在剧团里,我只是一个以砖瓦之力到处补墙的小演员,演过小生,演过花旦,也配演过老生。但是小草也有小草的幸福,砖瓦也有砖瓦的思考,我发现自己最得心应手的行当还是旦角,而旦行中又比较偏爱王(文娟)派艺术。我觉得越剧王派艺术就如同冷月的素辉,表面上清冷平静,却也能以其清幽的光华映照出素洁而不屈的诗魂。而这也就成了众多王派角色的综合气质,如素雅平静之中透着骨气与韧性的黛玉,再如以娇弱之躯抗击飞来横祸的张桂兰与春香,又如从平凡的浣纱女蜕变成救民于水火的巾帼英雄的西施,不胜枚举。越剧王派艺术无论从唱腔还是综合气质来看,都是平实质朴 In the troupe, I was just a small performer who played the role of a brick wall, played a niche, played Hua Dan, also played a cousin. But the grass also has the happiness of the grass, brick and tile thinking, I found that my most handy business or Danjian, but once again prefer Wang (Wenjuan) to send art. I think the opera kingdom art is like the cool month of the Su-Hui, seemingly calm and cold, but also with its quiet Guanghua reflect Su-kai unyielding poetic soul. And this has also become the role of many of the king-style temperament, such as elegance and tranquility of the integrity and resilience of Daiyu, another example is the fragility of the fight against fleeting accident Zhang Guilan and Chunxiang, Another example from the ordinary Huan yarn Metamorphosis into the rescue of women and men in the fireshoe Xiong Shih hero, numerous. Opera king art no matter from the singing or the overall temperament point of view, are plain and simple