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一九五六年七月二十九日,人民日报发表了吴祖光同志的“对京剧‘三座山’的一些想法”一文。在这篇文章中,祖光同志评论了“三座山”在演出上的得失;同时对该剧的艺术处理问题发表了意见。我觉得,祖光同志对某些问题的提法和看法是值得商榷的。这里,我想就这些问题谈几点个人的不成熟的意见。祖光同志在他的文章中,一开始就肯定地说:“三座山”的演出,“说明了我们可尊敬的京剧工作者不甘于局守成规,企图突破京剧表演艺术原有的防线”;而且认为这道难于突破的“防线”,“终于被突破了”。可是,当他在具体分析了“三座山”在演出上还存在的问题以后,却又认为这个戏的演出“是由于‘京剧’这个传统的概念束缚了我们的新的更大胆的创造”,因此他主张“可以不受‘京剧’这个名词的拘束”,“可以不把它当作京剧来演出,而是作为我们民族的新歌舞剧”。这样就可以省得人家说它像不像京剧。
On July 29, 1956, People’s Daily published a paper entitled “Some Thoughts on the Three Mountains in Peking Opera” by Comrade Wu Zuguang. In this article, Comrade Zu Guang commented on the success and failure of the “Three Mountains” in his performances; at the same time, he expressed his opinions on the artistic handling of the play. I think Comrade Zu Guang’s formulation and view of certain issues are debatable. Here, I want to talk a few personal and immature opinions on these issues. In his essay, Comrade Zu Guang said with certainty at the outset: “The performance of the Three Mountains” shows “that our venerable Peking Opera workers are unwilling to stay on the rules and try their best to break through the original line of defense in Beijing’s performing arts” ; And think this is difficult to break the “line of defense”, “finally been a breakthrough.” However, when he analyzed the problems still existing in the performance of the “Three Mountains,” he even considered the performance of the opera “as a result of the traditional concept of” Peking Opera “that bound our new and bolder creation. Therefore, he advocated ”being free from the restriction of the term“ Peking Opera ”and“ can not perform it as a Peking Opera, but as a new song and dance of our nation. ” This will save people from saying it does not look like Peking Opera.