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“样板戏”作为“文革”时期一个肯定性概念,是特定历史时期由政治需要建构的结果。“样板戏”合计三批、三十二个。第一批八个,最为民众所熟悉。第二批十七个,既有十个已经定型的,也有七个试演出之中的。第三批七个,列入了创作计划但尚未搬上舞台。“样板戏”意味着一种艺术上的排斥性机制,其主题与“文革”精神之间有着同构关系,被推行为政治运动的模式化范本。它开启了模式化的创作思路,导致艺术的工具化与人性的异化,制造了乌托邦剧场上的政治狂欢。
As a positive concept in the “Cultural Revolution” period, “model opera” is the result of the construction of political needs in a specific historical period. “Model show ” Total three batches, thirty-two. The first eight, most people are familiar with. The second group of seventeen, both ten stereotypes, and seven auditions. The third installment of seven, included in the creative plan but not yet on stage. “Model Opera ” means an artistically exclusive mechanism whose theme is isomorphic to the “Cultural Revolution” spirit and is being modeled as a model for the political movement. It opens up the mode of creative thinking, leading to the instrumentalization of art and the alienation of human nature, creating the political carnival in the utopian theater.