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1980年春节,郭启宏把他的新编历史剧《司马迁》寄给我,我曾写信给他谈自己读后的感受。几年来,启宏继《司马迁》之后,陆续完成《成兆才》《评剧皇后》《南唐遗事》等几个戏曲本子,又与杨毓珉合作改编了《桃花扇》。我在愉快地看到他在戏曲创作道路上探索前进的足迹的同时,也想从中探索他怎样完成这些本子的有效经验,以此帮助读者、观众的欣赏,也为当前历史剧的创作提供借鉴。我在读启宏同志这些本子时,一个总的感受是不仅跟历史上的古典名著相比较,显示其不同的历史风貌,即跟解放后新编的历史剧对照起来看,也显示他独特的创作个性,给人以面目一新的感觉。这个新究竟新在哪里?我初步想到的大致有三个方面:
In the spring of 1980, Guo sent me his Sima Qian, a newly compiled historical drama. I wrote to him about his feelings after reading. In the past few years, after opening up to Sima Qian, Kai Hong gradually completed several operatic books such as “Cheng Zhao Cai”, “Queen of Pingju Opera” and “Nan Tang’s Legacy”, and co-edited “Peach Blossom Fan” with Yang Yumin. While I am pleased to see that he is exploring the marching footsteps in the field of opera creation, he also wants to explore how he can accomplish the effective experience of these books in order to help readers and spectators appreciate and also provide reference for the creation of current historical drama. When I read these books by Comrade Kai, one general feeling is not only compared with the historical classics, but also shows their different historical features, that is to say, compared with the newly edited historical drama after liberation, and also shows his unique creative personality , Giving a fresh look. What is new in this new area? I initially thought of roughly three aspects: