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面对现代观众五十年代、六十年代初,剧院的广告牌上,一出新戏一经挂出,观众蜂拥而来,票房门前,排列着长长的队伍,一出新戏连演百场而不衰。观者老弱青壮不拒,大学生与小学生同座。三中全会后,十数年的文化桎梏宣告结束,戏曲出现短暂的有史以来的繁荣,《祝家庄》连演不衰,《三笑》轰动一时;戏曲创作呈现一派生机。然而,夕阳无限,好景不长,接着而来的,影视录象艺术的冲击,声光电化新技术的竞争,观众层次逐渐分化,戏曲有点“门前冷落车马稀”。面对“挑肥拣瘦”的观众,戏曲应采取何种对策,已经引起戏曲界有识之士的焦虑和探觅。
The face of modern audiences In the 1950s and early 1960s, on the billboards of the theater, a new play was hung out and the audience flocked to the box office in front of a long queue of new plays. Field without failure. Viewers young and strong are not refused, college students and pupils together. After the Third Plenary Session of the Third Plenary Session of the Chinese Communist Party, ten years of cultural meltdown was over. The drama appeared a short period of historical prosperity. The celebration of the “Three Laughs” hit an unforgettable occasion. However, the setting sun is infinite and the scenery is not long. Followed by the impact of the video and video recording technology, the competition of new acousto-optic technology, and the gradual diversification of the audience level, the opera is somewhat “slipped in front of the door.” In the face of the “picky” spectators, what strategies should be taken in the drama has caused anxiety and exploration among people of insight in the drama world.