In recent years, the term "Shouzheng Innovation" has been mentioned many times, and many drama workers, including opera and drama, are talking about "Shouzheng Innovation". Then, what exactly is the "right" to be observed, and how to innovate and create what kind of "new" should become a question for the art world and even the theoretical world to think about.
Taking the folk system of "New Year", reunion, chasing distance, and gathering are all "positive" in it, which is legitimate and correct, and should be adhered to. Although the firing of cannons is an important part of the customs of the past years, in the current big cities, the noise pollution, air pollution, garbage pollution, as well as fire hazards and personal safety hazards caused by the firing of cannons, have made the city's management department repeatedly prohibit it.
In addition, the drinking that extends from the New Year's reunion and exhibition should also be appropriate, and play a joyful effect, rather than drinking to drunken dreams and death, light nonsense, heavy is injured; and in recent years, the "new folklore" that has been popular in returning to the hometown after working and returning to the hometown - playing cards, is actually a gathering of gambling and gambling, there is no slight point of merit: throw all your hard-earned income to the card table, lose it, do not change your face and do not beat your heart, it seems to swallow mountains and rivers, in fact, the heart has long regretted not being at the beginning, and if it is not good, it will cause greater trouble.
These "bad folk customs" should not be advocated, because "not correct", but also should not be "innovative", last year's mahjong this year's poker next year's card nine, playing more and more fancy every year, "new" is enough "new", but people hate.
Similarly, opera and other arts can only adhere to the right path if they recognize what is "right"; similarly, only by understanding the boundaries of "right" can they be reasonable and lawful in the process of innovation, and will not be new to the edge and create strange phenomena.
Although based on the development process and the differences in humanistic customs, the differences between the various dramas in China are huge, far from the same system, but in terms of the more mature dramas, it is always inseparable from the basic characteristics of fiction, programming, and freehand, which is the "right" of opera. Similarly, the vast majority of plays advocate patriotism, loyalty, steadfastness, and trustworthiness, or praise love, praise beauty, and call for true feelings, which is the "rightness" of the theme of opera.
Similarly, in the performance of opera, it is also "positive" with both vocal emotions, exquisite technology, and program specifications, and the opera vocal cavity is also high enough to suppress the clouds, as low as the yellow warbler trying to cry, strong and deaf, as thin as the empty valley Youlan, in short, not only to listen to and listen to and withstand the aftertaste, but also to fully express the meaning, which is "positive". Opera is similar to other arts, and there is always a "right way". Artists must have a clear understanding of the art categories they are engaged in, know what is right, and only then can they distinguish what is evil, so as not to regard "firing cannons on the stack of firewood", "being generous at the gambling table", and "being able to do things on the wine field" as the correct direction.
Innovation is also to move in the right direction, rather than making things up, going against the trend, deliberately trying to do with the "keeping the right", or how to come, "I want to fly to the sky, shoulder to shoulder with the sun", so that the "new" created is like cooking hot pot in the toilet, holding his father and brother, wrapping his feet to wipe his face, and making tea with his shoes.
Innovation can neither be based entirely on the "restoration of historical truth", nor can it be completely whimsical. For example, in the opera, two cups and a pot refer to a wine banquet, and it is always impossible to eat and drink on the table with eight cold and eight hot; for example, a horse whip and a circle of circles are thousands of mountains and rivers, and Xue Pinggui cannot be allowed to turn over on the horse and run back on the stage.
"Shouzheng innovation" is a very valuable creative idea, which can guide literary and art workers to move forward in the right direction. Look at the "four unlikenesses" of "famous artists" in recent years, not only without the "right" that opera should keep, but also created "new" in the horns of cattle. Therefore, it is really time to calm down and ponder the true meaning of "shouzheng innovation".
Author: Li Xiang
Edited/Reviewed by: Yan Wei
Final Judge: Wang Mei