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一、问题的提出2000年笔者曾撰写《邵子南新诗写作个性阐述》一文,认为邵子南放弃参与歌剧《白毛女》的集体创作,转而做《白毛女》叙事长诗的个性写作,是邵子南坚守新诗写作的个性使然。现在看来,这个认识比较肤浅,因为仅仅满足于诗人创作经历客观的史实梳理,并未真正深入创作主体美学思想创新动力的考察。周巍峙先生曾经就歌剧《白毛女》的创作经过,用语斟酌地说过这样的话:“《白毛仙姑》第一稿是邵子南独自创作的。试排了第一场,进行了讨论,但后来因为创作思想不一致,邵子南退出了创作组,声明这以后《白毛女》的歌剧创作就和他无关了。”歌剧《白毛仙姑》与歌剧《白毛女》,因两个文本“创作思想
First, the issue put forward In 2000 I wrote << Shao Nan Nan poetry writing personality >> article that Shao Zanan to give up the participation in the opera ”White-Haired Girl“ collective writing, instead of doing ”White-Haired Girl“ narrative poem personality writing is Shaozi Nan Adhere to the personality of the new poem writing. Now it seems that this understanding is rather superficial, because just to meet the objective historical facts of the poet’s writing experience does not really go deep into the creative motivation of aesthetic thoughts. Mr. Zhou Weizhi once wrote the opera ”White-Haired Girl“ with the following words: ”“ The first draft of White-Haired Fairy Girl was created by Shao Zizan himself. The first trial was conducted and discussions were held. However, Later, because of the inconsistency in creative thinking, Shao Zhanan withdrew from the group and declared that later ”White-Haired Girl“ opera had nothing to do with him. ”The opera“ White Hair Swordsman ”and the opera“ White-Haired Girl ” Creative thinking