我在越剧舞台上演了三十多年小生戏,长期扮演封建社会的“公子、“书生”,长期脱离工农兵。过去,我认为越剧本来就是适合演古装戏的剧种,所以解放以后,很少演出革命现代戏,有时偶尔演一些,也只是作为临时任务,随演随丢。我把为工农兵服务的方向,仅理解为把戏送到工厂、农村、部队演出,没有考虑演什么戏的问题。有一次,我们带了《西厢记》到部队去慰问演出。演过以后,部队领导特地组织战士讨论应该如何看待《西厢记》。我听到这件事后,心想,我们送戏上门,这不是反而增加他们的负担了?这个问题,我一直不知该如何认识。直到文化大革命开始,我在北京观摩京剧现代戏会演以后,才深切地感到自己距离党和时代的要求实在太远了。回想过 In the past, I thought that Yue Opera was originally a drama suitable for a costume play, so after the liberation, I seldom got to play the role of “son” and “scholar” in the feudal society. Performing revolutionary modern drama, sometimes occasionally, only serves as a temporary task, with the loss of acting.I took the direction of serving the workers, peasants and soldiers only as a trick to factories, rural areas and units, and did not consider the issue of acting. Once, we took the “Western Chamber” to the army for condolences to the performance. After the acting, the army leaders organized the fighters to discuss how to treat the “Western Chamber.” After I heard about it, I thought that we would send the film to our door. This is not the contrary I did not know how to recognize this issue until after the Cultural Revolution began, I was deeply impressed by the demands of the party and the era after I observed the Beijing Opera Modern Opera in Beijing.