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戏曲这一最富民族特色的精神产品始终是在“他者’的习惯中获得“自我主体”的认同,文化传承载体的戏曲并没有得到应有的普及和认识。梁燕女士主编的《戏海飞鸿———中国戏曲文化读本》仿佛勾起了人们血液中积淀已久的民族记忆,让人有种探究戏曲文化渊源的冲动。作为戏曲研究的外行,我认为从戏曲的公共性、戏曲的本体性,以及戏曲的方法论意识等方面联系该书反映的文化学、社会学背景更能说明这本书的当下性和现实意义。中国人从传统向现代化的转化必须自我承当。传统和现代的关系首先应是现代人的生活实践问题而非观念问题,只有现代人达到了能够自我批判的水平,才能比较客观的理解民族自身的传统结构。
Opera, the spiritual product of the most ethnically distinctive features, has always been recognized as “self-subjectivity” in the “other’s” habit. The opera of the cultural heritage carrier has not gained the popularity and understanding it deserves. Hai Feihong --- Chinese Opera Culture Reader “seems to have brought back the long-awaited national memory in people’s blood and inspired people to explore the origins of opera culture.” As a layman of drama research, I think that from the publicity of opera, Ontology and the epistemological awareness of the opera etc. The background of the study of culture and sociology reflected in this book can better illustrate the current nature and practical significance of this book.The Chinese must transform themselves from tradition to modernization.Traditional and modern Should first of all be the question of modern people’s life practice rather than concepts. Only when the modern people have reached the level of self-criticism, can we objectively understand the traditional structure of the nation itself.