看戏最怕沉闷,看新编历史剧尤是。是不是写新编历史剧就必定沉闷?我想,不应该是这样的。最近北京京剧院二团演出的历史剧《驿亭谣》(梁清濂编剧,逯兴才导演,王汶漳音乐唱腔设计),就没给人以沉闷感。这是什么原因呢? 大凡写历史剧,必定有所为而发。他写的那个历史事件,能够对今人有所启迪。他着力歌颂的那个人物,能够有今人值得纪念和学习的地方。至少,他所要表现的人和事,可以给人予历史知识的教育。然而写戏最怕扳着面孔写,唯恐人不受教育,不感动,不激动。于是无论唱、念、做、打,处处“突出”主题思想。只是忘记了写戏要“重机趣”这一重要的法 Afraid of boring watching theater, watching the newly edited historical drama especially. Is it not boring to write a new historical drama? I think it should not be like this. Recently Beijing Peking Opera two troupes performed the historical drama “Station Pavilion rumor” (Liang Qingxu screenwriter, director Xu Xing, Wang Wenzhang music singing design), did not give a dull feeling. What is the reason for this? Almost always write historical drama, it must have made its due. The historical event he wrote can inspire people today. The character he endeavored to praise, there can be today’s places where people are memorable and learning. At least, the people and things he wants to show can give people an education of historical knowledge. However, writing is most afraid of holding his face to write, lest people not education, not touched, not excited. So whether singing, reading, doing, playing, everywhere “prominent” theme. Just forget the important act of writing “heavy machine”