京剧革命现代戏,首要的是表现好革命的生活内容,塑造好革命英雄人物。与此同时,在艺术上还一定要演得象京剧。因此,一定要利用和发展京剧的艺术程式,并且要突破京剧的艺术程式。这里面有继承、革新、创造的问题。继承而又不能保守,认为传统万能;革新而又不能离开传统;创造而又不能脱离本剧种的艺术特点。继承、革新、创造都是为了更好地表现人物。这个问题从理论上谈一谈,还此较容易清楚,但是具体做起来就不是一个简单的问题了。并不是这里安点什么技巧,那里添点什么俏头,把京剧的旧程式、锣鼓点等等搁上就算京剧化了。而是要取京剧传统之精华,去京剧传统之糟粕,从生活出发,从人物的思想性格出发,进行 Beijing opera revolution modern drama, the most important thing is to show the content of the revolutionary life, create a good revolutionary heroes. In the meantime, art must still act like a Peking Opera. Therefore, we must make full use of and develop the art programs of Beijing Opera and we must break through the art programs of Beijing Opera. There are inheritance, innovation and creation. Inherit but can not be conservative, that the traditional omnipotence; innovation but can not leave the tradition; to create but can not be divorced from the art features of the genre. Inheritance, innovation, and creation are all to better represent people. This question is theoretically talked about, but also easier to understand, but it is not a simple question to do. What is not the point of security here, where add some pretty head, the old Beijing opera, gongs and drums and so put on even if the Beijing Opera. But to take the essence of the tradition of Peking Opera, Peking opera to the tradition of the dross, starting from life, starting from the character’s character, proceed