兰州大学机构库 >文学院
延安戏剧运动及其文本研究
Alternative TitleYan'an Drama Movement and Its Textual analysis
吴双芹
Thesis Advisor彭岚嘉
2017-03-31
Degree Grantor兰州大学
Place of Conferral兰州
Degree Name博士
Keyword延安戏剧运动 秧歌剧 民族新歌剧 旧戏改编 民族化与大众化
Abstract

延安戏剧运动是在民族战争的背景下,中国共产党通过团结、教育作为革命同盟军的人民群众以争取新民主主义革命胜利的一次文艺实践,在这场文艺运动中,中国共产党成功地将无产阶级革命思想和内容注入到民间传统文化形式里,完成了政治对民间的重构。上海左翼戏剧和苏区“红色戏剧”是延安戏剧运动的经验和队伍来源,抗战全面爆发后,这两股革命的“文艺军队”汇聚延安,在延安前期的戏剧舞台上,呈现出“知识分子型”和“工农兵型”两种戏剧活动形式。整风和《在延安文艺座谈会上的讲话》之后,延安知识分子完成了思想的统一、立场的转变和身份的认同,他们放下了“启蒙者”的身份,真正将自己化为人民大众的一员,与人民大众一起,利用民间文艺形式,“推陈出新”,开始了真正意义上的戏剧“民族化”、“大众化”实践,也可以说是“旧形式”的“新实验”,秧歌剧运动、民族新歌剧运动、平剧运动成为延安戏剧运动的重要组成部分。在这场运动中形成的“延安体”,为以后的文艺活动创立了一个新的格局,长久地支配和影响着中国当代戏剧文学的发展。

论文按照以上线索,主要围绕“延安戏剧如何发生”、“知识分子思想如何被改造”、“民族形式如何被利用和创造”、“延安体如何形成”、“延安戏剧的影响和意义如何体现”等几个问题,对这场颇具声势的戏剧运动展开探寻、讨论与分析。论文除了绪论,共分为四章。绪论部分旨在揭出延安戏剧运动的起因,从民族化、现代化的历史进程里,对延安戏剧运动的背景进行阐述,探析延安戏剧发生的历史必然性。第一章是延安戏剧的队伍建设,首先从延安和知识分子两个方面来分析戏剧队伍集结延安的原因,再结合延安前期的戏剧活动,指出其思想改造的必然性及其改造后的立场转换、思想变化与身份认同。第二章从舞台呈现的角度对延安戏剧的重要组成部分秧歌剧运动、民族新歌剧运动、旧戏改编和平剧运动展开论述,阐释革命和政治是如何完成对民间文学形态的重建,并最终实现革命戏剧的民族化、大众化的。第三章主要写政治与文学的互动,从创作机制入手,将延安戏剧运动中的具体文本与历史现实联系起来,讨论政治改造话语中民间大众的集体诉求和表达:劳动、翻身和“造反”。第四章主要阐述延安戏剧运动的影响和意义,从方向指引、民族文化传统、文艺大众化传统三个方面来阐述延安戏剧对建国后乃至新时期以来戏剧的影响。

Other Abstract

Yan’an drama movement is a nationalized and popular literary practice under the leadership of the Chinese Communist Party, with Shanghai “left-wing drama” and Soviet “red drama” being its experience and team source. In the wake of war outbreak, the two revolutionary “art armies” gathered in Yan’an, presenting an art type for “intellectuals” and that for “workers, peasants and soldiers” these two forms of drama activities in Yan’an early stage of the drama. After the rectification movement and Chairman Mao Zedong’s speech at the Forum of Art and Literature in Yan’an, intellectuals in Yan’an unified their thoughts, transformed their standpoints and gave up the identity recognition as torchbearers, sincerely melting themselves into the broad masses of people, innovating the folk art form, and practicing the true sense of drama nationalization and popularization together with the people, namely old art forms endowed with new experiments, Yangko opera movements, new national opera movements, Peking operas being important components of Yan’an drama movement in the formation of Yan’an style for the following new pattern of cultural activities, dominating and affecting the development of Chinese contemporary literature for a long time.

According to the above clues, mainly around the questions of “how Yan’an drama happened”, “how intellectuals could be exiled”, “how to use and create national form”, “Yan’an style formation” and “the tradition embodiment of Yan’an opera”, this dramatic drama movement is to be explored, discussed and analyzed. The thesis is divided into four chapters besides the introduction. The introduction part aims to expound the cause of Yan’an drama movement from the historical process of nationalization and modernization, explain the Yan’an drama movement background and analyze the historical inevitability of Yan’an drama. The first chapter focuses on the team construction of Yan’an drama. First of all, from the geographical orientation of Yan’an and the historical mission of intellectuals, the reasons for the formation of Yan’an drama team are to be analyzed, with the pre-Yan’an drama activities combined to point out the inevitabilities of its ideological transformation, consequently its standpoint transformation, identity recognition and thought change. In the second chapter, from the perspective of stage narration, Yangko opera movements, new national opera movements, old opera adaptations and Peking operas, all these important drama components of Yan’an opera are to be discussed with the explanation of how the revolution and politics can complete the reconstruction of folklore form and finally realize the nationalization and popularization of revolutionary drama. The third chapter starting from the creation mechanism mainly deals with the interaction between politics and literature, and links the specific text of the Yan’an drama movement with the historical reality to discuss the theme of folk expression in the political transformation discourse: “rebelling”, standing up and laboring. The fourth chapter mainly elaborates the influence of Yan’an drama on the drama policy, drama organization and the specific drama form after the founding of the People’s Republic of China from the aspects of direction guidance and cultural tradition, with its historical significance summed up on this basis.

URL查看原文
Language中文
Document Type学位论文
Identifierhttps://ir.lzu.edu.cn/handle/262010/227650
Collection文学院
Recommended Citation
GB/T 7714
吴双芹. 延安戏剧运动及其文本研究[D]. 兰州. 兰州大学,2017.
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