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自从“样板戏”进入人们的研究视野以来,学界有如下三种代表性的否定态度:从政治批判的立场出发,认为“样板戏”沦为了“四人帮”篡党夺权的阴谋文艺,因而大加挞伐;从情感体验的角度出发,认为“样板戏”对人们造成了精神奴役的创伤,因而加以控诉;从艺术自律的角度出发,认为“样板戏”的“三突出”、“高大全”都是艺术谬论,因而进行指责。
Since the “model opera” has entered people’s research horizon, the academic community has the following three representative negative attitudes: From the standpoint of political criticism, it holds that “model opera” has been reduced to “the gang of four” to usurp party and government power From the point of view of emotional experience, it is considered that the “model opera” has caused people traumatized by mental slavery and therefore has complained about it; and from the perspective of artistic self-discipline, it has been considered that “model opera” “Three prominent ”, “Gao Daquan ” are art fallacies, and therefore accused.