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剧作家白桦以马克思主义唯物史观作指导,着眼于我们时代的借鉴价值,从大量正史、野史、传说中,掘发出吴越兴亡转化的内在规律,即民心向背,是国家兴亡的根本。白桦用它潜写成响彻《吴王金戈越王剑》这一新作的主题歌,做了一篇有别于“卧薪尝胆,发愤图强”之类剧作的新文章,赋予这一历史事件以发人深省的新意。《吴王金戈越王剑》出色地表现了勾践这位封建君主丰富而独特的性格。而在这独特的个性中.寄寓了封建时代一切开国之君共同的阶级特征。这出戏以勾践被释回国起,到灭吴归来终。在这个巨大转换中,勾践“取悦于民”的思想与他固有的帝王观念,也随着这个历史的变化而相互消长。这出戏,正是以勾践这个内
Based on Marxist historical materialism and the reference value of our times, Bai Hua, the playwright, has revealed the inner law of the transformation of Wu and Xing during the transformation from a large number of historical, unofficial and legendary legends. The birch used it as a new theme song for the newly revamped “Wu Wang Jin Ge Yue Wang Jian”, and made a new essay different from the play “Revival, Outraged,” giving this historical event a thought-provoking New ideas. “Wu Wang Jin Ge more Wang Jian” outstanding performance Gou Jian feudal monarch rich and unique character. In this unique personality, it embodies the common class characteristics of all the founding kings in feudal times. This play was Gou Jian was released back to the country, to destroy Wu return. In this great conversion, Gou Jian’s thought of “pleasing the people” and his inherent concept of imperial power also dwindle with the change of history. This play, it is to Goukan this