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20世纪初戏曲改良与新旧剧论争,上世纪40年代的延安秧歌剧运动与京剧改革以及新中国成立初期的“戏改”、改革开放后的戏曲探索,是20世纪中国戏曲的三次最重大变革。然而,变革并未使戏曲勃兴,这是因为包括“改良”、“秧歌剧运动与京剧改革”、“戏改”、“三并举”“、以现代戏为纲”“、现代化与都市化”“、探索与创造精品”等等在其实施的具体过程中,往往都是非艺术化的,掺杂了过多戏曲艺术以外的干扰和期待,如20世纪初的社会改良及文化改良对戏曲艺术的过高期待及严苛贬斥;延安时期及新中国成立以后的政治意识形态改造标准,尤其是文革时期的样板戏的畸形发展;改革开放以后政治话语的延续以及过度探索的二元悖谬,坚持传统还是走向现代的两难选择,正视危机和期待振兴的矛盾心态以及多元文化到来后的多样化发展等等。这些非艺术的期待使得原本积极的变革异化为戏曲滑落的助推剂,这是值得我们深思的。戏曲艺术的再次勃兴,必须汲取历史经验,创造积极正面力量,同时又要避免走向另一极端,阻碍戏曲的继续发展。
The opera reform in the early 20th century debated the controversy between new and old dramas. In the 1940s, the Yan’an Yangko Opera and Peking Opera reforms and the “Opera Reform” in the early days of the founding of New China, the exploration of the opera after the reform and opening up was the third Major changes. However, the change did not make the drama prosperous, because it includes “improvement”, “Yangko Opera and Peking opera reform”, “drama”, “triple play” and " Modernization and Urbanization, Exploration and Creation, etc. In the concrete process of their implementation, they are often non-artistic, which interferes with the interference and expectation beyond the traditional drama art, Such as the early 20th century social reform and cultural improvement of the art of opera too high expectations and harsh denouncement; Yan’an period and after the founding of new China’s political ideological reform standards, especially during the cultural revolution of the normal opera model; After the reform and opening up The continuation of political discourse and the dual absurdity of overexploitation, the dilemma of adhering to tradition or going to the modern era, facing the contradictory mentality of crisis and looking forward to rejuvenation, and the diversified development after the advent of multiculturalism. These non-artistic expectations alienated the original positive change into a propellant for the decline of drama, which is worth our consideration. The revival of traditional opera must draw historical experience and create positive and positive power, meanwhile, it should avoid going to the other extreme and hinder the continuous development of traditional opera.