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促成梅兰芳先生1930年访美演出的美国驻华使节袭林·阿诺德曾这样赞扬梅兰芳,“首先由于他那卓越的表演天才,其次由于他是一个渴望改进中国戏剧而富有独创精神”的艺术家,因而“使戏剧可以更加真实地反映中国人民的文化与艺术”。近来重读梅先生的《舞台生活四十年》,我尤其感到梅先生的这位洋知音所言不虚,扑面而来的是一代大师虚怀若谷、谦逊大度、勤于学习、敏于思考的大家风范,是他那“渴望改进”、“富于独创”、锲而不舍、深研细磨的戏剧革新精神,这几乎已化为他舞台生涯一以贯之的艺术自觉!但这种革新,又绝不是简单地否定传统、生搬硬套的革新,更不是机械地标新立异、哗众取宠的闹腾。而恰恰是在梅先生自小耳濡目染浸润其间的旧剧基础上,来进行审慎、稳健、从容、臻美的革新创造。下面,拟从三个方面,对此略作浅述。
Arnold, the U.S. ambassador to China who helped bring about Mr. Mei Lanfang’s U.S. visit to the United States in 1930, praised Mei Lanfang for the following reasons: “First, because of his outstanding acting genius, and secondly, his dedication to making Chinese drama more original ”So that“ theater can more truly reflect the Chinese people’s culture and art. ” Recently re-read Mei’s “stage life forty years,” I particularly feel the meaning of Mr. Mei’s Yukihiro said nothing, blowing a generation of master-minded, modest, diligent in learning, sensitive to everyone His demeanor is the “dramatic improvement spirit” of his “desire to improve”, “rich in originality”, perseverance and thorough study, which has almost become a consistent artistic consciousness in his stage of life. However, In no way should we simply negate the tradition and apply rigid innovations, not to mention the unconventional and sensationalism of machinery? It is precisely on the basis of Mr. Mei’s old drama that infiltrated and infiltrated during his childhood to carry out prudent, steady, calm and beautiful innovation and creation. In the following, it is proposed to briefly discuss this issue from three aspects.