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现在,当我们继承和研究现代几位京剧艺术大师留给我们的艺术遗产时,人们往往把注意力放在他们的表演艺术成就和代表性剧目上面,这是应该的,但我们同时也必须重视他们的演剧思想。整理、研究和继承大艺术家们的演剧思想,对每一个大艺术家都是必要的,更是对京剧艺术理论工作所必不可少的。梅兰芳大师一生只做了一件事,就是演京剧。他不是专业京剧理论家,没有写过系统的理论著作,但是他在40多年的京剧艺术生活中,当然积累了丰富的艺术经验,并从中得到许多体会,形成自己的某些艺术观点。他写了不少谈论京剧和地方戏的文章,做过不少讲演,其中就蕴含着他由个别的艺术观点发展出的深刻的演剧思想。几十年来,梅兰芳研究者们做了大量有成效的整理研究工作。在当前纪
Now when we inherit and study the artistic legacy left by the masters of the modern Beijing opera, we tend to focus on their performing arts achievements and representative plays. However, we must also pay attention to Their idea of drama. It is essential for every big artist to organize, study and inherit the dramatic ideas of big artists, and it is also indispensable to the work of art theory of Peking Opera. Master Mei Lanfang only one thing in his life, is playing Beijing Opera. He is not a professional Beijing Opera theorist and has not written a systematic theoretical work. However, he has accumulated rich artistic experience in the more than 40 years of Peking opera art life and gained many experiences to form his own artistic viewpoint. He wrote a lot of articles about Beijing Opera and local opera, did a lot of speeches, among which he embodied the profound drama ideas he developed from individual artistic points of view. For decades, Mei Lanfang researchers have done a lot of effective finishing research. In the current discipline