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延安的新秧歌剧建设的基本策略可以概括为“民族旧艺术为体、西剧艺术为用”和“改造后利用”。基于这个策略,新秧歌剧的重要元素——演唱、时空观、语言等方面主要取自于民族旧艺术,而在舞台表演上,则是西剧的写实性表演和民族旧艺术的写意性表演相互融合。新秧歌剧的“民族旧艺术为体、西剧艺术为用”体现出了明显的“民族性”追求,但“改造后利用”则显示出“民族性”背后有着更深层的逻辑支点——“大众化”和“政治实用性”。实质上,“民族性”可能只是“政治性”“大众化”指导与支配延安文艺活动的一个中介、一种策略;当我们研究、描述延安文艺时,不能将“政治性”“大众性”“民族性”平行并置。
The basic tactics of Yan’an’s construction of new yang opera can be summarized as “the old national art as the body, the western opera as the art” and “the transformation and utilization”. Based on this strategy, the important elements of the new yang opera - singing, space-time view, language and other aspects are mainly derived from the old art of the nation, and in the stage performance, it is the realistic performance of Western drama and the traditional art of the traditional performances fusion. New Yanggu opera “national old art as the body, Western opera art ” shows a clear “nationality ” pursuit, but “use after transformation ” shows “nationality ” behind Have deeper logic fulcrums - “popularity” and “political utility.” In essence, “nationality ” may be only “political ” “popularization ” to guide and dominate Yan’an literary activities as an intermediary and a strategy; when we study and describe Yan’an literature and art, Sex “” mass “” nationality "parallel juxtaposition.