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《中国戏剧》关心、重视戏剧的前途、命运,开辟专门栏目,让大家就戏剧的生存问题展开讨论,这是件深受戏剧从业者欢迎的好事。作为一个以戏曲为生计的人,不甘置身事外,而由于学识有限,尤其拙于理论,今谨就个人的从艺经历及有关戏曲史、志资料谈些感想,希望能为戏曲生存研讨有所补益。 我长期在一个县剧团工作,当过职员,也当过“掌班”,亲历了这个团体最近30年的盛衰荣枯,通过我的前辈、
It is a good thing for the “Chinese drama” to be concerned about and pay attention to the future and destiny of the drama, to open a special section to let everyone discuss the issue of the drama’s survival. As a livelihood of the people as a drama, unwilling to stay out of body, and due to limited knowledge, especially in theory, I hereby personal experience and history of the opera, the Chi material on the feelings, hoping for the survival of the drama play some tonic. I have long worked in a county theater company, worked as a staff member and also worked as a “palm-shift class” and witnessed the prosperity and decline of this group in the past 30 years. Through my predecessors,