“戏无情不感人,艺无技不惊人。”这句梨园谚语言简意赅,准确地概述了中国传统戏曲“技”与“戏”之间的辨证关系。我在扮演《金铃记》中柴郡主这一人物时,首先分析戏的规定情境和人物的心理,然后再充分运用各种表演技巧,把人物活生生地立在了舞台上。柴郡主是王爷的女儿,宋王的御妹。余太君的儿媳,杨六郎的妻子。她既不同于《卖妙郎》中的青衣刘惠英,也不同于《大登殿》的王宝钏,更区别于《二进宫》里的李艳妃。她出身皇家,有着高贵的身份;在世代忠良的杨家当儿媳妇,对杨家的忠烈家风知根知底。她还是一个女人,一个普通女人有的她应该都有。在这个戏中,她不是主要人物,却是一个重要人物, 在推动戏剧情节,组织戏剧冲突,表现戏剧主题等方面,都不可缺少。她热爱自己的丈夫,本能地不愿意让他去冒险,但又不能明确地表态。这就使这个人物复杂化了,给演员表演提供 “The show is ruthless and unmotivated, with no art or skill.” The phrase proverb of Liyuan proves simple and concise, accurately outlining the dialectical relationship between “technique” and “drama” of Chinese traditional opera. When I was playing the character of Zhong Cheshire in Jin Ling Ji, I first analyzed the situation of the play and the psychology of the characters, and then made full use of various acting skills to make the characters live on the stage. Cheshire Lord is the daughter of the prince, the royal sister of the Song king. Yu Taijun’s daughter, Yang Lorou’s wife. She is different from Liu Huiying in Tsing Yi in “Selling Ages” and also differs from Wang Baoxing in the “Da Dengdian”, and even more distinct from Li Yanfei in “The Second Palace.” She came from the royal family and possessed noble status. At the time, his daughter-in-law, a loyal Yang family, knew well what the Yang family loyalists were. She is still a woman, an ordinary woman, she should have some. In this drama, she is not a major figure but an important person. She is indispensable in promoting the plot of the drama, organizing theater conflicts and expressing thematic themes of drama. She loves her husband, instinctively reluctant to let him take risks, but can not expressly position. This complicates the character and gives the performer’s performance