"普罗克拉斯提斯铁床"效应--"样板戏"和"样板戏现象"剖析(之二)

“样板戏”自从被封成“样板”那天起，便不仅仅作为普通剧目而存在，它被抽象为僵化的原则与教条，在文革文艺中发挥着酷似魔鬼“普罗克拉斯提斯铁床”效应。样板戏由普通剧目变为“铁床”，经历了树样板、宣传推广、学习普及、改编移植等过程，形成“三突出”、“三结合”、“三陪衬”等创作模式，这是一个将一批普通剧目抽象化、偶像化、神圣化而成为样板的过程，这种现象我们称之为“样板戏现象”。“样板戏现象”极大地戕害了文革时期的文艺创作，把那个时期的文艺活动逼进了一个狭小的死胡同，这是当代文艺活动中的一个惨痛教训。

The Procrustean Effect--Analyses of Model Play and the Phenomenon of Model Play( Part Ⅱ )

From the very day that model plays had been named model, they not only were normal repertoire, but also became some rigid principals and doctrines that were abstractly drawn into, which played a monstrous role of the Procrustean effect in the literature and art of the Culture Revolution. Model plays, having changed from normal plays to the Iron bed, went through the whole process of being set up as models, propagated and disseminated, studied and popularized, adapted and grafted, etc., which had formed some creating patterns such as Three Highlighting, Three Collaborating and Three Setting off, etc. This was a process of abstracting, idolizing and consecrating some normal plays, which we can call the Model Play Phenomenon. The Model Play Phenomenon greatly damaged the literature and art creation of the Culture Revolution, and forced the activities of literature and art into a dead end, which was a bitter lesson in the contemporary literature and art activities.