戏曲的不景气状况,渐渐由大都市渗透到地、县级剧团。穷则思变,各个剧种在改革前提下纷纷探索各自的出路——黄梅戏当亦不会例外。具体表现在:有的以无场次、多场景为号召,有的标榜新潮歌舞格局,有的则以电子琴伴奏作宣传……一言以蔽之,都想招徕些观众,免使剧种和剧团逐渐沉沦下去。结果如何呢?这样的探索虽也曾热闹一番,不过当新鲜感过,观众也就淡漠了。其关键还在于只着眼在外部形式的变化,所以易起易落。 Drama downturn, gradually from the metropolitan infiltration to the county theater. Poverty is changing, all the operas under the premise of reform have to explore their own way - Huang Mei opera is no exception. Specific performance: some with no scenes, more scenes for the call, some advertised trendy song and dance patterns, while others are organ accompaniment for publicity ... In short, want to attract some viewers, so as not to gradually change the drama and theater Sink down. The result? Although this exploration has been lively, but when the fresh feeling, the audience also indifferent. The key is still only focus on changes in the external form, so easy to play easy to fall.