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李洁非同志在《死与美》等文中,对建国后的戏曲改革工作提出一个质问:“艺术为什么一定要赶上时代?”又具体表述如下:第一,“最为荒唐的一种声音,是把古典戏曲的‘危机’说成是落伍于时代”。此论来自“50年代的那种苏联文艺概论体系教条”,是“以社会史逻辑代替艺术史逻辑”的“艺术进化论”。第二,戏曲界的思维深受这种理论模式的支配。因此,“戏曲革新论者”虽“费尽心思延长古典戏曲的寿命”,终使古典戏曲“变成一个不伦不类、头戴假面、滑稽可笑的小丑”。这“不是艺术革新,而是艺术颠覆”。第三,结论是:对待古典戏曲不应“以
In his article “Death and Beauty”, Li Jiefei asked a question on the work of drama reform after the founding of the People’s Republic of China: “Why does art have to catch up with the times?” It is specifically stated as follows: First, “the most absurd one voice is The ”crisis“ of classical drama is said to be outdated in time. This theory comes from ”the dogma of the Soviet Union literature and art overview system of the 1950s“ and ”the evolution of art“ of ”replacing the logic of art history with the logic of social history.“ Second, the thinking of the opera circles is dominated by this theoretical model. Therefore, although ”drama innovators“ tried their best to prolong the life of classical operas, they finally turned ”classical opera into a nondescript, wearing a mask, a ridiculous clown.“ This is ”not art innovation, but art subversion.“ Third, the conclusion is: Treat classical drama should not be ”to