千里駒 Qian Li Ju

千里駒 （1886年—1936年3月20日），原名區家駒，字仲吾，廣東廣州府番禺縣烏洲（今屬佛山市順德區倫教街道）人，著名粵劇表演藝術家，有“花旦王”之稱。 千里駒出身書香世家，自小喜歡粵劇，十一、二歲起先後拜刀馬旦扎腳勝和小生架架慶為師。十五歲跟隨扎腳勝到越南演出，後來投靠惠州的龍門班，擔任小生。他跟隨架架慶學習擔任“小武”，師傅給他取藝名“大牛駒”。後來，他學習小生和花旦行當，更頂替班中正印花旦粉墨登場。由於大受歡迎，架架慶讓千里駒擔任各種花旦。 千里駒後來得到香港商人何萼樓賞識，聘請到“鳳凰儀”、“人壽年”、“國中興”、“周豐年”等著名戲班演出。他與著名演員肖麗湘、小生聰等合作十多年，並充當肖麗湘副手，揣摹她的精妙技藝。他們的劇目十分精采，以主演傳統悲劇《金葉菊》讓人感受至深。後來肖麗湘病倒，千里駒便頂替擔綱，大受觀眾歡迎。 他之後與白駒榮、靚少華等合作演出。千里駒在戲台上演出是文武兼備，能生能旦。他演出倫理悲劇著稱，有“悲劇聖手”之譽。他的旦角藝術融合扎腳勝及肖麗湘的特質，唱腔抑揚有致，跌宕多姿，咬線露字。他在傳統精華上獨創個人風格，在《燕子樓》一劇與樂師黃不滅共同創造“燕子樓中板”、“燕子樓慢板”新腔。由於演出嚴謹決不放鬆，被觀眾稱謂“廣東梅蘭芳”。 千里駒成名後灌製粵曲唱片，讓唱腔藝術得以流傳。1925年省港大罷工期間，千里駒以表演響應罷工號召。他加入粵劇八和公會成了委員，為粵劇仝人謀取福利。 1936年3月20日，千里駒為長期積勞成疾，在廣州逝世。他一生演出劇目一百二十多個，有《蕩舟》、《葉菊》、《再生緣》、《順母橋》、《舍於奉姑》、《夜送寒衣》、《蔡文姬歸漢》、《崔子弒齊君》、《裙邊蝶》、《昭君出塞》等。他對粵劇表演藝術有著傑出貢獻，被粵劇同行和觀眾尊稱他為“伶聖”。 简体： 千里驹 Qian Li Ju（1886年—1936年3月20日），原名区家驹，字仲吾，广东广州府番禺县乌洲（今属佛山市顺德区伦教街道）人，著名粤剧表演艺术家，有“花旦王”之称。 千里驹出身书香世家，自小喜欢粤剧，十一、二岁起先后拜刀马旦扎脚胜和小生架架庆为师。十五岁跟随扎脚胜到越南演出，后来投靠惠州的龙门班，担任小生。他跟随架架庆学习担任“小武”，师傅给他取艺名“大牛驹”。后来，他学习小生和花旦行当，更顶替班中正印花旦粉墨登场。由于大受欢迎，架架庆让千里驹担任各种花旦。 千里驹后来得到香港商人何萼楼赏识，聘请到“凤凰仪”、“人寿年”、“国中兴”、“周丰年”等著名戏班演出。他与著名演员肖丽湘、小生聪等合作十多年，并充当肖丽湘副手，揣摹她的精妙技艺。他们的剧目十分精采，以主演传统悲剧《金叶菊》让人感受至深。后来肖丽湘病倒，千里驹便顶替担纲，大受观众欢迎。 他之后与白驹荣、靓少华等合作演出。千里驹在戏台上演出是文武兼备，能生能旦。他演出伦理悲剧著称，有“悲剧圣手”之誉。他的旦角艺术融合扎脚胜及肖丽湘的特质，唱腔抑扬有致，跌宕多姿，咬线露字。他在传统精华上独创个人风格，在《燕子楼》一剧与乐师黄不灭共同创造“燕子楼中板”、“燕子楼慢板”新腔。由于演出严谨决不放松，被观众称谓“广东梅兰芳”。 千里驹成名后灌制粤曲唱片，让唱腔艺术得以流传。1925年省港大罢工期间，千里驹以表演响应罢工号召。他加入粤剧八和公会成了委员，为粤剧仝人谋取福利。 1936年3月20日，千里驹为长期积劳成疾，在广州逝世。他一生演出剧目一百二十多个，有《荡舟》、《叶菊》、《再生缘》、《顺母桥》、《舍于奉姑》、《夜送寒衣》、《蔡文姬归汉》、《崔子弑齐君》、《裙边蝶》、《昭君出塞》等。他对粤剧表演艺术有着杰出贡献，被粤剧同行和观众尊称他为“伶圣”。 Qian Li Ju千里驹 (1886-March 20, 1936), formerly known as Ou Jiaju and courtesy name Zhongwu, was a native of Wuzhou, Panyu County, Guangzhou Prefecture, Guangdong Province (now part of Lunjiao Street, Shunde District, Foshan City). He was a famous Cantonese opera performing artist with the title of " Known as the "King of Huadan". Qian Li Ju comes from a scholarly family and has been fond of Cantonese opera since he was a child. From the age of eleven or twelve, he became a disciple of Dao Ma Dan Zha Jia Sheng and Xiao Sheng Jia Jia Qing. At the age of fifteen, he went to Vietnam to perform with Zha Jia Sheng, and later joined the Longmen Troupe in Huizhou as a niche student. He learned to be "Xiao Wu" from Jiu Jia Qing, and his master gave him the stage name "Da Niu Ju". Later, he learned the trades of niche and Hua Dan, and even made his debut as a member of the class, replacing Zheng Yin Dan. Because of her popularity, Jiajiaqing asked Qianliju to serve as various female actors. Qianliju was later appreciated by Hong Kong businessman Ho E-Lo and hired to perform in famous theater troupes such as "Phoenix Instruments", "Shou Nian", "Guo Zhongxing" and "Zhou Fengnian". He has collaborated with famous actors such as Xiao Lixiang and Xiao Shengcong for more than ten years, and serves as Xiao Lixiang's deputy, imitating her exquisite skills. Their repertoire is very exciting, and their performance in the traditional tragedy "Golden Leaf Chrysanthemum" is deeply touching. Later, Xiao Lixiang fell ill, and Qian Li Ju took over the role, which was very popular with the audience. He later collaborated with Bai Jurong, Liang Shaohua and others. Qian Li Ju performs on the stage with both civil and military skills, and is capable of being a talented person. He is famous for his ethical tragedies and was known as the "Master of Tragedy". His dan role art combines the characteristics of Zha Jiansheng and Xiao Lixiang. His singing voice was graceful, ups and downs, and the lines are sharp and the words are revealed. He created his own personal style based on the essence of tradition. In the play "Swallow Tower", he and musician Huang Bumie jointly created the new tunes of "Swallow Tower Medium Piano" and "Swallow Tower Adagio". Because his performance was rigorous and never relaxed, he was called "Guangdong Mei Lanfang" by the audience. After Qian Li Ju became famous, he recorded Cantonese opera records, allowing the art of singing to be spread. During the 1925 provincial and Hong Kong strikes, Qian Li Ju responded to the strike call with a performance. He joined the Cantonese Opera Association and became a committee member to seek benefits for fellow Cantonese opera fans. On March 20, 1936, Qianliju died of illness in Guangzhou due to long-term overwork. He performed more than 120 plays in his life, including "Roading in the Boat", "Yeju", "Rebirth", "Shunmu Bridge", "Abandoned to Fenggu", "Sending Cold Clothes at Night", "Cai Wenji Returns to the Han Dynasty" , "Cui Zi Killed the King of Qi", "Butterfly on the Skirt", "Zhaojun Leaving the Fortress", etc. He has made outstanding contributions to the performing arts of Cantonese opera and is honored as the "Sage of Actors" by fellow Cantonese opera colleagues and audiences.