceal the kindness and reformation of her heart. For example, Jiao made noodles for her mother-in-law. In fact, she herself was very hungry, but she only made one bowl, which shows that she is also a frugal person who can live a life; she is very greedy, unknowingly she missed eating, and ate all the noodles. When it was over, she simply ate a clean meal without leaving a piece of noodles to her mother-in-law. Although it was annoying and hateful, she could give herself a reasonable explanation. Teacher Wang’s evaluation of Jiao’s is that she is serious about telling lies, and she regards all her lies as true. This is her ridiculous side. It is precisely because of grasping the characteristics of the characters that she has made Jiao lively and vividly, coupled with the fact that it is the life language of the farmers in reality, it is very cordial and lively, which makes people laugh, and integrates on stage and off stage. , Played the role of education persuasion.

Wang xiulan”s still

12 Good at summarizing and applying in practice

Being good at mastering the script, understanding the script, going deep into the inner world of the characters, grasping the inner psychology of the characters, and expressing the character characteristics of the characters through body language, eyes and expressions are important means for Mr. Wang to interpret the success of the characters. “Dou E’s Injustice” is a masterpiece of Teacher Wang. As a typical tragedy in the history of Chinese drama, Dou E’s image has been deeply rooted in the hearts of the people. Almost all major dramas have performed this show. Wang Xiulan has a deep understanding of the protagonist Duan Yun: she lost her mother at the age of three, and was sold to Granny Cai as a child daughter-in-law because of poverty due to poverty. Duan Yun had to admit his fate, hoping to spend the rest of his life with her mother-inlaw in peace. Unexpectedly, he was framed and sentenced to death. On the execution ground, the innocent girl’s grief and anger erupted like fire. She asked the heavens and the earth, cursing the unfairness of the world. This is the climax of the whole drama. Wang Xiulan’s grieving expression, angry eyes, helpless singing and three heartshaking vows erupted Duanyun’s grievances and anger like a volcanic eruption, shaking the earth and expressing a strong accusation against the dark society. Teacher Wang Xiulan said, whoever acts like who, whoever I act, is who I am. This seemingly simple requirement criterion is actually the biggest element of her success. Wang Xiulan has devoted her life to creating numerous artistic images. From the standpoint of identity, there are maids, young ladies, middle-aged women, and rural youths; from the standpoint of professions, there are Qingyi and Huadan; from the perspective of character, some are charming and charming. Some are fierce and vigorous, some are clever and witty, and some are eccentric, but no matter what business or role, she is

Wang Xiulan’s “Kill the Dog” stills

dedicated, delicate and sincere, and lively.

In addition to the careful study of the script and the profound understanding of the characters, the biggest factor for Wang Xiulan’s success is her superb acting skills. Her understanding of art far exceeds that of ordinary actors. This is not only the stylized performance inherited from masters and even generations of old artists, but also constant renovation and creation, so that stylization is no longer a simple copy. To copy, but to find a basis for life, and create actions based on the character of the line. She proposed the stylized “new four modernizations”, namely: life-oriented, personalization, dancebeautification and standardization. This is a high-level summary of her successful artistic experience.

In her, there are many unique performance skills and tricks that no one else can match, such as eating buns, noodles, and belts in “Killing a Dog”; folding clothes in “Roasting Fire”, and sailing in “Tibetan Boat”, In the eyes of the audience, they are all classic creations of art. These are all superb performance skills. Wang Xiulan has her own unique understanding of this kind of art. “Technology” serves the content, and “art” is the sublimation of content. This is the unity of content and form. Drama is the art of performance. It is precisely because of these special effects that Pu opera has a unique artistic and appreciative value, which increases the effect of performance. On the basis of inheritance, Wang Xiulan deepens the character’s character through careful observation of life, then carries forward it, injects new content, and after reprocessing, it strengthens the penetrating power of art and becomes a pleasing stunt performance. It not only strengthens the personality of the characters, but also increases the fun and appreciation, which often wins the audience’s full house. At the same time, it also adds a huge charm to the local drama of Puju.

Wang Xiulan’s “Kill the Dog” stills