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从某种意义上来说,观众对一个剧种的认知,很大程度上是由该剧种的经典剧目塑造的。就像我们说起京剧,会直觉地想到《霸王别姬》;谈到昆曲,首先想到的多是《牡丹亭》;言及越剧,《梁祝》的旋律依稀在耳边响起。不得不承认的一点是,当下,在大多数观众的心目中,传统戏曲仍是“传统声音”和“传统样式”然而,旧时的荣光见证的是旧时的辉煌,在时移世易的新时代,传统戏曲若不能持续产生优质原创剧目,则很容易陷于停滞不前的困境。于是,在当下的戏曲界,呼唤原创和创新的声音不断。
In a sense, the audience’s perception of a genre is largely shaped by the genre’s classic repertoire. As we talk about Beijing Opera, we can intuitively think of “Farewell My Concubine”. When we talk about Kunqu Opera, we mostly think of “The Peony Pavilion”. When we talk about Yue Opera, the melody of “Butterfly Lovers” sounded in our ears. One thing that has to be admitted is that nowadays, the traditional drama is still “traditional sound” and “traditional style” in most viewers’ minds. However, the old glory witnessed the glory of the old, In the new era of Yi, traditional opera can easily become stuck in a dilemma if it can not consistently produce high-quality original repertoire. As a result, in the current drama community, the voice of originality and innovation is constantly evolving.