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1976年,随着“四人帮”的倒台,十年“文革”荒唐剧在中国历史舞台上终于落幕,十亿人民八个“样板戏”在中国戏曲舞台上也暂告收场。打倒江青这个所谓“京剧革命的旗手”,京剧获得了劫后新生,并在“三并举”剧目政策的恢复和落实下,又开始出现勃勃生机。 20余年来,京剧的“传统戏”、“新编历史剧”和“现代戏”三者齐头并进,各呈异彩,为“振兴京剧”做出了可喜可贺的贡献。
In 1976, with the fall of the “Gang of Four,” the “Cultural Revolution” ridiculous drama of the last decade ended in the stage of Chinese history. Eight “model games” by billions of people were also tentatively scheduled to end on the Chinese drama stage. Down with Jiang Qing, the so-called “banner bearer of the Beijing Opera Revolution,” Peking Opera won the new post-disaster recovery and under the “Three Parallel” repertoire recovery and implementation, and began to appear vitality. For more than 20 years, Peking Opera’s “traditional drama”, “new historical drama” and “modern drama” have gone hand in hand. They all have splendid colors and made gratifying contributions to the revitalization of Beijing Opera.