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有一种意见,认为今天的戏剧可以不再需要写冲突了,如果坚持戏剧必须要有冲突,那就是坚持“十九世纪资产阶级文艺理论”。例如,李超同志就说过: “昨天我看江苏省话剧团演出的《阶级弟兄心连心》,里面描写了一群具有共产主义风格的人物。我开始拿老尺来衡量里面的对立面,冲突,量来量去量不准确。因为那是一把老尺,不是新标准尺。旧的文艺理论不能衡量了,十九世纪资产阶级文艺理论,不能指导今天的艺术创造了。”(见《江苏戏曲》1960年第4期李超的《认真学习毛泽东文艺思想,为攀登世界艺术高峰而努力》一文) 不错,今天的社会主义文艺是根本不能用资产阶级文艺理论的“老尺”来衡量的。资产阶级文艺理论家也承认戏剧要有冲突,但他们的冲突论是抽掉了阶级内容的冲突论,是资产阶级人性论的冲突论。他们
There is a suggestion that today’s drama can no longer need to write a conflict, if you insist on the drama must have a conflict, that is, adhere to the “nineteenth century bourgeois theory of literature and art.” For example, Comrade Li Chao said: “Yesterday I saw the” class brother with heart and soul “performed by the Jiangsu Provincial Repertory Theater and described a group of communist-style people. I began to measure the opposite and the conflicts Because the old ruler is not a new standard ruler, the old theory of literature and art can not be measured, and the 19th century bourgeois literature and art theory can not guide the creation of art today. ”(See“ It is true that today’s socialist literary arts can not be measured by the ”old rules“ of the bourgeois literary theory at all. It is true that Li Chao’s ”Studying Mao Zedong’s Literary and Art Thought Seriously and Climbing for the World’s Art Peak" of. Bourgeois literary theorists also admit that there must be conflicts in theaters, but their theory of conflict is a theory of conflict that takes away the class content and the theory of conflict in the theory of bourgeois humanity. they