论文部分内容阅读
具有近千年历史的戏曲艺术,突然失去往昔的独尊地位,陷入一种艰难的处境之中。很多人都在关心着戏曲的命运,并根据自己的理解思索着眼前发生的事情。戏曲艺术究竟遇到了什么问题?其前途如何,出路何在?为了回答这些问题,中国艺术研究院《文艺研究》和《戏曲研究》编辑部联合召开了“戏曲发展座谈会”,三十多位专家、学者、理论工作者和创作人员,围绕着上述问题进行了两天热烈讨论。与会者一致认为,戏曲在很长历史时期里,一直是我国舞台艺术的主要形式,它深受人民群众的喜爱,取得很高的艺术成就,有深厚的群众基础;它在现在和将来仍然具有审美价值,因此仍将是我国人民的一种重要的艺术欣赏对象。但是必须承认,面对着迅速发展的社会生活,由戏曲的凝固性所造成的不适应性暴露得越来越突出,它在内容和形式两方面都表现出明显的陈旧感,因此削弱了艺术竞争能力,失去很多青年观众。如果把这种情况称之为危机,是可以的。要想尽快摆脱这种困境,重新获得活力和生机,必须大胆地进行革新。
With a history of nearly a thousand years, opera art suddenly loses the dominance of the past and plunges into a difficult situation. Many people are concerned about the fate of drama, and based on their own understanding pondering what happened before. In order to answer these questions, the editorial department of “Literature and Art Research” and “Drama Research” of China Academy of Art jointly held the “Drama Development Symposium” and more than 30 experts , Academics, theorists and creators, devoted two days of heated discussions on the above issues. The participants agreed that the opera has always been the main form of the stage art in our country for a long period of history. It is deeply loved by the people, has achieved high artistic accomplishments and has a profound mass foundation. It still has, for the present and in the future, Aesthetic value, it will remain an important object of artistic appreciation for our people. However, we must admit that in the face of a rapidly developing social life, the unhealthy exposure caused by the solidification of the drama is becoming more and more prominent. It shows a marked sense of obsolescence both in content and in form, thus undermining the art Competitiveness, losing many young audiences. If this situation is called a crisis, it is possible. If we want to get out of this predicament as soon as possible and regain vitality and vitality, we must boldly carry out reforms.