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1995年的岁尾,第一届中国京剧节又拉开了帷幕,这不由得让人们想起关于戏曲艺术生命力的话题。记得前一阵子,北京舞台上冷不丁地冒出来一台颇为有趣的剧目《鸟人》,写了一群养鸟的人,特别突出地写了一个念念不忘金少山的京剧名角三爷,当他舞台生涯的辉煌流逝之后,便通过养鸟求安慰和寄托。剧中还有一位弗洛依德的私淑弟子、精神分析学家,热衷于振兴这些养鸟人的精神,而对振兴京剧缺乏兴趣。对于用精神分析的方法去振兴人的精神能否奏效,我不想在这里发表感想,但剧中隐含着的潜在话题却关涉到戏曲,不妨作为这
The end of 1995, the first Chinese Peking Opera Festival has kicked off, which can not help but remind people of the vitality of the topic of opera art. I remember a while ago, on the stage in Beijing, a rather interesting repertoire of “bird people” popped up and wrote a group of people raising birds. In particular, he wrote a famous Beijing opera star Sanye who did not forget Jin Shaoshan. When he was on stage After the glorious career, we seek comfort and sustenance through raising birds. There is also a Freud’s private disciple, psychoanalyst, enthusiastic about rejuvenating these avian beings and lacking interest in rejuvenating Peking Opera. I do not want to express my thoughts here on whether or not psychoanalysis will work to rejuvenate the human spirit. However, the potential topics implicit in the play are related to opera.