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越剧源自浙江,在上海发展成熟,“南方性”似乎不言而喻,但事实上越剧“南方性”只有在北方观众陌生化的观赏中才可能被指认和具有意义。越剧的“南方性”和“抒情性”是1949年以后在进京演出过程中以及与京剧的相互比较中被逐步地建构和发现的。在此基础上,文章通过细读越剧版梁祝的各种改编及与同时期其他版本如川剧版的比较,来分析50年代推广婚姻法的政治意识形态宣传意图与梁祝中的哀伤情爱之间既互相强化又互相排斥的内在紧张关系。由此来进一步探讨“哀伤”在50年代文化及政治中的意义。
It seems that Yue Opera originated from Zhejiang and developed into a mature city in Shanghai. However, in fact, it is only possible to identify and make sense of unfamiliar viewing in northern audiences. The “southern sex” and “lyricism” of Yue opera were gradually constructed and discovered during the performances in Beijing and comparison with Peking Opera after 1949. On this basis, the article through the various narratives of Liang Ju Zhu and the comparison with other versions of the same period, such as Sichuan Drama Edition, analyzes the propaganda intent of the promotion of the political ideology in marriage law in the 1950s and the sad love affair of Liang Zhuzhong Strengthen and mutually exclusive internal tension. To further explore the “sad ” in the 50’s cultural and political significance.