194 1 in July, the 6th Division of the New Fourth Army18th Brigade broke through Su Changtai's Qing Xiang area and moved to northern Jiangsu, where it was met by Chen Yi, commander of the New Fourth Army. Chen Yi encouraged the 18th Brigade of the 6th Division to become a "model guerrilla corps". The commander's instructions inspired the creative enthusiasm of cultural workers. Guo Jianqing, the propaganda chief of the 52nd regiment of the 6th Division18th Brigade, called Huang Wei of the Music Department of Lu Xun Art College in Central China. He said: "Recently, Commander Chen Yi gave an instruction to the 6th Division18th Brigade: You should be a model of guerrilla corps. You graduated from Lu Yi, and you are good at singing and composing music. I want to write our group history into a song, and you compose it. " Hearing this, Huang Wei felt that it was an unshirkable responsibility and accepted this special task happily.

Guo Jianqing is an old soldier in Jiang Kang. He is very familiar with the development history of the 52nd Regiment. This is an army developed by 36 wounded and sick people on the bank of Yangcheng Lake. Finally, Guo Jianqing finalized the song "You are a Guerrilla", which fully reflected the battle course of the 18th Brigade and the 52nd Regiment. In just two days, Guo Jianqing wrote the lyrics. Sentence patterns vary in length. At first glance, it looks like a new poem, with poor rhyme, but rich content. Guo Jianqing handed the lyrics to Peng Chong, director of the Political Department of the Communist Youth League, and Peng Chong revised them sentence by sentence in great detail. Guo Jianqing also gave the lyrics to the veterans who were recovering in Yangcheng Lake, and they all put forward many pertinent suggestions for revision. After the lyrics are formed, they are handed over to Huang Wei for composition. Bo Huang first fully understood the meaning of lyrics and tried to achieve the perfect unity of lyrics and songs. This song was finally finished in June 1943 1 1, and soon it was taught in the whole group.

1944, 18 The Ministry of Tourism organized the whole brigade singing group to perform, and 52 groups of singing groups sang this song. On that day, the contestants were in high spirits, and they sang bravely. After watching the performance, Liu Fei, director of the brigade political department, and Xia Guang, chief of staff, were very satisfied. At that time, Liu Fei, Xia Guang and other leaders thought that there were not only 52 regiments but also 54 regiments among the 36 wounded and sick people, and this song should be the battle song of 18 brigade. So this song was later subtitled "Praise for the Eighteen Brigade".

? First author Cui [picture]. The entry "Luhuo" in the Encyclopedia of China Opera published by 1982 reads: The script is adapted from Cui's Blood-stained Names. As early as 1948 1 13 10, Cui participated in the Huai Hai Campaign as a war correspondent. The commander of the first column of Hua Ye pointed to a unit returning from cleaning the battlefield and said to Cui: "The predecessor of this regiment was the 52nd regiment of the 18th Brigade of the Sixth Division of the New Fourth Army, and the earliest group of fighting backbones was' Jiang Kang' who stayed behind in the reeds beside Yangcheng Lake. Develop into a brigade, he is a brigade commander; When he developed into a teacher, he served as a teacher. He has a lot of battle stories in his stomach. If you have an opportunity in the future, you can interview him well. " After a lapse of nine years,1June, 957, Cui made a special trip to Suzhou, Changshu, Taicang and other places to interview for more than two months, and wrote the documentary literature "The name of blood-36 patients' struggle", which provided the material for the later Shanghai drama "Luhuahuo".

The second author Liu Fei [picture]. 1957, on the eve of the 30th anniversary of the founding of China People's Liberation Army, the editorial department of Red Flag Fluttering asked senior cadres of the whole army for revolutionary memoirs. Liu Fei, then the deputy commander of Shanghai police, was determined to write a story about the East Road War of Resistance. However, just as Liu Fei was writing his memoirs, he fell ill and went to Moganshan for recuperation. In the sanatorium, Liu Fei always recalled the past of the struggle between 36 wounded and wounded soldiers of Jiang Kang army and the puppet troops that day, and felt uneasy about not writing it. Therefore, he dictated his illness, which was recorded by his wife Zhu Yi and his secretary Gao Song, and wrote a long memoir "The Fire". This 65,438+10,000-word memoir focuses on the story of his persistence in fighting behind enemy lines by Yangcheng Lake after being seriously injured, and his deep friendship for the people. Later, Liu Fei named the relevant chapter "The Bank of Yangcheng Lake" and published it in Shanghai's "Germination" and Jiangsu's "Yuhua" literary magazines. Ding Shie, the actor of A Qing Sao, wrote in an article recalling Liu Fei: In the early 1960s, our troupe created and performed the modern Shanghai opera "Lu Danghuo". This play is adapted from a military history essay "The Name of Blood Staying". This struggle happened to be a part of the army's fighting life led by Comrade Liu Fei ... Liu Fei inquired about the creation and performance of "Lu Danghuo" in detail, and said happily that it is a very good thing that Shanghai Opera can reflect the army's life. He also encouraged us to go deep into army life.

The third author Wen Mu [picture]. From 65438 to 0959, Wen Mu, screenwriter of Shanghai People's Shanghai Theatre, and Chen Ronglan, secretary and head of the Party branch, planned to write a modern Shanghai opera reflecting the hard struggle of the New Fourth Army in Jiangnan. After reading "Blood-stained Names", it was quite enlightening. Later, they saw Liu Fei's memoirs, and they agreed that these two works could be used as the material for the creation of anti-Japanese legendary dramas. So, they interviewed General Liu Fei, and General Liu Fei warmly received them and arranged for them to go deep into the army to interview and collect materials. They visited the military history exhibition hall, saw the list of 36 wounded and sick people, and learned how the wounded and sick people won the Type 96 heavy machine gun with their lives in the battle. Soon, the modern Shanghai opera "Clear Water and Red Flag" created by Shanghai People's Shanghai Theatre and written by Wenmu was born. Perhaps influenced by Liu Fei's memoir Fire, 1960 changed the title of the play to Ludang Fire. In order to improve the ideological level and performing art level of the play, the crew went deep into Hengjing (now Shajiabang Town) in Changshu to experience life, interviewed veterans of the New Fourth Army and local underground party, listened to their stories about the struggle between Lu and the party, and visited the anti-Japanese war sites and revolutionary cultural relics. The crew also went to an army in Zhejiang to live and practice with the soldiers and experience the temperament, thoughts and feelings of the PLA. After three major revisions, the script of the Shanghai opera "Lu Danghuo" is becoming more and more mature. The troupe sent a strong lineup in time, with famous Shanghai opera actors playing Sister-in-law, Xie Hongyuan playing Chen, Guo Jianguang playing Grandma Sha and Lu playing Sha Qilong. Shao Binsun plays Diao Deyi and Yu Lintong plays Hu Chuankui. On March 5th, 1964, the newly revised drama "Lu" was staged in Shanghai, with 370 consecutive performances and an audience of 560,000. It is the first time that a drama has been performed by a troupe for seven months in a row, and it is enduring. Since the liberation of 15, Shanghai Opera Troupe has performed the longest performance and the highest attendance. Arranged by the Ministry of Culture, the drama "Lu" was staged in Beijing from1October 22nd 1964 to 65438+, attended by leaders from Li Xiannian, Bo Yibo and other countries. After the performance of the Shanghai opera "Lu Danghuo", it aroused strong repercussions in the theater and the audience. In Shanghai alone, nine troupes of different schools transplanted Lu, and as many as 3 1 troupes performed Lu nationwide.

Fourth author Wang Zengqi [photo]. 1963 In the spring, Jiang Qing went to Shanghai for a short stay. She watched Lu Danghuo, performed by Shanghai People's Shanghai Theatre, and was very interested, so she decided to give the drama Lu to Beijing Peking Opera Theatre with high level and great influence. Beijing Peking Opera Theatre quickly established a creative group, consisting of Wang Zengqi, Yang Yumin, Jony J and Xue Enhou. At that time, Wang Zengqi took off his hat and was a "right-handed". Because I wanted to change the drama, I was suddenly "liberated", criticized and retained. Among the four creative team members, Yang Yumin is the director of the art room, Jony J is the head of the troupe, and Xue Enhou is the party secretary of the troupe. Therefore, the main task of script adaptation falls on Wang Zengqi. As the main creator, Wang Zengqi once again carefully positioned the adaptation of the script of "Lu Danghuo", and he put his efforts on the literariness of the script. For example, in the scene of Zhi Dou, when Diao Deyi caught A Qing's words "Generals often come and go, and I have a heart to rely on big trees to enjoy the cool", he insidiously proposed: "The New Fourth Army has been in Shajiabang for a long time, and this big tree is shaded. You often associate with them, so you must arrange to take care of glory? " At this time, Mrs. A Qing had an insight into Diao Deyi's cruel heart. She sang, "Set up a seven-star stove, cook three rivers in a copper pot, and set up a square table to entertain sixteen parties. All the guests come with one mouth, and they are greeted with smiles when they meet. After that, they stopped thinking about it. Tea gets cold when people leave. What is so detailed? " Later, Wang Zengqi said that this lyric was stripped from Su Dongpo's "Yoshioka Fried Tea", "The big ladle stores the moon in the spring urn, and the small ladle divides the river into the night bottle". When Wang Zengqi focuses on portraying the characters in the play, he pays attention to absorbing the advantages of Beijing opera and makes every scene as concentrated and compact as possible to prevent looseness and procrastination. Nowadays, the scenes such as "intelligence fighting", "making suggestions" and "repelling the enemy" in this drama have been enduring and widely known. They can be independent, but they are an inseparable core part of the whole drama and shine with dazzling charm in the overall situation.