马连良先生是我国京剧史上的一颗巨星,是一代的泰斗、大师。我之所以这样来认识,不只是从他本身的艺术造诣,也不只是从他兴创了一个老生的艺术流派,也不只是从他对京剧老生行当中的影响,而是因为他的艺术思想已经构成了一个京剧的艺术体系。我之所以说他形成了一个艺术的体系,是因为他的艺术表现涉及到了有关京剧艺术的一切方面,诸如:剧目、剧本的整理、改编及创作,角色人物的塑造,舞台的设计,幔帐的改装及图案,文场、武场的伴奏,满台的服饰、唱、念、做、扮相、化妆、道具等等,都有他自己的设计,而且综合在一起,有一整套的艺术构思,形成了统一的一派艺术特色。我这只是一个提纲的说法,如果扩展开来,可以逐条缕陈。有许多内容是众所周知的, Mr. Ma Liangliang is a superstar in the history of our country’s Peking opera, is a generation of masters, master. The reason why I came to realize this is not only from his artistic accomplishments, not only from his creation of a veteran art genre, not just from his influence on Peking opera veterans, but because of his artistic thinking Has formed a Beijing opera art system. I say that he formed an art system because his artistic expression relates to all aspects of Peking Opera art, such as the repertory, adaptation and creation of scripts, the shaping of characters, the design of the stage, the mantle He has his own designs, modifications and patterns, text fields, martial arts accompaniments, costumes, singing, reading, doing, disguising, make-up, props and so on, all with his own designs and together with a whole set of artistic ideas. A unified school art features. This is just an outline of my statement, if expanded, you can chase Chan. There are many things that are well known,