|
| 苏北抗日根据地淮戏改造的范式转换——以《照减不误》与《渔滨河边》为中心的考察 |
| The Paradigm Transformation of Huai Opera in the Anti Japanese Base Area of Northern Jiangsu ——A Study Centered on Zhao Jian Bu Wu and Yu Bin He Bian |
| 投稿时间：2023-11-10 |
| DOI：10.16018/j.cnki.cn32-1499/c.202401002 |
| 中文关键词: 新淮戏 苏北抗日根据地 根据地戏剧运动 旧瓶装新酒 |
| 英文关键词: Xinhuai Opera anti-Japanese base areas in northern Jiangsu dramatic movements in the base areas old bottled new wine |
| 基金项目: |
|
| 摘要点击次数: 150 |
| 全文下载次数: 144 |
| 中文摘要: |
| 二十世纪四十年代，战斗于苏北抗日根据地的革命者应和着抗日救亡的时代主题对地方淮戏进行了革命化改造。改造后的淮戏突破了艺术表现的传统藩篱，在剧目的表情达意间回应并实现“旧瓶子装进了新的酒，不但酒没有坏，连瓶子也变新了”的范式转换。中共开展淮戏改造的逻辑并非单一线性，而是内含复杂结构。这其中，具有节点意义的《照减不误》和《渔滨河边》作为典型剧目串联起了中共淮戏改造背后的历史生产逻辑，显化了新淮戏在政治教化与民众动员间的运作能量与限度。 |
| 英文摘要: |
| In the 1940s, revolutionaries fighting in the base areas of northern Jiangsu carried out revolutionary transformation of local Huai opera in response to the theme of resistance against Japan and national salvation. The renovated Huai Opera has broken through the traditional barriers of artistic expression, responding to and achieving a paradigm shift of "old bottles filled with new wine, not only the wine is not bad, but even the bottles become new" in the expression and expression of the play′s purpose. The logic behind the Communist Party′s transformation of Huai Opera is not singular and linear, but rather contains a complex structure. Among them, the two plays with significant node, Zhao Jian Bu Wu and Yu Bin He Bian, as typical plays, connect the historical production logic behind the transformation of the Communist Party of China′s Huai Opera, and demonstrate the operational energy and limitations of the new Huai Opera in political education and public mobilization. |
|
查看全文
查看/发表评论 下载PDF阅读器 |
| 关闭 |