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1951年,中国人民赴朝慰问团出国之前,曾在天津审查演出节目。廖承志同志把已经排在前面高元钧的山东快书,改放在后面当压轴节目,并且问我,你知道高元钧吗?我说:不了解,从节目单上看,就他一个人表演,连伴奏都没有。因此,就把他的节目放在前面了。廖承志同志说,你错了,高元钧一个人表演,可以抵得上一台戏,他像个“千面人”,一个人在台上用不着化妆,也不需要布景,同时表演几个人,个个都性格鲜明,演龙是龙,演虎是虎。高元钧和侯宝林说相声一样,把山东快书这种当年在山东赶庙会的民间曲艺,带入城市演出,去掉其中糟粕,又从南京夫子庙的地摊上演到了大城市的剧场,深受人们欢迎。
In 1951, before the Chinese people went abroad to visit the mission of conciliation, they reviewed the performance program in Tianjin. Comrade Liao Chengzhi put already in front of Gao Yuanjun’s Shandong fast book, put in the back when the finale, and asked me, do you know Gao Yuanjun? I said: do not understand, from the program list, he performed alone, and even No accompaniment. So put his show in front. Comrade Liao Chengzhi said that you are wrong, that Gao Yuanjun alone can perform on a drama. He is like a “thousand-face man.” One does not need make-up on stage and does not need scenery. At the same time, All are distinctive character, dragon is dragon, play tiger is tiger. Gao Yuanjun and Hou Baolin talked about the crosstalk. They took the Shandong Kuai-shu, the folk song and folk art of the time-honored temple fair in Shandong Province, into the city to remove the dregs and staged a play in the big city from the stall of Confucius Temple in Nanjing.