自从去年全国戏曲剧目工作会议提出了开放剧目以来,戏曲午台上演出的剧目逐渐增多了。很多优秀传统剧目从箱子底里翻了出来,从老艺人的口里记录了下来,重新搬上了午台。一大批过去被某种清规戒律所压制或曾经被粗暴地视为有问题而停演或不演的剧目,现在也纷纷复演了。当很多戏曲界前辈艺人重新在午台上演出他们多年不演的拿手杰作的时候,当观众看到这些多年来看不到的优秀的剧目演出的时候,那种兴奋欢愉的心情是可以想见的。这自然是一种非常可喜的现象。但是事情却也并不全然都是这样的。只要稍加注意最近戏曲午台上演出的剧目和演出的情况,我们就可以看到也有一种另一方面的现象已经开始出现。不信,试翻阅一下最近的报纸,检查一下目 Since the opening of the national drama repertory work conference last year, there has been an increase in the number of plays on the stage of the opera. A lot of good traditional repertoire turned out from the bottom of the box, recorded from the mouth of the old artist down, put on the afternoon again. A large number of repertoire in the past, which was stopped by some kind of precept or precept or was once roughly treated as problematic, has now been repeated. When many theatrical artists reclaim their masterpieces that have not been performed on the stage for many years, when the audience can see these excellent repertoire performances that they have not seen for many years, the feeling of excitement and joy can be imagined of. This is naturally a very welcome phenomenon. But things are not all like this. As long as we pay close attention to the repertory and performance of the recent opera stage, we can see that there is another aspect of the phenomenon that has begun to emerge. Do not believe, try reading the recent newspaper, check it