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今年是我的老师、著名河北梆子表演艺术家李桂云舞台生活六十周年。在这个日子里,很自然地使我联想到李老师对振兴、发展河北梆子艺术的重要贡献,以及她对我的教诲、帮助。解放前夕,北京的河北梆子已几乎绝响。解放以后,曾在二十年代的“奎德社”红遍京、津、沪,随后又辍演近二十年的李桂云老师决定重登舞台。在她的努力下,新中华河北梆子剧团成立了。李老师担任团长。这个团的演出人员,包括李老师本人在内都在中年以上。李老师说:“咱们的梆子在北京,不能只满足于‘起死回生’,还必须使她‘返老还童’,这样才能‘长生不老’。”她说,要做到这一点就必须“脱胎换骨”,途径就是“培养出
This year is my teacher, the famous Hebei Bangzi performing artist Li Guiyun sixty years of stage life. On this very day, it naturally reminded me of the important contribution of Teacher Li to rejuvenating and developing Hebei Bangzi art as well as her teachings and help to me. On the eve of the liberation, Hebei clam in Beijing has almost noisy. After the liberation, Li Quanyun, who had disappeared for nearly two decades in the 1920’s “Quaid” in Beijing, Tianjin and Shanghai, decided to resurrect the stage. Under her efforts, the New China Hebei Bangzi Theater Company was established. Mr. Li served as head. The group’s performance staff, including Mr. Lee, are middle-aged and above. Teacher Li said: “Our prince in Beijing can not just be content with ’going back to life’ and must also make her ’rejuvenate’ so that she can become ’immortal.’” She said that in order to do this, she must “reincarnate” Is "cultivate