As the "first Huadan" after the founding of the People's Republic of China, why did Liu Changyu choose to retreat behind the scenes when his acting career was at its most prosperous? But even now he is still promoting the art of Peking Opera and cultivating a new generation of ou

Some people enjoy the aura of the spotlight on the stage,

Some people choose to retreat into obscurity behind the scenes and devote their lives to art.

and Liu Changyu belong to the second type of people.

Why did Liu Changyu, who was known as the "first Huadan" after the founding of the People's Republic of China, choose to retreat behind the scenes when his acting career was at its most prosperous? Today, he is still promoting the art of Peking Opera and cultivating a new generation of outstanding Peking opera actors.

All of this starts from the first half of her life when she was obsessed with Peking Opera .

01

In 1942, Liu Changyu was born in an old bureaucratic family in Beijing. After his parents divorced, he took his mother's surname.

When she was very young, her father Zhou Dawen once served as the mayor of Beijing and was also a famous Peking Opera fan in Beijing..

At that time, Liu Changyu was lively and active, with a sweet voice.

For my father who loves Peking Opera, it is undoubtedly a good material for singing Peking Opera.

Under the arrangement of his father, Liu Changyu entered the Chinese Opera School to study Peking Opera when he was 9 years old. As soon as

entered the school, she was immediately famous among teachers and classmates for her naughty and playful nature.

With her outgoing personality, she has been the artistic backbone of the class since she entered school. Whenever there is any activity, she always shows off herself without hesitation.

Follow the adults to perform yangko on the street, singing and dancing.

A pair of eyes dart around, and everyone will smile and say: "The little devil is dancing again."

Although Liu Changyu is playful and has lived a privileged life since childhood, he is not squeamish.

At that time, I was practicing blanket skills. There were no blankets in the school, and it was winter, and the ice and snow were very cold.

Liu Changyu and other students took off their cotton-padded jackets and spread them on the ground to practice basic skills such as "back grabbing" and " tiger attack ".

practiced tirelessly all day long, which almost caused frostbite on her hands.

Faced with the harsh environment and the hardships of practicing, the optimistic Liu Changyu is always happy.

And because he is young, he is willing to endure hardships and his body is very flexible.

She always learns things quickly and masters them as soon as she practices.

She soon learned everything the teacher taught her in style.

At this time, the Chinese Opera School gathered a group of famous Peking Opera masters. Liu Changyu was educated as a teacher for more than 30 years, including Xun Huisheng and Yu Lianquan . Zhao Tongshan , Hua Huilin and other masters.

Xun Huisheng was undoubtedly the one who had the most profound influence on her.

It was teacher Xun Huisheng who gave her the first enlightenment on the road to learning opera.

02

In 1958, Liu Changyu followed Xun Huisheng to learn to rehearse "Er You in the Red Chamber". She was very excited to be personally guided by one of the "Four Famous Dancing Women".

She had always been naughty but she also calmed down and learned very hard.

also received unanimous praise from his classmates during his internship performance, which made Liu Changyu a little proud.

However, what she didn't expect was that Xun Huisheng's words after the performance immediately made her mood hit rock bottom.

"Okay, okay, don't change me. I won't teach you, so you can't learn."

Liu Changyu's mind went blank when he heard this, and he froze in place.

She felt that she worked so hard that even outsiders said she looked like her teacher Xun Huisheng. How come

got the word "bad correction" from the teacher, and even threatened not to teach him.

Liu Changyu, who had always been naughty and had hardly cried, could not control his tears.

"Teacher, what's wrong with me, can you tell me?"

"Who are you playing? You are playing Sanjie You. Why are you playing me, Xun, an old man in his sixties? You are playing me."

"Who are you playing? I need to know about this person's fifteen hundred years and the next five hundred years. I want to know the environment in which he grew up, what his character is, his identity and status, and everything about him. I know everything, I have to get into his soul in order to bring him to life."

Xun Huisheng's words completely touched Liu Changyu.

She then reflected that her previous studies were all oral and mental, and she did exactly what the teacher said.

After this, she began to learn to think and experience herself, analyze the character's psychology, and figure out the character's actions.

puts himself into the character.

is no longer just imitation.

03

The eight years at the Opera School laid a solid foundation for Liu Changyu.

After graduation, Liu Changyu stayed in the school's experimental theater troupe. While teaching,

also had many opportunities for formal performances.

In three years, Liu Changyu rehearsed sixteen plays, mainly in Qingyi opera, and also played Hua Dan, Dao Ma Dan.

What made her famous was the role of the maid "Mei Ying" in " Selling Water ".

Hua Dan is one of the female actors in Chinese opera. They play mostly innocent, romantic and cheerful young girls.

Liu Changyu, who has a lively personality, a crisp voice, and a petite and sweet appearance, seems to be born to play the role of Huadan.

It is because of these characteristics and talents of hers that the Chinese Opera School tailored "Selling Water" for Liu Changyu.

The play "Selling Water" comes from the "Selling Water" section of Shanxi Puzhou Bangzi's "Flame Horse".

In 1961, the Chinese Opera School transplanted and adapted it into Peking Opera.

The performance of this play is very difficult, especially the section " expresses flowers ", which further tests the actor's singing skills, clear speech, lively eyes, and sweet singing.

is combined with the performance of the fan and handkerchief in the hand to test the actor's ability in all aspects of singing, reading, acting and acting.

Long before "Selling Water", Liu Changyu took advantage of various opportunities to learn a variety of local dramas . When

was rehearsing this play, she went to learn the play "Duanhua" from "Wu'an Luozi".

In order to develop flexible eyes, Liu Changyu put in unimaginable efforts.

After turning off the lights every night, she lit incense and stared at the bright spots, slowly consuming them.

The slowly rising cigarette smoke made her eyes sore and shed tears, just to make her eyes more alert.

With his own hard work and understanding, Liu Changyu has perfected the performance routines of "stepping back to smooth things over" and "shaking shoulders" that are unique to traditional Hua Dan operas.

brought to life the image of an innocent and lovely little maid.

"Selling Water" caused a sensation when it was performed in Beijing, Shanghai and Wuhan, and has since become a repertoire of Hua Dan performances.

In 1960, Liu Changyu went to Wuhan with the troupe to perform, and the audience welcomed him very much.

As soon as she sang and recited, the audience burst into warm applause to support her. When the performance was over, the audience reluctantly asked Liu Changyu to re-perform "Selling Water" and "Xin'an Station " by writing "big-character posters" and posting them at the entrance of the theater.

In his free time, Liu Changyu couldn't even go shopping with Zhang Manling.

Audiences on the street all knew the two of them. When they saw them from a distance, they chased after them. The two were so frightened that they ran back to the theater.

It can be seen how much Liu Changyu was loved and sought after by the people of Wuhan at that time.

04

In 1962, because of his outstanding performance, Liu Changyu was transferred to China Peking Opera Company and began to specialize in Hua Dan.

On this broader stage, she will have an important opportunity.

In 1963, there was a craze for rehearsing modern Peking opera across the country.

The China Peking Opera Company has also begun adapting Shanghai Opera"The Red Lantern" into a Peking Opera.

Liu Changyu was lucky enough to get this opportunity.

But it is also a huge challenge for her.

"The Story of the Red Lantern" tells the heroic story of underground worker Li Yuhe, his mother and daughter, a family of three, who fought tirelessly against the Japanese invaders to transfer secret codes to the guerrillas.

The performance method of modern opera is very different from that of traditional Peking opera,

This makes Liu Changyu, who is used to performing traditional operas, somewhat at a loss.

In the initial rehearsals, the traces of Huadan's career became a shackles for her.

As soon as the Hua Dan character appears, she is lively and cheerful, and her smile is particularly lovable.

When Liu Changyu played the role of "Li Tiemei", he also acted like a Hua Dan actor. As soon as

appeared, quickly followed to the stage to show off.

After seeing this, the leader said: "Changyu, why are you so happy to come out?"

After hearing this, Liu Changyu knew that the leader meant to criticize her.

recalled the words of her former mentor, Mr. Xun Huisheng, that she figured out the character's psychology alone in private, and finally nailed the role of "Li Tiemei".

05

Playful, smart, yet firm and courageous, the image of a revolutionary hero like "Li Tiemei" cannot simply be adapted to the Hua Dan performance method of the past.

So Liu Changyu began to think about this role day and night, but he went to the other extreme.

She performed it almost entirely with passion, almost to the point of becoming obsessed.

During the rehearsal, Liu Changyu devoted himself wholeheartedly to the role and cried until his voice became hoarse.

But this effect has become hysterical and over-acting, which fails to impress the audience.

The initial setback made Liu Changyu understand that surging and intense emotions cannot be shouted out with the voice.

She began to learn how to use artistic techniques to express herself.

The actors in the same drama were all regarded as students for her to learn from.

Gao Yuqian, who played "Grandma Li", and Li Shaochun, the original actor of "Li Yuhe", all gave her a lot of guidance.

Under the guidance of senior actors and through his own exploration, Liu Changyu finally summed up a set of performance techniques for modern dramas.

She knows very well that the appearances and movements in costume dramas are exaggerated,

and in order to adapt to life in modern dramas, a more delicate and realistic performance method must be used.

The emotions should be substantial, the subtext should be accurate, and the exterior should be appropriately restrained.

From the maid "Mei Ying" to the heroine "Li Tiemei", Liu Changyu has experienced the exaggerated performance style of costume dramas to the real and delicate performance of modern dramas, from delicate and delicate to heroic figure.

She began the long process of changing years of habits.

In July 1967, "The Story of the Red Lantern" participated in the National Peking Opera Modern Drama Performance Conference, and received full applause upon its debut.

In 1970, Bayi Film Studio made it into a movie and released it nationwide, which became a sensation.

"Li Tiemei", wearing a red-bottomed jacket with white flowers and a big black braid, has become a classic heroic image deeply rooted in the hearts of a generation.

made Liu Changyu a national idol of that era.

After eight years and more than 200 revisions, "The Story of the Red Lantern" has become a model for excellence in stage art.

also laid the foundation for Liu Changyu's future maturity and liberation in Peking Opera art.

Many of the experiences she gained in modern dramas were later used in traditional dramas. After the special period of

, Liu Changyu reorganized these old dramas.

re-produced and starred in dramas such as "Xin'an Yi" and "Spring Grass in the Hall".

This "Spring Grass in the Hall" is adapted from the Puxian drama script and was created and staged in 1963.

is a Huadan opera that involves singing, reading, acting, and dancing. It was very popular when it first premiered.

In 1976, when Liu Changyu, Kou Chunhua and others re-arranged this play, they adapted this old play into a different style.

They broke the restrictions of genre concepts and widely absorbed local operas and performance methods of various genres on the basis of tradition. The design of the "Sedan Carrying" scene in the

drama was based on the sedan-carrying performance of Xingtai Henan Opera.

Liu Changyu’s movement of holding an umbrella on stage was based on the dance "Spring Rain".

She fully demonstrated the kind, witty and naughty temperament of "Chun Cao", the personal maid of Miss Xiangfu.

left a new stage art image for Peking Opera Xunpai .

Liu Changyu knew that he must not play this role as a slippery adult full of philistine spirit. When reciting

, you cannot read it according to the old play "京白". You must recite it very clearly like a little girl.

So she just stood there, without making any movements or showing any expressions. Everyone knew whether she was performing "Mei Ying", "Vanilla" or "Li Tiemei".

However, just when Liu Changyu was in her prime, she made a decision that many people regretted.

She chose to retire from the glamorous and lively stage in order to cultivate the younger generation of actors.

and personally trained more than ten students including Geng Qiaoyun, Lu Huimin, Guan Bo, etc.

She wanted to cultivate a group of outstanding actors so that these actors could achieve something, but her behavior delayed herself.

Six or seven years later, when she thought back on it, she didn't feel any regret at all. The generation of students she trained had already become famous.

can do some things that are beneficial to opera.

The person standing on the stage now is Liu Changyu’s student, and she chooses to quietly radiate her light and heat in a place where the spotlight cannot shine.

In addition to teaching students, Liu Changyu has also been busy with the work of China Peking Opera Art Foundation in recent years.

organized an advanced training class for young and middle-aged teachers majoring in Peking Opera.

invites a group of veteran artists to give lessons to Peking Opera teachers in person to improve the teaching quality of Peking Opera majors.

At the same time, Liu Changyu also planned the Peking Opera Art Inheritance and Protection Project-Old Artists Talking about Opera Project.

conducts interviews with old artists across the country, and

rescues their valuable experiences and unique skills in the process of learning, performing, and teaching.

has currently completed more than one hundred special interview documentaries, leaving precious information for the future of Peking Opera.

Enthusiastic, kind, witty and cute, she has played Huadan for most of her life. All the beautiful words to describe Huadan can also be used on Liu Changyu.

In the past, she played the role of a smart woman in the world in order to bring beauty to the world.

But now, she has put away her own light, all in order to provide help in times of need.

What hasn’t changed from beginning to end is that she has a bright red heart.

She is the well-deserved "number one actress".