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读了刘云程先生《戏曲回头不是岸——与马建华先生商榷》(以下简称“刘文”)后,又重读了一遍马建华先生写的《建立戏曲传统剧目精品工程》(以下简“马文”)。在马文中,不难发现有一些过激的词语(如“零现象”和“绝大部分的传统剧目被禁演”)是把事实片面夸大了。但看到两篇文章的末尾,争论双方最终得出的结论又似乎没有原则分歧。也许是由于视角不同,难免会产生某些误解或偏见。为此,把几个重要问题的来龙去脉梳理得更清晰些,看来是有必要的。
After reading “Mr. Liu Yuncheng’s drama is not a shore-discussion with Mr. Ma Jianhua” (hereinafter referred to as “Liu Wen”), Mr. Liu reread again the “Construction of Traditional Opera Project” (hereinafter referred to as “Ma Wen”) written by Mr. Ma Jianhua . In Marvin, it is not hard to find that some radical words (such as the “zero phenomenon” and “the vast majority of traditional plays being banned”) exaggerate the facts one-sidedly. However, at the end of the two articles, there seems to be no principle of divergence between the two conclusions reached by the two parties. Perhaps due to different perspectives, it will inevitably produce some misunderstandings or prejudices. For this reason, it seems necessary to sort out the ins and outs of several important issues more clearly.