上海昆剧团最近在北京的演出,受到了北京戏曲同行和爱好者们的普遍赞扬,也引起了不小的轰动。这对于近几年来颇为流行的“戏曲消亡”论似乎是一个回击。我是演京剧的,对其中的武戏有很大的兴趣,加以京昆是一家,因此愿意在此谈一谈武旦演员王芝泉的表演艺术。我觉得王芝泉表演艺术的真正动人和成功之处,可以分为以下两个方面,其一,就是基本功深厚,程式动作运用得比较标准;其二,是在上述基础上,体现了她对人物的理解,在程式表演中渗透了自己和角色的感情,塑造出一个个栩栩如生,而又不同于前的人物性格。相对话剧和电影来说,戏曲演员的表演更占主导地位。这主要由于戏曲的程式性、时空的假定性以及舞台布景的宽泛性所决定,譬如戏曲的布景,就完全以写意性而非写实性为主,这就需要演员以精湛的表 The recent performance of Shanghai Kunju Troupe in Beijing has been widely praised by Beijing opera counterparts and enthusiasts and caused quite a stir. This seems to be a counter-attack on the “drama’s demise” which has become quite popular in recent years. I play Beijing Opera, and I have a lot of interest in the martial arts. I want to talk about the performing arts of Wu Zhi actor Wang Zhiquan. I think Wang Zhiquan performing arts truly moving and successful place, can be divided into the following two aspects, one is the basic skills deep, the program action to be used more standards; the second is based on the above, reflects on her character Understand, penetrate the feelings of themselves and roles in the performance of the program, create a lifelike, but different from the former character. Compared to plays and movies, the performance of opera actors is more dominant. This is mainly due to the programmatic nature of the drama, the presumption of time and space, and the generality of the stage scenery. For example, the scenery of a drama is entirely based on freehand but not realism, which requires the performer to use a superb form