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新中国的戏曲改革是利用带有封建糟粕的戏曲遗产这个文化基础,来实现建构新中国主流意识形态和塑造“人民”主体这个目标,这个基础和这个目标之间的矛盾构成对戏曲改革的深刻制约。上党梆子《三关排宴》改编就是一个典型例证。此戏的改编过程是从宣扬“忠孝节”向歌颂“爱国主义”转变的过程,是参与新中国主流意识形态建构的过程。这个过程彰显出传统戏(尤其是历史戏)的结构原则和戏曲改革对这结构原则的改造,也预示出戏曲改革的两个难题:“伦理置换的限度”和“重建接受基础”。或许正是出于第一个难题,革命现代戏最终取代传统戏和新编历史戏,独自承担起实现以上目标的任务,但是对于革命现代戏来说,建立接受基础的难题依然存在。
The drama reform in New China is to use the cultural foundation of the drama inheritance with feudal dross to realize the goal of constructing the main ideology of new China and shaping the subject of “people”. The contradiction between this foundation and this goal constitutes the reform of the drama The profound constraints. Shangdang Bangzi “three banquet banquet” adaptation is a typical example. The adaptation process of this play is a process of changing from propaganda, “loyalty and filial piety” to praise of “patriotism” and a process of participating in the construction of the mainstream ideology in new China. This process highlights the structural principles of traditional opera (especially historical play) and the transformation of this structural principle by drama reform, as well as the two problems of drama reform: the “limit of ethical permutation” and “the basis of reconstruction acceptance” ". Perhaps it is out of the first difficulty that the revolutionary modern drama will eventually replace the traditional drama and the new historical drama and assume the task of accomplishing the above objectives alone. However, for revolutionary modern drama, the foundation for establishing a basis for acceptance still exists.