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《长江戏剧》1987年第二期发表王自力的《觉醒与迷失》。作者说,新时期的戏曲,走过了十年艰难而又辉煌的历程。它的成就最璀灿的亮点,便是主体意识已经觉醒。一大批优秀剧目的涌现,便是这一论点最好的注脚。但戏曲改革目前尚存在许多不能尽如人意的缺陷,其中最突出的表现便是创作过程中辨证意识的迷失,比如对庸俗社会学的否定,使对社会性也讳莫如深,热衷于非社会非政治题材的选择。甚至认为戏剧不应该以表现真实的社会问题为目的。以纯然无功利的态度搞戏曲创作,是行不通的。我们这样偏执地看
“Changjiang Drama” 1987 second issue Wang self-awakening and lost. The author said that the opera in the new era has gone through a difficult and glorious decade. The highlight of its achievements is the awakening of the subjective consciousness. The emergence of a large number of excellent plays is the best footnote to this argument. However, there are still many unsatisfactory shortcomings in the drama reform. One of the most prominent manifestations is the loss of the dialectical consciousness in the process of creation. For example, the negation of vulgar sociology makes the society less closely guarded and non-social non-political Theme selection. Even think theater should not be aimed at showing real social problems. It is not feasible to engage in drama creation in a purely non-utilitarian manner. We look so paranoid