今年6日,在泉州看了一场梨园戏演出。虽然都是短剧或片断,剧种和演员的艺术特长还没能得到充分发挥,却已使人为之沉醉了。梨园戏可以以其悠长的历史而自豪。这次演出的作品,如《王魁》《朱弁》等,都可上溯到宋元戏文。但尤其值得珍贵的,则是每个节目中,几乎都有其不寻常的表演,体现了这个剧种独特的艺术个性和鲜明的闽南特色,古老而又新鲜。《昭君出塞》是大家都很熟悉的戏了。在梨园戏舞台上,哭啼啼的王昭君演唱“出汉关”抒情唱段,同时却有四名匈奴男女伴从跳着欢乐的舞蹈,也许是为了宽慰这位来自远方的阏氏吧。动静哀乐形成对照,渲染了昭君去国怀乡萧瑟凄伤的情调,诗意盎然。这样的艺术处理在其他剧种的演出中是不大多见的。而全本《郭华》(《胭脂记》)中的《入山门》则是以细腻的心理刻画吸引观众:元宵,王月英赴幽会,谁 On the 6th of this year, I saw a performance of pear opera in Quanzhou. Although both are skits or pieces, the artistic talents of operas and actors have not yet been fully exploited, but they have become totally intoxicated. Pear Garden can be proud of its long history. The performance of the works, such as “Wang Kui” “Zhu Xi”, etc., can be traced back to the Song and Yuan play. But it is especially valuable that every show has almost all its unusual performances, reflecting the unique artistic personality and distinctive Taiwanese characteristics of this drama, ancient and fresh. “Zhaojun stuffed” is everyone are familiar with the play. On the stage of the pear orchard, the crying Wang Zhaojun sang “Out Han Kung” lyric singing, while there were four dance dancers jumping from the Xiongnu mate and companion to perhaps relieving this distant clan. Motion and sadness in contrast, rendering Zhaojun go to the country nostalgia bleak mood, poetic. This kind of art processing is rare in other theatrical productions. The whole “Guo Hua” (“Rouge Ji”) “into the gate” is the delicate psychological portrayal to attract the audience: Lantern Festival, Wang Yueying to the tryst, who