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戏曲的现代化一直是一个发展过程。怎样走过来的?我想说说这个问题。戏曲搞了这么多年,从辛亥革命到今天。开始时只是一股热情,想利用戏曲为革命服务。口号虽没有,却是这么做的。有些人很想把从辛亥革命到现在的戏曲史划成两个很清楚的阶段,我个人认为从辛亥革命到现在的戏曲史,从“戏改”来说,或者从现代化的目的来说,就是一本帐写下来的。辛亥革命时想利用戏剧马上就为革命服务,革命高潮时曾经起过作用,但不经久,就随着革命失败了,于是“五四”时代又认为戏曲是不可救药的东西。要把这一种观点翻过来,费了不少功夫。“五四”以后的七八年,“左翼”十年,对戏曲的偏见始终存在。抗战时期才感到要认真研究戏曲。要文艺为人民服务,如不把戏曲掌握在手中,就没法工作。
The modernization of opera has always been a development process. How to come? I want to talk about this issue. Opera engaged in so many years, from the Revolution of 1911 to today. It was only a beginning of enthusiasm, trying to use drama for revolutionary service. Although there is no slogan, but it is done. Some people would like to draw two very clear stages in the drama history from the Revolution of 1911 to the present. I personally think that from the Revolution of 1911 to the present history of opera, from the point of “dramatization” or from the purpose of modernization, It is a book written down. During the Revolution of 1911, it wanted to use drama immediately to serve the revolution, and played a role in the climax of the revolution. However, with the failure of the revolution, as the revolution failed, the “May 4th” period also considered that opera was an inhuman thing. To turn this view over, spent a lot of effort. In the seventies and eight years after the May 4th Movement and the “left-wing” ten years, the prejudices against the drama always exist. During the war of resistance against Japan I felt it was necessary to seriously study opera. To literary work for the people, if we do not hold the opera in our hands, we will not be able to work.