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在艺术创作中,纯粹的自由是不存在的。我们必须承认有限制,进而在限制中求得自由。就以我俩所从事过的滑稽戏创作来说,它的作品首先受到表现样式的限制。滑稽戏是以笑为主要艺术特色,但是并不是现实生活的一切现象都能成为它创作的对象,它所选择的题材和写的人必须包含着强烈的喜剧因素。它既不能演正剧,更不能演悲剧;既难以反映壮烈的史实,又无法直接讴歌革命领袖的丰功伟绩。所以从某种意义上讲,滑稽戏创作可选择的题材面较窄,可写的人之范畴也受到相对的约束。如果我们不承认这样的限制,那就会使作品在思想性和艺术性诸方面产生不良的影响。在五十年代后期,上海某滑稽剧团曾怀着“探索”的愿望和“突破”的雄心,移植演出了话剧《红色风暴》,结果被批评为“政治上不严肃,艺术上丢弃了剧种的特色”,“林祥谦就义”那场戏,其令人哭笑不得的后果那是
In artistic creation, pure freedom does not exist. We must recognize that there is a limit, and then find freedom within the limits. As far as the comic plays we have worked on are concerned, its work is first of all limited by the style of expression. Jokes are based on laughter as the main artistic feature, but not all phenomena in real life can be the object of its creation. The subject of choice and the writer must include a strong element of comedy. It can neither act as a true drama nor even play a tragedy; it is hard to reflect the heroic historical facts and can not directly sow the great achievements of the revolutionary leaders. Therefore, in a sense, the themes of narrative writing are narrower and the categories of people who can write are relatively restrained. If we do not recognize such restrictions, then the work will have an adverse effect on both ideological and artistic aspects. In the late fifties, a Shanghai-based comic troupe portrayed the drama “The Red Storm” with “exploration” aspiration and “breakthrough” ambition. The result was criticized as “not being politically serious and art being discarded Characteristics ”,“ Lin Xiangqian justice ”that scene, which is dumbfounding consequences