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任何事物都要经历兴起、发展与衰亡的历史过程。象京剧艺术流派这个事物,当然也不会永远存在于世间。它最终总是会消亡的。可是,在当前,京剧艺术流派的生命力如何?换个说法,即怎样看待它的兴起、发展与衰亡的过程才符合客观实际呢?由于对什么是艺术流派、艺术与流派的关系以及京剧艺术流派是怎样形成的这样一些问题的理解不一,实际上是存在着不同的答案的。最近,黄宗江同志说:“以流派发展为中心,一切以‘角儿’为中心的京剧发展史,已经掀过去了,京剧作为一种综合艺术正在更完整地向前发展。”颜长珂同志也说:“京剧流派是在以演员——主角为中心的条件下建立的。……现在,人们在热情召唤着京剧艺术新流派的出现。我想,这不止是希望在原有流派的基数上,作数的增添,更希望有质的飞
Everything must go through the historical process of rise, development and decline. Of course, things like Peking opera genre will not exist in the world forever. It will eventually die out. However, at present, what is the vitality of Peking Opera genres? To put it another way, how to see the rise, development and decline of Peking Opera works is in line with the objective reality? Because what is art genre, the relationship between art and genre and Peking opera genre is There are different answers to the questions of how to form such questions. Recently, Comrade Huang Zongjiang said: “The history of the development of Peking Opera centered on the development of schools has been overthrown and the opera as an integrated art is going forward more completely.” Comrade Yan Changke also said : "The Peking opera genre was established under the theme of actor-protagonist ... Now people are enthusiastically summoning the emergence of a new genre of Peking opera, and I think it is not just a wish to make The increase of the number, but also hope that the quality of fly