If you are Mei Lanfang, let me give you another one of the four famous dans
Shang Xiaoyun (1900-1976), male, Peking Opera actor, 1927 and 1931 In the same year, he was elected to the four famous Dans twice and founded Shangpai. Named Dequan, courtesy name Qixia; line 2. His ancestral home is Nangong County, Hebei Province. He was born on January 7, 1900, the seventh day of December in the 24th year of Guangxu (1898), in the Caochang compound of Fatong Temple in Andingmen, Beijing. Prince Pingnan is still the twelfth generation grandson of Xi, and belongs to the Xianglan Banner of the Han Army. His father, Shang Yuanzhao, gave birth to three sons: the eldest son Shang Dehai, the second son Shang Dequan (Xiaoyun), and the third son Shang Delu (Xiaoxiaoyun). In 1966, the "Cultural Revolution" began and was hit by persecution. He died in Xi'an First People's Hospital on April 19, 1976, March 20, Bingchen year of the lunar calendar, at the age of 76.
[Edit this paragraph] Biography
When he was young, he studied under Li Chunfu and became his "hands-on apprentice". In 1907, he entered the "Sanle Society" academic class (later renamed "Zhengle Society"), with the stage name "Sanxi". He first studied martial arts, and then learned painted faces. Later, because his teachers saw his beautiful and handsome appearance, they asked him to change his career to a bachelor's degree. He studied under Sun Yiyun, a famous Tsing Yi master, and changed his stage name to "Xiaoyun". Performed at Guanghe Tower in 1912, Shang Xiaoyun's play was very popular. In 1913, Li Jiliang took charge of the Sanyue Club, changed its name to Zhengyue Club, and performed on the folk music stage. In the winter of 1914, he co-starred with Sun Juxian in "Sanniang Godson" and "Battle at Puguan", and was rated as the "No. 1 Child Actor". The world calls Shang Xiaoyun, Bai Mudan (Xun Huisheng), and Furongcao (Zhao Tongshan) the "Three Masters of Zhengle". After graduating from college at the age of 16, he co-starred with Sun Juxian in "Sanniang Jiaozi" and "Battle at Puguan", co-starred with Wang Yaoqing in "The Mirror of Fortune and Longevity", co-starred with Yang Xiaolou in "Xiangjiang Meeting", "Chu-Han Struggle" and other plays, with Yu Shuyan and Tan Xiaopei , Wang Youchen, Ma Lianliang and many others performed together.
He successively studied under famous teachers such as Zhang Zhiquan, Dai Yunfang, Chen Delin, Lu Sanbao, Wang Yaoqing, etc., and his art progressed by leaps and bounds. His Kunqu opera was taught by Li Shoushan, and his skills are particularly evident in the plays such as "Zhaojun Goes Out of the Fortress" and "The Kite". Shang Xiaoyun studied martial arts in his early years and admired Yang Xiaolou's art very much. Later, he absorbed and melted the superb performances of the "Yang School" martial arts students and used them in his own dan role plays, making his performances strong and straight, in line with the charm and variety of the dan role. See the beauty of masculinity again. Especially suitable for performing heroines. So far, Shang Xiaoyun has become a leader among her peers, who is characterized by her role as a heroine. In 1918, Shang Xiaoyun formed his own "Chongqing Society" and constantly rehearsed new plays, mostly featuring heroines. Such as "Zhuo Wenjun", "Lin Siniang", "Qin Liangyu", "Mo Dai", "Princess Shuangyang", "Modern Girl", "Acacia Village", "Nineteen Heroes of Qingcheng", "The Legend of the Flying Immortal with Tiger Breasts" , "Red Thread", "Emei Sword", etc., were all his first performances and became his unique repertoire. The representative works of "Shang Pai" mostly feature heroines and chivalrous women, which require martial arts skills. Even if the characters do not have martial arts skills, Mr. Shang will adopt the method of "literary drama, martial arts singing" according to the needs of the plot, in order to become popular and enhance the visual beauty. For example, Wang Zhaojun in "Zhaojun Goes Out of the Fortress" used a series of martial arts skills such as "Kite Turnover", "Horse Riding" galloping, and diving to "round the field" when changing horses after leaving the fortress. This is very consistent with the character's characteristic scenes and improves visibility.
Mr. Shang Xiaoyun’s Shangpai style is characterized by masculinity, which is reflected in two aspects. On the one hand, his performance emphasizes a kind of strength, big opening and closing, big ups and downs, emphasizing a kind of intensity. A performance with sharp edges and corners.
His singing voice is high-pitched and vigorous, full of energy and coherent. In singing, he is good at using vertical notes, vibrato, pauses and a "high-pitched" singing method, forming the unique style of Shangpai. His performance is full of passion and emphasizes momentum, which is also a great feature of Shangpai.
In 1927, the Beijing "Shuntian Times" initiated the selection of famous actors, and Shang Xiaoyun was selected as one of the "Four Famous Actresses" with the new screenplay "Modern Girl". In 1931, he was re-elected as one of the four famous actors.
Founded "Rongchun Society" in 1937. He spared no expense to run a school and trained students in the two subjects of "Rong", "Chun", "Chang" and "Xi", as well as three sons. When nurturing his children, he strived to be both professional and knowledgeable. Shang Xiaoyun is rigorous in his art and has strict requirements on himself and others, but in life he is very enthusiastic, generous and generous to others. "Rongchun Society" has trained more than 200 students all over the country, playing a major role in Peking Opera performances and Peking Opera education.
In 1962, he filmed the art film "Shang Xiaoyun Stage Art" and recorded two films: "The Lost Child" and "Zhaojun Goes Out of the Wall".
[Edit this paragraph] Shang Pai Art
Shang Xiaoyun is one of the representatives of modern Chinese Peking Opera. Together with Mei Lanfang, Cheng Yanqiu and Xun Huisheng, she is known as one of the "Four Famous Dandans" , whose artistic life experience coincides with the heyday of Chinese Peking Opera, and is a witness and participant in the middle and late history of Peking Opera. This book comprehensively records Shang Xiaoyun's life experience, artistic achievements and personal cultivation. Iron voice, strong and bright. After Shang Xiaoyun graduated from college, he learned opera from Sun Yiyun and Zhang Zhiquan, and also benefited from Chen Delin. He also learned Huadan opera from Wang Yaoqing and Lu Sanbao, and Kun opera from Li Shoushan and Lu Jingui. All his teachers are mature and typical. As a result, she became an outstanding female actor in civil, military, and Kunlun roles in her early years. Especially her Tsing Yi opera is most recognized by the audience and is recognized as "Authentic Tsing Yi".
Shang Xiaoyun is extremely talented.
He has a bright voice, handsome appearance and a good figure. It is particularly valuable for its abundant middle energy, high-pitched tune, and long-lasting singing. Because its voice is high-pitched, round and bright, with a strong emphasis on strength, it is very suitable for the traditional Tsing Yi singing method. Therefore, in the early years and the beginning of the year, each class will perform "two sacrifices" - "Sacrifice to the River", "Sacrifice to the Pagoda" and "Jade Hall Spring", " Tsing Yi Opera was famous for singing industrial dramas such as "Visiting Mother" and so on, so it has the reputation of "iron voice and steel throat".
The Tsing Yi group traditionally performs the role of "Chaste and Fierce Lady". Their singing style requires not only clear and crisp singing, but also a masculine and gushing voice. Since Hu Xilu pioneered the feminine singing method, the yanggang singing method has gradually become invincible. However, Sun Yiyun, Chen Delin, etc. are all quasi-old school, with masculinity winning. Especially Chen Delin, who inherited the advantages of the masculine group and emphasized both hardness and softness, created a new singing pattern for the Tsing Yi group.
Shang Xiaoyun directly inherited the tradition of masculinity in singing. In the early days, he adhered to the traditional Tsing Yi singing method of "tight mouth and loose words". Later, influenced by Chen Delin, he added gracefulness to virility, forming a own style. His pronunciation resists falling, is sharp in contrast, and focuses on momentum, giving people a strong beauty of maneuvering vertically and horizontally, overcoming dangers, and overcoming dangers. The traditional Tsing Yi singing method of "higher and higher" can be used with ease in his singing. When Shang Xiaoyun was singing, not only did he not reduce the number of lyrics like later female roles, but sometimes he also added lyrics according to the old-school singing method. For example, in "Yutangchun", usually after "alarming the township contract and land security", it is followed by "pushing and pulling to the public court", but he followed "two more officials came to the side, one pulled and the other pulled", Then he added the sentence "pull, pull, pull".
Like several of the other four famous Dan actors, Shang Xiaoyun has been involved in various fields of Peking Opera Dan, whether it is Qingyi, Huadan, Daoma or even Wudan, he can perform happily; but he is different The point is that it is not committed to breaking the performance boundaries of these professions, but to adapt different professions to the needs of performance in each special environment. In "Visiting Mother", Shang Xiaoyun played the role of the princess in his early years and later the queen mother. He abided by the norms of the industry. The princess wore a flag dress to work, while the queen mother was completely typical in Tsing Yi. Another example is "All Horses with Red Manes". Shang Xiaoyun played Wang Baochuan in "Wujia Slope" and played the role of generation war in "Deng Dian Dian". The green and floral shirts are also distinct, and there is no confusion.
The characteristic of Shangpai singing is that it pays attention to tackling difficult situations, turning with solid sound and real power, and never giving up; at the same time, it uses changes in the use of the board head to break the fixed rhythm of the singing and show the versatility of the singing. It is rich in connotation; it also uses decisive breaks and intricate and powerful setbacks to make the singing well-proportioned. It often presents steep and dangerous points in the simplicity, solidity and neatness, and it appears to be powerful and powerful. The allegro, flowing water, and loose parts are all hearty and full of smoke, which is different from those who specialize in delicateness.
Shang Xiaoyun first studied as an old student, then as a martial arts student, Hua Lian, and finally changed to a female role. Especially as a martial arts student, he not only had the foundation in the academic class, but also had the experience of being in the same class and on the same stage as Yang Xiaolou, and his experience was extremely profound. Therefore, in his nearly sixty years of stage career, Shang Xiaoyun has always been famous for his talents in both civil and military arts.
Shangpai's workmanship, such as running in a roundabout, can run more and more roundly, with the tendency of surging forward and swinging back. The rise and fall are accurate, and the steps are not missed. The dance figure, for example, in "Royal Stele Pavilion", Meng Yuehua encountered rain on his way home and it was difficult to walk in the mud. Shang Xiaoyun used three sliding steps: first, he fell forward, showing that it was difficult to stand firm when walking fast in the mud; then he leaned back, His feet slipped and he almost fell to the ground; finally he lost his balance and slid from one corner of the stage to the other with his legs stretched forward. The three steps are closely connected and are called "Shang's three sliding steps". It has a real-life feeling in the dance art and is still popular today.
Shang Xiaoyun's martial arts skills are unique among the four famous Dandans and are the most praised. Every move of his hands and feet is extremely vigorous. The opening of his plays such as "Xiangjiang Hui", "Battle at Jinshan" and "Qin Liangyu" that he later directed and directed, have a unique and majestic look in appearance. His Zhayou opera has the same advantages as those of Yang Xiaolou, Qian Jinfu, etc.: the flag does not mess up, the support does not lift, and the feather does not fall down. It is a model in Peking Opera martial arts performances. In his later years, his performance of "Shuangyang Princess" became even more mature and typical in these places.
Shang Xiaoyun and Yang Xiaolou have collaborated several times in "Xiangjiang Meeting", and the fact that they complement each other in the fight is a testament to his skill. Danjiao's martial arts body is not like Jingxing and Wusheng's "big crotch pose", but only the "female horseback pose" with slightly arched legs. The squat range is small, and it is easy to shake or lose balance. However, in "Xiangjiang Meeting", Shang Xiaoyun appeared on horseback with his feathers lowered and his waist lowered after the gun battle and "cleaning the glazed lantern", but he was like a brocade flower mound, motionless, which was extremely exciting.
In the play "Qin Liangyu", Fan Baoting plays a hero who breaks into the sky, is picked off his horse and then rolls on the ground with very fast movements; while Qin Liangyu, played by Shang Xiaoyun, is about to be stabbed to death amidst the gongs and drums. This posture not only requires speed, but also distinguishes between one on the horse and one who has fallen off the horse. It is quite difficult to grasp the balance between them. Shang and Fan were like snakes in a gully, and everything was blazing and dangerous.
Dance is a performance method developed by Peking Opera in the early 1930s. Shang Xiaoyun also made valuable explorations in his new screenwriting. For example, the sword dance in "The Red Thread" and "Lin Siniang", the fan dance in "Jie Yu Becomes a Bear", the impromptu dance and song composition in "Yun Niang", etc. are all. In particular, "Modern Girl" pioneered the use of "Scottish dance" and Hawaiian "hula dance", which made great contributions to the expansion of Peking Opera performance methods.
In addition to being a female actor in his own profession, Shang Xiaoyun has demonstrated his artistic skills in both literary and military roles and in all walks of life in cross-dressing and disguise dramas.
For example, when he reprises his role as Huang Tianba in "The Eight Wax Temple", he follows Wu Sheng's acting method and is meticulous. Another example is the performance of Shi Xiu in "Cuiping Mountain", "Knife Playing in the Restaurant" and "Killing the Monk". The fumigation of alcohol made the face full of evil spirits. In the "Hua Bangzi", he plays Liuhe Dao with extraordinary acuity. He jumps on several "bangzi" and slashes with the knife. His momentum is so fast that even ordinary actors who specialize in niche performances would have to stay away from it.
Shang Xiaoyun broke the previous moral standards of Peking Opera Danxing (Tsing Yi) which focused on "virgin chastity and martyrdom". From the end of "martyrdom", "chivalry", "righteousness" and "fortitude" were derived. , "healthy" and other connotations, paying attention to women's survival and life value from a broader perspective, and actually implicitly criticizing traditional women's concepts, which is of great contemporary significance. Shang Xiaoyun's attempt has greatly enhanced the expressiveness of Peking Opera's female roles (Qing Yi) and expanded the performance space of Peking Opera's female roles. This is the main reason why Shang Xiaoyun can become one of the four famous actors, and it is also the spiritual foundation for him to become a master of modern Peking Opera. In addition, he boldly used the background of ethnic minorities and foreign life in the content of his repertoire, which was also the first in the history of Peking Opera and made a valuable exploration in expanding the expressive power of Peking Opera. In the rehearsal of the new play, he used large-scale scenery and reformed the stage costumes and makeup with reference to historical and national costumes. This was also an attempt to reform the overall image of the stage.
Shang Xiaoyun followed the rules of art and simultaneously processed traditional plays and created new screenwriting purposes. For traditional plays, Shang Xiaoyun either adds a beginning or a tail, or adds excerpts to the play, or deletes the complicated ones to make the theme prominent, the plot complete, and the characters vivid. He has adapted and performed dozens of films including "Yutangchun", "Thirteen Sisters", "Plum Plum Blossoms", "Zhan Shujuan", "Tianhe Pei", "Leifeng Pagoda", "Spring and Autumn Pei", "The Mirror of Good Fortune and Longevity", etc. a traditional play. As for the rehearsal of the new script, Shang Xiaoyun carefully created it based on his expertise in both civil and military roles and working in all walks of life. He made a series of explorations and creations in singing, appearance, performance, scenery and other aspects, which greatly enriched the Peking Opera. stage.
"Liang Hongyu" is a famous drama of Shang School. In the late 1930s, Shang Xiaoyun compiled and adapted the traditional opera excerpt "The Battle of Jinshan", starting from "Jade Linglong" and ending with "The Battle of Jinshan", and named it "Mrs. Liang". Around 1950, it was further processed and renamed "Liang Hongyu". Among them, the aria of "Promise to Marry and Join the Army" and the drum performance of "Beat the Drum to Support the Fight" are particularly exquisite. Later, Shang Xiaoyun improved the traditional female support based on the bust of Xiang Fei in military uniform painted by Italian Qing palace painter Lang Shining, making Liang Hongyu's image more handsome and upright.
In order to strengthen the singing and dancing characteristics of our national opera, Kun Opera is often performed in Shang Xiaoyun's repertoire, and some scenes are performed entirely according to Kun Opera excerpts. Some Kun Opera excerpts have been greatly processed by him and have become regular repertoire of Peking Opera. They have also become famous dramas of the Shang School, such as "Battle at Jinshan" in the second half of "Liang Hongyu", and "Battle at Jinshan" in the second half of "Han Ming Fei". "Zhaojun Leaving the Fortress" is the most famous art masterpiece.
In 1962, Shang Xiaoyun went to Shandong to give lectures, which led him to leave a "Lecture Notes on My Teaching in Shandong". In it, the basic principles of Peking Opera art are analyzed and summarized, and there are many insightful remarks. For example, in the description of the Four Skills and Five Methods, Shang Xiaoyun clearly pointed out that the five methods are "mouth, hands, eyes, body, and steps", and listed oral skills at the top of the five methods of Peking Opera performance. Shang Xiaoyun is the only Peking Opera master besides Cheng Yanqiu who has such a clear and systematic explanation.
In 1935, the entire "Han Ming Fei" adapted by Li Shoumin premiered in Beijing. This play is developed from the Kunqu Opera "Crossing the Fortress". "Out of the Fortress" is a fold of the entire "Green Tomb". Shang Xiaoyun plays Wang Zhaojun. In "Out of the Fortress", he boldly adopted the method of "literary opera, martial arts singing", singing and dancing, with rich voice and emotion, and organized almost all the footwork of Peking Opera Dancing into it, and also absorbed the body movements of Wu Sheng. The whole play fully reflects the full, strong, healthy and bold style of Shangpai. Its performance methods are endless, and a series of dynamic pictures are created through various stylized dance postures. He used movements such as long strides, big bow legs, big whips, sharp steps, trembling of one foot when mounting a horse, piles of mud, and horse riding to smooth things out, to meticulously depict Wang Zhaojun's sorrow at parting and the desolation of the frontier. He created the artistic image of Wang Zhaojun with a tune in his mouth, a plume on his helmet, a riding whip in his hand, and a cloak on his body, and exaggerated the performance effect of "horse is alive and human is pretty". The singing and dancing of "horse Zhaojun" are praised as vivid scenes. "Picture of a Beautiful Woman and a Fierce Horse".
When Shang Xiaoyun performed this play, he focused on distinguishing the difference between "Zhaojun on horseback" and "Zhaojun on horseback", and paid attention to the changes in the shape of "Zhaojun on horseback" and "Zhaojun on horseback". "On horseback, Zhaojun needs both a man and a horse. The horse is a fierce horse, and the man is a beauty; he has two functions, taking into account both spirit and form." This truly embodies the spiritual essence of our country's freehand drama. At present, "Zhaojun Leaving the Fortress" performed on the Kun Opera and Peking Opera stages is basically performed according to the Shangpai method.
"The Mirror of Fortune and Longevity" is a play that Shang Xiaoyun learned from Wang Yaoqing in his early years. It is a specialty play that Shang Xiaoyun loves very much. It was originally a secret book collected by the Sixi Class in the late Qing Dynasty. In the early years, this play was a four-script series. When Wang Yaoqing performed it, it was performed in two scripts and was performed in two days. Shang Xiaoyun cut out the complicated and simplified it, and changed it to a book to be completed in one day. Shang Xiaoyun plays Shouchun. Starting from the late 1930s, Hu's character was played in the first half and Shouchun was played in the second half. "The Lost Child" is the most exciting episode in this play. After decades of hard work, Shang Xiaoyun has integrated crazy steps, water sleeves, and crazy eyes. The portrayal of the psychological changes of the characters is even more meticulous.
There was a big riot in the mulberry garden, and Hu's madness finally appeared. After some mischief, Shouchun stopped him. Shouchun explained to Lin He that his mistress had gone crazy. Although Shouchun and Lin He were standing in the middle of the stage performing, and Mrs. Hu was just standing aside in a daze, Shang Xiaoyun's body remained motionless, his face was dull, and his eyes were still. A ray of longing and longing appeared in the vast sky. During a long dialogue between Shouchun and Lin He, Hu kept maintaining the same posture, his whole body was like cast iron and copper, and only his dull eyes showed that his heart was like the waves of the sea; although there was not a word in his mouth, he was full of energy. . The reason why a master is a master is because of his good deeds.
After the 1950s, Shang Xiaoyun's art reached a higher level. He combined "Han Ming Fei", "Liang Hongyu", "Mirror of Fortune and Longevity", "Silver Screen Princess", "Ink Plays such as "Dai" have been processed and improved for excellence. At the same time, the traditional plays "Royal Stele Pavilion", "Hongni Pass", "Fishing and Killing Family", "Wujia Slope" and other traditional plays were persevered and carefully considered. These plays not only represent the style and characteristics of Shangpai art, but also represent the highest level of Peking Opera's dan role art, just like the masterpieces handed down by Mei, Cheng and Xun.
[Edit this paragraph] Employment status
He once served as a consultant to Fulian Chengshe. In 1950, he established the "Shang Xiaoyun Peking Opera Troupe" and served as its leader and leading actor. In 1955, he was elected as a member of the Standing Committee of the First Beijing Committee of the Chinese People's Political Consultative Conference, and was re-elected as a member of the Second, Third, and Fourth Standing Committee. In 1956, he served as director of the Standing Committee of the Beijing Federation of Literary and Art Circles, deputy director of the Beijing Federation of Peking Opera Workers, director of the Chinese Dramatists Association, and consultant to the Chinese Academy of Opera. In 1959, he moved to Xi'an and served as the general artistic director of the Shaanxi Provincial Art School and a member of the Standing Committee of the Shaanxi Provincial Drama Association. He also served as the leader of a performance troupe that went to Beijing to celebrate the 10th anniversary of the founding of the People's Republic of China. In 1960, he served as director of the Shaanxi branch of the Sino-Soviet Friendship Association. Deputy head of the Shaanxi Provincial delegation to Beijing of the National Association of Cultural and Educational Heroes. In 1964, he was employed by the Shaanxi Provincial Peking Opera Troupe and served as the first director of the institute (at that time, Shaanxi Peking Opera Troupe was one of the top five Peking Opera troupes in the country).
[Edit this paragraph] Personal disciples
The more famous direct disciples include Zhang Diefen, Zhao Xiaolan, Xue Yanqin, Sun Ronghui (Tianjin), Yang Ronghuan (Tianjin), Shang Changlin (Second son), Li Xihong (Beijing), Sun Mingzhu (Shaanxi, student, not a teacher), Wang Ziling (Tianjin, mainly focuses on Xunpai, not many Shangpai opera performances), Dong Yuling (Beijing), Li Xiang (Beijing), Bao Qiyu ( Inner Mongolia), Zhou Baisui (Guizhou), Tong Baoling (Beijing), Shang Huimin (eldest granddaughter, Jiamusi), Duan Lijun (Chengdu), etc.
Zhang Junqiu (later founded the Zhang School), Liu Yuantong, Li Shifang, Mao Shilai and others all benefited from his teachings.
[Edit this paragraph] trained famous people in other professions
He hosted the Rongchun Society and trained many talents, such as old students Xu Rongkui, Li Fuchun, Ma Changli, martial arts students Shang Changchun and Sun Ruichun, Jingjiao Jing Rongqing, Shang Changrong, etc. Xie Ruiqing and Bao Qiyu from the China Academy of Opera, and Li Xiang from the Beijing Opera School have all been taught by him.
[Edit this paragraph] Disciples again
There are Ma Bomin (Shanghai), Li Li (Tianjin), Ju Xiaosu (Shandong), Zhou Li (Chongqing), Wang Lingyu, Wang Changjun (Tianjin) and others.
[Edit this paragraph] Main relatives
Shang Xiaoyun’s former wife was Li Shuqing, the eldest daughter of Peking Opera actor Li Shoushan and Shang Changchun’s biological mother.
Mr. Shang Xiaoyun has a daughter and three boys. Daughter Shang Xiuqin married Peking Opera actor Ren Zhiqiu, but Shang Xiuqin did not engage in acting. Ren Zhiqiujiu performed with Mr. Tan Fuying, a famous old master of Peking Opera, in the Gongdan role. He had certain achievements in inheriting the "Shang School" art and has passed away. Ren Zhiqiu's daughter Ren Erjuan is also a female actor and now works at the Beijing Peking Opera Company. The three boys are Shang Changchun, Shang Changlin and Shang Changrong. Shang Changchun Gongwu Sheng and Shang Changlin Gongdanjiao are both deceased now. Shang Changrong, who has a painted face, is now starring in the Shanghai Peking Opera Company. Mr. Changchun has three sons and three daughters: the eldest son, Shang Jichun, is currently a leading actor in the Shanxi Province Peking Opera Theater and a graduate of Gongwenwu. The third son, Shang Donghui, is currently an accompanist at the China Peking Opera Company. The second son has not entered the opera world. The eldest daughter, Shang Huimin, is currently starring in the Peking Opera Troupe of Jiamusi City. She plays the role of Gongdan. She has inherited the "Shang School" of her ancestors and is very successful in art. During a special performance commemorating the 95th birthdays of three masters, Shang Xiaoyun, Xun Huisheng and Xiao Cuihua. , performed "Wujia Slope", and both insiders and outsiders recognized that her singing and acting were very characteristic of her ancestors. The second daughter, Shang Huizhu, is now a middle school physics teacher; the third daughter, Shang Huiping, now works at the Middle School Affiliated to the Chinese Academy of Opera. Shang Changlin and Shang Changrong each have three sons. Except for Changrong's eldest son, Shang Dayuan, who graduated from Beijing Opera School and is a graduate student of Gong Lao, none of them entered the opera world. Even Shang Dayuan has now withdrawn from the opera world and turned to business.
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