《李清照》去年在广西举行的第七届中国戏剧节上演出,我没有赶上,但听到很多赞誉之词。这次在北京看到了,确实名不虚传。 《李清照》在当前越剧舞台上可能是一个具有特殊风采的存在。说“可能是”,因为我看的越剧还不全。说它“具有特殊风采”,因为我联想起越剧的过去。 解放前,越剧在上海兴起,剧团多,演的戏多,但多是才子佳人题材,曲折离奇情节,艺术基本上停留在小市民趣味上。1946年袁雪芬同志演出《祥林嫂》,改编文学名著,演农民,是一大突破。建国后以《红楼梦》到《西厢记》,大踏步前进,越剧整体风格有了根本改变。但是,看了《李清照》,我猛然感到,这些年越 Last year, “Li Qingzhao” performed at the Seventh China Theater Festival in Guangxi. I did not catch up, but I heard many acclaims. This time I saw in Beijing, it is indeed well-deserved reputation. “Li Qingzhao” on the stage in the current Yue Opera may be a unique presence. Say “may be”, because I see the opera is not complete. Say it “has a special style,” because I recall the past of Yue Opera. Before the liberation, the rise of Yue Opera in Shanghai, the troupe and more acting, but mostly the theme of genius and beauty, tortuous bizarre circumstances, the art is basically stuck in the fun of the public. Comrade Yuan Xuefen performed “Xianglinsao” in 1946, and he made a breakthrough in his adaptation of his literary masterpieces and acting as a farmer. After the founding of the PRC with “Dream of Red Mansions” to “The Romance of the West Chamber,” making major strides, the overall style of Yue Opera has undergone fundamental changes. However, read “Li Qingzhao,” I suddenly felt that these years more