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一个戏的产生和演员是共命运的。我自一九四九年来北京,主要是演现代戏,如《刘巧儿》《艺海深仇》《祥林嫂》等。自一九五七年以来,在极左思潮的影响下,我演戏受了限制,有人说我不能演英雄人物,不能演党员……那么就演历史剧吧!竟然也有阻力。甚至有人说:“新凤霞只能演花旦戏。”我想,我十四岁就演《打狗劝夫》《李三娘》等,都是青衣戏。为什么演出经验丰富了,倒只能演花旦戏了?我一定要给自己创造条件,自力更生排几出青衣戏唱唱。于是,我就想到了移植《三哭殿》。《三哭殿》这个戏很多剧种都有,如秦腔的《斩秦英》、河南豫剧《金水桥》、京剧《银屏公主》等,名字不同,内容却一样,连唱
The production of a drama and actors are a total destiny. Since I came to Beijing in 1949, I have mainly played modern drama, such as “Liu Qiaoer”, “Vengeance of the Arts Sea” and “Xianglinsao”. Since 1957, under the influence of ultra-leftist ideology, my acting has been restricted. Some people say that I can not play heroic characters and can not play party members. Some even said: “Xin Feng Xia can only play the Dan-Dan play.” I think I fourteen-year-old to play “playing dogs advised husband” “Li Sanniang” and so on, are Tsing Yi opera. Why is the performance experience, and can only play the role of Hua Dan Dan? I must create conditions for ourselves, self-reliance row a few Tsing Yi opera singing. So, I thought of the transplant “three crying hall.” There are many operas in this drama, such as Qin Chopin’s “Qin Ying”, Henan Opera “Golden Water Bridge”, Beijing Opera “Silver Screen Princess”, the names are different, the content is the same, even singing