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在二十世纪的百年间,于戏曲的长足发展中,戏曲流派问题无疑是最值得探究的问题之一。继承前代的创造,此阶段的前期就呈现出戏曲表演流派勃兴的态势,诸美纷呈,竞展姿容。戏曲艺术由此步入了繁华鼎盛的可喜阶段。可是,曾几何时,表演流派出现萎缩状态,虽有不少相当水平的著名演员,却再也难找堪称为流派创始人的大家。这是为什么呢?戏曲表演流派的盛衰更易为什么出现得那么快,究竟是什么原因?在对经验、教训进行反复思考之后,流派艺术发展得比较充分的京剧、越剧,豫剧界人士发出了这样的感喟:成也流派,衰也流派。戏曲表演流
During the century and a century in the twentieth century, opera genre problems are undoubtedly one of the most worth exploring issues in the dramatic development of Chinese opera. Inheriting the creation of the previous generation, the early stage of this stage showed the trend of revival of the opera performance genre. Art thus entered the prosperous prosperity stage. However, once upon a time, the genre of schools has shrunk. Although there are quite a number of well-known and famous actors, it is no longer hard to find the people who call themselves genre founders. What is the reason for this? What is the reason why the rise and fall of the schools of theatrical performance are so much easier? What is the reason? After repeatedly thinking about experiences and lessons, the opera, opera and operas in the schools of drama, Feeling 成: into the genre, bad also genre. Opera show flow