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" "At the present stage, the historical task of the parties of the proletariat in all countries is to unite the revolutionary people of the whole world, unite all the forces that can be united, combat the imperialists and reactionaries, win world peace, national liberation, people’s democracy and socialism, and strive for the gradual achievement of complete victory in the proletarian world revolution and for a new world without imperialism, without capitalism and without the exploitation of man by man.
Peng Zhen (Chinese: 彭真) (October 12, 1902 – April 26, 1997) was a leading member of the Chinese Communist Party who served as the leader of the party organization in Beijing following the victory of the Communists in the Chinese Civil War in 1949 and later served as the inaugural head of the Central Political and Legal Affairs Commission and chairman of the Standing Committee of the National People's Congress, from 1980 to 1988.
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The historical development of different countries is uneven, and so is the development of their revolutionary movements. While the proletariat in Western Europe and North America is experiencing a new awakening, for various reasons the situation there is not yet ripe for revolution; on the other hand, the people of Asia, Africa and Latin America are holding high the torch of revolution and marching forward.
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.
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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.