【新唐人2014年03月12日讯】中共“两会”的文艺界分组讨论中，全国政协委员，也是“北京交响乐团”团长的谭利华，提到了当今中国的“烧钱”文化。谭利华表示，当局创造所谓文化政绩，最典型的手法是“走出去”和“请进来”。
对于“走出去”，谭利华介绍，中共驻奥地利使馆的文化参赞，从去年1月到8月间，已经接待了133个中国音乐团体，这些团体中，有中央级官员“写条子”邀请的，也有军旅级别官员写条子，和各省市官员写条子邀来的。而 大部分团体都是出国“镀金”，他们不在乎表演有没有观众。
而中共驻奥使馆人员抱怨：“压力太大，搭上钱都没人看。”谭利华说，这些演出让人家当笑话看。
2003年，大陆歌手宋祖英，曾在著名的奥地利维也纳“金色大厅”举办个人演唱会。现在她也公开承认，她“开了个‘坏头’”。
大陆诗人王藏：“把他们篡改之后的所谓的文化输送出去，完全是政府的自我娱乐。其实西方对他们那一套不屑一顾的。当时宋祖英去维也纳，烧钱，并不是说你站在国际著名的舞台，你就是有文化的人，你只不过是用钱去买一个舞台而己。就是小丑你也可以出钱买一个舞台。”
据了解，这些“走出去”的文艺团体，为解决没有观众的问题，采取四、五个团体互为观众的办法。也就是：“一个团演出时，其他三、四个团的团员坐满观众席，演出时给予热烈鼓掌。效果是演出成功！
谭利华批评这是“自欺欺人！”。
大陆画家吕上：“在我看来，它不是真正的文化，它是一种政治需要。那个繁荣背后实际上就是政治操作吧。因为在中国的这种专制体制下，没有真正意义上的文化可言。我认为的文化几乎是在民间，官方的文化它都是党文化，为政治需要，为党服务的。”
另外还有一个手法叫“请进来”。谭利华介绍，2001年6月23号，北京为申办2008年奥运会，特别邀请了世界著名三大男高音——帕瓦罗蒂（Luciano Pavarotti）、多明戈（Placido Domingo）和卡雷拉斯（Jose Carreras），在故宫午门前的紫禁城广场举办音乐会。
谭利华披露：世界三大男高音来华演出时，经纪公司的标价是每人5万欧元，他们在南韩首尔的演出费用是5万美元。但是北京付给他们每个人380万元人民币，相当于40多万欧元， 60多万美元。
王藏：“他把这一套出口转内销，就形成中国文化‘百家争鸣百花齐放’，就‘走向世界’了，这是非常愚蠢的。他们的这一套在国际舞台上是非常丑陋的、可笑的。是他们一厢情愿、荒唐无耻的看法。现在网路时代没人相信这一套。”
与当今中国社会烧钱发展文化成为对比的是，中共当局在1980年代以前，公开烧毁古籍、破坏庙宇，把知识份子打成“右派”，送到农村，接受所谓贫下中农再教育等等。
吕上：“我们这几个艺术家都是受打压的，我本人的绘画，主要是画中国的政坛犯、良心犯，国保他就是一再警告，这些作品是不能拿出去的，没有展览的机会。一到所谓的敏感期，我家门口就被他站岗了。”
王藏：“他们是借文化之皮来达到他们政治维稳的效果。共产集权的本性就是要消灭文化，所有人都没有文化，然后他们才可以利用所谓的阶级斗争、党文化这一套，控制人。他们把文化消灭了之后，更有利于于他们共产集权政权的膨胀。”
曾有报导说，邀世界著名三大男高音助阵申奥，是时任中共党魁江泽民的主意。江泽民曾在国际宴会场合，突然唱起帕瓦罗蒂经典的意大利名歌《我的太阳》。
吕上：“我看不出什么所谓的修养，实际上是他的一个‘面子工程’。在我们看来，国家领导人有这个举动，我做为中国人来说，确实是混身冒凉气的。”
王藏：“他是以为有政治地位了就有文化，这是党文化。其实他们表演的这些是非常可笑的。”
在北京市中心的“国家大剧院”，被指为是江泽民为情妇宋祖英修建的。而舆论却批评它是“明清红墙碧瓦的皇宫边上的一颗鸟蛋”。
采访编辑/唐音 后制/陈建铭
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
