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毛主席“百花齐放、推陈出新”的题词已经历了四十个春秋。在党的领导下,我们根据这一方针在戏剧领域也实践了四十个年头。中国戏曲在旧社会的衰败状态,经过这四十年,有了全新的变化:剧本充满新的内容,舞台呈现新的面貌,还培养了大批新演员和新观众。事实证明,“百花齐放、推陈出新”的方针是经得起实践检验的,是科学的,它为马克思主义对待古老民族文化遗产与现代社会相结合的课题,提供了宝贵的经验。回顾四十年的历程,戏曲工作成绩巨大,但其中曲折也不少,应该认真总结这份经验,并提高到理论上来认识。有哪些做对了,要肯定下来;哪些做错了,须接受教训。中国戏曲的改革,不是在小小的科学实验室里进行的,而是在广大的社会上展开的,这就不能不受环境的影响,难免要产生各种波折和反复。如果我们每个戏曲工作者思想上对这个方针十分明确,坚信不移,那么,任何风浪都不可怕。
Chairman Mao’s title of “Hundred Flowers Ready to Make New” has undergone 40 years of Spring and Autumn. Under the leadership of the party, we have also practiced for forty years in the field of theater under this principle. After 40 years of decay of the Chinese traditional opera in the old society, new changes have taken place: the script is full of new content, the stage presents a new look, and a large number of new actors and audiences are cultivated. Facts have proved that the policy of “letting a hundred flowers bloom together and bring forth new ideas” is scientific and scientific. It has provided valuable experience for the Marxist treatise on the combination of the ancient national cultural heritage with the modern society. Looking back at the course of 40 years, the performance of the opera is enormous, but there are a lot of twists and turns. We should conscientiously sum up this experience and raise it to theory. What to do right, to be sure; what did wrong, must be taught. The reform of Chinese opera is not carried out in a small scientific laboratory but in a broad society. It can not but be affected by the environment and inevitably produces various twists and turns. If every one of our opera workers has a clear and unwavering belief in this policy, then no storm or storm should be felt.