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最近,读《戏剧报》有关京剧流派艺术讨论的文章,颇受启发。京剧在一百多年的历史发展过程中,出现过一代又一代的推动京剧艺术发展的代表人物。京剧艺术之所以在我国广大人民中间广泛流传,并在世界享有盛誉,同历代艺术家各具特色的精湛、纯熟的表演技巧以及不断创新的精神分不开。因此,我们要发展京剧艺术,就必须很好地学习流派艺术以及前辈艺术家的创新精神。但在学习流派艺术时,也存在一些问题需要正确对待。譬如,我看到某些青年同志在学演流派剧目时,往往只着重模仿流派艺术的一招一式,一字一腔,而不去认真钻研、理解这些艺术的表演手段是怎样产生的,为什么要这样表演。知其然不知其所以然。这样来学习,势必学不到艺术的真缔,更谈不到学习前辈艺人的革新精神了。因此,我想到已故王瑶卿先生生前对我所谈的许多京坛轶事,其中不少对我们今天学习流派艺术,是很有帮助的。例如,
Recently, reading The Drama Newspaper’s articles on the art of Peking opera genre was quite inspired. During the one hundred years of historical development of Peking opera, there have been representatives who have promoted the development of Peking Opera art from generation to generation. The reason why Peking Opera is widely circulated among the broad masses of our people and enjoys a good reputation in the world is inseparable from the unique and skillful performance skills of artists of all ages and the spirit of constant innovation. Therefore, if we want to develop the art of Peking Opera, we must learn well the genre art as well as the innovative spirit of our predecessors. However, there are some problems that need to be correctly treated when studying genre art. For example, I have noticed that some young comrades tend to focus on imitating the art of genre only when studying repertoire. They should not seriously study and understand how the performing arts of these arts are produced and why This shows. I do not know why they know it. In this way, it is bound to fail to learn the art of truth, let alone learn the revolutionary spirit of the older artists. Therefore, I think of many of the anecdotes of the Beijing metropolitan that I spoke to when the late Mr. Wang Yao-qing was alive. Many of them are very helpful to our study of genre art today. E.g,