在本年第七期《戏剧报》上,有一篇郭亮同志写的《“俯”、“仰”之间》,文中评论了老调演员崔澄田同志《潘杨讼》中扮演潘洪的表演。从郭亮同志的文章和其他评论文章看来,崔澄田等同志在这个戏里的表演是非常成功的,可惜《潘杨讼》在北京演出的时候,我正在病中,没有能看到。可是读到《“俯”、“仰”之间》这篇文章,感到其中有关表演方面的一些理论是值得研究的,有很多提法都很不恰当。首先,郭亮同志提出了扮演潘洪的演员的最高任务,他说:“他对于创造角色的最高任务(政治目的)非常明确:即‘告诉观众怎样划分善与恶’、‘使观众恨他’;其次才是如何通过戏曲舞台艺术形象很好 In the seventh issue of the Drama Newspaper, Comrade Guo Liang wrote a book titled “Depression” and “Rebellion.” In the article, Comrade Cui Chengtian . According to Comrade Guo Liang’s articles and other commentary, Comrade Cui Chengtian and other comrades performed very successfully in this movie. Unfortunately, “Pan Yang-chang” was performing in Beijing and I was in the midst of illness and could not see it. However, when reading the article “Between” and “Yang”, I feel that some of the theories on performance are worth studying and many of them are inappropriate. First of all, Comrade Guo Liang set the highest task of acting as Pan Hong’s actor. He said: “His supreme task in creating characters (the political goal) is very clear:” Tell the audience how to classify good and evil “and” hate the audience Secondly, how to pass the opera stage art image is very good