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交流!是为了搭建起可以相互对话的窗口,透过学术理论与舞台演出的观摩研析,可以相互借鉴研析寻求更多共生共荣的成长空间。因此自上世纪80年代后期以来,歌仔戏与芗剧这对姊妹花便成为闽台交流最为密切的活动主体。堪称是历来规模最为盛大,参与人数最为众多的“2004年厦门歌仔戏艺术节”甫于九月初圆满落幕,台湾与会的学者专家在闽南各界热情的接待下,也从琳琅满目云兴霞蔚的活动内容中有所感发与触动;尤其是《邵江海》与《西施与伍员》两出大戏,展现了福建芗剧“戏曲改革”与“戏曲现代化”的剧艺成绩与创作美学,也因而更成为学者专家们所关切检视的焦点所在,从这几篇观剧心得中或可窥见台湾对于歌仔戏剧种的评骘态度与艺术思维。
Exchange is to set up a window that can talk to each other through the study of academic theory and stage performance analysis, we can learn from each other to seek more room for growth of symbiotic co-prosperity. Therefore, since the late 1980s, the sister flowers of Taiwanese opera and opera have become the most active participants in the exchange between Fujian and Taiwan. “2004 Xiamen Opera Festival” just ended in early September, Taiwan experts and scholars in the warm reception of all walks of life in southern Fujian, but also from an array of clouds Xingxia Wei Especially the “Shao Jianghai” and “Shih Tzu and Wu Xiang” two operas, showing the Fujian opera drama “drama reform ” and “opera modernization ” the performance of the drama and Creative aesthetics is also the focus of scholarly scholars’ concerns. From these ideas of opera, you can get a glimpse of Taiwan’s attitude towards criticism and artistic thinking of Taiwanese opera.