梨园界素有“靠戏吃饭,天经地义”之说。然而,用炎黄子孙乳汁哺育繁衍至今的戏曲,当她疲惫的身躯跨进我们这一代的门坎儿时,却遭遇了一场危及自身生存的大磨难。它波及之广,危害之深是人们始料不及的。其受害最深的“重灾区”就是以唱戏为生的戏曲剧团。具体表现为,大多数表演团体入不敷出,观众上座率逐年下降,演出收入微乎其微。在这种深重的灾害面前,人们不知所措,一片茫然。于是,有人断言:“中国戏曲长期停滞在旧文化层次,自身缺乏适应审美变化的艺术因素,败下阵来是大势所趋,且复苏无望。”这样,就出现了许多有影响的剧团散摊儿;许多有才能的演员丢了饭碗,这种现象从南到北,遍及全国。正当人们惊呼“危机”“不景气”“戏曲行将灭亡”的时候,却偏偏有一个戏曲剧团如沙漠中的绿洲,他们很会吃戏饭,从来就没有遇到什么“危机”,连续10多年,年年超额完成演出场次,经济收入也很可观,而且剧团的艺术建设也搞得有声有色,是一个真正充满活力与 Pear Court known as “play by the movie, only natural justice,” said. However, the drama that has been nurtured and reproduced by the grandson of the emperor’s ancestors has encountered a great tribulation threatening its own existence when her weary body plunged into the threshold of our generation. It spreads extensively, endangering people’s expectations. Its hardest hit, “hardest hit” is to drama drama troupe. Specifically, most performance groups make ends meet, the audience attendance declines year by year, and the performance revenue is negligible. In the face of such a grave disaster, people are overwhelmed. Thus, one asserted: “Chinese opera has long been stalled at the old cultural level and its own lack of artistic factors to adapt to aesthetic changes is defeated by the general trend and hopeless recovery.” In this way, many influential troupes emerged; Many talented actors have lost their jobs, a phenomenon that runs from south to north all over the country. Just as people exclaimed “crisis”, “depression” and “drama is going to die”, they actually chose to have a drama troupe such as the oasis in the desert. They would eat drama and never encountered any “crisis.” For 10 consecutive years Over the years, the performance of the show is overfulfilled every year and the economic income is also impressive. Moreover, the art construction of the troupe is also impressive. It is a truly vibrant and