安然:戏曲的危机已经是人所共知的现象,圈里人这样看,圈外人,包括许多不看戏或看戏不多的人也这样看。人们甚至由此而断言它不可挽回的死灭命运,这些想必早已为大家所熟知。在我看来,讨论戏曲的生与死问题,已经失去了意义,因为说它死,它毕竟还活着;说它生,它却活得不怎么好。值得注意的是,这种戏曲死灭论象瘟疫一般正在中国大地迅速蔓延,早已动摇了圈里人的心,有出国的,有“下海”的,有走进歌舞厅的,还有人纷纷投靠影视界,似乎那里充满着生机。 Enron: The drama of the crisis is already a well-known phenomenon, the circle of people in this way, outsiders, including many who do not watch the show or see less like this view. It is even presumably already well known to all that people even justify its irreversible destiny. In my opinion, it has become meaningless to discuss the issue of the life and death of the opera because it is dead. After all, it is still alive. When it comes to life, it does not live very well. It is noteworthy that this kind of drama is just like the plague epidemic is spreading rapidly in China, has long shaken the hearts of people in circles, go abroad, there is “sea”, there are into the song and dance halls, there are people who have to play video Circle, it seems there is full of vitality.