介入与捍卫——川剧《红梅赠君家》事件批评与反思

Intervention and Defense--Criticism and Reflection on the incident of Sichuan Opera "Red Plum for the King"

1979年,由沙梅作剧、编曲的"改革川剧"《红梅赠君家·订情》上演,因在音乐编创方面有重大突破,引发剧坛长达四年之久的激烈论争。沙梅对川剧的定位是"现代城市剧场艺术",要求由音乐家写出定谱,演员按谱演唱,并引入西洋乐器伴奏,对具有很大灵活度的高腔施加规范。音乐家对地方戏曲创作的"介入",必然带来戏曲院团剧目生产机制的变化,艺人有抵制思想,实际上是对自身创作主体地位的"捍卫"。戏曲音乐改革需要表演艺术家与戏曲音乐家相互理解、共同完成。

In 1979,the "Red Plum for the King" written and composed by Sha Mei was staged.Because of a major breakthrough in music composition,it caused a fierce debate in the drama circle for four years.Shami’s positioning of Sichuan Opera is "modern urban theater art",which requires musicians to write a set score,actors to sing according to the score,and Western musical instruments accompaniment is introduced,so as to impose norms on the high tune with great flexibility.Musicians’ involvement in the creation of local operas will inevitably bring about changes in the production mechanism of opera troupes.Artists have the idea of boycott,which is actually a "defense" of their own creation subject status.The reform of opera music needs the mutual understanding and joint accomplishment of performing artists and opera musicians.