裴艳玲在《戏曲表演漫谈》(载《大舞台》1987年九、十月号)中说,《钟馗》这个剧目对我是个新课题。我们戏曲的规律是先外而后内。先练基本功,然后再将基本功融化到人物中去。我小时候就知道一味的模仿,学谁象谁。可这次一排《钟馗》,我困惑了,我该象谁呢?我完全象谁也不行。开始排《钟馗》时,因为没有演过类似的行当,创作中更超脱一点,所以我产生了一种“叛逆”心理,我想:我这出《钟馗》,最好是谁也象,谁也不象。 Pei Yanling said in “A Talk on Traditional Chinese Opera Performances” (contained in “The Big Stage” September and October 1987) that “Zhong Kui” is a new topic for me. The law of our opera is first and foremost. First practice basic skills, and then melt the basic skills to characters. When I was young, I knew imitation blindly. But this time a row of “Zhong Kui,” I was puzzled, who should I like? I totally like no one. At the beginning of the arrangement of “Zhong Kui,” I had a “rebellious” mentality because I had not performed a similar job and had a more detached one in my writing. I think: I am a “bell pei” Not like.