对戏曲艺术有一种较为流行的说法,其大意是:戏曲艺术是由许多定型了的“程式”组成的,这些“程式”,分散开时似乎能够独立存在,组合起来时,就能表现种种不同的剧本和人物,正好像“七巧板”的运用一样,几块固定不变的板可以组成种种不同的图景。照这种说法,戏曲艺术改革的任务似乎就是在于创造新的“七巧板”式的“程式”。初听起来,这种说法是有一定根据的,因为在许多戏曲剧团的演出中确有这类的现象:有的剧种只用几句不变的唱腔、固定的动作、服装、化装和陈旧的词句便可以去表现各种不同的剧本和不同的人物;有的剧种只用几种定型的武打套子来表现各种内容不同的战争和战斗,有的演员不问角色所处的情境和当时的心情如何,一律照例甩袖、整冠、抚弄胡须、悠闲地迈着方步、自我报名、唱“原板”或是“慢板”;有的演员只是熟知了一些“辙口”(如所谓十三辙)、水词(如“翻身上了马能行”之类)、各种“板眼”、腔调和舞台动作,再如上一些舞台经验,便能参加“跑梁子”式的连台本戏的演出,而在许多传统剧目的演出中,只要能“通大路”,便也能临时与陌生的演员合作。 There is a more popular version of the art of opera, with the effect that the art of opera is made up of many stereotyped “programs,” which appear to exist independently when fragmented, and which, when combined, represent the difference The script and characters, just like the “jigsaw puzzles,” the same, a few fixed board can form a variety of different scenes. According to this view, the task of drama art reform seems to be to create a new “jigsaw puzzle” style “program.” At first this statement is based on certain grounds, as there are such phenomena in the performance of many theatrical troupes: some of the operas use only a few permanent aria, fixed movements, costumes, make-up, and outdated Words and expressions can be used to show a variety of scripts and different characters; some use only a few stereotypes of the martial arts sets to show a variety of different contents of the war and fighting, and some actors regardless of role in the situation and the current Squatting, the whole crown, fondle beard, leisurely marching square, self-enrollment, sing “original plate” or “Adagio”; some actors are just familiar with some “rut” (as the so-called (Such as “turn on the horse can be” and the like), all kinds of “board eye”, accent and stage action, and then as some stage experience, can participate in “running the beam” Performance, and in many traditional theatrical performances, as long as the “road”, they can also temporary and unfamiliar actors.