Yuju Master Chang Xiangyu

Author: Editorial Committee of the Master of Yu Opera Chang Xiangyu
Publisher:
Publish Date: 2005-05-01
Features: With a respectful heart, the reporter visited this elderly artist. At the beginning of the conversation, Chang Xiangyu enthusiastically discussed "The Story of Mulan Joining the Army" and the tradition of Yu Opera. She said, "We still need to perform traditional plays like The Story of Mulan, but Yu Opera should perform more modern plays!" Yu Opera originates from the people and serves the masses. The rich and diverse lives of the people have become the artistic source for our creation and performance. Chang Xiangyu traced the growth and development of Yu Opera after the founding of New China, telling the reporter that modern plays like Sunrise Over the Yangtze River (performed in the 1950s), Joyful People and Rustling Horses (performed in the 1960s), and Li Shuangshuang (also performed in the 1960s) became popular among the people. After the overthrow of the "Gang of Four" and especially since the Third Plenary Session, plays like Silence in the Heart, Spring Water on the Ice Mountain, and Liu He Bay were widely acclaimed. Most of these plays were rural-themed, reflecting the growth of Chinese peasants under the Party's leadership and the rich rural life. When the reporter asked Chang Xiangyu why she had such a deep connection with modern plays, especially those depicting rural life, this veteran actress replied, "I was born into a poor peasant family. As a child, I gathered firewood and tasted various wild vegetables, so I deeply understand the hardships of the peasants. Once the peasants become prosperous, they have a strong desire for cultural life, and we must perform more plays for them, play well for them, and meet their needs." At this point, the reporter asked her to share her thoughts after hearing Peng Zhen's opening speech at the sixth session of the National People's Congress and Zhao Ziyang's government work report. Chang Xiangyu said, "Our troupe is engaged in spiritual civilization construction and has the responsibility to provide the people with more healthy and beneficial spiritual nourishment. We must promote socialist and communist ideas among the people, strengthen spiritual civilization construction, and achieve two fundamental turns. We must ensure the quality of spiritual products and guard against and prevent the commercialization of spiritual products." Chang Xiangyu said that as actors, they must not only focus on artistic quality but also on artistic integrity. This requires adhering to the direction of serving the people and serving socialism. Some troupes have achieved high performance levels and good actor conduct after being contracted. For example, the Luoyang Youth Yu Opera Troupe performed the modern play The Golden Rooster Leads the Phoenix, which reflects the great changes in rural areas after the implementation of the household responsibility system. The farmers loved the play so much that it ran for over 40 performances, with audiences still coming in droves. I also saw a performance of Spring Warm and Flowers Bloom by a troupe in Shangqiu. This play has a great theme and a beautiful protagonist, receiving high praise from the audience. Leaders of the Henan Provincial Committee also hope we perform more modern plays like this. With strong support from the leadership and encouragement from the people, everyone's confidence in performing modern plays has grown even stronger. P56
Below the stage, seeing this star of the opera world was a first for me, but she gave no impression of being "famous." She was a down-to-earth and joyful housewife. Her medium build was adorned with a blue cotton robe, and her slightly plump face was not concealed by rouge, revealing her genuine emotions. Her long, fluffy, curly hair, combined with the soft yet firm contours of her face, added to her liveliness. Her large, bright eyes spoke of her enduring youthful vitality. As the curves of her wide lips moved, her words were straightforward, powerful, and warm. When I mentioned that before the war, I often attended her performances in Kaifeng, she smiled with nostalgia, so sweet and humble. At that time, her fame had already illuminated the city of Sha Cheng (Kaifeng, known for its sandy winds). She was just a young girl of twelve or thirteen, already as famous as Chen Suizhen, known as "the Dog Nymph." We then talked about her past: Her hometown was Gongxian in western Henan, along the Longhai Railway. Her father, Zhang Fuxian, was a renowned leading lady and flower role in the qiangzi opera. From a young age, she loved the art of theater. Although her grandfather was an official in Beijing, her father despised the tedious study of the Four Books and Five Classics." As the saying goes, "Like father, like daughter." During her childhood in Beijing, she often skipped school to secretly go watch plays. When her father discovered her deep interest in theater, he simply sent her to a training class in Beijing. At that time, learning to act was called "fighting the play," and the young Shan girl couldn't endure it. After less than a year, she left the class and returned to Zhengzhou in Henan to study qiangzi opera. With her hard work and talent, she became prominent in less than two years. The year she left Kaifeng, she was just a young girl of thirteen or fourteen. She could perform the entire repertoire of The Temple of the Eight, including several somersaults in mid-air. After the July 7 Incident, her footsteps were seen in Luoyang, Xi'an, Hanzhong, and Baoji, where she left behind some legendary romantic stories. To avoid unnecessary troubles, she married a civil servant named Chen Jun, introduced by Huang Zifang, who was not wealthy. This marriage took place in 1942. It is said that her father did not agree with her marriage to Chen Jun. Now she is the mother of four children—two sons and two daughters. For such an established fact, Mr. Zhang has likely lost the courage to object! P369