家乡的戏曲艺术——越剧

朋友，你一定欣赏过小提琴名由《梁祝》，柔美凄婉的旋律曾经陶醉过多少中外华人。你可知道曲子创作灵感来源于何处？对了，那就是越剧《梁山伯与祝英台》。你听，曲子的旋律有越剧的影子。

My friend, you must have enjoyed the name of violin Liang Zhu. How many Chinese and foreign people have been intoxicated by the soft and sad melody. Do you know where the inspiration comes from? By the way, that is the Yue Opera "Liang Shanbo and Zhu Yingtai". Listen, the melody of the tune has the shadow of Yueju Opera.

这就是我家乡的艺术——越剧，具有传统东方文化特色的戏剧。

This is the art of my hometown, Yue opera, which has the characteristics of traditional oriental culture.

越剧是一个成熟的剧种，它以其真切细腻的表演、委婉动听的唱腔、优美抒情的风格、清新亮丽的曲调，却又不失激情与高亢的特点，赢得了广大群众的喜爱。

Yueju Opera is a mature drama. It has won the love of the masses with its true and delicate performance, euphemism and melodies, beautiful and lyrical style, fresh and bright tunes, but with the characteristics of passion and exuberance.

越剧发源于浙江嵊州市，越剧的前身是落地唱书。1906年，落地唱书搬上舞台，经历了小歌班、绍兴文戏男班、绍兴文戏女班、女子越剧等几个阶段，从嵊州经绍兴、宁波、杭州到上海，发展成为有全国影响的地方戏曲。

Yueju originated in Shengzhou City, Zhejiang Province, and its predecessor was "singing on the ground". In 1906, it was put on the stage and experienced several stages, such as Xiaoge class, Shaoxing Wenxi men's class, Shaoxing Wenxi women's class, and women's Yueju. From Shengzhou to Shanghai through Shaoxing, Ningbo, Hangzhou, it developed into a local opera with national influence.

抗日战争期间，部分越剧演员在敌伪统治下的上海虽然演了一些有积极意义的好戏，但改革主要还是在形式上，越剧内容并没有较大的突破。1942年越剧改革以后，越剧的面貌发生了翻天覆地的变化。从一个不登大雅之堂的小戏迅速发展成为适应现代舞台条件的、有较强综合性的剧种。新中国成立以后，在党的文艺方针指引下，在几代越剧艺人的努力下，越剧终于赢得广大观众的欢迎，促进了自身的繁荣发展，也成为全国性的大剧种。

During the Anti Japanese War, although some Yueju actors performed some positive plays in Shanghai under the rule of the enemy and the puppets, the reform was mainly in form, and there was no major breakthrough in the content of Yueju. After the reform of Yueju Opera in 1942, the face of Yueju Opera changed dramatically. From a small play that doesn't play well, it has rapidly developed into a more comprehensive play that adapts to modern stage conditions. After the founding of the people's Republic of China, under the guidance of the party's literary and art policy and the efforts of generations of Yueju artists, Yueju Opera has finally won the welcome of the audience, promoted its own prosperity and development, and become a national opera.

但是，时代在发展变化，到了现在，曾经辉煌的越剧渐渐地沉默下来了。虽然有人极力在挽救越剧，但现实总是残酷的。这里有一个其型的例子：新晋梅花奖得主——上海着名越剧演员萧雅来杭州连续举办专场越剧演出，据了解，从4月1日的第一场演出开始，上座率就没有超过5成；而在5成的上座率当中，有90％以上的人是通过各种渠道拿来的赠票。

However, the times are developing and changing. Now, the once brilliant Yueju Opera is gradually silent. Although some people try their best to save Yueju Opera, the reality is always cruel. Here's an example of its type: Xiao Ya, a famous Yueju actor from Shanghai who won the new plum blossom award, came to Hangzhou to hold a special Yueju performance in succession. It is understood that since the first performance on April 1, the attendance rate has not exceeded 50%; and among the 50% attendance rate, more than 90% of the people get tickets through various channels.

不管怎么样，越剧的观众越来越少，已是无可争辩的事实。

In any case, it is an indisputable fact that the audience of Yueju Opera is less and less.

当今的越剧危机已经很明显了：一是越剧剧团全面萎缩，现在除上海、江苏、福建和浙江外，其他各省市几乎没有专业越剧团。二是观众群体少，范围窄。越剧观众大多是50岁以上的老年群体，年轻人很少有人问津。三是目前越剧自身剧目老、节奏慢，缺乏改革和创新，一成不变，像个饱经风霜的老人。四是政府投入不多。社会争企业投入少、关注少，不重视。

Today's Yueju Opera crisis is obvious: first, Yueju opera troupes are shrinking in an all-round way. Now, except Shanghai, Jiangsu, Fujian and Zhejiang, there are almost no professional Yueju troupes in other provinces and cities. Second, the audience is small and the scope is narrow. The audience of Yueju Opera is mostly the elderly group over 50 years old, and the young people are rarely followed. The third is that Yueju's own repertoire is old, slow-paced, lack of reform and innovation, unchanging, like a weather beaten old man. Fourth, the government has not invested much. The social competition for enterprises has less investment, less attention and less attention.

在越剧走向衰落的同时，我仍然欣喜地看见，越剧界人士为振兴家乡艺术执着地奋斗着。他们把现代艺术元素融入越剧表演，用现代舞台、音响、灯光营造现代化的气氛。以吸引年轻一代的观众；剧本的创作也力求创新，如现代越剧《孔乙己》等的上演，的确给越剧带来了一股清新之风。舞台越剧没落的同时，社区里、广场上戏曲演员的表演却得到了百姓们的热烈欢迎。这些确实是值得我们深思的问题。越剧，我家乡的艺术，你的将来会是怎样的呢？

At the same time of Yueju's decline, I am still glad to see that people in Yueju circles are striving to revitalize the art of their hometown. They integrated modern art elements into Yueju Opera performances and created a modern atmosphere with modern stage, sound and lighting. In order to attract the audience of the young generation; the creation of the script also strives for innovation, such as the performance of modern Yueju Opera Kong Yiji, which indeed brings a fresh wind to Yueju Opera. At the same time of the decline of Yueju Opera, the performance of opera actors in the community and square was warmly welcomed by the people. These are really issues worthy of our consideration. Yueju Opera, the art of my hometown, what is your future?