Peng Zhen Quotes

Without an elementary class analysis, the slogan “unity against the enemy” is meaningless. We must make clear whom they want “unity” with and which enemy they want to deal with.

So far as artistic form is concerned, Peking opera has a relatively long history and has attained a relatively high artistic level; it is a type of opera with relatively strict conventions. For these reasons it is rather difficult to reform. But once successfully reformed, it will have a bright future.

Many Peking operas of the past portrayed emperors and kings, generals, ministers, scholars, beauties, lords and dowagers, young gentlemen and ladies; they prettified the exploited classes and denigrated the working people. Very few plays were staged on contemporary revolutionary themes. Over a long period in the past Peking opera in the main served feudalism and capitalism. Many attempts were made to reform Peking opera, and a number of plays were successfully revised, but at the current Festival of Peking Opera on Contemporary Themes we are witnessing for the first time reforms that are so comprehensive and systematic, so rich in content and well received by the broad masses of the people. This is indeed a revolution in Peking opera.

The great Soviet people is a people endowed with the glorious tradition of the October Revolution. The great Communist Party of the Soviet Union is a Party with a long history of revolutionary struggle.

We are historical materialists. We are not indiscriminatingly opposed to staging historical plays. When we oppose putting on plays about people of the past, we are opposing those plays about people of the past which laud feudalism or capitalism, which prettify the exploiting classes. As for those historical plays which fortify the will of the people and destroy the arrogance of the exploiting classes, and which benefit the cause of the people, help social development and the revolution, and further socialism — historical plays which tell of the fine traditions of the Chinese people — of course these can be staged. But the emphasis must be on staging contemporary revolutionary plays about the living masses of the people fighting their struggles, about the living proletariat in the midst of its struggles.