论文部分内容阅读
抗日战争中,民族主义是戏剧表现的重要主题。日本在伪满洲国时期出于转嫁中日民族矛盾的目的,支持上演反映中英民族矛盾的戏剧《怒吼吧,中国》,但民众并没有接受欺骗,引发了反日浪潮。这种愚弄民众的行为是国家层面的恶作剧。恶作剧是底层民众的狂欢,也是先锋的行为艺术美学。这种恶搞的当代性与当代文学的后现代性异曲同工,日本对中国的文化侵略与伪满剧作家的曲折反抗都在戏剧层面得到了美学阐释。
During the Anti-Japanese War, nationalism was an important theme of drama. In the period of the puppet Manchukuo, Japan, in order to pass on the ethnic contradictions between China and Japan, supported the drama “Howl China is” that reflected the contradictions between the two nations, but the public did not accept deception and triggered a wave of anti-Japanese opposition. This act of fooling the public is a prank at the national level. Prank is the carnival of the bottom people, but also a pioneering behavioral art aesthetics. The contemporary nature of this spoof is similar to the postmodernity of contemporary literature. Japan’s cultural aggression against China and the twists and turns of the puppet playwrights have all been aesthetically interpreted at the drama level.