“民以食为天”,吃乃人生大事.在丰富多彩的中国戏曲舞台上,表现与“吃”有关的情节屡见不鲜,而且妙趣良多.传统戏曲,无论“国剧”京剧还是各地方戏,都是重写意讲虚拟的艺术.“写意传神”,这是中国戏曲鲜然有别于以肖实为重的欧洲传统话剧之处.有如写意画,它不拘形似而追求神似、不诉诸逼真写实的舞台环境,而是最大可能地让出时空给演员表演,景随人走,境由人迁,从而调动观众积极投入再创作,“各以其情而自得”.这种写意性落实到舞台表演上,所谓三五步行遍天下,六八人百万雄兵,行舟不见船,刺绣不见针,皆是其体现.在写意性的规定下,“吃”这一人类的基本生活行为搬上舞台后便经过艺术的 In the rich and varied Chinese opera stage, it is not uncommon for the performance of the episodes related to “eating,” and it is of great interest.Traditional Chinese operas, regardless of the “national drama” or the local opera, Is to rewrite the art of virtual intent. “Freehand Expressiveness”, this is the Chinese drama is different from the traditional European drama based on the portrait of Xiao .It is like a freehand painting, it is not similar to the pursuit of Godlike, without resorting to lifelike Realistic stage environment, but as far as possible to give time and space to the performers, landscape with the people, the environment moved by the people, so as to mobilize the audience actively involved in recreating, “each in its own mercy.” This kind of freehand to implement Stage performances, the so-called March 5 walk all over the world, six or eight million soldiers Xiongbing, boat did not see the boat, embroidery not seen, are all reflected in the freehand provisions, “eat” the basic human behavior move After the stage after the art