在今天改革开放,社会主义市场经济腾飞的年代里,戏曲的竞争对手林立,为了保证戏曲艺术立于不败之地,成为竞争中的强者,提高导演的二度创作水准已势在必行,时不可拖了。 石放同志在《写在(1997)安徽省五届艺术节落幕时》说:“省五届艺术节的成就应该充分估价,应该为之高兴。但……显得较为薄弱的还是编剧和导演这两个极为重要的环节,编剧缺乏大手笔,导演缺乏高招,这是安徽戏剧界较为长期以来存在的遗憾……” 我省的戏曲导演人员特别是地、市、县级导演人员大多是由演员改行,虽有点舞台实践,普遍文化水平低,拿起剧本读不成句,个别人甚至连一般的标点符号都分别不出。试问,这样的导演怎么去排戏呢?有的剧团领导不懂业务。认为谁表演不错,就让谁去当导演,致使戏曲舞台上手法老化、陈规俗套、千篇一律。有的剧团领导,一味委派演员到外地观摩学习,回 In the era of reform and opening up and the socialist market economy soaring, many competitors of the opera lurked in order to ensure that the art of opera was invincible and become a strong competitor. It is imperative to improve the director's second creative level , Can not be delayed. Comrade Shi Fang said at the “End of the Fifth Art Festival in Anhui Province” (1997): “The achievements of the five festivals in the province should be fully valued and delightfully deserved, but ... it seems weaker than this is the screenwriter and director Two extremely important aspects, the lack of generous writer, director of the lack of tricks, this is the Anhui drama industry has long been the existence of regret ... ... ”In our province director of opera directors, especially in prefectural and county director staff are mostly actors to divert Although a little stage practice, the general level of education is low, pick up the script can not read sentence, some even ordinary punctuation are not out. How to ask such a director for dramas? Some theater leaders do not understand the business. Who think that performing well, let who go when the director, resulting in the opera stage aging, stereotypes stereotypes, stereotyped. Some theater leaders, blindly appointed actors to observe the field learning, back