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我看戏六十余年,总结每个时期演员的奋斗与成功之路,约分三种:一种是在继承传统的基础上,发展流派而自成一派,新戏很少;一种是拥有坚厚的基础,但不以传统戏自囿,而是在改编或创编新戏的道路中自成流派;一种是在完美无疵的传统戏之外,兼演新戏。自拨乱反正之后,窒息了多年的传统好戏,鱼鱼雅雅,次第登场,饱餐了观众的云霓之望。在抢救、继承的善意呼声中,绝大部分的中青年演员,都采取了第一种或第三种的攻艺之路。如此维护民族的戏曲传统艺术,应当予以肯定与褒扬。但是也有个别
I have watched the theater for more than 60 years and summed up the struggles and successes of the actors in each period. There are about three types: one is based on inheriting the tradition, the other is to develop the school of genres and seldom show new plays. Has a solid foundation, but not traditional self-styled, but in the adaptation or creation of a new play in the road itself into a genre; one is outside the perfect traditional play, play a new drama. Since the disorganized chaos anyway, the suffocation of many years of traditional play, fish Ya Ya, debut second appearance, full of the audience of clouds of hope. In the rescue, inheritance of good intentions, most of the young actors, have taken the first or third of the art of the road. In this way, the traditional arts of traditional Chinese opera should be affirmed and praised. But there are also individual