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卓文君与司马相如的故事,最初见于司马迁《史记》中《司马相如列传》。两千多年来传为佳话,历代文人多有吟咏。在戏剧方面,更是佳作纷呈。据《古典戏曲存目汇考》所载,宋、元、明、清四代,以此为题材写成的剧本就有三十多种。近代各地方剧种也大多有这个剧目。单就秦腔而言也不下六、七种,西安易俗社就有四个本子:范紫东的《琴剑飞声》,李干臣的《赤东驷马》,王猷绍的《文君当垆》,谢迈千的《绿绮记》。然而过去时代的剧作家在处理这个反封建的史实时,总难免存在一定的历史的局限。解放后的剧本,则大都加强了这个题材的反封建意识,在艺术风格上大都作为正剧或悲剧处理。我认为任何样式的剧本都应为时代而作,在处理古代题材时,一方面服从题材本身的质的规定性,另一方面又要适应时代精神和观众审美情趣,这样,同一题材的剧本在不同时代就应该出现独特的风格。
The story of Zhuo Wenjun and Sima Xiangru first met in Sima Qian’s “Historical Records” in “Sima Xiangru Biography.” More than two thousand years pass for the story, many scholars have chants. In drama, it is more colorful. According to the “Classical Chinese Drama Precedents” contained in the Song, Yuan, Ming and Qing dynasties, there are more than thirty kinds of scripts written on the subject. In modern times, most local operas also have this play. There are no more than six or seven genres in the Qin Dynasty. There are four books in Xi’an Yinshe Club: Fan Zidong’s “Qin Jian Fei Sheng”, Li Qian-chen’s “Red Clown”, Wang Shao-shao’s “Wen Jun Dang Ma” Thousands of “Green Qi mind.” However, when the playwrights of the past era dealt with this anti-feudal historical fact, there was always some historical limitation. After the liberation of the script, are mostly strengthened the anti-feudal consciousness of this theme, most of the artistic style as a positive drama or tragedy. I think that any style of script should be made for the times. While dealing with ancient themes, they are subject to the qualitative stipulations of the subject matter on the one hand, and to the spirit of the times and audiences’ aesthetic taste. On the other hand, Different times there should be a unique style.