一九六八年,当法国联合书局出版茹尔·瓦莱斯的五幕十一景大型革命历史剧《巴黎公社》(中国青年艺术剧院上演时改名《樱桃时节》时,曾引起了进步文艺界的高度重视,有的评论认为:“瓦莱斯的剧作属于‘人民戏剧’的流派,在法国是罕见的!”“人民戏剧”的概念,上个世纪就在法国明确形成。一八四七年,影响颇大的自由思想家米舍莱在“法国公学”的讲坛上大胆提出创立“真正的人民戏剧”。他激昂地说道:“要在人民戏剧的舞台上,表现人民自己的传奇,显示他们已经完成的业绩和他们现时的奋斗,从而达到群众精神上的自我滋养。”当时,在座听讲的茹尔·瓦莱斯还很年轻,他由于厌恶法国传统的贵族“词藻文化”,从心底赞同米舍莱的主张,感到“人民要求新的戏剧”。当然,他的灵感更多是从后来参加巴黎公社的实践中汲取的。在一八七一年春天的“三·一八运动”中,瓦莱斯在思想上更趋成熟。由于主编《人民呼声报》而深孚众望,他当选为公社委员,经历了当时一系列大规 In 1968, when the French Joint Book Company published the large-scale revolutionary historical drama “The Paris Commune” of the eleven scenes of Jules Valeris (renamed “The Cherry Festival” when staged at the China Youth Art Theater) , And some commented that: “Valais’s play belongs to the genre of ’people’s theater’ and is rare in France!” The concept of “people’s theater” was clearly established in France in the last century. For seven years, the influential liberal thinker Michele boldly proposed the creation of “real people’s theater” at the forum of “French Public Schools.” He said passionately: “To show the people’s own legend on the stage of the people’s drama, , Showing the accomplishments they have accomplished and their current efforts in order to achieve mass self-nourishment. ”At that time, Jules Várez, who was present here, was still very young. Due to his dislike of the aristocratic“ rhetoric ”of the French tradition, From the bottom of my heart agree with Michele’s proposition, felt “the people demand a new drama.” Of course, his inspiration is more drawn from the later practice in the Paris Commune in the spring of 1871 “ In the ”March 18 Movement,“ Vales became even more mature in his thinking. As a chief editor of the ”People’s Voice Newspaper," he was deeply rooted in public opinion. He was elected as a commune member and experienced a series of general rules