當代中国京剧创新现状分析—试论當代中国京剧的创新與传承

Abstract

Since China's reform and opening up in the 1980s, Peking Opera has faced a crisis of survival due to cultural shocks. Reform and innovation with the creation of new repertoire as the main content has become the main means to save and develop Peking Opera, and certain results have been achieved. However, in the process of innovation, there have been phenomena such as blindly introducing other art elements, ignoring or deviating from the traditional artistic principles of Peking Opera, resulting in a low survival rate for a large number of new screenwriters, lacking both artistic value and market value. This article starts from the content and performance form of the new contemporary Peking Opera dramas, taking "Cao Cao and Yang Xiu", "Prime Minister Liu Luoguo", and "Red Cliff" as examples of new scripts at different stages. Analyze the problem and propose a solution strategy. We believe that innovation in Peking opera is necessary, but it should abide by the freehand drama and aesthetics of Peking opera. We believe that the content of new dramas should be reduced in the proportion of modern dramas, focusing on historical dramas, using modern thinking and the spirit of the times to construct new content and new plots, and create new characters. Consolidate the traditional foundation in art form, adhere to the principles of stylization and virtualization, and make scientific and reasonable innovations without departing from the laws of Peking opera art, so as to realize the unity of opposites between innovation and inheritance.