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一、最近,在《中国戏剧》1988年第10期上,看到《也谈戏曲发展的矛盾运动——同〈淡化与强化的矛盾运动〉之商榷》(以下简称《也》文),颇感突然。因为在这之前,我并不知道《也》文的作者是一位“淡化论者”。等到我找到这位作者发表在1987年第3期《戏剧报》上的文章一读,才悟到我的《淡化与强化的矛盾运动》的主要观点、对他说来确有一定的针对性。为此,我愿意坦诚地和《也》文作者交换意见,以期进一步沟通思想,增进共识。二、我惊诧地发现,《也》文作者的论难方法带有很大的主观随意性:他在转述我的论点时,常常是
Recently, on the 10th issue of the “Chinese Theater” of 1988, I saw “a discussion of the contradictions in the development of opera - discussion with the contradictory movement of dilution and reinforcement” (hereinafter referred to as “Ye”), rather Suddenly Because before that, I did not know that the author of “Ye” was a “desalinationist.” By the time I found the first reading of the article published in The Drama Newspaper by the author in 1987, did I realize that my main point of view of “the contradictory movement of dilute and intensify” did not give him a certain degree of pertinence . For this reason, I would like to exchange views with the author of “Yeh” honestly in the hope of further communication and consensus building. Second, I was surprised to find that the controversial approach of the “literary” author has a great deal of subjectivity and arbitrariness: in transposing my argument, he often