Li Si, a loyal and famous dramatist

Author: Guo Guangyu
Publisher:
Publish Date: 2004-05-01
Features: Comrade Li Sizhong (art name Shulong) was a renowned "black head" actor in Yu Opera. Born on May 24, 1921, in Liuhe Village, Ningling County, Henan Province, to a poor peasant family, he began working as a cowherd for a landlord at the age of seven. At twelve, he apprenticed under Wang Jiayu in Li Zhuangzhai, Minquan County, specializing in "black head" roles. After a 72-day training period in the troupe, he was able to perform on stage. During his studies, he learned twelve plays, and he played the lead in eleven of them. These included Bao Gong in Qin Xianglian and Zhao Tian Zhai, Yan Song in Baiyu Cup, Xu Yanzhao in Er Jin Gong, and Chen Ping in Chen Hu Da Chao. At the age of seventeen, Li Sizhong officially graduated from the troupe and performed at the Shangqiu Happy Theater. Due to his powerful voice and bold style, he quickly gained recognition. The local people gave him the nickname "Weng BAli." After the liberation, Li Sizhong was assigned to the Ningling Yu Opera Troupe. In 1955, he joined the Communist Party of China. In 1956, he participated in the provincial opera performance competition, where his portrayal of Simao Mao Gao Zhuang won him the first prize for actors. In 1958, he performed Jian Huanggu with Cui Lantian for the beloved Premier Zhou Enlai. In 1960, he was transferred to the Second Troupe of Henan Yu Opera Theater. During a performance for the Vietnamese government led by President Ho Chi Minh, accompanied by Comrade Li Xianwen, after the flower presentation, President Ho humorously said, "This flower should be given to whom? Maybe to Bao Gong, because he is upright."
Comrade Li Sizhong's singing style is primarily based on the eastern Henan tune, which is robust and majestic. For example, in the aria "Shi Bao Guan," although the melody changes little, his skillful performance techniques—such as mastering the rise and fall, pauses, and the use of "stealing words" and "quick rhythms"—combined with his powerful voice and imposing demeanor, make his singing resound with force and clarity. As a result, he successfully portrays Bao Gong's fearless and impartial character.
He often emphasized that singing must be tied to the plot and reflect the character's personality. For instance, Bao Gong is upright, selfless, and strict in enforcing the law, skilled at discerning truth from falsehood, and both gentle and resolute. He must not be played as Zhang Fei, who is known for his fierceness. In singing, he must also be simple and natural, avoiding prettiness without substance. His voice should not be strained or just rely on loud volume; otherwise, even a good voice may not be effective. For example, in the aria "Quan Mei," he chose a "planting board" followed by a slow board and then a flowing board. At the beginning, the rhythm is free and slow, conveying a sincere and gentle persuasion. Then, it transitions to a faster board with stronger emotional expression, presenting facts and reasoning to persuade. As the emotions build, the flowing board delivers a righteous and stern reprimand against Chen Shimei's greed and betrayal, while also hoping to save him by urging him to acknowledge Xianglian and her mother and reconsider his ways. This aria contrasts sharply with the singing style in the scene Zhao Mei, where the former is a direct and gentle persuasion, while the latter is impartial and strict in enforcing the law. Through his singing, he portrays Bao Gong—a model of an upright official in the hearts of the people—from different angles.