摘要
本文作者曾经提出20世纪中国京剧改革的三大模式(即梅兰芳模式、田汉模式、延安模式)的理论。这篇文章进一步强调了田汉模式与另外两大模式的区别(为文化还是为政治?古典的还是现代的?),并结合新时期以来的戏曲实践,强调了田汉模式所具有的现代精神对当前京剧现状的重要意义,强烈呼吁现代京剧的新生。
The author has ever argued that there were three patterns of Chinese Beijing Opera reformation in the 20th century, Mei-Lanfang pattern, Tian-Han pattern and Yan＇ an pattern. This dissertation emphasizes the difference between Tian-Han pattern and the other two patterns, discusses the value of modem spirit embodied in Tian-Han pattern on the basis of current Beijing Opera since 1980s, looks forward to new modem Beijing Opera.
出处
《同济大学学报（社会科学版）》
2005年第6期95-99,共5页
Journal of Tongji University:Social Science Edition
关键词
京剧改革
田汉模式
周信芳道路
Beijing Opera reformation
Tian-Han pattern
Zhou-Xinfang way
