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最近读了一些“人神同台”的戏曲作品,作为一个普通读者和观众,感到有些问题,想提出来商榷。戏剧通过艺术形象反映一定的社会生活,来表现一定的思想内容。神话剧的剧作也是如此,所不同的是,神话剧的作者要借助想像和幻想来认识和解释社会生活,创造出一种神话剧需要的意境。这种神话意境是一定社会生活的曲折地反映。因此,研究剧作表现什么样的思想内容,乃是评价神话剧的首要任务。历史上有不少有神话意境的剧作,其中《白蛇传》《牛郎织女》《天仙配》《张羽煮海》《劈山救母》等,表现了当时人民的理想和愿望,有进步的思想内容,于是人民喜爱,至今流传不衰。也有不少如《黄氏女游阴》《滑油山》以及神仙道化戏,散布迷信、宿命的反动思想,于是人民将它
Recently I read some operatic works with the same people and God. As an ordinary reader and audience, I feel that there are some problems that I would like to put forward for discussion. Drama reflects a certain social life through artistic image, to express certain ideological content. The same is true for mythological dramas, except that mythological dramatisers use imagination and fantasy to understand and interpret social life and create the artistic conception of a mythological drama. This mythical conception is a twists and turns of certain social life. Therefore, it is the primary task to evaluate the drama of mythology to study the contents of the ideology of drama. There are quite a few plays of mythological conception in history. Among them, “White Snake”, “Cowherd and Weaver”, “Angel Match”, “Zhang Yu Bohai Sea” and “Pishan Save the Mother” show the ideal and desire of the people at that time and the progressive thinking Content, so people love, has not been popular. There are quite a few reactionary ideas such as “Huang’s Female Tour Yinyin”, “Lubeyama Mountain” and the immortal immortalized drama that spread superstition and fate.