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我们处身于一个思想解放的伟大时代。在历史的新要求下,人们根据自己的理解,从不同角度;对意识形态领域的若干问题,正在重新认识和重新评价。这是非常令人兴奋的新气象。对传统戏曲的思想内容,艺术形式及其变革,也一再有人提出批评和意见,并且引起学术上的反复论争。理论的沉寂,其实不足以促使戏曲前进;热烈的争呜,必将有助于戏曲的繁荣。然而,在这场并未结束的讨论中,似乎有一个历史的幽灵在徘徊、游荡。曾经有人建议:把“五四”以来,“提倡戏剧改革先驱者的论文”挑选一些,供今天的戏曲工作者读一读,受些启发。由此看来,“五四”新文化运动以来,人们对戏曲的批判,影响是相当深远的。
We are in a great era of ideological liberation. Under the new historical requirements, people from different angles according to their own understanding; they are re-understanding and reevaluating a number of issues in the field of ideology. This is a very exciting new weather. There have been criticisms and opinions on the traditional Chinese opera’s ideological content, art forms and changes, and they have caused repeated academic controversies. The silence of theory is actually not enough to make the drama move forward. The heated quarrel will surely help the drama’s prosperity. However, there seems to be a ghost of history wandering and wandering in this not-yet-concluded discussion. It has been suggested that since the May 4th Movement, some of the essays on “advocating the reform of the dramatic reform” have been selected for reading by today’s opera workers and inspired. Seen in this light, since the May Fourth New Culture Movement, people’s critique and influence on the drama has been quite profound.