| 京剧并非北京土生土长的戏曲，而是由中国南方入京的徽班艺人和汉调艺人相互借鉴，并吸收了当时流星于北京多个剧种的优长而形成的新剧种，迄今已有二百年的历史。京剧植根于东方文化这块丰厚的土壤，与西方戏曲有着根本的差异。第一次看到京剧的现代人，难免会对京剧产生某种距离感，听不懂也看不懂。但假如了解了京剧的艺术特点和文化内涵，就会发觉一切是那么有兴味，说不定在某个早晨，耳边传来了咿呀弹唱，你忽然发觉自己已经爱上了京剧。 |
| 徐城北，中国艺术研究院研究员，中国作家协会会员，中国电视艺术家戏曲委员会委员，曾任中国京剧院研究部主任，写作各类著作七十余册，主要作品有《梅兰芳三步曲》、《老北京三步曲》、《戏剧与中国文化》等。 |
| Foreword i The Birth and Evolution of Peking Opera Anhui Troups Moved into Beijing The Art of Listening, Old-Style Theaters Old Beijing in Peking Opera's Heyday Theatrical Companies and Old-Style Opera Schools Theaters, Temple Fairs and Tanghui The Stage, Props And Orchestra A Table and Two Chairs Wen Wu Chang Performing Art Four Roles of Sheng, Dan, Jing and Chou Acting Singing, Dancing and Acting Skills "Realms" of Acting Performers and Performing Schools Nan Dan, or Men Playing Female Roles Generations of Famous Actors Mei Lanfang, FamousDan Impersonator Classic Plays Modern Peking Operas Conventions of Peking Opera It Is Not Easy to Appreciate Peking Opera Peking Opera in the Contemporary Era Appendix: Chronological Table of the Chinese Dynasties |
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