粤剧和各种地方戏曲一样,除了唱,还有念;即除了有“梆黄”、“小曲”等体系外,还有“念白”体系。有的作者和演员对“念白”往往不够重视,写起来和念起来都马虎随意,很不讲究,令人感到满口砂石,削弱了艺术感染力。其实,每出粤剧必用到“念白”,它在全剧中所占的比例不少;一首粤曲也往往少不了“念白”作为组成部分。戏谚有云:“千斤念白四两唱”,又云:“舞台一语,重若千斤”,这些说法尽管有点夸张,但其中颇有道理,说明“念白”在戏曲艺术 Cantonese opera, like all kinds of local operas, includes not only singing, but also reading; in addition to such systems as “Huang Huang” and “Xiao Qu”, there is also a system of “reading the white”. Some writers and performers often fail to pay enough attention to “reading the white”. When writing and reading, they are sloppy and careless. They feel full of gravel and weakened the artistic appeal. In fact, every Cantonese opera must use “read the white”, which accounted for a lot of the proportion of the whole play; a Cantonese opera often ultimately “read the white” as an integral part. There is a saying in the play saying: “Trying hard and punctuating four or four sing” and saying: “The stage is like a grunt killer.” Although these explanations are somewhat exaggerated, there are quite a few reasons why “read Bai”