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这几年来,在三中全会春风的吹拂下,倍受摧残的歌剧事业复苏了。各地(包括部队)上演的创作或改编的新剧目,数量并不少,然而,至今还没有出现一部能够超过历史水平、被公认是激动人心而又雅俗共赏的出色作品。歌剧演出上座率普遍不高,对观众缺乏吸引力,好些年轻人根本不了解歌剧是怎么回事。这就是我们歌剧工作必须认真对待的严峻现实。造成歌剧艺术不兴旺的原因是多方面的:“文革”前左倾错误的干扰危害,林彪、“四人帮”的压制破坏,近几年社会上资产阶级自由化思潮的污染侵蚀,还有演出团体本身存在的急待整顿改革的多种弊端等,都是影响歌剧走向繁荣的客观原因。值得注意的是,这些因素对于其他姐妹艺术同样起了不良作用,可是,无论传统的戏曲还是外来的话剧、舞剧,都搞出了一些能够赶超十年动乱以前创作水平的好剧目,为什么唯独歌剧上不去呢?这就促使我们不能不首先从歌剧创作的指导思想上来
In the past few years, under the spring breeze of the Third Plenary Session, the devastating opera business has recovered. There are not many new productions or adapted repertoires staged at various places (including the armed forces). However, no outstanding works have yet emerged that exceed historical standards and are widely recognized as exciting and elegant. Opera performance attendance generally low, the audience’s lack of appeal, many young people simply do not understand opera is going on. This is the harsh reality that our opera must take seriously. There are many reasons why the art of opera is not prosperous because of the interference of the leftist mistakes before the “Cultural Revolution”, the suppression and destruction of Lin Biao and the “Gang of Four,” the pollution and erosion of the trend of bourgeois liberalization in the society in recent years, and the performance groups themselves There are many shortcomings in urgent need of rectification and reform, which are the objective reasons that affect the opera’s prosperity. It is worth noting that these factors also play an equally negative role in other sister arts. However, no matter traditional drama or alien drama or ballet has come up with some good repertoire that can catch up with the level of creation before the ten-year unrest, Do not go solo operas? This prompted us to not only from the guiding ideology of opera creation