我在杂技圈子里不觉十余年了,目睹了这段历史时期中杂技艺术的进步与辉煌,同时,又常困惑于中国杂技的“墙内开花墙外红”。由于处在行家与观众之间这么个位置上,一种不平衡的心理常驱使我产生零星感受,也想谈一谈。考证起来,国内观众不待见杂技的年头并不久远,倒回20年,得数杂技最红火。尽管在“样板戏”年代杂技也曾被搞得非驴非马,但它技巧的货真价实,它的最早恢复元气,在相当长的一段时间里补上了人们文化生活的空缺。说是久旱逢雨也罢,说是饥不择食也罢,观众 I felt unconsciously in acrobatics circles for more than ten years and witnessed the progress and glory of acrobatics in this historical period. At the same time, I was often confused by the Chinese acrobatics. Due to being in such a position between the expert and the audience, an unbalanced psychology often drives me into sporadic feelings and I also want to talk about it. Textual research, the domestic audience is not to see the acrobatics of the new year is not long ago, 20 years back, the most popular acrobatics. Although acrobatics has also been made non-ass in the “model opera” era, its technique is genuine and its earliest recovery has filled the vacancy of cultural life for a long period of time. It is a long drought worth mentioning, that is hungry, worth mentioning the audience