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安葵在《戏剧景观》1987年第三期发表的《戏曲与当代意识》一文中提到,对当代意识要有辩证的理解:一、当代意识应该是以马列主义、毛泽东思想为指导,符合历史前进方向,体现中国特色的先进意识。二、当代意识是过去时代意识中那些合理的、积极的、优秀的成果的合乎规律的发展。艺术发展和其他事物一样,不是对传统的简单的否定,而是一种螺旋式的上升。三、当代意识不是一个标签,它应体现在作品的整个形象之中。直向浅露的、概念化的作品,反历史主义、把历史人物“现代化”的作品,都不是当代意识的表现。四、革新不应该是对戏曲特点的“淡化”。戏曲吸收姊妹艺术的表现手段,也还是要“戏曲化”的。“戏曲
An Kui mentions in “Drama and Contemporary Consciousness” in the third issue of Drama Landscape in 1987 that there should be a dialectical understanding of contemporary consciousness: First, contemporary consciousness should be guided by Marxism-Leninism and Mao Zedong Thought, The direction of history, the advanced awareness of Chinese characteristics. Second, the contemporary consciousness is the lawful development of those reasonable, positive and excellent achievements in the consciousness of the past times. Art development, like everything else, is not a simple denial of tradition, but a spiral. Third, contemporary consciousness is not a label, it should be reflected in the entire image of the work. Straightforward, conceptualized works, anti-historicism, and works that “modernize” historical figures are not expressions of contemporary consciousness. Fourth, innovation should not be “desalination” of the characteristics of the opera. It is also necessary to “dramatize” the means by which drama absorbs sister art. "drama