本文選題：戲曲改革　切入點：描寫對象　出處：《當(dāng)代戲劇》2015年03期

【摘要】：正有理想的文化志士,一直在探求戲曲改革之路。早在辛亥革命前后,就發(fā)生過戲曲改良運動。然而,真正把戲曲改革和發(fā)展提升到新文化建設(shè)的高度并作為文化事業(yè)開展工作,則是從中國共產(chǎn)黨領(lǐng)導(dǎo)的延安及其抗日根據(jù)地開始的。當(dāng)年,一大批接受馬克思列寧主義、追求革命理想的進步知識分子中的戲劇專業(yè)人才齊聚延安,或采取"舊瓶裝新酒"、"改舊編新"的方式發(fā)揚光大傳統(tǒng)戲曲藝術(shù),或以現(xiàn)實主義創(chuàng)作方法與時俱進地編演現(xiàn)代戲,著力反映革命斗爭的現(xiàn)實生活,描寫對象以工農(nóng)兵群眾為主,同時在戲曲編導(dǎo)、音樂、表演、舞美及演出活動方式等方面改進和創(chuàng)新,從此開創(chuàng)了舊劇革命的新生面。
[Abstract]:Culture is the ideal person, always in search of drama reform. As early as before and after the revolution, had the opera reform movement. However, the real drama reform and development to a new height of the cultural construction and cultural undertakings as to carry out the work, is from Yanan and the Anti Japanese China under the leadership of the Communist Party to start. That year, a large number of accepted Marx Lenin's drama, professional pursuit of revolutionary ideals among progressive intellectuals gathered in Yanan, or to take the "new wine in old bottles", "old new" way to carry forward the traditional opera art, or to keep pace with the times' realistic writing method of modern drama, efforts reflect the revolutionary struggle in real life, describing the object to the gongnongbing, at the same time in the drama director, music, performance, dance performances and so on improvement and innovation, from the start of old revolutionary drama A new face.

【分類號】：J809.2

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1 文憶萱;崔嵬與湖南戲曲改革[J];藝海;2005年04期

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本文編號：1685809