三国时期的赵云(字子龙),其舞台形象,远远超过历史形象。就秦腔而言,大、小几十出三国戏中,凡流传颇广,久演不衰的较著名的本戏中,几乎都有他的形象出现。如《回荆州》、《长板坡》、《黄鹤楼》、《火烧新野》等。我大半生是在舞台上扮演赵云的,对其有着特殊的感情;同时,在长期的演出实践中,也积累了塑造这一形象的点滴体会: 赵云幕内一声长叹后(氯),倒八捶上,接着抬头亮相,印堂间冲纹紧绉;同时左手握剑柄,右手在胸前微微颤动,沉步慢度呆思,后步法渐快,至台后左侧跨踢腿大转身,摆腿伸足,形成稳子势,并左右四顾(搜门),穿掌伸臂,面花抬腿,或搬朝天镫,摩捶子踏势垂首快四腿(半个 The Three Kingdoms period of Zhao Yun (Zi Zi Long), its stage image, far more than the historical image. In the case of the Qin Dynasty, almost all of his famous figures appeared in the more famous operas of the Three Kingdoms, big and small, which spread widely and enjoyed a long time. Such as “back to Jingzhou”, “long plate slope”, “Yellow Crane Tower”, “fire Xin Ye” and so on. I spent most of my life playing Zhao Yun on the stage and had a special feeling for him. In the meantime, in the long-term performance practice, I also accumulated a bit of experience in shaping this image. At the same time the left hand grip hilt, the right hand trembling slightly in his chest, Shen slowly sluggish thinking, the latter step method is fast, to the left after the cross-legged big turn, Legs to stretch legs, forming a stable potential, and around look around (search door), wear palm stretch arm, face flower leg lift,