戏曲演好革命现代戏需要解决两个问题。其一是,革命现代戏是表现工农兵,歌颂工农兵的,因此它必须写工农兵象工农兵,演工农兵象工农兵。这是最主要、最根本的问题。还有一个重要的问题,就是如何运用戏曲的艺术形式表现革命的政治内容。戏曲的各种表现形式,各有其自己的独特艺术风格,以其独特的艺术特点联系观众,因而演革命现代戏又必须保持和发扬本剧种的独特的艺术风格。从近年来粤剧演革命现代戏的实践看来,虽也存在着“食古不化”的片面性,但主要的倾向则是“乱改一气”。有些同志认为粤剧形式只能反映古代生活,用它来表现现代生活,就会歪曲现实,丑化工农兵。他们主张完全抛弃传统,按照现代生活,另起炉灶,创造一套全新的形式。有些同志又认为,粤剧在旧社会曾经走上商业化、殖民地化的绝路,传统已被破坏无余,谈不上什么继承了;而粤剧又“善变”,具有“可塑性”,不论是话剧、电影或 Drama plays a good revolution in modern drama needs to solve two problems. The first is that revolutionary modern drama is a manifestation of the workers, peasants and soldiers and the workers, peasants and soldiers. Therefore, it must write down the workers, peasants and soldiers as well as the peasant and peasant workers. This is the most important and fundamental issue. Another important issue is how to use the art form of the opera to represent the political content of the revolution. Various forms of opera have their own unique artistic style, with its unique artistic features to contact the audience, and thus play a modern drama must maintain and carry forward the unique style of the opera. Judging from the practice of modern drama in Cantonese opera in recent years, although there is also a one-sidedness of “eating the old from the past,” the main tendency is “changing the atmosphere from one chaos to another.” Some comrades think that the form of Cantonese opera can only reflect the ancient life, and using it to represent the modern life can distort the reality and uglify the workers, peasants and soldiers. They advocate the total abandonment of tradition, the creation of a new set of forms according to modern life. Some comrades also consider that Cantonese opera was once the crux of commercialization and colonization in the old society. Its tradition has been ruined and nothing succeeded. Cantonese opera has also become “changeable” and “malleable.” Whether it is drama, Movie or