论文部分内容阅读
说来也怪,正当江南有人说“戏剧已尽尾声”(文见《戏剧艺术》一九八四年第三期),江北有人唱“戏曲须早入‘涅槃之境’”(文见《剧本》一九八五年十月号),南北合弹“戏曲消亡论”老调的时候,活跃在白山松水之间,带有曲茉菜味的新剧种吉剧,却在这里敲敲打打地庆祝创建二十五周年的生日。时隔一月,在北京又拉开了全国戏曲调演的序幕,而且出现了一批闪烁着熠熠光华的优秀剧目,看来也并非偶合,它至少说明深深植根于中华民族的审美意识,经过成百上千年积淀、筛滤而成的具有民族风格、民族气魄的中国传统戏曲,在伴随时代的进程中,还是有其旺盛的生命力的。
To put it oddly, some people in Jiangnan say that “the drama has come to an end” (Wen see “Theatrical Art”, the third issue in 1984) and some people in Jiangbei have sung “the opera must enter the state of Nirvana” (Wen see “ ”The October 1985 issue of the play“), the North-South co-ordination drama ”demise of the" old tune, active in the mountains of pine water, with a song of the genus of the new play Ji drama, but knocked here Celebrate the 25th anniversary of birth. After a lapse of January in Beijing, the prelude to national opera performers was started, and a series of excellent repertoire shining with sparkling glory appeared. It seems that this is not a coupling. It at least shows the aesthetic awareness deeply rooted in the Chinese nation, After hundreds of years of accumulation and screening, the traditional Chinese opera with ethnic style and national style has its vitality in the process of accompanying the times.