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罗怀臻先生的大作《重建中的中国戏剧》提出了“地方戏剧都市化”这个重要命题,体现出他致力于推动中国戏剧健康发展的建设性态度。经历二十多年的改革开放,当年毛泽东时代以乡村和农民为最重要的权力基础的社会意识形态体系已经被彻底颠覆,现在怀臻提出“都市戏剧”这个称呼(或者说口号)时,已经不再有什么忌讳和冲击力,也不用像当年那样战战兢兢。怀臻20世纪90年代初就以“都市新淮剧”命名他的成名作《金龙与蜉蝣》,近几年又再度以“都市戏剧”冠于多部
Mr. Luo Huai-zhen’s masterpiece, The Chinese Theater for Reconstruction, put forward the important proposition of “Urbanization of Local Drama,” demonstrating his constructive attitude towards promoting the healthy development of Chinese drama. After more than 20 years of reform and opening up, the system of social ideology, which was the most important power base for the rural areas and peasants in the Mao era, was completely overthrown. Now when Huai Zhen put forward the term (or slogan) of “urban drama” There is no longer any taboo or impact, nor need to be as cautious as the year. In the early 1990s, Huai Zhen named his famous masterpiece “Golden Dragon and the Wagtail” in the “New City Huaihua Opera”. In recent years,