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1988年10月在上海讨论海派京剧时,我曾说过:“海派京剧已属于历史,这一页已经翻过去了。今天的任务是要把戏曲现代化。现代化的戏曲,很需要继承和发扬海派精神,但对于近代史上的海派京剧,则要扬弃,则要超越。”隔了两个月,在天津看了上海京剧院演出的《曹操与杨修》《潘月樵传奇》之后,我的想法有了变化。为什么海派京剧只属于历史呢?可不可以创造属于今天、属于未来的新的海派京剧?难道戏曲的现代化不需要发扬地域性文化特色吗?眼前的这些演出(加上新近看到的《盘丝洞》)比之旧的海派京剧来,不是已在某种程度上实现了扬弃和超越?艺术家们正在探索着开创海派京剧的新境界,只是作为研究者的我还没有认识到罢了。本文就来作个补充,探讨一下海派京剧的创新问题。为了说清楚新旧沿革,还得从历
When I discussed the Shanghai School Peking Opera in Shanghai in October 1988, I said: “Shanghai Opera has become history and this page has been turned over. Today’s task is to modernize opera, and it is necessary for the modern drama to inherit and promote Shanghai Spirit, but for the modern history of Shanghai Peking Opera, you have to subside, you have to go beyond. ”After two months in Tianjin, Shanghai Peking Opera Theater performances of“ Cao Cao and Yang Xiu, ”“ Pan Yueqiao Legend ”, my idea there Change. Why does Shanghai Opera Peking Opera only belong to history? Is it possible to create a new Shanghai Opera Peking Opera that belongs to the future? Is it necessary to modernize the opera without promoting regional cultural features? These performances (plus the recently seen “ ”) Than the old Shanghai Peking Opera, not to some extent, has achieved subjection and beyond? Artists are exploring the creation of the new realm of Shanghai Opera Beijing, just as a researcher I have not recognized it. This article will make a supplement to explore the innovation of Shanghai opera. In order to make it clear that the old and the new, have to go through the calendar