周信芳是一位有创造精神的京剧表演艺术家。早在青年时代他就专注于学习谭鑫培创立谭派艺术的方法,他认为“老谭所学演的戏,为什么讨好,处处讨俏?因为他能够知道世事潮流,合于现实正理”(见《怎样理解和学习谭派》,载1929年《梨园公报》)。周信芳对谭鑫培创造谭派艺术经验所做的总结,直到今天仍不失其正确,仍具有科学性。 周信芳学习谭鑫培的广撷博采,不仅学谭派,对其他人的表演也是多看多学,拿来为已所用,他爱看生行之外旦、净、丑各行的戏,而且经常研究,哪怕仅有一点一滴的好处,都牢记在心。他长期虚心向擅演戏剧的王鸿寿请教,对花脸刘永春的唱和花旦冯子和的创造角色有着浓厚的兴趣。在演出实践中,他既唱文武老生,又演红生,还唱大嗓小生,宽广的戏路,更使他能多方面吸取营养。 周信芳嗓子沙哑,按传统看法嗓子是戏曲演员的本钱,周信芳是最无本钱的。他学习谭鑫培扬长避短的办法,采取走调低、讲韵味的演唱方式,使唱腔苍劲有力,深厚洒脱,以情动人。比如周信芳唱的《四进士》中 Zhou Xinfang is a creative Beijing opera performing artist. As early as in his youth, he focused on the study of Tan Xinpei’s method of creating Tanpai art. In his opinion, “what is the reason why Laotan learned the play and why it is pleasing to the public? Because he can know the trend of the world and is realistic” (see “ How to Understand and Learn the Tan School ”, contained in the 1929“ Liyuan Bulletin ”). Zhou Xinfang summarized Tan Xinpei’s experience of creating Tanpai art and it is still scientific today. Zhou Xinfang studied Tan Xinpei’s extensive experience and learned not only the Tan School, but also the performances of other people. He used it as his own favorite. He loved to watch the performances of Dan, Net, and Ugliness, and often Research, even if only a little bit of the benefits, keep in mind. He has long been an open-minded conscience to Wang Hongshou play a conspiracy, on the face of Liu Yongchun’s singing and flower Fung child and has created a strong interest in the role. In the practice of performance, he not only sang civil and military Lao Sheng, but also played a leading role in life, singing big throat niche, wide play, but also to enable him to learn nutrition in many ways. Zhou Hsin-fang hoarse voice, according to the traditional view of the opera actor’s voice is the capital, Zhou Xinfang is the most costless. He studied Tan Xinpei ways to avoid weaknesses, take take the tune down, speak flavor of singing, so singing strong, deep and free, with love moving. For example, Zhou Xinfang sing “Si Jin Shi”