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建国以后的十七年中,为继承秦腔艺术遗产,在党和政府的领导下,广大戏曲工作者辛勤劳动,挖掘整理了几千个剧目,记录了一些老艺人的表演艺术,积累了宝贵的经验,做出了可喜的贡献。文化革命中,林彪、“四人帮”疯狂推行极左路线,大搞文化专制宅义和文化虚无主义,对传统戏曲,一概斥之为“牛鬼蛇神”、“封建迷信”、“才子佳人、死人统治舞台”等等。老艺人无一幸免地遭到残酷打击迫害,许多戏曲艺术作品和经验资料,遭到焚毁和禁锢,使秦腔传统戏曲艺术濒于毁灭的边缘。粉碎“四人帮”以后,由于这方面的流毒和影响,还远远没有肃清。
In the 17 years since the founding of the People’s Republic of China, in order to inherit the artistic heritage of the Qin and Qing dynasties, under the leadership of the party and the government, the majority of opera workers worked hard, excavated thousands of repertoire, recorded the performing arts of some old artists and accumulated valuable Experience, made a gratifying contribution. In the cultural revolution, Lin Biao and the “gang of four” frantically carried out the ultra-leftist line. They vigorously pursued a culture of dictatorship and cultural nihilism. They denounced traditional operas as “monsters and ghosts and gods”, “feudal superstition,” “wit and woman, the dead rule the stage ”and many more. The old artists were brutally attacked and persecuted without exception, and many opera art works and experience materials were burned and imprisoned, so that the traditional opera art of Qin Dynasty was on the brink of destruction. After the smashing of the “Gang of Four,” it has been far from being eliminated because of the poison and influence in this area.