唱戏说书都讲究个“下文”。唱到关键时刻锣鼓一响,大幕骤然关闭,请看下场;说到要紧关口,惊堂木一拍,嘎然而止,且听下回分解。就是这样,把观众的兴趣、胃口吊得足足的,想走的,不走了,没劲儿的,聚了神儿,于是在演员慢慢的表演中,下文渐渐解开,于是一出戏,一段书便变得圆满了,久而久之,人们也就有了一种对“下文”的偏好,喜欢听“下文”,而且了解“下文”,探究“下文”的兴趣要大大超过“正文”。 唱戏说书是如此,现实生活呢?仔细想想不也是由许多“正文”与“下文”构成的吗?几乎每件事情总有个开始,发展,结束,要是没了“下文”总觉得不对劲儿,难免生出疑虑,怎么回事?算什么意思呢?因此,凡事总该有个交待,应该有个交待才是。 Singing storytellers are stressful “below.” Sings to the key moment of percussion, the curtain suddenly closed, see the end; Speaking of crucial juncture, a beat gavel, come to an end, and listen to the next decomposition. That is the case, the audience’s interest, appetite hanging enough, want to go, do not go, boring, God gathered children, so the performer slowly performance, the following gradually unlock, so a play As time goes on, people also have a preference for “below”, like to listen to “below”, and understand “below”, to explore “below” interest greatly exceeded the “text.” Is this the case of real opera? Do you think about it not too many “body” and “below”? Almost every thing there is always a beginning, development, end, if there is no “below” always feel wrong , Inevitably give rise to misgivings, what happened? What does it mean? Therefore, there should always be an account of everything, there should be a confession is.