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不少年来,似乎是无形中产生的印象,在戏曲改革问题上,京剧两大表演艺术家,一个梅兰芳,一个程砚秋,二人之取向,是有分野的:梅趋于守成;程较为激进。记得1964年全国京剧现代戏观摩演出期间,传闻50年代初,梅兰芳曾带头联名上书,反对戏改,程砚秋则拒绝签名,而他的一位挚友予以代签,未料程竟与之绝交。那时我还小,尚在戏校学习,对这样的说法,自然谈不上关注,但总是相信的。及至若干年后,涉足所谓研究,接触到梅程的一些文章论述,发现事情似乎也不是那么泾渭分明,势同冰炭的。梅既不是闻戏改即反对,程亦非对戏改全无异
For many years, it seems that there is an impression virtually produced. On the issue of drama reform, there are differences between the two major performing artists of Beijing Opera, one of Mei Lanfang and one of Cheng Yanqiu and two of them. . I remember 1964 during the National Peking opera modern drama performance rumor, in the early 1950s, Mei Lanfang led a joint letter, opposed to drama reform, Cheng Yanqiu refused to sign, and his best friend to be signed on behalf of, did not expect it unexpectedly. At that time, I was still young and still studying at a play school. I naturally did not care but I always believed. When it comes to some articles that touched upon the so-called research and came into contact with Mei Cheng in a few years, we found that things did not seem to be quite clear and clear. Mei is neither the smell of drama change or opposition, Cheng nor change the play no different