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易俗社巳故戏剧家吕南仲先生五十年前编写的《殷桃娘》,前不久由米钟华、王蔼民同志改编后重新上演。改编本忠于原作,以虚构的殷桃娘报杀父之仇作为戏的主线和框架,容纳、概现了二千年前楚汉相争的历史过程,艺术上有相当吸引力。但同时改编本在思想性上却保留了原作某些历史唯心主义偏向。具体讲,就是自觉不自觉地用道德化的观点来衡量和解释历史,因而降低了作品应有的历史认识价值。我觉得,这个问题在几年来不少传统戏的改编本和新编历史剧中几乎成为一种通病,应当引起我们足够的重视。《殷》剧从会稽郡守殷通被项羽杀害后其女桃娘出逃开始,到霸王别姬自
The “Yin Tao Niang”, a drama written by Mr. Lv Nianzhong, a moviewriter of the Yixian Society fifty years ago, was re-staged shortly after being adapted by Comrade M Zhonghua and Wang Aimin. Adapted from the original book, fictional Yin Tao Niang revenge of the father as the main line of action and the framework to accommodate, outline the history of the dispute between Chu and Han 2,000 years ago, has a very attractive art. At the same time, however, the revisions of the original books retain some of their historical idealist biases. Specifically speaking, it is to consciously and unconsciously measure and explain history from a moral point of view, thus reducing the due historical value of the works. I think this issue has become almost a common problem in the reorganization of many traditional plays and the new historical play in recent years and it deserves our due attention. “Yin” drama from Huiji Jun Tong Yin Tong was killed by the female Taoist woman fleeing to Farewell My Concubine Since