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以青年演员为主体的中国评剧院三团,在一片“戏曲危机”说中诞生了。对于评剧的新一代,人们作何议论呢? 为此,我作了一次小小的社会调查。我面前摆着几十封观众来信,他们当中有初中生、高中生、大学毕业生、行政干部、党的工作者、讲师、工程师、技师、大夫、工人、文艺干部、业余作者、售货员等等。可以说,这是一个小小的社会缩影。他们观看了三团建团公演的三台大戏:《秦香莲》《无双传》《凤仪亭》;一台折子戏:《逼侄赴科》《灵堂会》《包公赔情》;一台“评剧演唱会”。归纳一下观众的意见,大致有三个方面:
The three groups of the China Pingju Theater, mainly composed of young actors, were born in a drama crisis. What is the discussion about the new generation of Pingju opera? For this reason, I made a small social survey. There are dozens of letters from the audience in front of me, among them junior high school students, high school students, college graduates, administrative cadres, party workers, lecturers, engineers, technicians, doctors, workers, literary and art cadres, amateurs, salesmen, etc. . It can be said that this is a small epitome of society. They watched the three operas performed by the three regiment groups: “Qin Xianglian”, “Warriors” and “Fayi Ting”; a teaser drama: “To force Nephew to Branch”, “Lingtuhui” to “ concert”. To sum up the views of the audience, there are roughly three aspects: