《贩马记》又名《奇双会》,是一出吹腔戏。京、昆、汉、徽等剧种都有这个剧目。京剧一般只演“哭监”、“写状”、“三拉”、“团圆”四折,有时也单演“写状”一折。这篇小文是我几十年来演《贩马记》中的桂枝悟到的一隅之见,供后学参考。1926年我十五岁时,在东北孙家台(开源)随四姐丁逸云(当时艺名小惠英)搭班演戏。我是边学边演,应码唱戏,不拿包银。四姐原是唱老生的,在津、京一带演出时艺名为丁凤奎,在外码头搭班不能死抱一门,因为在本戏中与当家花旦金紫玉配合默契,当排演全部《贩马记》时,便约四姐扮演主角小生赵宠。戏是从李奇贩马离家演起,当时我最喜欢看的还是她 “Trafficking in horses,” aka “odd double will” is a tricks. Beijing, Kun, Han, Hui and other operas have this repertoire. Peking Opera generally only play “Crying”, “writing”, “three pull”, “reunion” four fold, and sometimes single speech “write” a discount. This essay is what I learned in Gui Zhi Wu that I’ve been playing for many years in the past few years for later reference. When I was 15 years old in 1926, I took a class play with Sister Ding Yiyun (then Xiao Yiying) at Northeast Sun Jia Tai (Open Source). I was learning to play, should sing theatrical performances, do not take the package silver. Fourth sister was originally singing sisters, performing in Tianjin, Beijing stage name for Ding Fengkui, take the class in the outer pier can not embrace one, because in the play with the star of the flower girl with gold tacit understanding, when the rehearsal of all “Dispatcher” , Then about four sister play star niche Zhao pet. The play was played by Li Qi from the home, and my favorite time was her