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 North China Theatrical Festival In Peking

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North China Theatrical Festival In Peking


Source: Peking Review, No. 5, February 1, 1974
Transcribed by www.wengewang.org

 The traditional Spring Festival holidays (Jan. 23-25) in Peking this year was enlivened by sparkling items performed by the thousand and more literary and art workers assembled in the capital to take part in the North China Theatrical Festival.
 Twenty programmes by performers from Peking, Tientsin, Inner Mongolia, Hopei and Shansi presented at the festival held under the auspices of the Cultural Group Under the State Council included Peking operas, plays, instrumental music, songs and dances, chuyi (ballad singing and story telling), puppet shows and local operas in the local idiom and sung to folk melodies.
 On January 27 Renmin Ribao said in a commentary that the holding of this festival in the excellent situation now prevailing in literature and art throughout the country "is a new victory for Chairman Mao's revolutionary line in literature and art and is an important fruit of the Great Proletarian Cultural Revolution and the movement to criticize Lin Piao and Confucius." It added: "The festival is of great significance to further implementing Chairman Mao's revolutionary line in literature and art, pushing forward the revolution in literature and art and making socialist literature and art more flourishing."
 The commentary pointed out that the items presented at this festival are the result of learning from the experience in creating the model revolutionary theatrical works in the course of the proletarian revolution in literature and art. Their salient features are: vivid portrayal of worker, peasant and soldier heroes and heroines, especially heroes and heroines who have emerged since i ho beginning of the Cultural Revolution, lively depiction of socialist revolution and construction, acclamation of the Great Proletarian Cultural Revolution and the correct line of the Party — all serving to consolidate the socialist economic base and the dictatorship of the proletariat. The emergence of a large number of young artists is a most felicitous phenomenon.
 The commentary went on to say that, at present, "the class struggle and two-line struggle in the field of literature and art are still very intense. The landlord and capitalist classes who have been overthrown are not taking their defeat lying down but are all the time dreaming and scheming for a restoration. In some places they use noxious plays, noxious books and songs to carry on their contest with us for positions in the cultural and ideological field; they use bourgeois ideas of seeking personal fame and fortune to corrupt the ranks of our literal? and art workers. They maliciously attack the model revolutionary theatrical works and negate the Great Proletarian Cultural Revolution and the revolution in literature and art. They slander that our artistic works are numerically few and the quality is not of a high order and so on. This is a sinister wind whipped up by class enemies. The number of model revolutionary theatrical works is being continually increased and the current theatrical festival give the lie to their shameless slanders. Everyone can see that proletarian literature and art has never been richer or more vigorous than today."
 The Renmin Ribao commentary called on the literary and art workers to resolutely implement Chairman Mao's revolutionary line in literature and art, fight the revisionist line, criticize the bourgeois world outlook and concept of literature and art, work hard to create more and better works and spur the cause of socialist literature and art to greater vigour and florescence.
 The festival is continuing. During the 15 days of the festival literary and art workers of the various delegations will give special performances on the outskirts of the city in addition to their appearances in six theatres in the capital.
 Newspapers have already carried reviews by workers, peasants and soldiers. An article by workers of the Peking No. 2 Machine Tools Plant said that these items which were imbued with the spirit of the age and full of militancy inspired and encouraged all who saw them..
 Over the Spring Festival a large number of theatrical programmes in a great variety of forms and styles were put on in Peking. Among them were: ten model modern revolutionary theatrical works (Peking operas, ballets, symphonic music and others), and 44 other items including different renditions of the model revolutionary theatrical works, new plays, songs and dances and chuyi items.
 Apart from these there were 14 new films. Four were feature films, one new local opera, one puppet film, two documentaries (the above all in colour) and six scientific educational films.


Source: Peking Review, No. 5, February 1, 1974
Transcribed by www.wengewang.org
  
  
  

 
 
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