努力创作无愧于时代的扛鼎之作

党的十八大以来,党中央高度重视文艺工作,习近平总书记主持召开文艺工作座谈会并发表重要讲话,中央相继印发《关于支持戏曲传承发展的若干政策》《关于全国性文艺评奖制度改革的意见》《关于繁荣发展社会主义文艺的意见》等文件,召开繁荣发展社会主义文艺推进会,为新的时代条件下做好文艺工作提供了基本遵循。文艺事业发展正在迎来大有可为的黄金期。深入学习贯彻习近平总书记重要讲话精神和中央部署要求,努力推出更多无愧于时代的扛鼎之作,激发实现中国梦的文艺力量,是文艺战线义不容辞的责任。

以作品为中心抓精品创作

作品是“硬道理”。艺术家的造诣、文艺的繁荣发展,归根结底要靠作品来说话。没有优秀作品,其他事情搞得再热闹、再花哨,也只是表面文章。推动文艺繁荣发展,最根本的是扭住精品创作这个中心环节,按照习近平总书记讲的“思想精深、艺术精湛、制作精良”标准,踏踏实实出作品、创精品。

精品是时代的经典之作。人类文明发展史昭示,制度变迁、科技革命、国家兴衰,文艺经典往往是“春江水暖鸭先知”,无一不是“感国运之变化、立时代之潮头、发时代之先声”。一个时代的伟大作品,只有与国家和民族同频共振,反映出波澜壮阔的“宏大叙事”,才能发出振聋发聩的声音,最大程度地彰显其价值和意义。在决胜全面小康、奋力谱写中国梦的当前,文艺创作不能回避大事、大情、大理。广大作家艺术家要积极投身现实、烛照现实,全面展示人们追梦、圆梦的奋斗画卷,把当今时代的精彩故事讲出来、讲出彩,倾力锻造体现时代特色、塑造时代精神的精品力作,做时代风气的先觉者、先行者、先倡者。

精品是原创的传世之作。原创是文艺的生命,是文艺繁荣发展的“发动机”。古今中外的传世之作,之所以岁月越打磨越见光亮,关键就是原创,是开创性的作品。没有创新或者原创能力不足,就只能跟风克隆、抄袭模仿、机械复制。现在,我们的文艺创作生产,尽管在制作、技术、管理等环节有了长足进步,但内容生产整体上还存在“原创缺位”的现象,处于“微笑曲线”的低端,迫切需要推出更多像高铁那样实现核心技术自主化的文艺作品。必须坚持把创新精神贯穿于文艺创作生产全过程,依托文艺生产单位设立重点项目研发机构,增强原创自觉,提高原创能力,破陈规、开生面、引风气,锻造出更多具有原创价值、自主知识产权和核心竞争力的文艺作品和文化品牌。守正出新才能历久弥新。讲原创,不能割裂传统。增强文艺原创能力,不能脱离本土文化传统这个“母体”的支撑,要善于开掘本土文化中的“天然铀矿”,善于利用人无我有的“土特产”。跟着美国人去拍好莱坞式的故事,跟着意大利人去比赛歌剧,就等于用人家设立的标准去跟人家赛跑,是很难跑赢人家的。

以作品为中心抓精品创作,离不开良好创作生态的涵养。好的自然生态就是蓝天白云、青山绿水,好的创作生态就要风清气正、心齐气顺。这就需要文艺主管部门想方设法在政策、规划、传播、评价等方面拿出针对性强的措施,做好服务、提供条件,让作家艺术家坐得住、安得心,让好作品出得来、出得顺,切实营造“万类霜天竞自由”的创作生态。牢固树立“功成不必在我,成功一定有我”的理念,遵循文艺创作规律,坚持“慢功出精品”,当好“孵化器”“孵蛋者”,不能急功近利,结果把“软壳蛋”给催生下来了。

以人民为中心抓创作导向

社会主义文艺,本质上是人民的文艺。一方面,人民需要文艺,文艺越来越成为人们生活消费的“刚需”;另一方面,文艺需要人民,人民是文艺创作的源头活水,为人民鼓与呼、歌与咏,是社会主义文艺的天职、是文艺工作者应有的责任担当。文艺只有坚持以人民为中心的创作导向,对准人民群众、表现人民群众、服务人民群众,才有根基和生命力。那么,怎么坚持以人民为中心抓创作导向呢?

最根本的是扎根人民、扎根生活。习近平总书记强调,文艺创作方法“最根本、最关键、最牢靠的办法是扎根人民、扎根生活”。有生活的作品才是大作品。文艺之树只有“根”在民间,“干”才挺拔、“枝”才繁茂。强调“扎根”,不是应急式的采风,不是急就章式的调研,关键是要把“根”扎进去,像“秤砣一样沉入水底”,像“钉子一样钉进木头”,不仅身要沉下去,而且心要留下来、情要融进去,真正把自己还给生活、还给社会、还给人民。人民作家周立波曾说过这么一句话,“只想为人民写点东西,做他们的代言人”。20世纪50年代中期,他举家从北京迁回老家湖南益阳乡下,与农民群众同吃同住同劳动,在农村生活长达十年之久,最终创作出了轰动文坛的长篇小说《山乡巨变》。扎根人民、扎根生活,就是要像周立波等老一辈艺术家那样,走出书斋、走向生活,沉下去、贴地皮、接地气、沾人气,写有“温度”的作品,做“暖心”的文艺工作者,使作品始终保持群众立场和生活温度。

必须力戒浮躁之气。“台上一分钟,台下十年功”。任何经典之作、传世之作,都是苦心孤诣、反复淬炼的结果。米开朗基罗的壁画《最后的审判》,一画就是六年。著名翻译家草婴,穷一生之力翻译的《托尔斯泰全集》,之所以成为最经典、最权威的译本,关键秘诀就是他所说的“每天只译一千字”。老子说“为学日益、为道日减”,讲的就是,为学要做加法,不断丰富学识、阅历;修道要做减法,少些欲望、浮躁。文艺工作者唯有树立精品意识,涵养静气定力,修炼学识学养,拿出“板凳要坐十年冷”的坚忍和执着,拿出“语不惊人死不休”的精雕与细琢,用心、用力、用情、用功去打磨作品、铸造精品,才能切实提高自身的“核心竞争力”。

积极推动文艺对接群众的精神文化需求。“不忘初心,方得始终”。人民的需要始终是文艺存在的根本价值。文艺创作不论走得多远,都不能忘了为什么出发。决胜全面小康、实现中国梦的伟大实践,要求文艺工作者保持一颗家国情怀、民生情怀的“文心”“诗心”“画心”,对人民深情聚焦、热情礼赞、真情奉献,把最好的精神食粮奉献给人民,让文艺触及人民“内心最柔软的地方”。现在广场舞风靡全国、遍地开花,甚至还跳到了国外,这充分说明,“天下顺治在民富,天下和静在民乐”。文艺创作就是要善于借助“广场舞+”思维,“+”政策宣传,“+”核心价值观,“+”正确导向,拉近文艺与人民群众的距离,实现文艺“大众化”与“化大众”相统一,让文艺的芳华永远为人民绽放。

建立以人民检验为“度量衡”的评判标准。人民是文艺审美的鉴赏家和评判者。一部作品好不好、有没有价值,人民的评价始终是最高标准。“小我”越来越小,“大众”才会越来越多。文艺工作者必须始终站稳人民立场,高度重视群众口碑,不能眼里只有小圈子、没有大社会,更不能以群众看不懂、看不了自己的作品为荣。要坚持把群众满意认可作为文艺创作的衡量标准,防止以唯票房、唯收视率、唯点击量、唯发行量论英雄,从根本上改变重专家评价、轻群众认可的现象。尤其要大力纠正脱离群众、只为评奖而创作的问题,决不能耗费巨资、广招人才,排一台戏、搞一个节目、演一场两场,就“刀枪入库”,也不能像时装一样过一两年就不“时髦”了。

以人才为中心抓队伍建设

文艺事业繁荣发展,精品力作不断涌现,关键靠人才。要强化“人才是第一资源”的理念,狠抓文艺队伍建设。

抓“尖子”,培养造就一批文艺领军人物和拔尖人才。文艺要有“地标性建筑”,关键要有“顶级设计师”,有文艺领军人物和拔尖人才。要以“等不起”的责任感、“慢不得”的紧迫感,狠抓领军人才队伍建设,培养更多的文艺名家大师。坚持“不求所有、但求所用”,大力实施“文艺引智工程”,突破身份、资历、地域等限制,对高层次文化人才实行特殊政策、“绿色通道”,确保引得进、留得住、用得好。

抓“苗子”,发现培养一批有发展前途的文艺新秀。有诗云:“诗家清景在新春,绿柳才黄半未匀。若待上林花似锦,出门俱是看花人。”这就是说,以“花”喻人,要善于在“绿柳才黄”之际识别、发现人才,如果等到“上林花似锦”,人才都出名了,再去发现也没有多少意义了。现在,一些领域还面临人才断层、青黄不接的现象,个别剧种甚至陷入“戏随人死”的窘境。这就需要发现青年文艺人才,发现好“苗子”,加大扶持培养力度。

抓“根子”,健全完善有利于人才脱颖而出的体制机制。列宁在论及文艺创作规律时,提出了“两个广阔天地”的论断,也就是必须保证有“个人创造性和个人爱好的广阔的天地,有思想和幻想、形式和内容的广阔的天地”。这说明,艺术生产力的解放,关键是人的解放;人的解放,“根子”在机制的完善。要以推进文化事业单位、国有文化企业改革为契机,深化内部人事制度改革,盘活盘优人才资源,破除制约人才培养、评价、使用、流动、激励的思想束缚和制度藩篱,形成优秀人才脱颖而出的制度环境。坚持“百花齐放、百家争鸣”,鼓励艺术探索和创新,着力营造尊重劳动、尊重创造、尊重艺术规律、尊重文艺工作者的浓厚氛围。

  (张文雄,作者系中共湖南省委常委、宣传部部长)

Pass the 300-101 Brain Demos For CCDP

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