This is entirely out of enthusiasm, and it can even be called a fanatical enthusiasm. He devoted himself wholeheartedly to the cause of drama, which at that time had neither status nor fame and fortune. This action is by no means futile. In the 1920s and 1930s, the reality of drama was that "everyone just spared no effort to engage in drama, and the main force was used in other aspects" (Tian Han). With the prospect of professional drama completely uncertain, Dai Ya and Tang Huaiqiu became "the first people to eat crabs" and devoted themselves to establishing China Travel Agency. -without great enthusiasm for the art of drama and high persistence in "revitalizing drama", it is completely impossible. We should give enough evaluation and attention to this point.
In the practice of performing arts, Dai Ya played Qin Jiaotian in Melon Fragrance, which was his first step towards becoming a professional actor. I humbly asked the Peking Opera actors for advice, learned some procedures of Peking Opera performance, and then organically integrated them into the shaping of Qin's Call Heaven and Call Earth. These spontaneous explorations of nationalization of drama performance have laid a good foundation for Dai Ya to grow into a drama performance artist.
At this stage, it still stems from the persistent pursuit of drama art. Dai Yaming understands that to become a drama actor, in addition to enthusiasm and talent, in addition to drawing nutrients from national opera, there is also a wealth of knowledge and theoretical foundation. Based on this understanding, Dai Ya advocated the establishment of a reading club in China Travel Agency and became its own president. This move shows that he regards drama not only as entertainment, but as a career, which shows that he is not only enthusiastic and devout, but also calm, serious and extremely focused on drama. This is worth thinking about by many young performers who just want to have fun and don't like to study hard.
After nearly three years of stage practice in Nanjing, Beiping, Tianjin and Shanghai, as well as a series of successful artistic image-building, Dai Ya won the title of "Dai Pai old student". He said, "If you want to see a movie, you have to see Zhao Dan; Watching a play depends on Dai Ya's enthusiastic praise. After three years' solid training in China Travel Agency (1933— 1936), Dai Ya has made great progress in drama performance art and gradually formed his own style.
These three years are the great development stage of China's drama "from germination to maturity" (Mao Dun language). In the past three years, China's dramas have developed, popularized and prospered. In the past three years, China Travel Agency has grown from grass roots to maturity and reached its peak. In these three years, Cao Yu started, became famous and brilliant; In these three years, Dai Ya made up her mind to devote herself to the professionalization of drama, followed by perseverance, and then came from behind, and then became a school of her own and became famous in the drama circle.
The perfect combination of China's drama, China Travel Agency, Cao Yu and Dai Ya (namely, drama movement, troupe, playwright and actor) is no accident, which reflects the inevitability of the development of China's drama movement. China Travel Service as a troupe, Cao Yu as a playwright and Dai Ya as an actor are all sons of drama. Their fate and growth are the interests of society and the product of the times. They are all on the broad stage of drama and have achieved fruitful results through their unremitting efforts. -share the same breath, share the same destiny and grow together with the motherland's drama career, which is the only way for drama activist Dai Ya to embark on a lifetime drama journey.
In Tianjinwei, Dai Ya, loyal to drama, accompanied Cao Yu to live in a third-class brothel in an unattended area, which was also an unusual move. On the one hand, it certainly reflects the creative friendship between Dai Ya and Cao Yu, on the other hand, it also reflects his persistence, enthusiasm and courage in drama creation. In Dai Ya's view, nothing is impossible for art, drama and creation.
With Cao Yu and Ma, China's drama creation, according to the original intention, is to provide a broader world for drama and more fully show his ambition for drama. Dai Ya believes that a theatrical entity should not be satisfied with being just a troupe. In addition to performing troupes, there should also be theatres, schools and publications, and the influence can't rely solely on performances. This is a more grand dramatic leap dream than CTS, a professional troupe founded with Tang Huaiqiu three years ago. However, when War of Resistance against Japanese Aggression broke out and the Japanese invaders ravaged the great rivers and mountains of the motherland, the situation changed suddenly, and Dai Ya's grand dream failed to come true.
If prosperity can reflect a person's enthusiasm, then adversity can test and prove a person's sincerity and persistence. The Japanese invaders put Dai Ya and China's operas to sleep in Xi. Under extremely difficult circumstances, Dai Ya made a living by selling clothes and jewels. This not only shows Dai Ya's excellent personality, but also fully proves that Dai Ya's persistence in drama is by no means utilitarian. That's why he will face difficulties and sacrifice himself without flinching.
In the context of the national anti-Japanese war, in order to survive and perform drama, Dai Ya joined the Fourth Regiment of the Anti-Japanese War, where he continued his persistent pursuit of drama.
After the 4th Battalion, he parted ways with the 4th Battalion, and Dai Ya always struggled with traditional Chinese opera in the northwest. In the later period, their living condition was "pickles porridge under the stage, heroes on the stage". During this period, Dai Ya still gained a lot in performing arts. Playing Li in Sunrise, The Official History of the Qing Palace, Li Xiucheng in Death of Li Xiucheng, Ceng Hao in Peking Man and Grandpa Gao in Home are all outstanding achievements in artistic creation. Practice has proved that Dai Ya has a wide range of performances, and he is a decent villain. At all times, Dai Ya is good at acting.
1946, Dai Ya's friend in Xi 'an-run publication invited him to contribute, and the topic was "Why should I act?" . In this article, Dai Ya summed up his thoughts, sublimated his persistence in drama, and once again firmly showed the world his persistence and indomitable persistence in drama.
However, it is difficult to find the pleasure of artistic creation when you are born at the wrong time, and it is impossible to perform well in troubled times. 1947, the troupe has no place to perform in Nanjing. In this case, Dai Ya brought the troupe to Zhenjiang and provided accommodation for the troupe in Zhenjiang. It's not once or twice to maintain a troupe at one's own expense in Dai Ya. What does he mean by doing it again and again? Here, besides Dai Ya's moral belief and personality charm, what is more important is his indomitable tenacity in art and his persistence in drama.
Evaluating a dramatist and a troupe and seeing why he is acting is the starting point and motivation for analyzing him. Second, look at his "how to act", that is, observe his behavior and determination; That depends on his "what play", from the content.
Looking back more than ten years before 1949, the performances of Dai Ya and his troupe were progressive and artistic, inspired by truth, goodness and beauty. He never carries out vulgar, obscene and pornographic propaganda, let alone reactionary propaganda. Dai Ya's playwrights, that is, the authors of his plays are Cao Yu, Tian Han, Hong Shen, Chen and Yang Hansheng. They are Yu Ling, Xia Yan, Song Zhi, Chuen Bun Wong and Wu Zuguang. The progressive color of his performance is clear at a glance.
1949 after the liberation of Shanghai, Dai Ya handed over the whole regiment to San Ye and went to Beijing Normal University to help Hong Shen teach. From 1952 to 1954, Dai Ya carefully counseled students and passed on his years of performance experience to young people interested in drama. However, Dai Ya's top priority is still performance. What he never forgets is not the podium, but the stage. Finally, 1954, Dai Ya entered the humanities with the graduates. Dai Ya is a member of the Drama Art Committee of the National Theatre, whose drama is bigger than the sky. At this time, Dai Ya was more focused on the art of drama and was more keen on learning to perform.
In Beijing, Dai Ya was in high spirits and lost the chance to play. Dai Ya wept bitterly. In this regard, Tian Chong, the director of people's art, provided strong evidence: "In order to play the role of Ceng Hao, I once begged, and finally the role was given to Dong XX, which made the old actor cry. As a director, I am also very sorry. " In Beijing Renyi, there are many people who regard drama creation as their life. But when it comes to "crying", the attitude is very prominent.
During the 1955 "counter-revolution", Dai Ya's biggest worry was whether she could still act. Because in the theater, he has heard a saying that "they should be removed from the role of actors", which makes him very worried. A stone fell on Dai Ya's mind when he learned that Zhao Qiyang, secretary of the People's Art Party Committee, disagreed with this statement and made it clear that "we should continue to act from the time of dismissal". This fully shows that "everything is a performance, whether it can be performed" is the first and overriding consideration in Dai Ya's mind.
1In the spring of 957, Dai Ya successfully played Wang Wei in Beijing People's Art, which became the last swan song of his acting career for decades. Wang Wei's successful shaping and the acceptance and praise of Premier Zhou Enlai and playwright Guo Moruo won honor and praise for Dai Ya. Unfortunately, in 1957, at the peak of his creation, Dai Ya's artistic life was ruthlessly cut off and he was rushed to Qinghe for education.
Encountered adversity, but did not extinguish his drama dream. This is why Dai Ya is devoted to art and drama.
In the prison troupe, Dai Ya engaged in drama activities seriously, and even won ten awards from prison leaders in three years. Dai Ya also participated in the creation of the drama Qinghe Zheng Chenggong. In Dai Ya's heart, there is always a desire for drama. He said to Zhao Qiyang, secretary of people's arts: I wrote this script "I only hope that the theater can know that I can't forget the drama and the heart of the theater." Obviously, Dai Ya, at the difficult moment when she was discharged from the stage, continued by writing a script in this tortuous way, indirectly and tenaciously expressing her unchanging loyalty to the drama career.
1963, China Youth Art Theatre asked Dai Ya to direct the rehearsal of Death of Li Xiucheng. Qingyi told Dai Ya politely, "We can't give you any fame or reward because of well-known reasons." . Dai Ya laughed: "Nothing, as long as you play your tricks well, it's better than giving me anything."
Zheng Chenggong and Li Xiucheng have a deep internal connection, which vividly reveals Dai Ya's realm and heart. Deep in adversity, isolated and extremely embarrassed, Dai Ya is still so obsessed with human art and drama. Two "I can't forget your feelings" vividly depict the loyalty of an old artist who was ruthlessly rejected; That sentence "nothing" is so relaxed and heavy. "As long as you play your tricks well, it's better than giving me anything". This is the value that real artists pursue-as long as you are a drama, you can gain fame and fortune.
1966 During the Cultural Revolution, Dai Ya was expelled from Beijing and sent back to Zhenjiang. Leaving Beijing completely cut off his connection with drama, which made Dai Ya very miserable. However, in this extremely difficult situation, Dai Ya is still obsessed with drama.
What he said to his children, "My suffering, you don't understand", is only six words, but it is meaningful. He repeatedly said to his children and relatives more than once, "If only I could act again" and "I'm 70 years old, and I'm going to act until I'm 70 years old".
This fully shows that for Dai Ya, who has been loyal to drama all his life, his soul pain is not material, but spiritual. What he is most concerned about is his isolation from drama and the loss of drama. In Zhenjiang, he has been down and out to that point, while Dai Ya is still obsessed with acting and drama. Even on his deathbed, Dai Ya's last wish was "I just want to act"!
I am persistent all my life, I have no regrets all my life, I have experienced ups and downs, and I am determined. Practice the pursuit of life with persistent beliefs. This is Dai Ya's life, and this is Dai Ya's spirit.