这次广西全区戏剧汇报演出中,我扮演了《桃花扇》里面的李香君。这个人物对于我来说,并不是完全生疏的。我们在二十年前就排过这个戏,但是由于我当时年纪小,理解能力弱,工夫也差,演出质量是很低的,这次演出是根据新改编的剧本从新排演的。由于编剧和导演在排演过程中不断深入的启发和帮助,使我对创造李香君这个人物有了一定的提高。下面我想谈谈这次演出和导演合作的一点体会。排《桃花扇》的导演郑天鉴同志原来是搞话剧的。他过去没有接触过这个剧种,在开排之前我就有些顾虑:话剧导演来导演戏曲行吗?会不会妨害演员运用戏曲的表现方法呢?但事实不是这样,导演非常重视戏曲表演程式的运用及传统的舞台处理特点。在排演过程中他不断启发演员在传统的基础上去发挥创造,他运用一般的戏剧理论知识指导我分析角色,对我刻划李香君这个人物帮助很大。我认为,一个戏曲导演能精通某一个剧种的表演程式当然最好,如不精 During the Guangxi Drama Show, I played Li Xiangjun inside the Peach Blossom Fan. This character is not completely unfamiliar to me. We had ridden the show 20 years ago, but because of my age, poor understanding and poor performance, the quality of the performance was very low. The performance was rehearsed according to the newly adapted script. As writer and director in the rehearsal process of continuous in-depth inspiration and help make me to create Li Xiangjun this character has been improved. Now I want to talk about this performance and director cooperation experience. In the row “peach fan” comrade Zheng Tianjian comrades originally engaged in drama. He had no contact with this genre in the past, and I had some concerns before opening up: whether the director of the drama directed the drama? Does it hinder the performers from using the methods of drama? But this is not the case, and the director attaches great importance to the use of drama programs And the traditional stage processing features. During the rehearsal process, he constantly inspired the actors to create on the traditional basis. He used the general theoretical knowledge of drama to guide me in analyzing the characters, which helped me in carving the figure of Li Xiangjun. I think it is certainly best to have a drama director proficient in the performance of a particular genre,