我国戏曲艺术传统悠久,千百年以来,多少天才的艺人,凭了他们的演技,在舞台上表演过无数动人的场面,像明侯方域的《马伶传》所描写的那种演员和那种演出,是世代不绝的。他们的艺术经验,师徒相传,积累丰富,只是没有经过有系统的搜集、整理,一边传授,一边佚失,非常可惜。但在后台,也还是保存了不少口诀。如“装龙像龙,装虎像虎”、“练死了,演活了”、“千斤说白四两唱”……等,这些口诀,虽然零散,但是精练、集中,一针见血,是戏曲艺人几十辈子血汗的结晶,是中国人民几百年表演经验的积累,至今还在舞台实践中起指导作用,是极为珍贵的。本刊编辑部搜集了很小一部分这样的口诀,请一些同志做了些注解,将陆续发表,做为中国戏曲理论遗产的发掘、整理的一部分工作,希望能够引起全国戏曲工作同志的注意,大家来把各种地方戏的后台口诀,各个老艺人的表演经验,不怕只言片语,加以搜集、研究(最好加上注解),寄给本刊编辑部,帮助我们做好这一工作,使我国的戏曲理论工作,特别是表演理论的研究,得到进一步的开展。 Chinese traditional opera has a long tradition. For thousands of years, the number of talented artists performed their stage with numerous moving scenes like the actors and the kind of actor The performance is endless from generation to generation. Their artistic experience, passing on from one mentor to another, accumulates abundantly. It is a pity that they have not been systematically collected and sorted out while they are being taught. But in the background, but also save a lot of formulas. Such as “the installation of dragons like dragons, tiger-mounted tiger,” “practiced dead, played live,” “hard to say white four two” ... ... these formulas, although fragmented, but refined, focused, sharply, The crystallization of the sweat of dozens of lives is the accumulation of the Chinese people’s hundreds of years of performing experience and still plays a guiding role in the stage of practice so far. It is extremely precious. Our editorial department has collected a very small part of such formulas, asking some comrades to make some annotations that will be published one after another as part of the excavation and reorganization of the theoretical heritage of Chinese opera, hoping to draw the attention of comrades in the Chinese opera. Come to the various local drama background formulas, each old artist’s performance experience, not afraid of words, to collect, research (preferably with annotation), sent to the editorial department, to help us do this work so that our drama Theoretical work, especially performance theory, has been further developed.