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《戏剧报》编辑部出于对福建戏剧的爱护和关心,给我出了个题目:福建近几年来为什么能不断出好戏?去年,在戏剧景况不佳的情况下,为什么仍有好几台戏连续晋京演出?这是一道难题。犹豫再三,还是鼓起勇气,作为同行促膝谈心,以讨教于前辈、专家和领导同志。有的同志说戏剧存在“危机”,其实这种说法缺乏分析。我们承认目前戏剧确实存在着某些严重的问题,必须引起足够的重视。个别剧种、剧团,乃至戏曲的某些传统的艺术手法,受优胜劣汰规律的支配而在舞台上消失,则是完全可能的。但此种现象不能笼统地称之为“危机”。如不加分析地为此现象而却步,客观上是维护了落后现象。正确的方针是迎接目前面临的严峻考验,振奋精神,立志改革,充分发挥人的主观能动性,戏剧的振兴是完全有希望的。几年来,我们正是基于这样的认识,进行工作的。
Out of the love and concern for the Fujian drama, the Editorial Department of The Drama Newspaper gave me a question: why can Fujian continue to play a good role in recent years? In the past year, there were still quite a few cases in the poor drama situation Jin drama performances continue Jinping? This is a problem. Hesitantly repeated, or courage, as a colleague hurried talk, to seek advice in the predecessors, experts and leading comrades. Some comrades said there is a “crisis” in drama. In fact, this argument lacks analysis. We acknowledge that there are indeed some serious problems with the present drama and that we must pay enough attention. It is entirely possible that some traditional art practices of individual operas, theater troupes, and even opera would disappear on the stage under the rule of the survival of the fittest. However, this phenomenon can not be generally referred to as a “crisis.” If you do not analyze this phenomenon for the purpose of retreating, objectively, it is to safeguard the backwardness. The correct guideline is to meet the harsh tests now facing, to inspire the spirit, to reform, to give full play to the subjective initiative of the people, and to revitalize the drama with full hope. In the past few years, we are working based on this understanding.