Mr. Fan's fortune telling

Fan xiting

Fan Shiting (1905 ~ 1966), formerly known as Fan Yu. People in Suiping, Henan. The famous writer, reformer and educator of Henan Opera is called "the father of modern Henan Opera". He used to be the vice chairman of Shaanxi Branch of Chinese Dramatists Association, the vice chairman of xi Federation of Literary and Art Circles, the Standing Committee of Xi Municipal Committee and the representative of Xi National People's Congress.

1929 graduated from Henan university with a master's degree in literature. Because of his love for Peking Opera, he formed a national opera (Peking Opera) team at school, became the captain himself, and made his debut as BLACKPINK.

/kloc-founded Yusheng theatre in 0/934, and served as dean, screenwriter and director. Together with Chen Suzhen, the queen of Henan Opera, he reformed the performance, music, costumes and makeup of Henan Opera.

1935 started to write plays, and wrote 58 adapted plays in more than 20 years. Most of his plays are rigorous in structure, tortuous in plot, novel in technique and healthy in ideological content, which has certain practical significance.

Chinese name: Fan

Alias: Fan Yu

Nationality: China.

Ethnic group: Han nationality

Place of Birth: suiping county, Henan Province

Date of birth: 1905

Date of death: 1966

Occupation: writer, director

Graduate school: Henan University (Master of Arts)

Major achievements: one of the writers who reformed Henan Opera.

The Father of Modern Henan Opera

The first Qin Opera performance won four first prizes.

Representative works: Wash the Blood of Shame, Three Tricks, Righteousness and Fierce Wind, etc.

Partners: Chen Suzhen, Han Shengxiu and Huang Ruxiu, etc.

The life of the character

Early activities

19 19 when he left home to study in Kaifeng Henan preparatory school for studying in Europe and America, he ignored his father's reprimand and his teacher's dissuasion, and set up a Chinese opera (Peking Opera) team with several students who loved literature and art, and served as the team leader. Organize students to rehearse in their spare time and perform on stage on holidays. He once played in The Orphan of Zhao, and advocated justice with a woman's interpretation. During this period, he also taught drama part-time in the Art Unit of Henan Rural Training Department founded by Feng Yuxiang for more than one year.

1929 After graduating from Henan University with a master's degree in arts, he was invited to work as a drama teacher in Henan People's Normal University. The following year, he served as the director of social education promotion department of Henan Provincial Department of Education.

1934, Henan Provincial Department of Education accepted Fan's suggestion of "breaking the old rules and improving Henan Opera", established Yusheng Theatre in Henan, and appointed Fan as the dean. From then on, he devoted himself to the cause of Henan Opera, recruited famous actors from all directions, abolished all kinds of stereotypes and established new stage discipline, which greatly changed the face of the troupe. He pays attention to drawing lessons from the advanced management and creative experience of his brothers' dramas. When he learned that Yi Sushe, Shaanxi Province was among the best in the country in terms of management system and script creation, he went to xi 'an to watch the performance, and transplanted dozens of Shaanxi operas, such as Sangui and Cabinet Edge, into the performance of Henan Opera, which caused a sensation throughout Kaifeng.

1February, 935, the first year of the lunar calendar: Yusheng Theater opened. Fan invited actors such as Liu, Zhang Zilin, Huang Ruxiu, who were known as Mei Lanfang in Henan at that time, and transformed the original Kaifeng Yongle Theater into Yusheng Theater, which officially opened in early February. He used some successful experiences of Peking Opera and drama for reference, reformed theater management, troupe management, performance rehearsal and many other aspects, abolished some stereotypes and bad habits in the troupe, personally edited and recorded, and devoted himself to the reform of Henan Opera, which soon made Henan Opera, long regarded as vulgar art, have a good reputation, especially some intellectuals began to pay attention to Henan Opera. In order to further enrich the performance skills of Henan opera, he invited Jia, a Beijing opera fan with real talent and practical knowledge, to the theater to teach martial arts to the actors. At the same time, we constantly absorbed some young actors with real talents and promising prospects into the theater, and soon gathered a large number of influential artists in Yusheng Theater.

1938, Lunar New Year: Yusheng Theatre was renamed the Lion Roar Troupe.

Fan took the meaning of "awakening the lion and roaring" and changed Yusheng Theatre into the Lion Roar Troupe. He publicized the Anti-Japanese War through touring performances, aroused the patriotic enthusiasm of the masses, and absorbed young people to study opera with the group. The troupe moved to Xi 'an and almost stopped.

1942, Lunar New Year: The Lion Roar Children's Troupe was established.

Fan recruited some children with difficulties from Henan, hired Peking Opera actor Han Shengxiu as a coach, established the Lion Roar Boys Troupe in an orderly way, and insisted on training and resuming performances in slums. In the following years, training and performance went hand in hand, and most of the plays were directed by Fan, who constantly improved and innovated in performance, music, clothing and makeup. Serious performance, famous for martial arts, formed a rigorous and vigorous stage style and unique artistic style.

In order to improve the performance quality and create the style characteristics of Henan opera, he spent a lot of effort. From 1935 to the eve of the outbreak of War of Resistance against Japanese Aggression, dozens of major repertoires with anti-feudalism, anti-evil, anti-traitor themes, such as Liu, Ling, Three Kisses, Removing the Blood of Shame, Hate in the Cloud, and Ligustrum lucidum Flower, were successively created. At that time, the sensational "Wash the Blood of Shame" was a good play to promote patriotism with the plot that my father wanted to be a traitor and my daughter resolutely opposed it. Cheng, a famous Peking Opera artist, watched the performance in Kaifeng and was very excited. He visited Fan. As soon as he entered the room, he called himself a "teacher" and took the script back to Peiping. Later, due to the turmoil in the current situation, Fan renamed Yusheng Theatre the Lion Roar Brigade Troupe (meaning "Wake up the Lion and Roar") and was forced to start a wandering life. After the fall of Kaifeng, the Lion Roar Brigade Troupe stopped performing, and most of the cast members scattered to make a living. In order to keep the artistic backbone, Fan fled to Mashankou, Nanyang with ten actors, including the Queen of Henan Opera and Huang Ruxiu, and lived in a ruined temple. He called the old staff and continued to make up, rehearse and perform. At this time, full of anti-Japanese passion, he created patriotic dramas reflecting the theme of War of Resistance against Japanese Aggression, such as Defeating the Enemy and Going Home, A Good Wife and Women. The Japanese army invaded step by step, and it was difficult for Nanyang to gain a foothold. He led the crew to live in the ancient city of Xi 'an in July 1939. The Lion Roar Brigade Troupe, which arrived in An, relied on a team of actors with complete lines and solid foundation, grasped the pulse of the times and advanced and healthy outstanding plays, and received various care and support from Yi Sushe, Sanyishe and other Shaanxi Opera Troupe, and finally gained a firm foothold and the support of the masses, especially the people from Henan. However, because the jokes touched the dark side of those in power, it was difficult for the troupe to continue. Coupled with soaring prices, actors have left the troupe to make a living, making the Lion Roar Troupe paralyzed or closed down. On the eve of the victory of the Anti-Japanese War, Fan's father and an influential brother of the League advised him to get lost, but he vowed never to look back. ? During the War of Liberation, Fan recruited more than 50 children from refugee children who fled to Angola, set up the Lion Roar Children's Group, and hired many famous Peking Opera artists to strengthen their training. At the same time, more than 30 excellent plays suitable for children's performances, such as Dream of Sweet Screen, Antivirus Story and Leifeng Tower, have been edited and adapted. By the eve of liberation, the Lion Roar Children's Troupe led by Fan had become a famous literary and artistic group in northwest China. However, at this time, Fan was thrown into the underground prison of Bell Tower by Kuomintang reactionaries for his drama "Attack on the Government". Only after rescuing Chen, an underground worker of the Communist Party of China, was he released from prison.

After the founding of the people's Republic of China

After the founding of New China, with a sense of responsibility as a master, Fan successively created a Jin of Food Stamp, Regenerated Iron, French Open, Lv Siniang, Liu Yang Village, and Nitou Mountain, which reflected the suppression of counter-revolution, "three evils", "five evils" and the land reform movement.

1955, after he went to Beijing film script studio for further study, he also wrote excellent scripts such as Wang Zuo's Brokeback, Yang Mantang, Lei Zhenhai's Northern Expedition, and Hydraulic Zheng Guo. Wang Zuo's "Brokeback" won the first prize of adaptation, performance and director in the first Shaanxi Opera Exhibition from 65438 to 0956. During this period, he also served as the representative of the First Municipal People's Congress, the Standing Committee of the Second Municipal Committee of China People's Political Consultative Conference, the Vice Chairman of Shaanxi Branch of Chinese Dramatists Association and the Vice Chairman of the Provincial Federation of Literary and Art Circles.

On the eve of the "Cultural Revolution", traditional drama was forced to stop, and Fan was also criticized as "right-leaning" and "serious purely professional views", and was forced to leave the troupe and stay at home.

1966 65438+ 10/month 1, died of coronary heart disease. The plays he created and arranged were published in Fan Xi Collection.

Main work

Representative repertoire

From 1935 to 65438+

From 1937 to 194 1, Mr. Fan wrote eight heroic dramas for the anti-Japanese war, which were premiered by the masters, such as Flower Mei Niang, Drug Control, Good Wife, Saving the Country, Woman, Meng Xiangping and Meng Xiangping.

There is also the traditional repertoire Luoyang Bridge adapted by Mr. Fan for the master, also known as Van Gogh's Palace and Tooth Marks, also known as Peach Blossom Temple, Three Returns, Edge of the Pavilion and Legend of the White Snake.

Personal anthology

Fan's works

Collected Works of Fan (volume 1-6) took 7 years to compile, with more than 3 million words, and was published by Henan University Press. The book contains 50 drama texts written and directed by Fan, as well as autobiographies, diaries, papers, essays, drama reviews, letters and other texts of his 40-year artistic career. With precious pictures and materials, it holographically depicts the dynamic track of Henan Opera's maturity, interprets the era connotation of Fan as the "founder and pioneer of modern Henan Opera", and fills the gap from early Henan Bangzi to early Henan Opera.

Artistic feature

One feature of Fan's repertoire creation is that most of his nearly 60 works are mainly women. On the one hand, he knows that Henan Opera has developed to the point where "eating steamed stuffed buns and stuffing, watching a play and listening to children" occupies the center of the stage. On the other hand, as an intellectual with democratic thoughts, he deeply felt the oppression of women in feudal society in China, and at the same time expressed deep sympathy for the low social status of women in China. Therefore, he created a series of ideal female images in his plays, such as Liu Fang in Wash Shame and Blood, Tong Yushan in Gale, Qiu in Privet Flowers, Hua Huijuan and Yang Mantang in Defeated Enemy. In these plays, he never simply shows the low status of women, nor does he create a female image of resignation, but focuses on the sympathy and wisdom of female characters. They either killed the enemy to avenge their country and died for it (Liu Fang in Shame on Blood), or fought bravely to uphold justice and rehabilitate grievances (Tong Yushan in Storm), or sent their husbands to join the army without dishonoring their mission (Overcoming the enemy and returning to glory), or they were happy and sacrificed their lives to save lives (Qiu in Privet Flowers). It can be said that the female images in his works inherit and develop the democratic essence of China traditional operas, and at the same time have the characteristics of contemporary new women. The reason why he can create such a character image is inseparable from the popularity of his works, and his popularity lies in that he always praises and praises the hard work and courage of the people of China from the standpoint of the masses, and praises and praises the role played by China women in the social progress and development of China.

Fan's works inherit the characteristics of China's traditional opera art in creative methods, which are easy to understand and popular to see the truth. In 1930s, his plays such as Lin Biao, Blood Wash were very popular in Kaifeng, and one of the important reasons was that his lyrics were easy to understand. He is an intellectual, but he never expresses his knowledge in difficult words, but takes listening, remembering and understanding as the highest principle. If the creation in the 1930s was still popular, then with the passage of time, after the 1940s, his creation completely entered a realm of popularity but not vulgarity, easy to understand but brilliant literary talent. In addition, another feature of his creation is that he attaches great importance to emotion. It can be said that his style of play is to some extent based on emotion. He pays attention to emotion in his plays, but never abuses it, especially the strings and scenery in traditional plays, because he thinks that these things have no personality and cannot properly express the emotions of the characters in his plays and the objective environment they require.

Personal realization

Mr. Fan's achievements are various and all-round. As a playwright, he wrote 37 plays and adapted 20 plays in his life, among which four tragedies are the most famous: Blood to Wash Shame, Three Kisses, Hate in the Cloud and Gale. Four comedies: Luoyang Bridge, Ling, Ligustrum lucidum, Liu, etc. Four historical dramas: Wang Zuo Brokeback, Hydraulic Zheng Guo, Song Jingshi and Wu Xun, and Regenerated Iron; Four Divine Dramas: Red Pearl Girl, Breaking Mountain to Save Mother, Jinshan Temple, Leifeng Pagoda. As a directing artist, he is the first professional director of Henan Opera. He is both a scholar and an expert. He dares to learn from and innovate, and pursues vulgarity and elegance. The style and aesthetic feeling of "fan play" can also be said to be the characteristics of Henan opera "fan play", which has been vividly displayed in hundreds of plays directed by him. As a drama educator and troupe manager, he has also achieved fruitful results. From Kaifeng Yusheng Theatre in 1934 to Anshihua Children's Theatre in 194 1, the studio in the 1990s and the Lion Roar Theatre in the early days of liberation, eight training courses have been held successively, and hundreds of outstanding talents have been trained. Especially at that time, it was difficult for the general troupe to hire high-level masters to teach at a large price. It can be clearly seen from Mr. Fan's drama thought and a series of drama practice that one of his general goals is to devote himself to the reform of Henan Opera, and his most significant contribution in the history of drama culture lies in the reform of Henan Opera. It is precisely because of the reform that Henan Opera has changed from an artist to a combination of literati and artists, creating a new cultural model of Henan Opera. Due to the reform, Henan Opera ended the era of only performance without script. Due to the reform, the traditional Henan opera has been transformed into modern Henan opera, creating a second tradition for Henan opera. As a result of the reform, Henan Opera was unique among China local operas in 1930s. Without Mr. Fan's reform of Henan Opera, I wonder how many years Henan Opera will lag behind other local operas. In a word, Fan, Fan Opera and Lion Roar Troupe have left a valuable fortune to Henan Opera, and also a valuable opera cultural resource to Henan and Shaanxi, which can also be said to be a valuable "model opera".

Personality assessment

Chen Suzhen: "Mr. Fan has made great achievements. He is a great hero in the history of Henan Opera reform.

Chang Xiangyu:. ""Teacher Fan has made a lot of contributions to the cause of Henan Opera, and his experience is also worth learning from the current reform of art performance groups.

Cui Lantian: "Mr. Fan Shiting is a progressive playwright and innovator who is determined to reform and has made indelible contributions to our drama career."

Yang Lanchun: "He is the pioneer of the director of Henan Opera and the first reformer of Henan Opera."