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建国十四年来,在党的领导下,京剧艺术确实有了很大的发展,和解放前京剧舞台上的衰退、混乱、不景气的现象相比较,不论是剧目内容,或是舞台形象、音乐、美术、前后台人与人之间的关系,都有了脱胎换骨的改变,成绩是很大的。但是,由于我们对“推陈出新”的方针理解得还不深刻,民致戏曲艺术落后于形势的发展。时代变了,观众的欣赏要求也变了,他们迫切要求看有教育意义的、富有战斗性的、特别是反映现实斗争的好戏,要求作为文艺武器之一的戏曲充分发挥它教育人民的作用。而我们的戏曲在这方面还不能满足广大观众的需要,京剧艺术落后的情况尤其显著。
In the fourteen years since the founding of the People’s Republic of China, under the leadership of the party, there has indeed been a great development in the art of Peking Opera. Compared with the decline, chaos and downturn in the stage of the Beijing opera before the liberation, both the contents of the play and stage images and music Art, front and backstages of the relationship between people, have a reborn change, the result is great. However, due to our understanding of the principle of “innovation”, the art of traditional Chinese opera is lagging behind the development of the situation. The times have changed and the audiences’ appreciation requirements have also changed. They urgently demand that educational, combat-friendly operas that reflect the real struggle in particular, and that the drama as one of the weapons of art and literature give full play to the role it educates people. . However, our opera can not meet the needs of the vast audience in this respect. The backwardness of the art of Peking opera is particularly notable.