论文部分内容阅读
对于很多中年人来说,刘长瑜是一个熟悉的名字;对于很多青年人来说,《红灯记》并不陌生。这两个名字让人们想起了不堪回首的文革年代,想到起伏无定、无法主宰的戏剧人生。 刘长瑜,在一些人的眼里,不过是一个旧官僚的后代,在那个阶级斗争被当作生命看待的时代,却被挑选为革命现代京剧《红灯记》中无产阶级的接班人;在改革开放年代,她这个京剧表演艺术家又被挑选为中国京剧院的领导人,有人说她幸运,有人说她坎坷,但这其中有多少酸甜苦辣,只有她一个人清楚。
For many middle-aged people, Liu Changyu is a familiar name; for many young people, “Red Lantern” is no stranger to that. These two names remind people of painful era of the Cultural Revolution, think of unpredictable and unpredictable drama life. Liu Changyu, in the eyes of some people, is but a descendant of an old bureaucrat who was chosen as the successor to the proletariat in the “Red Lantern” of the modern Beijing opera in the era when that class struggle was regarded as life. In the reform During the opening up period, she was chosen as the director of the Peking Opera Theater. Some people said she was lucky. Some said she was bumpy, but how many of them were so bitter and bitter, only she knew it clearly.