At the end of 2022, Beijing entered the most brutal stage of fighting against the new crown epidemic. On December 21, we were shocked to learn that teacher Liu Yinbai had passed away! After much searching, I learned that the exact date of his death was December 12, and he was buried on December 20.
Although Teacher Liu Yinbai is in his eighties, his health has always been good. In interviews a few years ago, he was called "a loud voice", so I always feel that he is still young and there are plenty of opportunities to visit and thank him in person!
Unexpectedly, I was suddenly struck down by the new coronavirus, and we were separated forever overnight. The only thought of saying thank you was regret!
The painful memory brings my thoughts back to 35 years ago. In 1987, I graduated from Peking University with a bachelor's degree in ancient literature from the Department of Chinese Language and Literature, and came to work at the Institute of Traditional Chinese Opera at the Chinese Academy of Arts. I was under 22 years old at the time and became the youngest staff member in the institute. The institute arranged for me to work in the Research Laboratory of the History of Ancient Opera, and to be an assistant to the director of the laboratory, Mr. Fu Xiaohang, to assist him in compiling the "General Catalog of Modern Chinese Opera." For three years, I followed Mr. Fu and completed a survey of research materials on modern opera through slash-and-burn manual labor. Finally, in 1994, I compiled and published the "General Catalog of Modern Chinese Opera" with more than one million words. The
Ancient History Research Laboratory also has several teachers including Liu Yinbai, Sun Chongtao, Wu Shuyin, Zhang Jie, and Zhang Shuying. In their eyes, I am just a primary school student. Researchers do not have to work, and only need to go to the institute once or twice a week to communicate and work intensively. Although I am a newcomer, because I followed Mr. Fu Xiaohang on a project, and there is no independent office in ancient history, I started to enjoy the privilege of not working in the office as soon as I entered the institute. Each of these teachers has their own academic research expertise and unique personalities. Teacher Liu Yinbai, in particular, is unique.
After graduating with a master's degree from the Opera Department of the Graduate School of the China National Academy of Arts in 1982, Mr. Liu Yinbai stayed at the Research Institute of Ancient Opera History to work. He was born in 1941, and his seniority belongs to my father's generation, but he was late on important matters of marriage, which became a big problem known to the institute. When I first arrived at the institute, he was still single. It is said that he had very high standards for choosing a mate. He mocked himself and said: "People who like me often look down on me, and people who like me often look down on her!" It wasn't until he was fifty that he married his current wife. In 1992, the year my daughter was born, a total of five colleagues at the Theater Research Institute gave birth to daughters, who were known as the “Five Golden Flowers” of the Theater Research Institute. Teacher Liu’s daughter was also one of the “Five Golden Flowers” and was the same age as my daughter. Talking about children when we meet has been an important topic for a long time since then, and it has a sense of intimacy. He is a kind father who is always hands-on with his children. He can often be seen holding hands with his children, taking them to kindergarten.
In terms of academic research, Teacher Liu Yinbai is undoubtedly an expert on Yuan dramas and has written many monographs. However, back then I heard him say that he was more interested in classical novels such as "Journey to the West" and contemporary martial arts novels. He himself said in his memoirs that his research on opera was mainly concentrated in the ten years from 1982 to 1991. Before and after that, he devoted more efforts to the fields of history, literature, politics, folklore, religion, etc., as well as Lu Xun , military books, "Book of Changes" and other majors. He is in the highest university in the country for opera studies, but he does not seek to be heard in the academic circle of opera. He is indifferent to fame and fortune and just follows his heart's desire.
In some aspects, Teacher Liu Yinbai will also be cautious. Due to the influence of his family studies, he was proficient in "Yi" studies and had the ability to grasp yin and yang and distinguish the five elements. However, in the 1980s and 1990s, he could not preach publicly and could only study alone and silently. I also have friends who are studying "Yi" studies, but I only know a little about it. After hearing that Mr. Liu understands "Yi" studies, I have always wanted to find opportunities to ask him for advice. Every time, he waved his hands and refused and said "can't talk, can't talk"! Later I learned that in his later years, he finally gave lectures on the "Book of Changes", and he should have truly let go of his burdens and followed his heart. It's a pity that I didn't have the opportunity to attend the lecture at that time.
For me, Teacher Liu Yinbai is a kind elder and one of my mentors.
When I started working at the Drama Research Institute, as a newbie in the workplace, I was not very clear about the titles, thresholds, standards and other issues of professional titles at all levels. It seemed that the first year was the internship period, and the second year when I became a full-time professional, I became a junior professional title without going through review. After five years, I was eligible to participate in the evaluation of intermediate professional titles. It should be 1993. In 1992, when I had just finished my maternity leave, it happened to be the year I was evaluated for professional titles. At that time, a teacher encouraged me that because I followed Mr. Fu on the subject and wrote two short articles, it would be no problem to be evaluated as intermediate. So I applied for it without realizing that it was a year early. My principle is that it is my business to report it or not, and it is other people's business to judge it or not. I just have to do my own thing well.
In that year, teacher Liu Yinbai was already a member of the academic committee and professional title review member of the Theater Research Institute. After the professional title review meeting, I saw that Teacher Liu seemed very angry. He pointed at me with his finger and said: "You should not be too honest when it comes to appraising professional titles. You should go find that person in advance." I expressed embarrassment that I was not good at asking for help. At the same time, I asked Teacher Liu a little mischievously: "Mr. Liu, if it were you, would you go find me?"
Actually, ever since I had my daughter, I have been working hard to prevent and treat her diseases, and by chance, I have become obsessed with traditional Chinese medicine. I usually spend a lot of time and energy studying Chinese medicine theory , and also practice it with my master, so I have not been too focused on pursuing professional titles. During this period of time, my state of dissociation in the study of opera seemed to be comparable to that of Teacher Liu.
In 1994, I applied for an intermediate professional title again and was waiting for review in the office on the day of the review meeting. Near noon, I saw Mr. Shen Daren and Mr. Liu Yinbai walking into the office talking and laughing. I quickly stood up and prepared to hear the results. Mr. Daren recommended Mr. Liu as the representative, and said to me with a smile: "This year, there is a new requirement for the evaluation of professional titles, which is a defense process. Mr. Daren and I were selected as defense committee members to ask you questions on the spot. Actually, I know that you have not prepared for this in advance, so we will not ask any questions, so we will just communicate casually." Then we had a short and relaxed chat, leaving me, who looked confused and didn't know what a defense was! The friendly and kind smiles of the two gentlemen were deeply imprinted in my mind from that moment on.
One day after passing the evaluation for the intermediate professional title, I met Teacher Liu Yinbai in the institute. He said to me seriously: "There is one thing. Shanxi Normal University Teacher Huang Zhusan wants to compile a set of "Commentaries on Sixty Kinds of Music" and asked me to help them do it. As you know, I am not interested in it now, so I won't do it. I think you need it! If you want to do it, I recommend you to participate." At that time, I had never written a book independently, and I was unsure and very hesitant. Teacher Liu saw it and gave me some encouragement based on my major, and then said: "Considering that this is your first time editing a script, I will help you choose a shorter one." So, under Teacher Liu's encouragement, "Commentary on Luan Wan Ji" was released. "Comments on Sixty Kinds of Songs" won the China Book Award in the year of publication, and "Commentary on Luan Wan Ji" won the Chinese Academy of Arts Outstanding Achievement Award, which played a crucial role in applying for the researcher title in the future. This was something neither Teacher Liu nor myself had expected.
In 2001, teacher Liu Yinbai retired. Due to his wide range of interests, he rarely participated in the activities of the Theater Research Institute, and the opportunities to meet him became less and less. In 2021, I will also retire. I wanted to visit my mentor more often and chat over tea. Unexpectedly, the change happened so suddenly!
Teacher Yinbai, your sudden passing makes me heartbroken, and every memory is instantly frozen in December 12, 2022!
Mr. Liu Yinbai
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