一九三七年初冬,上海在隆隆炮声中,各剧場紛紛歇业,只有两个新組織的京剧团在“卡尔登”戏院(現在的长江剧場)坚持輪换演出,一个是欧阳予倩老师領导的“中华剧团”,一个是周信芳同志領导的“移風社”。当时我原在“中华剧团”,曾参加了欧阳老亲自編、导的《桃花扇》《漁夫恨》《梁紅玉》等戏的演出,这些戏在内容上都是激发人民抗日意志的。我是唱小生的,因剧团缺人,这些戏里的反面角色如楊文聰、呂子秋、五智却都由我来礖巍U饫嗳宋镉? In the early winter of 1937, in Shanghai, in the rumbling of guns, theaters closed down one after another. Only two newly organized Beijing opera troupes insisted on rotating performances at the “Carden Theater” (now the Changjiang Theater). One was Ouyang Yu Mr. Qian led the “Chinese Theater Company,” and one was the “Wind Office” led by Comrade Zhou Xinfang. At that time, I was originally a “Chinese Theater Company.” I participated in the performances of “Peach Blossom Fan”, “Fisherman Hate” and “Liang Hongyu” directed by Ouyang’s ancestral parents personally. All these contents are to stimulate the will of the people against Japan. I sing niche, because the theater lack of people, the reverse roles in these scenes, such as Yang Wencong, Lu Ziqiu, five wisdom but all come to me by the Wei U Song 镉 嗳 Song cad?