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Literature and art should serve politics and the development of the productive forces. Now that we are living in a socialist society, whom should our… - Peng Zhen
" "Literature and art should serve politics and the development of the productive forces. Now that we are living in a socialist society, whom should our Peking opera serve? What kind of plays should we stage? Should we serve socialism by staging plays that advance the socialist revolution and socialist construction or should we stage plays that benefit feudalism or capitalism? This is a fundamental question. It is quite clear that if one does not want to see feudalism or capitalism restored, if it does not hanker after these systems, then in a socialist society one cannot be always staging plays about such representatives of the exploiting classes as emperors, kings, generals, ministers, scholars and beauties.
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About Peng Zhen
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.
Since World War II, U.S. imperialism has stepped into the shoes of German, Italian and Japanese fascism and become the chief enemy of the people of the world. Throughout the postwar period, repeated and intense struggles have been going on between the people of the world on the one side and U.S. imperialism and its lackeys on the other. The vast areas of Asia, Africa and Latin America are the main battlefields of these struggles.
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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.
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