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《戏剧报》八四年十月号发表了李洁非、张陵两位同志的大作《关于“京剧革新”的美学沉思》,引起了文艺界特别是戏曲界的关注。我以为,这里面实际牵涉到好几个问题,一时不易谈清楚。当前,一般人的看法是,象京戏(也包括昆曲)一类以演传统剧目为主的剧种,青年人不爱看,就是看也看不懂,因此必须革新;只有改得让青年人爱看了,这个剧种才有前途,庶几乎可以免去“危机”。《沉思》的作者却认为:“京剧”不宜往“写实”的方面“改”,越改便去京剧艺术本身的发展规律越远,就越没有前途,所以演“现代戏”不是方向。另外,《沉思》的作者还提出,演员的修养素质很重要,“要振兴京剧,就必须从演员抓起”。这些意见很可贵,不得以其同当
In October 1984, The Drama Newspaper published the comic book “Aesthetic Contemplation on Peking Opera Revolution” by Li Jiefei and Zhang Ling, which aroused the concern of the literary and art circles, especially the opera circles. I think, there are actually involved several issues, it is not easy to talk about. At present, what most people think is that operas like the Beijing opera (also including the Kunqu opera), which are mainly traditional dramas, do not like to see, they can not understand or read. Therefore, they must be innovative. This drama has a future, almost can be removed from the “crisis.” The author of “Contemplative” thinks: “Peking Opera” should not “change” the “realistic” aspects, and the farther the more developed the art of Peking opera itself is, the less promising it is. So “modern drama” is not the direction. In addition, the author of “contemplation” also proposed that the quality of the performers’ cultivation is very important. “To revitalize Beijing Opera, we must start from the actors.” These opinions are precious and can not be used for their own sake