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现在发表的「梁山伯与祝英台」剧本是华东戏曲研究院越剧实验剧团採用的舞台本。这个剧本,最近曾由该团在北京演出,受到广大观众和文艺工作者的重观。「梁山伯与祝英台」原是中国著名的民间故事之一,从现在这个剧本也可以认识到,中国古典的和民间的文艺的宝藏是丰富的,是往往有着强烈的民主内容和深刻的现实主义、浪漫主义的艺术方法的。正确的对待遗产,抛弃其糟粕,吸收、保护并发展其精华是我们文艺工作者共同的责任。在目前,旧戏改革还存在着许多混乱的错误的反历史主义的观点和做法,最近受到批判、曾经写过「新天河配」等作品的杨绍萱同志便是这方面的一个代表,和杨绍萱同志的观点和做法相对立,在我国戏曲改革者中间也有着正确的观点和做法,华东戏曲研究院的「梁山伯与祝英台」便是这方面的一个实际例子。我们以为,华东戏曲研究院的「梁山伯与祝英台」虽然还有若干缺点,还有值得继续研究的地方,但它所显示的改革旧戏的方法和道路是正确的,它即保存了这个民间作品的优点和特点,同时对它的戏本以至演出都进行了大胆适当的改造。我们发表这个剧本,一方面是为了便于我们向古典的和民间的遗产学习和借鉴,另一方面,也是为了把它作为我们戏曲改革工作的参考。
Now published “Liang Shanbo and Zhu Yingtai” script is the East China Opera Academy Yue Opera experimental theater team used this stage. This script, which was recently performed by the delegation in Beijing, is overseen by a large audience and literary workers. “Liang Shanbo and Zhu Yingtai” was originally one of China's famous folk tales. From this script, we can also recognize that the treasure of Chinese classical and folk art is rich, often with strong democratic content and profound Realistic, romanticist artistic method. Correct treatment of heritage, abandonment of its dross, absorption, protection and development of its essence is our cultural workers common responsibility. At present, there are still many chaotic and false anti-historicist views and practices in the old drama reform. Comrade Yang Shaoxuan, who has been criticized recently and wrote works such as “Xin Tian He Pai”, is a representative in this respect, and Comrade Yang Shaoxuan . The views and practices of these two actors also have correct views and practices. The “Liang Shanbo and Zhu Yingtai” of the East China Opera Academy is a practical example of this. In our opinion, there are still some shortcomings in Liang Shanbo and Zhu Yingtai of the East China Opera Academy, as well as places worth further study. However, the methods and paths it has shown to reform the old drama are correct. The merits and characteristics of this folk work are at the same time boldly and properly adapted to its operas and performances. We publish this script on the one hand to facilitate our study of classical and folk heritage, and on the other hand, it is also used as a reference for our drama reform.