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2012年初,笔者在南昌新四军纪念馆,采访了江西省新四军研究会葛华会长。葛华是一名新四军老文艺战士,他向我们讲述了在战火纷飞的年代文艺工作者艰苦奋斗、不畏牺牲的感人事迹。舞台上的“战场”葛华说,在战争年代,文艺是一支轻骑兵,文艺工作者被称为不拿枪的战士,因为革命文艺能唤起工农觉悟,激励军民斗志,但文艺工作者的环境是相当艰苦的。文工团到各部队演出时,没有舞台,部队就派来一个连队,在村边稻田里挖出一个土台子,三面成沟,后面再拉一块幕布,“舞台”就算成了。灯光怎么办呢?人们在土台子前面竖两根杆子,拉根钢丝,中间挂上汽灯、马灯就算完事。音响设备更谈不上,音效就是文艺兵们躲在舞台后面现配,遇上戏里打枪了,他们赶紧拿手里的板子去拍桌子,“啪”的一声倒也还说得过去。但1949年葛华写的《打过长江去》在演出时,打枪
In early 2012, the author interviewed Ge Hua, president of the New Fourth Army Research Society in Jiangxi Province, at the New Fourth Army Memorial Hall in Nanchang. Gehua is a New Fourth Army old literary and art warrior who told us about the touching stories of the literary and art workers who worked hard during the war-torn years and who did not fear sacrificing themselves. On the stage, Ge Hua said that in the war years, art was a light cavalry and literary and art workers were called soldiers without guns. Because revolutionary literature and art can arouse the awareness of workers and peasants and inspire militaries and civilians, The environment is pretty tough. When the art troupe performed to various units, there was no stage. The army sent a company to excavate a soil table in the rice field near the village. Three sides of the soil were dug and a curtain was pulled behind. The stage was even formed. Light how to do it? People in front of the soil table two vertical rod, pull root wire, the middle hanging steam lamp, lantern even finished. Sound equipment, let alone sound is literary and artillery hiding behind the stage with the match, the play hit the gun, and they quickly took the board to the hands of the table, “snapped,” the sound is also still justified. However, in 1949 Gehua wrote “hit the Yangtze River to go” in the performance, shot