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1957年8月27日五十年来,我在戏曲艺术实践中,体会出一个道理,那就是想要在艺术上达到最精纯、最凝炼的境界,一定要讲求三分生。我们常称道老艺人的艺术,表演得恰到好处,不油不滑,不贫不厌,这中间就包括三分生的道理。一般青年演员,虽然学来了一些表演艺术,但还没在脑子里伸腰,演出时为了讨好观众,做戏很用力,常是大洒特洒。到了壮年,由于投师学艺、刻苦钻研,基本上消化了程式化的表演艺术,做学生时候的过火表演逐渐消失。这时不为程式所掌握,反过来却掌握了程式,不管学谁,自己摸出点儿门道,能给观众一些美的东西了。但此时要加倍用功,不可满面傲气,甚至于在后台屡次催场不扮,摆架子拿糖,
In the fifty years since August 27, 1957, I have come to understand the truth in the art of opera. That is, I want to attain the most pure and the most condensed state in art, and I must stress the third. We often praise the art of the old artists, perform just right, not oil not slippery, not poor and not boring, which includes the middle of the third truth. The average young actor, although he has learned some performing arts, has not stretched his head in his mind. In order to please the audience during the performance, his acting is very hard and often sprinkles with sprinkling. To the prime of life, due to investment in art, assiduously study, basically digested the stylized performance art, when doing student over-performance disappears. At this time not for the program to grasp, in turn, has mastered the program, no matter who learn to touch the doorway, give the audience some beautiful things. But at this time to double work hard, can not be full of arrogance, even in the background often do not play reminder, put the shelf take sugar,