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演员在演出中当场调丹弄朱书诗作画。似乎成为近年戏曲舞台上一种极为普遍的时尚,而且此风大有愈演愈烈之势。诚然,戏曲史上曾有过不少著名演员当场书画使演出更加熠熠生光的记载。而且今天的不少演员,如河北梆子的裴艳玲与龙江剧的白淑贤等演员在他们演出中或书或画,不仅与戏的内容和人物个性水乳交融,而书画水平本身也极为精湛,确实对演出有锦上添花之妙。这是理应喝彩与揄扬的。但是,确也有不少演员只是为赶时髦,盲目地将书画搬上舞台,此举暴露出不少弊端,其害有三:一为“画蛇添是”。戏剧艺术是讲求整体和合情合理的原则。任何技巧的添加运用,首要的目的都是为烘托剧情、塑造人物服务。否则,无论技巧再繁难,花样再新奇,若与戏无补,只能破坏艺术效果!演员当场书画也是如此。昔日,京剧大师荀慧生在
Performers in the show tune Dan Zhu Zhu Shi poem painting. Seems to be an extremely popular fashion in recent years on the stage of opera, and the trend of this trend is getting worse. It is true that in the history of opera, there have been many well-known actors on calligraphy and painting to make the show more sparkling records. Moreover, many of today’s performers, such as Pei Yan Ling of Hebei Baizi and Ba Shuxian and other actors in the Longjiang drama show or book or draw not only blend in with the content and personalities of the play, but also have a superb level of calligraphy and painting. There are wonderful icing on the cake. This is applause and praising. However, there are indeed quite a few actors just hurrying up and moving the calligraphy and painting blindly onto the stage. This has exposed many shortcomings and has three detrimental implications: one is “superfluous”. Theater art is the principle of stressing the whole and reasonable. Add any use of skills, the primary purpose is to contrast the story, shaping the character service. Otherwise, no matter how tricky and complicated, the tricks will be more novel. If the play does not help, it will only destroy the artistic effect! The same is true of the artist’s calligraphy and painting on the spot. In the past, Beijing Opera master Xun Huisheng at