京剧反映现代生活,一方面是革命的现代生活内容,一方面是古老的艺术形式,因此必然会在新内容与旧形式之间产生矛盾。如何去解决这个矛盾,于是产生了“像生活”,还是“像京剧”的问题。这是现阶段中的一个特殊问题,将来自然是会统一起来的。现代的生活内容和古老的艺术形式,它们之间的关系究竟应该怎样摆,怎样处理,才是正确的呢?这是值得探讨的。艺术是反映生活的,京剧艺术也不例外。从这个意义上来说,京剧反映现代生活就首先应该“像生活”。这次的京剧现代戏观摩演出,许多戏获得成功,最主要的一条原因,就是遵循毛主席的指示,在不同程度上解决了生活问题。许多演员能在舞台上树立超工农兵的形象,都不只是由于外形上像,更重要的是气质上像。扮演《六号门》中码头工人的李荣威同志说得好:开始排戏时,对码头工人生活 Beijing Opera reflects the modern life. On the one hand, it is the content of the modern life of revolution. On the other hand, it is an ancient art form and therefore inevitably creates a contradiction between the new content and the old style. How to solve this contradiction, then produced a “like life” or “like Beijing opera” issue. This is a special issue at this stage and will naturally come together in the future. The content of modern life and the ancient art form, how to deal with the relationship between them should be how to deal with it is correct? This is worth exploring. Art is to reflect life, Peking Opera is no exception. In this sense, Peking Opera should reflect the modern life first, “like life.” The most important reason for the success of many modern opera shows is to follow Chairman Mao’s instructions and to some extent solve the problems of life. Many actors can establish the image of supernumerary workers, peasants and soldiers on the stage, not only because of their appearance but also of their temperament. Comrade Lee Young-wai, who plays the role of a port worker in the “No.6 Gate,” put it well: At the beginning of parade, life for dock workers