这些日子,你只要跨进“青艺”的大门,就会被那种热气腾腾的创作空气所感染、所激励。1991年,是个不平凡的年头。这一年我们迎来了党的70周年大庆。“青艺”跨过了“不惑”之年。成熟的年纪就应该有成熟的收获。而实际上,人们的企望和追求的目标之间,总是有很大距离的。青艺做为国家剧院,近年来的境况令人焦虑。特别是一些老同志和一批老观众,对青艺影响力的逐年消退十分关注。原因是多方面的,既有话剧不景气带来的影响,也有剧院自身建设不力造成的后果。为改变自身形象,历届领导和艺术家均做过不少努力,但收效不甚明显。1991年伊始,在青艺舞台上敲响的第一声锣鼓,是田汉名剧《关汉卿》的演出。这出唱、念、做、打并重的舞 These days, as long as you cross into the “green arts” door, it will be the kind of steaming creation of air infected, inspired. 1991 is an extraordinary year. This year we ushered in the 70th anniversary of the party. “Youth Arts” crossed the “puzzled” year. Mature age should have a mature harvest. In fact, people’s expectations and the pursuit of the goal, there is always a great distance. Youth Arts as a national theater, the situation in recent years is worrying. In particular, some old comrades and a group of old viewers are very concerned about the gradual decline of the influence of Youth Arts. The reasons are many, both the impact of sluggish drama, but also the theater itself, the consequences of poor construction. To change their own image, all previous leaders and artists have done a lot of hard work, but the effect is not obvious. At the beginning of 1991, the first sound of percussion on the stage of Qingyi was the performance of Tian Han’s play “Guan Hanqing”. This sing, read, do, fight both dance