论文部分内容阅读
梅兰芳先生是我的父执与前輩。虽然很早就和他接触了,但是真正的接近,和通过接近达到更进一步地认識他的为人,則是在1956年随中国訪日京剧代表团出国的这一段期間。梅先生对于艺术創造是一絲不苟的。譬如像《貴妃醉酒》这出他演了半輩子的熟戏,在上演以前他非但一再认真地吊嗓子試身段,而且每次排演宮娥彩女上下場的場面时,他也总是要亲自参加。我們知道他的血压比較高,到了日本以后对外的活动又特別多,为了不使他过分劳累,在排那些場面的时候就不要他参加,由旁人来代替他的地位。但是他却不答应,他說:这样做容易在演出的时候合不上拍子,达不到“一台戏”。在排演当中。他总是那么认真和不怕麻煩。
Mei Lanfang is my father and predecessors. Although he had been in contact with him long ago, the real approach and the closer realization of his acquaintance came during this period of 1956, when the Chinese delegation to Japan visited Beijing to go abroad. Mr. Mei is meticulous about artistic creation. For example, “Drunken Beauty,” which he performed half a lifetime of mature play, before the performance he not only repeatedly serious voice hanging section, and every time the rehearsal of the scene of the color E women play, he always have to personally participate. We know that he has a relatively high blood pressure and has had a particularly large number of foreign activities since Japan. In order not to overworked him, he did not want him to participate in those scenes, and his position was replaced by others. However, he did not agree with him. He said: It is easy to make a difference between the time of the performance and the performance of “one drama.” In the rehearsal. He is always so serious and not bothered