“戏剧性”与“思想性”之争及“三突出”原则的新变

Theatricality vs. Ideology,and the Evolution of the Principle of "Three Priorities"

"三突出"创作原则既是传统戏曲质素在革命现代戏运动中的发酵,也是"文革"这一特定时期的政治意念向艺术手法的转化。"文革"前夕围绕现代戏《智取威虎山》改编问题的一场争议,既为"三突出"的成熟酝酿与正式出台清除了异见,同时也折射出在艺术上是遵从生活真实的逻辑还是遵从"本质"真实的逻辑、基于叙事艺术体式还是戏曲表演艺术体式的不同戏剧观。"文革"后期的样板戏改编则显示出"三突出"原则的某些新变。

The principle of ＂three priorities＂ was not only a result of modernizing the principles in Chinese traditional theatre for revolutionary theater, but also a manifestation of the ideology in a given time-the Cultural Revolution in this case-in artistic techniques. The debates centered on the adaptation of Taking Tiger Mountain by Strategy on the eve of the Cultural Revolution raised some questions： should arts follow the logic of life reality or essential reality？ Should theatre take the style of narrative art or that of traditional Chinese operas？ The results of these debates cleared the way for the establishment of the principle of ＂three priorities＂. However, the adaptation of the model plays in the later stage of the Cultural Revolution revealed some deviation and developments of the principle.