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同为文学艺术,诗歌、小说、美术,不存在继承与革新之争。你可以搞你的继承,我可以搞我的革新,各走各的路。诗歌,现代人主要写新诗,但各地也还有一些古典诗词学会,写格律诗,填宋词。小说,现代人写的多是自由体,但《烈火金刚》和二月河的长篇历史小说,采用章回体,也很受读者欢迎。美术更是如此,一方面已进入后现代,而另一方面原汁原味的国画,也能卖上好价钱。唯独戏曲,继承与革新一直是困扰戏曲实践的一个主要问题。一时强调革新的呼声很高,一时强调继承的声浪又迭起,弄得工作在第一线的戏曲人无所适从。 自从戏曲出现危机以后,强调革新的呼声是占上风的。但强调继承者也大有人在,马建华先生发表在今年3月20日《文艺报》上的《建立戏曲传统剧目精品工程》,可以说是强调戏曲主要应该继承旗帜最为鲜明的一例。笔者在赞赏马建华先生用心良苦的同时,也有一些不同看法,故提出和马建华先生商榷。
The same as literature and art, poetry, novels, fine arts, there is no dispute between inheritance and innovation. You can engage in your succession, I can engage in my innovation, go its own way. Poetry, modern people mainly write new poetry, but there are also some classical poetry around to learn to write metrical poetry, fill in the lyrics. Novels and modern people mostly write about freedom. However, the recurrent historical novels of “Fire King Kong” and February River are also well received by readers. Art is even more so, on the one hand has entered the post-modern, but on the other hand authentic Chinese painting, but also sell a good price. Only opera, inheritance and innovation have always been a major problem plaguing the practice of opera. The voice of reform which has been emphasized for a time now has been very high. At one time, it stressed that the succession of voices had been repeated and made the first-line opera people confused. Since the drama crisis, emphasizing the voice of reform is the upper hand. However, there are still many people who are undergoing succession. In his article entitled “Establishing the Traditional Opera Project for Dramas” published by Mr. Ma Jianhua in the “Arts Art Newspaper” on March 20 this year, it can be said that this is one of the most vivid examples that should emphasize that opera should mainly inherit the banner. While I admire Mr. Ma Jianhua good intentions, but also have some different views, it is proposed to discuss with Mr. Ma Jianhua.