五、六十年代,在新中国灿烂阳光的照耀下,黄梅戏这个旧社会的落魄少年获得了新的生机,优秀剧目大批涌现,《女驸马》就是其中杰出的一部。文学工作者的不断加工整理,黄梅戏表演艺术家严凤英的扮演,使《女驸马》在艺术上不断提高,流传日广,特别是搬上银幕以后,影响更大。长期以来,尽管十年内乱的禁演批判,它在广大观众中仍流唱不绝,深受他们的喜爱。 《女驸马》既非大作家的创作,也不是象《西厢记》、《琵琶记》那样长期流传而形成的,但它为什么有这么大的艺术魅力?撇开严凤英的精彩的唱腔和表演不谈,光从文学剧本本身着眼,我以为,喜剧性乃 In the 1950s and 1960s, under the shining sun of New China, Huang Muxiu, an abused young boy in the old society, gained new vitality and a great number of outstanding plays emerged. “Nu Wa Ma” was one of the outstanding ones. The continual processing and sorting of literary workers and the performance of Yan Fengying, a performance artist of the Huangmei opera, have made “Nuwa Ma” progressively improved in art and widely circulated, especially after being put on the screen. For a long time, despite the criticism of a ban on non-stop civil strife over a decade, it was still popular among the vast audience and loved by them. “Nu Wa Horse” is neither a creation of big writers nor a long-term spread of genre like The Romance of West Chamber and Pipa, but why does it have so much artistic charm? Apart from Yan Fengying’s wonderful singing and performance, Light from the literary script itself, I think, comedy is