读了雷社德等同志的《为什么要这样改?》(载今年第二期《人民戏剧》)一文后,有些不同的看法,愿提出来。首先,对某剧团在演出予剧《朝阳沟》时,将其中有些台词作了改动这件事,应该怎么看?我认为这正是打倒“四人邦”后出现的新气象,表现了广大文艺工作者在砸烂“文艺黑线专政”论后,解放思想,破除顾虑,为贯彻党的“双百”方针,敢于探索,敢于创新的革命精神。本来,同一个剧本在各地、各剧团的演出中,是应该允许在台词、唱腔、布景、道具、服装,甚至个别情节上有所改动的。但在江青一伙把持剧坛 After reading the article “Why should we change this?” (Contained in the second issue of the “People’s Drama” of this year), there are some different opinions that we would like to raise. First of all, what should we look at when a certain troupe plays some of his lines when he plays the drama Chaoyang ditch? I think this is precisely the new atmosphere that has emerged since the downfall of the “gang of four,” After smashed the theory of “the dictatorship of the black line of literature and art”, literary and art workers have emancipated their minds and shaved concerns. In order to carry out the party’s “double hundred” principle, they dared to explore and innovate in a revolutionary spirit. Originally, the same script should be allowed to be altered in lines, aria, scenery, props, costumes, and even individual episodes in various localities and troupes. But Jiang Qing gang control the theater