关羽,这个被历史演义所神化了的人物,在我国戏曲舞台上的出现为时不算太短,但将他列为独立的“红生”行当,历史又不算过长。至于在秦腔艺术中确立“红生”脚色门类,也只是本世纪初期的事。当时,梨园讲究“神道设教”,作为人人供奉的“关圣大帝”。自然,神威的迷信色彩和泥雕的偶象庄严,便成了演员刻划他艺术形象必遵的模式法则。刀不能舞、眼不能睁、动不能大、话不能多等如此纷繁的忌讳,宛如皮靽捆住了演员的手、眼、身、法、步,人 Guan Yu, who was deified by the historical romance, did not appear too short on the stage of Chinese opera, but his history as an independent “red birthplace” was not too long. As for the establishment of the “red line” color class in the art of qin cavalry, it is only the beginning of this century. At that time, Liyuan pay attention to “Shinto teaching,” as everyone’s worship, “King of the Great.” Naturally, the superstitious colors of the priesthood and the solemnity of the clay carving became the model rules that an actor must follow to depict his artistic image. Knife can not dance, eyes can not open, move can not be large, words can not be so numerous and taboo, like a skin tied the actors’ hands, eyes, body, France, steps, people