大野心家江青竟吹嘘自己是三十年代文艺革命旗手,真是寡廉鲜耻的天下奇谈!纵观江青三十年代的历史,实在难以发现所谓“旗手”的“业绩”。我们倒是从她在三十年代写的几篇演剧“经验”里,察看出了一点老反革命的端倪。一九三七年四月,她抛出了一篇《从〈娜拉〉到〈大雷雨〉》的黑文。但此文谈的并非是演技,而是“教训”:可用一句话来概括,即要“忠实于戏剧”。她在文章中胡说什么,她排演《大雷雨》时,把精力都放在抗日工作上了,因而贻误了排演。“教训”是,要“在排练时间以外,用自己所有的精力对于你要演的戏,你要扮演的角色,加以刻苦的研究和体会”。如此,便是所谓“忠实于戏剧”了。其用意十分明显,即要把所 Ono mind home Jiang Qing actually boasted that he is the banner of art revolution in the thirties, really cheeky world odd talk! Looking at the history of Jiang Qing in the thirties, it is hard to find the so-called “standard-bearer” of “performance.” From the “experiences” of several dramas she wrote in the 1930s, we have seen some clues about the old counter-revolution. In April 1937 she threw out an article “From Nora to Thunderstorm.” But this article is not talking about acting, but “teaching”: one sentence can be used to summarize, that is, “faithful to drama.” What she said nonsense in the article, she rehearsed “thunderstorm”, the focus on the anti-Japanese work, and thus undermine the rehearsal. The lesson is to “make painstaking research and experience with the play you play and the role you are going to play with all your energy, beyond the rehearsal time.” So, it is the so-called “faithful to drama”. Its purpose is very obvious, that is to take it