一看张继青的《牡丹亭》,我发现有的观众感动得流泪,这很不平常,自从看昆曲以来,我还很少见过这样的事情。我想,如果不是真正把杜丽娘的感情以及她所处的时代背景,非常具体地体现出来,是不大能够感动人的。中国戏曲表演艺术的技术性非常强,非常高,演员练技术的确付出了很大的代价,很多的时间。戏曲的表演艺术虽不是仅仅属于表现一类,但是,我们的表现派演员相当多,真正能把表现与体验结合起来的演员非常少。我认为,程式绝对不会妨碍一个演员表演人物独特性格的,只有在演员还不能够支配程式,而被程式所支配的情况下,他才演不出人物。我感到,现在我们很多的演员是被程式所支配,甚至很多名演 A look at Zhang Jiqing’s “Peony Pavilion”, I found some audience moved tears, it is not unusual, since I saw Kunqu Opera, I have rarely seen such a thing. I think it would not be able to touch people unless they truly reflect Du’s mother’s feelings and the background of the times she lives in. Chinese drama performance art is very technical, very high, actors practicing technology has indeed paid a great price, a lot of time. Although the opera performance art is not just a performance category, but our performance of a considerable number of actors, can really combine the performance and experience of the actor is very small. In my opinion, the program will never hinder the unique character of an actor. Only when the actor can not dominate the program but is under the control of the program can he play no characters. I feel that now we are a lot of actors are dominated by the program, and even a lot of famous