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在20世纪中国戏剧思潮的发展中,“样板戏”是个特殊的现象。作为1966——1976这10年间在中国文艺舞台上唱“独角戏”的“样板戏”,其本身是以戏剧改革为开端的,但发展到后来却在客观上演变为阴谋政治的工具;而从它身上演绎出来的所谓“根本任务”论、“三突出”论等等清规戒律,又严重地束缚着这时期中国文艺的发展。这使很多人即便是今天提起“样板戏”,也总是带着某些悲愤的情绪。然而,“样板戏”的思潮如果剥去其阴谋政治色彩和帮派文艺气息,它的改革又为中国戏剧的发展增添了哪些新的内涵?其“戏剧的”贡献又主要体现
In the development of Chinese drama in the 20th century, “model opera” is a special phenomenon. As the “model opera” of singing “one-man show” in the Chinese art stage from 1966 to 1976 in the 10 years, it started with the reform of theater itself, but later evolved objectively into a tool of conspiracies politics. From The so-called “fundamental mission” theory deduced from it, the “three prominent” theories, and other rules and regulations severely constrain the development of Chinese literature and art during this period. This has led many people to bring “sentimental” emotions even with the “model opera” mentioned today. However, if the trend of “model opera” strikes off the conspiracy of politics and the climax of its literature and art, what new connotation is added to the reform of the “model opera” for the development of Chinese drama? The contribution of “drama” is mainly reflected