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从五十年代中期至六十年代中期的大约十年时间里,是我国新歌剧大面积丰收的季节,这期间各种革命历史题材、现实生活题材的歌剧相继上演。而这些歌剧几乎都是带着对我国新歌剧的发展走向、存在形式进行努力探索的重大课题,进行各自不懈的艺术追求,因而在艺术风格、民族特色等方面,均呈现出了互不相同的特点,从而使歌剧在“革命化、民族化、群众化”的道路上,迈出了十分可喜的一步,取得了相当显著的成绩。
From the mid-1950s to the mid-1960s, it was the season of large-scale bumper harvest of new operas in our country. During this period, various operas of revolutionary history and real life themes were successively staged. Almost all of these operas, with their unremitting pursuit of art, carry out their exploration and exploration of new Chinese opera operas and forms of existence. Therefore, they all show distinctive artistic styles and ethnic characteristics So that the opera has made a very gratifying move on the road of “revolutionization, nationalization and massification” and has achieved remarkable success.