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zxd wrote:
Glad to know this piece of history. That 《屈原》was really good. It became a legend now, because no vedio or audio record exists now. Too bad. It was a great piece of art, many contributions and contributors, including Suqing, as now we know. But the reason that she didn't get award is not just because of her "historical problem". Playwriting in 越剧 was not commonly recognized as being that important, especially when it was not something original but adaptation. Both Mr. Zhou Xingfang and Mr. Zhao Dan already played in Beijing opera and drama that character, and they publicly admitted that Ms. Ying played better. People focus on Actor/actress and rarely thought about playwriter. So, it is a cultural rather than political reason. But Ms. Su certainly made her contribution. Very glad to know her part in it too.
时值1951年，市文化局戏剧编导学习班招生，苏青报名，没有录取，后由夏衍出面，才被批准。毕业后，她分到由尹桂芳任团长的芳华越剧团工作。为配合“三反”、“五反”运动写了几部剧本，但都未获成功。后来，她改编郭沫若的《屈原》，为此专程进京向楚辞专家文怀沙请益。1954年5月，由苏青编剧的《屈原》首演，反映颇好。在参加华东戏曲会演时，佳评如潮。演员获奖了，音乐获奖了，偏偏一剧之本的剧本没获奖，其根子是苏青有“历史问题”。苏青感到不解、不平。她只能忍气吞声。那段日子，最开心的是，由她编剧的《宝玉与黛玉》在京、沪连演300多场，创下剧团演出的最高纪录。倒霉的是，她在改编历史剧《司马迁》时，为塑造好司马迁的形象，她写信向复旦大学教授贾植芳讨教。完全是一封纯学术探讨的信。不料，1955年胡风事件，贾植芳被打为胡风分子，被判刑，有关部门在抄贾家时，发现了苏青的那封信，苏青也就被打成胡风分子，关进了上海提篮桥监狱。也有人认为，苏青被捕是潘汉年、杨帆案所牵。1957年6月27日苏青被“宽大释放”。 苏青出狱后，又回到剧团。一时无事可做，看剧场大门。自己创作的作品，已被他人改头换面窃去。1959年芳华剧团去福建，苏青不愿去，被安排在黄浦区文化局下属的红旗锡剧团当编剧，兼配角唱戏，还要负责字幕很是辛苦。她也配合政治写过《雷锋》、《王杰》，但无影响。
好象夏志清对郭沫若的几部历史剧评价很低。
有机会细细抄来。
《宝玉与黛玉》恐怕还好，《屈元》与《司马迁》怕是功力不够。
西方描写大历史事件多是史诗或大剧作家执第一版，以后才有歌剧舞
剧等的改编。这样诗境会强，戏说的成份就少些。
我想到几部蛮典型的席勒、雨果等的戏剧。
xw