Peking Opera performer Ma Lianliang and his family lived in a courtyard opposite the National Cultural Palace in Xicheng on Fuxingmen Street. It was often said that he was a filial son. He bought this luxurious house after he became famous to fulfil his father’s wish.
When Ma Lianliang was a child, his family lived in several mud-brick houses nearby. His father once said: “If you are a good son, you will have the ambition to work hard to study drama. I’m counting on you to buy the scholar mansion across the street from our house.” Later, Ma Lianliang’s dream became a reality; when he found fame and wealth, he bought the mansion.
Ma Lianliang was accused of being a ‘poisonous weed’
His life and his family’s carefree success and prosperous lifestyle did not last long. In August 1966, at the launch of the Cultural Revolution, the Red Guards in Beijing went on a rampage of raiding, smashing, and looting homes. Ma Lianliang became a target and was designated a “poisonous weed.” He was condemned and criticized for starring in the historical drama Hai Rui Dismissed from Office. He was among the first people in the theatre industry to be targeted and attacked.
Wave after wave of Red Guards broke into his scholar mansion, and even the Red Guard combat unit of the foreign drama school went to Beijing to pillage Ma Lianliang’s home. The Red Guards headed from Beijing Station and went straight to Ma’s residence at No. 54 Fuxingmen Street. They ripped open the floor of his house, dug three feet into the ground, and left the debris all over the floor. Everything that could be smashed was smashed, and everything that could be robbed was robbed, not least to mention that Ma Lianliang was assaulted and beaten.
Writer Zhang Yihe met Ma Lianliang many times. She said that when he was off-stage, he spoke slowly, his eyes were not jumpy, he kept a smile, and he always looked calm and at ease. She continued when Ma Lianliang was on stage, saying he was even more delicate and handsome! After being beaten, he looked up to the sky and sighed: “I’m as sad as a bereaved dog.”
Wanton destruction: nothing was sacred, nothing was spared
The Red Guards dug out Ma Lianliang’s most precious tape recording and took it to the pianist’s residence in the front yard to listen to them. There were children of high-ranking cadres among the Red Guards, and they knew that the “Great Leader” himself had summoned Ma Lianliang into Zhongnanhai to sing Borrowing the East Wind. They also enjoyed his singing. The tape was played back and forth repeatedly, so much so that after five days and nights, it was destroyed.
At that time, a Red Guard at the Jinggangshan Corps of Beijing University headquarters recounted a scene of Ma Lianliang’s house being raided. The Red Guard noticed Ma Lianliang holding something in his hand and ordered him: “Hand it over!” It was a green and crystal clear jade snuff bottle with vivid paintings carved inside, showing the craftsman’s ingenuity. Ma Lianliang cherished it very much.
Seeing the Red Guard standing before him, snatching the snuff bottle from his hand, Ma Lianliang begged: “Don’t destroy it; it is a rare treasure. Keep it and donate it to the country.” The Red Guard looked at the snuff bottle in his hand and spewed vulgar verbiage. When the Red Guard raised his arm, Ma Lianliang fell. As the snuff bottle shattered, Ma Lianliang also collapsed, drooling and unconscious.
Zhang Yihe wrote that Ma Lianliang shared an excellent appreciation for jade antiques. He had a collection of quite valuable jadeite, white jade, agate carvings, and snuff bottles, which people in that circle knew about.
He became the most famous and influential performer
Ma Lianliang became as famous as Mei Lanfang, a notable Chinese Peking opera artist. He was the most influential Peking Opera actor of the 20th century, the first of the “four major scholars” of Peking Opera, and the founder of the Ma School of Peking Opera.
Ma Lianliang has loved Peking Opera since he was a child. At age 8, he entered Xi Liancheng’s opera class in Beijing and graduated from the course at 17. His third uncle invited him to Fuzhou to play the leading role in a drama, and his reputation rose. However, he was in no hurry to make money.
Instead, he returned to Beijing to continue his studies again, just like the current postgraduate students after graduation. He sat in the department for another three years, and every morning, he went to the Xibian Gate to “shout” and practice chanting. He then went home to sing and train his voice. He did not smoke or drink.
After age 27, he produced many records and amassed a repertoire of recordings. His circulation was large and much sought after at that time. His singing voice was considered fluent and comfortable, powerful yet beautiful and majestic, and unrestrained in the deep notes. Ma Lianliang developed his unique singing style.
Zhuge Liang is on the Peking Opera stage and is none other than Ma Lianliang. The singing segments of the Ma repertoire were popular in Beijing, showing the artistic charm of the old and vivid disciples of the Ma School. In 1930, he formed the Fufeng Society. Ma Lianliang made outstanding achievements in Peking Opera, and the Ma School of Peking Opera left a strong mark on the history of opera.
Escaped to Hong Kong, but was lured back to the mainland
Ma Lianliang also performed for the Manchurian government during the Japanese puppet period. Because of this, the Nationalist government wanted him after the end of the Anti-Japanese War, and he went to Hong Kong to seek refuge. In 1951, Ma Lianliang accepted Zhou Enlai’s invitation to return to mainland China and, at the same time, declined the invitation to go to Taiwan.
At that time, Zhou Enlai said: “Don’t take it to heart about performing in Manchuria. You are an actor, rely on singing to support your family, and have no political agenda.” After hearing such heart-warming words, Ma Lianliang chose to return to mainland China.
Before leaving Hong Kong, Ma Lianliang consulted a fortune teller who told him he still had 15 years of great luck. He returned with his wife and children without listening to any further advice.
Following his return to Beijing at the invitation of Zhou Enlai, Ma Lianliang established the Ma Lianliang Theater. His theater was essentially different from the state-run theater troupes of the Communist Party of China (CCP). His theater was run as a private enterprise and earned income by putting on live performances.
Upon his return home, he faced an immediate uproar
In 1953, during the Korean War, Ma Lianliang signed up for the Third Condolence Group in North Korea and performed there for half a year, during which he and his group members did not earn a penny. Despite this, after returning to China, he was criticized for “asking for money” for the performances and forced into a public review of his case.
In 1957, during the anti-rightist campaign, Ma Lianliang narrowly escaped disaster due to Beijing Mayor Peng Zhen’s protection. However, his students were not spared. Lei Wanchun was Ma Lianliang’s first student. The communist leaders demanded that Ma Lianliang attend the rally to publicly condemn Li Wanchun and make a “clear-cut” statement.
He was the last one to go up onto the platform, and after two sentences of criticism, he bowed and went back down. After coming down from the platform, he said: “Wanchun, I hope you don’t hold a grudge against me. It’s not that I want to judge you, but they’re asking me to. I’ve also heard that this time, it’s not you who is the rightist; it’s me. Later, I heard that there was no decision from above, so they picked on you.” Li Wanchun was classified as a rightist and sentenced to Inner Mongolia from Beijing in 1958.
Transformation of Peking Opera and personal upheavals
In 1963, Peking Opera went through significant disruptions. First, the famous drama The Orphan of Zhao was labeled a “poisonous weed.” The traditional repertoire was banned, and the revolutionary model play was staged. Ma Lianliang, an old artist, was highly disgusted and resentful, but dared not speak out.
Whatever was happening on stage, Ma Lianliang just went through the motions and saw it through. However, he knew nothing about revolution and politics off-stage. He successfully starred in the historical drama Hai Rui Dismissed from Office, but he was caught in the political whirlpool that ensued, and he endured a catastrophic backlash. He did not understand what was happening even as he closed his eyes and left the world.
On June 4, 1966, the Beijing Peking Opera Troupe performed the modern opera Prosperous Every Year at a school. After Ma Lianliang dressed up, as was his custom, he would typically test his voice. This time, he did not. Instead, he shouted: “It’s over! It’s over!” This made his adopted son, Wang Yinqiu, who was standing beside him, very puzzled.
It turned out that Central People’s Radio broadcasted Yao Wenyuan’s critical article that day, saying that Hai Rui Appeal starring Zhou Xinfang in the South was a big “poisonous weed.” When Ma Lianliang heard the news, he could not help but think about his starring role in Hai Rui Dismissed from Office. Southern Zhou and Northern Ma, one played Hai Rui Appeal, and the other played Hai Rui Dismissed from Office, one from the South and one from the North, echoing the anti-party from afar.
Frightened by politics, Ma Lianliang knew disaster was coming. Sure enough, someone from the Beijing Peking Opera Troupe posted a big-character poster to Ma Lianliang at the Zhonghe Theater the following day.
Cynically praised and encouraged by Mao in person
However, Ma Lianliang was deeply puzzled because, in 1959, Chairman Mao called for learning from Hai Rui’s upright and outspoken spirit. Ma Lianliang also liked Hai Rui’s upright character. What is rare is that his aesthetic views and value orientation were consistent with the Party’s literary and artistic direction.
He asked Wu Han, the vice mayor of Beijing, to write the script for Hai Rui Dismissed from Office, and he devoted himself to the new role of Hai Rui on stage. After the performance in 1961, Mao applauded and appreciated it. For this reason, Mao invited him to Zhongnanhai for dinner and praised him in person.
It is said that Mao personally revised three drafts commenting on Yao Wenyuan’s critical article, Hai Rui Dismissed from Office. At this time, Mao Zedong was plotting how to launch the political movement of the infamous Cultural Revolution. He intended to launch the Cultural Revolution from Beijing and start with Hai Rui Dismissed from Office.
The Cultural Revolution takes down its first victim
How many people can predict or perceive such political deviousness, not to mention the artist Ma Lianliang, who had always avoided politics? Unfortunately, Hai Rui Dismissed from Office, starring Ma Lianliang, was used as the fuse to launch the Cultural Revolution. In the words of one of Ma Lianliang’s students: “Hai Rui is unlucky, and Mr. Ma is most miserable. It’s not just Ma Lianliang and Wu Han who are unlucky because of Hai Rui Dismissed from Office. Anyone who has written or acted in Hai Rui’s play is doomed.”
After Ma Lianliang was condemned and arrested in 1966, he fell ill and was hospitalized. The Communist Party issued an order: “No matter how sick he is, he must report to the regiment immediately to accept condemnation.”
In December 1966, Ma Lianliang’s youngest daughter, Ma Xiaoman, took him home that day. The family discovered that something was wrong with Ma Lianliang. Cold sweat soaked through his clothes, his chest felt tight, and his whole body was cold. The family wanted to send him to the hospital for emergency treatment, but the Red Guards locked the gate, and they could not get out! Finally, the eldest daughter knelt before the Red Guards and begged hard before the gate was opened.
When they arrived at Fuwai Hospital, the staff saw that it was Ma Lianliang, so they did not dare treat him. The staff immediately called their superiors and asked for instructions: “Ma Lianliang has come to the hospital and asked for rescue.” “Wait a minute, we’ll ask for instructions.” There were still more superiors above them, and they did not know the level of approval. Only when full support was given did the hospital take him in and admit him.
The Peking Opera Master closed his eyes
On December 16, the third day of Ma Lianliang’s admission to the hospital, the nurse tested his blood. When the needle was inserted into his vein, Ma Lianliang let out an “ouch” sound, his head softly tilted to the side, and his face changed color. Peking Opera master Mr. Ma Lianliang succumbed to sudden cardiac arrest and death at the age of 66.
Sure enough, it was 15 years from when he left Hong Kong and returned to the north to his sudden passing. For Ma Lianliang, these 15 years were just a lifespan, and they did not represent luck as he had thought based on fortune telling before he left Hong Kong for mainland China. During this period, he encountered a lot of bad luck until the Cultural Revolution, which was catastrophic.
While critically ill, he looked up to the sky and asked: “Why don’t they keep their word? I still don’t understand what’s happening to me? Why am I like this? I don’t understand!”
His mortal remains were defiled and denied a dignified burial
Ma Lianliang was a Muslim, but he was not allowed a burial. He was hastily cremated. His tomb was left empty, without even his ashes! An Yunwu, a student of Ma Lianliang, said: “Ma Lianliang’s health was excellent. Without this disaster, he would not have died.” He choked up, tears welling in his eyes: “If he could only live a few more years, his contribution to society would be passed down forever.”
In 1996, An Yunwu could finally perform Hai Rui Dismissed from Office at the Cultural Palace of Nationalities in Beijing. Tickets had already been sold, but he suggested the theater have a promotional advertisement for the performance because Mr. Ma’s former residence was on the opposite side. “I want to comfort Mr. Ma’s soul in heaven through this advertisement.”
The stage was filled with his brilliance
In the past, as soon as Ma Lianliang appeared on stage, the stage was full of brilliance; when Ma Lianliang opened his mouth, the aftermath lingered for three days. Zhang Yihe said: “The brilliance of opera still falls on the main character. No matter how good the team is, it can’t hold up when the main character is down.”
Ma Lianliang was persecuted to death by the CCP, and his Peking Opera era is gone. Old Peking opera fans say there was no more Peking Opera after the Cultural Revolution. Sadly, this is probably the Chinese Peking Opera’s actual situation and the Chinese people’s great sorrow.
Translated by Chua BC
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