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about the loss of certain techniques with the passing of the older generation of performers. There was also call for more contemporary plays but Li's experience acting in four of them left her uncomfortable, as the playwrights made little accommodation for the conventions she had been trained to use: "I had nowhere to place my hands, I did not even know how to walk, or what to do on stage". The conventions she did use brought her severe criticism for "defam the image of members of the working class". Several times, she supported the idea of reserving older genres like Peking and
560:. She later recalled that, when she struck her first pose, before saying a line, "the applause and shouting started. It was so loud that my ears were rining. Afterwards, every line I sang or spoke and every eye expression I made would gain a full-house ovation". At 14, she was a "star student" and began "playing all types of leading roles", all the more so because the principal and registrar hadn't realized she'd learned the part ahead of the school's curriculum. Over the course of her training, Li studied about 40
512:, the work was still stigmatized and female students, despite usually being driven into acting by poverty, had previously needed private tutors. The school was a more respectable setting but Jiao adopted her mother's assumed name of Li in order to avoid shaming her father. Along with the other members of the school's fourth class, Li then adopted a
532:" roles but covered a variety of schools. She studied six days a week and was permitted family visits on Sundays. Beatings were given for poor behaviour, slow learning, or as part of a collective punishment for a single student's mistake, but teachers were expressly forbidden from striking a student's head.
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roles. She put the experience to good use: "Through playing extras, I learned the plays that had not been taught to our year. I also observed not only my own character type but also other roles. I familiarized myself with the stage and the audience". She woke at 6 each morning (two hours ahead of the
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permeated into us. It seemed as if we had a censor in our minds and we voluntarily gave up many plays, which were not on the banning list, because we felt they did not reach the ideological standard that we had learned... and they would not be good for our audiences". In retrospect, she felt ashamed
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Since her school days, Li had supported certain revisions of the traditional Peking opera repertoire, particularly the removal of "pink scenes" with overt sexual content. The
Theatre Reform did not ban many plays outright, but the reduction of traditional plays being produced caused her to worry
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of her "crimes" of "bourgeois thought and individualism demonstrated in striving for fame", of a "bourgeois lifestyle" demonstrated "in wearing make-up and fashionable clothes", and of participating in the "counter-revolutionary plays she performed on the stage". She was tortured. Her daughters
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at age 11 to the lead in 1993 at age 70. Though it has a minimal story, she appreciated that it was full of dance and movement showing "every phase of the heroine's changing feelings: from sober to drunk, from arrogant and joyful to disappointed to sad to furious". This had been recommended for
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In 1953, Li became part of the
Shanghai Peking Opera Troupe, which was combined with several other troupes in 1955 to form the Shanghai Peking Opera Theatre. Having "successfully adapted to the contemporary political climate", she began to earn a monthly salary of more than
744:. Baffled but scared, she complied and didn't perform it again until the 1980s, when the opposition to Cheng's pacifist themes was long past. Li was then drafted to perform revised versions of traditional plays for Chinese troops in Korea. Her favourite play was
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Li returned to the stage in 1977 and was permitted to headline a traditional opera in
September the next year. She also mentored younger actresses and taught students in master classes and seminars. In December 1979, Li married
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in 1949. Her success despite her poverty, lack of family connections, and avoidance of a rich and powerful patron gave her a clean slate and she was relatively young and famous. Many important cadres, including
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other students) and took extra classes. The audience had also become familiar with her. At age 14, she was given the gown and star role of the
Princess in a performance whose lead and understudy had both
573:, starring in 28 of them. Disliking the pressure she came under as an independent young actress, she disbanded the troupe and placed herself under the training and protection of older male actors:
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worked to sanitize the play and was permitted to perform it to the
Chinese troops in Korea in 1953. Not all of the censorship came from the government. She later told her daughter Ruru that "the '
700:" plays she had trained for being removed from the stage on account of their lack of ideological significance, violence, and sexuality. She performed extensively within China and even toured the
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In 2007, Li was one of four recipients of the Great
Achievement in Performing Arts award from the All-China Association of Literature and Arts, considered one of the "few living masters of the
895:, all her savings based on her daughter's income before 1949 were confiscated. She was then beaten so severely that she died from the injuries. Li Yuru was jailed in an "oxpen" and
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Graduating at age 17 in 1940, she established her own troupe with friends from the school. She organised a program of 62 new and traditional plays over a successful 48-day run in
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the next year and adapted as a 20-episode television miniseries in 1999. She also published two books on Peking opera, both of which she wrote after her second operation for
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The family was poor. When she was 9 or 10, they sent her to the
National Drama School to learn a trade and receive meals. This school had been opened in 1930 as the first
657:. Her career and finances were largely handled by her mother, who was reckoned one of the "Four Famous Mothers" of the opera. She had her first daughter Li Li in 1944.
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diplomacy." The play would go through "four versions between 1960 and 1961, which was further complicated by the volatile ideological pendulum of the era." Along with
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with four lines six months into her training, she failed to hit the high notes and was noticed and jeered by the audience. For the next five years, she only received
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With the goal of concealing her age, however, her parents listed her birth year as 1924 on the registration papers for school and other official documents.
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and made special efforts to cultivate it. During the
Communist Theatre Reform begun in 1949, Li was selected as a "people's artist", despite many of the "
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520:"jade": Li Yuru. While there, Li memorized plays and participated in "arduous" physical exercises. Her training focused on the "
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published an order banning mixed-sex casts from performing. The school, while integrated, continued to exclude women from the
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1392: "The Chinese Drama Vocational School" and also known as the "Chinese Theatre School" or the "Beijing Theatre School".
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641:. The broad range of specialists expanded her repertoire greatly. During this period, Li gave successful performances of
489:. Her father died when she was an infant. When she was five, her mother remarried to a businessman named Jiao Dezhai.
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She credited her later success to her school's eclectic training but Li's first performance was a disaster. Given a
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Li and the actresses of her generation "played an important role in the development of as they transformed the
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Her second daughter Li Ruru was born in 1952. The same year, she was resting in her dressing room in
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2336:: State Diplomatic Functions and Theatrical Creative Process in China in the 1950s and 1960s",
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The complaints included the play's "obscenity, pleasure-seeking, and sexual suggestiveness".
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at the lost heritage: "I don't know what I can say to my predecessors when I see them in
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is a colour without direct translation into
English. It is a single color of which both
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for their traditional canon and restricting contemporary plays to newer dramatic forms.
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1448:) had previously admitted female apprentices in 1912, only to send them home when the
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The Soul of
Beijing Opera: Theatrical Creativity and Continuity in the Changing World
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and to enjoy much better social status than in pre-war China. The troupe included
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on 25 July 1923 to Zheng Yuanlong and Li Yuxiu (1900–1966). Li was descended from
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performers" and played an important role in the acceptance of female singers in
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2607:, vol. No. 29, Conference on Chinese Oral and Performing Literature
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In the 1980s, Li began writing. She first produced a full-length play,
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singers and musicians. For the two centuries before women appeared on
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2598:"2010 Commemorations of the Theatrical Careers of Cao Yu and Li Yuru"
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Lǐ Yùrú Yǎnchū Jùběn Xuǎnjí; Selected Plays from Li Yuru's Repertoire
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Rimmington, Don (16 January 1997), "New Voice of China's Stage",
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756:. Li performed various roles in it around 200 times, from a
2581:, Hong Kong: Hong Kong University Press, pp. 121–154,
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803:. In the 1950s, Li expanded a one-act scene from the play
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Lǐ Yùrú Tán Xìshuō Yì; Li Yuru on the Art of Peking Opera
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had been played by men. Because of the association with
379:(25 July 1923 – 11 July 2008), better known by her
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opera school in China and aimed to reform education of
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who had assumed a new identity after the fall of the
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2111:Li Yuru, interview with Li Ruru on 22 April 2007.
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2554:Encyclopedia of Contemporary Chinese Culture
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967:. This was republished under the title
748:, an account of a night in the life of
2656:Chinese Literature & History Press
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2610:
2288:"Vicissitudes of a Chinese Opera Star"
1535:. The other three were the mothers of
1279:From the abbreviated form of its name
729:, they thought the dramatisation of a
660:Li's mistreatment at the hands of the
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2556:, Taylor & Francis, p. 461,
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544:into a role also played by females".
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2575:Tradition and Communist Ideology",
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2711:Victims of the Cultural Revolution
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1846:Blue-green distinction in language
14:
2286:Wang Yueyang (25 November 2009),
1401:The Fuliancheng Training Company
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647:The Courtyard of the Black Dragon
593:of the time; the "martial clown"
2332:Liu Siyuan (2013), "The Case of
16:Chinese opera singer and actress
2340:, vol. 30, pp. 1–29,
2726:20th-century Chinese actresses
2706:Chinese Peking opera actresses
2571:Li Ruru (2010a), "Li Yuru—The
1837:(and, as here, some shades of
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1922:Davin, Delia (20 July 2008),
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651:Two Phoenixes Flying Together
951:. She wrote columns for the
402:and actress. Descended from
1022:Qīngsī Hèn; Love and Hatred
987:Li died on 11 July 2008 in
897:forced to write confessions
704:and Europe multiple times.
601:; the "painted face" actor
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924:and sometimes compared to
825:Marriage Involving a Chest
643:The Dragon and the Phoenix
625:; and the other "old men"
609:; the "Four Great Beards"
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2005:, Beijing: Dongfang Press
1841:) are considered shades.
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1050:Xiǎo Nǚrén; Little Woman
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188:Traditional Chinese
2648:Zhou Huan, ed. (1990),
775:' was so powerful that
597:; the "educated clown"
210:Simplified Chinese
2716:Actresses from Beijing
1454:"martial" female roles
605:; the "martial" actor
2346:10.1353/atj.2013.0006
2338:Asian Theatre Journal
1997:"曹禺 [Cao Yu]"
1867:Hatred and Raven Hair
885:counter-revolutionary
73:National Drama School
2721:Singers from Beijing
1740:Shànghǎi Jīngjù Yuàn
871:who were destroying
863:At the onset of the
742:American imperialism
722:Spring Boudoir Dream
518:generation component
2394:, pp. 134–135.
2173:, pp. 225–226.
1924:"Obituary: Li Yuru"
1859:Verdant-haired Hate
954:Xinmin Evening News
865:Cultural Revolution
841:Royal Concubine Mei
481:following the 1911
423:Cultural Revolution
2216:, p. 139–140.
2123:, p. 138–139.
655:Three Pretty Women
516:incorporating the
506:female opera roles
431:Chinese dramatists
388:and also known as
2633:Li Ruru (2010c),
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941:Love and Hatred
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853:
821:Princess Baihua
805:Princess Baihua
789:
782:the other world
692:, were fans of
672:founded by the
591:"flowery" actor
589:, the greatest
549:supporting role
538:
530:sword-and-horse
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2002:细说清华学者们的爱情往事
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2681:(in Chinese)
2661:(in Chinese)
2652:
2651:菊海竞渡—李万春回忆录
2649:
2643:(in Chinese)
2637:
2634:
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2577:
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2542:Bibliography
2528:
2516:
2504:
2492:
2480:
2468:
2456:
2448:The Guardian
2447:
2441:
2387:
2337:
2333:
2310:
2298:, retrieved
2292:
2251:
2209:
2204:, p. 7.
2197:
2166:
2116:
2107:
2009:(in Chinese)
2003:
2000:
1990:
1933:, retrieved
1929:The Guardian
1928:
1866:
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1533:Sì Dàmíng Mā
1532:
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1031:(in Chinese)
1025:
1021:
1001:
986:
979:
977:
969:Little Woman
968:
964:
960:Wenhui Daily
958:
952:
949:Jiao Guiying
940:
938:
919:modern drama
911:
862:
854:
844:
840:
839:), and 1961
836:
832:
828:
824:
820:
809:Peking opera
807:into a full
804:
797:Tong Zhiling
786:
777:the ideology
762:
754:Tang dynasty
745:
720:
717:Cheng Yanqiu
706:
702:Soviet Union
694:Peking opera
666:Nationalists
659:
654:
650:
646:
642:
639:Cheng Yanqiu
627:Zhou Xinfang
611:Ma Lianliang
603:Jin Shaoshan
582:
575:Xun Huisheng
568:
561:
546:
541:
539:
522:verdant-clad
510:prostitution
498:Peking opera
491:
487:Qing dynasty
465:
453:
446:
421:). Amid the
418:
415:female roles
400:opera singer
390:
384:
376:
375:
368:
361:Chinese name
323:Hanyu Pinyin
248:Hanyu Pinyin
151:Hanyu Pinyin
82:Peking opera
55:11 July 2008
37:25 July 1923
2701:2008 deaths
2696:1923 births
2654:, Beijing:
1446:Fùliánchéng
1268:Jiāo Dezhāi
973:lung cancer
943:, based on
926:Shakespeare
893:Qing Empire
769:Mei Lanfang
767:editorial,
752:during the
750:Yang Guifei
725:. Amid the
635:Yu Lianquan
619:Yang Baosen
607:Li Shaochun
579:Mei Lanfang
365:family name
268:Li Shu-chen
2690:Categories
2533:Li (2010b)
2521:Li (2010b)
2461:Li (2010b)
2434:Li (2010b)
2409:Li (2010b)
2392:Li (2010a)
2380:Li (2010b)
2315:Li (2010a)
2271:Li (2010a)
2256:Li (2010a)
2244:Li (2010a)
2229:Li (2010b)
2214:Li (2010a)
2190:Li (2010b)
2171:Li (2010b)
2159:Li (2010a)
2140:Li (2010a)
2121:Li (2010a)
2100:Li (2010b)
2058:Li (2010b)
2035:Li (2010a)
1995:Li Zichi,
1983:Li (2010a)
1968:Li (2010a)
1953:Li (2010c)
1876:References
1857:Literally
1486:The Ruyi,
1224:Chinese:
908:Later life
869:Red Guards
837:Hongmei Ge
801:Yan Huizhu
727:Korean War
682:Zhou Enlai
677:Communists
674:victorious
615:Tan Fuying
514:stage name
462:Early life
439:opening up
391:Li Xueying
381:stage name
377:Li Shuzhen
337:Wade–Giles
329:Lǐ Xuěyíng
279:Li Xueying
262:Wade–Giles
254:Lǐ Shūzhēn
182:Li Shuzhen
165:Wade–Giles
2678:Baike.com
2550:"Li Yuru"
2509:Li (2010)
2497:Li (2008)
2485:Li (1993)
2473:Li (1984)
2362:153635590
2354:1527-2109
2202:Li (1990)
2083:Li (2009)
1881:Citations
1800:Chinese:
1751:Chinese:
1696:Chinese:
1632:Chinese:
1605:Chinese:
1556:Chinese:
1537:Li Yanxiu
1517:Chinese:
1465:Chinese:
1334:Chinese:
1169:Chinese:
975:in 2007.
858:Kun opera
623:Xi Xiaobo
2613:citation
1545:Wu Suqiu
1506:Rúyì Shè
989:Shanghai
945:Wang Kui
922:in China
831:), 1959
817:Cold War
758:bit part
731:Tang-era
713:soldiers
662:Japanese
571:Shanghai
528:", and "
502:Shanghai
475:nobility
407:nobility
359:In this
171:Li Yü-ju
89:Children
59:Shanghai
2636:晶莹透亮的玉
1621:Lǐ Rúrú
1488:Sceptre
984:role".
934:Chekhov
900:became
875:in her
873:statues
845:Mei Fei
813:Chen Yi
698:flowery
690:He Long
686:Chen Yi
599:Ma Fulu
563:hua dan
553:walk-on
526:flowery
468:Beijing
451:roles.
397:Chinese
385:Li Yuru
285:Chinese
157:Lǐ Yùrú
113:Chinese
103:Li Yuru
41:Beijing
23:Li Yuru
2585:
2573:Jingju
2560:
2360:
2352:
2300:14 May
1543:, and
1475:liúpài
1139:, 2010
1097:, 2008
1055:, 1993
1027:, 1984
932:, and
915:Cao Yu
889:Manchu
790:1,000
688:, and
653:, and
621:, and
536:Career
472:Manchu
441:under
427:Cao Yu
404:Manchu
395:was a
363:, the
84:singer
2676:" on
2601:(PDF)
2358:S2CID
1935:8 May
1839:black
1831:green
1815:Pǐnzǐ
1789:fěnxì
1594:xìgǎi
1149:Notes
995:Works
965:Pinzi
930:Ibsen
738:Du Fu
711:when
709:Wuhan
435:China
63:China
45:China
2625:help
2583:ISBN
2558:ISBN
2350:ISSN
2302:2016
1937:2016
1835:blue
1833:and
1827:Qing
1120:／李玉茹
1078:／李玉茹
957:and
799:and
734:poem
664:and
637:and
629:and
577:and
524:", "
457:Life
52:Died
34:Born
2674:李玉茹
2342:doi
1865:or
1843:See
1389:lit
1110:李玉茹
1068:李玉茹
981:dan
883:or
881:old
847:).
792:RMB
784:".
736:by
719:'s
585:";
583:Dan
542:dan
479:Han
448:dan
437:'s
419:dan
367:is
29:李玉茹
2692::
2659:.
2641:.
2617::
2615:}}
2611:{{
2603:,
2552:,
2416:^
2399:^
2370:^
2356:,
2348:,
2322:^
2290:,
2278:^
2263:^
2236:^
2221:^
2178:^
2147:^
2128:^
2090:^
2065:^
2042:^
2015:^
2007:.
1999:,
1975:^
1960:^
1945:^
1926:,
1888:^
1730:京剧
1727:上海
1709:京劇
1706:上海
1619:,
1539:,
1531:,
1524:大名
1508:).
1504:,
1473:,
1469:流派
1386:,
1377:学校
1374:专科
1371:戏曲
1368:中华
1353:學校
1350:專科
1347:戲曲
1344:中華
1324:).
1314:中华
1293:中華
1141:.
1128:选集
1125:剧本
1122:演出
1118:選集
1115:劇本
1112:演出
1099:.
1083:戏说
1073:戲說
1057:.
1044:女人
1029:.
1013:青丝
1006:青絲
991:.
928:,
684:,
649:,
645:,
617:,
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1812:,
1808:子
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1782:戏
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1764:戲
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1521:四
1500:社
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1439:成
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292:李
223:贞
220:淑
217:李
201:貞
198:淑
195:李
126:茹
123:玉
120:李
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