During the decade of China's Cultural Revolution, the revolutionary model operas gradually died out in China's literary garden.

A flower blooms alone. Now Chinese mainland people have many incomparable choices in culture and art, but the model operas of that year

However, it has repeatedly set off a resurgence. Overseas mainland scholars believe that although the model opera is politically excluded, it is still Beijing in art.

Modern drama is a very successful example of reform. The people's enthusiasm for model operas also has a nostalgic feeling.

* Artistic achievements are worthy of recognition *

How to explain the phenomenon that model operas are still popular in Chinese mainland? He graduated from Fudan University and now works as a China at Fansa University in new york, USA.

Du, an associate professor of literature and Asian studies, said that the appearance of model operas is a historical phenomenon. Today, some people demand that the revival of model operas is a cultural phenomenon.

He said that the model opera is a very successful example of modern drama reform. Although the principles of political creation, such as "Three Prominence", have been completely denied.

Yes, but his artistic achievements are worthy of recognition.

Du said: "its success lies in the traditional way of expressing modern life, the reform in music, and the stage art, including scenery."

Reform. The new drama has its merits in art, for example, some aria are popular, and now you are working on a new drama, and many dramas are not popular, so

There is a singing problem. The arias of model operas are easy to catch on. "

* Arouse memories of adolescence *

Professor Du and four former actors of Peking Opera Theatre were invited by the International Information Center of the Queen's Library of new york to be held in Flushing Library recently.

Specially presented a speech demonstration program of the model operas of the Cultural Revolution, hoping to tell the audience what a model opera is, which is different from the traditional operas in China.

Inheritance relationship and similarities and differences.

Li Jianglin, the librarian in charge of the project at the International Information Center, said that immigrants from Taiwan Province province don't know what a model opera is. Li Jianglin said, "Taiwan Province Province is here.

Immigrants have only heard of model operas. One of my colleagues thought we were joking when he said eight model operas. She doesn't know that we are really eight models.

Play. "

Overseas Chinese in Chinese mainland like model operas very much because of nostalgia. Li Jianglin said, "When I say nostalgia, I don't mean nostalgia. but

It is a cultural phenomenon at that time, which can arouse some memories of your youth, adolescence and even childhood. "

* Modern drama and traditional drama *

Invited to attend the lecture were Zhang Pai Xue Yaping, a famous former Shandong Peking Opera Theatre, Wu Guangsheng, a famous old student of Tianjin Peking Opera Theatre, and Shandong Peking Opera Theatre.

Fang Yuli, a famous civil and military student of Zhongshan Peking Opera Troupe, was the former civil and military clown Han of Shanghai Peking Opera Troupe. During the Cultural Revolution, they all participated in the performance of model operas.

Out, have a plenty of the leading role of model operas at that time. Through the demonstration operas "The Red Lantern", "Shajiabang" and "Outwit Tiger Mountain"

Fragments, as well as traditional plays "Shiro Visiting Mother", "Wujiapo", "Kanluoji" and other fragments, illustrate that from the actor's voice to the program action design, now,

Body double operas are all developed from traditional operas, and they have similarities and differences.

Han said to him, "For example, I sing small noodles and I play justice. From the beginning, I said,' You say you are fair, I say I am fair, is it fair?

Fair, only God knows. Modern plays can't be read like this, for example, I play Hatoyama,' How are you, old friend?' Everything he said.

It's Mandarin and Mandarin. "

* The reaction of China audience *

Chinese from Chinese mainland, Taiwan Province, Hongkong and other places, and even many European immigrants participated in this activity with great interest. come

Some audiences from Chinese mainland can't help but co-write rhythms and sing familiar tunes with the artists on the stage. Originally in Chinese mainland.

State cadre Deng Lili and her husband Zhang Yun argued that they didn't like Chinese mainland's Peking Opera, but today they are full of feelings. Zhang (surname)

Zheng Yun said, "I think she is singing here. I listened very well, very kind, and reminded me of my time. " These artists, on the one hand,

Rarely miss us while working. "

An old overseas Chinese who came to the United States during World War II said that those who used to call these operas actors now see that the quality of artists trained in the mainland is really good.

The old overseas Chinese said, "The words they sang in" Hanging the Red Lantern High "were so well written that I almost cried." The other claimed to be the fourth Empress Dowager Cixi.

Mrs. Nala's generation also excitedly encouraged artists to preserve the quintessence of Chinese culture. Nora said, "I'm from the Western Empress Dowager family in the Qing Dynasty.

The Western Empress Dowager used to play in the palace. I hope you can continue to study this Peking Opera very hard. You can call the world.

Go to various places. "

* Model Opera and Cultural Revolution Politics *

However, in the lecture, some listeners questioned whether it is necessary to develop today's model operas from the educational and social perspectives. At Vanessa University.

Professor Du, who teaches China literature and drama, said that model drama is only a special stage in the development of modern drama, which runs through the whole history.

The period is a part of the reform process of Peking Opera. So there is no problem of developing model operas today.

Artists invited to participate in the demonstration said that Jiang Qing, the flag bearer of the Cultural Revolution, did play a key role in creating model operas, but she was not alone. at present

The reform of alternative drama began in the early 1960s. In order to create public opinion for Mao Zedong to launch the "Cultural Revolution", Jiang Qing adopted the modern Peking Opera reform at that time.

As a result, huge national resources were used to mobilize the best literary and artistic talents and spent ten years serving them. Is there anything wrong with her artistic creation at that time?

Artists who hold the same view are said to have made political mistakes and suffered cruel political persecution.

"Personally, I think that model operas have no lasting appeal of traditional operas. It is recommended to appreciate more traditional dramas. " This is my opinion at home, and I hope to criticize and correct it. )