一位手仅16岁的少女,为了乡亲们的自由、生存、和平奉献了自己的荳蔻年华。这个事实本身,就有一股震颤心灵的力量。所以,长期以来,刘胡兰这个舞台形象,象《白毛女》中的喜儿那样,刻印在几代人的心里。大约是刘胡兰太令人爱、令人疼、令人敬了,几十年来,许许多多的作家、艺术家都写她、演她、唱她和塑她。时间长了,难免有公式化之嫌。所以,照搬原来的模式肯定是不行的,因为,“千篇一律是艺术的死敌”!战友京剧团的艺术家们懂得这个道理,他们刻意求索,另辟蹊径,使他们的《刘胡兰》(焦克、张志高编剧)展现出新的面貌。最突出的是,编演者们不满足于对人物的平直描写,而是着力于刘胡兰如何从一位纯情少女发展而 A girl whose hand is only 16 years old, dedicated to the folks’ freedom, survival and peace, has devoted her own time. This fact itself, there is a tremor soul power. Therefore, for a long time, Liu Hulan this stage image, like the “White-Haired Girl” in the hi, as engraved in the hearts of generations. About Liu Hulan too loving, painful, respectable, for decades, many writers and artists write her, play her, sing her and plastic her. A long time, it is inevitable that there is too much of a formula. Therefore, it is certainly impossible to copy the original model because “the one piece art is the enemy of art.” Artists at Beijing Comrades Theater understand this truth, and they deliberately seek ways to make their “Liu Hulan” (Jiao Ke and Zhang Zhi Gao ) Show a new look. Most prominent is that the performers are not content with the flat description of the characters, but focus on how Laura Hwan from a pure girl development and