Zhou (1900 ~ 1977) is a drama historian, drama theorist, drama, film writer and drama educator. People from Changsha, Hunan. Go through hardships, study hard by yourself, and learn literature and history. 1927 Participated in the Southern Society hosted by Tian Han. 1935 began to devote himself to the study of drama history and drama theory. He is the author of A Brief History of China's Drama and History of Chinese Drama. And he is also engaged in drama and film creation. His main achievements and characteristics are: attaching importance to the study of the overall history of China's plays and making a general discussion and summary of the development of China's plays; First of all, the author puts forward his own views on the three major sources of China opera tune, namely, Kunqu opera, Yiyang tune and Bangzi tune, and makes a detailed discussion. Being able to closely connect with stage performance practice and pay attention to practical investigation has changed the bias of focusing only on textual research and literary talent in previous research methods.

Chinese name: Zhou.

Alias: Zhou

Place of birth: Changsha, Hunan

Date of birth: 1900

Date of death: 1977

Occupation: drama historian

Representative works: King of the North, Li, A Brief History of China's Drama, and History of Chinese Drama.

outline

Zhou (1900~ 1977), male, Chinese drama historian, drama film writer and drama theorist. Make it white. Formerly known as "Icefield" (a masterpiece of ice), it used to be named Yi Jie and Mu Yi, and the pen names were Liulang, Lu Jian and Yungu. He was renamed Yang. People from Changsha, Hunan. He lost his father when he was a child, dropped out of school, wandered around the rivers and lakes, attended classes in civilized troupe, Beijing opera troupe and circus troupe, and studied literature and history hard. He has written novels and essays for Hunan Autonomous New Newspaper. 1927 participated in the south China drama club hosted by Tian Han. From 1929 to 1934, I have taught Chinese in Quanzhou and Xiamen, Fujian. 1935 formed a new art troupe with A Ying, then worked in China Tourism Art Troupe, Xinhua and Jinxing Film Company, and taught Chinese in Shanghai Academy of Fine Arts and Fudan University.

Performed and published drama works include North King, Lee, Green Window with Red Tears, Mulan, Canary, Three Stories in the Sun, Chain Plan, Favorite, etc. As a feature film, his works include Shepherd in Suwu, Yanmenguan, Acacia Village, Li Shishi (later changed to Gone with the Wind), Zhuo Wenjun, Nie Yinniang, A Dream of Red Mansions, Li, Home, Wild Rose, White Orchid and Romantic Family. Published a Peking Opera script "Zhuxian Town" and so on. 1947, at the invitation of Ou Yangyuqian, went to Hong Kong Yonghua Film Company as a screenwriter.

People's Republic of China (PRC) was founded in 1949. At the request of Tian Han and Ou Yangyuqian, he went to Beijing on 1950 to teach at the Central Academy of Drama. Member of the Drama Improvement Committee of the Ministry of Culture; Professor of "History of Chinese Drama" of Central Academy of Drama, member of the editorial board of "Drama Learning and Drama Papers"; Director of Chinese Dramatists Association; Member of the third CPPCC in Beijing.

Since 1930s, Zhou has devoted himself to the study of Chinese drama history and drama theory while creating drama films and teaching Chinese, and completed seven Chinese dramas, including A Brief History of China Drama (1936, Commercial Press), A History of Chinese Drama (1936, Commercial Press) and A Brief History of China Drama. Yongxiang Bookstore), History of Chinese Drama (1953, Zhonghua Book Company), Lecture on Chinese Drama History (1958, China Drama Publishing House), Long History of China Drama (1960, People's Literature Publishing House), Outline of China Drama Development History (Heritage,

In addition, there are works on drama theory and historical records, such as Essays on China's Drama (1952, Zhonghua Book Company), Burning Chenopodium in Quhai (1958, Zhonghua Book Company) and Selected Zaju in Ming Dynasty (1958, People's Literature Publishing House). China Drama Publishing House), Anthology of Opera Singing (1962, China Drama Publishing House), Anthology of Zhou Opera (1982, Hunan People's Publishing House), Anthology of Zhou Novel Opera (1986, Qilu Bookstore), etc.

life experience

My late father Zhou, a native of Changsha, Hunan Province, was born in Pozi Street on 10/5, 1900. This year is his centenary birthday, and I am writing to commemorate it.

My father lost his father when he was young, and the teenager was out of school. He was a poor man. In the turbulent years, he wandered the rivers and lakes as a player and became attached to drama all his life. Juvenile drama, middle-aged screenwriter and drama in his later years experienced the downfall of Qing Dynasty, the baptism of democratic revolution, the abandonment of War of Resistance against Japanese Aggression and the birth of new China. 65438-0950 returned to the mainland from Hong Kong and taught at the Central Academy of Drama. He used to be a member of the Drama Improvement Committee of the Ministry of Culture, a professor of "Chinese Drama History" at the Central Academy of Drama, an editorial board member of Drama Learning and Drama Essays, a director of the Chinese Dramatists Association, and a member of the third CPPCC in Beijing. He went through the whole Cultural Revolution and died on February 3, 1977.

magnum opus

In the field of drama, he is a dramatist with a unique experience. He has acted in everything from circus acrobatics to civilized opera, Beijing opera, drama and movies. Participated in Tian Han's Southland Drama Club; Form a new art troupe with A Ying as the front desk manager; Improve Peking Opera with Ou Yangyuqian; He also worked as a screenwriter in China Tourism Theatre, known as "China's No.1 Professional Theatre Company", and made films at the same time. In the 1930s and 1940s, he created, premiered and published such dramatic works as King of the North, Lee, Tears in the Green Window, Mulan, Canary, Three Stories in the Sun, A Chain of Tricks, and Favorite of Heaven. And two worlds that have been staged but not made public, wine, green light and red light. As feature films, his works include Shepherd in Suwu, Yanmenguan, Acacia Village, Li Shishi (later renamed Gone with the Wind), Zhuo Wenjun, Nie Yinniang, A Dream of Red Mansions, Li, Home, Wild Rose, White Orchid and Romantic Family. In addition, there are about 30 Peking Opera Zhuxian Town.

dramatist

Since the late 1930s, my late father devoted himself to the study of the history of Chinese drama while working as a screenwriter, and completed and published seven monographs on the history of Chinese drama: A Brief History of China Drama (1936, Commercial Press), A Brief History of Chinese Drama (1936, Commercial Press) and A Brief History of China Drama (. Lecture on the History of Chinese Drama (1958, China Drama Publishing House), Long Series of Chinese Drama History (1960, People's Literature Publishing House), Outline of the Development History of China Drama (Heritage, 1979, Shanghai Ancient Books Publishing House). In addition, there are China Opera Essays (1952, Zhonghua Book Company), Quhai Burning Chenopodium (1958, Zhonghua Book Company), Selected Zaju in Ming Dynasty (1958, People's Literature Publishing House) and China Opera Essays (. Zhou's Selected Dramatic Papers (posthumous work, 1982, Hunan People's Publishing House) and Zhou's Essays on Novels and Dramas (posthumous work, 1986, Qilu Bookstore) are about 4 million words.

friends

Not many people can perform, are good at editing and are familiar with history and theory. My late father was involved in opera, drama and film in an all-round way, not just dabbling. It seems incredible that a Jianghu teenager without a diploma gropes in such a vast field of drama and even becomes a bookish scholar. It should be said that it was created by that special era and the special experience of my late father. In the 1920s and 1930s, there appeared not only a group of radical democratic revolutionaries, but also a group of young explorers of new culture and new drama in Hunan. Tian Han, Ou Yangyuqian, Tang Huaiqiu, Jinshan, Zhang Geng and other dramatists are my father's colleagues in Hunan, and they have frequent contacts. He has his unique Geng Jie and persistent temperament. Although I have traveled all over the country, I still maintain a strong taste of food and a strong Changsha accent. In the early days of the democratic revolution, young students in Hunan had a strong spirit of resistance. My father used to believe in anarchy, and later he believed in democracy. Participated in the Northern Expedition, taught in Quanzhou Civilian Normal School in Fujian and Jiang 'an Railway Children's School in Wuhan, Hubei, encouraged students to get rid of superstitions, organized rickshaw pullers' unions and China seamen's unions in Shanghai, and participated in the literature movement of saving the country. Finally, he chose drama, and he also engaged in it with a serious and persistent temperament. As far as the theme of "the history of Chinese drama" is concerned, he has written from simplicity to complexity and from complexity to simplicity seven times.

Introduction of works

My late father began to study the history of Chinese drama in the 1930s.

1in the spring of 935, he came to Shanghai from Quanzhou and wrote some short articles related to China's operas under the pseudonym of "Lu Jian", which were published in various tabloids. At that time, there was no fixed occupation, and life was quite difficult, not to mention systematic research. In July, he was awarded the post of All-China Seafarers' Union, and his life was a little more stable. So he used his spare time to write A Brief History of China's Drama and A History of Chinese Drama. His writing motivation is: to explore the history of Chinese drama from a live, three-dimensional and comprehensive perspective-"In the past, dramatists tried to correct sounds and laws, and all they talked about was songs, not plays", but in fact, "China had drama, but he had no style for a long time"; Drama is designed for performance. It goes without saying that it will be more important than desks if it is not performed. These two short books were published by the Commercial Press in September 1936.

My late father said: "Although the two books can be published in parallel, they are separated from the desk and the field, and I don't know their original intention." He has always wanted to write a more comprehensive and perfect history of Chinese drama. /kloc-in the autumn of 0/937, War of Resistance against Japanese Aggression broke out, the seamen's union moved south, and my father stayed in the French Concession. While engaging in anti-Japanese literature and drama creation, he began to rewrite his historical works and named them "History of Chinese Drama". After more than a year's efforts, the outline was basically completed at the beginning of 1939. In the 1940s, an important document in the history of drama, Zaju with Ancient and Modern Banknotes Collected in Wang Mai, was discovered, and Zaju in Yuan and Ming Dynasties came out. My late father lived in Wuxi at that time, and greatly revised and supplemented the completed first draft. About 1947, the full draft of more than 400,000 words was completed. /kloc-at the end of 0/950, my father taught at Beijing Central Academy of Drama, and later arranged. At this point, the manuscript of Fan Sanyi was recommended by Tian Han and compiled into People's Drama Series, which was published by Zhonghua Book Company in March 1953. Later, this book was revised again in the autumn of 1957 and renamed as History of Chinese Drama, which was published by People's Literature Publishing House in June of 1960.

The writing of this monograph began in the autumn of 1937, and was revised into a long version in 1960, which lasted for more than 20 years. The compilation of drama history needs long-term and rich experience accumulation and data accumulation. Recalling the practices of youth, my late father said: "Since the late Qing Dynasty, revolutions have been brewing in this place in Hunan, such as the elder brothers uprising, and Changsha burned the Futai Yamen due to grain shortage. Then came the Revolution of 1911, which was difficult to calm down. For this reason, the development of xiang opera is simply impossible to talk about, and it only stays at the stage of 19 th century behind closed doors. " (4) "After the Revolution of 1911, Hunan became the military hub of the civil war due to the melee of warlords, and the cause of traditional Chinese opera in various places plummeted. I'm from Changsha, and I've seen xiang opera since I was a child. Because I love it very much, I have sung a few words before, often walked in the backstage of the theater or temple, and met many famous musicians at that time. "6. His father is a big fan of xiang opera. He practiced martial arts when he was a child. 17 years old, studied clowns in Changsha "New Social Education Group" (Civilization Group), and then joined the "Yuyuan Peking Opera Class" to study martial arts for more than a year. After the Beijing Opera Class was dissolved, he and his partners joined the "Fan Jinshan Circus" and performed in Changde, Yuanjiang, Yueyang, Xiangyin and other places in Hunan for two years. These four years of stage career and wandering life are very important for him to engage in drama career and drama history research all his life. Since then, his career in drama and film creation in Shanghai has enabled him to constantly accept democratic literary ideas and western drama forms, and formed a new concept of drama in practice.

In 1930s and 1940s, there were few public libraries in China, and there was also a lack of specialized research institutions. Scholars' research is mostly personal struggle. During this period, my father's collection of books kept increasing. Mainly relying on the remuneration for drama and film creation, almost all of them are invested in buying books and related materials. Most of the vast historical records, books and dictionaries, such as the box of the twenty-four histories, the collection line of art and literature, the royal viewpoint Taiping, Pei Fu, and Bian Baiqiu, as well as rare copies of operas, notes, novels, scripts, short songs and manuscripts, were collected during this period. Some materials, such as Li Yu's play Zhong Qing Pu, were even copied by himself.

In addition to books, in order to listen to the audio materials of Chinese opera, he also specially bought a hand-cranked floor-mounted record player and dozens of boxes of Chinese opera and Quyi records, which were luxury at that time. In order to fully grasp the cultural customs and drama modeling of drama, all relevant pictures, stills, cultural relics, handicrafts, even New Year pictures, cigarette paintings, posters, brochures, newspaper clippings and so on have been collected. To this end, we have to tighten our belts and reduce family expenses. In the preface to the history of Chinese drama, he once revealed the predicament at that time, such as learning that the script of the Ming Dynasty was found, "It is still a private pillow, and it is forbidden to ask questions." After months of tossing and turning, I got a catalogue at first, but I still didn't know what the content was. It was only after the publication of Yuan and Ming zaju that it was corrected. ""cold lent books is not much, it is inevitable to borrow other mountains. One _ communication, no rain or snow, although difficult, not bitter. " "After a puppet search, several were chaomei. Fang Qi was tortured and forced to copy. He witnessed many deaths, so he couldn't see the publication of this book. "The last sentence refers to his sinister experience of being searched by Japanese military police in Shanghai in June and July of 1942 1943 and being arrested by Japanese puppet authorities while performing in Beijing with China Travel Service Troupe.

My father had teaching experience before liberation. 65438-0947, as a specialized course, the history of Chinese drama is taught in the drama education department of Suzhou National Institute of Social Education. 1In the autumn of 952, the newly-built Central Academy of Drama opened the history of Chinese drama, which was taught by my late father and trained teaching assistants. Since then, he has taught this course for the Department of Drama, the Department of Drama Literature, the Class of Drama Directors, the Advanced Class of Chinese Drama School (now China Theatre Academy) and the Class of Directors of Shanghai Theatre Academy. 1from may to July, 1957, in order to train new China drama theorists, he held 10 lectures at the Chinese Dramatists Association, which was compiled into a book "Lecture on the History of Chinese Drama". From 1950s to 1960s, he was extremely happy because of his stable living environment and excellent teaching and scientific research conditions. He devoted himself to the study of historical theory and wrote a lot. Although his History of Chinese Drama was criticized or even criticized in the political and academic atmosphere of "a hundred schools of thought contend" at that time, he was not impulsive. While accepting reasonable opinions, we still collect historical materials, especially newly discovered cultural relics and folk dramas. He paid special attention to the exploration and analysis from the perspectives of field art, comprehensive art and folk art, trying to find the three-dimensional and comprehensive development law of China's drama, especially the development history and law of folk drama art, which was ignored by scholars in the past and lacked of literature. 1967, at the beginning of the Cultural Revolution, he wrote such a passage in Introspection: When he wrote the three-volume History of Chinese Drama, he "thought that as long as some phenomena were clearly explained, they could be regarded as history", without analyzing the reasons and essence. "Therefore, when I later changed this book into a long version, I felt I had to rewrite it. In the future, the lecture notes will be renamed "Outline", with folk art as the mainstream and "widely involving local operas other than Peking Opera and Bangzi"-his last monograph on the history of Chinese drama was 1979 "Outline of the Development of China Drama".

For well-known reasons, my late father, as a "reactionary academic authority", was deprived of the right to teach, research and write in the last ten years. During this period, all he left was endless examination and "confession" materials, about100000 words. In these scattered confession materials, he did not lose his morality and conscience as a historian. Although it was copied from his home, he never intentionally or unintentionally attached any slanderous words to his colleagues in the drama circle of that year, but left precious historical materials for the exploration of early drama films.

In the late 1940s, he worked with playwright Ou Yangyuqian in a Hong Kong film company. Ouyang once wrote two poems for him, summarizing the first half of his life, but he didn't expect to get the second half. Sentence cloud:

"Mr. Mao Fei, don't panic, heavy guards have been set up.

Around the Millennium love, I boldly spread books and made costumes. "

"Choosing benevolence is not harsh, but jealousy is a long nightmare.

Only loyalty is worthy of pride, and Xiangshan Xiangshui is too long. "

note:

① The writing motivation at that time involved the preface to The History of Chinese Drama published by Zhonghua Book Company (1953 edition).

② Same as above.

(3)1967, my late father wrote in the explanation materials of the Cultural Revolution: "During the War of Resistance against Japanese Aggression period, I began to collect information and write an outline. Before I arrived in Hong Kong (1948), I had basically written a full draft of more than 400,000 words. At that time, it was sent to commercial, world and enlightened bookstores, but it was not accepted. It was not printed by Zhonghua Book Company until after liberation. This is a three-volume history of Chinese drama. "

(4) Zhou's xiang opera ramble, 1952.

⑤ Zhou's Outline of the Development History of China Opera was written in 196 1.

⑥ Same as note ④.