Mei, Lanfang
(1894-1961) : Schauspieler
Subjects
Index of Names : China
Chronology Entries (3)
| # | Year | Text | Linked Data |
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| 1 | 1930 |
Stark Young watched Mei Lanfang's performance in New York. Mei Shaowu : Stark Young was so impressed by Mei Lanfang's acting that he called on Mei in person in New York and told him that in seeing the performance style of Chinese opera, it 'suddenly dawned on him that he had found the key to the solution of some problems in his theatrical studies'. (Mei, Shaowu. Mei Lanfang as seen by his foreign audiences and critics. In : Peking opera and Mei Lanfang. Wu Zuguang, Huang Zuolin, and Mei Shaowu. (Beijing : New World Press, 1981). Chen Xiaomei : Young's view of the Beijing opera provides a striking example. Young suggested, that Mei Lanfang's art is essentially realist. He was astonished at "the precision of ist realistic notations and renderings". I twas for him a kind of ralism that amounts to "an essential quality in some emotion, the presentation of that truth which confirms and enlarges our sense of reality". |
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| 2 | 1930 |
Young, Stark.Mei Lan-fang. In : The New Republic ; March 5 (1930). Mei Lan-fang and his Company, in Reportory. Forty-ninth Street Theater, February 17, 1930. We know how much is, ordinarily, seen in the arts—very little indeed by the average eye; and how much rubbish is talked, rubbish that is somewhat insincere, faddish, imitative, or else fetched up from sentiments within the speaker and not from any perception of the work of art. How much more chance, then, a review of Mei Lan-fang has of being oblique, bluffing or fatuous ! In his case more than in most, a criticism is apt to be here autobiography on the critic's part. In an art that belongs within the tradition of an old race, and in the presence of an artist considered by them a great artist, a good part of our attendance must be taken up with humility. I spent a fair part of my time, during this performance of the Chinese company, trying merely to learn, as one learns a language. We see what we can, and must be thankful for what perception is granted us. In this performance of Mei Lan-fang I saw enough to see that for me it was the highest point in the season’s theater and in any season since Duse's visit and the Moscow Art Theater's production of Chekhov's plays. As to the Chinese theater, we perceive in the first place that it is an art based on music, or at least musically seen, and is a complete art consisting of music, speech and dancing in the full sense, which includes dance movement, gymnastics, pantomime and gesture. Most of the music was lost on me, of course, with its foreign scale and intention but I was surprised to find how much of it takes on meaning for an outsider and how often the themes are easily distinguishable. But most of all I was struck by the mingling of music and action that I saw on the stage, the admirable accentuation of gesture by music, the way in which the music gave the tempo to the acting; and by the security of an effect achieved through such delicate means. I could tell, however foreign the music, or rather his tone, by a curious brightness and metal, that Mei Lan-fang's voice was unusual, and that the poetic wholeness of his are arose from an astonishing unity of time, tone, emotional rhythm and bodily control. This Chinese art is, in the second place, stiffened and syllabled with conventions; some of which are familiar to us and thought of largely with naive, indulgent humor, but many of which, not known at all, underlie, like an alphabet, the entire theatrical occasion. The masks of these faces, painted with black predominating where fierce¬ness is to be symbolized, with blue for cruelty, red for the heroic, and so on; the stage properties, where moving a chair may imply another apartment, through whose imaginary door you bend to pass; the duster of horse hair, denoting the divine, the heroic, the holy; the whip standing for the horse; the usages for the sleeve; the use of the eyes, hands; the prologue on the actor's entrance, the couplet following; there are these and numberless other conventional symbols. Foreigners seize on them for harmless discussions—the easiest way out of so far-off an art, and we can read of them in the voluminous notes supplied by George Kin Leung for the brochure of information that is given out with the programs. We cannot dwell upon them here, but is interesting to consider their relation to us. There is one element to them, the visual, that we can take for the esthetic qualities obviously present. The other element in them—whether we know their implications or not— is the symbolistic. When purely symbolistic, these conventions represent—without reproducing—ideas, actions, things, exactly as words do, which in themselves are nothing but sound. There is this difference, however, between these symbols and words: a movement or object symbolizing a beautiful idea, personage, place, tends to be created into something in itself more beautiful and worthy of the association, whereas a word remains the same, plus perhaps our efforts to put beauty into its employment. These conventions in themselves have doubtless, therefore, taken on a greater and greater perfection. It is interesting, also, to note the Greek and Elizabethan parallels in this Chinese theater, the obvious and slighter Elizabethan ones, mostly theater mechanics, the more profound Greek characteristics. One of these Greek similarities consists of the scenes, developed over and over again and falling into types, the Parting Scenes, Recognition Scenes, Ironic Scenes, and so on. The other is the method, practised always by the Greeks—a method that is based on our physical nature—we rise to song with an access of vitality—and that has always seemed to me inevitable in the highest development of the theater—I mean the rising into music where the pitch of the dramatic idea and emotion seems to require it. It is interesting to note the antiquity of this Chinese theater, going back almost thirty centuries perhaps, the continuity and innovations in its history, its deep relation to the Chinese soul, the innovations and inventions that are credited to Mei Lan-fang; and to note the fact that the Chinese see these plays from time to time throughout their lives, which means listening to and learning a perfection, —something like great music heard many times, always different, always the same—which is one of the signs of excellence in any work of art, and of sophistication rather than semi-barbarism in a theater public. Of Mei Lan-fang himself, such facts as that he is the greatest actor in China, a public idol, with the highest honors, 'The Foremost of the Pear Orchard' and the head of the Ching-Chung Monastery, that he was an accomplished musician at seven, a success in feminine roles at twelve, and that his house, collections and position in Chinese culture today are known over China—these things we can read in a hundred places. Taking him—in the way an actor as a dramatic medium must be taken—as we take a musical instrument or the pigment for a painter, we see that Mei Lan-fang is of medium height, slender, with sure, close-knit muscles, small, supple wrists, superb support in the waist—from which the fine movements and gestures of the torso proceed—a remarkable control of the neck, and perfect poise and sus¬pension in the ankles. His face is the classic Chinese oval, with highly expressive eyes. His make-up, that overlay of carmines and darker tones, is the most beautiful I have ever seen in the theater. The diction is sharp and always pointed. The famous hands are curiously like those in Botticelli, Simone Martini and other painters of the fifteenth century. They are rather tense in form, with long fingers, squarish-tipped; not so much our ideal of the hand, which is based on the sixteenth century of Rubens and Van Dyke, but incredibly trained in the conventions and dance of the Chinese actor's art. And even with ho knowl-edge of that art, you can see with what perfection he begins his speech, prolongs the word that gives the musicians the cue to begin, retards the words by which the music is warned to stop. For our purposes, however, it seems to me that all this is unimportant compared to one point that bears on all art basically. I mean the relation of the art of Mei Lan-fang —the greatest in his field—to reality. That question of the relation of art to reality is the greatest of all questions with regard to art. It parallels—to employ the terms closest to us humanly—the relation of the spirit to the body, or, to invert the two terms, of the passing to the permanent, the casual in the moment to the flower of it. On this subject much has been written about Chinese art and about this actor that is misleading. We will stick to Mei Lan-fang. About this actor we are told to note his impersonation of women and his impersonation of various emotions. Words are weak and dependent things, and nothing could be more confusing than these are likely to be. In the first place, there is no attempt to impersonate a woman. The female roles are the most important in the Chinese theater; and he, in the kind of female role that he presents, strives only to convey the essence of the female quality, with all its grace, depth of feeling, its rhythm of tenderness and force. This distillation of the material he employs into its inherent and ideal qualities, Mei Lan-fang does with an economy both brilliant and secure, a studious care, delicacy and inner music. The impression is one of a perfection, at once fragile and secure, that is astonishing. But even more important—the Chinese critics have already often warned us about the female roles—even more important for us is the matter of his realism in general. I found myself most impressed in this regard during the piece from the Ming Dynasty, where the princess stabs the general who had destroyed her family, and then kills herself with his sword. This seemed to me more satisfying than the play about the husband's return, for in the last it was easy to see the movement away from the older, high style. What we must say about the realism and abstraction and stylization of Mei Lan-fang’s art is that, exactly as is the case in the classic Chinese art, we are astonished at the precision of its realistic notations and renderings, and are dazzled by the place these take in the highly stylized and removed whole that the work of art becomes. These movements of Mei Lan-fang, that way he has of keeping the whole body alive, even in the stillest moments of the action, of putting that continuous movement or vibration into the head as it springs from the neck; that voice that in its sheer tone moves away from actuality; that sophisticated, poetic use of the eyes, those expressions of fear, pity, murderous resolution, despair, and so on, that come over' his face; none of these is impersonation or reality in the usual sense. They are real only in the sense that great sculptures or paintings are real, through their motion in repose, their impression of shock, brief duration and beautiful finality. Every now and then—very rarely—in acting we see this happen: I mean a final creation, free from merely incidental matter, of an essential quality in some emotion, the presentation of that truth which confirms and enlarges our sense of reality. But I have never seen it so securely and repeatedly achieved as in Mei Lan-fang. |
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| 3 | 1935 |
Bertolt Brecht besucht in Moskau die Peking-Oper mit dem Frauendarsteller Mei Lanfang. Brecht, Bertolt. Über das Theater der Chinesen (1935). Er schreibt : Mei Lanfang demonstriert, im Smoking, gewisse weibliche Bewegungen. Das sind deutlich zwei Figuren. Eine zeigt, eine wird gezeit. Seine Ansichten über das Wesentliche sind ihm die Hauptsache, etwas Kritisches, Philosophisches über die Frau. Wang Jian : Für den Besuch in der Sowjetunion hat Mei Lanfang ein Sonderprogramm zusammengestellt. Darunter sind sechs Theaterstücke und sechs Tanzabschnitte aus andern Stücken ausgewählt. Brecht hat einige englische Broschüren, die Mei Lanfang mitgebracht hat, über diese Stücke gelesen. Auch haben in Moskau und St. Petersburg eine Reihe von Vorträgen und Diskussionen stattgefunden, die Brecht besucht hat. Produzent und Schauspieler aus der chinesischen, Rezipient und Zuschauer aus der europäischen Theatertradition. Genau betrachtet spielt hier die europäische Theatertradition die dominierende Rolle, da die Aufführung in einem europäischen Theater stattfindet. In der europäischen Tradition ist das Theater und in der chinesischen Tradition das Teehaus der typische Ort der Aufführung. Im europäischen Theater lässt sich ein Rückzug der Kommunikation auf der Darstellungsebene und ein Vormarsch der Kommunikation auf der Ebene von Produktion und Rezeption konstatieren, was durch das Hervortreten des Regietheaters bewiesen wird. Im chinesischen Teehaus steht immer noch die Darstellungsebene im Mittelpunkt. Hier stehen sich nicht der Autor bzw. der Regisseur als Produzent und das Publikum als Rezipient gegenüber, sondern der Schauspieler und seine Zuschauer, wobei diese Zuschauer nicht als ein Kollektiv, sondern durchaus als einzelne Individuen betrachtet werden können. Mei Lanfang erkannte die Dominanz der europäischen Theatertradition und versuchte auch, sich dieser Tradition anzupassen. Schon mit der Auswahl der Stücke bemühte er sich, den europäischen Geschmack zu berücksichtigen. Dass Brecht die Beijing-Oper und das chinesische Theater im allgemeinen missverstanden hat, kann als ein schönes Missverständnis betrachtet werden, denn er hat diese falsche Interpretation immerhin dazu genutzt, seine Theorie des epischen Theaters auszuarbeiten. Man darf den Einfluss der Beijing-Oper auf Brecht nicht überschätzen, indem man glaubt, dass eine Reihe von Theatertechniken aus dem chinesischen Theater ins epische Theater übertragen worden sind. |
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Bibliography (1)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1986 | Mei, Lanfang. The phoenix returns to its nest : a Beijing opera. Created by Mei Lanfang ; transl. by Eliziabeth Wichmann. (Beijing : New World Press, 1986). | Publication / Wich3 |
Secondary Literature (2)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1995 | Chen, Xiaomei. Occidentalism : a theory of counter-discourse in post-Mao China. (New York, N.Y. : Oxford University Press, 1995). [2nd rev. and expanded ed. (Lanham, Md. : Rowman and Littlefield, 2002)]. | Publication / CheX5 |
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| 2 | 2001 | Wang, Jian. Über die Begegnung zwischen Brecht und Mei Lan-fang. In : Literaturstrasse ; Bd. 2 (2001). | Publication / Bre25 |
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