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二三十年代,出现了两位杰出的京剧老生:马连良与麒麟重(周信芳),人称“南麒北马”。两个人都以做工见长;虽然两个人都有自己的拿手戏和新编的独门戏,但两个人的戏路极其近似,只是表演风格各有千秋。为此,当时人们都说他们“同行是冤家”,只会互相妒忌、敌对,永远不可能在一起合作。1933年,麒麟童到天津演出,恰好马连良也在天津,两个人见了面,很亲热。马连良说:“我们两个人在天津碰面,机会难得。旁人说我们不能合作,我们偏要合作一回,给他们瞧瞧。”麒瞵童欣然同意。于是从4月13日起,马连良的“扶风社”和麒麟童的“移风社”两班联合在天津春和戏院(今工人剧场)演出,从13日到16日演出四天六场(15、16日两天,演日夜两场)。配角有姜妙香、侯喜瑞、刘连荣、王兰芳、茹富惠、刘斌昆等,阵容十分硬整。
In the 1920s and 1930s, two outstanding Peking opera masters emerged: Marian Liang and Kirin Chung (Chou Hsin-fang), who called “Nan Ye Northern Horse.” Both of them are distinguished by their workmanship. Although both of them have their own masters and newly-formed solo operas, the play of the two men is extremely similar, except that the performances are different. To this end, when people said that they were “friends are enemies,” they were only jealous of each other, hostile and could never work together. In 1933, Kirin Tong to perform in Tianjin, just Malian Liang also in Tianjin, two people met, very affectionate. Ma Lianliang said: “The two of us met in Tianjin, a rare opportunity .Others said we can not cooperate, we will cooperate once again, give them look.” Qi Qi Tong readily agreed. From April 13 onwards, the “Fu Fu Society” of Marian Liang and the “Wind Turbine” of Kirin Tong co-starred in Tianjin Chunhe Theater (now Workers’ Theater) and performed four days and six games from the 13th to the 16th 15, 16 days, two days and nights). Supporting actor Jiang Miao Xiang, Hou Xirui, Liu Lianrong, Wang Lanfang, Ru Fu Hui, Liu Bin Kun, etc., the lineup is very hard and soft.