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戏剧发展史告诉我们:任何一个戏剧品种都必须随历史的发展而发展,随社会生活的变化而变化。戏曲也不例外,京剧语音也应该紧紧地追赶上现代语言生活的发展趋势,不应落后于这个趋势,甚至走向与历史的潮流相背驰。在封建社会里,从华堂上的红氍毹到乡野间的万年台子,几乎都是戏曲的领地;老一代观众是在戏曲文化的熏陶中长大的。旧京剧的爱好者们从小熟听了经过艺术加工的“韵白”(或称“湖广音中州韵”、“上口字”),乃在长期的“耳濡”中逐渐形成对“韵白”的语音美的共同体验。现在,人民群众的文化生活已经起了极大的变化,今天的观众们(特别是青少年)对京剧“韵白”愈来愈感到别扭或听不懂,而对于电影、话剧等其他艺术形式中的普通话则觉得更顺耳、更美些。
The history of theater development tells us that any variety of theater must develop with the development of history and change with changes in social life. Opera is no exception, Peking opera voice should also closely catch up with the development trend of modern language life, should not lag behind this trend, and even go against the trend of history. In the feudal society, almost all the scenes from the Red Wagyu on the Huatang to the Wannian Taiwan among the countryside were in the opera. The older generation grew up in the opera culture. Old opera fans amateur listened to the art processing of “rhyme” (or “Lake Cantonese rhyme”, “Shangkouzi”), but in the long “ears” gradually formed on the “rhyme ”Voice of the common experience of beauty. Nowadays, the cultural life of the people has undergone tremendous changes. Today’s audiences (especially young people) are increasingly uncomfortable or ignorant of the Peking Opera “Yun Bai”, and in other forms of art, such as movies and drama, Mandarin is more smooth, more beautiful.