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读了颜长珂同志的《关于“冲破戏曲化束缚”的思考》(载《戏剧报》今年2月号),颇受启发,但对文中的一些观点却有不同看法,兹商榷如下。在戏曲现代戏研究会年会上展开的关于“戏曲化”的争鸣,确实如颜长珂同志所说,是前几年有关“戏曲化”与“现代化”关系的讨论的延续,也可以说是深入。这次争鸣有与以往不同的引人注目之处:强烈地提出不赞成“戏曲化”口号的几位同志,都长期从事戏曲工作,有三、四十年的实践经验,因此没有不懂戏曲或否定戏曲传统之嫌;都搞出过有影响的、得到观众承认的作品(当然不是已经十全十美),他们的看法包含着在艺术探索中的亲身体会;他们以前大
After reading Enlightenment on “Breaking the Bound of Dramatization” by Comrade Yan Changke (“The Drama Newspaper” in February this year), it has been quite inspired. However, we have different views on some of the points in the text and are hereby discussed below. The debate on “dramatization” started at the annual meeting of the Traditional Chinese Opera Research Society really means what Comrade Yan Changke said is the continuation of the discussion on the relationship between “dramatization” and “modernization” a few years ago, and it can be said to be in-depth. There are striking differences with the past in this debate: some comrades who strongly advocate disapproving of the slogan of “dramatization” have long been engaged in drama work and have three or four decades of practical experience. Therefore, they did not understand drama or Denied the suspicion of traditional opera; all produced influential, audience-acknowledged works (certainly not perfect ones) whose views include their own personal experience in art exploration; they used to be large