【新唐人2014年03月12日訊】中共「兩會」的文藝界分組討論中，全國政協委員，也是「北京交響樂團」團長的譚利華，提到了當今中國的「燒錢」文化。譚利華表示，當局創造所謂文化政績，最典型的手法是「走出去」和「請進來」。
對於「走出去」，譚利華介紹，中共駐奧地利使館的文化參贊，從去年1月到8月間，已經接待了133個中國音樂團體，這些團體中，有中央級官員「寫條子」邀請的，也有軍旅級別官員寫條子，和各省市官員寫條子邀來的。而 大部分團體都是出國「鍍金」，他們不在乎表演有沒有觀眾。
而中共駐奧使館人員抱怨：「壓力太大，搭上錢都沒人看。」譚利華說，這些演出讓人家當笑話看。
2003年，大陸歌手宋祖英，曾在著名的奧地利維也納「金色大廳」舉辦個人演唱會。現在她也公開承認，她「開了個『壞頭』」。
大陸詩人王藏：「把他們篡改之後的所謂的文化輸送出去，完全是政府的自我娛樂。其實西方對他們那一套不屑一顧的。當時宋祖英去維也納，燒錢，並不是說你站在國際著名的舞臺，你就是有文化的人，你只不過是用錢去買一個舞臺而己。就是小丑你也可以出錢買一個舞臺。」
據了解，這些「走出去」的文藝團體，為解決沒有觀眾的問題，採取四、五個團體互為觀眾的辦法。也就是：「一個團演出時，其他三、四個團的團員坐滿觀眾席，演出時給予熱烈鼓掌。效果是演出成功！
譚利華批評這是「自欺欺人！」。
大陸畫家呂上：「在我看來，它不是真正的文化，它是一種政治需要。那個繁榮背後實際上就是政治操作吧。因為在中國的這種專制體制下，沒有真正意義上的文化可言。我認為的文化幾乎是在民間，官方的文化它都是黨文化，為政治需要，為黨服務的。」
另外還有一個手法叫「請進來」。譚利華介紹，2001年6月23號，北京為申辦2008年奧運會，特別邀請了世界著名三大男高音——帕瓦羅蒂（Luciano Pavarotti）、多明戈（Placido Domingo）和卡雷拉斯（Jose Carreras），在故宮午門前的紫禁城廣場舉辦音樂會。
譚利華披露：世界三大男高音來華演出時，經紀公司的標價是每人5萬歐元，他們在南韓首爾的演出費用是5萬美元。但是北京付給他們每個人380萬元人民幣，相當於40多萬歐元， 60多萬美元。
王藏：「他把這一套出口轉內銷，就形成中國文化『百家爭鳴百花齊放』，就『走向世界』了，這是非常愚蠢的。他們的這一套在國際舞臺上是非常醜陋的、可笑的。是他們一廂情願、荒唐無恥的看法。現在網路時代沒人相信這一套。」
與當今中國社會燒錢發展文化成為對比的是，中共當局在1980年代以前，公開燒燬古籍、破壞廟宇，把知識份子打成「右派」，送到農村，接受所謂貧下中農再教育等等。
呂上：「我們這幾個藝術家都是受打壓的，我本人的繪畫，主要是畫中國的政壇犯、良心犯，國保他就是一再警告，這些作品是不能拿出去的，沒有展覽的機會。一到所謂的敏感期，我家門口就被他站崗了。」
王藏：「他們是借文化之皮來達到他們政治維穩的效果。共產集權的本性就是要消滅文化，所有人都沒有文化，然後他們才可以利用所謂的階級鬥爭、黨文化這一套，控制人。他們把文化消滅了之後，更有利于于他們共產集權政權的膨脹。」
曾有報導說，邀世界著名三大男高音助陣申奧，是時任中共黨魁江澤民的主意。江澤民曾在國際宴會場合，突然唱起帕瓦羅蒂經典的意大利名歌《我的太陽》。
呂上：「我看不出甚麼所謂的修養，實際上是他的一個『面子工程』。在我們看來，國家領導人有這個舉動，我做為中國人來說，確實是混身冒涼氣的。」
王藏：「他是以為有政治地位了就有文化，這是黨文化。其實他們表演的這些是非常可笑的。」
在北京市中心的「國家大劇院」，被指為是江澤民為情婦宋祖英修建的。而輿論卻批評它是「明清紅牆碧瓦的皇宮邊上的一顆鳥蛋」。
採訪編輯/唐音 後製/陳建銘
Regime Buffoons and Philistines Desperate to Buy “Class”
annual Parliamentary meetings,
the Political Consultative Conference committee, also head
of Beijing Symphony Orchestra, Tan Lihua, brought up the money
burning culture of the regime.
Tan Lihua indicated that the cultural achievements claimed by the
regime is typically done by either the “going abroad” or by the
“invitation”, method.
Tan Lihua explained the “going abroad” method with the
example of the Embassy in Austria.
The Cultural Counselor of the Embassy entertained 133 Chinese
music groups between January and August last year.
They were invited by the “notes” from officials of the regime
central, military, provincial and municipal governments.
The majority of these groups went to Austria just “for show”,
not caring if there is any audience.
The staff at the Embassy complained that: there is too much pressure.
No one would watch it even if they were paid.
Tan Lihua said, those shows have become jokes.
In 2003, the Chinese singer Song Zuying had an individual
concert at the Great Hall of Vienna, Austria.
She admitted that her concert had a poor start.
Wang Zang, poet: “They have tampered with the culture and
delivered what they call “the Chinese culture” overseas.
It is entirely self-entertaining for the government.
In fact, the West pays no attention to it.
Song Zuying went to Vienna to burn the money. To stand on
the world famous stage does not mean you are a
person of culture.
They simply buy a stage. A clown can buy a stage too,
as long as you pay."
Those “going abroad” groups are known to solve the problems of
lack of audiences by touring with four or five groups together.
When one group is on the stage, the remaining groups act as
the audiences and applaud during the show.
The outcome then seems “successful.”
Tan Lihua criticized this as “self-deceiving!"
Lu Shang, artist: “In my opinion, it’s not real culture, but rather
a political necessity.
It is political manipulation behind all that prosperity.
Under the authoritarian regime, there is no real sense of culture.
I believe that the real culture exists in the ordinary society.
The official culture is entirely the Party culture, in service of
political needs and the Party."
As for the “invitation” method , Tan Lihua proposed that, Beijing
invited the world famous Three Tenors, Luciano Pavarotti,
Placido Domingo, and Jose Carreras,
to hold a concert in the Forbidden City on June 23, 2001.
This was done to help the bid for the 2008 Olympic Games in Beijing.
Tan Lihua disclosed: For the Three Tenors to perform in China,
the brokerage firm’s price was 50,000 euros per person, the cost
of their performances in Seoul, South Korea was $ 50,000.
But Beijing paid each of them 3.8 million yuan, equivalent to
more than 40 million euros, more than $600,000.
Wang Zang: “Their strategy of export to import has become what
they claim, reaching out to the world. That’s quite stupid.
It is both ugly and ridiculous to the world, for being absurd and
shameless. No one in this Internet era would believe it."
In contrast to the fake money burning culture, the Communist regime
has openly burned classical literatures, destroyed temples,
labeled the intellectuals as rightists and re-educated them with
peasants in the poverty stricken countryside prior to the 1980s.
Lu Shang: “We are the artists who have been suppressed. I have
painted mainly China’s political prisoners, prisoners of conscience.
But the national security has repeatedly warned me that none
of these works can be displayed.
At any sensitive time, they would camp in front of my house."
Wang Zang: “In the name of culture, they try to achieve their
political stability maintenance.
The communist totalitarian nature is to destroy cultures.
Once the culture is gone, they’ll manipulate the class struggle and
the Party culture to control people.
Once they destroy the culture, it is conducive to the expansion
of totalitarian communism."
It was said that it was former leader Jiang Zemin’s idea to invite
the world-famous Three Tenors to help the bid.
Jiang Zemin was known to burst out into singing Pavarotti’s hit song,
the Italian classic, “My Sun’ at international banquets.
Lu Shang: “I do not see his charisma. Actually, it’s all superficial.
I feel the chill to see our state leader to behave like this."
The National Center for the Performing Arts in Beijing was
suspected of being built by Jiang Zeming for his mistress
Song Zuying.
The public has criticized the center as being “a bird’s egg on
the red tile of the palace of Ming and Qing."
Interview & Edit/TangYin Post-Production/ChenJianmin
