管弦齐鸣，声声入耳。12月26日晚，由泉州市青少年宫与泉州市第二中心小学联合主办的"艺"启新光2026新年音乐会在 泉州市青少年宫音乐厅举行，泉州市第二中心小学民乐班、合唱社团等联袂呈现一场视听盛宴，以民乐迎接即将到来的新的 一年。（林楷煜） 合奏《喜洋洋》。新华网发（林楷煜 摄） 二胡齐奏《赛马》。新华网发（林楷煜 摄） 琵琶齐奏《金蛇狂舞》。新华网发（林楷煜 摄） 认真演奏民乐的青少年。新华网发（林楷煜 摄） 合唱《亲爱的你》。新华网发（林楷煜 摄） 民乐与讲古《灯红歌》。新华网发（林楷煜 摄） 梨园戏、掌中木偶、提线木偶社团的小演员们表演。新华网发（林楷煜 摄） ...

难能可贵的是，《陈三五娘》至今仍在梨园戏舞台上演，且版本丰富：传统版、传承版、小剧场版、沉 浸式演出版，还有与AI相结合的《陈三五娘·平行空间》……除此之外，潮剧、高甲戏、莆仙戏、芗剧 （歌仔戏）、木偶戏都有《陈三五娘》的演出，包括川剧、评剧在内的十几个剧种都曾"移植"过它。 回溯新中国成立前夕，古老的梨园戏濒临灭绝。1952年，晋江县（现晋江市）文化馆把散落农村、生计 维艰的老艺人们召集起来，组成晋江县大梨园戏剧团，即现在梨园团的前身。新加入的成员与老艺人齐 心协力，抢救记录几十个传统剧目，用画图例谱的方式记录"十八步科母"等表演科介和音乐曲牌，同时 创作推陈出新的剧目，第一个戏便是《陈三五娘》，全面提高其文学性。1954年，《陈三五娘》参加华 东地区戏曲观摩会演，大放异彩，梨园戏名声大振，被列入全国优秀剧种之林。 从建团伊始，以林任生为代表的文艺工作者们就以保护剧种血脉为己任，以谦虚且近乎严苛的方式看待 梨园戏"戏改"，"量体裁衣"式地进行剧目整理。当时全剧的删减增盈都是在不损害原情节的基础上进行 的。改编时，尽可能多保留曲子，使表演音乐具有完整性，名曲《因送哥嫂》就这样被原原本本保留下 来。因此，"戏改 ...

Core Viewpoint - The new regulation from the National Arts Fund aims to encourage local theater companies to cultivate their own creative talents and avoid over-reliance on external creators, which could lead to a loss of the unique characteristics of local theater forms [2][4]. Group 1: Importance of Dialects - Dialects and vocal styles are considered the soul of local theater, and any innovation should not compromise these essential elements [2][5]. - For example, the Fuzhou dialect retains many ancient Chinese linguistic features, which play a crucial role in the rhythm and vocal style of Min opera [2][3]. - Other dialects, such as Cantonese and Puxian, also contribute unique tonal qualities that enhance the expressiveness of their respective operas [2][3]. Group 2: Rich Vocabulary and Characterization - Local dialects possess diverse vocabulary systems that enrich character portrayal in performances, allowing for distinct language images that enhance the overall theatrical experience [3][4]. - The use of dialects enables the creation of vivid and relatable characters, making local theater more engaging and culturally resonant [3][4]. Group 3: Challenges with External Creators - External creators may lack the time and understanding to fully grasp the complexities of local dialects, which can lead to a dilution of the unique characteristics of local theater [4][5]. - There is a concern that younger local playwrights may not possess the same level of proficiency in dialects as their predecessors, risking the authenticity of local theater [4][5]. Group 4: Vocal Styles and Musical Integration - Each local theater form has its own distinctive musical style and instruments, which are integral to its identity [5][6]. - However, the trend of using standardized orchestration and composition by prominent directors may overshadow the unique musical elements of local theater, leading to a loss of differentiation between musical theater and traditional opera [5][6]. Group 5: Innovation vs. Tradition - While innovation in local theater is necessary, it should be approached with caution to preserve the essence of dialects and vocal styles [6][7]. - Successful adaptations and innovations should respect and integrate traditional elements rather than replace them, ensuring that the unique cultural heritage of local theater is maintained [6][7].