若说京剧有流派,川剧则无,此种意见,失之偏颇;如讲川剧流派没有京剧那么显著,倒也合乎事实。对于“流派”,只要剖而析之,便不难发现其本质是:创派之师,不仅在“唱、做、念、打”上,有出类拔萃之功力,而且在“手、眼、身、法、步”上,有别具一格之风姿;能于“四功五法”之中,“浓缩”出晶莹明亮的艺术个性,能于“程式动作”之内,“变异”出五光十色的川剧特色;能继承优秀传统之精华,借鉴兄弟剧种之长处,唱别人所难唱之戏,行别人所难行之腔,蹈别人所难蹈之舞,出别人所难出之新!从而吸引观众,入我戏中:为我之悲而悲,为我之喜而喜。总之,似 If there is a genre of Beijing Opera, there is no such thing as Sichuan Opera. Such opinions are not biased. If the genre of Sichuan Opera is not as prominent as Peking Opera, it is in fact fair. As long as the genre is dissected, it is not hard to find out that its essence is that a teacher of a creative school not only excels in singing, doing, reading and playing, but also in the hand, eye and body , “Act, Step”, there is a unique style of grace; in the “Four Skills and Five Laws,” the “concentrated” crystal clear bright artistic personality, in the “program action” within the “variation” of colorful Sichuan opera characteristics ; To inherit the best of the best traditions, learn from the strengths of the brothers drama, sing hard to sing the play of others, the hard line of others to do the dance, dance difficult to dance others, out of others hard to attract the audience, Into my play: for the sadness of my sorrow, joy for my joy. In short, like