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有关戏曲的人物塑造问题,似乎是无定论的。李玉声先生到目前还为止还认为京剧不演人物,是纯粹形式美的一种艺术;阿甲先生则多年前便已经认为,戏曲要脱离形式主义,以饱满的情感和有必要的技术塑造人物,这也是从新中国成立以来的绝大多数戏曲创作者们,从田汉、汪曾祺到今天的罗怀臻等创作者坚持的大方向,腔随情转,以情带腔。即使塑造人物成为绝大多数人的共识,也有些例外,比如张君秋先生的名作《秦香莲》,张君秋说过自己
There seems to be no conclusion about the shaping of figures in opera. So far, Mr. Li Yusheng also considered Peking Opera to be a non-performing artist and an art of purely formal beauty. Mr. A Jia had thought many years ago that the opera must be free from formalism and full of emotions and the necessary technical skills to shape the characters. It is also the vast majority of Chinese opera creators since the founding of New China. From Tian Han and Wang Zengqi to the great direction that creators such as Luo Huai-zhen insisted today, they are passionate about love and empathy. There are some exceptions to shaping the character as the consensus of most people. For example, Mr. Zhang Junqiu’s masterpiece “Qin Xianglian”, Zhang Junqiu said himself