有人说,唱戏的是疯子,看戏的是傻子。当然也有倒着说的,那就成了唱戏的是傻子,看戏的是疯子。到底谁是“疯子”谁是“傻子”并不重要,总之不管是唱戏的演员,还是看戏的观众,一旦入“戏”,就会不知不觉地陷入其中,都有点迷幻痴魔、装疯作傻、神经兮兮。其实,唱戏的若不装“疯”, 看戏的就不会“傻”;反之,没有观众的“疯”样,同样就不会有演员的“傻”做。演员与观众,呈现出一种相互作用、相互影响的律动关系。舞台不仅仅是一块专供演出的平台,更是一种象征。中国古代那些“走江湖”、“打野呵”的戏班随处做场演出,随便一块空地,就可做出“舞台大天地,天地小舞台”的叱咤风云、吞吐万象的表演。围绕戏曲舞台的观与演,我们可以窥见中国社会的时代特征、民俗风情、文化内涵及各种人生世态,戏剧舞台可以算得上是中国社会历史的一面镜子、一幅缩影。 Some people say that singing is crazy, theater is a fool. Of course, there is also said down, it became a fool is a theater, theater is crazy. In the end who is “crazy” who is “fool” is not important, in short, whether singing opera actor, or theater audience, once into the “play”, it will fall into it unwittingly, are a bit psychedelic demon, equipment Crazy silly, neurotic. In fact, if the opera is not installed “crazy”, the theater will not be “stupid”; the other hand, there is no audience “crazy” likewise, there will be no actors “silly” to do. Actors and spectators, showing a kind of interaction, interaction between the rhythm. The stage is more than just a stage dedicated to performing, but also a symbol. In ancient China, those “walking rivers and lakes” and “playing wild happily” troupes do their own performances at random places. With a piece of open space, you can make all-powerful performances like “a big stage on a stage, a small stage on a world”. From the perspectives and performances of the drama stage, we can glimpse the characteristics of the times, customs, cultural connotations and various human worlds of Chinese society. The theater stage can be regarded as a mirror and a miniature of Chinese social history.