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" "The contradictions between the proletariat and the bourgeoisie on an international scale, between the socialist countries and the imperialist countries and between the Marxist-Leninists and the modern revisionists all find acute expression in these areas. And so do the contradictions among the imperialist countries.
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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U.S. imperialism is the most ferocious enemy confronting the people of the world. Since the war, it has made use of its economic strength, which was inflated during the war, to build up an unprecedented and colossal war machine, brandishing its nuclear weapons and carrying out frantic aggression everywhere in its attempt to dominate the whole world.
Our country today is the People’s Republic of China led by the proletariat and based on the worker-peasant alliance. In such a country, a socialist country, where do our workers in literature and art, our fighters on the front or the art of Peking opera, stand? Should they stand with more than 90 per cent of the population, with the workers, peasants and soldiers, that is, on the side of socialism, or on the side of our enemies, the landlords, rich peasants, counter-revolutionaries, undesirable elements and bourgeois Rightists? I can’t say that absolutely none of you would wish to stand with the landlords, rich peasants, counter-revolutionaries, undesirable elements and bourgeois Rightists, but I am confident that the overwhelming majority of you are not willing to stand on their side.
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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.