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我是解放后成长起来的文艺工作者,刚开始学戏的时候还不到10岁,可以说没有接触过《讲话》。真正开始学习还是在1959年我毕业之后。对于《讲话》所提倡的创作方法,我也经历了从不理解到自觉追求的过程。刚开始我参加野营拉练,要背着行李每天走30里地,晚上住在没有窗户的马棚里,当时我很不理解。后来,这样的事儿经历多了,在我的感情上产生了潜移默化的影响,对我的演艺事业很有帮助。在艺术上有人教我们“手眼身法步,唱念坐打舞”,在思想上各级领导都有严格的要求。现在人们评论我的演出,无论是现代戏还是古装戏,不但在艺术上有水平,在情感上也很能打动人。可以说,我们这一代演员的一些成就,全都是在《讲话》的指引下取得的。现在有些年轻的演员,从艺术技巧上讲,都很好了,但在表演上总觉得有些不足。可见,对于生活的体验还是很重要的。五年前,我在中国京剧院主持工作的
I was a literary and art worker who grew up after liberation. When I first started school, I was under 10 years of age. I can say that I had not been in “speech.” Really started learning or in 1959 after I graduated. As for the creative method advocated by “Speech”, I also experienced the process of never consciously pursuing. At first I went to camping and training, carrying baggage 30 days a day, living in a windowless stall at night, when I did not understand. Later, such things have experienced more, in my feelings have a subtle influence, very helpful for my acting career. Someone in the art taught us to “hand-eye and body-step, sing and read and sit and dance,” and leaders at all levels in ideology have strict requirements. Now people comment on my performances, whether it is modern drama or costume drama, not only in the artistic level, but also emotionally very touching. It can be said that some of the achievements of our generation of actors are all obtained under the guidance of “speech.” At present, some young performers are good at artistic skills, but they always feel somewhat inadequate in performance. Visible, the experience of life is still very important. Five years ago, I was in the Chinese Peking Opera Theater