作者寄语我十岁进戏校，几十年间靠“口传心授”的方式学习京剧表演艺术。许多年后，我开始在课堂里教京剧，却苦于没有合适的教学材料让孩子们能打开更多了解京剧的大门。后来有了这套《史依弘教你学京剧》的中文版，现在，这本英文版也出来了，希望它能为更多国外的朋友提供一片了解国粹京剧的广阔天地，愿你们通过这本书了解京剧，喜欢京剧，甚至有一天也可以粉墨登场。我会在课堂里等待你，也会在剧场里等待你。史依弘I entered a folk opera school when I was 10. For decades， I learned the performance art of Peking Opera through the traditional method of “oral teaching that inspires true understanding within”. Many years later， I， too， started teaching Peking Opera in a classroom. But it was hard to find suitable teach
史依弘，上海京剧院梅派青衣，国家一级演员，师从著名武旦表演艺术家张美娟与戏曲声乐教育家卢文勤，以及京昆界众多艺术名家，才貌俊美，文武兼擅。近些年连续推出“占尽风华”“梅尚程荀”全国巡演，相继在北京、上海、天津、深圳、广州、重庆、等中国的众多城市展开。她多年来致力于传承与弘扬中华传统文化的精神命脉，坚持继承与创新国粹，致敬传统，不断学习，给观众新的成绩，同时她也非常重视京剧的普及教育，致力于大力推动青少年儿童的京剧艺术学科的学习。业内外好评不断，饮誉艺坛。胡卫，研究员，担任全国政协委员、上海市政协教科文卫体委员会副主任、民进中央委员、民进中央教育委员会副主任、民进上海市委专职副主委、上海市教育学会副会长等重要职务。1983年毕业于华东师范大学教育系。他长期从事教育理论、政策和实践研究，先后承担国际、国内多项重要课题。近年来，他积极呼吁“文教结合”，推动优秀文化进校园、进课堂、进网络。并依托上海市政协创设“文化创意中心”，与多位艺术家合作成立名家进校园的工作室，推动让青少年学生和艺术名家面对面。Shi Yihong is a qing yi actress of the Mei Lanfang School with the Shanghai Jingju Theatre Company. The National Level One actress followed wu dan artist Zhang Meijuan and folk opera vocal trainer Lu Wenqin， while learning from other renowned artists of Peking Opera and Kunqu Opera. Beautiful and talented， she has trained hard to excel in both civil and martial genres. In recent years， she has launched national tours， titled Supreme Elegance (Zhan Jin Feng Hua) and Mei Shang Cheng Xun， performing in Beijing， Shanghai， Tianjin， Shenzhen， Guangzhou， Chongqing and other cities. She has dedicated herself to carrying on and promoting the spiritual heritage of traditional Chinese culture. With full respect to tradition， she continues to innovate and brings audiences new creations. She also pays great attention to promoting Peking Opera， especially encouraging children and teenagers to learn the ancient performance art. Her efforts have been awarded both in art circles and around the country.Hu Wei， a research fellow， is a member of the National Committee of the Chinese People’s Political Consultative Conference (CPPCC)， deputy director of the Committee of Education， Science， Culture， Health and Sports under Shanghai’s CPPCC， a member of the Central Committee of China Association for Promoting Democracy (CAPD)， deputy director of the Education Committee of CAPD’s Central Committee， CAPD’s special vice-chair with the Shanghai Municipal Party Committee， the vice-chair of the Shanghai Education Society and other prominent posts. After graduating from the Education Department of East China Normal University in 1983， he spent years researching education theory， policy and practice， and undertaking many important projects in and outside of China. In recent years， he has been pushing forward the idea of “combining culture with education”， highlighting the influence of outstanding culture in schools and on the internet. With the help of the Shanghai Municipal CPPCC， he founded the Cultural Innovation Center and set up a studio for artists to enter school campuses where they can meet students face to face.
內容試閱：
Peking Opera is the best-known traditional Chinese folk opera and is often referred to as the “quintessence” of the country. Peking Opera’s history spans more than 200 years since it emerged during the rule of Emperor Qianlong (reigned 1736-1795) in the Qing Dynasty (1616-1911).Unlike Western theatrical performances， Peking Opera has a complete set of performance routines that are symbolic and suggestive， and characteristic of Chinese arts. This is an art form that has come from life but has not stopped at merely imitating life. Generation after generation of performance artists have continued improving and reforming this abstract and symbolic art form until it became the elegant and intricate genre we behold today. And Peking Opera encompasses almost all the major events and legends across China’s long history， effectively making this folk opera an essential vessel of the country’s history and culture， and of the core values of truth， kindness and beauty.As a comprehensive art form， Peking Opera has combined many categories of art like fine arts， literature， dance and music. Peking Opera shares many features with other classical Chinese arts， including poetry， calligraphy and painting. Together， they reflect the Chinese people’s aesthetics and complement one another. One can also argue that admiring Peking Opera is admiring a composite of arts from traditional Chinese culture. In 2010， Peking Opera was included in UNESCO’s List of Intangible Cultural Heritage. Across the world， this Chinese folk opera has been winning more and more applause and gaining greater appreciation among foreign audiences. Due to its complex artistic representations， however， the essence of Peking Opera has largely eluded overseas friends， who are attracted by the face paint， costumes and other superfluous elements. It is based on this reality that this book attempts to introduce some key concepts of Peking Opera to foreign readers through simple explanations accompanied with engaging illustrations and audio-visual content. It’s our sincere hope that more friends from overseas will learn to love Peking Opera through this book.
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