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由黄孝花鼓戏更名而来的楚剧,晚清之世为官府所厉禁。其禁演的由头无非是剧目内容淫秽,有害地方风俗。民国之后,政府对楚剧的认知并无大的改变,但态度和治理方式却发生了变化,由晚清至民初的单纯禁演发展到对剧目、艺人、剧场的全面管理。抗日战争胜利后,还与楚剧艺人携手,对楚剧进行改良。已有的相关研究成果,更多关注的是政府对地方戏曲的打压、控
The Chu drama, named after the Huang Xiaohua drum show, was banned by the government in the late Qing Dynasty. The reason why its performance is nothing more than a repertoire obscene, harmful local customs. After the Republic of China, the government did not change its cognition of the Chu drama drastically, but the attitude and the way of governance changed. From the late Qing Dynasty to the early period of the Republic of China, there was only a complete ban on the play, the artist and the theater. After the victory of the Anti-Japanese War, Chu opera artists also work together to improve Chu drama. The relevant research results that have been given more attention are the suppression and control of local opera by the government