有一种花，送给楼上的他！

我想，我可以了，见与不见，爱在心中。
一朵花，送给自己，还有玉刚。



量变到质变，为自己加精华！



Li Yugang
      2010-03-16 16:18:24       CRIENGLISH.com
Men playing female roles in stage performances can be dated back to Ancient Rome and were widely seen in Shakespeare's plays. Well, that phenomenon is not exclusive to the west. In traditional Chinese operas, such as Peking Opera, many female characters are performed by male actors.
Li Yugang is one of the most popular actors currently singing and performing in drag on stage in China. He is one of the two Chinese singers to successfully hold their own concerts in the Sydney Opera House.
Today, let's hear his story. Here is reporter He Fei.
Li Yugang is performing his most popular piece "New Drunken Concubine"


开始
This is one of Li Yugang's most popular pieces "New Drunken Concubine". The piece "Drunken Concubine" was once the Peking Opera Master Mei Lanfang's trademark. Now, Li Yugang has updated it with a more modern style.
Nowadays, grass-root stars, everyday people who've made their way into the spotlight through talent, are being welcomed and loved by the public. People are inspired by their insistent pursuit of their dreams. Names which come to mind are Susan Boyle and Adam Lambert. Li Yugang is also a grass-root star. He won nationwide fame after appearing on a popular TV show called the "Star Boulevard", which is similar to Britain's Got Talent or American Idol.
Dressed in colorful traditional opera costumes, Li wowed audiences with his impossibly high notes and graceful dance moves. It was hard to believe a male actor could act out a female role so beautifully. People can't help but be reminded of the Peking Opera master Mei Lanfang.
"In fact, it was by accident that I got to know Mr. Hu Wenge, a student of the famous Peking opera master Mei Baojiu, Meilanfang's son. He thought that I had the potential to learn the Dan character in Peking opera. He taught me a lot about the treasured art form."
Li Yugang never went to a professional school to learn Peking Opera. But he has always been very diligent in studying the essence of the traditional arts. He borrowed the best aspects of Peking Opera and combined them with folk songs, dances and modern stage decorations and lighting to create his unique performing style.
Last year, he had the opportunity to hold a concert in the Sydney Opera House. To date, only 2 Chinese singers have had the honor to present their own concerts there. Li Yugang says he really treasured the opportunity.
"How many singers get to stand on the stage of the Sydney Opera House during his or her career? When the concert ended, I really didn't want to leave the stage since I didn't know when I could come back to the stage and sing my songs to the audience. Maybe it won't be until my next lifetime. So I treasure every moment I had there."


The show was very successful, attracting not only overseas Chinese audience, but also many foreigners who are interested in Chinese culture and art. Li Yugang describes the last scene of the concert like this.
"Actually, I didn't know whether the audience liked or disliked my concert. So when I finished my last song, I went down on one knee to express my regrets in case my audience wasn't satisfied with my performance. But they gave me loud applause and gathered around me for signature including many foreign audience members."
Li Yugang [photo: ent.people.com.cn]
2009 is a big year for Li Yugang. Besides the Sydney concert, he has also signed with the China Opera and Dance-Drama Theatre as a state first-class performer. He is the only grass-root singer signed to the troupe who didn't have any professional training.
"The day I signed the contract I cried. The hardship I had gone through for more than ten years all disappeared at that moment, leaving only the sunshine. I felt that people finally recognized my ability. I finally went from a grass-root level performer to a professional singer in a state level troupe."
Li Yugang was born in a common farming family in northeast China. In his home village, he was the first person who passed the entrance exam for a university in a big city. But he chose to pursue his dream of performing. He left home when he was only 13. Back then, he even couldn't afford a train ticket back home.
"My clearest memories are of my days in Shenzhen back in 1999. I didn't go home in the spring festival season as Shenzhen was too far from my home and I couldn't afford the return train tickets. I rented a small room without windows as it was cheap. And I always worked very late. So for a period of time, I really yearned for sunshine."
Such hardship steeled Li Yugang's spirit and his persistence and diligence finally brought him the fame he deserved. Earlier this year, he held another successful concert in Beijing. Audience lined up for more than 10 hours to get tickets. But Li Yugang's step doesn't falter as he continues to work on his art. Although there are some different critiques about the fact that he performs in drag, he says he will persist at it and create more fine works to promote the traditional Chinese art form and culture.
For China Now, I'm He Fei.
这是原文链接：
http://english.cri.cn/4406/2010/03/16/1122s557016.htm


又去了刚吧，那里风和日丽，大家都在兴高采烈的直抒胸臆，为玉刚上海演歌会的成功而喝彩。
在优酷，在搜狐，玉刚上了首页，相信会有更多的人会认识玉刚，相伴而来玉刚可能要承受更大的压力吧。
本想封笔，结果还是不自主的写下“且行且珍惜”，有点感伤，与主流不太相符，但为真情流露，就让它沉淀吧，在我的心里。
他用生命换来的红花，开一朵就会少一朵，人间难得！
且行且珍惜！

看到上海的视频，没想到会是那样，有点变味，一些建议与意见做为对玉刚的回复，不知明天还会不会看到那层楼454，我知道很多亲不喜欢我这样的做法，在别人叫好时自己非要另辟蹊径，曲高和寡，句句肺腑望玉刚看到有所思。
1，个人言，我更偏爱保利。两字概括：精致。
2，忌浮躁，举例回看一下你的长绸。那是玉刚的杀手锏，现在舞成什么样。
3，有些表演点到为止，过犹不及。记得一个访谈中玉刚说过，而且是非常谦虚的说过“点到为止”，毕竟自己是个男人，妩媚没有错，但还要高贵。
4，调整心态，劳逸结合。做为一个成功的人，这点很重要。
浮躁，骄傲其实也是我自己的缺点，熬夜更是个极坏的毛病，我改。

浮躁，骄傲其实也是我的缺点。直到老了，才领悟到，平静淡定才是人生的精华。

最近一直在忙，加之网络慢得让我有想摔本的冲动，所以，刚吧是不能去的，这似乎错过许多的精彩。
或许，这是对我的“见与不见”的考验，积淀已深，无谓世事，那份爱，在心中，静静的就好，不过还是很遗憾没有加入到送相片和祝福的行列。
我好像一直与他无缘，近在咫尺不识君，远在天边思断肠。

玉刚，你还会记得这是在哪能里吗？


玉刚的南京演歌会结束了，他反复的说这是场对于他而言非常有意义的演出，我不解，玉刚应该不会是个随便说有意义的人，且反复的说，抑或玉刚以前也这样说，而我不晓得。
这次现场，玉刚和刚丝的互动很精彩，且提到刚吧，看后很开心！


南京，也是我心中的城市之一，欣赏余秋雨，正源于他的《文化苦旅-南京》，贴上来，回味下，那座城市，那些人。
南京
     六朝金粉足能使它名垂千古，何况它还有明、清两代的政治大潮，还有近代和现代的殷殷血火。
     许多事，本来属于全国，但一到南京，便变得特别奇崛，让人久久不能释怀。历代妓女多得很，哪像明末清初的“秦淮八艳”，那样具有文化素养和政治见识，使整整一段政治文化史都染上了艳丽色彩？历代农民起义多得很，哪像葬身紫金山的朱元璋和把南京定都为天京的洪秀全，那样叱咤风云，闹成如此气象？历代古都多得很，哪像南京，直到现代还一会儿被外寇血洗全城，一会儿在炮火中作历史性永诀，一次次搞得地覆天翻？
     中华民族就其主干而言，挺身站起于黄河流域。北方是封建王朝的根基所在，一到南京，受到楚风夷习的侵染，情景自然就变得怪异起来。南京当然也要领受黄河文明，但它又偏偏紧贴长江，这条大河与黄河有不同的性格。南京的怪异，应归因于两条大河的强力冲撞，应归因于一个庞大民族的异质聚汇。
     这种冲撞和聚汇，激浪喧天，声势夺人。因此，南京城的气魄，无与伦比，深深铭刻着南北交战的宏大的悲剧性体验。玄武湖边上的古城墙藤葛拂拂，明故宫的遗址仍可寻访，鸡鸣寺的钟声依稀能闻，明孝陵的石人石马巍然端立，秦淮河的流水未曾枯竭，夫子庙的店铺重又繁密，栖霞山的秋叶年年飘落，紫金山的架势千载不移，去中山陵、灵谷寺的林荫道，永远是那样令人心醉。
     别的故都，把历史浓缩到宫殿；而南京，把历史溶解于自然。在南京，不存在纯粹学术性的参观，也不存在可以舍弃历史的游玩。北京是过于铺张的聚集，杭州是过于拥挤的沉淀，南京既不铺张也不拥挤，大大方方地畅开一派山水，让人去读解中国历史的大课题。我多次对南京的朋友说，一个对山水和历史同样寄情的中国文人，恰当的归宿地之一是南京。除了夏天太热，语言不太好听之外，我从不掩饰对南京的喜爱。
     心中珍藏的千古名诗中，有不少与南京有关，其中尤以刘禹锡的《石头城》为最：
     
     山围故国周遭在，
     潮打空城寂寞回。
     淮水东边旧时月，
     夜深还过女墙来。
     1000多年前的诗人已把怀古的幽思开拓到如此气派，再加上1000年，南京城实在是气可吞天。