“新歌剧”概念辨正

The Discrimination of the Concept of"New Opera"

“新歌剧”概念的确立要以歌剧舶来为前提,旨在文化反思,因而整合革命运动资源、对接通俗文艺脉络,逐渐挣脱歌剧及其遵循的进化逻辑,与“人民”的历史生成保持同构关系。历史地看,自欧阳予倩编演“新歌剧”以来,早期剧人自觉终结“新潮演剧”的混杂状态并试图主导中国戏剧命运,这种意识与视野也是其持续推进的内在动力;而王泊生在战时环境重启“新歌剧”的理论与实践,直接引发大规模论争,共同探索适应当前民族意识的最佳形式;延安时期,民间歌谣的充分挖掘与秧歌剧的前期积累,丰富了“新歌剧”的美学品格,而其自身也作为集体主义工作机制的重要实践,由此,“新歌剧”所新的不仅是文体,还有主体,具有中国本位与人民至上的双重意涵。

The establishment of the concept of"New Opera"should be based on the introduction of opera,aiming at cultural reflection,so as to integrate the resources of the revolutionary movement,to connect with popular literature and art,to gradually break free from opera and the evolutionary logic it follows,and to maintain an isomorphic relationship with the historical generation of"the people"Historically,since OuyangYuqian's performance of the"New Opera",early dramatists consciously ended the mixed state of New Wave Opera"and tried to dominate the fate of Chinese drama,and this consciousness and vision were also the internal driving force for their continuous advancement.And Wang Bosheng's restarting of the theory and practice of the New Opera"in the war time directly triggered large-scale debates and jointly explored the best form to adapt to the current national consciousness.The full excavation of folk songs and the early accumulation of Yangyang Opera also enriched the"New Opera"during the Yan'an period.Therefore,the New Opera"is not only a stylistic style,but also a subject,which has the dual meaning of China's standard and the supremacy of the people.