说起演戏,有的戏曲剧团的领导对此颇不以为然,总认为目前演出“观众少、收人低、开支大”,有“多演多赔,少演少赔”之说。其实,这些同志只看到问题的一面。正确态度是既要正视困难,又要采取措施克服困难。而克服困难的有效办法之一,就是演出。因为剧团演出有如下五好: 第一好促进剧种的发展川剧从乡村“草台班”进入城市剧场,从单一的声腔演化成“五腔合一”的独特艺术形式,乃至观在在剧目、表演、音乐、舞美等方面的创新发展,都得益于不断的演出实践。正因为前辈艺人一代一代的传演,不断地琢磨提炼,革新创造,戏曲表演程式和奇特的“绝技”表演才能纷呈舞台,川剧艺术也才能成为独具风采的大剧种之一。第二好培养观众多元文化的出现,使川剧在“天府之国”一枝独秀的局面已被“群雄纷起”的竞争所替代。川剧观众(尤其是青少年观众)减少,不容忽视。但不必悲观,更不可以此为由而停止演出,因为越不演出,就越要失掉观众。人所共知,一个人的兴趣爱好不是从娘肚里生下来就有的,而是在环境的熏陶感染(?)逐渐形成的。中国评剧院院长胡沙同志在《童年看川剧》一文中自我介绍说:他十岁时家居重庆,一个偶然的机会,在章华大戏院看川戏,初觉“好玩”,进而生意,终于在长达一年之久的每 Speaking of acting, some theater troupe leaders quite do not agree with this, always think that the current performance of “less spectators, low income, large expenditure”, “more play more pay less, less play less pay,” said. In fact, these comrades only see the problem side. The correct attitude is to face both the difficulties and measures to overcome the difficulties. One of the most effective ways to overcome this difficulty is to perform. Because the troupe perform the following five good: the first to promote the development of drama Sichuan opera from the village “grass stage” into the city theater, evolved from a single voice into a “five-chamber” of the unique art form, and even in the repertoire, Performance, music, dance and other aspects of innovation and development, have benefited from constant performance practice. It is precisely because the performance of the older generation of performers, constantly refined, innovation, drama programs and unique “stunt” performances can be stage, Sichuan opera art can become one of the unique style of drama. The second best to cultivate the emergence of multi-cultural audience, so that Sichuan Opera in the “Land of Abundance” thriving situation has been “crowded” competition replaced. Sichuan Opera audience (especially young audiences) to reduce, can not be ignored. But do not be pessimistic, let alone cease performing on the grounds that the more you lose your audience, the less you perform. It is well-known that a person’s hobbies are not born from Niangdu, but are gradually formed by the influence of the environment (?). Comrade Hu Sha, president of China Ping’an Theater, introduced himself in his article “Childhood Kawasaki: A Drama of Sichuan Opera.” He said that when he was 10 years old, he was at home in Chongqing. By chance, he watched Sichuan Opera at Zhanghua Grand Theater and initially felt “fun” Finally for up to a year long