Yuju Master: Chang Xiangyu

Author: Editorial Committee of "Master of Yu Opera Chang Xiangyu"
Publisher:
Publishing Date: Not Available
Features: With a sense of reverence, the reporter visited this elderly artist. At the beginning of the conversation, Chang Xiangyu enthusiastically discussed the traditional opera "The Ballad of Mulan" and the traditions of Yu Opera. She said, "We still need to perform traditional plays like The Ballad of Mulan, but Yu Opera should play 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 the People's Republic of China, telling the reporter that modern plays like Sunrise Over the Yangtze River in the 1950s and Joyful People and Rustling Horses and Li Shuangshuang in the 1960s became popular among the masses. After the overthrow of the "Gang of Four," especially since the Third Plenary Session, plays like Silence and Sound, 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 leadership of the Party and the richness of rural life. When the reporter asked Chang Xiangyu why she had such a deep connection with modern plays, especially those depicting rural life, the 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, their demand for cultural life becomes urgent. 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 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, strengthen spiritual civilization construction, and achieve fundamental improvements. We must ensure the quality of spiritual products and guard against and prevent the commercialization of cultural products." Chang Xiangyu also said, "As actors, we must not only focus on artistic quality but also on artistic integrity. This requires adhering to the direction of serving the people and the socialist cause. 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 tremendous 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 coming in droves. I also saw a performance of Spring Warms the Flowers 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 so straightforward, powerful, and warm. When I mentioned that before the war, I was often an audience member at her performances in Kaifeng, a smile of nostalgia spread across her face—so sweet and humble. Back then, her fame had already illuminated the city of Sha Cheng (Kaifeng, known for its windy and sandy weather). She was just a young girl of twelve or thirteen, already renowned alongside Chen Suizhen, known as "Dog Niu." We then talked about her past: Her hometown was Gongxian in western Henan, along the Longhai Railway. Her father, Zhang Fuxian, was a famous leading lady and flower role in the Peking Opera. From a young age, she loved the art of theater. Although her grandfather was an official in Beijing, her father despised the rigid study of the Four Books and Five Classics. "Like father, like daughter," she often skipped school in Beiping to secretly watch plays. When her father discovered her deep interest in theater, he simply sent her to a Peking Opera training class in Beiping. At that time, learning to act was called "playing the roles." The young Shan girl couldn't endure it and left the class after less than a year, returning to Zhengzhou in Henan with her father. There, she switched to learning the Peking Opera, and with her hard work and talent, she quickly gained recognition within 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. After the July 7 Incident, her presence was seen in Luoyang, Xi'an, Hanzhong, and Baoji, where she left behind some legendary romantic tales. 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 approve of this marriage, but now she is the mother of four children—two sons and two daughters. I imagine that Mr. Zhang has long lost the courage to object to this fait accompli! P369