This is a joint performance of nine troupes. The organizer is a famous drama activist and one of the leaders of Shanghai Underground Party Cultural Committee. Tian Han: The director is Yunwei Ying. "roar! China, a famous work by the Soviet writer Tretyev, describes the history of British colonialists' invasion of China, reflects the indignation of China people, cries out for the colonialists, but it is a resounding counterattack against the Japanese aggressors. It draws on the will of the broad masses of people to unite and resist aggression in the form of artistic images, and its importance is no less than the real battle on the battlefield. Although the rulers obstructed and even persecuted in many ways, the grand performance and strong response gave them the answer that their wishes were completely opposite. The performance of the play in "Gold" really left a deep impression on the audience. So, in the first August after the liberation of Shanghai on 1949, hundreds of people from Shanghai's film, television and drama circles jointly performed a new type of "Roaring China" in Yiyuan (namely Cultural Square), and many famous actors such as Shen Fu, Zhao Dan, Zhang Fa, Xiu Wenshu and so on still participated in the performance. Repeating the play in the liberated land is like a loud horn stirring in the sky of Shanghai. It cried: The people of China have finally stood up! In some office buildings of the Golden Grand Theatre, many conferences and meetings were held, and many chapters in the cultural field were written, and a symposium in July of 1937 should be the most historic.
1936, Zhang Xueliang and Yang Hucheng launched the "Xi An Bing remonstration", which promoted the second cooperation of Guo Ding under the policy of unity and resistance of our party. During this period, Zhou Enlai traveled between Yan 'an and Lushan, ready to suffer. However, when I arrived in Shanghai, Pan Hannian, who was working in Shanghai at that time, used the office space of "Golden Theater" to arrange a forum with party member, who was the secret work of the party at that time, and democratic patriots in the cultural circles. Zhou Enlai conveyed to you the situation and tasks at that time and tried to learn from you, which should be a turning point in Shanghai's cultural history. At that time, Liu and Xiao Ye, the villains of Shanghai Underground Party, attended the forum. He once wrote an account of his memories, talked about it and published it in the city's "Party History Information". After the July 7th Lugouqiao Incident broke out, the sacred war of resistance was in full swing, and the enemy's talons extended to the mainland. After 1938, Shanghai was attacked on all sides, leaving only a "small" concession and becoming an island. In such a harsh environment, the hardships of the struggle can be imagined. However, how can the democratic revolutionary movement not be accompanied by hardships? Struggle will always leave a tireless legacy for people with lofty ideals. The same is true of professional troupes such as Shanghai Drama Club, Sino-French Art School and China Travel Group. However, 1939, a large-scale joint benefit performance held at the Golden Grand Theatre from July 24th, was a subtle episode.
The performance was made public in the name of "amateur drama charity performance". In fact, Liu Shaowen, the former director of the Eighth Route Army Office, went underground and was assisted by the Shanghai Cultural Committee. Through the relationship of the upper United front, we mobilized celebrities from all walks of life to help refugees and support the New Fourth Army in Jiangnan. This is not only a miracle, but also an epic scene. According to the history of public theaters, "the scale of public performances is unprecedented. There are more than a dozen troupes participating in the performance, staged seven major dramas and one-act drama, with more than 300 cast members. " This action itself is enough to prove the valuable action of the will of people from all walks of life at that time and the joint efforts of Qi Xin.
Among them, the patriotic dancer herself performed Yu Ling's new work "Tears in Flowers", which described the tragic life of the dancer and was more representative.
The play was performed by Shanghai Dramatic Art Society in "Kalden" (now the Yangtze River Theatre) and received strong response. The script reflects the painful experience of dancers in old Shanghai and profoundly reveals the harsh social contradictions on the eve of the August 13th Sino-Japanese War. With deep brushwork and sincere sympathy, he described the tragic fate of the dancers, not only made a solemn complaint to the society, but also wrote that it was these dancers who gradually woke up after the baptism of gunfire.
It is the "mutual aid group" organized by the dancers themselves that staged the "tears in flowers". At that time, the "Shanghai Women's Mutual Aid Association" led by Xu Guangping held a special forum for dancers. Subsequently, some patriotic dancers organized the Dancers Association and the troupe. Although they are not actors and have never acted in a play, they are extremely serious when rehearsing. Dancers play themselves, express their views, condense their sufferings and expectations into stage artistic images with personal experiences and feelings, and confide to the audience. Such a performance has already attracted the attention of the "dance world" and the masses. However, the shrill cries and excited shouts in the play are intertwined, and the clouds all over the sky and the vertical and horizontal bonfires call: "Never let life slip into a dream", which strongly arouses the hearts of actors and audiences. At the end of the performance, after consultation with the person in charge of the stage at that time, Hong Mo was invited to host a colorful flower basket crowded in front of the stage to congratulate the performers, and a charity sale was held to "help the refugees". The form of the charity sale was also very touching, and the dancers and sisters who received the flower baskets personally expressed their gratitude. This time, the charity performance and charity sale have achieved a double harvest. Thus, a considerable sum of money was raised, and the purpose of helping refugees and donating to the New Fourth Army was achieved. Zhou (stage name Tong Qilin) is the founder of Shanghai Beijing Opera Qiqi School. He is famous for his novel performing arts, paying equal attention to singing and doing, exaggerating heavily, portraying characters and deepening the development of plot level. He performed in Gold in 1936, and appeared here several times in the autumn of 1942 and 1944. Later, I became a "backstage boss" here, and it was not until the end of 1947 that I became a "unicorn" and was excited about "gold".
Before and after the Anti-Japanese War, Zhou had close contacts with Tian Han, Hong Shen and other drama pioneers and was encouraged by them. As a result, democracy and patriotism were integrated into his plays, which made the art of "Qiqi School" more brilliant. His series of outstanding plays, such as Chasing Han Xin, Xu Ce Entering the City, Qingfeng Pavilion and Playing Yan Song, are famous in the south of the Yangtze River and can be called masterpieces. But more importantly, he is unconventional and innovative, and presents his simple patriotism and frankness on the stage with the attitude of "Qi School Art". He performed the newly adapted Song Wu and Pan Jinlian with Ou Yangyuqian. During the occupation, his plays, such as Regret in the Late Ming Dynasty and Qin Hui, criticized the shortcomings of the times and aroused the patriotic feelings of his compatriots. They are famous dramas in Jiangnan. In days of darkness ruled by Japanese Puppet, he was repeatedly harassed by house arrest and found fault with traitors, but he never gave in. After many twists and turns, he was still in "Gold" 1945, which was on the eve of the victory of the Anti-Japanese War. In order to prepare for the arrival of the New Fourth Army in Shanghai, mass movements were widely carried out by underground party organizations in China. A "Professional Women's Association" (later renamed "Women's Life Mutual Aid Society") was also established among the female employees of the Golden Theatre. Ding Yuzhu, Xu Ying and other four female theater employees participated in the association, and at the same time, they also absorbed people from Carlton, Tianchan Stage and Grand Stage as members. At that time, in order to cooperate with the work of the mutual aid association, with the support of her, Mrs. Zhou was hired as honorary director, and Zhou also agreed to vacate the assistant position of the mutual aid association. Since then, the "golden" backstage has become a place where they often move. There are also student movements made by Bao Renbao and others, which are often used to carry out activities.
According to the comrades who participated in the "Mutual Aid Society", it was Qiu Honghui's support that made it registered with the Social Security Bureau and became a legal organization. During the period of 1946, when they participated in the March 8th International Women's Day Parade organized by the underground party organization, they held a meeting in "Gold" on March 7th to prepare for the March 8th, and the March 8th also started from "Gold". On this day, the YMCA also held a meeting to commemorate "Gold". In April, Shanghai Women's Federation held a mother-child get-together in "Gold". In the same year, Zhou Wei, a cultural journalist, performed Two Emperors of Qin Hui, which was presided over by Jiang Chunfang and attended by Tian Han, Yu Ling, Hu Feng and others. Zhou is also holding a benefit performance to raise money for the "Mutual Aid Association".
At that time, Zhou and Tian Han, Yu Ling, Hong Shen held an "Art Forum" once a week. On one occasion, Ouyang Shanzun's special report on drama work in the liberated areas was not released until it was finished under the surveillance of special agents. On another occasion, Feng Naichao returned to Shanghai. Accompanied by Ling, he and Guo Moruo went to "Jin" to visit Zhou, and went to pay homage to Lu Xun's tomb with Xu Guangping. In May of 1946, Zhou solemnly signed his name on the Declaration of Cultural Freedom against the Civil War. In September, he went to Sinan Road in the Shanghai office to listen to Zhou Enlai's report ... Under the education of the Party, Zhou's thought has been developed and expanded. The action is deeper and deeper, and it is more and more firm. He became a very trusted and respected person in the Shanghai Opera circle.
In the white terror of Shanghai, the enemy regards these activities as a thorn in the side and a thorn in the flesh. Once, the deputy commander of the war zone informed the progressive workers of the blacklist arrested by garrison headquarters through Zhou, thus avoiding a persecution.
Between progress and backwardness, democracy and reaction, most workers with conscience and blood chose "truth". The struggle continued until liberation. On May 4th, 1947, Shanghai cultural and art circles held a commemorative rally in the Golden Theater, attended by more than a thousand people, including many "people" whose road was unknown. The May 4th Movement is a movement advocating democracy and science. Turning over the chapter of the new cultural revolution, Shanghai cultural circles proposed to take the May 4th Movement as their own festival. Guo Moruo, who first spoke at the meeting, shouted loudly in the face of those "roles" of unknown origin: don't be afraid of the opposition of feudal laggards, and don't be afraid of people with ulterior motives threatening with "red hats"! He called on everyone to devote themselves to inheriting the cultural tradition of the May 4th Revolution! Then, Xiao San and Mao Dun successively reported the general situation of Soviet Union and domestic literature, and put forward the task of future literature development. These reports received an extremely enthusiastic response from the audience. Interestingly, those who came in with ulterior motives didn't expect that the meeting organization was well prepared, and the people present gathered in an orderly way, leaving no room for these people, making it difficult for them to destroy. The meeting ended successfully and achieved great success.
After the meeting, "New China Drama Club" performed a one-act play "Ten Thousand Dollars Bill". Over the years, the agency has often rehearsed its own plays reflecting the current situation and social problems. "Ten thousand dollar bills" is another exposure of the evil deeds of the Kuomintang plundering people's wealth under the circumstances of inflation, socio-economic recession and people's suffering. Although it is only a simple form of live drama, it has profound significance and strong response at the meeting. Later, the play was banned by the authorities and turned into a mass movement of workers, students and the general public against civil war, hunger and persecution. Sometimes they perform in the streets during demonstrations, and sometimes they appear in campus activities of universities and middle schools, which has played a good publicity role.
"New China Drama Club" is a folk professional troupe under the direct leadership of the Party. 194 1 was founded in Guilin, and has been touring in Hunan, Guangxi, Guizhou and Yunnan for six years to promote anti-Japanese. 1In the autumn of 946, he was sent by the Shanghai Underground Committee, accompanied by director Ou Yangyuqian, to cross the Taiwan Province Strait and perform in Taiwan Province Province, which was ravaged by the Japanese invaders for fifty years. Later, he returned to Shanghai because of 1947 "February 28th" uprising in Taiwan Province province. This is their first performance in Shanghai after their return to Shanghai and the victory of the Anti-Japanese War. Among the four actors who participated in this little play, Xiong Wei (assistant of Beijing Qingyi Academy), Fick (composer and vice chairman of Jiangsu Music Association) and Xu (actor of Shanghai Film Studio) all died, and Gao Bo (actor troupe of Shanghai Film Studio) who is still alive is 70 years old. Colleagues who have lived and fought in the "New China Drama Club" regard the performance of "Ten Thousand Dollar Bills" as a memorable event. Yue Opera is a popular drama in the south of the Yangtze River. It originated in Shengxian County, Zhejiang Province, and has developed greatly since it spread to Shanghai. In mid-July, 1947, Yuan Xuefen, Xiao Dangui, Fu Quanxiang, Xu Yulan, Wu, Zhu Shuizhao and other dozens of well-known actors in the Cantonese opera circle set up a Cantonese opera school to raise funds, and jointly performed "Love on the River" in the Golden Theater. This play is based on the euphemistic and tortuous plots in Shakespeare's famous plays. Starring "Ten Sisters of Yue Opera", the appeal can be called "a moment of prosperity". At that time, the "Professional Women's Federation" led by Xu Guangping and cultural progressives strongly supported it, and some famous writers, directors and stage technical experts in the literary and art circles worked together to make the performance a great success. This is a grand gathering of the unity and cooperation of the Yue Opera circle, and it is also a magnificent flower presented by the Shanghai cultural circle to meet the dawn under the historical conditions at that time.
Forty years after liberation, the private Golden Grand Theater has developed into a "mass theater" serving the people and is an important theater position in Shanghai and East China. Many famous Peking Opera masters, such as Mei Lanfang, Zhou Yi, Zhou Yi and so on, have worked hard here to develop the national culture and art of the motherland. Although they are buried now, their precious artistic heritage and the lofty quality of people's artists will remain in the hearts of hundreds of millions of viewers forever.