这几年,全国各地在为振兴京剧所做的各项切实工作中,重要的一个方面就是推出了一批有厚望的人材,其中武生人材崭露头角者就有不少。他们的学艺历程不尽相同,在艺术上的追求也人各有志。有的着意在惊险技艺上下功夫,练就几手绝活,在台上溜而且冲,能扑能摔,以一股拚劲儿吸引观众,走的是“勇猛武生”的路子;有的则是潜心于“武戏文唱”上作努力,舞打表做中追求意韵、气势,力图刻画人物,做到以形传神,循蹈的是大武生的路数。不消说,无论是前者还是后者,都须刻苦习练,具备深厚的功力,方能驰骋歌场,从心所欲。然而我认为,前者虽 In recent years, all parts of the country in order to revitalize the Peking Opera has done all the practical work, an important aspect is the introduction of a group of promising talents, including the talent emerge there are a lot of Takefu. Their academic history is not the same, the pursuit of art also have their aspirations. Some deliberately work hard at the thrilling skill, practicing a few excellent skills, slipped and rushed on the stage, can throw to fall, with an effort to attract the audience, take the “brave Takefu” way; some are With great concentration on the “Wuxiawenzhao” work hard to do in the pursuit of dance performance table, momentum, trying to characterize, to be vivid, follow the path of the big Takefu. Needless to say, both the former and the latter must be hardworking and possess profound skill to ride the music field and to do what they want. However, I think the former though