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今年《戏剧报》第二期、第五期,連续发表了朱卓群同志两篇文章,批評张庚同志对传統剧目中有关忠、孝、节、义等道德观念的看法。批評的主要之点是张庚同志在1956年发表在《文艺报》十三期《正确地理解传統剧目的思想意义》一文中的这样一段話:忠、孝、节、义这类的思想,固然有封建性的一面,但也不是没有人民性的一面。我們必須注意到这样的事实:在封建时代,虽然統治阶級利用这些东西来进行统治,但人民也利用这些来进行反抗。秦香蓮在《(?)宫》那場戏中駡陈世美,仍是駡他“不忠不孝不仁不义”,《琵琶記》中张大公駡蔡伯喈也是駡他“三不孝”。《三上
In the second and fifth installments of this year’s Drama Drama, two articles by Comrade Zhu Zhuqun were published in succession, criticizing Comrade Zhang Geng’s view on moral values in traditional repertory such as loyalty, filial piety, festival and righteousness. The main point of criticism is that Comrade Zhang Geng published in his article “The Ideological Significance of Traditional Repertory” in the thirteenth issue of the Literary Journal in 1956: the ideas of loyalty, filial piety, festival and righteousness Although there is a feudal side, but it is not without the people side. We must note the fact that in the feudal era, though the ruling class took advantage of these things to rule, the people used it to resist. Qin Xianglian scolded Chen Shi-mei in that scene in the “(?) Palace” or accused him of being “unfaithful and unfilial,” and Zhang Dagong cursed Cai Bo in “Pipa” as saying “three no filial piety.” "Three on