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经历过文革前后那段岁月的人,大多熟知李元华的名字,也能很清晰地回想出她扮演的精彩角色和片段。八大样板戏《龙江颂》中的江水英、阿莲,歌剧《白毛女》中的喜儿,《小二黑结婚》中的小芹等等。不过,随着歌剧发展在中国的低迷,李元华也渐渐地由台前走到了幕后,并非是她不再热恋那片舞台——那是她至今都想将所有热情都挥洒净尽的地方,而是因为歌剧的幕后,一片寂寥空荡。如果没有人愿意将歌剧的担子挑在肩上行走,那么歌剧就会成为永远的负担,被遗留在中国艺术殿堂的角落里;如果没有人将歌剧推向今天聚焦着五光十色的舞台,那么它就会成为老年观众心目中褪色的回忆,青年观众头脑里空洞的概念。歌剧需要的不仅仅是作曲、编剧、演员、导演,更需要热爱它理解它的制作人,而不知不觉中,李元华竟然在近30年的历程中,担当起了这个注定充满苦楚滋味的角色。
After experiencing the years before and after the Cultural Revolution, most people know Li Yuanhua’s name and can clearly recall her wonderful characters and fragments. Eight model opera “Longjiang Song” Jiang Shuiying, Alian, Opera “White-Haired Girl” in the Xi Er, “Xiao Er Hei Marriage” Xiao Qin and so on. However, with the slump in the development of opera in China, Li Yuanhua gradually came to the scene from the stage, not because she no longer love the stage - that is, she wants to spend all her enthusiasm so far, but rather Because the opera behind the scenes, a lonely empty. If no one is willing to pick the opera’s burden on his shoulders, the opera will be a permanent burden left in the corner of the Chinese art palace. If no one is pushing the opera to focus on the colorful stage today, Will become faded memories of the elderly audience minds, young audiences empty head concept. Opera needs more than just composer, screenwriter, actor, director, but also need to love it to understand its producer, and unconsciously, Li Yuanhua even in the course of nearly 30 years, assumed the role of full of pain and suffering .