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去年《戏剧报》陆续发表了批评《绣襦记》的文章,如陈仁鉴,戈明同志《向戏曲中的封建意识挑战》,以及晓赓同志《也谈戏曲传统剧目的历史局限性》等文,认为《绣襦记》“最强烈地体现了士大夫阶级的意志”,宣扬了“封建思想道德意识和士大夫阶级的审美趣味”。对此,我有不同的意见。我想如何评价《绣襦记》,实际上不只是一出戏的问题,它涉及到怎样衡量和估价作为祖国宝贵文化遗产的优秀传统剧目的思想性和审美价值的问题。因此,我谈几点意见,以就正于专家、同行和读者。
Last year, “Theatrical Journal” published articles criticizing “Embroidery”, such as Comrade Chen Renjian and Comrade Goem’s “Feudal Consciousness Challenge to the Opera”, and Comrade Xiaogong’s “Historical Limitations of the Traditional Repertory of the Traditional Opera” , That “Embroidery” “Embodies the most strongly expressed the will of the scholar-officials,” preached “the feudal ideological and moral awareness and the aesthetic taste of the scholar-official class.” In this regard, I have different opinions. How I evaluate “Embroidery” is not really just a matter of play, but involves how to measure and value the ideological and aesthetic values of a good traditional play which is the precious cultural heritage of my motherland. Therefore, I would like to make a few comments, just as the experts, colleagues and readers.