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最近一个时期,随着上海京剧院的孙爱珍到老山前线,中国京剧院的刘秀荣、张春孝到东北边境,中国京剧院的王晶华、齐啸云与北京京剧院的孙毓敏到法卡山前线等等进行慰问与演出,到前线、边疆、基层去的演员越来越多了。这是一个十分可喜的现象。近年来,由于某些错误思潮的影响,在我们戏剧界当中,过去一贯提倡的下基层为群众服务的思想淡漠了。不少同志留连于大城市,可是同时又哀叹上座率不高,为所谓“戏曲危机”论而困扰。然而,有同志勇敢地下去,下到基层去了。他(她)们得到的是极其热烈的欢迎,得到的是与滞留在大城市中所产生的相反的印象:“危机”论顿时烟消云散了。“戏曲危机”论一个主要的说法是:现在没有人要看戏了。实际情况并不是这样。中国幅员广
In recent times, with the exchange of Sun Aizhen at the Shanghai Peking Opera Theater to Laoshan frontline, Liu Xiurong and Zhang Chunxiao from the Peking Opera House went to the northeast border with Wang Jinghua and Qi Xiaoyun from the Peking Opera House and Sun Yumin from the Peking Opera House to Fakar Hill frontline Performance, to the front line, frontier, grassroots to go more and more actors. This is a very welcome phenomenon. In recent years, due to some erroneous ideas, among our theater circles, the ideology of serving the people under the grassroots advocated in the past has been indifferent. Many comrades have been lingering in the big cities, but at the same time lamenting the low attendance, plaguing the so-called “drama crisis” theory. However, some comrades bravely went down to the grassroots level. He or she received an extremely warm welcome and received the opposite impression of being stuck in a big city: the “crisis” theory suddenly disappeared. One of the main arguments of “drama crisis” is that no one wants to watch a movie anymore. The actual situation is not the case. China is vast in scope