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20世纪20年代末,左翼戏剧运动逐渐成为中国现代话剧的主潮。苏联话剧《怒吼吧,中国!》与中国现实紧密相连,得到了田汉、陶晶孙、欧阳予倩、徐懋庸、胡愈之、董每戡、茅盾、郑伯奇、唐弢等人的高度评价,不但有机融入中国现代文学史中的左翼文学谱系中,而且被称作中国左翼剧运的原点与原典,风靡“红色的三十年代”。进入40年代以后,由于该剧曾在日本发动太平洋战争后的中国各日本占领区广泛上演,属沦陷区文学范畴,在中国一直未能进入后来的体制化学术研究的视野。90年代后出现改观。为进一步深化相关研究,引入与殖民相关的宏观维度,在外部因素与文学的关联中逐一考察该剧1937年至1945年间在中国的演出史,并在此基础上,试图对全国抗战时期文艺跨域传通的多重面向问题略加讨论。
In the late 1920s, the left-wing theater movement gradually became the main trend of modern Chinese drama. The Soviet drama “Howl China!” Is closely linked with China’s reality and has been highly praised by Tian Han, Tao Jing Sun, Ouyang Yuqian, Xu Maoyong, Hu Yuzhi, Dong Zhizhi, Mao Dun, Zheng Boqi, Tang Tao and others. Organic integration into the history of modern Chinese literature in the left-wing literary pedigree, but also known as the origin and classic of the left-wing Chinese drama, popular “Red Thirties.” Since entering the 1940s, as the drama was widely staged in various Japanese occupation territories after Japan launched the Pacific War, it belongs to the literary category of occupied areas and has not been able to enter the field of institutionalized academic researches in China. After the 90’s changed. In order to further deepen the related research and to introduce macro-dimensions related to colonialism, we examine the performance history of the play in China from 1937 to 1945 one by one in the relationship between external factors and literature. On this basis, Multi-faceted communication issues a little discussion.