Wu Xiaoru's Collected Essays on Chinese Opera: Supplement

Author: Wu Xiaoru
Publisher:
Publishing Date: 2006-10-02
Features: A Collection of Old Articles
"Standards of Speech" Magazine's Third Anniversary Celebration — Encouraging Li Shaochun, Disciples of Li Shaochun from the "Li" School, to Perform More Senior Actor Roles
News Heard from the Mouth of the World — Remembering Xun Huisheng's "Thirteen Sisters"
Listening to Dong Huang's "The Battle of Red Cliffs and the Empty Fort" on the Radio
Listening to Qianheshe's Zhang Liping Discussing Li Shaoqi
Bird's-Eye View of Fulienceng (Part 1)
Introduction
1. From the "X" School Actors
The Six Major Disciples of Xiliancheng, Lei Xifu, and Other "X" School Male Actors
Hou Xirui, Other "X" School Actors
2. "Lian" and "Fu" School Actors
The "Twin Stars" of Male Actors in the "Lian" and "Fu" Schools
Renliquan, Other Famous Dan Actors Besides the "Four Great Dan"
Male Actors in the "Lian" School
Peking Opera Clowns in the "Fu" School
Male and Young Actors in the "Lian" and "Fu" Schools
Female and Male Actors in the "Lian" and "Fu" Schools
Other Actors in the "Lian" and "Fu" Schools
Appendix: Rereading "The Thirty Years History of Fulienceng"
Treat the Opera Literature Well — Talking About "The Thirty Years History of Fulienceng"
Bird's-Eye View of Fulienceng (Part 2)
The Three Plays Seen in the Early 1930s When Entering the Pass
Brief Account of the "Sheng" School Senior Actor Group
Ye Shenglan, the Giant of Young Actors
Several Martial Actors in the "Sheng" School
Brief Account of the "Sheng" School Dan Actors
Sun Shengwen and Qiu Shengrong
Other Male Actors in the "Sheng" School
Ye Shengzhang, the Disciple of Wang Changlin
Two Eccentric Clowns in the "Sheng" School
Biography of Ji Shengbu
Appendix: Letter from Comrade Niu Biao
Bird's-Eye View of Fulienceng (Part 3)
Fulienceng During the Time When Shang Xiaoyun Provided Assistance
Two Demands and Two Levels — A Brief Aside
Li Shifang and Mao Shilai
The Group of Senior Actors in the "Shi" School
Martial Actors and Young Actors in the "Shi" School
Female Martial Actors and Senior Dan Actors in the "Shi" School
Martial and Literary Hualian in the "Shi" School
Martial and Literary Clowns in the "Shi" School
Brief Talk About Several Martial Actors in the "Yuan" School
Conclusion
Appendix: Letter from Liu Xinyang
A Collection of Miscellaneous Writings
Talking About Ma Buwei — A Letter to Wang Zengqi
Reflections on the 1991 National Youth and Middle-Aged Peking Opera Actor Television Competition
Record of Peking Opera: Rediscovering the Past, Learning for the Future (Four Articles)
Artistic Effect Cannot Rely on "Human Wave Tactics"
From Mei's Singing Style
Preface to Zhu Jiping's "Tong Zhiliang"
Mr. Zhou Mingtai's Contribution to the History of Peking Opera
Wang Yaoqing on the "Four Great Dan"
Brief Review of "The Dictionary of Chinese Opera Performance Art"
Rescuing the Tan School, Revitalizing the Tan School — Preface to the Performance Scripts of Five Tan School Plays
Inspiration from a New Historical Opera
From "Identity Plays" to a Broader Discussion
Discussing "Moving Steps Without Changing Form" — On the Laws of Peking Opera Performance Art
Missing Mr. Weng — Learning from Mr. Weng — Speech at the Anniversary Symposium for the Late Mr. Weng Ouhong
Talk from the Audience About Peking Opera Directors
Initial Thoughts on Wu Tongbin's "Peking Opera Knowledge Manual"
Reading "Yu Shuyan and Meng Xiaodong's Singing Collection"
Talking About Opera and History
Mr. Zhu Jiahua and Peking Opera
Preface to "The Biography of Wusheng Master Wang Jinlu"
Appendix: Wang Jinlu's Dedication to the Craft
An Invincible Sword That Never Rusts
Wang Jinlu and Ma Lianliang and Their Old Recordings — In Commemoration of the Centennial of Ma Lianliang's Birth
Zhao Yongwei, the Young Generation Is Promising
From "Jumping the Ghost Official" to Talk About Traditional Peking Opera Endings
Hoping for the Best from the "Copper Hammer" Artists in Tianjin
Talking About Hao School's Personal Opera "Peach Blossom Village"
Writing Play Reviews and Critiques Is Difficult
Judges Should Understand Opera
"Better to Wear a Torn Suit Than the Wrong One"
Preface to "An Overview of Peking Opera Face Paint Art"
May the Departed Rest in Peace — Postscript to the Reprint of "The Dictionary of Peking Opera Knowledge"
Preface to "Wang Jinlu's Stage Life and Art Painting Album"
The Loss of Ritual and the Search for "Non-Sale Items" (Part 1) — When Sihui Ji's "Selected Collection of Peking Opera Young Actor Singing Styles"
The Loss of Ritual and the Search for "Non-Sale Items" (Part 2) — "Collected Works of Mr. Qi Song"
Appendix: Listening to Mr. Wu Xiaoru Talk About Opera
This book is divided into three parts. The first part collects some of the author's old works, the second part is a relatively complete record of the many actors of Fulienceng and some nearly lost plays, and the third part consists of miscellaneous essays and notes written since the 1990s on the subject of opera.