五小生谈小生艺术

• 作 者: 郭永江
• 出 处: 人民戏剧
• 发表日期: 1982年11期
• 关键词: 北方昆曲剧院 岳美缇 蔡正仁 叶少兰 李慧娘 京昆 对我说 上海昆剧团 京剧团 大官生

京昆小生艺术应当如何发展?特别是在新形势下,怎样跟上观众不断变化的审美要求?这是一个很有意义的课题。前不久,在苏州“南昆会演”期间,记者邀请了五位著名的京昆小生演员丛兆桓、叶少兰、蔡正仁、岳美缇、姚玉成,漫谈了对这些问题的认识。国内观众的两种不同的反映北方昆曲剧院的丛兆桓说:“我的小女儿是个大学生,一九六四年以前还小,没看过我演戏。十年动乱平息后,看了我在《李慧娘》里演的裴生,回家对我说:‘爸爸您以后别演戏了。’我问她为什么?她说:‘小生好看不好听。’”

How to develop the art of niche in Beijing and Kunming? Especially under the new situation, how to keep up with the ever-changing aesthetic demands of the audience? This is a very meaningful topic. Not long ago, during the “Nankun Conference” in Suzhou, the reporter invited five well-known Kunqu Opera students Congzhao Huan, Ye Shaolan, Cai Zhengren, Yue Meti and Yao Yucheng to talk about their understanding of these issues. Cong Zhaohuan, a North Kunqu Opera at the North, said: “My daughter is a college student and was young before 1964. I did not see my acting. After ten years of turmoil subsided, I read” "Pei Sheng, who plays, returns home and tells me: ’Dad, you do not act later.’ I asked her why she said: ’The niche is not good or not.’