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去年九、十月间,在上海京剧院领导积极支持下,我再次走出上海,应邀到祖国边疆黑龙江省牡丹江市,与牡丹江市京剧团合作演出,受到了热烈欢迎。在一个多月里,我们合作演出了二十七场,观众达三万多人次。实践使我体会到,合作演出是丰富边疆地区人民文化生活的好方式,也是培养演员(特别是大城市大剧院青年演员)的好途径。在五十几万人口的牡丹江市,我们演出的二十几场戏,一千三百多座位的剧场平均上座率约九成。牡丹江市京剧团的同志说,这是少见的“京剧热”这个剧团的水平较高,但和许多京剧团一样,在本地不卖座,因为观众不喜欢老是看这几位演员演这几出戏。具有一定艺术水乎的外地演员就很受欢迎,即使是观众熟极的《玉堂春》,我这个外地演员也竟演了十三场。此外,我还演了当地过去很少演或没演过的梅派戏《贩马记》、程派戏《锁麟囊》、张派戏《状元媒》,都很
Last September and October last year, with the active support of the leaders of the Shanghai Peking Opera Theater, I went out of Shanghai once again and were invited to the Mudanjiang City, Heilongjiang Province, on the frontier of the motherland to perform with the Beijing Opera Troupe of Mudanjiang City and was warmly welcomed. In more than a month, we co-performed 27 games with more than 30,000 visitors. Practice has made me realize that collaborative performance is a good way to enrich people’s cultural life in frontier areas and also a good way to train actors, especially youth actors in big city orchestras. In Mudanjiang City, a city with a population of 500,000, we performed over 20 performances and the average attendance of over 1,300 seats was about 90%. Comrades from Mudanjiang Peking Opera Troupe said that this is a rare “Peking opera genre.” The troupe has a high standard of performance. However, like many Peking Opera troupes, it is not sold in the local audience because the audience does not like to see these actors often play. Foreign actors with a certain artistic level are very popular. Even the familiar Yutang Spring, my local performer actually performed thirteen games. In addition, I also played a local actor seldom played or did not perform the Mei Pai opera “Trafficking in horses”, the Chengpfang drama “lock Lin capsule”, Zhang faction “champion media” are very