对于歌剧来说,剧本,是创作的一半,编剧,是作者的一半。从编剧的角度探讨歌剧,自然只是半面的看法。再者,当前歌剧发展面临困难,正待振兴,有与其他戏剧形式共通的问题,也有本身独有的问题。由于实践的局限,这里只涉及后者,又是一个半面。因此,就来了这个歌剧半面观。具有中国特色的歌剧歌剧是外来的艺术形式。是原封不动,还是让它带上中国特色才能在我国存在和发展?不妨将它和交响乐作一个比较:同是西方音乐高度发展时期出现的艺术品种,交响乐引入我国是从介绍西方作品开始,半个世纪,至今还 For opera, the script, half the story, is the writer, half the author. From the writer’s point of view of opera, naturally only half the view. In addition, the development of the current opera is facing difficulties, awaiting rejuvenation, problems common to other theater forms, and problems unique to itself. Due to practical limitations, it is only one and a half of the latter. So came the half view of this opera. Opera with Chinese characteristics is an exotic art form. Is it intact, or let it bring Chinese characteristics in order to exist and develop in our country? It may be compared with the symphony: the same is the emergence of Western music during the highly developed variety of art, the introduction of symphony to our country from the introduction of Western works, Half a century, so far