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杨宝琛深情的目光一直在注视着北大荒那片沃土,那是他不竭的创作宝库。这几年他接连捧出两部大戏:《天鹅湖畔》、《北京往北是北大荒》。如果说,前者旨在反映复员大军开发、建设北大荒的艰苦奋斗过程;那么,后者则已将观察的视角转向支边青年们经过艰苦磨练,成为北大荒人的艰难历程了。一个十八岁少女,因为无知,私自挪用了六块六毛六分钱公款,被送往北大荒农场劳动教养。这种严酷的惩罚,对于一颗年轻的心是难以想象的打击,也许会从此轰毁她对刚刚开始的人生的信念。出人意料的是,到了那里她竟如鱼得水,很高兴自己有了施展身手的空间,她如醉如痴地爱上了那片神奇的黑土地。当别人千方百计往北京跑时,她却干干脆脆地宣布:就是八抬大
Yang Baochen affectionate eyes have been watching the fertile soil of the Great Northern Wilderness, that is his inexhaustible treasure trove of creation. In recent years, he has one after another out of two drama: “Swan Lake”, “north of Beijing is the Great Northern Wilderness.” If we say that the former aims to reflect the hard-working struggle of the demobilized army in developing and building the Great Northern Wilderness, the latter has shifted the perspective of observation to the arduous journey of the youth of the tribe that have been hard honed to become the Great Bears. An 18-year-old girl who, because of ignorance, arbitrarily diverted six six-cents six-cents public funds, was sent to the North Wilderness Farm for re-education through labor. This harsh punishment, an unimaginable blow to a young heart, might have ruined her faith in the beginning of her life. Surprisingly, where she was like a duck, I am pleased to have their own space, she fell in love with that magical black land. When others tried everything possible to run to Beijing, she did crisply declare that she was eight