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翻开今年第五期《戏剧报》,《淡化与强化的矛盾运动——当代戏曲的发展态势之二》一文赫然入目,欣然读之,却又不禁失望。原来该文所说的“强化”与“淡化”指的是戏曲审美特性在当代有扬有弃,扬是强化,弃是淡化;戏曲便是在这强化与淡化的矛盾运动中发展着。这就是“当代戏曲的发展态势”。我觉得该文既有对戏曲固有特征认识上的偏颇,也有对戏曲现状分析上的失误;尤其是对于“矛盾运动”规律使用之不当;根本问题仍是在继承与革新的理论上陷于既定的片面认识,未能迈出半步。思之再三,似有商榷的必要。
Open Fifth Issue this year, “Drama”, “dilute and strengthen the contradictory movement - the development trend of contemporary drama,” a text impressively, read, but can not help but disappointed. What we call “fortification” and “desalination” in the article means that the aesthetic characteristics of the opera have been abandoned in the contemporary era, while the promotion is enhanced and the discard is the desalination. The drama is developed in this contradictory movement of intensification and desalination. This is the “development trend of contemporary drama.” I think this article has some biases in understanding the inherent characteristics of the opera as well as some mistakes in the analysis of the status quo of the opera. In particular, it is not properly used in accordance with the law of “contradictions and movements.” The fundamental issue is still stuck in the established theory of inheritance and innovation Unilateral understanding, failed to take a half step. Think again and again, it seems there is a need for discussion.