Chapter 9 Chapter 5: A gust of wind left an eternal masterpiece——Ma Lianliang-1
"The body of Lian Jun is like a swallow in the south of the Yangtze River, and he flies north by the autumn wind."
Father (Zhang Bojun) loves to watch operas.Parents seem to love watching theatre.In this hobby, there is no difference in the political identities of Kuomintang officials, Communist Party cadres, and democrats.No wonder the artists in the past had a low status, but they were proud psychologically: "It doesn't matter which dynasty or generation, you all have to listen to operas." This is indeed the case.When Luo Ruiqing was a student, in order to watch a play by Boss Mei (Lan Fang), she sold all her bedding in winter. After 1949, when he became the Minister of Public Security, he told Mei Lanfang the story himself.Mr. Mei was so moved that he said, "I will invite you in the future, I will invite you."
In 1956, internal performances were banned.In the meantime, Xiao Cuihua performed a seesaw play, the name of which was forgotten.My father and I went into the theater ten minutes before the show started, only to find that there were no seats left.The person following behind is He Long.He punched his father on the back, and his father turned around and patted him on the shoulder, saying, "You're coming too." "Of course I'm coming." My father said, "There seems to be no seats left."
He Long looked at the people sitting in the front rows, and said with a smile: "^_^! All the ministers are here, more active than the State Council meeting!"
The two looked at each other and laughed.
At the end of this year, Sichuan Opera Troupe performed "Tan Jier" in Huairen Hall, Zhongnanhai.The attitude is casual, the comments are full, the language is presumptuous, and there is no appearance of "chief executive". Everyone has returned to the era of grassroots.
In the spring of 1957, Lu opera and Sizhou opera from Anhui were performed in Beijing.Father, Zhang Zhizhong, and Li Kenong, three Anhui natives, not only made an appointment to watch a play in their hometown, but also invited members of the theater troupe to their home for refreshments in turn. (chinesenewsnet.co
The melodious tune is accompanied by beautiful diction; the finely carved figure is accompanied by a sentimental expression.A singing voice, with thousands of turns; a python robe, inlaid with gold and embroidered with silver——when it is presented on the stage with its prosperous voice, those with culture and status will become more and more intoxicated by it.No matter whether you go from the government to the wild, or from the wild to the government, your own life experience and social understanding must be very agreeable to the human emotions, the state of the world, the joys and sorrows in the play.Chinese operas of national and folk nature are not only loved by ordinary people, but also favored by literati and scholar-bureaucrats.Especially for a group of people like my father who are already in glory, watching operas that reproduce the real world and the trivialities of life is a necessary psychological replacement, spiritual comfort, and emotional warm memories.Moreover, the leisure and entertainment of ears, eyes, sounds and colors is another beautiful world that cannot be replaced by reading and thinking.
Speaking of his father's contacts with artists, it was all after 1949.The artist he met earlier was Mei Lanfang, and the artists who had a close relationship with his parents were Ma Lianliang who joined the China Democratic League and Li Wanchun who joined the China Peasants and Workers Democratic Party.
I heard the earliest story about Ma Lianliang from my uncle.My uncle likes two things in his life.One is cooking, and the craftsmanship is superb.He is a member of the "Mingge" (that is, the Revolutionary Committee of the Chinese Kuomintang).Wang Kunlun, the person in charge of the Kuomintang revolution, entertained guests at home and often asked him to take the spoon.Later, my uncle became a historical counter-revolutionary and was kicked out of the Central Committee of the Revolutionary Revolution. All the diners didn't say a word for him.My mother was indignant about this, and complained: "It's better to cook for us than to cook for them!" The second favorite of my cousin is listening to operas, mainly Beijing operas.There is no one who does not know what Mei Shang Cheng Xun, what Nan Qi and Bei Ma are.He not only talks about the play, but also tells anecdotes outside the play.And this is what I like to hear the most.My cousin told me that Ma Lianliang was brought back to the mainland by Zhou Enlai who sent people to Hong Kong in 1951.Zhang Junqiu came back at the same time.
I asked, "Will he come back?" "Yes." "Why?"
The uncle said: "How many people like to listen to Beijing opera in this tiny place? Ma Lianliang had to pay dozens of dollars for the last play, which made him a little discouraged. Once he didn't go to the seats, no matter how big the actor was, he would stay." No. Ma Lianliang is also a well-known filial son, and his mother, who is nearly ninety years old, is still in Beijing. Although he must go to the bank to remit money to his mother every month, it is better to be filial in front of the hall." Fly north." Ma Lianliang and his wife returned to Beijing.Before leaving Hong Kong, I went to an astrologer to tell my fortune.
"Mr. Ma's eating is the same as his singing. The former is exquisite and picky, while the latter is picky and exquisite."
Ma Lianliang's talent conditions are not very good, but he studies hard.Hang your throat, practice your white mouth, and never slack off.It is said that there is a nanny next door to his house, who sweeps the courtyard every morning, listens to Ma Lianliang's singing, and even knows "Ten Dao Ben".
Ma Lianliang paid great attention to maintaining his voice. His voice has never been damaged, and its width is always sufficient and maintained at a fairly high level.Therefore, the audience has a good impression of his "inexhaustible voice".As for the Ma Pai singing, the industry has different evaluations.Most people think it is soft and delicate, and some people criticize it as "the sound of waste".No matter what others say, it is an indisputable fact that Ma Lianliang's singing can be both popular at one time and popular in later generations.
His acting is chic and elegant, and his performance is nuanced.Each play has its own characteristics and characteristics, and has been unanimously praised by the industry.In his acting, everything is beautiful.The action is standardized and beautiful everywhere.Taking his stills, there are no waste films, all of them are beautiful.His troupe, Fufengshe, pays attention to the "three whites" (that is, "collar white", "sleeve white", and "boot soles white").He asked his colleagues to cut their hair and shave before acting.In the background, he also prepared two people, one for shaving and one for cleaning the soles of boots.Ma Lianliang's own outfit is extremely exquisite and elegant.In the acting room (that is, today's personal dressing room), there are special personnel to iron the clothes and sleeves, and hang them up, so that there will be no traces of wrinkles when worn on the body.The selected clothing materials are of the highest quality in terms of texture, color and pattern.In order to look good, Ma Lianliang pursued it everywhere. "One year, the Forbidden City auctioned silk and satin. He spared no expense, bought a lot of materials from the big house, and saved them to make outfits slowly. In terms of color, he advocated the use of autumn fragrance and dark green (such as Qiao Xuan's python in "Nanlu Temple") , cream color (such as Sean's huggable in "The Fisherman and Killer"). It looks very beautiful" ⑴.
In 1937, Ma Lianliang, in partnership with others, built a new theater in a prime location in Beijing—West Chang'an Avenue near Xidan, which later became the Capital Cinema (unfortunately, it has been demolished).With my own theater, I began to consider beautifying the stage.
On the stage of the theater, Ma Lianliang designed a "conservative" (that is, "canopy"): beige silk as the base, embroidered with brown patterns of Han Wuliang Temple in the middle, hanging along the curtain, hanging yellow tassels, and hanging five Small Palace Lantern.The accompaniment band on one side of the stage is surrounded by a veil painted with blue cloud dragons to prevent the audience from seeing the chaos.On the opening day of the theater, the curtain opened, and the audience immediately applauded enthusiastically.From then on, when Ma Lianliang went out to act in plays, he always brought this big screen with him.Because it is so beautiful!Later, "conservative" became a sign, and wherever he went, as long as the poster was posted, people would know that Boss Ma of Fufeng Club was "working here."
No matter in the past or now, when it comes to recruiting apprentices and choosing supporting roles, many famous actors are afraid that they will overshadow themselves, so they don't choose strong players or masters to support or train them.But Ma Lianliang's stage lineup is all selected talents.To this end, he created a set of methods, which is to sign a contract.This is the first of its kind in Liyuanhang.After signing the contract, you can act with peace of mind.Those who are capable, who would not be happy?Young student Ye Shenglan was picked up by Ma Lianliang before she graduated from the university.Yang Baozhong changed to playing the piano, Zhang Junqiu emerged, and Yuan Shihai surfaced, and they all signed the contract immediately.
With a strong cast, coupled with a clean, tidy, and refreshing typhoon, Ma Lianliang's play is really good to watch.He is meticulous in acting, extremely serious, and pays great attention to coordination and harmony on the stage.Once, performed "Eight Hammers" in Tianjin.He plays the storyteller Wang Zuo, Ye Shenglan plays Lu Wenlong, the two are evenly matched, and the performance is very exciting.No matter how good the "Jiaer" is, there are times when the horse stumbles. When entering and exiting the cutscene, Ma Lianliang is negligent for a while and stretches the wrong arm.The audience burst into laughter when they realized that Wang Zuo had not broken that arm just now.It is said that after the show ended that night, Ma Lianliang was so angry that he wanted to jump the Tianjin Wanguo Bridge.From then on, he never acted in "Eight Hammers".
For the longevity of his artistic life, Ma Lianliang lives a very regular life, and is even more particular about his diet.Just as studying Mei Lanfang requires studying his gossip love history, studying Ma Lianliang requires studying his treat menu.Ma Lianliang's favorite food is the cooked shrimp section at Liangyixuan restaurant in Qianmenwaijiaomenguan.Whenever Bohai prawns are on the market, he will invite friends to go with him.When ordering this dish, it must be ordered to "separate dishes and stir-fry".Stir-fry three or five prawns and serve them on an eight-inch plate.After eating one plate, fry another.Sometimes I eat three or four plates in a row.After the victory of the Anti-Japanese War, Ma Lianliang once extended Xi Laishun's head stove as a special chef, and when the restaurant was shut down, the chef came to Ma's house for supper.At that time, heroes from all walks of life in Liyuan all enjoyed Ma's chicken dumplings, fried vegetarian lamb tail and other dishes.
Ma Lianliang performed at the Jixiang Theater in Dong'an Market, and often went to Beijing's famous Baodu Feng Mosque for dinner.Without Ma Lianliang opening his mouth, Boss Feng will definitely serve a plate of lamb belly kernels.His plate of lamb tripe is different.What is belly kernel?In medical terms, it is the coronary groove of the sheep's stomach, which is a "edge".For a big sheep weighing more than ten catties, this "rib" should not exceed four taels.Divide the "edge" into three sections, and the last section is called "big beam".How big is a "beam"?It's about the size of your thumb.Take this thumb-sized thing, and then peel off the membrane, and the rest is only a few dollars of meat.This is what Ma Lianliang ate.No wonder Boss Feng sighed infinitely: "Mr. Ma's food is just like the opera he sings. The former is so picky and the latter is so picky." Buy big duck pears.Wash, cut into thick shreds, and set aside.The fried meat is ready, put it in when it comes out of the pan.Under the guidance of Ma Lianliang, this "Broiled Pork and Pear Shreds" later became a famous dish of "Bang Du Feng".Of course, corn bread, vegetables, and fruits are Ma Lianliang's daily diet.
Ma Lianliang likes to take a bath.As long as there is a show at night, he must go to the bathhouse in the afternoon.First at "Yipinxiang" outside Qianmen, and then at "Tsinghua Pool" at the entrance of Xizhu City.Later, he often went to the "Tsinghua Garden" in Bamiancao.After soaking in the bath, please ask a professional master to do a pedicure.This is because singing opera wears boots all the year round and has corns.Every time he went to the bathing pool, Ma Lianliang brought some cigarettes and tea to the masters and workers.Sometimes after taking a bath and feeling comfortable, he would stroll to a restaurant in Jinyu Alley to drink a plate of abalone soup.
I asked my mother, "Who invited whom?" My mother smiled and said, "I can't tell the difference."
Ma Lianliang's visit to my house was just for casual talk.Although he is an artist, he is humble and polite, and his conversation is good.Later, my father said that he would treat me to dinner.Not only did he say yes, but he was very happy.
Knowing that he was a Hui citizen, his father asked, "How do you eat it?"
He smiled and said, "You just pay, and I will handle everything."
After Ma Lianliang left, the family pondered over the connotation of "I will do everything".
My mother said: "Mr. Ma will definitely ask someone to order a table of dishes at a Muslim restaurant, and they will be delivered at that time." My father agreed with this view, and it turned out to be the case.But when the person Ma Lianliang invited came with the ordered dishes, it really shocked our whole family.
Father is inviting you to dinner.But just after the nap, a few people in white clothes came.When I entered the kitchen of my house, I boiled water in my own large pot.After boiling, put alkali.Then, wash the kitchen with alkaline water.Wash the chopping board until it turns white and has stubble.The square brick floor is not willing to stop until it sees its true color.To be honest, my kitchen has never been so clean since I lived in this mansion.
The mother, who was the deputy director of the Beijing Municipal Health Bureau at the time, was overjoyed and sighed: "Where is this a guest for dinner? It's just to help us clean up! Bo Jun, you have met Ma Lianliang, thank you very much."
An hour later, another group of people in white clothes came.They carried many "guys" on their shoulders and hands.There are two people carrying a thing called a "round cage", and it is said that the whole table of banquets is contained in it.Others carried great bundles of branches and trunks.
I asked the wood bearer: "What are these branches?" The answer: "It's fruit wood." "What is fruit wood?" "It's apple wood." "Why are they used?" "Roast duck."
Seeing this posture, I was amazed and excited, so I followed these people in white to run around the yard.After watching for a long time, I had an illusion: it seemed that Ma Lianliang was inviting our family to dinner.
I asked my mother, "Who invited whom?" My mother smiled and said, "I can't tell the difference." The father who stood aside also grinned.
Towards dusk, the sky took on an amber glow.Walls, roof ridges, and treetops are also painted with a setting sun. "Ma Lianliang is here!"
With a shout, our whole family, including the secretary, guard, office worker, chef, driver, and nanny, all came alive, and we were really looking forward to it.At this time, I realized that a famous artist is much more attractive than a political leader!Wearing a navy blue suit, Ma Lianliang is slender, with a broad forehead, straight nose and clear eyes.There was a faint smile on his face.
Speaking of the artist's family background, Ma Lianliang told his father: he lives in Beijing.Since my grandfather opened a teahouse outside Fuchengmen, it is called "Menma's House".The courtyard of the teahouse is quite large.After a long time, it has become a place where movie fans meet.In such an environment, Ma Lianliang's parents played tickets, and they all learned opera from teachers, and they all learned from old students.In my own generation, my brothers went to Liyuan one after another.Ma Lianliang did not talk about his family situation. His father knew that for an artist, love and family are the most difficult things to say, so it is naturally inconvenient to ask more.
Afterwards, his father introduced the situation of the NLD to him.He said that although the United Front Work Department classified the Democratic League as a party mainly composed of colleges and universities, accomplished artists like Ma Lianliang should also be absorbed.Ma Lianliang has repeatedly said that he is very willing to associate with literati...
In the corner of the yard, the firewood is shining, and the hanging fat duck is roasted under the smoke, wafting smoke and fragrance.I went into the kitchen again, and saw that all the tabletops, chopping boards, and vegetable blocks were covered with white cloth.The chef invited by Ma Lianliang used the chopping board, vegetable stand and various cooking utensils he brought on the white cloth.The rag is also self-provided, snow-white and snow-white.I looked at it and thought that only water and fire belonged to my family.Where is this father's treat at home?It was almost like communion.This reminds me of what my father said to me, "People with faith are very different from people without faith".I couldn't help but feel a sacred feeling in my heart.
Before the meal, his father invited Ma Lianliang to appreciate his collection of folding fans, snuff bottles, and small jade ornaments.Ma Lianliang was very polite.Say yes to each one, yes.His father told him that he mainly collects ancient books, not antiques.
Ma Lianliang said: "I'm not a collector, I just like some gadgets."
Father knew that Ma Lianliang also had a hobby of visiting Liulichang and Huoshen Temple, and he had a good appreciation for jade and other antiques.His collection of emeralds, white jade, agate carvings and snuff bottles are quite expensive, as everyone in the circle knows.The cultural emotions of an artist's life are often combined with small bits and pieces such as bathing, tea tasting, God chatting, strolling, pigeon raising, shochu, silk, snuff bottles, sandalwood, etc.This is not only a common enjoyment of life, but also a natural understanding and fine taste of the spirit of Chinese culture.Art and life are seamlessly integrated at this cultural level.It goes deep into the bone marrow, so deep that it is unimaginable for ordinary people.The so-called temperament, style, sentiment, charm, etc., which belong to the category of aesthetics, are often impregnated with such household trivialities that are permeable to culture.No matter what flags hang on the top of Beijing, what doctrines are promoted in newspapers, artists like Ma Lianliang live their lives carefully, and carefully consider their own stage and role.Art rejects abstraction.People who are engaged in art are mostly full of personality.They can only live in the vivid feeling of the individual, in their own unique and secret way.
It was late at night, so Ma Lianliang left, and his father sent him to the second gate.Arriving leisurely and returning gracefully, I think he is simply a fairy.
"From now on, you will be treated the way your father treats you."
Ma Lianliang is good at responding freely and has a sense of justice.He is warm-hearted to relatives and friends.He has always been enthusiastic about acting in compulsory dramas.He is obliged to perform in plays, as long as he is in Beijing, he will definitely participate.Every year at the end of the year, the Liyuan Guild performs voluntary plays, and it is even more obligatory.Like Yang Xiaolou and Mei Lanfang, he also has his own private room.Ma Lianliang never treated them badly.There is a fixed amount of private money given to them every month.At the end of the new year, additional gifts such as rice, noodles, and vegetables will be given away.
In the 1930s, Ma Lianliang once had an unforgettable experience of saving his younger brother.At that time, there was a man named Xu Shuqiang who was the chief of the police station in Tianjin.He relied on his power to bully others and was domineering.One day, he danced in the Santa Ana Ballroom with his gorgeous little wife.As soon as people were seated, a young man next to him took a few extra glances at the little wife.Xu Shuqiang couldn't bear it, so he immediately called plainclothes and took the man away.In the torture room, he was beaten until his face was bleeding.He also asked a barber to shave off his shiny black hair.Then let a basin of urine be brought from the toilet and force-fed that person.After that, they were beaten again and again, and the person passed out quickly.After waking up, a policeman named Li Baorong quietly asked him, "What's your surname? Are you a Muslim?" "Yes." Then, the young man begged Li Baorong to deliver a letter to Ma Lianliang at the Grand Theater of China. "Are you Ma Lianliang's younger brother?" the policeman asked.He nodded.
Ma Lianliang was invited to perform at the China Grand Theater in Tianjin and stayed at the Huizhong Hotel.That night, when I saw my younger brother went out and did not return, I was very anxious.After Li Baorong approached Meng Shaochen, the manager of the Grand Theater of China, and explained the situation, Ma Lianliang immediately begged Meng Shaochen to rescue him.After many twists and turns, he was finally released through the leader of the gang known as "Zhang Erye".Others said that it was thanks to Ma Lianliang that he survived Xu Shuqiang.This policeman surnamed Li Laolai wrote an autobiographical article⑵, which described this incident in detail.
Xiao Cuihua is a Hua Dan, who is as famous as the four famous Dans and is unique. She is good at performing romantic roles. She has not left the stage for 40 years since she debuted at the age of nine. After 1949, seesaw work was abolished, and some of his plays could not be staged.The Ministry of Culture announced a batch of banned plays, many of which were his most popular plays.The clear rules and precepts in the drama reform made him tremble even more.I feel that playing this is vilifying the workers and peasants, and singing that is insulting women.As a result, he didn't dare to perform any plays, and disbanded his troupe --- Yonghe Troupe.After living in seclusion, I simply stopped practicing kung fu... (chi
In 1956, the higher authorities put forward the literary and artistic policy of "a hundred schools of thought contend, and a hundred flowers bloom". The opera circles began to excavate and sort out traditional operas, and banned operas such as "Siro Visits His Mother" also began to resume performances.Xiao Cuihua has acted in several small plays such as "A Pieces of Cloth", which are very popular.He was so excited that he couldn't sleep at night. After calculating, he still has about ten big plays and nearly twenty small plays.In this way, he hopes to reorganize the class and reappear in the arena.Xiao Cuihua made a request to the Cultural Bureau.The Cultural Affairs Bureau asked him to make a brochure for class formation first.Unexpectedly, most of the people in the Yonghe class had a place to go.Nor can he "poach corners."After learning about this situation, Ma Lianliang immediately invited him to join the Beijing Peking Opera Troupe.Of course, the situation quickly took a turn for the worse, and things didn't follow.But Xiao Cuihua knew in her heart that the responsibility for "no follow-up" was not with Captain Ma, and he was already very grateful for this friendship.
In 1958, Beijing Peking Opera Troupe performed in the auditorium of the Ministry of Public Security.In the front is Yang Shengchun's "Yangyang Tower", and in the back is Ma Lianliang's "Huaihe Camp". The performances are all normal.That night, Yang Shengchun, who had worked with Ma Lianliang for a long time, died suddenly at home.Yang Shengchun, a family member of the Liyuan family, four generations of martial arts students, served as the captain of the actor team in the troupe, his work was organized in an orderly manner, and his popularity was excellent.Only 45 years old, leaving behind five children, his wife (step-wife) is Tan Xiaopeizhi (
When the bad news came, Ma Lianliang burst into tears and was deeply grieved.At that time, Yang Shaochun, Yang's eldest son, was a student about to graduate from a Chinese opera school, and his family was in a difficult situation.Ma Lianliang went to the school in person, found the principal, and asked Yang Shaochun to transfer to the Beijing Peking Opera Troupe.When he was transferred to the troupe, he said to Yang Shaochun: "From now on, you will be treated as your father will be treated." Ma Lianliang did what he said.From then on, the young Yang Shaochun kept Yang Shengchun's salary.Yang Shaochun is an ordinary student. In order to make him a talent in the future, Ma Lianliang specially invites martial arts master Wang Jinlu to teach him skills.Ma Lianliang took care of everything from arrangement to expense on the day of apprenticeship.Afterwards, Ma Lianliang went to the Beijing Opera School and discussed with the leaders about transferring Yang Shengchun's other two children to the Beijing Peking Opera Troupe's student team, allowing them to practice martial arts and support themselves.No one in the troupe raised any objections to this.
Wang Jinlu was the champion of the 1936 Children's Actress Tournament.He is fascinated by horses (Lianliang) and admires horses (Lianliang), so he worships Ma Lianliang as his teacher. In 1959, he fell and was seriously injured while performing "Bronze Mesh Array" in Xi'an. He recuperated at home for 18 years, and his life was at the end of his life.In order to be able to help financially, Ma Lianliang asked Wang Jinlu's wife to copy scripts for him and do some writing work, so that he could earn some money and supplement his family (Ma Lianliang died during the "Cultural Revolution", and the poor Wang Jinlu and his wife could only rely on matches boxes live).In short, everyone in Liyuan Xing admires Ma Lianliang's chivalrous heart.
Another thing, I also remember deeply.One afternoon, I finished my homework at home and ran to the yard to kick the shuttlecock.Suddenly, Secretary Hong led a young woman through the second door.Her elegant clothes are short and fit, dignified and beautiful, graceful and vigorous.
After sending the guests into the living room, Secretary Hong returned to his office.I hurried over and asked, "Who is that woman?"
"Her name is Luo Huilan." Secretary Hong replied. "Such a nice name. What do you do?" "It's a Beijing opera singer."
"Great!" I couldn't help cheering, and then asked again: "Why did she come to our house?" "Looking for your father." I said, "Is she looking for something to do with my father?" Secretary Hong said: "Of course it is because of something." Come." "What's the matter?" "I want to settle down and sing in Beijing." "Can my dad do this?"
"Your father wants to ask Ma Lianliang for help," Secretary Hong said.
The conversation was not long.The host and guest came out of the living room.My father said to Ms. Na Luo: "I will let you know when I have news." Then he turned to Secretary Hong and said, "Send off the guests for me."
Ms. Naro bowed deeply to her father and thanked her repeatedly.
Not long after, Ma Lianliang asked someone to send four theater tickets—he and Luo Huilan performed "Trial and Thorn Soup" at the Zhongshan Park Concert Hall.
I held up the ticket and yelled: "Dad, let's go together!" "Go, go!" My father followed suit.I put my arms around my father and laughed.
On the day of the performance, my father happened to have foreign affairs and could not go.When I came back from the play, my father asked, "Little Fool, how did Luo Huilan perform, is she pretty?"
I said: "Pretty, even more beautiful than Ma Lianliang!"
After hearing this sentence, my father who didn't watch the show was as happy as me.
Ma Lianliang's Northeast performance is a case in the eyes of the government.But in the eyes of Liyuanxing and ordinary people, it is a matter of "whoever becomes the emperor must listen to the opera" and has nothing to do with politics.
Does Ma Lianliang have any weaknesses?There are disadvantages.The disadvantage is smoking opium.This is not a rare thing in Liyuanxing, he smokes, and several other famous actors also smoke.
After I heard about this kind of thing, I was very surprised and asked my mother: "I heard that smoking opium can be addictive. What is 'addiction'?"
My mother said: "Whether it is opium or pethidine, the main ingredient is morphine. Morphine acts on the nervous system. Once it occupies the human brain, it can produce a feeling of relaxation and liberation. Moreover, this feeling will never be forgotten in a lifetime. Therefore, if there is an addiction, there will be a disease, which will not heal for life."
"Can you quit?" "Can't quit." "Why?"
Mother hesitated for a moment, and said: "From a medical point of view, there is no answer yet." My mother also believes that drug abuse is a sinful phenomenon in society; but it may have nothing to do with moral character in individuals.Because it is a disease, it cannot be quit by preaching and hardening, especially for those with special status, it is even more difficult to quit.I was very surprised by what my mother said.Because this is completely different from what the government advertises. After 1949, although the government gathered the famous actors who smoked opium and spent several months on a unified detoxification, the effect was not great.In the end, the government secretly made a compromise, and Peng Zhen gave special approval, and they could "draw".However, the amount is small and strictly controlled.
Drugs are emotional lubricants.No matter how much pressure you have, what kind of trouble you encounter, no matter how weak your physical strength is, or how bad your mood is, just take one shot.I was listless just now, but I can be passionate in an instant.The stage mood is originally formed by the excitement of constant nerve activity.365 days a year, 24 hours a day, you have to take the initiative to adapt to such an abnormal life. I am afraid that this is the main reason for the "pumping" in the performing arts industry in the past.But take the small benefits as refreshment, but forget to become the great harm of chronic diseases.
It should be said that Ma Lianliang has a deep understanding of the identity of the ultimate joy and pain in the world of opium. In 1942, the tenth anniversary of the founding of the puppet "Manchukuo", the puppet prime minister specially asked the puppet North China Political Affairs Committee to send the performing arts circle to congratulate.The conditions offered, in addition to silver, also include smoke and soil.At that time, the smoke and soil in Peiping were not easy to buy. Ma Lianliang was tempted by this, and he also went there for it.After the victory of the Anti-Japanese War, someone reported this incident in 1946, and he was charged with traitor.After the mediation of Bai Chongxi, the chairman of the Islamic Association, he got rid of the relationship in 1947.People come out, but the family is in debt.
Ma Lianliang's Northeast performance is a case in the eyes of the government.But in the eyes of Liyuanxing and ordinary people, it is a matter of "whoever becomes the emperor must listen to the opera" and has nothing to do with politics.For example: Puyi's big wedding in the Three Heavens Club, where famous actors from Beijing and China gather.After the victory of the Anti-Japanese War, Mei and Cheng went to Nanjing to perform for Chiang Kai-shek, and the artists didn't think it was a political act.In order to comfort Ma Lianliang who was released from prison, colleagues sang a cooperative play "Dragon and Phoenix Bringing Prosperity" at the Chang'an Grand Theater.Ma Lianliang's former Qiao Xuan, later Lu Su, Cheng Yanqiu's Sun Shangxiang, Jin Shaoshan's Zhang Fei, Li Shaochun's later Zhao Yun.Tan Fuying, who played Liu Bei, sang from "Crossing the River" in the first scene to "Returning to Jingzhou" in the latter part.The rules of the rivers and lakes, the loyalty of friends, and Ma Lianliang were extremely moved and grateful for a lifetime.
Ma Lianliang's "Puppet Manchukuo" performance this time has always been regarded as a "stain" by the top.But for political needs, the so-called "stain" can sometimes be used.For example, on the National Day in 1961, at the welcome reception for overseas Chinese and compatriots from Hong Kong and Macao held by the National Committee of the Chinese People's Political Consultative Conference, the officials specially arranged for Pu Yi and Ma Lianliang to sit together.This scene immediately attracted batch after batch of reporters and batch after batch of overseas Chinese.Later, when his father saw a photo taken by them, he couldn't help shaking his head and sighing, "It's both honor and humiliation, neither honor nor humiliation." For this matter, Ma Lianliang carried the political burden for half his life.There are "shortcomings" being pinched by the top, and he also understands his "shortcomings".And self-knowledge, knowing and stopping, has always been a kind of wisdom.
"You still need money to perform for the cutest person?!"
In October 1953, He Long led the third condolences group to North Korea to condolences to the Chinese People's Volunteers.A total of 40 groups and more than 3,000 artists and literary workers participated.Famous Peking Opera actors Mei Lanfang, Cheng Yanqiu and Zhou Xinfang are all included.After hearing the news, Ma Lianliang, who wanted to join the new regime, volunteered to go to North Korea to perform as condolences.Qi Yanming approved his request.This is Ma Lianliang's first time abroad, and also his last time abroad.
One day, they performed in an open-air theater in the Korean battlefield.Dusk at the end of autumn always comes quickly, and the sun has already set into the western mountains.The mountain haze wrapped in a heavy coolness gradually blended with the night.After dinner, Lao She and Zhou Xinfang were walking outside the barracks, and the sound of the huqin was clearly discernible.They went looking for the sound, but the piano was played by two cooking soldiers, one surnamed Mou and the other surnamed Wang.The brief tranquility, the familiar melody and the leisurely manner of the soldiers aroused their enthusiasm for singing in the embrace of nature. Maybe they will never encounter such a strange scene and strange feeling in their lifetime.
Soon, an a cappella party was temporarily organized, and the cooks of the two troops played the piano.Ma Lianliang was the most active and sang two verses, first "Ma'anshan" and then "Sanniang Teaching the Son".Zhou Xinfang sang "Four Scholars", Lao She sang "Fishing for Gold Turtles", Gao Yuanjun sang Shandong Kuaishu "Wu Song Fights the Tiger", and finally Mei Lanfang's "Yutang Chun".Listeners, forget that they are soldiers; singers, forget that they are actors.Later, they performed in the open-air square of Moranbong Peak in Pyongyang.All the actors wore outfits and cotton coats, and sat on the box.Looking at the stars in the sky, waiting for my appearance.That night, he performed seven plays in a row.They are: Yuan Jinkai's "The Circle of Heaven and Earth", Li Yuru's "Little Cow Herding", Huang Yuanqing's "Lion House", Zhou Xinfang's "Chasing Han Xin", Cheng Yanqiu's "Thorn Soup", Ma Lianliang's "Borrowing the East Wind", Mei "The Drunken Concubine" by Lan Fang.Later, Mei Lanfang gave some stills of the performance to his father.The quality of the photos was not very good, but my father kept them until the "Cultural Revolution".
No one expected that Ma Lianliang, who asked to participate in the "Condolences to North Korea", failed to understand the glorious and great significance of this task, and actually asked for a reward of 10.7 million yuan (old currency, 1070 yuan today) for each game.
In "Bargaining", someone reminded: "This is condolences to the cutest volunteers." Therefore, he and the troupe agreed to reduce each performance by 700,000 yuan (old currency, discounted to 70 yuan today).
Someone reminded again: "Other troupes only charge performance fees." Therefore, he and the troupe decided to reduce each performance by another 500,000 yuan (old currency, discounted to 50 yuan today).
Those who eat theater have to rely on theater to make a living——Ma Lianliang acts according to the long-standing habits of Liyuan and the rules of the theater troupe.Yes, even if it is sung to the emperor, it has to be "rewarded", and there are a lot of "rewards".This is a matter of course.How did he know that the only rule in China at the moment is revolution—unconditional devotion to revolution. "You want money for the performance of the cutest person?!" This caused shock and public outrage.The higher authorities thought this was a serious political issue, a blasphemy against justice, and a reaction against the revolution. "Drama News" made a report and criticized it, and the Ministry of Culture made a conclusion similar to counter-revolutionary behavior and recorded it in the archives.
A foreigner said: "Artists know less than ordinary people." As for Chinese politics, Ma Lianliang probably knows less than Mei Lanfang and Zhou Xinfang who walked with him.At that time, Mei Lanfang was the dean of the Academy of Chinese Opera, with a salary and income from performances.Zhou Xinfang is the director of the East China Academy of Traditional Chinese Opera.Ma Lianliang is the head of a folk professional theater troupe.Ordinarily, the remuneration received by the folk theater troupe that has expenses should be considered reasonable.But what the higher authorities and the revolutionary masses can't tolerate is that Ma Lianliang asks for a price that matches his reputation!Behind the price is the attitude.The higher the price, the worse the attitude.Who dares to put the individual and art above revolutionary government, just cause, holy war?The one who was wrong was of course Ma Lianliang.He first inspected the troupe, and then published an article of self-criticism in the "Drama News", publicly apologizing to the PLA comrades and expressing heartfelt thanks to critics.
In August 1954, the first National People's Congress was held.Artists Zhou Xinfang, Mei Lanfang, Cheng Yanqiu, Yuan Xuefen and others all became representatives.He knew why Ma Lianliang was not elected, and so did his father.It was at this time that Ma Lianliang came into contact with the Democratic League through contacts with his father and Wu Han.At that time, Wu Han was the deputy mayor of Beijing and the head of the Beijing Municipal Committee of the Democratic League, which was rare among democrats.One night, Wu Han came to my house to talk about the China Democratic League. My father said to Wu Han, "Can Ma Lianliang develop into a member? As a member, he can serve as a member of the Beijing Municipal People's Political Consultative Conference. Would you like to talk to Peng Zhen?" Wu Han clicked Nodded, and kept this matter in mind.
"Is your troupe state-run?" Zhang Junqiu blushed and said vaguely, "We are under the leadership of the government."
In the 1950s, one of the earth-shaking changes in Liyuanhang was the system change.And this change has completely reversed the development path of Chinese opera art and the fate of artists in the second half of the 20th century.
Most of the theater troupes at that time were private professional theater troupes, which were republican troupes converted from former owner troupes, and their nature was still private. In 1956, there was a nationwide upsurge of agricultural cooperatives, handicrafts, and private industrial and commercial socialist transformation.Liyuan Xing also moved after hearing the news.See large and small shops, pharmacies, restaurants, and decent and not so decent workshops, all with "state-run" or "public-private partnership" plaques.All the clerks, clerks, and waiters were paid.瞅着这番既光荣又实惠的景致，成不了“角儿”的演职员眼馋了，说：“连资本家都穿上了干部服，怎么我们仍旧是艺人？”于是，纷纷要求剧团改“国营”。很快，要求变成了呼声。 “国营”二字简直成了可羡慕的归属，可炫耀的身份。
浪漫的艺人台下又都很现实。别说是跑龙套的想“国营”，角儿们也跟着动心。张君秋南下到武汉去演出，湖北文化部门接待他的人问：“您的剧团是国营的吗？”
谁承想随便一句问话，正好捅到心窝子。能背大段唱词的张君秋，一时竟慌了，不知该怎样应答。还没“国营”的他，不能说“国营”；尚处“私营”的他，又羞于说“私营”。支吾一阵后，张君秋红着脸，含含糊糊地说：“我们是归公家领导的。”
人家到底是角儿，事情应付了过去。一回到北京，张君秋立即要求“国营”。
那时，官方也希望民间职业剧团改为国营。一份由北京市文化行政机关草拟的建议把民间剧团改为国营的陈述报告里把原因归纳为两条。一是出于政治因素，认为“戏曲和其他文学事业一样，不应成为私人营业性事业，它是一种思想武器。戏曲过去在人民中起过移风易俗、影响人民思想意识的作用，今后还会发生这种作用，特别由于戏曲艺术具有受人民喜爱的通俗易懂的形式，因而宣传的力量很大。专业戏曲团体应该成为党和国家领导的国家剧团，使它更好地成为教育人民的工具。”另一个原因，则是来自经济方面的考虑———“如果将一部分有保障的剧团改为国营，剧团本身即可以供给管理干部的开支，即可解决干部编制问题。”别看只有一句话，它可是太重要了。用演员养干部多方便呀！况且，一个名演员能养这么许多干部，也真是太管用了。
在中国任何事情只要成了风，就变得可怕。在一片“国营”浪潮中，不知政治为何物的大小角儿们，情愿或不情愿地都发出了“热烈响应”与“强烈要求”的政治呼声。尚小云剧团和燕鸣京剧团递上要求“国营”的申请书；新兴京剧团清点了物资，准备移交；鸣华京剧团梁益鸣把自己的戏箱捐给剧团，静待“国营”；几个评剧团及天桥地摊儿联合，急切要求合并。艺人们既是兴奋也是不安地等候上边发出“国营”的指示。一个擅演“粉戏”的女演员，激动地说：“我们要求国营不是向国家要钱，而是希望政府派人帮助我们办好剧团，加强政治学习，有机会参加一些运动，如三反、肃反，以更快地提高我们的思想意识。”
在这样一个革命形势下，北京市文化部门的领导认为第一步“需要走合作道路”。这样，在“剧团自愿原则下”，由政府有关部门出面“协助马连良剧团和市京剧二团（谭富英、裘盛戎）合并，成立了北京京剧团。”文化官员还告诉艺人，特别是告诉马连良这样的角儿：将来即使“国营”，也并不等于全盘包下来，依然是自给自足，按劳取酬，对艺人私有财产会采取定息的办法，也暂不改变原有的各项制度和工资份额———显然，采取这些做法是力图避免让松散自由惯了的艺人感到“国营”以后处处不方便。当然，也是让他们感受到共产党和政府对他们的帮助是很现实的。
“有些老戏很有教育意义，不要去改。”
1956年的春夏，官方宣布实施毛泽东提出的“百花齐放、百家争鸣”方针。它不仅被民主党派认为是最好的日子，同时也被艺人们视为最美的季节。前者叫好，是因为觉得当局在广开言路，因为说话是文人的本能。后者叫好，是认为官方要拓宽戏路，开放剧目。唱戏是艺人的饭碗，也是他们唯一的赖以生存的资源。戏路的宽与窄，剧目的多与少，意味着他们生存资源的厚与薄。从五十年代开始，中国戏曲剧目的管理，始终紧紧围绕着戏曲改革运动（简称戏改）而上起下伏，左摇右晃。
3月，刘少奇在文化部党组汇报工作会上说：“戏改不要大改”，“有些老戏很有教育意义，不要去改。”又说：“新文艺工作者到戏曲剧团改编……改得不要过分，不要过早地改。”他还特别关照京剧改革，说：“京剧艺术水平很高，不要轻视，不能乱改。”应该说，刘少奇的讲话是有针对性的。
那时，戏剧界的形势十分严重。戏曲剧目贫乏，上座率低，剧场经营困难，演员生活无法保障。以北京市为例，原有的京（剧）评（剧）传统剧目据粗略统计就有1200多出。但1955年经常上演的京剧只有74出；评剧58出。为什么会造成这样的情况？北京市文化部门专门开会研究戏曲剧目少、上座率低的情况及原因。会后提交上级的报告这样写道：“狭隘要求戏曲剧目的人民性和教育意义，致使剧团演员为了怕批评、而不得不演几出'保险'戏。我们的戏改（指戏曲改革）干部也受了这些错误观点的影响，在具体工作中支持了这些不正确看法，对上演剧目轻易予以否定，也是造成剧目贫乏的原因之一。例如，裘盛戎曾排演过《铡包勉》，当时文化处戏曲科的科长杨毓珉认为舞台上当场开铡，形象恶劣，于是这出戏以后就没再演过。新兴剧团演过《苏秦》，戏曲科的一个干部认为这出戏歌颂苏秦这一知识分子的向上爬思想，在《新民报》上写了一篇标题为'《苏秦》是一出坏戏'的文章，剧团看后即刻停演。”
6月1日～15日文化部在北京召开戏曲剧目工作会议，全国各省市60多个代表参加。大家一致认为应该有组织地进行各剧种的传统剧目的发掘、整理和改编工作。大会选择了《四郎探母》、、《一捧雪》、《大登殿》、《乌盆记》、《宁武关》六个剧目进行热烈讨论。时任中宣部副部长的周扬到会讲话。他特别强调文化部门的工作干部对戏曲事业必须按照它本身的特点去领导，要积极树立自由创作的艺术空气，坚决反对主观主义和官僚主义作风。
6月27日，文化部负责人就丰富戏曲上演剧目问题向新华社发表谈话，以“清官”和“鬼魂”为例，认为“包公、况钟都是可以肯定的正面人物”；而“焦桂英、李慧娘完全可以在今天的舞台上出现。”为配合会议，北京市文化局组织内部观摩，演出了《祥梅寺》、《打樱桃》等许久不曾演出的剧目。搞这样的演出，张伯驹是最积极的一个。演出即示范，人们眼界大开，并意识到现在的演出剧目，真的很贫乏。一位业内人士撰文直呼“应该反对那些清规戒律；反对各种明的、暗的'艺人自动'式的禁演办法；反对因一肢而废全身的粗暴否定的态度，要大力发展剧目生产，发掘各剧种的固有剧目。”⑷
7月，北京市戏曲编导委员会为丰富上演剧目，又选择了一批内容虽有缺点，但艺术性较强的剧目，先后举办了六场试演晚会。其中的剧目有：《王宝钏》、、《一捧雪》、《四郎探母》、《恶虎村》、《落马湖》、《战宛城》、《青石山》、《一匹布》、《走雪山》、《梅龙镇》等共18个。参加演出的演员有：马连良、张君秋、小翠花、杨宝森、侯喜瑞、孙毓坤、马富禄、李万春、奚啸伯等。
社会在发出扩大戏曲剧目呼声的同时，也发出了关心艺人生活的呼吁。比如，史学家翦伯赞随全国人大视察小组到湖南视察。在省里召集的座谈会上，他谈到湖南地方戏艺人情况，激动地说：“戏剧工作最糟糕。艺人们反映，没有从人民政府那里得到一点帮助（指私营剧团），得到的只是轻视和侮辱。”（注：详见拙作《心坎里别是一般疼痛》）翦伯赞认为戏剧界存在三个矛盾：国营与私营的矛盾，干部与群众的矛盾，艺术与生活的矛盾；三个矛盾都是领导上对艺术的政治教育作用了解不够所致。翦伯赞的讲话，引起了上边的重视。《戏剧报》刊登了《关心艺人的生活，尊重艺人的劳动》的专论以及《保护女艺人和她们的孩子》、《认真抢救遗产》等文章。内中，透露了戏曲艺人生活和民间职业剧团的处境。不仅各地方的文化机关可以随便指挥他们，税务机关、公安机关、粮食机关以至民兵都可以看白戏或随便来干涉剧团和艺人。如果剧团稍微做得不周到，马上就要横祸飞来。
田汉以全国人大代表的身份到地方视察后，发表了《关心艺人生活》一文，社会反响强烈。周恩来特批500万元救济金，并免娱乐税两年。田汉在中国戏剧家协会主席团举行的第二次会议上，揭发了戏曲工作方面和有关戏曲艺人生活福利方面迫切需要解决的问题。在决定创办中国戏剧出版社的同时，创办“剧人之家”。
北京市为了更好地关心艺人，专门开了一个会。会上，确立了文化局系统的高级知识分子名单。其中，京剧演员18名。他们是：马连良、谭富英、张君秋、尚小云、荀慧生、吴素秋、赵燕侠、杨宝森、奚啸伯、李万春、孙毓坤、姜妙香、裘盛戎、侯喜瑞、马富禄、李多奎、孙甫亭、郝寿臣。
这一年，北京电影制片厂拍摄了京剧彩色电影《群英会》、《借东风》。演员有马连良、谭富英、萧长华、叶盛兰、裘盛戎、袁世海等。
这一年的年底（1956年12月25日）马连良向民盟北京市委递交了入盟的申请表。两天后，即被批准成为中国民主同盟的成员。
彭真说：“怕放、怕鸣的人都是怯懦的人，是没本事的人。我们要欢迎齐放、欢迎争鸣。”
在毛泽东提出的“百花齐放，百家争鸣”的春风吹拂之中，人们进入了1957年。像田汉、翦伯赞这样的大人物都在为戏曲打抱不平了，像《戏剧报》这样的刊物都在为自己说话了，业内人士怎的不兴奋？那些肚子里有玩意儿的名演员，就不只是兴奋，他们从心底生发出一股冲动———诉说的冲动，表达的冲动，登台的冲动。农历春节前，这些角儿们为筹备福利基金会，救济贫苦同业，举行联合演出。一共演了三场，其中有马连良、张君秋、萧长华、李多奎合演的全本《一捧雪》，小翠花、马富禄合演的《一匹布》，李万春等合演的《八蜡庙》。
为了保存住戏曲宝贵遗产，马连良、郝寿臣、刘砚芳、程玉菁、小翠花、李万春、赵桐珊、王连平、毛世来等京剧艺人还把所藏之秘本毫无保留地奉献出来。从2月份开始，北京戏曲编导委员会根据这些藏本，着手编辑《京剧汇编》，由北京出版社分集出版。直至1962年4月，共出版了94集。
3月，马连良率领北京京剧团到武汉演出。经父亲给湖北民盟省委负责人马哲民打招呼，3月19日，中国民主同盟武汉市邀集了高百岁、陈鹤峰等一百余人，举行座谈会，欢迎来自北京的马连良、马富禄。民盟举办的座谈会，场面大，规格高，发言的水平也高。不仅有同行出席，还有知识界和政界人士，这给马连良挣足了面子。回到北京，马连良一打听才得知，是民盟中央的第一副主席章伯钧的关照，他特地登门道谢。
3月25日至4月1日中共北京市委召开了宣传工作会议，讨论毛泽东的《关于正确处理人民内部矛盾问题》的讲话。与会者既有党内干部，也有党外人士。会议用了三天半的时间进行大会发言。共有61个人登台讲话。其中，曲艺界的曹宝禄和京剧演员李万春对文化工作提出了意见。
李万春反映在戏曲剧团工作上，存在“重公轻私、重大轻小”的现象。他说：“国家剧团收罗大批人才，编演新戏是他们的专利品，但优秀演员一年到头不演戏。对国营剧团补助多、宣传多。庞大的开支是靠国家养着。”李万春还觉得政府对民间职业剧团重视不够，舆论界也不怎么介绍。“小剧团不知费了多少心思和劳动，才凑出一笔广告费。结果，广告往往被放在“寻人”或“启事”栏内。演出上一有毛病，指责也受得多。所以，演员每演一出戏，都要捏着一把汗。”发言的最后，他特别强调：“我的意思决不是把大剧团（国家剧团）和小剧团（民间职业剧团）对立起来。我主张在组织上可以分大小，在艺术活动上不要分大小，大小剧团可以互相往来，互相支持。”
———李万春的发言赢得掌声一片。会议的主办者和与会者，一致认为李万春的发言很好。《北京日报》在4月18日全文刊登了他的讲话。题目就叫《重大轻小、重公轻私》。会议的最后，彭真到会讲话，他说：“怕放、怕鸣的人都是怯懦的人，是没本事的人。我们要欢迎齐放、欢迎争鸣。”“当前的主要问题是对于'百花齐放、百家争鸣'放得不够，鸣得不够，要放手放，放手鸣。”台下听众2800名，个个热血沸腾。
4月10日至24日，北京举行第二次全国戏曲剧目工作会议。中共中央宣传部副部长周扬在闭幕式上讲话，他指出：“对人民只能讲民主，不能讲专政。而且不同思想是客观存在的反映，只准有美，不准有丑是不合辩证法规律的，没有丑，哪里有美？”他着重分析了教条主义、宗派主义与官僚主义的祸害，并反对禁戏。
5月11日，中国京剧院的主要演员叶盛兰、叶盛章、杜近芳等，在《人民日报》举行的京剧界座谈会上，揭露中国京剧院存在有严重的宗派主义和官僚主义，行政命令干预艺术创造，机构庞大，演员“窝工”等现象。
5月17日，文化部开放全部禁演剧目，属于京剧的，有17出⑸。随即小翠花公演了他的拿手戏《马思远》，吴素秋演出了《纺棉花》。同日，《戏剧报》邀集了中国京剧院一部分演员举行座谈会。谷春章、江世玉、李洪春吐露了没有戏演的苦闷。武旦演员李金鸿说：“其实，我对完全废除踩跷是有意见的，就是不敢讲。”黄玉华说：“京剧院三个团有170个演员，可是行政干部却有几百个，多出演员两倍，这样就是把演员累死了，也企业化不了。”
也就在这个5月，父亲、黄琪翔和李伯球三个人商量好，决定在北京市的医药卫生、工程技术、文教、农业、文艺方面，后来又加了京剧界，共六个方面召开农工民主党内外高级知识分子座谈会。京剧界座谈会是以三叶、三李（即叶恭绰、叶盛兰、叶盛长、李伯球、李健生、李万春）的名义邀请的，先后于6月5日、13日在政协文化俱乐部和北京饭店召开。会上，积极的母亲一再动员大家要敢于提意见。说：“不要怕打击报复，民主党派可以给你们撑腰。”热情的父亲则主动叫司机用自己的小轿车去接送名演员。座谈会开完，又掏腰包在北京饭店请客。那日父亲牙痛，便先去北京医院看牙，紧接着赶到饭店。他不敢喝酒，只喝了些汤，可那也高兴。原本父亲对中央统战部规定农工民主党只能在医药卫生界发展成员的限制，就有所不满。这次趁着大鸣大放大发展的机会，能有一点突破，他颇为得意。
“不是我要批判你，是他们要我批判你。我是没辙。”
“好花不常开，好景不常在。”鸣放很快变成了反右。在戏剧界第一个受批判的是张伯驹，接着，是吴祖光。继他们二人之后，便是由母亲和李伯球介绍参加中国农工民主党、并在母亲召开的座谈会上发言的李万春了。
北京京剧团在上级的布置下，召开了批判李万春的大会。马连良不仅必须出席，而且必须讲话。因为李万春是他收的第一个弟子。会前，上边已经跟马连良打了招呼，一定要“立场鲜明”。会上，他听这个批判，等那个讲完，一等再等，一拖再拖，眼看着大会要收场了。实在没法子，他把牙关咬紧，鼓足勇气，上了台。虽是一副“义愤填膺”的样子，可讲了两句，就没词儿了。满肚子的戏词儿，也都派不上用场。一向从容自如的马连良，感到从未有过的尴尬和慌张。他急忙忙下了场，下场时还按老规矩，给大家深鞠一躬。
散会了，大家走出了前门外粮食店中和剧院。走在了最后的李万春，觉得袖子被谁拽了一下，抬眼看来，却是马连良。从递过来眼神里，他判断：三叔（即马连良）有话要说。于是，跟在了后面。出了粮食店，过了马路，爷儿俩一同钻进了马连良的小汽车。司机按照吩咐，一直把车开到了坐落在李铁拐斜街的鸿宾楼饭庄。马连良走在前，李万春跟在后，进了个单间。
上了菜，马连良不好意思地开了口：“万春呀，希望你不要记恨我。不是我要批判你，是他们要我批判你。我是没辙。我还听说，这回内定的右派本来不是你，是我。后来听说上边没批，才改了你。可是，不管是你还是我，谁也不敢反党不是？就是给咱们爷儿俩一人一杆枪，咱们也不会去反社会主义不是？你先受点委屈，总有一天能说清楚的。今儿个三叔请你吃饭，是给你赔个不是。”⑹
李万春赶紧说：“三叔，您这话说远了，我还不知道是他们逼您说的！您说什么我根本没往耳朵里听。我才不往心里去呢，您也不用往心里去。快吃，快吃，菜一凉就没劲了，不好吃了……”⑺
马连良自以为这顿饭吃得谁也不知道。其实，上边早派了人盯梢。很快，领导找马连良谈话，他受到严厉申斥。
鉴于李万春“态度恶劣、罪行严重”，北京市文化局决定在7月22日和23日，连续两天进行批判，所有的京剧名演员都到场，包括马连良在内共一百多人出席。一些人的发言带有很大的挑拨性。李万春或许是舞台正中站惯了，竟镇定自若，神色如常。有人揭发他在批判会的前夜，居然还跑到剧场后台，对别人说：“没事儿，我在家抱孩子哪！明天是我的'正戏'，你们整风小集团组织好了吗？”霎时间，会场似狂风，群情如沸水。
1958年，到了反右斗争的收尾。李万春、叶盛兰、叶盛长三人，划为资产阶级右派分子。李万春调往内蒙古，叶盛兰留在中国京剧院，叶盛长则成了劳教人员。马连良没有划右。但有人传出话来，说：马连良在反右运动中，多亏彭真的保护和关照，才涉险过关。
整风反右运动使八个民主党派彻底垮台，其中最惨的要数中国民主同盟和中国农工民主党。由于马连良是在1956年底加入民盟的，故被戏剧界领导和剧团的左派，称为“火线入盟”，算是政治上的又一个严重问题。马连良的“赴朝收费”与“火线入盟”的行为，说明他这样的艺人只生活在艺术里。其聪明、才智与能力也只存活于艺术。一接触现实，便分不出好歹与利害，辨不明对错和黑白。在革命和政治面前，更是一个糊涂虫了。
“经群众大鸣大放，在群众自愿自觉的基础上改革一切不合理制度，把高薪适当地降低。”
“问春何苦匆匆，带风伴雨如驰骤。”中国又开始了大跃进，真是一阵锣接一阵鼓，没个消歇。文化主管部门立即着手进行对于戏曲民间职业剧团的改造。有一份报告是