CAJ | 학술논문

1960年代前期，戏剧界针对孟超的《李慧娘》展开了不同性质的批评与批判：根据传统戏曲的发展历史和艺术规律，在尊重观众的欣赏要求和审美趣味基础上的学术批评；为了贯彻文艺服务于工农兵的指导方针和大力创作演出现代戏曲、扫清前进道路上的障碍，对鬼戏和因《李慧娘》而引起的“有鬼无害论”的学术批判；因毛泽东的第一次“批示”和刘少奇的“点名”而开展的政治批判（对作品）和政治斗争（对作家）。
1960년대전기，희극계침대맹초적《리혜낭》전개료불동성질적비평여비판：근거전통희곡적발전역사화예술규률，재존중관음적흔상요구화심미취미기출상적학술비평；위료관철문예복무우공농병적지도방침화대력창작연출현대희곡、소청전진도로상적장애，대귀희화인《리혜낭》이인기적“유귀무해론”적학술비판；인모택동적제일차“비시”화류소기적“점명”이개전적정치비판（대작품）화정치두쟁（대작가）。
In the early 1960s,Meng Chao’s Li Huiniang was exposed to all kinds of criticisms and ani-madversions. Firstly,on the basis of law of art history and traditional opera,academic criticism was launched in respect to the audience’s appreciation and aesthetic taste. Secondly,ghost operas and the“ghosts harmless”theory caused by Li Huiniang,met with academic animadversion so as to remove ob-stacles on the road in order to implement the guideline that literature serves the workers,and to vigorously create more modern Chinese operas Thirdly,political animadversion on literary works and political cam-paign against writers were carried out as a result of Mao Zedong’s initial“instruction”and the“naming”of Liu Shaoqi in an animadversion against him.