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范钧宏在一封信(《止步,是为了起步》载《新剧本》1986年六期)中说,现代的=新=好;传统的=旧=不好。对于戏曲作者来说,这是个叫人哭笑不得的公式。因为:一、它把“现代的”和“传统的”(包括意识和手法)绝对对立起来;二、它把“新”与“好”无条件地等同起来;三、它以静止的观点对待“传统”,因而只见其旧的消极面,不知其具有可以而且应该继承、发展和革新的积极因素。去年全国戏曲调演中的优秀剧目,中国剧协八四、八五年的获奖剧本,在思想内容上大都程度不同地具有现代意识的内涵,而在表现手法上又都各有侧重地对继承传
Fan Junhong said in a letter (“Stopping for a Start,” in “The New Screenplay,” 1986, 6) that modern = new = good; traditional = old = bad. For opera writers, this is a dumbfounding formula. This is because: First, it absolutely opposes the distinction between “modern” and “traditional” (including consciousness and tactics); secondly, it equates “new” with “good” unconditionally; and thirdly, it treats “ Tradition, ”thus seeing only its old negative aspects, unaware of the positive factors it can and should inherit, develop and innovate. Last year, the outstanding repertory in the national drama tune-up and the award-winning script of the Chinese Drama Association in 1984 and 1985 have largely different connotations of modern consciousness in content of thought. However,