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在郭汉城同志的理论研究成果中,《戏曲剧目论集》(以下简称《论集》)是一部有代表性的重要著作.过去读《论集》中的文章,就感到它们的重大理论价值;今天重读这些文章,仍然感到一种源自戏曲实际、又作用于戏曲实际的理论力量.这种理论力量,我以为是由以下几方面构成的:第一,总结了建国以来戏曲推陈出新的经验,而且把它们理论化、系统化了.这对我国戏曲工作极有意义,也为建立马克思主义的民族戏曲理论体系做出很大贡献.
In the theoretical research results of Comrade Guo Hancheng, the “drama repertoire theory” (hereinafter referred to as “theory”) is a representative and important work. In the past, reading the articles in the Essays, they felt their major theory Value, and rereading these articles today still feels a theoretical force that has come from the actual drama but also acts on the actual situation of the drama. This theoretical force is, I think, composed of the following aspects: Firstly, it summarizes the drama innovation since the founding of the People’s Republic Experience, and make them theorized and systematized, which is of great significance to the work of Chinese operas and also contributes greatly to the establishment of the theoretical system of Marxist national opera.