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“四大须生”,从二十年代至四十年代,有前“四大须生”与后“四大须生”之别。二十年代中叶,余叔岩、言菊朋、高庆奎、马连良被誉为京剧“四大须生”,其后高庆奎因病嗓退出舞台,谭富英声誉鹊起,有一时期,谭代高进入“四大须生”行列。到了四十年代,言、余先后谢世,杨宝森、奚啸伯相继成名,具有一定声望,于是,又演变为“马、谭、杨、奚”后“四大须生”,直至今日。这两届“四大须生”都以其独具风格的精湛技艺,开创了京剧老生行的锐意求新的道路。他们对全国京剧界有着深远的影响,对天津也不例外。 对于马连良在天津的演出经历,我们不妨回溯
From the 1920s to the 1940s, there were the differences between the former “Four Major Musts” and the “Four Major Musts”. In the mid-1920s, Yu Shuyan, Yan Jupeng, Gao Qingkui and Ma Lianliang were hailed as the “Four Musts” of Beijing Opera. Afterwards, Gao Qingkui quit his stage due to illness and Tan Fanying gained a fame. In a period of time, Tan Dai Gao entered the “Four Major Musts” Ranks. In the forties, words and expressions of happiness and happiness, Yang Baosen and Xi Xiaobo became fame one after another. As a result, they have evolved into “four major unsolicited beings” after “Ma, Tan, Yang and Xi”, and up to today. The two “Four Musts”, with their unique style and skill, have created a pioneering new road for Peking opera veterans. They have far-reaching influence on the Peking opera circles nationwide and are no exception to Tianjin. For Malian Liang performance in Tianjin, we may wish to backtrack