《四郎探母》是京剧传统中的精品,演员爱演,观众爱看,但解放后却有很长时间在舞台上销声匿迹了。其实只是在建国前后,有关部门对此戏发出过两次非正式的“禁演”令。后来发布的正式“禁演”剧目及解除的禁令中均无此戏。但在大的社会环境中,每当政治情况紧张时,此戏就成了“争鸣”焦点,政治氛围和缓时,又将其搬上舞台。直至粉碎“四人帮”后,仍发生了一次全国大讨论,虽无果而终,但解放了思想,名宿纷纷登台献艺,以擅演此戏而标明艺技精湛。由此可见,我们在执行党的文艺政策、贯彻“双百”方针中,确有很大的盲动性。 “Si Lang Detective” is a boutique in the Beijing opera tradition, the actors love acting, the audience love to see, but there is a long time after the liberation of the stage disappeared. In fact, just before and after the founding of the People’s Republic, relevant departments issued two informal “banning performances” orders against this scene. Later released formal “banned play ” repertoire and lifting of the ban are no such show. However, in a large social environment, whenever the political situation is tense, the play becomes the focus of “contention”, the political climate is gentle and it is on the stage again. After the smashing of the “gang of four,” there was still a nationwide discussion. Although fruitless, the liberation of ideas and celebrities went onstage to showcase their talents and artistry. From this it can be seen that we have indeed been very blindly involved in the implementation of the party’s literary and art policies and the implementation of the “double hundred” principle.