论文部分内容阅读
戏剧界当前的主要工作,我以为应该抓两件事:一是创作和评论,二是剧团体制。围绕着这两个问题,积极开展批评与自我批评,通过调查研究,进行改革,应该说是当务之急。不必讳言,由于“四人帮”的危害,使文艺界出现了一些很不正常的风气。一些文艺理论刊物上的文章大都是空对空的,不联系实际,对一些不良倾向也没有认真地批评。为什么没有批评?据说是因为怕犯错误,怕负责任,怕得罪熟人或者来些知名人士。去年二月召开的“剧本创作座谈会”,对话剧《假如我是真的》和两个电影剧本进行了与人为善的、实事求是的批评,也引起了各种不同的反响,有些同志还干脆把那两个不好的电影剧本改成话剧发表或演出了。当前戏剧界的确存在不少值得注意的问题,比如,有些地区把不好的连台本戏又搬上了舞台,有的甚至把解放初期进步艺人不演的戏也都翻了出来。
The main current theater work, I think we should grasp two things: First, creation and commentary, the second is the theater system. To revolve around these two issues, actively carry out criticism and self-criticism, and conduct investigations and studies and conduct reforms, we should say that it is imperative. Needless to say, due to the harms of the “gang of four,” there have been some very unusual trends in the literary and art circles. The articles in some literary and art journals are mostly empty and empty, not related to reality, nor are they seriously criticized for some undesirable tendencies. Why is there no criticism? It is said that because of fear of making mistakes, afraid of responsibility, afraid to offend acquaintances or come to some celebrities. Last February’s “Symposium on Screenwriting”, the dialogue “If I Really” and the two screenplays conducted human-oriented and practical criticism, but also aroused a variety of different reactions, and some comrades simply put that Two bad movie scripts changed to drama or performance. There are quite a few notable issues in the current drama community. For example, some regions have put the bad stage on the stage and some even turned the stage where the progressive stage artists did not perform.